"SIGNS"
SIGNS
by
M. Night Shyamalan
FADE IN:
INT. WINDOW - MORNING
We are looking out a second story window of a house. The
backyard is large and green with a wooden jungle gym, worn
from use. A single tree throws shade onto a barbecue and a
picnic table.
The backyard is lined by crops. Corn. Golden and brown.
Six feet high.
Everything is perfect. Like a postcard. And then we HEAR A
CHILD SCREAM. IT'S FAR AWAY. WE DON'T KNOW WHERE IT'S
COMING FROM.
CUT TO:
INT. BEDROOM - MORNING
GRAHAM HESS wakes up from his sleep. He thought he heard
something. He listens. HE HEARS THE HEATER. THE
REFRIGERATOR DOWNSTAIRS HUMMING. THE OCCASIONAL BIRDS
OUTSIDE CHIRPING.
Graham climbs out of bed. He moves in his pajama pants and
white Barron's minor league baseball T-shirt towards the
bedroom door.
CUT TO:
INT. HALL LANDING - MORNING
Graham stands in the hall landing where three bedroom doors
meet. He moves to the door that has children's drawings
taped to it. He puts his ear close. Listens. Beat.
He relaxes. Graham leans down and picks up two balled up
sweat socks and a child's sweater from the hallway floor. He
puts it in the hallway hamper before heading back into his
bedroom.
CUT TO:
INT. BATHROOM - MORNING
A bathroom door is open. WE HEAR THE SINK RUNNING. WE HEAR
THE SOUNDS OF TEETH BEING BRUSHED.
Outside the bathroom on the bedroom wall is the sun faded
outline of where a large CATHOLIC CROSS used to hang. It's
ghostly stained forever on the blank wall.
A CHILD SCREAMS FROM FAR AWAY.
The water from the sink stops. Graham steps into the
doorway. Toothbrush and foam in his mouth. He becomes very
still.
CUT TO:
INT. CHILDREN'S BEDROOM - MORNING
The bedroom door bursts open. Graham steps into his
children's room. There are children's books everywhere.
Overflowing off shelves. Piled in corners.
Graham's eyes move to the small messy beds. They're both
empty.
CUT TO:
INT. GARAGE BEDROOM - MORNING
WE HEAR THE VOICES OF TWO CHILDREN NOW. THEIR SCREAMS FLOAT
INTO A DARKENED BEDROOM OVER THE GARAGE.
MERRILL HESS throws the bed sheets off himself as he swings
onto his feet in one quick motion. He is hyper-awake.
Merrill is in his late twenties. He is well build. His
muscles are tense as he stands in his red bikini briefs and
looks around bewildered.
CUT TO:
EXT. BACKYARD - MORNING
Graham bangs open the back screen door and runs into the
backyard. He spins as he looks around.
Merrill, now with a T-shirt and jeans, rumbles down the side
stairs adjacent to the garage building.
Merrill and Graham make eye contact as they approach each
other across the yard.
MERRILL
Where are they?
Graham looks around -- panic growing in his eyes.
CHILDREN
(yelling in the distance)
Daaaad!
Graham and Merrill in unison turn in the direction of the
YELLING. They look away from the house, across the yard and
into THE THICK WALL OF CROPS.
CUT TO:
EXT. CROPS - MORNING
The tall stalks of corn smack Graham and Merrill's faces as
they run through the crops.
A LITTLE GIRL appears in the crops thirty feet ahead of them
like an apparition. She is in her nightgown. She is four.
They reach her fast. She stands unaware of them in a daze.
Her hair is messed from sleep.
GRAHAM
Bo where's Morgan?
BO stands peacefully lost in her thoughts. Beat.
GRAHAM
Bo?
Bo finally looks at her father. Beat. She smiles softly.
BO
Are you in my dreams too?
Beat.
GRAHAM
This isn't a --
BOY (O.S.)
Dad!
Graham looks in the direction of THE BOY'S VOICE. He's
close. Graham picks up Bo and rushes through the crops.
He finds MORGAN standing with his hands in the pockets of his
pajama bottoms. DOGS ARE BARKING NEARBY.
GRAHAM
Morgan what's happening?
Graham puts Bo on the ground and moves right in front of
Morgan. The ten-year old boy looks deep in thought.
Graham takes hold of Morgan's chin and turns his face so he's
looking straight at him.
GRAHAM
Are... you... hurt?
Beat. Morgan's eyes reveal he's come to some answer.
MORGAN
I think God did it.
Beat. THE DOGS KEEP BARKING.
GRAHAM
Did what Morgan?
Morgan takes hold of his father's unshaven chin and turns his
face. Graham is forced to look to his right. Beat. Graham
sees something.
Graham Hess slowly rises to his feet. He starts moving
forward towards something.
He walks through a thin layer of crops and emerges in a
clearing. Two German Shepherds are running back and forth.
They are clearly agitated.
Graham looks around at the THOUSANDS OF CORN STALKS LYING
FLAT ON THE GROUND. THEY LAY IN A GIGANTIC CIRCLE, A HUNDRED
FEET WIDE.
Graham Hess looks around in a daze as he walks out into the
center. Merrill, Bo and Morgan follow him.
The dogs keep running and barking as WE PULL BACK AND REVEAL
THE FOUR MEMBERS OF THE HESS FAMILY STANDING IN THE MIDDLE OF
THIS PERFECT, GIGANTIC CIRCLE.
WE KEEP PULLING BACK TO EXPOSE THIS EERIE DESIGN -- FIVE
HUNDRED FEET WIDE -- SITTING IN THE MIDDLE OF AN ENDLESS,
UNTOUCHED CORN FIELD.
LEGEND:
"BUCKS COUNTY PENNSYLVANIA...
THIRTY MILES OUTSIDE PHILADELPHIA"
CUT TO:
EXT. BACKYARD - LUNCHTIME
Graham holds his hand over the barbecue to see if it's at the
right temperature. The other hand holds a cordless phone to
his ear.
GRAHAM
(into phone)
... Lee actually the reason I'm
calling is about Lionel.
Graham stokes the coals with a LONG BARBECUE FORK.
GRAHAM
(into phone)
Was he at home last night with you
or was he out and about with the
Wolfington brothers?
Graham moves around from behind the barbecue and heads
towards the house.
GRAHAM
(into phone)
Well, there was a little mischief
done to our crops last night.
Beat.
GRAHAM
(into phone)
I know he's a fine boy... No one's
saying otherwise.
Graham steps through the back screen door into his
KITCHEN.
Graham holds the phone a little closer and talks in a HUSHED
VOICE.
GRAHAM
(into phone)
Listen Lee, I don't even mind if it
was him. You could just talk to
him and that would be enough for
me... See it was kind of strange
finding the crops like that. The
kids were... confused by it. It
would take the strangeness away if
we knew it was Lionel and the
Wolfington brothers just messing
around...
(beat, listens)
The movies...
(beat)
Are you sure?
(beat)
Okay, then... Thank you for your
patience Lee.
Graham turns off the phone. He turns to put it on the
counter and realizes his children are seated on the kitchen
floor with one of their two German Shepherds. There is a
LARGE PUDDLE on the kitchen tiles.
MORGAN
Houdini peed. I think he's sick.
Graham looks at the majestic dog. It's shivering.
GRAHAM
Take him outside. I'll call Dr.
Reynolds.
Morgan and Bo lead their dog out with worried expressions on
their faces.
Graham grabs a handful of paper towels and places it on the
puddle of urine. The DOORBELL rings with Graham still on his
knees on the kitchen floor. He leans back so he can see down
the hall.
A balding police officer stands on the other side of the
screen door.
GRAHAM
That was quick Edgar. I only
called you boys about two hours
ago.
OFFICER EDGAR PASKI nods that he knows.
OFFICER PASKI
Mrs. Kindleman twisted her ankle as
she put it, "diving for her life"
when a bunch of school kids rode
down the sidewalk on skateboards.
She went down to Thorton's store
this morning and started spitting
on the new skateboards. Spitting!
By the time I got there, Mrs.
Kindleman had sprayed the whole
damn place... She must have had a
cold or something. It was enough
to turn a grown man's stomach.
Beat. Graham stares at Officer Paski.
OFFICER PASKI
So what happened to your crops?
CUT TO:
EXT. BACKYARD JUNGLE GYM - LUNCHTIME
Bo walks from the house with a large glass of water. She
moves to Houdini, who sits in the shade by the picnic table.
Morgan pokes the barbecue fork into two meat patties on the
grill. He places two pieces of cheese on the hamburgers,
before walking over to Houdini.
The two children sit down in the grass with the dog.
Bo is about to pour the glass of water into the dog bowl.
She stops. Takes a tiny sip of the water first.
She holds the glass out to Morgan.
BO
I think it's contaminated.
MORGAN
You don't even know what that word
means.
He drinks.
MORGAN
It's not contaminated. It's just
tap water. Pour it in his bowl.
BO
It tastes funny.
MORGAN
He licks his butt everyday. He's
not going to mind.
Bo shrugs and pours it into the bowl. Beat.
Houdini just sits staring at them. He is not shivering. He
doesn't drink. He is unnaturally still.
Bo pushes the bowl closer.
HOUDINI MOVES...
BO'S HAND PULLS BACK...
HOUDINI'S JAWS SNAP SHUT IN THE AIR WHERE HER HAND USED TO
BE. HE WAS JUST A FRACTION OF A SECOND LATER...
BEAT. The children turn white.
MORGAN
Houdini?
HOUDINI BEGINS TO GROWL. Bo stands up.
MORGAN
Bo don't run.
Houdini crouches down.
MORGAN
What's wrong boy?
THE DOG'S GROWL BECOMES DEEP, MENACING.
MORGAN
Stop it Houdini!
The German Shepherd trembles. His body tightens. He's about
to leap. Beat.
MORGAN
(soft)
Bo, run.
CUT TO:
EXT. CROPS - LUNCHTIME
Officer Edgar Paski stands facing Graham fifty feet away.
They are on opposite ends of the crop circle. Beat.
The crops all around them sway as the wind blows. Beat.
Officer Paski yells over the wind.
OFFICER PASKI
(yelling)
It's the strangest thing Father.
GRAHAM
(yelling)
Don't call me Father.
OFFICER PASKI
(yelling)
What's that?
GRAHAM
(yelling)
Don't call me Father. It's just
Graham now.
OFFICER PASKI
(yelling)
Sorry.
They stands in awkward silence fifty feet away from each
other. Beat.
GRAHAM
(yelling)
You said something was strange.
What's strange?
OFFICER PASKI
(yelling)
The footprints.
GRAHAM
(yelling)
What about them?
OFFICER PASKI
(yelling)
There are none.
CUT TO:
EXT. CORN CROPS - LUNCHTIME
Officer Paski's knee touches the ground. He points to a
single stalk of corn laying flat on it's side.
OFFICER PASKI
(soft)
Look at where it's bent over.
Graham stands next to him and leans in. The joint where the
stalk bends from the ground is a perfect "L".
GRAHAM
It's not broken.
OFFICER PASKI
What kind of machine can bend a
stalk of corn over without cracking
it?
Graham looks around at the hundreds of thousands of corn
stalks bent over each other in a perfect wave.
GRAHAM
(softy)
Can't be by hand... It's too
perfect.
Beat.
OFFICER PASKI
Doesn't sound much like Lionel
Prichard and the Wolfington
brothers. They can't take a piss
without wetting the front of their
pants.
Graham, nods in agreement. Officer Paski stands up.
OFFICER PASKI
Second thing this week I can't
explain.
GRAHAM
What was the first thing?
OFFICER PASKI
Some animals around the county
exhibiting uncharacteristic
behavior. Sometimes violent
behavior. Theo Henry had two of
his fingers bit off by his cow.
GRAHAM
Sounds like a virus.
OFFICER PASKI
No Father, they're edgy. On alert.
Like they act when they smell a
predator around... Peeing on
themselves and everything.
We see a thought catch in Graham's eyes. He turns back and
stares in the direction of the house. You can barely see the
roof over the crops. Beat.
GRAHAM
(preoccupied)
Edgar, please don't call me Father.
The two men stand as the wind blows lightly around them.
Officer Paski notices the still expression on Graham's face.
OFFICER PASKI
What's wrong?
Beat.
GRAHAM
I don't hear my children.
CUT TO:
EXT. BACKYARD - LUNCHTIME
Morgan watches the thin line of smoke rising from the charred
patties on the grill next to the overturned picnic table.
Morgan's attention moves as the crops part and his father and
Officer Paski enter the backyard. They stop cold when they
look in his direction. They begin a slow walk towards him.
Morgan Hess is seated under the jungle gym with Houdini on
his lap. Morgan is petting Houdini's fur gently. Bo is on
top of the jungle gym curled up in a ball.
As Graham and Officer Paski get closer, they see Morgan is
crying.
Then they see the dog is laying on it side and has a BARBECUE
FORK DEEP IN ITS NECK.
Beat.
They stare at Morgan as he slowly pulls an inhaler from his
pocket and brings it to his mouth. He inhales the asthma
spray. Beat. He lowers the inhaler so he can speak.
MORGAN
(soft)
He wanted to kill Bo.
Beat. Graham stares at his ten-year old son.
GRAHAM
Did he hurt you?
Beat. Morgan nods, "No." His tough exterior breaks as his
face starts to tremble. He starts crying. Graham picks him
up in his arms.
GRAHAM
(whispers in his ear)
I'm so sorry Morgan.
Graham reaches up for Bo. She has dirt and tears on her
face. Beat. She slowly climbs down. Graham carries both
his children as they cry in his arms.
He starts towards the house. Merrill walks out from the back
holding a bowl of food.
MERRILL
I used a little Tabasco in the
potato salad.
Merrill sees Houdini lying under the jungle gym.
BO
Houdini's sick.
GRAHAM
Please tie up Isabelle to the back
of the shed. Make sure the knot's
tight.
Merrill stands still with potato salad in his hands. He
nods.
The children watch over their father's shoulder as Merrill
runs to their other German Shepherd sitting quietly near the
house and leads her by her collar across the yard to the
shed.
Graham reaches the porch of his house and opens the screen
door.
The last thing the children see as they enter the house, is
the image of Officer Paski pulling the barbecue fork out of
their dead dog's neck.
CUT TO:
INT. BEDROOM - LATE EVENING
Graham lies in bed. He rests his cheek against the pillow as
he lies by himself.
GRAHAM
They're tough cookies, those two.
They think Houdini's playing with
you up there.
(beat)
At least it got them to sleep.
Graham stares off. Beat. He smiles a little.
GRAHAM
Okay Miss Puzzle Master. I got one
for you... What can make geometric
shapes the size of a football
field... and what would scare every
animal in this county?
(beat)
Have you figured it out yet?
(smiles)
You probably have...
(beat)
Give me a hint Colleen... Is it
bigger than a bread box?
DISSOLVE TO:
EXT. HOUSE - NIGHT
The large Hess farm house sits in the moonlight.
A MILLION CRICKETS AND BUGS FILL THE NIGHT AIR WITH SOUND.
THEY SUDDENLY STOP.
AN UNNATURAL SILENCE FILLS THE YARD.
CUT TO:
INT. BEDROOM - NIGHT
Graham opens his eyes slowly as he stirs from his sleep. His
daughter Bo stares at him from the edge of the bed. She is
five inches away from his face.
Graham gets startled.
GRAHAM
What's the matter?
BO
I saw a monster. Can I have a
glass of water?
Beat.
GRAHAM
What's wrong with the water next to
your bed?
BO
It tastes old.
Graham slowly gets up from the bed. He takes his daughter's
hand and starts out of the room.
GRAHAM
What's the rule about getting up in
the middle of the night?
BO
Only for pee or poop.
GRAHAM
Right.
Graham leads his four-year old daughter down the darkened
hall.
CUT TO:
INT. CHILDREN'S BEDROOM - NIGHT
Morgan's body is half off his bed. Graham gently lifts him
back onto the pillow and covers him up.
There are two glasses of water on Bo's bedside table. Graham
moves to Bo's bed. He sits on the edge of it. She stares
back at him as she holds her panda.
GRAHAM
(soft)
What are you thinking about?
BO
(soft)
Why do you talk to mom when you're
by yourself?
Beat.
GRAHAM
(soft)
It makes me feel better.
BO
(soft)
Does she ever answer back?
GRAHAM
(soft)
No.
BO
(soft)
She doesn't answer me either.
Beat. They both sit quietly for a moment.
Graham's eyes drift to the bedroom window. A LARGE
SILHOUETTED FIGURE STANDS ON THE ROOF IN THE DARKNESS AND
STARES AT HIM.
THE FIGURE MOVES. HIS SHADOW PASSES OVER THE CHILDREN'S
BEDROOM AS HE JUMPS FROM THE ROOF.
Graham stands. He looks to his daughter with startled eyes.
BO
(soft)
Get under a blanket. They can't
get you under the blankets.
CUT TO:
INT. FAMILY ROOM - NIGHT
GREY SNOW FILLS THE SCREEN. Merrill sleeps in front of the
family room television.
A hand gently shakes him. Merrill wakes and looks up at his
brother zipping up his overcoat.
CUT TO:
EXT. FRONT DOOR - NIGHT
Merrill quickly puts on his boots at the front door.
MERRILL
Okay, this guy is trying to scare
us. He's messed with our property,
he's coming around the house. It's
time for an ass whoopin'!
GRAHAM
This is not an intelligent way to
approach this.
Merrill opens the front door. It's pitch black outside.
Merrill turn to Graham and gestures with his fingers.
MERRILL
(whispering)
We both go outside and move around
the house in opposite directions.
We act crazy, insane with anger.
Make him crap in his pants and
force him around till we meet up on
the other side.
Merrill brings his fingers together at the end of a circle.
GRAHAM
(whispering)
Explain, act crazy?
MERRILL
(whispering)
Curse and stuff.
GRAHAM
(whispering)
I'm not going to curse.
MERRILL
(whispering)
You don't mean it. It's just for
show.
GRAHAM
(whispering)
It doesn't sound natural when I
curse.
MERRILL
(whispering)
Just make noises then.
GRAHAM
(whispering)
Explain noises.
MERRILL
(whispering)
Are you going to do this or what?
GRAHAM
(whispering)
No I'm not.
MERRILL
(whispering)
You want him coming in the house
next time?
Beat.
They HEAR MOVEMENT OUTSIDE. Merrill and Graham look out into
the darkness.
MERRILL
(hushed tone)
On the count of three.
(beat)
One... two... three.
Merrill and Graham go out the front door in opposite
directions.
CUT TO:
EXT. MERRILL'S SIDE OF HOUSE - NIGHT
Merrill is in a full sprint. He hugs the side of the
building as he runs.
MERRILL
We're gonna beat your ass bitch!
CUT TO:
EXT. GRAHAM'S SIDE OF HOUSE - NIGHT
Graham runs through the darkness around the first corner of
the house. He waves his arms.
GRAHAM
Ahhhh... I'm insane with anger.
Graham spots a LARGE FIGURE darting around the corner ahead
of him.
GRAHAM
I've lost my mind! It's time for
an ass whoopin'!
CUT TO:
EXT. MERRILL'S SIDE OF HOUSE - NIGHT
Merrill turns a corner full speed. THE LARGE FIGURE HAS COME
TO A STOP IN THE SHADOWS AHEAD OF HIM. HE SEEMS TO BLEND
INTO THE DARKNESS WHEN HE'S STILL.
MERRILL
I'm gonna tear your head off!
Merrill charges. WE JUST MAKE OUT MOVEMENT IN THE DARKNESS
AS THE FIGURE DISAPPEARS AROUND THE CORNER.
CUT TO:
EXT. SIDE OF HOUSE - NIGHT
Graham and Merrill come screaming around two corners and come
to a stop facing each other. Beat.
They look around, panting heavily.
GRAHAM
I cursed.
MERRILL
I heard.
Graham's eyes drift above them.
GRAHAM
He's on the roof.
They follow the roof around the corner. They find themselves
in the backyard.
Their eyes catch movement away from the house. They just
catch A GLIMPSE OF THE LARGE FIGURE as he disappears into the
crops. The swing on the swing set is still moving from being
hit.
They stare across the yard silently. ALL WE HEAR IS THEIR
HEAVY BREATHING.
MERRILL (V.O.)
It was very dark.
GRAHAM (V.O.)
Yes it was.
CUT TO:
EXT. PORCH - DAY
Officer Edgar Paski stands on the porch with his note pad
open. He faces Graham and Merrill.
OFFICER PASKI
You can't describe him at all?
Don't you think that's find of odd?
GRAHAM
It does seem kind of odd doesn't
it?
OFFICER PASKI
I don't know whether to look for a
midget or a --
GRAHAM
He definitely wasn't a midget.
OFFICER PASKI
Okay.
(beat)
So he was tall?
GRAHAM
(to Merrill)
I would say so.
MERRILL
Probably.
OFFICER PASKI
Over six feet?
Beat.
MERRILL
It was very dark.
GRAHAM
Yes, it was.
OFFICER PASKI
We've established that.
(beat)
Just tell me about his clothing
then.
Graham and Merrill stare at Edgar Paski.
OFFICER PASKI
Was he wearing a Scottish kilt or
jeans?
They keep staring. Edgar closes his pad.
OFFICER PASKI
Let me ask you two something.
Don't be embarrassed by the answer.
It is possible... Just possible
now, you might have been chasing
each other around? You said you
went in opposite directions.
GRAHAM
Edgar, it sounds as strange to me
saying it, as it is to you hearing
it. But we couldn't see him. He
stayed mostly in the shadows. All
we could make out was movement.
(beat)
But I'll tell you something with
absolute certainty. There was
someone watching our house last
night. He was looking in my
children's windows and I want you
to find him Edgar.
(beat)
I need you to take this seriously,
just incase, it is something
serious.
The three men stand in the doorway. Edgar opens his pad.
OFFICER PASKI
I apologize.
Morgan walks up to the front door. He holds up a baby
monitor.
MORGAN
Can I use Bo's old baby monitor as
a walkie-talkie?
GRAHAM
Yes.
MORGAN
It needs batteries.
GRAHAM
Edgar, come inside.
The three men follow Morgan into the house. They pass
through the family room where Bo stands at the television.
She is staring at the screen. ON THE SCREEN IS AERIAL
FOOTAGE FROM A HELICOPTER. THE FOOTAGE IS OF A LARGE FIELD
WITH ENORMOUS CIRCLES AND DIAMONDS CARVED INTO ITS CROPS.
Bo changes the channel. She finds a cartoon. She sits down
on the sofa.
Morgan and the men, can't see the screen, and move into the
KITCHEN.
OFFICER PASKI
How certain are you, that this was
a male?
MERRILL
I don't know any girls can run like
that.
Graham opens one of the cabinets and pulls down some
batteries. He hands them to Morgan.
MORGAN
These are D's; I need double A's.
GRAHAM
I have some upstairs.
Graham starts out of the kitchen.
OFFICER PASKI
I don't know Merrill. I've seen
some of those women on the
Olympics. They could out run me
easy.
They all move into the
FAMILY ROOM.
Bo watches cartoons. THE CARTOON MUSIC AND CARTOON PRAT
FALLS FILLS THE ROOM.
MERRILL
This guy got on the roof in like a
second.
GRAHAM
Bo, can you turn down the volume
until Officer Paski leaves?
Bo nods and moves to the television. The pack of men follow
Graham up the
STAIRS.
MERRILL
That roof is over ten feet high.
GRAHAM
He's telling you the truth, Edgar.
Whoever it was, is very strong and
can jump pretty high.
They arrive on the landing and follow Graham into his
bedroom. He moves into his
BATHROOM.
They all move in with him.
OFFICER PASKI
They got women's high jumping in
the Olympics. They got these
Scandinavian women who could jump
clean over me.
Graham takes the clock radio from the sink. Tries to open
the back.
GRAHAM
Shoot, it needs a screw driver. I
have double A's in here.
Graham waves the radio. The men and Morgan move out of the
bathroom.
GRAHAM
I know you're making a point Edgar.
I just don't know what it is.
They moves down the STAIRS.
OFFICER PASKI
Yesterday afternoon, an out of town
woman stopped by the diner and
started yelling and cussing cause
they didn't have her favorite
cigarettes at the vending machine.
Scared a couple of customers. No
one's seen her since... My point
is, we don't know anything about
the person you saw. We should just
keep all possibilities available.
They move through the FAMILY ROOM.
Bo's cartoon is replaced by a special report news icon.
BO
Dad, where's the remote?
Bo starts looking around the couch.
Graham stops before entering the kitchen. The group stops
with him. He looks at Bo searching the couch. He walks over
to the television.
There are three glasses of water on the TV set. He stands
next to the set. Doesn't see what's on the screen.
GRAHAM
Bo, you're too old to still be
doing this. The rule is, you take
a glass of water, you finish it.
(beat)
Now what's wrong with this one?
Bo stops looking through the sofa cushions and looks to her
father. Looks at the glass.
BO
There's dust in it.
GRAHAM
This one?
BO
A hair.
GRAHAM
This one?
BO
Morgan took a sip. It has his
amoebas in it.
Beat. Bo turns back to her search. Graham tucks the clock
radio under his arm and collects the three glasses. He heads
towards the kitchen.
MERRILL
Excluding the possibility that a
female Scandinavian Olympian was
running around outside our house
last night, what else is a
possibility?
OFFICER PASKI
I'm not done asking questions and I
don't appreciate the sarcasm.
They follow Graham and Morgan through the swinging door into
the KITCHEN.
Graham puts the glasses in the sink with a group of other
half-filled water glasses and opens the drawer to pull out a
screwdriver. He starts opening the clock radio.
OFFICER PASKI
Do you have anyone who might have a
grudge or something against you?
Maybe a church member, who might
not have liked the fact, that you
left the church?
Graham looks at Edgar.
GRAHAM
I don't think so.
OFFICER PASKI
Do you owe anybody money? You can
tell me off the record if you need
too.
GRAHAM
No.
MERRILL
No.
Morgan hands Graham the baby monitor and Graham starts
replacing the batteries.
OFFICER PASKI
Is anything missing?
GRAHAM
No.
Graham hands Morgan the monitor. He turns it ON. THERE IS A
STATIC CRACKLE WITH SPIKES OF SOUND.
MORGAN
It's still making the noises. It's
broken.
GRAHAM
It's old Morgan.
Morgan heads out of the kitchen.
MERRILL
Listen, I was out of line with that
whole female Scandinavian Olympian
thing.
Edgar nods.
MERRILL
It's just that, I'm pretty strong
and pretty fast. And I was running
as fast as I could. And this
guy...
(embarrassed smile)
He was just toying with us.
Beat. Merrill walks out of the kitchen. Graham watches
Edgar think it over.
CUT TO:
INT. FAMILY ROOM - DAY
Graham moves to a windowsill where more glasses of water sit.
He picks them up. Sees two more on the coffee table. He
gives up and puts the two glasses back on the windowsill.
OFFICER PASKI
Could everyone just take a seat on
the couch. I have some preliminary
thoughts.
Morgan sits with his monitor next to Bo, who quietly watches
the TV. Merrill and Graham squeeze in next to Morgan.
OFFICER PASKI
There are three possibilities here.
We'll call them one, two and three.
The level one scenario is that
there is a sane individual, who for
real reasons wants to do you harm.
I really don't believe that's what
we're looking at here. In my
opinion, whoever this is, they
don't want to do harm to you all.
That's kind of clear.
(beat)
The level two scenario is, this is
a mentally unstable person who's
fixated on you and your family.
This is a possibility, but a very
slim one.
(beat)
I assure you I will treat all three
possibilities carefully, but in all
likely hood we are looking at what
we'll call a level three scenario.
He's a watcher. Someone who this
is a game for. He's laying low.
Doesn't want to be seen. But he
wants to watch you. Study you
folks.
Officer Paski walks towards the windows. Graham, Merrill and
Morgan follow him with their eyes. Officer Paski walks next
to the television.
ON THE SCREEN WITH THE SOUND ALMOST MUTED, IS AN AERIAL SHOT
FROM A HELICOPTER. A DIFFERENT ONE THAN BEFORE. THE FOOTAGE
IS OF A VAST FIELD OF CROPS. THERE ARE TWO DIAMONDS FLANKING
TWO SIDE OF A TRIANGLE IN THE CENTER OF THE FIELD.
Officer Paski turns to them.
Graham, Merrill and Morgan stare at the screen.
OFFICER PASKI
Now I don't want you all to worry
about this no more. You're making
more of this than it is.
(beat)
You guys have had a tough couple of
days with the vandalism to the
crops and the death of your
shepherd.
(beat)
Maybe you guys should do something
fun? Let me worry about this
person. Let me find out who it is
and then -- What the hell are you
people looking at?
Edgar comes around to see the screen.
WE ARE ON A TV SCREEN. THE CROPS SWAY IN THE BREEZE.
A HANDFUL OF PEOPLE ARE WAVING FROM THE DIAMONDS ON THE
FIELD.
OFFICER PASKI
I'll be damned.
GRAHAM
Turn up the volume Bo.
Bo gets up.
BO
I can't find the remote.
She presses the up arrows on the TV controls.
TV ANCHOR
-- images were shot yesterday
afternoon by a thirty-four year old
local camera man in Kerala, a
southern city of India. It is the
eighteenth reported crop circle
found in that country in the last
seventy-two hours.
The television report cuts to Columbia University PROFESSOR.
PROFESSOR (TV)
Crop circles first emerged in the
late seventies with the renewed
interest in extraterrestrial life.
They died out by the early
eighties; dismissed as hoaxes.
This new resurgence is wholly
different. Elements of it are
unexplainable. The speed and the
quantity in which it has appeared
implies the coordination of
hundreds of individuals over many
countries...
(beat)
There is only a limited amount of
explanations. Either this is one
of the most elaborate hoaxes ever
created, or basically...
(beat)
It's for real.
Morgan takes the asthma inhaler from his pocket and breathes
in deeply.
MORGAN
(wonder)
Extraterrestrials.
OFFICER PASKI
What in God's name is going on?
Beat.
THE ROOM GOES SILENT as everyone watches the images on the
television screen.
CUT TO:
EXT. HESS DRIVEWAY - DAY
The two men walk down the driveway to Edgar's patrol car.
OFFICER PASKI
Don't ask me what I think. Cause I
can't think straight right now.
I'm going back to the station.
Have a cup of Marcia's coffee and
try to think clear. After that I
might make some calls.
(beat)
Hoaxes... People got way too much
time on their hands.
Edgar turns back to Graham.
OFFICER PASKI
But I'll tell you something, what I
said in their, still goes. You and
your family have been through a lot
in the last two days... Not to
mention what happened to you all
seven months ago.
GRAHAM
Six months.
Edgar stares at Graham.
GRAHAM
And three weeks.
OFFICER PASKI
It's left its mark still. The last
thing these children need to do, is
worry about some crazy things
happening in the world. Take them
into town. Get their minds -- your
mind, on everyday things. It's
good medicine.
GRAHAM
It's good advice...
(beat)
Say hi to Marcia for me.
OFFICER PASKI
You take care of yourself...
(beat)
Graham.
CUT TO:
EXT. STATION WAGON - AFTERNOON
WE MOVE THROUGH BACK ROADS OF BUCKS COUNTY. RURAL
PENNSYLVANIA IN ITS MOST BEAUTIFUL. TREE LINED STREETS.
WHITE PICKET FENCES. APPLE ORCHARDS.
The Hess family rides in their station wagon. Graham drives.
Merrill is shotgun. The children are in the back.
Morgan leans forward and TURNS ON THE RADIO.
RADIO VOICE
... signs intended to be seen from
the sky --
CLICK. Graham TURNS IT OFF.
GRAHAM
No radio either... Just for a
while.
Morgan nods and then plops back into the backseat.
CUT TO:
EXT. MAIN STREET - AFTERNOON
Downtown Bucks County. A group of small stores along a quiet
street.
The Hess station wagon pulls in front of a free parking
meter.
Graham steps out the driver's side and looks around. Merrill
puts change in the meter.
Morgan walks up to Graham with Bo.
MORGAN
Book money.
Morgan holds out his hand. Graham gives his son a look as he
reaches into his back pocket.
GRAHAM
Only one.
Morgan takes the money Graham gives him, then takes Bo's hand
and walks down the sidewalk.
Graham watches them turn into a store.
Merrill steps onto the sidewalk. Hands in his pockets as he
walks away.
Graham turns and calls after him.
GRAHAM
(calls out)
Meet back in fifteen minutes.
Merrill waves over his shoulder. He keeps walking.
Graham starts across the street to the pharmacy.
CUT TO:
INT. NATHAN'S BOOKSTORE - AFTERNOON
A mom and pop bookstore. Three isles wide. MR. AND MRS.
NATHAN, a couple in their early seventies, sit behind their
counter and watch a black and white TV. The PICTURE ON THE
TELEVISION IS OF A WHEAT FIELD. THREE ENORMOUS TRIANGLES
SURROUND A CIRCLE.
Morgan steps up to the counter.
MORGAN
Extraterrestrials?
MR. NATHAN
That's what they keep alluding to.
It's just a bunch of crock.
They're trying to sell sodas, plain
and simple. I've been watching
these reports since morning. I've
seen twelve soda commercials so
far. Twelve!
MORGAN
Do you have book on
extraterrestrials?
MR. NATHAN
Don't tell me you believe this
horse manure?
Morgan shrugs. Mrs. Nathan pushes her husband aside.
MRS. NATHAN
As a matter of fact, I think we
have one. Came by mistake in a
shipment. Decided to keep it for
city people.
Mrs. Nathan points over to the far corner.
MRS. NATHAN
Last row. Third book from the left
honey.
CUT TO:
INT. PHARMACY - AFTERNOON
Graham waits at a white counter. A gum chewing PHARMACIST in
her early twenties, who looks like she's in her teens,
glances through back shelves of medicines as she listens to
the radio.
RADIO HOST (V.O.)
Why is no one saying the obvious?
This is just a rash case of
copycats. Someone, somewhere, does
the first one. It's on TV, it's on
the internet. In less than an hour
a couple hundred people get the
same brilliant idea and here we
are... on the verge of mass
hysteria.
PHARMACIST
It was asthma medicine right
Father?
GRAHAM
For Morgan Hess. And it's not
Father anymore.
The Pharmacist looks back at Graham and then reaches up and
TURNS OFF THE RADIO. She quietly finds the prescription on
the shelf and moves to the counter across from Graham.
She doesn't ring it up. She just stands there fiddling with
the bag holding Morgan's medicine. Beat.
PHARMACIST
Can I ask you a favor Father?
Graham stares at the girl. Beat. He nods "yes."
PHARMACIST
Can I take confession with you?
Beat. Graham leans forward on the counter and takes the
girl's hands in his. He talks very slowly.
GRAHAM
Tracey, I -- am -- not -- a --
reverend -- anymore. I haven't
been for six months. You know
this.
Beat. When Tracey speaks her VOICE IS A BIT SHAKY.
TRACEY
All this stuff on TV...
(beat)
Joe Gills was in here talking about
the end of the world... I'm just a
little scared.
(beat)
Please. I need to take confession
with you.
Graham looks at the young girl's teary eyes. He exhales
slowly.
CUT TO:
INT. ARMY RECRUITING OFFICE - AFTERNOON
Merrill stares up at a poster with a muscular guy in an Army
uniform standing at attention on a beach.
We are in a narrow ARMY RECRUITING CENTER. Inside the small
storefront space is a desk. A gentleman sporting a CREWCUT
sits behind it.
A young man, Merrill's age, sits at a side card table filling
out some forms.
CREWCUT GUY
I got it figured.
Merrill realizes the crewcut guy is talking to him.
MERRILL
You do?
CREWCUT GUY
I've had two separate folks tell me
they think there are strangers
around these parts the last couple
of nights. Can't tell what they
look like, cause they're staying in
the shadows -- covert like. No
one's got hurt mind you... And
that's the give away.
MERRILL
(doesn't see)
I see.
CREWCUT GUY
It's called probing. It's a
military procedure. You send a
reconnaissance group, very small,
to check out things. Not to
engage, but to evaluate the
situation. Evaluate the level of
danger. Make sure things are all
clear...
MERRILL
Clear for what?
The crewcut guy savors the beat of silence.
CREWCUT GUY
... For the rest of them.
It takes a second, but Merrill smiles. The crewcut guy
smiles back. Merrill points at a poster.
MERRILL
You have a pamphlet or something I
can read?
The crewcut guy reaches to a stack of brochures. Picks the
top brochure and hands it to Merrill.
The crewcut guy begins to stare at Merrill closely.
CREWCUT GUY
Hey you didn't used to play
baseball did you?
Merrill looks up from the brochure. Beat.
CREWCUT GUY
Shit. I know you. You're Merrill
Hess. I was there that day you hit
that five hundred and eighty seven
footer over the left field wall and
set the record. That thing had a
motor on it... It's still the
record right?
Merrill not, "yes."
MERRILL
(soft)
I got the bat at home... On the
wall.
CREWCUT GUY
You got two minor league home run
records don't you?
Beat.
MERRILL
Five. The five longest.
CREWCUT GUY
Boy, why aren't you in the pros
making stacks of cash and getting
handfuls of T and A?
YOUNG MAN (O.S.)
Cause he also has the minor league
strike out record.
Merrill turns to the young man, about his age, who sits at
the folding table.
MERRILL
Hello Lionel.
LIONEL smirks.
LIONEL
He'd just swing as hard as he could
every time. It didn't matter what
the coach said, didn't matter who
was on base, he'd whip that bat
through the air as hard as he
could... Looked like a lumber jack
chopping down a tree.
(beat)
Merrill here, struck out more times
than any two players.
Beat.
CREWCUT GUY
You really hold the strike out
record?
Beat. Merrill tucks the pamphlet in his jacket. Looks like
he's not going to say anything. When he does, the words are
soft and worn; they've been said a hundred times.
MERRILL
Felt wrong not to swing.
Beat. The crewcut guy shakes his head. Merrill turns and
starts walking.
As he passes Lionel, Merrill makes a small, quick move in
Lionel's direction, like he might hit him. Lionel flinches
and covers his face.
Merrill walks out the door of the army recruiting office.
CUT TO:
INT. PHARMACY - AFTERNOON
PHARMACIST
I cursed thirty-seven times last
week... I said the f-word a couple
times, but mostly "shits" and
"bastards."
(beat)
Is "Douche bag" a curse?
Graham glances at the girl as she sits sideways to him at the
counter.
GRAHAM
I suppose it's in its usage.
PHARMACIST
How about "John you're a douche bag
for kissing Barbara?"
GRAHAM
That's a curse.
PHARMACIST
Then it's not thirty-seven. It's
seventy-one.
Graham's eyes widen.
PHARMACIST
I stole a bottle of Ruby red lip
stick from K-mart... I punched my
brother in the back three times...
Graham looks around the empty store for help.
CUT TO:
INT. NATHAN'S BOOKSTORE - AFTERNOON
Bo sits at a tiny reading table and drinks a glass of water.
There is another glass, half-full, on her table. Mrs. Nathan
watches as the little girl takes careful sips.
Beat. Bo looks up with a grimace.
BO
It's contaminated.
MRS. NATHAN YELLS TO MR. NATHAN AT THE FRONT OF THE STORE.
MRS. NATHAN
Carl, there's something wrong with
our water!
Morgan doesn't look up from the extraterrestrial book.
MORGAN
Your water is fine. Bo has a thing
about her drinking water. She's
had it her whole life. Like a tick
people have. Except it's not a
tick.
MRS. NATHAN
(fascinated)
Is that right?
Bo shrugs. She places the glass she sipped on the table with
the other glass.
Mrs. Nathan stares at the four-year old.
MR. NATHAN (O.S.)
Thirteen!
Everyone turns to the front of the store where Mr. Nathan
points to the TV screen. A Coke Cola commercial is on.
Beat. Mrs. Nathan turns back to find Morgan holding out the
extraterrestrial book to her.
MORGAN
I'll take it.
CUT TO:
EXT. STATION WAGON - AFTERNOON
Merrill, Morgan and Bo are waiting in the parked car. Beat.
The driver's side opens and Graham sits in.
MERRILL
Pharmacy crowded?
GRAHAM
I don't want any one of you
spending time with Tracey Abernathy
alone. Is that understood?
Beat. Everyone nods, "yes."
Graham puts the key in the ignition and turns the car on.
Merrill watches as Graham's hand goes to put the car in
reverse -- and then stops.
Graham is staring out the windshield. Merrill follows his
stare to a thin, thirty-year old man in a LEATHER JACKET
coming out of a store. Merrill's face changes expression
too. They both stare as the man passes in front of the car.
MORGAN
(soft)
Is that him?
MERRILL
(soft)
Yeah.
Everyone in the car watches the man in the leather jacket as
he steps off the sidewalk towards the truck. It's here that
he notices the stares. He glances up to see the faces
watching him from the station wagon.
The leather jacketed man keeps moving to his truck. He gets
in, turns it on, and without looking over to the station
wagon, backs out of the parking lot.
Beat. The Hess family sits quietly.
BO
Who is he?
Nobody says anything for the longest time.
MORGAN
He's the man who killed mom.
Graham puts the station wagon in reverse and backs out into
the street.
CUT TO:
EXT. HESS HOME - AFTERNOON
THE SKY IS GOLDEN RED. The crops sway hypnotically in a
gentle breeze.
The Hess station wagon pulls into their driveway. It comes
to a stop in front of the house. The engine goes off. No
one gets out.
CUT TO:
INT. STATION WAGON - AFTERNOON
All four sit quietly not getting out.
A MUFFLED SPIKE OF NOISE IS HEARD FROM THE BACK SEAT.
Graham and Merrill turn and see Morgan pull the baby monitor
out of his jacket. He holds it in his lap.
Beat.
MORGAN
What if Bo's baby monitor is
picking up signals from the
extraterrestrials?
Beat.
MERRILL
All this crop stuff. They did it
twenty-five years ago. It was a
joke.
THE MONITOR SPIKES WITH A SUDDEN CRACKLE. MORGAN PULLS IT
AWAY FROM HIS EAR.
GRAHAM
It's just static Morgan. Turn it
up and see.
Morgan turns a knob on the side.
THE VOLUME SUDDENLY JUMPS UP ON THE MONITOR. WE HEAR BEEPS
IN THE STATIC. THE RED LIGHTS ON THE FRONT OF THE BABY
MONITOR LIGHT UP WITH EACH BEEP.
MORGAN
It's a code.
GRAHAM
Let me see that please.
Morgan hands Graham the monitor in the front seat. THE BEEPS
COME AND GO AS THEY GET COVERED BY THE STATIC.
MERRILL
It's noise.
GRAHAM
It's broken Morgan. It'll just
keep doing this.
(beat)
Let's get out of the car okay?
MORGAN
We might lose the signal.
GRAHAM
We can't just sit in the car in our
own driveway like this.
MERRILL
We'll look like mental patients.
Beat. Nobody gets out of the station wagon.
GRAHAM
I'm getting out now.
MORGAN
Don't do it.
Graham pulls the handle. His door opens. He waits before
getting out. The other three station wagon doors open right
after.
OUTSIDE CAR
Graham stands and closes his driver side door.
THE MONITOR CHANGES SOUNDS. THE BEEPING DISAPPEARS. THE
STATIC BECOMES LOUDER, BECOMING A MOVING, SWIRLING SOUND
TEXTURE.
MORGAN
Nobody move!
Everyone becomes frozen, standing next to the station wagon.
Three of the doors are open.
IN THE TEXTURE OF SOUND, JUST FOR A MOMENT, WE HEAR SOMETHING
THAT SOUNDS LIKE...
MORGAN
Voices. Did you hear that?
Everyone stares at the baby monitor in Graham's hand.
MORGAN
Not English though. You heard the
voices right Uncle Merrill?
BO
I heard them Morgan.
Graham doesn't move his arm. He keeps it out in the air
where he had it as he closed his door. Graham looks to
Merrill over the roof of the station wagon.
GRAHAM
It's probably picking up another
baby monitor.
MERRILL
That's right.
THE SWIRLING TEXTURE SOUND FLOATS THROUGH THE AIR ABOVE THE
STATION WAGON.
MERRILL
Let me see it.
Beat. Graham moves. He hands the monitor over the hood.
Merrill reaches for it.
THE SWIRLING, MOVING TEXTURE BECOMES LOUD AND FILLED WITH
UNINTELLIGIBLE NOISES.
MORGAN
Stop!
Graham and Merrill freeze -- both touching the monitor over
the roof of the station wagon.
WE HEAR SOMETHING THAT SOUNDS LIKE A VOICE EMERGE AND THEN
QUICKLY FADE AWAY.
MORGAN
It doesn't sound like words.
Merrill concentrates on THE SWIRLING MOVING TEXTURE COMING
FROM THE BABY MONITOR.
Graham looks around at his rapt family.
GRAHAM
See this is why we're not watching
those news reports. People get
obsessed.
(beat)
I'm letting go now.
BO
No dad!
MORGAN
Don't do it!
MERRILL
You'll lose the signal!
Graham looks at Merrill, who's now one of them. Beat.
Morgan is the first one to move.
MORGAN
Don't let go.
He moves from the back passenger door to the back bumper
where he begins to climb onto the station wagon.
GRAHAM
Morgan?
MORGAN
It gets clearer, the higher you
hold it.
Morgan crawls on the roof and takes the monitor ever-so
gently out of Graham and Merrill's outstretched hands.
GRAHAM
Morgan, be careful.
MERRILL
I got him.
Merrill climbs up over the side and joins Morgan on the roof.
Merrill keeps a hand on his nephew. Morgan raises the
monitor above his head.
THE RED LIGHTS ON THE BABY MONITOR ALL TURN ON.
THE SWIRLING TEXTURE COMING FROM THE MONITOR BECOMES
SOMETHING MORE MECHANICAL, LIKE THE HUM OF LARGE EQUIPMENT IN
THE DISTANCE.
THE VOICE LIKE SOUNDS ARE UNDER A CRACKLE BUT ARE CLEARER AND
LOUDER.
Bo runs to the front bumper and climbs onto the hood.
GRAHAM
Hold on.
Graham cuts her off by taking a seat on the hood. He takes
hold of Bo. All four are on the car now.
Morgan stands up on the roof of the station wagon. Merrill
holds him by the waist.
Bo tries to get up onto the roof by climbing over Graham and
the windshield. Graham boosts her up over his head with both
hands.
GRAHAM
Merrill you got her.
Merrill reaches out his free hand. Bo reaches out to him.
THE SOUND FROM THE MONITOR SUDDENLY CHANGES.
MORGAN
Stop!
Everyone STOPS exactly where they are. Graham holds Bo over
his head. Bo reaches out to Merrill. Merrill sits on the
roof with one arm out. Morgan stands with the baby monitor
raised high in the air. The Hess family remains very still
on the hood of their station wagon as they listen.
THE CRACKLING IS GONE. THE VOICE-LIKE SOUNDS ARE CLEAR AND
UPFRONT. THERE ARE TWO DISTINCT TONES IN THE MIX.
MORGAN
(soft)
There's two of them talking.
THE VOICE-LIKE SOUNDS ARE NOT WORDS BUT MORE LIKE GRUNTS AND
GURGLING LIKE SOMEONE DROWNING. THE SOUNDS ARE BEING CREATED
BY INHALES, NOT EXHALES. A SEQUENCE OF THESE SOUNDS IN ONE
TONE IS FOLLOWED BY SILENCE AND THEN THE SECOND TONE BEGINS
ANOTHER SEQUENCE LIKE A CONVERSATION.
Graham struggles to hold Bo up. Bo struggles to keep her
arms out. Merrill struggles not to turn his face to the
incredible SOUNDS ABOVE HIS HEAD.
THE TONES ESCALATE IN VOLUME.
Morgan's eyes widen as THE SEQUENCE OF SOUNDS BECOMES SHORTER
AND FASTER. THE TONES BECOME HARDER, ANGRIER. THE SILENCES
ALMOST GONE.
THE VOICE-LIKE TONES REACH A LOUD FEVERISH PACE, ALMOST
VIOLENT AND THEN WE HEAR A CLICK AND THEY'RE GONE.
Beat. Everyone looks up at the baby monitor. The red lights
are off. ONLY THE BLAND HUM OF NORMAL STATIC COMES FROM IT'S
SPEAKER.
Beat.
MORGAN
(soft)
They hung up.
Graham brings Bo down into his lap. Morgan takes a seat next
to Merrill on the roof. The Hess family sits like mental
patients on the top of their station wagon.
CUT TO:
EXT. BACKYARD - EVENING
WE ARE AT THE EDGE OF THE CROPS LOOKING BACK AT THE HOUSE.
The LIGHTS are on in the kitchen. We see Graham, Merrill and
the children doing dishes after dinner.
The DOG IS BARKING FURIOUSLY.
OUR VIEW TURNS TO LOOK AT THE BARN THROUGH THE CROPS.
Isabelle, the remaining German Shepherd is tied to a post
outside the barn. The dog whips back and forth frantically.
She keeps looking in our direction.
WE HEAR A SCREEN DOOR OPEN. WE TURN TO LOOK BACK AT THE
HOUSE. Graham steps out the back screen door with a bowl of
dog food and a bowl of water.
We watch him as he walks towards the frantic dog. When he
gets close, Graham slows. He approaches the dog carefully.
He places the two bowls close but not too close. The dog has
no interest in them. She keeps barking and glaring in our
direction.
Graham watches her for a few moments, and THEN TURNS AND
LOOKS DIRECTLY AT US FROM ACROSS THE YARD.
WE PULL BACK INTO THE DARKNESS OF THE CROPS.
CUT TO:
EXT. BARN - EVENING
Graham stands frozen looking across his yard. Isabelle, the
dog turns in desperate circles behind him. Graham's eyes
stay focused on the same point in the darkness. He talks to
no one.
GRAHAM
You know something? Even
entertaining the possibility of
this for a minute has been
exciting.
Beat. Graham starts to move.
GRAHAM
I can see how people can get
carried away with this type of
thing.
Graham reaches the barbecue area. There's a flashlight on
the picnic table. Graham TURNS THE FLASHLIGHT ON. A NARROW
BEAM FALLS ON THE GRASS FIVE FEET AHEAD OF HIM.
Graham starts toward the crops.
GRAHAM
It's a kind of faith. It's an
intoxicating thing to believe in
something you can't see.
THE BEAM OF LIGHT FALLS ON THE WALL OF CORN CROPS LINING THE
BACKYARD. Graham steps right up to them. He hesitates and
then steps into the field of
CORN CROPS.
We can't see two feet in any direction. Six foot stalks of
corn line Graham on all sides. THE FLASHLIGHT THROWS A
WAVERING BEAM ON THE CROPS AHEAD OF HIM.
GRAHAM
You were always good at that...
THE BEAM OF HIS FLASHLIGHT FINDS A NARROW PATH. Graham
starts following it. His shoulders brush crops on either
side.
GRAHAM
Believing in things you couldn't
see.
(beat)
You would have been the first
person on that station wagon
wouldn't you? You and Morgan would
have been wrestling for that baby
monitor.
SOMETHING MOVES UP AHEAD.
Graham stops. HE SHINES HIS LIGHT DOWN THE PATH. Nothing
but crops disappearing into darkness.
GRAHAM
It'll be secretly kind of sad for
everybody, when this turns out to
be -- all just make believe.
THERE'S MOVEMENT RIGHT NEXT TO HIM. Graham spins and aims
the FLASHLIGHT AT THE CROPS TO HIS RIGHT. THE LIGHT ONLY
PENETRATES A FEW FEET INTO THE CROPS.
GRAHAM
(yelling)
You're wasting your time here! I'm
not going to report this or
anything you do to me crops, to the
news or TV or anybody! You're not
going to get famous!
Beat. There is no response. GRAHAM CAN HEAR HIS OWN
BREATHING... IT SOUNDS HEAVY, ECHOISH... LIKE THERE'S TWO OF
HIM.
Beat. Graham holds his breath. THE SOUND OF SOMEONE ELSE
BREATHING CONTINUES BEHIND HIM.
Graham turns and drops the FLASHLIGHT at the same time. THE
BEAM OF LIGHT TURNS OFF WHEN THE FLASHLIGHT HITS THE GROUND.
GRAHAM IS IN DARKNESS NOW. HE LOOKS IN THE DIRECTION OF THE
BREATHING. BUT CAN'T SEE ANYTHING. HIS OWN BREATHING IS
FAST AND LOUD NOW.
Graham kneels down and gropes in the darkness. His hands
search over the ground in all directions. They finally touch
the flashlight. Graham quickly fumbles with it to find the
"on" button. He does.
A BEAM OF LIGHT SHOOTS ACROSS THE GROUND. SOMETHING POWDERY
WHITE STANDS FIVE FEET AWAY.
It instantly moves into the darkness. Graham tries to get
up. He stumbles backwards into the crops. He's tangled in
crops as he struggles to rise. He gets up and starts
running.
Leaves and stalks slap him from all directions. He panics.
He doesn't know where he is. THERE IS SOMETHING COMING
BEHIND HIM.
Graham makes a sudden right turn. He puts his hands in front
of him to protect his face and eyes. He's running as fast as
he can. HE HEARS STALKS OF CORN BREAKING BEHIND HIM.
Another sudden turn, this time left. Graham emerges into his
BACKYARD.
Graham keeps running across the yard. ISABELLE BARKS
FRANTICALLY.
When Graham reaches the porch stairs, he stops and turns.
There is no one behind him. The wall of crops fifty feet
away sway in the gentle night breeze.
Graham gains control of his breathing. He turns and walks to
the screen door, slowing his breathing down with each step.
CUT TO:
INT. KITCHEN - EVENING
Graham steps into the kitchen. His hair is messed. His
shirt has a few leaves from corn stalks stuck to it. He
locks the back door.
The children don't notice his presence. They're splashing
each other at the sink as they clean the dinner dishes.
Graham looks through the kitchen doorway to the family room.
He sees Merrill there.
Merrill's hands are in his pockets as he stares at the WOODEN
BASEBALL BAT mounted above the fireplace. Merrill doesn't
notice him either.
Graham takes two steps to the kitchen table and slowly takes
a seat. His breathing is a slow controlled pant. He runs
one shaky hand through his hair as he gathers himself and
thinks. His kind eyes stare down at the ground as he slows
his mind. Beat.
Merrill is the first to notice him. He moves from where the
baseball bat is hung, into the kitchen. As he passes the
children at the sink, he turns off the faucet.
The children stop playing and look up to Merrill. They
follow his stare to the kitchen table.
Beat. Graham looks up at them.
GRAHAM
(soft)
Okay.
(beat)
Let's turn on the TV.
CUT TO:
INT. FAMILY ROOM - EVENING
THE TV GOES ON WITH A CLICK. THE SCREEN BLOWS WHITE AND THEN
IMMEDIATELY DARKNESS. OUTLINES AND SHAPES EMERGE.
THE SOUND POPS ON.
TV REPORTER
-- first appeared fifty two minutes
ago.
THE SCREEN FILLS WITH CRISP BLACKS. WE ARE WATCHING VIDEO OF
A NIGHT SKY OVER A DENSE CITY. THE THOUSAND LIGHTS OF THE
CITY FILL THE BOTTOM OF THE SHAKING IMAGE.
ANOTHER SET OF LIGHTS DOT THE SKY ABOVE THE CITY. THEY ARE
ARRANGED IN TWO "V'S" SIDE BY SIDE.
Bo puts her finger to the screen and counts the hovering
lights.
BO
Fourteen.
Morgan, Merrill and Graham stand silently before the
television set.
TV ANCHOR
Mexico City officials as well as
U.S. officials have confirmed that
these are not air crafts from
either government's airforce. The
first sighting was made by an Air
Mexico 747 en route from Mazatlan
to New York as the unidentified
crafts entered Mexico City air
space. They were not detected by
radar by either country.
Beat.
MERRILL
The crazies were right.
Beat. Everyone just watches the fourteen lights hovering on
the screen.
MORGAN
We have to tape this...
Morgan reaches into the pile of video tapes under the
television stand. He grabs one.
Bo snatches the video as Morgan tries to put it into the VCR.
BO
My ballet recital.
Morgan stares at his sister.
MORGAN
(gravely serious)
Listen Bo. This is very important.
Everything people have written
about in science books is going to
change. The history of the world's
future is on the TV right now. We
need to record this so you can show
your children this tape and say you
were there...
(beat)
For your children Bo.
BO
My ballet recital.
MORGAN
Dad!
Graham doesn't take his eyes off the screen.
GRAHAM
(preoccupied)
Find another tape.
Graham and Merrill sit down at the same time on the sofa.
They both have the same dazed, slow movements.
Morgan rummages through the pile of videos frantically. He
finds one and reaches for the VCR.
MORGAN
Uncle Merrill, I'm using your tape.
Morgan slams the tape marked "Bay Watch" into the VCR and
presses record. He's breathing heavy now. Wheezing
actually.
Morgan moves to the sofa and takes a seat in between his
father and his uncle. Bo walks over and squeezes in also.
The four of them stare at the television.
TV ANCHOR
... You're seeing a live feed from
our NBC affiliate down in Mexico
City. The time there is 7:17pm.
This image has not been adjusted or
enhanced in any way. What you're
seeing is real.
(beat)
Everything they wrote in science
books is about to change.
Beat.
MORGAN
(soft)
Told you.
Morgan brings his asthma spray to his mouth and inhales.
DISSOLVE TO:
INT. FAMILY ROOM - MIDNIGHT
The family room lights are off now. The TV is still on. The
SOUND IS MUTED. There are a couple glasses of Bo's water on
the television now.
The fourteen lights are still hovering on the screen. Morgan
is asleep on Graham's lap. Bo is asleep on Merrill's
shoulder.
MERRILL
(whispers)
Some people are probably thinking
this is the end of the world.
Graham turns his sleepy eyes away from the screen to Merrill.
GRAHAM
(whispers)
That's true.
Merrill looks his brother in the eyes. Beat.
MERRILL
(whispers)
Do you think it's a possibility?
GRAHAM
(whispers)
Yes.
MERRILL
(whispers)
How can you say that?
GRAHAM
(whispers)
That wasn't the answer you wanted?
MERRILL
(whispers)
Can you at least pretend to be like
you used to be? Give me some
comfort?
Beat. Graham thinks it over.
GRAHAM
(whispers)
... There are all different ways
you can tell that there's someone
really there watching out for us.
You see signs. Sometimes they're
little ones. You think of someone.
The phone rings. They're on the
phone... Sometimes they're big,
like fourteen lights hovering over
Mexico City.
(beat)
Sure, there are a lot of people
watching this who think this could
be a bad thing. But there are a
lot of people watching this, who
think it's a miracle. A sign of
God's existence. It's all in how
you look at things Merrill.
(beat)
What you have to decide is what
kind of person you are? Are you
the type who believes in miracles
and looks for signs or are you the
kind who believes, things just
happen by chance?
Beat. Merrill is deep in thought.
MERRILL
I was at this party once. I'm on a
couch with Sara Mckinney. She was
just sitting there, looking
beautiful and staring at me. I go
to lean in and kiss her and I
realize I have gum in my mouth. I
turn and take out the gum. Stuff
it in my paper cup next to the sofa
and turn around. Sara Mckinney
throws up all over herself.
(beat)
I knew the second it happened. It
was a miracle. I could have been
kissing her when she threw up.
That would have scarred me for
life. I may never have recovered.
Merrill looks at the TV screen. Beat.
MERRILL
I'm a miracle man. Those lights
are a miracle.
Graham smiles.
GRAHAM
(whispers)
There you go.
Beat.
MERRILL
(whispers)
So which type are you?
Beat.
GRAHAM
(whispers)
Do you feel comforted?
MERRILL
(whispers)
Yes.
GRAHAM
(whispers)
What does it matter then?
The two of them turn back to the silent screen of the
television. It's a long beat before Graham speaks.
GRAHAM
(whispers)
Do you know what Colleen's last
words were before they killed her?
Beat. Merrill turns and stares quietly at his brother.
GRAHAM
(whispers)
She said, "See", and then her eyes
glazed a bit and she said... "Tell
Merrill to swing away."
Merrill's mouth opens a bit. Graham turns and chuckles at
his expression.
GRAHAM
(whispers)
Do you know why she said that?
Merrill nods, "No."
GRAHAM
(whispers)
Because the nerve endings in her
brain were firing as she died, and
some random memory of us at one of
your baseball games popped into her
head.
(beat)
There is no one watching out for us
Merrill. We're all on our own.
Graham turns back to the television. Beat.
THE LIGHT OF THE TELEVISION FLICKERS ON THE FACES OF THE TWO
BROTHERS AS THEY SIT WATCHING IN SILENCE.
CUT TO:
INT. FAMILY ROOM - DAY
Graham's eyes open. DAYLIGHT FILLS the family room. He is
alone on the couch. Alone in the room.
He looks to the television. It's not there.
Graham moves to his feet and look around the room. His eyes
stop on an EXTENSION CORD that runs from a wall outlet in the
family room, across the front hall, and under a closet door.
Graham moves to the door. WE HEAR MUFFLED TELEVISION VOICES.
Graham opens the
CLOSET.
Merrill looks up. He's seated on a kitchen chair with the
television on a roll-away stand crammed in with him.
MERRILL
For the kids protection. All they
were doing was watching TV from
five a.m. I felt like they were
getting obsessed like you said.
They should be playing furry, furry
rabbit or tea party or something
right?
GRAHAM
What's furry, furry rabbit?
MERRILL
(points)
That's a game isn't it?
(beat)
Anyway...
(points at the TV)
There's been some interesting
developments.
GRAHAM
What time is it?
MERRILL
Eleven a.m. They're gone.
Beat. Graham looks at the TV screen. There's a daylight
shot of Mexico City. The skies are empty above it.
MERRILL
But they're not really gone. We
just can't see them. Early this
morning a bird flew right at the
area where the lights were hovering
last night.
Merrill puts a finger in the sky on the screen.
MERRILL
It stopped dead in the air and fell
straight down.
Merrill's finger trails to the bottom of the screen.
MERRILL
They caught it on tape and they've
been playing it all morning. They
found the bird. His head crushed
in. When you see the footage it
looks like the bird flew into a
wall in the sky.
(beat)
They think they have some invisible
shield thing going, like an optical
illusion.
GRAHAM
The bird could have had a heart
attack and crushed his head when he
fell.
MERRILL
Already thought of. Two other
birds did the same thing an hour
later. Not as dramatic. They
lived. But you could see they hit
something.
Graham looks at the empty sky on the screen with different
eyes.
MERRILL
They're still there hovering. In
fact, some people think there's
more of them now. All over the
place. Over us even.
(beat)
And there's a theory about the crop
circles now. They think it could
be some kind of landmark, visual
mapping system -- so they can
navigate. Coordinate. Makes sense
doesn't it?
CUT TO:
INT. MASTER BEDROOM - DAY
We are inside Graham's bedroom facing his bathroom door,
which is closed. The same sun-faded outline of where a large
cross used to hang, is stained on the wall next to the door.
Graham opens the bathroom door and steps out with wet hair.
He towels it dry as he moves to his bedroom window.
WE LOOK OUT THE SAME WINDOW WE LOOKED OUT AT THE VERY
BEGINNING.
The backyard is large and green with a wooden jungle gym. A
single tree throws shade onto a picnic table. The back of
the yard is lined by corn crops. Golden and brown. Six feet
high.
The crops go on well beyond our view. Graham stares at them
quietly. Watching.
Beat. THE SOUND OF WHISPERING DRAWS HIS ATTENTION FROM THE
WINDOW.
He listens closely. HIS CHILDREN ARE WHISPERING IN THE NEXT
ROOM.
CUT TO:
INT. CHILDREN'S BEDROOM - DAY
Graham walks into the hall and looks in their room.
Morgan and Bo are seated on the edge of their bed. They have
TIN FOIL wrapped around their heads like a helmet. Graham
stares at his children.
MORGAN
So the aliens can't read our minds.
GRAHAM
Oh.
MORGAN
They tell you everything in this
book.
Morgan holds up the book he bought from Nathan's bookstore.
Graham enters the room. The children make space for him on
the bed. He takes a seat between them. Morgan puts the book
on his father's lap.
MORGAN
It says they're probably very small
-- like my height -- because, as
their brains developed, there was
no use for physical development.
It says they're probably
vegetarians, because they would
have realized the benefits of such
a diet.
GRAHAM
Who wrote this book?
Graham looks on the back cover for a picture. There's none
there.
MORGAN
Scientists who have been persecuted
for their beliefs.
GRAHAM
That means they're unemployed.
Morgan closes the book.
MORGAN
Dad, are you going to be serious?
Bo points at the book.
BO
Yeah, serious.
Graham looks at his two children with foil on their heads.
GRAHAM
I don't know what got into me.
Beat. Morgan puts the book on his father's lap.
MORGAN
There are pictures.
Beat. Morgan opens the tome.
MORGAN
Dr. Bimboo, one of the authors of
the book --
GRAHAM
Bimboo?
MORGAN
Dad.
GRAHAM
I just asked his name.
MERRILL
You had a tone.
Beat. Graham acknowledges with a nod that he did have a
tone.
MORGAN
He says there are two reasons why
Extraterrestrials would visit us.
Morgan turns the page.
MORGAN
To make contact in the spirit of
exploration and furthering the
knowledge of the universe.
Graham looks at an illustration of a small, bulbous headed
figure shaking hands with a bearded human.
MORGAN
Or the other reason... They're
hostile. They've used up the
resources on their planet and are
looking to harvest our planet next.
Morgan turns the page. There is a picture of a house. A
space ship is hovering over the home shooting laser beams at
it. Beat.
GRAHAM
Looks a little like our house
doesn't it?
Morgan and Bo lean in closer to look at the picture. Beat.
BO
The same windows.
MORGAN
(soft)
That's weird.
The three of them study the picture of the house. It's on
fire. Their eyes move to the front yard. There are three
bodies lying dead on the front lawn. Two are children.
THE PHONE RINGS.
The children SCREAM and cling to their father. THEIR SCREAMS
DIE DOWN. The PHONE RINGS again. Graham gets up. He closes
the book.
GRAHAM
That's enough from Dr. Bimboo for
now. Everybody in this house needs
to calm down and eat some fruit or
something.
Graham steps out into the hallway. He tucks the book under
his arm and picks up the phone.
PHONE VOICE
Father.
THROUGH THE PHONE WE HEAR SUDDEN SCUFFLING, A CHAIR SQUEAL
AGAINST THE FLOOR and then the phone disconnects.
GRAHAM
Hello?
NOTHING BUT DEAD AIR. Graham looks at the receiver and then
slowly hangs it up.
Graham walks down the hall to a small window.
The window looks down the driveway and out onto the road.
Graham stares into the distance. About a half-mile away we
see the TIP OF A HOUSE. Graham gazes at it for a beat.
CUT TO:
INT. FRONT HALL - DAY
Graham comes down the stairs with his overcoat on. He moves
to the closet door and knocks on it before opening it.
Merrill looks up from the television.
GRAHAM
I'm going out for a few minutes.
No one leaves this house. No one.
Merrill nods.
MERRILL
Where are you going?
GRAHAM
Ray Reddy's house.
Graham starts down the hall. Merrill steps out of the closet
for the first time. He looks down the hall shocked.
MERRILL
Why?
Graham unlocks the front door.
GRAHAM
I think he just called here.
CUT TO:
INT. CHILDREN'S BEDROOM - DAY
BLUE SKY -- OUR VIEW MOVES OVER CLOUDS. WE ARE LOOKING
THROUGH SOME KIND OF LENS.
BO (O.S.)
You don't think something bad will
happen do you Morgan?
Morgan pulls his eye away from the telescope that is set up
on the window seat in his room.
MORGAN
Why, you got one of your feeling
again?
Bo nods, "Yes."
MORGAN
Is it bad?
Bo nods, "Yes" slowly.
MORGAN
If it does, I won't let anything
bad happen to you.
Bo hugs Morgan tight.
BO
(soft)
I don't want you to die.
MORGAN
Who said I was going to die?
Bo keeps hugging Morgan.
MORGAN
Who said I was going to die?
Beat. Morgan peels Bo's arms off of him.
MORGAN
Come on Bo. I need to keep a look
out.
Bo lets go. Morgan puts his eye to the eyepiece of the
telescope.
CUT TO:
EXT. REDDY HOUSE - DAY
A mailbox reads "R. Reddy."
There is a gray and white house at the end of the quarter
mile driveway. We saw the roof of this house from the Hess
hallway window.
Graham stands at the front door and RINGS THE DOORBELL AGAIN.
Beat. Graham tries to look inside. Curtains block his view.
Graham walks around the porch. Turns the corner of the
house. He looks in a side window.
THE VIEW THROUGH THE WINDOW IS OF A KITCHEN. THE KITCHEN
CHAIRS ARE ON THEIR SIDE. THE KITCHEN TABLE ITSELF, IS
UPSIDE DOWN, LEANING AGAINST A CLOSED DOOR. THE ROOM IS
TOTALLY WRECKED.
Graham stands straight up. He looks around nervously. He
takes two steps back towards the front of the house and the
safety of his station wagon before he notices the GREEN TRUCK
parked to the side of the house.
There is someone sitting in it.
CUT TO:
EXT. REDDY DRIVEWAY - DAY
The passenger side window of the truck is open. Graham steps
up to it and looks inside. The thin man with the leather
jacket, we saw in town, sits behind the wheel. He stares out
the windshield. He is covered in sweat.
GRAHAM
Hello Ray.
RAY REDDY doesn't look over. Doesn't react. Keeps staring.
Ray clutches the steering wheel tightly, turning his knuckles
a yellow white.
Graham glances to the backseat of the truck. There are two
large bags over flowing with clothes.
Graham's eyes gently move back to Ray and drift down to the
TWO BLOOD STAINED AREA ON HIS SHIRT. Beat.
GRAHAM
What happened Ray?
Beat. Ray doesn't look over when he speaks.
RAY
I wrote your number down to call
you. It's been sitting next to the
phone for six months. When I knew
it was inside the house, I couldn't
think of any other number to call.
I panicked.
(beat)
Thank you for coming Father.
GRAHAM
(soft)
You're welcome Ray.
Tears start falling down Ray's face.
RAY
I worked so long that night. I
ain't never fallen asleep driving
before. And never since. Most of
the ride home, there wasn't a car
insight in either direction. If
I'd fallen asleep then, I'd a ended
up in a ditch with a head ache. It
had to happen at that right moment.
That certain ten-fifteen seconds
when I passed her walking. It was
like it was meant to be.
Ray finally turns. His red face quivers as he talks.
RAY
I guess if this is the end of the
world, I'm screwed right? People
who kill Reverends' wives aren't
exactly ushered to the front of the
line in heaven.
Ray starts the car.
GRAHAM
Where you going Ray?
RAY
To the lake. The way I see it, all
the places marked in the crops and
such -- none of them are really
near water. I figure they don't
like water.
(beat)
Can't be any worse than here.
Beat.
GRAHAM
Ray, did you see one of them?
Ray looks at Graham.
RAY
I'm truly sorry for what I've done
to you and yours.
The two men stare at each other for a beat. Ray looks away.
He puts the car in drive.
RAY
And don't open my pantry Father. I
locked one of them in there.
Graham steps away as the truck moves forward and pulls down
the driveway.
CUT TO:
INT. CLOSET - DAY
Merrill's head is leaned against a bunch of winter coats.
His eyes are closed.
TV ANCHOR
... The startling footage we're
about to show you was photographed
by a forty-two year old Romero
Valadares.
Merrill's eyes open.
TV ANCHOR
This video was taken yesterday
afternoon at his son's seventh
birthday, in the city of Passo
Fundo, Brazil. It was sent to the
local news bureau there and
satellited to us a few minutes ago.
All initial opinions are; this is
genuine.
THE TELEVISION ANCHOR APPEARS FLUSTERED.
TV ANCHOR
What you are about to see, may
disturb you.
Merrill sits up in his chair.
THE PICTURE OF THE ANCHORMAN IS REPLACED BY A HANDHELD VIDEO
IMAGE ON THE TV SCREEN. THE IMAGE IS OF A FAMILY ROOM WHERE
A BUNCH OF CHILDREN IN DRESS CLOTHES CROWD AROUND A SLIDING
GLASS WINDOW.
THE CHILDREN ARE SPEAKING PORTUGUESE EXCITEDLY. THEY LOOK AT
THE CAMERA AND POINT TO THE OUTSIDE THROUGH THE GLASS DOORS.
THE HANDHELD IMAGE MOVES OVER THEIR SHOULDERS TO LOOK OUT
THROUGH THE GLASS INTO A CRAMPED BACKYARD. THERE IS A
RECTANGULAR TABLE WITH PARTY DECORATIONS AND AN UNTOUCHED
BIRTHDAY CAKE ON IT. COLORFUL BALLOONS FLOAT AROUND THE
BACKYARD. THERE IS NO ONE OUTSIDE.
THE IMAGES PANS AROUND THE DENSE FOLIAGE THAT FORMS A WALL
AROUND THE YARD. THE IMAGE ZOOMS AND SEARCHES IN THE
DARKNESS OF THE BRANCHES.
The chair in the closet CREAKS as Merrill leans forward a
little towards the television screen.
WE HEAR A BURST OF PORTUGUESE. THE IMAGE PANS AWAY FROM THE
GLASS DOORS BACK INTO THE HOME. WE LOOK DOWN A NARROW HALL
TO THE KITCHEN. A BOY WITH A BIRTHDAY HAT IS SEATED ON THE
KITCHEN COUNTER, POINTING FRANTICALLY OUT THE KITCHEN WINDOW.
HE YELLS IN PORTUGUESE.
THE CROWD OF CHILDREN AROUND THE GLASS DOORS START RUSHING
INTO THE KITCHEN. THEY ARE JOINED BY A FEW ADULTS. THE
IMAGE FOLLOWS THEM IN.
THE KITCHEN WINDOW IS BLOCKED BY HEADS WHEN WE FIRST ARRIVE.
MERRILL
Move children! Vamonos!
THE IMAGE FINDS AN OPENING OVER THE SHOULDER OF THE BOY WITH
THE BIRTHDAY HAT AND ANOTHER CHILD.
WE ARE NOW LOOKING OUT THE KITCHEN WINDOW. WE SEE A NARROW
ALLEY ONLY A FEW FEET WIDE CREATED BY A STONE WALL AND A
SMALL GARAGE BUILDING. ON THE OTHER SIDE OF THE WALL IS
DENSE FOLIAGE. THE WALL ENDS A FEW FEET AFTER THE GARAGE
BUILDING.
WE HEAR THE CHILD'S VOICE VERY CLOSE TO US SPEAKING IN
PORTUGUESE. THE CAMERA PANS JUST A LITTLE AS THE FACE OF THE
LITTLE BIRTHDAY BOY FILLS THE SCREEN. HE TALKS EXCITEDLY
DIRECTLY AT US AND AT SOMEONE BEHIND THE IMAGE.
BOY WITH HAT
Esta atras da garagem! Esta atras
de ai! Is behind!
THE BOY GESTURES TO THE GARAGE BUILDING. THE IMAGE SETTLES
BACK ON THE WINDOW. WE STARE AT THE NARROW ALLEY. THE IMAGE
ZOOMS A BIT. SEARCHES THE EDGE OF THE GARAGE BUILDING. THE
IMAGE STARTS WIDENING OUT.
AND THEN WE SEE IT.
THE KITCHEN ERUPTS WITH CHILDREN'S SCREAMS AS A LARGE NON-
HUMAN FIGURE MOVES FROM THE GARAGE BUILDING TO BEHIND THE
WALL. IT'S OUT OF SIGHT IN LESS THAN A SECOND.
Merrill is frozen like a statue. His mouth is open a little.
The closet FILLS WITH THE PANDEMONIA OF THE KITCHEN ON THE
VIDEO.
THE VIDEO IMAGE ON THE NEWS, PAUSES. BEAT. WE SEE IT
REWIND. WE SEE THE FIGURE ZIP BACK BEHIND THE GARAGE IN A
FLICKER. THE VIDEO STOPS. PLAYS AGAIN.
THE IMAGE ZOOMS A BIT. SEARCHES THE EDGE OF THE GARAGE
BUILDING. STARTS TO WIDEN OUT. THE KITCHEN STARTS TO FILL
WITH SCREAMS AS THE FIGURE APPEARS... THE IMAGE FREEZES.
THE NEWS HAS PAUSED THE VIDEOTAPE ON THE EXACT MOMENT THE
NON-HUMAN FIGURE IS VISIBLE. IT'S HALFWAY ACROSS THE ALLEY.
IT'S MOTION HAS BLURRED IT, BUT YOU CAN TELL ITS SHAPE NOW.
Merrill Hess stares stunned at the IMAGE OF AN UPRIGHT ANIMAL
LIKE CREATURE. THE STRIATIONS ALL OVER ITS BODY LOOK LIKE
BRANCHES. EXACTLY LIKE BRANCHES. THEY MATCH THE BUSHES
WHERE IT WAS HIDING, PERFECTLY.
CUT TO:
INT. KITCHEN - DAY
The door swings open slowly. Graham steps into Ray Reddy's
kitchen.
Cabinets are open. Dishes are broken. Chairs are turned
over. The faucet is running full blast.
Graham's eyes move across the room. The kitchen table is
upside down and leaned up against the pantry door.
THE SOUND OF A GLASS JAR BREAKING ON THE GROUND CAN BE HEARD
INSIDE THE PANTRY.
Graham takes a few conservative steps to the middle of the
kitchen.
He leans a little bit and listens. From behind the pantry
door WE HEAR THE SOUND OF BREATHING. THERE ARE QUIET
MOVEMENT SOUNDS. THE SOFT SOUND OF GLASS BEING CRUSHED AS
IT'S BEING WALKED ON.
Graham can almost see the bottom of the door around the
leaning table. Graham stands up straight and thinks it over.
Beat.
Graham takes two small steps closer.
When he leans, he can now see the entire bottom of the pantry
door. THERE IS LIGHT LEAKING OUT FROM BENEATH IT. THERE IS
SHADOW BEING THROWN FROM INSIDE THE PANTRY. THE SHADOW MOVES
BACK AND FORTH UNDER THE DOOR.
GRAHAM
Hello.
THE SHADOW STOPS MOVING.
Beat.
GRAHAM
(loud)
The police are here... I am with
them... I am a police officer.
(beat)
I just want to talk to you.
SILENCE. There is no movement from the pantry. Beat.
GRAHAM
(loud)
We know all about the hoax. We
already took some of your friends
downtown in the paddy wagon.
(mouths to himself)
Paddy wagon?
THE ONLY SOUND IN THE KITCHEN IS THE SOUND OF THE FAUCET
RUNNING. Graham waits for a reply, but none comes.
GRAHAM
If you tell us your name and why
you did it, we'll give you the same
deal we gave the others. Don't
throw away your life son.
Beat.
Graham bends down where he stands. He puts his head near the
wood floor. He tries to look under the door. All he can see
are the bottoms of a couple shelves in the corner of the
pantry. He's at too severe an angle.
Graham sits up. He's only four feet away from the pantry
door. He looks around not knowing what to do. His eyes fall
on a bunch of kitchen knives that have spilled from a drawer
onto the floor.
He takes a butcher knife from the group and moves closer to
the door. Beat. He reaches with the butcher knife
underneath the slanted kitchen table. He uses the knife like
a mirror to see under the door. Graham watches the SOFT
REFLECTION IN THE FLAT STAINLESS STEEL SURFACE OF THE BLADE.
WE CAN MAKE OUT BROKEN GLASS AND RIPPED OPEN PACKETS OF RICE
AND CEREAL ON THE GROUND. THERE ARE POCKETS OF SHADOWS WE
CAN'T SEE INTO.
Graham pulls the knife out. He sits there kneeling two feet
from the door. Beat.
He takes a deep breath and starts to lower his head under the
slanted table.
He stops halfway down. He loses his nerve and sits up. He
rises to his feet as he places the butcher knife on the
counter. Graham starts walking across the kitchen. He gets
to the door. Puts his hand on the doorknob.
He stays like that for a long time. Beat.
Graham lets go of the doorknob -- He turns and walks quickly
across the kitchen -- He picks up the butcher knife -- He
kneels down next to the pantry -- He ducks his head under the
slanted kitchen table -- He places his cheek to the floor,
only inches from the bottom of the door, and looks into the
pantry.
There is broken glass and rice throughout the wooden floor of
the pantry. Nothing else.
Graham stares at his VIEW OF THE FLOOR. Something's wrong.
Parts of it feel like a painting. THE PAINTING MOVES.
TWO BLACK EYES OPEN -- SEEMINGLY SUSPENDED IN THE MIDDLE OF
THE ROOM. THEY ARE SIDEWAYS. THEY LOOK AT GRAHAM.
GRAHAM YELLS. HE JOLTS UP. HIS HEAD HITS THE SLANTED TABLE
HARD.
FOUR LONG FINGERS AND CLAWS, THE EXACT COLOR OF THE WOODEN
FLOOR REACH OUT AND MISS HIS FACE BY A FRACTION OF AN INCH.
GRAHAM REACTS. THE BUTCHER KNIFE COMES DOWN FAST AND HARD ON
THE PROTRUDING WOOD COLORED FINGERS. SLAM!
WE HEAR AN UNBEARABLY HIGH-PITCHED INHALE SOUND FROM INSIDE
THE PANTRY.
CUT TO:
EXT. STATION WAGON - DAY
The station wagon knocks over the "Ray Reddy" mailbox as it
turns sharply onto the road.
Graham picks up speed as he passes the wall of crops on his
right.
THE STATION WAGON SUDDENLY BRAKES.
Two black skid marks form on the road as the station wagon
comes to a fast stop.
Beat. Graham gets out of the car. He walks a few feet ahead
of the station wagon. He bends down in the middle of the
road.
A BIRD lays limp on the asphalt. Its head is crushed.
Graham gazes at the still pile of feathers. Beat.
Graham turns and looks straight up at the BLUE, CLOUDLESS SKY
above him.
GRAHAM
(soft)
Douche bag.
CUT TO:
INT. HESS FAMILY ROOM - DAY
Graham enters his front hall. He closes the door and locks
it behind him. He turns and looks into the family room.
Morgan and Bo and Merrill are seated together on the sofa.
All three are wearing foil helmets. Beat.
MERRILL
They're skin changes color. That's
why we couldn't see him that night.
Graham stares at his family huddled on the couch. Beat.
Graham takes in the news as he moves to the stairs. He takes
a seat on the second to last step.
He sits obscured by the balusters. Beat.
GRAHAM
Tell me something Morgan. In that
book of your, did they happen to
detail what would happen if they
were hostile?
MORGAN
Yes. They would invade us using
only ground tactics. Hand to hand
combat. They wouldn't use their
technology or fight an airborne
battle, because they would know we
would eventually use nuclear
weapons and the planet would be
useless to them.
MERRILL
I'm sorry, what book is this?
GRAHAM
Did they say what our chances would
be if they did invade?
MORGAN
They said one of two things could
happen. One, they fight and are
defeated and leave to return again
with full forces hundreds or even
thousands of years later.
GRAHAM
What's two?
MORGAN
They win.
The words hang in the air. Graham sits quietly on the second
step of the stairs.
GRAHAM
What do you think about the idea
that they don't like places near
water, and we might be safe from
them near a lake or something?
MORGAN
Sounds made up.
Beat.
GRAHAM
We can choose to believe it and
pack up and leave.
(beat)
Or we can stay here. Board up this
house. Hide inside our home and
wait it out. Either way, at least
we'll be together.
(beat)
All those in favor of the lake,
raise your hand.
No one raises their hand.
GRAHAM
All those in favor of home, raise
your hand.
All four put their hands in the air. Beat. They lower them
and sit in silence.
MERRILL
How do we know boards will do
anything?
Beat.
GRAHAM
(soft)
Because, they seem to have trouble
with pantry doors.
CUT TO:
EXT. HESS HOUSE - AFTERNOON
WE ARE WATCHING THE HOUSE FROM THE CROPS. We see Graham
inside the house, closing the window shutters in one room
after another.
WE SEE a stack of wooden boards on the porch.
OUR VIEW MOVES to the barn where Isabelle is tied. She is
not pacing. She is not barking. She sits staring right at
us. She is shivering.
OUR VIEW MOVES to the garage building where we see Merrill
carry a huge pile of his clothes and things down the stairs.
He's moving into the main house.
Merrill walks across the yard. His eyes look around
carefully as he moves.
Part of the pile in his arms falls to the grass as he crosses
the lawn. He stops walking and starts to gather up the
fallen things. He picks up a couple shirts and two baseballs
encased in glass cases.
The glass encasing one of the souvenir baseballs, has
cracked. He takes the ball out. Stares at it.
We watch from the crops as Merrill puts down his pile of
clothes and things on the grass. He looks around and finds
what he's looking for. A rake.
Merrill unscrews the fork on the rake from the wooden handle.
With the wooden stick in one hand and the souvenir baseball
in the other, he turns to face the crops.
WE PULL BACK A LITTLE INTO THE CROPS. PART OF OUR VIEW IS
OBSCURED BY STALKS, BUT WE STILL SEE MERRILL CLEARLY.
Merrill looks around cautiously again, before getting into a
batter's stance. His left leg digs into the grass in front
of him. His weight is mostly on his back leg. He looks out
into the distance high over the crops. He throws the
baseball up in the air...
Merrill grabs the wooden handle. Merrill's shoulders move
with blinding speed. The wooden rake handle slices the air.
And misses the ball.
The ball drops at Merrill's feet.
WE WATCH as Merrill picks up the ball and tries again. This
time his shoulders move even faster. The wooden stick
actually makes A RESONANT SOUND as it cuts the air.
The ball drops at Merrill's feet.
WE WATCH THROUGH THE CROPS as Merrill snatches the ball up
and tries a third time. This time he YELLS as he swings. He
rips the air with the wooden stick so fast it blurs to the
eye.
The baseball drops at his feet. Strike three.
Merrill stands still in the yard. He's breathing a little
heavy as he stares down at the ball.
He gently picks it up. He walks back to his pile of things
and then suddenly turns. He throws the ball in the air as he
does. His left leg goes out. His weight goes to his right
leg as he turns his shoulders with astonishing speed and
power...
THE SOUND OF THE BASEBALL HITTING THE WOODEN HANDLE CRACKS
ACROSS THE WHOLE YARD.
The ball rockets into the air. We watch it fly overhead...
sail high over the crops... it becomes a tiny dot in the sky.
After a long beat of silence it comes back to earth. It
lands in the street and bounces twenty feet into the air. It
cleared at least four or five hundred feet of crops. Maybe
more.
WE LOOK BACK to Merrill standing in the backyard. He drops
the wooden stick to the grass and moves for his things. He
piles them in his arms. When his arms are full, he starts
for the porch. WE WATCH FROM THE CROPS AS MERRILL GOES
INSIDE THE HOUSE.
CUT TO:
INT. CLOSET - LATE AFTERNOON
Morgan and Bo are seated on the kitchen chair in the closet.
MORGAN
Come quick!
THE FLICKER OF THE TELEVISION FALLS ON THE CHILDREN'S FACES.
WE HEAR MERRILL AND GRAHAM COMING DOWN THE HALLWAY BEFORE WE
SEE THEM.
They appear almost at the same time in the doorway to the
closet. Graham and Merrill are holding hammers.
All four stare at the television.
ON THE SCREEN IS A STREET FILLED WITH PEOPLE RUNNING WITH
SUITCASES AND BAGS. SOME PEOPLE ARE GETTING TRAMPLED.
OTHERS ARE STANDING ON THE STREET CORNER AND YELLING. THERE
IS PANIC IN THE AIR.
TV ANCHOR
Tel Aviv joins Nairobi, Lagos and
Jerusalem as the latest to confirm
the appearance of lights. There
are lights in the skies over an
estimated two hundred and seventy
four cities. That total could be
as high as four hundred within the
hour.
THE IMAGE ON THE TELEVISION SCREEN CHANGES TO A NIGHT TIME
VIEW OF THE TEL AVIV CITY LINE. THERE ARE FOURTEEN LIGHTS IN
TWO "V" FORMATIONS OVER THE CITY.
GRAHAM
They decided to show themselves.
Beat.
MORGAN
They think these look like stages
immediately proceeding an attack
maneuver.
MERRILL
It's like War of the Worlds.
MORGAN
They think it might happen all at
once.
The words silence everyone. Beat.
The image goes back to a quiet TV anchor. He takes a second
before starting up again.
TV ANCHOR
Hundreds of thousands have flocked
to synagogues, churches and
temples.
The television shows hundreds of Israelis in a temple and in
the streets praying.
Graham watches quietly as the masses pray side by side.
TV ANCHOR
Ground forces are being assembled
in countries throughout the
globe...
GRAHAM
I'm going to get back to the
windows.
Bo watches as Graham leaves the doorway of the closet. She
turns back to the television.
Beat. Merrill leans down between his niece and nephew.
MERRILL
(whispers)
You guys okay?
They don't answer. They watch the soldiers loading up onto
trucks on the television.
MORGAN
Some guy had a sign that said it
was the end of the world.
(beat)
Nothing really bad is going to
happen, is it Uncle Merrill?
MERRILL
Don't worry.
Morgan glances at Bo and then back to his uncle.
MORGAN
You sure right?
Beat. Merrill gazes at the two questioning faces. He looks
back at the empty closet doorway where Graham stood. He
turns back to the children.
MERRILL
You know about signs Morgan? Not
like the ones people write on.
It's like if you poured a glass of
milk and you dropped the glass by
mistake and broke it before you
could drink it. Then you looked at
the milk carton and saw that the
milk was spoiled. They're things
that happen by chance or luck, but
make you feel that someone's
watching out for you.
The children think it over. Beat.
MORGAN
I once had a bad dream and I
couldn't wake up. I kicked at the
table next to my bed and something
fell on me and I woke up. It was a
picture of mom. She was smiling.
It made me feel safe... You mean
like that?
Beat.
MERRILL
Yeah, like that.
(beat)
I believe in signs Morgan. I think
there's someone watching out for
us. I got to believe he's going to
make sure we're all right in the
end.
CUT TO:
INT. HALLWAY - LATE AFTERNOON
Merrill smiles as he steps out of the closet and closes the
door half-way.
He stands in the hall by himself. He takes a couple deep
breaths as everything hits him.
CUT TO:
INT. CLOSET - LATE AFTERNOON
Morgan turns off the television.
He and Bo sit quietly in the closet under the stairs.
CUT TO:
INT. FAMILY ROOM - LATE AFTERNOON
Graham sits in a chair by the windows. He has a board on his
lap. He has a hammer in his hands. Graham drowns in his
thoughts as the skies darken behind him.
CUT TO:
INT. UPSTAIRS LANDING - EVENING
Graham, Bo and Morgan are seated in the upstairs hallway.
There's a couple boards left leaning against the walls.
Merrill comes out of the children's room with his tools.
MERRILL
Too many windows in the bedrooms.
We don't have enough boards.
Merrill stands and leans against the wall.
GRAHAM
We'll have to board up the bedroom
doors.
MORGAN
Where are we going to sleep?
GRAHAM
The family room.
Everyone sits quietly for a moment.
MORGAN
What about Isabelle?
GRAHAM
We'll keep her in the garage, after
dinner.
Beat.
MERRILL
I'll make sandwiches.
BO
I want spaghetti?
MERRILL
We should eat fast Bo.
GRAHAM
Spaghetti sounds great.
Merrill glances at Graham.
GRAHAM
What do you want, Morgan?
Beat.
MORGAN
Anything?
Graham nods "yes."
MORGAN
French toast... and mashed
potatoes.
GRAHAM
Now we're talking.
(beat)
How about you Merrill?
Graham turns and looks at Merrill. They stare at each other
quietly. They have a conversation without words. Beat.
MERRILL
(soft)
Chicken Teriyaki.
GRAHAM
Good choice... I'm going to have a
cheeseburger with bacon.
(smiles)
Extra bacon.
CUT TO:
INT. KITCHEN - EVENING
The windows in the kitchen are boarded up, as is the back
door.
The sink is piled with pots and pans. It seems like every
utensil and dish in the kitchen was used.
CUT TO:
INT. DINNING ROOM - EVENING
One side of the dinning room is lined with windows that have
been boarded up.
The table is set. Mash potatoes, spaghetti, French toast,
chicken teriyaki and bacon cheeseburgers are all displayed
elegantly on serving dishes.
The Hess family sits around the table. Beat. The scene is
somber. No one is moving.
GRAHAM
What's the matter with everyone?
Eat.
No one says anything. No one eats.
Beat.
MORGAN
I'm scared.
BO
Me too.
GRAHAM
I don't want to hear anymore talk
like that. And I don't want to see
anymore faces like the ones I'm
looking at.
(beat)
We are going to enjoy this meal.
Nothing can stop us from enjoying
this meal! Enjoy!
Bo sits next to her three glasses of water and begins to cry.
GRAHAM
Stop crying!
MORGAN
Don't yell at her!
Morgan's face is hard, but tears start to fall anyway.
Graham watches as both his children cry at the table.
GRAHAM
Fine, if you all don't want to eat,
then I'm going to have some of
everything.
Graham takes big scoops of every dish and piles it on his
plate. He digs his fork into the pile and starts to shove it
in his mouth. He swallows.
GRAHAM
This tastes so great.
Bo, Morgan and Merrill watch in stunned silence as Graham
stuffs more in his mouth. He chews and chews and swallows
hard. He digs his fork into the pile again.
Graham starts crying as he eats. He keeps taking more bites.
More tears fall.
Morgan gets up from his seat. He goes to Graham's chair. He
leans against his dad's arm and cries with him. Graham's
fork stops moving. He watches as Bo moves from her seat to
his other side. She holds her dad's arm and cries.
Beat. Graham pulls them both up onto the chair with him and
hugs them tight. Merrill leans forward and comes to the pile
on Graham's chair. Merrill buries his head in Graham's
shoulder. The Hess family huddles together at one end of the
table. Beat.
THE BABY MONITOR EXPLODES WITH STATIC AND NOISE.
Everyone slowly turns and looks over to Morgan's place
setting where the baby monitor sits on the table. THE RED
LIGHTS ON THE FRONT ARE ALL LIT UP.
Merrill sits up. Graham puts down the children from his lap.
He gets up from his seat and moves around the table and out
of the dinning room. He moves through the family room and
into the hall.
Graham opens the closet door and looks in at the television.
He turns it ON.
Beat. THE EMERGENCY BROADCAST SYMBOL IS ON THE SCREEN. A
LOW TONE EMITS FROM THE TV. Beat. Graham changes stations.
THE SYMBOL AND TONE APPEAR ON EVERY CHANNEL. THE MONOTONE
SOUND FILLS THE CLOSET. Beat.
Graham steps out into the hall. Merrill and the two children
are standing there waiting. Graham looks at them.
GRAHAM
(soft)
It's happening.
CUT TO:
INT. UPSTAIRS HALL - EVENING
Merrill pounds furiously with his hammer as he nails boards
to the children's bedroom door. The master bedroom door is
open with a board leaning next to it. Graham is inside his
bedroom
CUT TO:
INT. GRAHAM'S BEDROOM - EVENING
Graham walks to the window next to his bed. It's the same
one we've looked out twice before.
Graham looks out onto his backyard. The FLOOD LIGHT FROM THE
HOUSE THROWS LONG SHADOWS OVER THE YARD. There is a light
breeze. Nothing seems wrong.
Graham's eyes stay locked on the crops which go on and on
into darkness. He moves closer to the glass. Watches the
top of the corn stalks swaying slightly with the wind.
SOMETHING MOVES IN THE DARKNESS.
Graham's eyes moves to where the corn crops fade into black
forty feet away. Graham goes very still.
LINES EMERGE IN THE CROPS; THE KIND OF LINES MADE BY SOMEONE
TRAMPLING THROUGH A FIELD. WE CAN'T SEE WHO'S MAKING THEM.
ALL WE SEE ARE THE COUNTLESS LINES BEING FORMED. THE LINES
MOVE FROM THE DARKNESS TOWARDS THE HOUSE. GRAHAM WATCHES
THEM CLOSE IN ON HIS BACKYARD. THIRTY FEET... TWENTY FEET...
TEN...
Graham backs away from the window towards the middle of his
bedroom.
MERRILL
Graham hurry.
Graham turns to see Merrill standing with the last board in
the hall. Graham moves out into the hall and shuts the
bedroom door behind him.
CUT TO:
INT. UPSTAIRS HALL - EVENING
Merrill immediately puts the wooden board up and starts
hammering nails into the frame. Graham picks up his hammer
and quietly begins to hammer nails into the wood.
Graham glances to his right as he works. Bo and Morgan are
standing together at the top of the stairs. Bo holds
Morgan's hand.
Graham keeps hammering as he speaks.
GRAHAM
Did I ever tell you what everyone
said when you were born, Bo?
Bo nods "no" lightly.
GRAHAM
You came out of your momma and you
didn't even cry. You just opened
your eyes and looked around at
everybody. Your eyes were so big
and gorgeous, the ladies in the
room gasped.
Graham stops hammering. Merrill keeps going.
GRAHAM
They literally gasped.
(Graham gasps like them)
Then they go, "She's like an
angel." They said, "We've never
seen a baby so beautiful."
Graham smiles to himself as he remembers the moment. Merrill
finishes hammer | 
