THE VILLAGE

THE VILLAGE


Transcribed by Kendra (dzerted_island_grrrl@hotmail.com)



The Village is copyrighted by Buena Vista Home Entertainment and Touchstone Home Entertainment, among others. This
transcript was made solely for my own entertainment and enlightenment, and for the entertainment and enlightenment of
others. No profit was made from the transcribing of this movie, and it is not being distributed for profit. If you
paid for this copy of it, you got screwed.


The opening credits roll over shots of the woods. At a cemetery, people are gathered for a funeral. A grave has
been dug, and a small, plain coffin, rests near it. A man leans on the coffin, weeping a prayer.


August Nicholson: Who'll pinch me to wake me up? Who will laugh at me when I fall? Whose breath will I listen for,
so that I may sleep? Whose hand will I hold, so that I may walk?


A small, plain headstone, reads "Here Lies Daniel Nicholson, Beloved son of August Nicholson, June 17, 1890, October 3,
1897." He was just seven years old.


---

Edward Walker (off-screen): We may question ourselves, at moments such as these. Did we make the right decision to
settle here?


A banquet has been laid on polished wooden tables, outdoors. The attendees are all dressed somberly. Many women wear
bonnets or hats. Some of the men are bearded, and some are not. Some have long hair, others, short hair. All the
women wear their hair tied back in some way. The dress confirms that it is the late 1800's. The surroundings reveal
it to be a small village in a shallow valley, surrounded by forests. Many houses are made of stone, some of wood. The
banquet includes bread, corn, greens, potatoes... a bounty from the recent harvest. Edward Walker, unofficial town
leader, stands, making a speech before the feast. His hair is reddish, but going gray, and he wears a beard.
August takes his hand.


Edward Walker: We are grateful for the time we have been given.


He sits, and the villagers begin to eat. From the woods, a moaning sound, sorrowful. The villagers quiet, and are
still. Noah Percy begins to laugh and clap and stands up. He is perhaps twenty-five, but has the mind of a small
child. A young man seated next to him calms him down, and gets him to sit.


---

Two young girls use brushes to scrub the dishes in an outdoor trough, while an older sister uses a green hand-pump to
get water from the underground well, so the dishes can be rinsed. The younger girls giggle and splash each other.


---

A woman in a gray skirt and a blue untucked blouse leads a flock of sheep into their barn.


---

Men and women work side-by-side in a glass greenhouse, cultivating lettuce, rhubarb, and other foods for the winter.
The ladies wear simple print dresses, with some petticoats underneath, and back-buttoned aprons over their dresses.
The men wear pants, shirts, vests, and many wear hats. This is a simple village of working people. Fancy clothes
are worn only at weddings and other celebrations.


---

Two sisters sweep the front porch of their simple home. They wear plain boots, not fancy shoes. They swirl their
brooms around, light-hearted. The older sister spots something at the edge of the porch and puts her broom down. It
is a red flower. Making haste, they pluck the flower, take it some yards from their home, and bury it. They return
to their chores, but are subdued. The color of the flower, red, has spooked them, for it is the bad color.


---

At night, a bearded young man in a yellow cloak watches the woods from a watchtower, one of two, at the edge of the
village. There is a bell in the tower, which can be rung as a warning. There are yellow penants and burning torches
all around the edge of the forest. A low, moaning, rumbling sound comes from the trees.


---

At a creek in the woods, a reflection off the water shows a swaying, red-cloaked figure walking ponderously by.


---

It is morning. Edward Walker, the school-teacher, approaches a group of children outside the schoolhouse. They are
gathered in a circle around something.


Edward: What manner of spectacle has attracted your attention so splendidly? I ought to carry it in my pocket to
help me teach.


He stands at the edge of the group and looks down. Flies are buzzing.


Edward: Who came upon this? Philip, did you move this?


Philip: No, Mr. Walker.


The flies buzz louder and louder. We see what they are looking at. It is a small animal, probably a fox. It has
been killed and skinned, but the meat is still on its bones.


---

Inside the class, a girl in a light blue dress and pigtails speaks.


Girl: I inspected it carefully. Its head was twisted back, and much of its fur removed.


Edward: I see.


Boy: It was murdered.


Edward: But who is the culprit? Who has done this heinous act?


The girl who spoke before hesitates, but she decides to voice what is in all their minds.


Girl: Those We Don't Speak Of killed it.


Edward: There it is. Why would such a notion come into your mind?


Boy: They're meat-eaters.


Edward nods at him. A different girl speaks.


Girl: They have large claws.


Edward: Children... Those We Don't Speak Of, have not breached our borders in many years. We do NOT go into THEIR
woods, they do NOT come into OUR valley. It is a truce. We do not threaten them. Why would they do this?


---

At a meeting of the Council of Elders, Vivian Percy is speaking. She is there, with her husband, Robert, August
Nicholson, Victor, Edward and Tabitha Walker, Alice Hunt, Mrs. Clack, three other men, and one other woman. The women
are knitting, since their hands are not needed for the meeting, and they smile and giggle.


Vivian: And we ought not to.... overlook The Flight of the Birds. We didn't have it last year, and I, for one,
missed it desperately. And I know your wife missed the children, dressed in feathers and such.


Tabitha: I am fond of it.


She looks hopefully at her husband.


Edward: I do not have a say in this matter. August Nicholson is chair of today's meeting.


A door opens at the end of the meeting hall, and all turn to see who has come in. It is a man with his hat in his
hands, respectful.


Man: There is a young man who has requested a word with the elders.


August: Well, do have him come forward.


The young man is Lucius Hunt, only son of the widow Alice Hunt. She jumps a bit when she sees him, but smiles. He
wears denim work-pants, a gray shirt, and a brown jacket. His hair is a bit curly, but short, and there is a scar on
his lip. He is clearly nervous and sways from one foot to the other. He holds a note, which he reads aloud.


August: Hello, Lucius.


Lucius: My mother is unaware of the reason for my visit today. She did not give her consent, or consult me in any
form. The passing of little Daniel Nicholson, from illness, and other events, have weighed on my thoughts. I ask
permission to cross into the forbidden woods and travel to the nearest town. I will gather medicines, and I will
return. With regards to Those We Don't Speak Of, I am certain they will let me pass. Creatures can sense emotion
and fear. They will see I am pure of intention, and not afraid. The end.


His voice has been shaky throughout. It is clear that such a long speech from him is an unheard-of, thing, and that
he is normally so quiet that people ask him to speak up. The elders stare at him. The wind moans past the watchtower.


---

Alice (off-screen): What goes on in that head of yours?


Inside their house, all is simple. The beams of the loft are visible. The floor is plain wood. Alice stands in an
ankle-length nightgown, in the doorway of her bedroom. An oil-lamp and some candles are lit. There is no electricity,
running water, or flush toilets in this village, although such things are available in other parts of the world. Lucius
sits on the stairs, tying his boot-laces.


Alice: Say something, Lucius.


Lucius: Finton Coin is in the tower, and I've promised to sit with him.


Alice: Hmm.


---

In the watchtower, we see Finton Coin, a broad-faced, light-haired young man with Grecian features, wearing a yellow
cloak. Lucius sits on the floor near a lamp.


Lucius: Do you ever think of the towns, Finton?


Finton: The towns? What for? They're wicked places where wicked people live. That's all.


He pauses for a few moments.


Finton: Thank you Lucius. You're a good friend. I do hope no one saw you.


---

In the orchard, several women stand, staring at a spectacle. It is another skinned fox.


---

There is a brief meeting in the meeting hall. Alice stands at the front, ahead of the elders, and speaks to the
villagers' concerns.


Alice: What we SEEM to have amongst us, is a predator of some type, most likely a coyote, or a wolf. Its manner of...
of killing and removing the fur, but leaving the flesh torn, may be a sign that this animal suffers from madness. And
for the next fortnight we should be vigilant for sightings of this coyote. Keep careful watch over our little ones,
as they play on the hills. As for the other notion... We do not believe our boundary has been breached. Those We
Don't Speak Of are much... LARGER creatures than coyotes. And we would know, if they had been here.


The villagers murmur.


---

Outside, villagers stride away, back to their work. Edward walks with his eldest daughter, Kitty. She is beautiful,
with red hair and fair skin, very slender and willowy.


Kitty: Ahhh, it's frightful, this business of the coyote, is it not, Papa?


Edward: Do not feel worried, Kitty.


Kitty: You are not troubled?


Edward: I am certain it will all end soon.


Kitty (slyly): Can we speak on other matters, then?


Edward: It would be a relief.


Kitty (giggly): I'm in love!


They stand behind a house, possibly their own.


Kitty: I want your permission to marry, Papa!


Edward is incredulous that his daughter would come to him and ask to marry, without her supposed-fiance present.


Edward: There's a proper manner in which these things are supposed to happen, such as the boy would normally be
standing next to you, in a moment such as this! Where is the BOY in all this, Kitty?!


Kitty: I haven't spoken to him as of yet.


Edward: The young man is unaware of your intentions?!


Kitty: He has a... quiet way. I was going to talk with him, Papa, but not without your blessings. I WON'T talk with
him without your blessings, Papa.


Edward: Kitty!


Kitty: It's Lucius Hunt.


Edward pauses for a moment.


Edward: Lucius.


Kitty: You think badly of him?


Edward: No. No, I have been thinking about him.


Kitty: He's not LIKE the other boys, Papa. He- he- he doesn't joke, or, or bounce about.


Edward: No, he certainly does not.


Kitty: I have your blessings, then?


Edward sighs and can't help a smile. Kitty jumps into his arms, joyful.


Edward: Look, do me one favor first. Do NOT tell anyone else of your burstings until you have spoken with the young
man.


---

Lucius is in the workshop, sharpening a tool. Kitty approaches him, wearing a pretty yellow dress. Her voice is
slightly coy at the begining, but as she goes on, she becomes more wild. It is clear, however, that she has rehearsed
her speech. She can't seem to help smiling and giggling, and she's probably very nervous.


Kitty: Good afternoon, Lucius.


Lucius stands up and turns to face her, wary, leaning back slightly.



Kitty: I wanted to, to... to tell you something. I love you, Lucius. I love you like the day is long! I love you
more than the sun and the moon together! And if you feel the same way, then we should not hide it any longer. It's
a gift, love is. We should be thankful! We should bellow it out with all the breath in our lungs! Thank you!
Thank you! Thank you!


She stops waving her arms about and smooths her skirt, smiling at him. He looks at her strangely, almost expressionless.


---

Kitty lays on her bed, sobbing and screaming. Her younger sister, Ivy, sits at her side, stroking her shoulder and
singing a lullaby. She has reddish hair, too, but wears it comparatively short, about shoulder-length, barely any
longer than some of the boys in the village. She wears a pretty blue denim dress.


Ivy: Shhh. Shhh. Baby, sleep, gently sleep, life is long is long and love is deep. Time will be sweet for thee.
All the world to see. Time to look about and know, how the shadows come and go. How the breeze stirs the trees, how
the blossoms grow.


We see their parents, and the four youngest of the six walker daughters, standing about at the entrance to the room.
It is clear that that is Kitty and Ivy's space, that they are close together in age (perhaps twenty-one and nineteen
respectively), while their younger sisters are all between about three and ten or so.


---

Lucius brings firewood to August. The oil lamp is burning dimly.


August: I often wondered if yu and my son bonded because neither of you were fond of speaking. You're very kind.
You must pardon my manners, I haven't slept in many nights.


---

Some of the boys are at a place called "The Stump," where they are playing a game. Sort of like a test of manhood,
they stand on the stump with their back to the woods at night, and see how long they can stay without getting scared.
Tonight it it Jamison's turn.


Christop Crane: You are doing capital, Jamison! Just a few more moments, huh? Gather your bravery.


The other boys press in close.


Christop: Do not jostle about so! You'll ruin my shirt.


Jamison whimpers, and there is a moaning from the woods.


Jamison (whispering): They made a sound when I made a sound! And they mimic before they attack!


Christop: Have courage, man. That's a wives' tale. It isn't true. Do not falter! Steel yourself.


---

At August's house, he is still speaking to Lucius, who is loading his wood-box.


August: You know, like a dog can smell you.


Lucius: Pardon me, Mr. Nicholson?


August: You may run from sorrow, as we have. Sorrow will find you. It can smell you.


He looks at the space under the stairs. There is a strange box there, made of wood, but stained dark black, and
with a lock for its lid. Lucius looks at it strangely.


---

Jamison breathes heavily, as the woods rustle. There is the sound of footsteps, and a strange growl that you or I
might associate with a weed-whacker. Jamison hops off the stump and rushes toward the boys, and they run back to the
village, panting and chuckling. They arrive in the safe area of the village and slow down.


Christop: I didn't know you could run so fast!


Jamison: We're still for running and staying- hey!


Christop pulls Jamison's hat from his head and pushes him further towards home.


---

It is daytime, a view of the village from the woods.


Kitty (off-screen): Noah ought to be punished. He whacked little Joseph with a stick again.


Noah and some boys are fighting. Noah laughs and hits them as they say "ow."


Children: No more hitting!


Girl: Why don't they grab it?


---

Ivy sits in a pretty blue dress on a bench outside a building. Her head is turned to the side and she is listening.
She hears distant shouting. It is clear once she stands up that she is blind. She takes a lovely wooden cane and
swings it back and forth, using this method to guide herself toward the sounds of the fight.


---

Ivy (off-screen; forceful): Noah Percy.


The fighting slows a bit.


Ivy: Stop your fussing, right this moment.


The kids murmur and laugh. He disentangles himself, and jumps up, following her away.


--

They stand at the door of the "Quiet Room," a place children are sent when they misbehave. There is a lamp, several
chairs, a coat-rack, and not much else.


Ivy: You're in trouble, you know.


Noah: No hitting. No hitting.


Ivy: I'm to place you in the quiet room.


Noah: Um, I'll cry quarts.


Ivy: What if we strike a deal?


Noah: Yeah, capital idea.


Ivy: It would be prudent to keep our deal a secret, can you do that?


Noah (whispers): Can I keep a secret? (Normal voice) Like a church mouse.


Ivy: You needent go to the quiet room if you take an oath to never strike any person again.


Noah: No hitting.


Ivy: No, no hitting.


Noah: No hitting.


Ivy: No hitting.


They shake hands. Ivy leans slightly and taps her cheek, and Noah kisses it.


Ivy: The deal is struck.


She closes the door of the quiet room and goes down the steps to the ground.


Ivy: We ought not to return right away, hmm? What shall we do with our stolen time?


Noah: Hmm.


Ivy: Hmmm.


Noah: Hmmm.


Ivy: Hmmm. Shall we have a foot race?


Noah: Yes.


Ivy (excited): Up the hill to the resting rock!


Noah (grinning): No cheating.


Ivy (offended): What a deeply scandalous thing to say. I insist you take that back. Is that the school bell?


Noah turns to look at the school and Ivy takes off running the other direction. She knows her way around very well.
Noah turns back, looks at her, looks down and smiles, then runs after her.


Noah: Arrhhhh! Ivy, you cheated!


Ivy: I know! I'm sorry!


They laugh and run all the way to the resting rock. Ivy is very fast, but no match for Noah's long legs, and he barely
beats her there. Lucius hunt is sitting there, eating a muffin, which he shares with Noah. Ivy sits down, catching
her breath.


Ivy: My sister cried a lot.


Lucius seems somewhat surprised that she knows he is there, given that she is blind. She moves her head and eyes like
a sighted person, but only because she did not lose her sight until several years into her life. Noah runs off
somewhere.


Ivy: You wonder how I recognized you?


She nodds and leans on her cane.


Ivy: Some people - just a handful, mind you - give off the tiniest color. It's faint, like a haze. It's the only
thing I ever see in the darkness. Papa has it, too. Do you wonder what your color is? Well, that I won't tell you.
It's not ladylike to speak of such things. You shouldn't even have asked.


She is making a joke for herself, and smiles at it. It is clear that she is very strange, running like a boy, wearing
her hair short, making jokes to herself, and her strangeness seems directly tied-in with the fact that she is blind.


Lucius: You run like a boy.


Ivy: Thank you.


She pauses a moment, shyly, but then continues.


Ivy: I know why you deny my sister. When I was younger... You used to hold my arm when I walked. Then suddenly
you stopped. One day, I even tripped in your presense, and almost fell. I was faking, of course. But still, you did
not hold me.


She whispers, almost sensually.


Ivy: Sometimes we don't do things we want to do, so that others won't know we want to do them.


Noah returns with something in his hands. He shows it to Lucius, motioning him to be quiet. He sits next to Ivy and
lifts her hand, placing a frog in it.


Ivy: What?


The frog ribbets. She yelps and laughs, tossing the frog back at him. He takes a twig of berries from his pocket,
loosening feathers in the process. The berries, he places in Ivy's hands.


Ivy: What's this? Oh, berries. What a splendid present.


Lucius: Be cautious. You are holding the bad color.


Ivy goes still, and cups a hand over the berries. The fun, sunshiny atmosphere is spoiled by rich, thick fear.


Ivy: This color attracts Those We Don't Speak Of, we must bury it. You ought not to pick that color berry anymore.


Lucius (whispering): He picked it from his pocket.


Ivy: What's wrong? Your breathing has changed.


Lucius: I've never set eyes on these before. You did not pick that now. Where did you find this?


Noah takes his hand and leads him around the side of the rock. He is mentally retarded, but he knows that something
has changed this afternoon.


---

At the meeting house, Lucius reads another note to the elders.


Lucius: Today at Resting Rock, Noah Percy handed Ivy Walker berries of the bad color. When asked where he found these
berries, for they were not like others I have seen, he pointed to the drawing upon resting rock.


We see Lucius, Ivy, and Noah staring at the side of the rock (although Ivy does not see it). There is a drawing of a
strange, reddish-colored creature, with skeletons all around it.


Lucius (off-screen): It is my belief that Noah Percy has entered the woods, and has done so on many occasions. It is
also my belief that, because of his innocence, those creatures who reside in the woods did not harm him.


Back in the meeting house, he continues to read. The circle is in a slightly different order today, more mixed up, and
facing a different direction.


Lucius: This strengthens my feeling that they will let me pass if they sense I am not a threat.


---

Alice (off-screen, later in the day): We shall speak of the town, just this once, and we shall never speak of it again.


She sits, knitting yarn that is wound around Lucius's hands.


Alice: Your father left for the market on a Tuesday, at a quarter past nine in the morning. He was found, robbed and
naked, in the filthy river, two days later.


Lucius begins to shake, and tears stream down his face.


Lucius: Why'd you tell me this blackness?


Alice: So you will know the nature of what you desire.


Lucius: I do not desire it. (Angry) My intentions are true to my word. I think of NOTHING but the people of this
village.


Alice: Forgive me. I am but scared for my only son's life.


Lucius: I am not the one with secrets.


Alice: What is your meaning?


Lucius: There are secrets of every corner of this village. Do you not feel it? Do you not see it?


He points at the black box in the corner of the living room.


Alice: That is for my own well-being, so the evil things from my past are kept close and not forgotten. Forgetting
would be to let them be born again in another form.


Lucius (standing): Then let us open it.


Alice (final): No. Perhaps we should speak with Edward Walker together. He may be able-


Lucius: He hides, too. He hides his feelings for you.


Alice: Oh!


Exasperated and startled, she turns and walks to her bedroom. He follows her.


Lucius: Sometimes, we don't do things, yet others know we want to do things, so we don't do them.


Realizing he bungled that statement badly, he hangs his head a bit and makes a sort of "oh, darn!" motion with his
hand. Alice returns to her bedroom door.


Alice: What nonsense are you saying?


Lucius: You needent worry. Nothing will happen to me.


Alice: You remind me of a colt sometimes.

She pauses a moment.

Alice: What makes you think he has feelings for me?


Lucius (whispering): He never touches you.


---

Lucius and some other boys walk around the perimeter of the village, painting yellow marks on tall poles. They wear
cloaks of yellow wool, the safe color. Lucius sets down his paint bucket and pushes his hood back, then slowly,
purposefully, he walks into the woods. He does not go far, just to a bush where there are red berries. He plucks a
branch of them. He is very solemn. There is a creaking noise, a crack, and a growl, then some rustling. Lucius
sees movement out of the corner of his eyes. He turns and leaves the woods slowly.


---

It is night. Ivy is crouched, and she stands.


Ivy: There's no escape!


She turns and perceives Lucius by his "color," as she calls the haze she sees around him when he is near her. She is
surprised.


Ivy: Oh, hellO! I was just playing a game with Noah. The rascal must have gone to hide in my house again.


She crouches to retrieve her cane, then stands.


Ivy (loudly): Houses are agaist the rules! (whispering) He knows that. (normal) Are you all right?


She looks at Lucius with some concern, for he is more solemn than usual. He walks her to her front porch.


Ivy: We're tending to the children tonight, Kitty and I. I should be with her. Be well.


She steps on to the porch, then turns, steps back down, and looks at him, hands perched on her cane.


Ivy: I heard my parents speaking of you. I know of your request to go to the towns. I think it is noble, but I do
not think it is right.


Lucius: Are you not angry you have no sight?


She smiles and leans a bit towards him, whispering.


Ivy: I see the world, Lucius Hunt. Just not as you see it.


Lucius: What of Noah, then? What if there are medicines for Noah that could help him be still and to learn?


Ivy: May we stop speaking of this? It is putting knots in my stomach.


She steps back on to the porch, and turns to talk to him from there.


Ivy (whispering): Kitty is to be married. She's found love... again. With Christop Crane. You think it an odd
choice, right? You know, he won't sit back in his chair for fear of setting wrinkles on his shirts. But he does have
a gentlemanly way about him. And he does care for my sister, deeply. I think Kitty is blessed.


She pauses, nervous, but continues.


Ivy: I am blessed as well. My older sister is now spoken for. I am now free to receive intrest from anyone... who
might have interest.


She raises her tone at the end, almost like a question, and very hopeful-sounding. Lucius' face is still solemn, but
there is something almost like a smile about his mouth. Children are laughing in the house. She turns and walks to
the door, waving her cane in front of her, and goes inside.


Kitty: I'm going to get you! Oh! I got you! I got you. Can you fetch a blanket for me?


Ivy: Have you seen Noah?


Ivy walks to a closet, and opens it. Inside, Noah is hiding. She does not know that he is there, and he laughs
silently as she takes a blanket and closes the door.


---

Finton Coin is in the watchtower again, wearing his yellow cloak. There is a lamp lit, sitting on the edge of the
hatch. There is a bump, and the lamp wiggles.


Finton: Lucius? Lucius?


He crawls to the hatch and opens it, peering down. There is a flash of red as a creature walks by, spikey needles
sticking out the back. Finton drops the hatch on his head, lets it fall into place, and latches it. He sits
whimpering in pain for a moment, then gets up and rings a warning bell over and over again, a steady clanging.


---

All around the village, people hurry into their homes, exclaiming in fright. Lucius marches steadily through them,
helping people inside, but he his making his way towards one place, the Walker home.


---

Kitty, Ivy, and their four younger sisters are sitting on a sofa in their living room, when they hear the bells. Noah
runs through the door, happy and excited, clapping and waving his arms.


Noah: They're coming. They're coming!


Kitty: Close the door. Noah, close the door, okay? Close the door.


Kitty bustles around, putting the edge of the door in Noah's hands, and getting her littlest sisters down into the
celler, where they can lock the hatch and keep safe from the creatures. She does a good job of maintaining a calm
demeanor. Noah keeps clapping and shouting.


Kitty: Noah, come on inside!


Noah: Come on inside!


---

Outside, the last villagers are getting into their homes, shouting. Lucius helps a woman bolt her shutters, then
quickly dashes around the corner as a creature comes up to the door. The creature wears a red, hooded robe with wide
sleeves, almost monk-like. There are brown spines growing in a bunch out of a hump on its back. It has long claws.
The face is a snout sticking out of the hood. It makes a strange growling noise, almost a vooooomph. It scratches
the door.


---

Ivy stands at the front door of her house, waiting.


Noah: They're coming. Come on in!


Kitty: Let's close the door.


Kitty manages to get everyone except Ivy inside the celler.


Ivy: Lucius is outside, walking.


Noah: They're coming!


Kitty is getting desperate. The longer the door is open, the more danger they are in.


Kitty: He's inside safe somewhere! Please, close the door!


Ivy is shaking, badly frightened, but determined and sure that Lucius will come to her.


Ivy: He'll come back to make sure we're safe.


Kitty: Ivy! Ivy, please.


Ivy turns back to the door and slowly raises her arm, her hand outstretched, waiting. There is a scratching and
growling at the side of the house.


Kitty (whispering): Please.


Ivy (trembling): No.


Kitty (whispering): Don't let them in.


Ivy stands, shaking, tears in her eyes, waiting for Lucius. A creature comes up from the side, growling. Just as the
creature reaches for Ivy's hand, it is firmly clasped in Lucius's, as they dash into the house. Everything slows down
as they bolt the door, hands clasped, and run into the celler. Noah continues to invite the creatures in. This is a
game to him. The girls are all in various states of crying and silent prayer. There is a thumping, and the creatures
enter the house, growling. Ivy looks down to see her hand clasped in Lucius's. He hasn't let go.


---

In every home in the village, families tremble in their cellers, fearing the inevitible bump-thump, and growl, as the
creatures enter their homes. They cover their ears and lower their heads, praying, waiting.


---

The next morning, the breeze is high, blowing autumn leaves off the trees. There are red slashes on the doors of every
building in the village. In the meeting house, Edward is talking, as we look at the red slashes everywhere.


Edward (off-screen): By the markings we find this morning on our homes... I feel they were warning us. They acted as
if threatened.


August (off-screen): Creatures have never attacked us without reason. Does anyone here know of a reason why these
events may have occured?


A woman approaches the elders, who sit in a line at the front of the meeting house. She hands a note to Vivian Percy,
Noah's mother.


Vivian: Who has written this note?


No one answers. She stands, clears her throat, and reads it aloud.


Vivian: Please read so that all may hear. I have brought this burden upon us. On the day before last, I crossed
the forbidden line into Covington Woods...


The villagers gasp aloud, and murmur.


Vivian: ... and was witnessed there by Those We Don't Speak Of. I am deeply sorry. I have shamed myself and my
family. I pray that my actions will cause no further pains. With deepest sorrow...... Lucius Hunt.


She sits. The crowd murmurs. The elders take each others hands. Everyone turns to look at Lucius in the back, as
Edward walks back to talk to him. Many stand up. Noah follows Edward, giggling, and has to be led back by one of
the men. Edward walks right up to Lucius, who has tears in his eyes, and does not raise them from the floor.


Edward (kindly): Do not fret.


Edward crouches, and Lucius slowly looks into his eyes.


Edward: You are fearless in a way that I shall never know. Lucius shakes badly, but manages the tiny beginnings of
a smile.


---

Outside, tables are set up for a banquet. It is Kitty's wedding day. She sits next to her father, wearing a filmy
white gown and veil, holding his hand. Her husband-to-be is next to her, followed by Ivy, and Noah. At least
ninety-five people live in this village, probably more, and all have turned out for the wedding.


Edward: We are grateful... for the time we have been given.


There are quiet cheers, and the crowd begins to talk and pass food around.


---

Two young men in yellow cloaks, their hoods drawn about their faces, bear a litter between them. On this litter,
covered by a yellow flowered cloth and white and yellow daisies, is a large hunk of lamb, almost half of one of the
animals. They set their burden down, uncover it, lift it, and toss it onto a rock at the edge of the forest,
something like a sacrificial offering. They leave the litter, turn and go.


---

Ivy sits on the ground in a pink dress so pale it looks almost white. Next to her is Mrs. clack, wearing a creamy dress,
almost yellow, and a knitted shawl around her shoulders. Both have flowers in their hair. Mrs. Clack smokes a pipe.


Mrs. Clack: I had an elder sister.


Ivy (surprised): Mrs. Clack, you've been keeping secrets!


Both chuckle a bit.


Mrs. Clack: Oh, Kitty reminds me of her, so!


Ivy: What manner of person was she?


Mrs. Clack: Saucy. And we fought endlessly.


Ivy nods. They both laugh.


Ivy: May I ask her name?


There is a pause. Mrs. Clack does not answer.


Ivy (serious): Why did she not come to Covington Woods?


Mrs. Clack: My sister did not live past her twenty-third birthday. A group of men took her life in an alley by our
home.


They are both sad, but August Nicholson comes out of the greenhouse and asks everyone to follow him inside.


It has been prepared as a place to have a party, to sing and dance and eat. There is music playing. Ivy approaches her
sister shakily. She seems to want to be on better footing with her, lest she die as young as Mrs. Clack's sister.
She hugs her tightly. Both have tears in their eyes. Christop backs away a bit. Kitty has deep bags under her eyes.
It appears she has not slept much recently.


Christop: She's not going to squeeze my shirt like that, is she?


Kitty looks at him with reproach, and then both smile, to put on a good face for their neighbors.


---

A line of people have formed to congratulate Edward and Tabitha. Victor leaves the line, and Alice Hunt enters it,
facing Edward.


Alice: Many blessings on this most joyous of days.


Edward: It was a rare and lovely ceremony, was it not?


Alice: Glorious. I saw your hand move to your eyes on more than one occasion.


Edward (sheepish): It must have been dust of some matter.


She holds out her hand, but he does not take it. She balls it into a fist, smiles, and moves on. When she turns back,
Edward is clasping Mrs. Percy's hand and arm and talking with her. She gives a startled smile, but seems pleased.


---

The young people, and some of the older ones, are dancing in rings around each other. Kitty grabs Ivy and pulls her
in to dance, weaving her in and out. Everyone is laughing and enjoying themselves. A more complicated dance begins,
with several circles of people, and people ducking in and out. A woman plays a complicated tune on the piano. Ivy,
with her sensitive hearing, hears what others cannot: Two children screaming for Mr. Walker outside. Eventually the
rest of the villagers hear it, too. Ivy holds out her arm and makes her way for the end of the greenhouse. Everything
is in confusion, but Lucius's arm reaches up and he grabs Ivy's hand, leading her the rest of the way. Everyone
gathers around Mr. Walker, and two young boys, about seven and nine years old.


Edward (gravely; gently): Speak up.


Older boy: They're in the village. They left more warnings.


There is shock all around.


Younger boy: They wish us to leave.


Edward (despairing): That cannot be.


Older boy: One saw us. It ran off into the darkness.


Edward: You are certain?


They nod.


Edward: Can you boys stay close to Ivy, here? She'll tell you some funny stories and have you laughing soon.


Ivy reaches out her hands to the boys, smiling reassuringly, but as soon as they have turned to face Mr. Walker, her
face becomes serious, and she clutches them in her arms.


Edward: We will go together.


---

They set out in a double line, some carrying lanterns. As they reach the houses, people branch off to enter their
homes. They slow down. On the ground are many, many animal corpses, skinned and broken like the first. Some are
strung up in doorways. It is horrific. Christop ushers his new wife away from them, breaking their terrible,
hypnotic spell.


---

Edward and Alice stand outside the barn. Alice is what we would call "freaked out." Edward is calmer, but still
concerned.


Alice (whispering): Livestock has been taken, and skinned. The hides and feathers are missing. There are marks on
the door where it was opened. The marks are high. Coyotes cannot reach that height.


Edward holds up his hand where the marks are on the barn door. They are man-height. Only a creature could have
done this.


---

Two men stand guard at each watchtower. The party decorations are dangling askew. The candle-lanterns are still lit.


---

In the middle of the night, Ivy lays in bed with her eyes open. She is unused to sleeping in Kitty's bed. Suddenly
she sits up in bed, gasping. She walks out on the porch, using memory and touch to guide her to where Lucius is
sitting. She sits down next to him. They are perhaps four inches apart. They speak in low voices, so as not to
wake Ivy's family.


Ivy: The elders are going to have an inquiry tomorrow. Each member of the village is to be questioned in the meeting
hall.


Lucius: To see how the border was breached?


Ivy: Yes.


There is a pause.


Lucius. It is cold outside. You ought to go in.


Ivy: Why are you on this porch?


Lucius: It is not safe.


Ivy: There are other porches. Do you find me too much of a tomboy? I do long to do boy things. Like that game the
boys play at the stump. They put their backs to the woods, and see how long they can wait before getting scared.
That's so exciting. I understand you hold the record. It will never be broken, they say.


Lucius: It's just children's games.


Ivy: How is it you are brave when all the rest of us shake in our boots?


Lucius: I do not worry about what will happen, only what needs to be done. How did you know I was here?


Ivy: I saw you out the window.


Lucius is stunned. He looks at her strangely.


Ivy: No... I won't tell you your color. Stop asking.


She pauses, and then ventures something VERY daring, never betraying how much she is risking by what she says.


Ivy: When we are married, will you dance with me? I find dancing very agreeable.


Lucius is stunned again. Ivy has just proposed marriage to him, or rather, she has stated that it is inevitable. He is
shocked into honesty.


Ivy: Why can you not say what is in your head?


Lucius: Why can you not stop saying what is in yours? Why must you lead, when I want to lead? If I want to dance, I
will ask you to dance. If I want to speak, I will open my mouth and speak. Everyone is forever plaguing me to speak
further. Why? What... good is it to tell you you are in my every thought from the time I wake? What good can come
from my saying I-- I sometimes cannot think clearly, or- or do my work properly? What gain can rise from my telling
you... the only time I feel fear as others do, is when I think of you in harm? That is why I am on this porch, Ivy
Walker. I fear for your safety above all others. And yes... I will dance with you on our wedding night.


He has been shaking and she has been calm, but now she starts to shake and tears fall from her cheeks. He takes her
face in his hand, and they gently kiss.


---

Beatrice (off-screen): I had been to the storage shed twice to fetch food prior to the wedding ceremony.


Alice (off-screen): And the livestock was untouched at that time?


Beatrice (off-screen): Yes, Mrs. Hunt. All was as it should be.


Beatrice stands inside the meeting house, facing the elders. She is young and pretty.


Alice: Thank you, Beatrice.


Beatrice looks like she wants to say more, but she turns and starts to walk away. Then she turns back.


Beatrice: I beg your pardon. Is it true... about Lucius and Ivy? There are whispers all over the village.


Alice leans out to look at her and smiles.


Alice: We were informed early this morning of their intentions.


Beatrice: It is amazing to witness which two people love chooses to unite. It follows no rules.


This touches Alice deeply.


---

At the Walker home, Ivy, and the newly-married Kitty, sit on the bed that used to be Kitty's. Ivy seems somewhat
nervous. She knows that Kitty is not over her love of Lucius.


Ivy: Kitty... I wanted to speak with you first. I would not want you to feel pain, in any fashion. You are my
cherished one. If you were to feel badly about Lucius, I would not have it. One love to sacrifice another love is
not right.


Kitty: There is nothing you could do that would sacrifice my love for you. You are my cherished one as well. God
bless you and your life together.


It is obviously hard for her to say this, and she seems like she doesn't entirely believe her own words. She takes
Ivy's hand and wipes the tears from her face.


---

There is a knock on the door of Lucius's workshop. Lucius is reading a letter as he unlatches the door. Noah stands
outside on a lower step. His eyes are bright red from crying, and he is crying still. His hair is tangled and he is
unkempt. Something has upset him greatly. This startles Lucius, who immediately thinks of his Ivy.


Lucius: What's happened?


Noah steps inside. He tries to say something, but his mouth won't make the words.


Lucius: Is this about Ivy and myself?


He turns and walks to his desk, and starts to speak.


Lucius: I know you are very fond of her. And I know she is fond of you. There are different types of love.


As he turns toward Noah, he stops, startled, and looks down. Noah's hand is clutched against Lucius's belly. He
pulls a bloody knife out of Lucius's belly.


Noah: Ohhhh....


Lucius falls to the floor, groaning for God and for Ivy. Noah can't seem to make up his mind about what to do. He
puts down the knife, then takes it up again and stabs Lucius several more times.


---

Mr. and Mrs. Percy are getting ready for a meeting. There is a thump as Noah sits down on the porch.


Vivian: Noah? You'll be late for the meeting hall. Would you like your father to walk you there? Noah?


They exit and look at him. He looks normal, until they come closer and he turns from his seat in the rocking chair,
and they see blood all over his hands and clothes.


Noah: Oh, the bad... the bad color. Oh. Bad color. Bad color! Bad color!


He drools and taps at himself, distraught.


Noah: Mama!


---

A man bursts into te inquiries at the meeting hall and strides toward the elders.


Man: I beg your pardon.


Edward: What is it?


Man: There's been an accident.


---

Ivy and Kitty are smiling and chuckling as they leave the Walker home. They pause when they see two young women
dashing up to them. One gasps for breath as she speaks to them.


Girl: Noah Percy was found with quarts of blood upon his clothes and hands. The blood was not his own and he will
not speak as to whose it is.


Kitty: God in heaven!


Ivy runs off.


Kitty: Ivy!


---

The villagers run about, checking into each others homes, asking if anyone is injured. Ivy has her cane. Her shawl
slips from her shoulders, her heart beats in her ears, as she whispers the numbers of the steps to Lucius's workshop.
She reaches the steps, drops her cane, and scrambles up the steps and in the door. She knocks. No answer.


Ivy: Lucius? Lucius Hunt?! (stern) You answer me right this moment!


She runs into something soft, and crouches down. She begins to shake as she feels him there. A man runs up the steps
and sees her. He shouts for Mr. Walker, who runs inside the workshop. Ivy clutches at Lucius, running her hands
through his hair frantically, eyes wide.


Ivy: Papa... I cannot see his color.


Edward: Ivy. Come away. COme away.


She shrieks as he drags her gently off of Lucius and hands her to another man.


Edward: Take her!!! Take her!!!


---

Mrs. Clack stands in front of the medical building, her shawl clutched around her shoulders. Many of the villagers
stand there, waiting for news of Lucius.


Mrs. Clack: He has suffered a great deal. He may pass at any time. Please give him all your prayers and good
thoughts. He will hear them.


Ivy stands off to one side, blood smeared across the front of her blouse, her face expressionless. Many of the vilagers
look at her, and give her her distance. She sways back and forth on her cane. She begins to shake.


---

Inside the quiet room, Noah sits in his long underwear and trousers. The bloody clothes have been taken from him for
cleaning. The door unlocks. Mr. Percy lets a stern-faced Ivy inside. She hands her cane to him, and walks straight
forward to Noah, grasping him so she knows where he is. Then she slaps him, again and again and again. Mr. Percy
grabs her and leads her out of the quiet room. Noah begins to shriek in rage and confusion. Ivy has told him not
to hit, and yet here she is, hitting him. Mr. Percy shuts and locks the door from the outside, and Noah shouts and
bangs about.


---

Ivy sits in her living room facing her father, shaky but firm, as usual.


Ivy: I am in love.


Edward: I know.


Ivy: He is in love with me.


Edward: I know.


Ivy: If he dies... all that is life to me will die with him. I ask permission... to travel through Covington Woods...
and go to the towns... to retrieve medicines... that may save... Lucius Hunt. You are my father. I will listen to
you in all things. I will trust your decision.


---

Outside the medical building, Victor is speaking with Edward and Tabitha.


Victor (off-screen): I've done what I can to close the wounds. There's an infection.


Edward: What can be done to mend him?


Victor: We can only pray.


Edward: If there were no limitations, what could be done?


Victor: Hmmm? What are you asking me?


Edward: Is there anything at all that can be done to mend the boy? Please, Victor, would you be so kind as to answer
my question.


Victor is stunned. He says nothing for a moment.


Victor: If the infection is contained, he may still survive.


---

Tabitha takes Edward out behind the gardens of winter vegetables.


Tabitha: I must speak up. You have a restless spirit. I know the thing that is in your head. You're thinking of
going to the towns. Tell me I'm wrong. You have made an oath, Edward, as all have, never to go back. It is a
painful bargain, but no good can come without sacrifice. These are your words I'm saying. You cannot break the oath.
It is sacred.


Edward: It is a crime, what has happened to Lucius.


Tabitha: YOU have taken the oath, you and the rest of the elders, are you listening to me? YOU.... have taken the oath.


All at once, her peculiar emphasis of the word "you" hits him, and he almost smiles. She looks relieved that he has
gotten the message. They both cry, and hug.


---

Edward approaches Ivy, who sits in a rocking chair on their front porch. She has a shawl around her shoulders, for
the day is chill.


Edward: The moment I heard my daughter's vision had finally failed her, and that she would forever be blind, I was
sitting in that very chair. I was so ashamed.


---

Edward and Ivy walk along the edge of a pasture, toward the very edge of the village.


Edward: What do you know about your grandfather?


Ivy is unsure, but she answers as best she can.


Ivy: He was the wealthiest man in the towns?


Edward: That he was, he had a gift for that. If he was given one dollar, in less than a fortnight, he would have
turned it into five. You do not know of money. It is not part of our life here. Money can be a wicked thing. It
can turn men's hearts black. Good men's hearts. My father could not see this, for all his gifts. He was a poor
judge of a man's character. Your grandfather WAS a good man, Ivy. He had a laugh that could be heard three houses
away. He used to hold my hand as I hold yours. He taught me strength, and showed me love, and told me to lead when
others would only follow. Your grandfather, James Walker, died in his sleep. A man put a gun to his head and shot
him while he dreamed. I tell you this so you will understand some of the reasons for my actions, and the actions of
others. You are a strong one, Ivy. You lead when others would only follow. You see light, when there is only
darkness. I trust you. I trust you among all others.


Ivy: Thank you, father.


They stop walking. Ivy has tears on her face. Edward holds her by her shoulders.


Edward: Ivy, do you know where you are?


Ivy (uncomfortable): At the old shed that is not to be used.


Edward smiles at his daughter's sense of direction and goes to open the padlock on the door.


Edward: Yeah. Ivy.


Ivy: Yes, Father?


Edward: Do your very best not to scream.


Ivy: What?


Ivy is full of trepidation. That sounded very ominous, especially coming from her father.


---

In the Walker home, Ivy is shoving her yellow safe cloak into a large sack, along with various other items, including a
gold pocket watch. She wears a pretty blue gingham dress. Her hair is disheveled. Edward paces outside her room.


---

In the medical building, Edward guards the door as Ivy says goodbye to Lucius.


Ivy: I am leaving, to fetch you medicines.


---

The elders are gathered behind a building in town. August is the last to join them.


August: I had a difficult time getting away. What is it?


Edward takes a moment, and he sighs before he speaks.


Edward: Ivy... has asked... to go to the towns... for medicines.


The elders are shocked.


---

Ivy sits on resting rock in her safe cloak, waiting. There are footsteps as two young men approach her, one bearing a
bundle and a torch, and both wearing safe cloaks. She stands to meet them, holding her cane.


---

Ivy, Christop, and Finton approach the edge of the woods. Ivy holds up a small sack bulging with rocks, and then sets
her head, and leads the two men into the woods, swinging her cane back and forth to guide her. They follow with
trepidation, not at all comfortable with being in the woods. Finton grabs her shoulder to stop her.


Finton: Christop.


She turns. Christop has stopped, and is not moving further. Ivy wants him to stay, and not to be afraid, but she is
shaking badly herself.


Ivy: Christop... you needent be scared. We have the magic rocks. They will keep us safe.


Christop: Why have we not heard of these rocks before?


Finton: Christop, please, do not leave us.


Ivy: There is nothing to fear.


Christop: Then why do you wear the cloak of the safe color?


Ivy: We will light torches. It will be safe.


Christop: It is forbidden.


Finton: Christop...


Christop turns and leaves.


---

Ivy and Finton stretch a tarp between some trees. It is raining hard. They sit underneath the tarp, waiting for
the rain to stop. There are noises from around them in the woods. The rain freezes on the branches. The forest
is bare.


Finton: Ivy... There's something in these woods. It turns my stomach to rot.



He takes her hand and puts it on the bag of magic rocks.


Finton: You will be safe. They will not harm you, because you cannot see. They will take pity on you, the way they
took pity on Noah, when... when he ventured into the woods. They will kill me, Ivy. I cannot stay. You're better
in these woods than most boys. Anyone would say so.


Ivy: It is MY burden, Finton. You may go.


Finton: Come with me?


It is obvious now that he finds Ivy attractive. She says nothing, so he turns and slowly leaves. The rain has
stopped. When he is gone, she turns the bag over and dumps the rocks on the ground.


---

Edward (off-screen; a memory): Do your very best not to scream.


A door opens, and Edward leads Ivy into the old shed.


Ivy: There is an odd smell.


Edward: It is ahead of you.


Ivy: What is it?


Edward: I cannot explain in words. It is just a few steps.


She steps carefully forward with her hand out, and touches something, long and spiky. She brings her fingers down to
the bottom. It is part of one of the creatures. She gasps loudly and steps back. Edward holds her.


Ivy: Those We Don't Speak Of!


Edward: Do not be frightened. It is only... farce. Do not be frightened.


She slowly begins to calm. There are three "creatures" hanging from the ceiling of the shed. They have boar-like
masks inside their robes, and clawed hands. They are costumes.


---

Edward and Ivy sit outside the shed, leaning against its stone wall. Edward is trying to explain to her, in terms she
will understand, why things are as they are.


Edward: There did exist rumors of creatures in these woods. It is one of the history books I used to teach in the
towns.


Ivy: The screams? From the woods?


Edward: We created those sounds.


Ivy: The Ceremony of Meat?


Edward: We remove it ourselves. An elder is always assigned.


Ivy is beginning to get angry.


Ivy: The drills... they are farce, too?


Edward: We did not want anyone to go to the towns, Ivy.


Ivy: What about the animals.... the skinned ones? Are the elders responsible for that, too?


Edward: I BELIEVE ONE of the elders is responsible. It will not happen again. There is no one in this village who
has not lost someone irreplaceable, who has nt felt loss so deeply that they questioned the very merit of living at all.


This strikes a chord with Ivy; it is exactly what she is going through.


Edward: It is a darkness I wished... you would never know.


He is distraught.


Edward: Forgive us our silly lies, Ivy. They were not meant to harm.


Edward holds her. She seems to come to a decision.


Ivy: I am... sad for you, Papa. For all the elders.


Edward places a gold pocket-watch into her hands, and hands her a folded sheet of paper. He speaks urgently to her.
There are tears in her eyes, and they spill down her cheeks as he speaks to her of what she must do.


Edward: On this paper has been written a tool of medicine. It is common in the towns. You will go... with two
escorts. Follow the sounds of a stream. A half-day's journey will bring you to a hidden road. At this hidden road,
the two escorts will wait as you continue. You alone will follow the road... and leave Covington Woods. You are to
tell no one in the towns where we are... and return with haste. I cannot come with you. You gave your heart to
this boy. He is in need. Are you ready to take this burden, which by right, is yours and yours alone?


---

Edward approaches the home of Alice Hunt. She is boiling strips of cloth to use as bandages. He comes in. She looks
at him.


Alice: I am making fresh clothes for Lucius. He needs them.


Edward: Alice, I've sent for help.


Alice turns to him, hopeful.


Edward: I've sent Ivy to the towns.


Alice: You cannot...


Edward: It is all that I can give you. It is all that I can give you.


Alice: I accept.


He has stepped closer to her. She makes to kiss him, but he turns his face. She makes to put her head on his shoulder,
but he leaves. He understands the feeling that exists between them, but at the same time, without words, he is telling
her that the feeling cannot be given voice or motion.


---

Back with the elders behind the building. They are still in shock from this news.


Mrs. Clack: What have you done?


Edward: He is the victim of a crime.


Mrs. Clack: We have agreed NEVER to go back, NEVER.


Edward: What was the purpose of our leaving? Let us not forget it was out of hope of something good and right.


Robert Percy: You should not have made this decision without us. You have gone too far.


Edward: I'm guilty, Robert! I made a decion of the heart! I cannot look into another's eyes and see the same look I
see in August's without justification! It is too painful, I cannot bear it!


Mrs. Clack: You have jeopardized everything we've made.


Edward (reproachful): Who do you think will continue this place, this life? Do you plan to live forever? It is in
them that our future lies! It is in Ivy and Lucius that this... this way of life will continue. Yes, I have risked. I
hope I am always able to risk everything for the just and right cause! If we did not make this decision, we could never
again call ourselves innocent. And that, in the end, is what we have protected here! Innocence! That, I'm not ready
to give up.


August: Let her go. If it ends, it ends. We can move towards hope, it's what's beautiful about this place. We must
not run from heartache. You know, my brother was slain in the towns. The rest of my family died here. Heartache is
a part of life. We know that now. Ivy's running toward hope, let her run. If this place is worthy, she'll be
successful in her quest.


Mrs. Clack: How could you have sent HER? She's blind.


Edward: She's more capable than most in this village... and she is led by love. The world moves for love. It kneels
before it in awe.


---

Ivy sits under the tarp in the dark, her hands over her ears. Shakily, she sings the lullabye she sang to Kitty after
Lucius refused her marriage proposal. All around her, the forest is creaking and groaning.


Ivy: ... all the world to see. Time look about and know. How the shadows come and go. How the breeze stirs the
trees. How the blossoms grow. Sleep, baby, sleep. Sleep gently sleep...


---

Daylight. Ivy walks through the now-muddy forest, swinging her cane back and forth, her cloak smeared brown at the
bottom, and smudges all over. She walks forward to a ledge, and feeling no way beyond it, she turns to go back. The
ground gives way. She shrieks, but manages to hold the edge. The mud is too slippery to hold it for long. She slips
further into the hole, but she has caught her hands in some roots. She whimpers, but manages to swing her bundle and
cane up onto solid ground, and then she hauls herself, grunting, out of the hole. It is very deep. She is covered
in mud. Gasping, she makes her way around the hole, to a strange stumps sticking out of the ground. The mud is all
over her cloak.


Edward (off-screen): There did exist rumors of creatures in these woods. It is in one of the history books I used
to teach in the towns.


Grunting, crying, she tries to wipe the mud from her cloak and arms, but it is everywhere. She cannot get it off.


---

Later in the day, she has let her cloak dry, and much of the mud has caked and fallen off, though there is still some.
She swings her cane back and forth, checking for obstacles. There is a crack. She taps her cane again. It is
broken. She pulls it apart and drops it. There is a rustling from the woods around her. She searches with her hands
for a rock, and tosses it in the direction of the sound. The rustling comes from another direction now, louder and
louder. She stumbles off in a random direction, panting and whimpering, whacking branches away from her face, but
the sound is getting closer. She s crying now. She stops in a small clearing. There are red berries all around her,
and bits of snow on the ground. She cannot see them. There is a growl. She turns slowly around. One of the
creatures stands just at the edge of the clearing.


Ivy: It is not real. It is not real.


She backs up and reaches a tree, and edges her way around it, facing away from the creature. She listens around the
edge she came from. The creature is close, only three or four feet away. She starts walking away, as quietly as she
can, hoping the creature hasn't spotted her. She gets some distance away, and then there's a crack and a roar. It
HAS spotted her. She stares for some moments in the direction of the creature. Neither move. Then it lunges for
her, charging. She screams. It slashes at her, knocking her down, but not doing any damage. It pauses, then turns.
She has stood up. It roars again, and chases her.


She keeps running, but she is losing strength. She slows to a fast walk, not hearing the creature around her.
Suddenly she bumps into something. It is the stump she felt before, when she crawled out of the hole. She feels it
to be sure, then gets an idea. She drops her pack, puts her hood up, and stands just by the edge of the hole with
her arms up. The creature comes charging at her, roaring. She jumps out of the way just in time. It falls into the
hole without a sound.


---

At the quiet room, Noah's parents have brought him lunch on a tray.


Vivian: Noah?


She drops the tray in shock and puts her hands to her face.


Vivan: Oh my God, what is this?


Robert: What is this?


Vivian: Where is HE?


The floor of the quiet room has been pried up in one specific spot. There are feathers underneath, and animal bones,
and skins. There is a bloody piece of a safe-cloak.


Robert: He found one of the suits we kept under the floorboards.


Vivian: Oh, no. Oh, God. The animals!


At the window, the mesh screen and wooden shutters have been pried off. Noah has escaped.


---

In the hole in the ground, Noah lays whimpering in a creature-suit, modified with feathers, skins, and bones
everywhere. He is bleeding, badly injured. He whimpers and groans and cries, and finally, with the side of his face
twitching, he dies.


---

Ivy strides up to the edge of the hole, with a sturdy, pointed stick in her hands. She holds it threateningly, but
there are no sounds from the hole. She lowers it.


---

The elders gather around Lucius in the sick-room. He is pale, and his skin is mottled. His mouth hangs open with his
breathing.


Edward: His will to live is very strong.


---

Ivy strides through the forest, using the stick as a cane, tapping it against trees and ground. Suddenly the texture
changes. There are rocks underfoot. She goes back and forth to check and be sure, then drops her sack and pulls the
watch and list out of it. She takes off her cloak, and starts jogging down the road, using the stick to check and make
sure she is still on the stone path.


Edward (off-screen; memory): A half day's journey will bring you to a hidden road. You alone will follow the road, and
leave Covington woods. You are to tell no one in the towns where we are, and return with haste.


---

A fire burns in the Walker home. Edward and Tabitha hold hands, standing by the door. They seem to come to a decision.
Tabitha locks the door, and she and Edward walk into another part of the house.


---

Ivy is still jogging down the road, checking every few feet to make sure she is on the right path. She yelps, as she
slams into an ivy-covered obstacle that flexes back and forth. She drops the cane and checks down the sides of this
wall to see if there is another point to get up it from. There isn't. She steadies herself, and grunts as she jumps
onto the wall and climbs up.


---

Edward sets the locked black box down on a table, takes a key from his pocket, and opens it, reverently. He takes a
bundle of some kind out and hands it to Tabitha, and then a piece of a newspaper that reads, 'Billionaire Walker Shot
to Death.'


Mrs. Clack (voice-over): My sister did not live past her 23rd birthday. A group of men raped and killed her. They
stuffed her in a dumpster, three blocks rom our apartment.


Now we see some of the contents of the box. There are books, papers, oil certificates, and photographs. Edward pulls
one particular photograph out, and holds it up to look at it.


August: My brother worked in an emergency room downtown. A drug addict came in with a wound to his ribs. My brother
tried to dress the wound. He pulled a gun from his jacket, then he shot my brother through his left eye.


We see the photo now. It is a shot of most of the elders, and the year appears to be 1980, maybe a little earlier.
Alice Hunt is there, holding baby Lucius in her arms. Edward and Tabitha are there, Tabitha pregnant with Kitty.
Mrs. Clack and Victor stand in the background, shyly. Robert and Vivian Percy are there. Little Noah is not with them,
though he probably is older than Lucius. And August Nicholson and his wife stand off to the side.


Alice: My husband, Michael, left for the supermarket at a quarter past nine in the morning. He was found with no
money and no clothes, in the East River, three days later.


Edward: My father was shot by a business partner, who then hanged himself in my father's closet. They had argued
over money. I am a professor. I teach American History at the University of Pennsylvania. I have an idea that I
would like to talk to you about.


---

There is a siren. We see a view from the inside of a vehicle. Ivy has just managed the climb to to top of the wall,
and has dropped down on the other side. The driver of the vehicle talks through a walkie-talkie.


Driver: Mile 27. There's a girl. I'm gonna check it out.


He drives up to her, whooping his siren a few times. She looks about in confusion. The side of the truck reads
Walker Wildlife Preserve. The driver gets out and approaches, her, tidying his brown uniform. He looks about
twenty-two or twenty-three. We only see him.


Driver (stern): You're not allowed to go in there. Please return to your vehicle.


Ivy (shaky): What was that noise?


Driver (confused): What are you doing out here? How- how'd you get here?


Ivy: Are you from the towns?


Driver: Uh... Where are you from?


Finally, we see Ivy. There is some dirt on the edges of her sleeves and the bottom of her dress. She clasps her
bruised and bleeding hands together in front of her. Her eyes are held low.


Ivy: The woods.


Driver: You came from the woods? In there?


Ivy: Will you help me? I need to find a doctor of medicine. I must find these things, we must make haste.


She takes the list out of the waist of her dress.


Driver: Listen, ma'am. I'm just supposed to...


He trails off. Ivy looks very sad, but she holds the paper out to him in her hands. He sighs and takes it from her,
and looks at it.


Driver (concerned): Is someone hurt?


Ivy (near tears): Please, sir, we must make haste.


Driver: Well you... you live in there?


Ivy: I do, sir.


Walkie-talkie: Breaker.


The driver picks up his radio and brings it to his face, about to check in.


Ivy: What is your name?


Driver: Kevin.


Ivy: Kevin. You have kindness in your voice. I did not expect that.


Kevin pauses a moment, but then he seems to come to a decision. It is the right one.


Kevin: We have guard shacks every ten miles around the perimeter of the preserve. We keep medical supplies in there
in case of animal bites or related injuries.


Ivy is hopeful, almost stunned.


Ivy: You can find the things written on the paper?


Kevin nods, but she does not see it. He may not yet have realized that she is blind.


Kevin: You have to wait here.


Ivy: Please, sir. Please... take this as payment.


She holds out her father's pocket-watch to the young man. He kind of smiles, wary, and looks around.


Kevin: Wait... wait you're not... you're not trickin' me are you?


Ivy: I do not understand.


Kevin: What's your name?


Ivy: Ivy. Ivy Elizabeth Walker.


---

Inside the guard shack, the man on the walkie-talkie sits reading a newspaper. It is full of horrible stories about
murdered chldren, people dying in combat, and serial killers. There are bad stories on the radio, too. Kevin drives
up. The man looks at Kevin as he comes in.


Man: What's with the girl? I tried calling you back on the walkie, you didn't answer.


Kevin: OH, it was just some teenagers. They were lost.


Man: Can I give you some advice? Don't get into conversations. You start talkin', you start gettin' into how some
estate is payin' all of us, and no one's allowed to go in there and disturb the animal sanctuary. People's interest
gets piqued. It's a really easy gig, Kevin. Maintain and protect the border. A few years ago, it got out in the
papers that some government guys had been paid off to keep plane routes from flying over this place. That was a very
stresful time for me. Don't cause me any troubles. Do not get into conversations.


The man goes back to his newspaper. Kevin walks over to the side table and munches on some snacks, all the while
putting the items on Ivy's list in his pocket, including antibiotics. He walks to the door, then as an afterthought,
he turns back to his boss.


Kevin: Hey, Jay, where's the maintenance ladder? I n-need to fix a sign.


Jay: It's in the back.


---

Ivy makes her way back through the forest, using her stick as a guide. She is near the stream she was told to follow.
The forest is quiet now. No creatures live here.


---

There is a beeping from Kevin's jeep. The door is open, and a ladder is propped on the side. The watch is hanging
from his rearview mirror. He sits there, in the middle of the road, stunned.


---

The elders have gathered in the sick room, keeping vigil over his frail body. The villagers dash about outside,
excited. A boy runs up to the door to deliver a message.


Boy: Ivy has returned with medicines from the towns. She was attacked by a creature and killed it.


He dashes off. Vivian begins to sob over her lost son.


Vivian: Noah. Oh, God.


Edward: We will find him. We will give him... a proper burial. We will tell the others... he was killed by the
creatures. Your son has made our stories real. Noah has given us a chance to continue this place. If that is
something... we still wish for.


One by one, the elders stand. Robert stands, too, and then Vivian. There son's sacrifice will not be in vain.


Ivy, cloak gone, makes her way inside, and hands the sack with medicines to August. She is led to Lucius, and takes
his hand, crying.


Ivy: I'm back, Lucius.


She smiles.



---



End credits roll.

unbreakable

october.eighth.ninety-nine
written by
m.night.shyamalan












INT. CLOTHING STORE - AFTERNOON

Women's casual wear department. J.C. Penny.

Legend "1961"

An African-American man carrying two J.C. Penny shopping bags is ushered past the
department store managers and security guards on walkies that have gathered at
the entrance to the woman's dressing rooms.

CUT TO:

INT. DRESSING ROOM - AFTERNOON

A bed has been formed by a chair and three benches.

A STRIKING AFRICAN-AMERICAN WOMAN in her twenties lays across it. Her face and
clothes are covered in sweat. Her skirt is stained.

She holds something wrapped in a soft sweatshirt on her chest. We can't see it,
but WE HEAR THE BABY CRYING.

She's just given birth.

There are three frazzled saleswomen in the dressing room with her. They watch her
with quiet smiles.

A fourth SALESWOMAN arrives ushering in the man with the shopping bags.

SALESWOMAN
This is Mr. Mathison. He's
a doctor.

DR. MATHISON looks over the scene and then directly at the striking woman.

DR. MATHISON
You okay?

The woman nods, "Yes." Sweat trickles down her face. THE BABY'S PIERCING CRIES
ECHO IN THE SMALL ROOM.

SALESWOMAN
An ambulance is on the way.

Dr. Mathison puts down his shopping bags and moves to her. He kneels down and
gestures for the bundle of sweatshirts in her arms.

DR. MATHISON
Is there a name yet?

Beat. The woman smiles for the first time.

WOMAN
Elijah.

She hands him the wrapped child. We can't see the baby, but THE PIERCING CRIES
SEEM TO GET LOUDER.

WOMAN
Is he supposed to be crying
like that?

The doctor lowers the baby to his lap and unwraps him.

The woman can't see her baby anymore. She watches Dr. Mathison as he looks down
and examines her child. Beat. Dr. Mathison doesn't look up for the longest time.

WOMAN
Can I have him back?

THE BABY'S CRYING IS RELENTLESS. UNNERVING. Beat.

The doctor finally glances up. He looks shaken. He makes eye contact with the
woman for only a second. It's enough. A chill goes through her body.

He looks to the three saleswomen who were in the room.

DR. MATHISON
What happened during the
delivery?

His hard stare unsettles the women. The OLDER SALESWOMAN speaks up.

OLDER SALESWOMAN
Nothing. It was very quick.
The baby just wanted to come
right out. There was no
problems.

DR. MATHISON
Did you drop him?

Everyone becomes very still. The mother looks like she stopped breathing. THE
BABY'S SCREAMING ENGULFS THE ROOM.

DR. MATHISON
Did you drop this baby?

Beat.

OLDER SALESWOMAN
Jesus Christ, no.

The BABY SCREAMS.

The doctor whispers something to himself, we can't hear. He looks up to the
saleswoman who brought him in.

DR. MATHISON
Please inform the ambulance
we have a situation...

Dr. Mathison turns back to the mother. Beat.

DR. MATHISON
I've never seen this... It
appears your infant
sustained some fractures
while in your uterus.
(beat)
His arms and legs are
broken.

FADE TO BLACK:

EXT. TRAIN STATION NEW JERSEY - DAY

LEGEND "PRESENT DAY"

A fountain of humanity bubbles up from the escalators to the train platform.

Businessmen take their last desperate drags of their cigarettes... Women
traveling with children herd their luggage and offspring into tight shapes as
they move... College students with backpacks look around dazed at the various
track numbers.

ANNOUNCER(o.s.)
Last call track three,
Amtrak Clocker making it's
final stop at Philadelphia's
thirtieth street station.
First two passenger cars
only. First two cars only.

A face inside the train watches the stream of passengers emerging from the
escalators. DAVID DUNNE, a man in his early forties, rest his temple against the
glass and quietly observes the movement outside.

The train starts to pull out.

CUT TO:

INT. PASSENGER CAR - DAY

David sits with his coat on his lap. He's wearing a tie. He doesn't look very
comfortable in it.

He feels a stare. He looks up to find a girl, six or seven years old, peering at
him from over the seat in front of him. She just gazes at him blankly.

He gives her a small forced smile. She doesn't react. David returns his head to
the window.

His eyes begin to shut with the lulling movement of the train.

WOMAN(o.s.)
You alone?

David looks in the direction of THE VOICE. A WOMAN with dark hair and light blue
eyes stands in the aisle with two bags over her shoulder. She's wearing a tight
white t-shirt and jeans. She's beautiful.

David nods "yes."

The woman starts putting her bags on the shelf above the seats. She stretches to
get them up. Her toned stomach is exposed. She has a silver ring pierced through
her navel.

David has a gold ring on his hand. He fiddles with it. Beat. He gently slips off
his wedding band. It goes into his coat pocket.

The woman takes the seat next to him.

Beat. A LOUD VIOLENT BURST OF SOUND. The passenger car shakes as a passing
train barrels by two feet from David's window. It passes in a few seconds. The
car returns to a QUIET HUM.

David pulls a magazine out from the seat pocket in front of him.

He holds the woman's fashion magazine out.

DAVID
Someone left these. You want
one?

The woman looks over the one being offered and then points to the Sports
Illustrated peeking out of the seat pocket.

David pulls the magazine out and gives it to her.

DAVID
You like sports?

WOMAN
It's my field. I represent
athletes. I'm an agent.

DAVID
What a coincidence? I'm a
male synchronized swimmer
and I'm looking for
representation.

WOMAN(smiling)
Is that right?

DAVID
But I'm afraid of water, so
that's been holding my
career back a little bit.

The woman laughs.

DAVID
You represent someone in
Philadelphia?

WOMAN
I'm meeting a player from
Temple University. He's a
cornerback. You like
football?

Beat.

DAVID
Not really.

WOMAN
This kid is six foot two,
two hundred and forty
pounds. He runs the fifty in
under six seconds. He's
going to be a God.

Beat. David studies the excitement in her eyes.

ANOTHER LOUD VIOLENT BURST OF SOUND. David waits till the opposing train passes.
The woman goes back to her magazine. Beat.

DAVID
I'm David Dunne.

The woman looks up.

WOMAN
Kelly.

She goes back to the magazine.

Beat.

DAVID
How long are you staying in
Philly?

KELLY looks up from her Sports Illustrated. Her striking blue eyes gaze at David.
Beat.

She holds up her hand. Taps the diamond ring on her finger.

KELLY(soft)
I'm married.

DAVID(fake excitement)
Great.

Beat.

KELLY
Sorry.

DAVID(fake confusion)
What are you talking about?

An awkward silence.

DAVID
I think you got the wrong
idea.

The woman stares at David. She looks down. Beat. Closes the magazine.

KELLY
I'm going to find another
seat.

Kelly gets up. She balances herself against a headrest as the train rumbles. She
starts to the back of the car.

David sits alone. He looks like he's drowning, but there's no water.

He feels a stare. He glances up. The little girl spies on him from between the
seats.

David leans towards the window to avoid eye contact. His hand reaches into his
coat and slides out his wedding band. He puts it back on.

His temple touches the glass. The vibration of the train begins to lull his eyes
closed... Beat.

David's head bounces lightly against the window.

The shaking of the glass never allows David's eyes to completely close.

He sits up when he realizes the shaking is getting stronger.

He looks out the window. The scenery blurs as it flies by. Beat.

David turns. Some of the other passengers start to react as they realize the
train is picking up speed.

The normal bumps of the tracks become amplified.

The WORRIED VOICES OF THE TRAVELERS START FILL THE CABIN.

The train goes faster.

AND THEN THE HIGH PITCHED METAL ON METAL SCREECHING STARTS AS THE TRAIN BEGINS TO
TAKE A CURVE.

David's eyes move to the seat in front of him. The little girl is no longer
watching him.

DAVID LOOKS TO THE PASSENGERS ACROSS FROM HIM. He sees the ground slowly drop
away in the windows behind them as THEIR SIDE OF THE TRAIN STARTS TO RISE...

THE PASSENGERS SCREAM AS THE AMTRAK PASSENGER TRAIN BEGINS TO TILT OFF THE
TRACK...

CUT TO:

INT. FAMILY ROOM - AFTERNOON

A boy, age ten, sits on his head on the family couch and watches television
upside down. His floppy brown hair spreads out in a circle in front of his red
face. He changes channels with a remote control.

He moves past the upside down cartoons and the upside down talk shows. He stops
on an upside down picture of a crashed train. Beat.

His knees come forward as he flips over. He tumbles slowly off the couch and onto
the carpet. JEREMY DUNNE gazes at the television screen... A LIVE AERIAL VIEW OF
A TRAIN WRECK SMOULDERING BELOW IS SEEN. Two trains are tangled like snakes.

Jeremy gets up and moves to a small table with a phone. Next to the phone is a
notepad. On it is written...

"Dad - Amtrak 177 - 3:40pm."

Jeremy looks at the television. At the bottom of the screen in red block letters
that move from right to left are words and numbers..."The 3:40 Amtrak 177 has
derailed... Amtrak Emergency number is 1-800-777-4322... The 3:40 Amtrak 177 has
derailed...Amtrak"

Jeremy doesn't take his eyes off the screen. He makes a small desperate noise
that no one hears.

CUT TO:

INT. PHYSICAL THERAPY CENTER - LATE AFTERNOON

An elderly woman can't hold back any longer and SCREAMS. An embarrassed, tortured
helpless scream.

MEGAN DUNNE continues applying pressure to her arm which is being pushed back as
far as it will go.

She counts to three and eases off. She lays her arm back in her lap.

WE ARE IN A PHYSICAL THERAPY CENTER. About a dozen people are on specialized
weight machines.

The elderly woman is seated on an exercise table and breathes slowly.

MEGAN
You okay, Virginia?

Beat. VIRGINIA shakes her head, "No."

MEGAN
I'll put something on the
t.v. Maybe we'll find some
almost naked guys to inspire
you.

Megan reaches up to the t.v. monitor mounted on the wall. She turns it on and
starts flipping channels. She stops on ESPN where a swimming meet is underway.
Men in bikini swimsuits line the edges of the pool.

Virginia starts watching with great interest.

Megan's eyes move to the tiny print moving across the bottom of the screen. Her
face goes still as she reads the train number... 177.

CUT TO:

INT. EMERGENCY ROOM - AFTERNOON

DAVID DUNNE'S EYES SLOWLY OPEN. THE DULL WHITE OF THE OVERHEAD TUBE LIGHTING
BLINDS HIM AT FIRST.

He blinks his vision back. He realizes he's in a bed.

WE HEAR AGITATED VOICES, MOVEMENT.

David looks around. He's in an emergency room. There are a half dozen prep areas
and beds next to him. They're all empty.

DAVID FOLLOWS THE URGENT SOUNDS OF ACTIVITY TO A PREP AREA DIRECTLY ACROSS FROM
HIM.

He can only see glimpses of activity through the drawn curtain. A group of
emergency room personnel are treating a man whose body is twitching violently on
a gurney.

One of the group is a man who glances through the opening in the curtain. He
notices David sitting up from across the room.

THE MAN IN SCRUBS leaves the group and walks over.

MAN IN SCRUBS
How are you feeling?

DAVID
Okay.

He FLASHES A LIGHT in David's eyes.

MAN IN SCRUBS
You are in the emergency
room of the University of
Pennsylvania Hospital. You
were in a serious accident.
(beat)
How's your vision?

DAVID
Fine.

David stares across as the scene with the other patients becomes more frantic and
disturbing.

MAN IN SCRUBS
Where were you sitting on
the train?

DAVID
Against a window.

MAN IN SCRUBS
In the passenger car?

DAVID
Yes. Where are the rest of
the passengers?

MAN IN SCRUBS
Was your family traveling
with you?

DAVID
No.

MAN IN SCRUBS
Did you get up from your
seat?

DAVID
No.

David watches the other patient.

MAN IN SCRUBS
You're certain you were in
the passenger car?

David turns to the man.

DAVID
Yes... Why are you looking
at me like that?

Beat.

MAN IN SCRUBS
Your train derailed... Some
kind of malfunction... It
took a curve way to fast. A
second train collided with
yours after it derailed. The
debris is spread over one
mile. It's unbelievable they
said.
(beat)
They only found two people
alive so far... You and him.

David looks to the other passenger now laying unnaturally still in the desperate
whirlwind of activity around him.

MAN IN SCRUBS
The man's skull was cracked
open and most of his left
side was crushed.

Beat.

MAN IN SCRUBS
And to answer your question,
there are two reasons why
I'm looking at you like
this.

David turns and stares at the man.

MAN IN SCRUBS
One, because it seems, in a
few minutes, you will
officially be the only
survivor of this train
wreck.
(beat)
And two, because you don't
have a scratch on you. You
didn't break one bone.

CUT TO:

INT. EMERGENCY RECEPTION AREA - EVENING

David moves through the depressing milky corridors of the hospital. He opens a
set of double doors.

A room crammed with cameras and photographers explodes with movement.

A CHILD'S VOICE BREAKS THEIR NOISE.

JEREMY
I told you!

Jeremy Dunne pushes forward through the mob of people and cameras. He bursts out
and runs to David. He wraps his arms around David's waist. David just stands
there, aware that the cameras are catching it all. He's overwhelmed.

Hospital staff and a couple police officers push the media back.

Jeremy tugs David to lean down. He does.

JEREMY
They thought everybody on
the train died.

David looks at his son's face. Wipes the tears on his cheek.

JEREMY
I told them they were wrong.

A woman moves to them. David stands up and faces Megan Dunne.

JEREMY
Mom even cried.

David looks at Megan's eyes.

JEREMY
A lot.

Megan looks away.

MEGAN
Not a lot.

They stand there for a moment. David looks shaken. Jeremy takes hold of his hand.

JEREMY
Let's go home.

Megan nods. They move to the exit. The pack of cameras and reporters burst to
life as they leave the building. They jockey for position to get a last glimpse
of David Dunne.

CUT TO:

INT. KITCHEN - NIGHT

David eats a bowl of pasta alone in a modest kitchen. He stares at his hand.
Opens and closes it slowly. Beat.

He rises and puts the bowl away in the sink.

INT. FRONT HALL - NIGHT

David stops just before rising the stairs. He glances into a bedroom at the
bottom of the stairs. The doorway is half open. He makes eye contact with his
wife. Beat.

DAVID
I don't think I got the job
in New York.

MEGAN
What does that mean?

DAVID
I'm still going to New York.
Just not this second.

MEGAN
I don't want to drag this
out too long for Jeremy.

DAVID
I know.

Beat.

DAVID
How about in the meantime,
you don't sleep in the
guestroom anymore?
(beat)
You sleep in our room. I'll
sleep down here.

Beat.

MEGAN
It stopped being our room a
long time ago.
(beat)
You should go up and get
some rest.

Beat. Megan slowly closes the door to the guest bedroom.

CUT TO:

INT. BEDROOM - NIGHT

David looks at his son asleep in his bed.

DAVID
Jeremy, why don't you go
sleep with your mom?

JEREMY(eyes closed)
I want to sleep here
tonight.

DAVID
I think it's be better if I
was alone.

JEREMY(eyes closed)
I won't make any noise.

DAVID
How about your room then? If
you get scared like before,
you can come back in here?

Beat. Jeremy doesn't answer because he's asleep. David rubs his forehead and gets
up. He turns on the t.v., low volume, as he moves into the bathroom.

CUT TO:

INT. BATHROOM - NIGHT

Hot water rushes over David's face as he stands in the shower. His attention is
drawn to the t.v. which is seen through the slightly open bathroom door.

He turns off the water to HEAR.

NEWS ANCHOR(t.v.)
...Derailed approximately
seven and half miles outside
Philadelphia. It came to
rest on its side on the
northbound tracks. It is
train officials belief that
some if not most of the
passengers were still alive
at this time.

NEWS ANCHOR(t.v.)
The momentary peace lasted
only a few seconds. A Boston
bound freight train on the
northbound tracks was
seconds away from passing
train 177 when it derailed.
The impact happened at about
three-fifteen p.m. The first
of the two occupied
passenger cars was severed
in half and sent careening
in two directions. The
second of the passenger cars
was crushed and dragged for
four hundred feet. Six crew
members were on the freight.
One hundred and eighteen
passengers and seven crew
members were on the
passenger train... There is
one reported survivor.
(beat)
Rescue teams will be working
for the next forty-eight
hours removing bodies and
debris.

David steps out of the shower. He sees a glimpse of Jeremy asleep in bed. David
shuts the door. Locks it.

He gets back into the shower and turns the water back on.

He closes his eyes. His face tightens up. He slowly hunches down and takes a seat
on the tiled floor of the shower. Water pours over him. Beat.

His muscular body begins to shake. Then we realize he's crying.

FADE TO BLACK:

EXT. FAIR - DAY

LEGEND "1969"

A hazy afternoon. A fair has come into town. They have set up in the vast parking
lot of the local high school.

A line of women has formed in front of the portable bathrooms.

The striking African American woman we saw giving birth is now standing in line.
She is older and somehow more beautiful.

She stands with a skinny, almost ethereal looking African American boy. The boy
wears a metal brace on his leg. THE EIGHT YEAR OLD ELIJAH holds two oversized
stuffed animals in his arms. He looks back over his shoulder as THE SOUND OF
VOICES YELLING IN EXCITEMENT FILL THE AIR. His eyes dance over the many colorful
rides in the parking lot.

The door opens to one of the portable bathrooms. A woman steps out.

Elijah's mother touches his head and enters the three foot square plastic
bathroom. She turns back and gives him a look.

MOTHER
We'll play the water pistol
game next.

Elijah nods, "Yes" happily.

The mother closes the cubicle door. Elijah is left alone amongst the line of
women. They stare at him blankly. Their eyes moves over his leg brace. Elijah
doesn't like it. He moves away from the line.

A CRESCENDO OF CHEERS RISES IN THE AIR FROM SOMEWHERE IN THE FAIR. Elijah follows
the voices. He carries the stuffed animals through the crowds of people. CLICK.
CLICK. CLICK. His metal brace sounds as he walks.

For a moment, he sees nothing but bodies all around him.

He emerges amongst a huddle of teenagers who wait at a turnstile.

A man in a red and white striped coat takes their tickets and waves them in.

Elijah looks up and sees the sign above the turnstile... "The Hurricane."

He watches the teenagers giggle as they each into a grey cup-like seat. They pull
the metal bars down in front of them.

The man in the red and white stripes leaves the turnstile.

Elijah stares up at the multi-colored sign. Beat. He moves quickly. Ducks under
the turnstile and climbs onto the platform.

Elijah finds and empty circular seat. He slips inside the gray metal compartment
and sits. He pulls down the rusted metal bar in front of him.

He looks around at all the excited faces. His eyes fill with excitement too.

His small hands feel the cold metal of the interior of the compartment. His
expression changes.

Elijah looks to the stuffed animals in his arms. He presses them to check their
softness. He places the stuffed animals on either side of him on the seat. He's
wedged in between them. Feels good.

He reaches out and touches the hard rusted metal bar in front of him. Elijah
looks a little anxious. Beat.

He pulls off his sweater and wraps it around the bar. It goes around twice before
he ties the arms together. He checks its softness.

Elijah looks around the customized cup-like compartment he sits in. He smiles an
eight year old smile of pride.

AND THEN HE HEARS HIS MOTHER'S VOICE.

He searches around and finds her walking in the waves of people. He hears her
calling.

MOTHER
Elijah...

She moves in his direction by chance. She finds herself at the entrance to The
Hurricane ride. She looks up at the sign above the turnstile. Her worried eyes
immediately start searching the young faces in the gray circular compartments.

Her eyes meet Elijah's. He waves. Her face goes very still.

A HUGE ROAR OF MACHINERY as the ride starts up.

Elijah yells to his mother as the platform starts running.

ELIJAH
I won't get hurt momma! I'm
safe!

HIS WORDS GET EATEN UP BY THE CHEERS OF THE TEENAGERS AND THE GRIND OF MACHINERY.

The platform spins. He sees a glimpse of his mother and the red and white striped
man. She's pointing at Elijah.

The platform turns... Elijah sees a flash of the red and white striped man's
angered face as he yells at the frantic woman next to him.

And then the ride speeds up.

The gray circular seats start to spin on their own. The teenagers CHEER.

Elijah's eyes fill with joy as the wind plays against his face.

Suddenly the ride changes directions. The cup-like seats get jerked. Everyone
grabs the metal bars to hold on.

Elijah laughs as he smashes into the stuffed animal on his right. It cushions him
and then falls to the floor of the compartment along with the other stuffed
animal.

Elijah's expression becomes tense as his compartment spins. His hands slide over
the rusted metal bar as the sweater unravels.

Elijah looks around... a sudden panic enters his eyes.

THE BLURRING IMAGE OF HIS MOTHER NOW IN A GROUP OF RED AND WHITE STRIPED MEN.

THE SOUND OF MACHINERY GRINDING IS HEARD as the ride changes directions
suddenly.

Elijah's hands rip away from the bar as he gets thrown to the side of the
compartment. His shoulder and arm takes the brunt of the impact. WE HEAR
SOMETHING CRACK.

TEENAGERS SCREAM IN EXCITEMENT. ELIJAH JOINS THEM WITH SCREAMS OF HIS OWN.

The ride spins its passengers. Elijah's small face looks up at the swirling
clouds in a mixture of agony and terror.

The ride changes directions.

Elijah is thrust forward. He hits the rusted metal bar square against his chest.
WE HEAR MORE CRACKS.

The world spins. Giggles and yells fill the air. Elijah slumps down onto the
floor of the compartment.

And then finally, the grind of the machinery slows and then comes to a gradual
stop.

THE TEENAGERS MOAN.

Elijah is facing directly up at the sky. The clouds now move slowly over him.

WE HEAR COMMOTION. AGITATED VOICES. HIS MOTHER'S DESPERATE VOICE.

MOTHER(o.s.)
His bones... He's not
well...

HER VOICE GETS LOUDER AS SHE MOVES CLOSER TO THE PLATFORM.

MOTHER(o.s.)
Elijah baby...

Then her face appears as she finds the cup-like seat Elijah is in. She begins to
scream.

Elijah lays on the bottom of the compartment. One arm is clutching his chest. The
other is curved horrifically like an "s". His mouth is open. His eyes are
bulging. The last thing we HERE ARE THE SHORT DESPERATE BREATHS of an eight year
old child about to black out from the pain.

FADE TO BLACK:

PRESENT: EXT. CHURCH - AFTERNOON

WE EMERGE FROM BLACK to find news vans and reporters lining the street across
from a church. They have been cordoned off by a handful of police. Mourners are
recorded as they emerge from their cars and enter the church.

David is among the arriving crowd.

MAN(o.s.)
David Dunne!

At hearing his name, David turns back as he walks. He can't tell which reporter
called his name because all of them seem to react. A storm of camera movement as
the group jockeys for the best angle of his troubled face.

David passes a magnetic board as he enters the church. It reads, "Services for
the families and friends of train 177."

CUT TO:

INT. CHURCH - AFTERNOON

A PRIEST stands before a podium.

PRIEST
Sarah Elaston, social worker
at Broad and Locust
Community Center. We pray
for your soul.
(beat)
Kevin Elliott, business man,
father of six. We pray for
your soul.
(beat)
Glen Stevens, researcher in
the area of Leukemia at
Drexel University. We pray
for your soul.

David sits amongst the mourners in the standing room only church. His eyes drift
to a woman two rows ahead of him. She's turned around, looking at him. Her eyes
are red from crying.

David looks away. His eyes stop on an old man far to his left just a few seats
away. Father, mother and daughter stare silently.

David surveys the entire church... Desperate inconsolable eyes question his
existence from every direction.

David has to look down.

PRIEST
...Jennifer Pennyman, third
grade teacher at Jefferson
Elementary.
(beat)
We pray for your soul.

CUT TO:

INT. BACK OF CHURCH - AFTERNOON

David and the priest who conducted the mass are alone in the mass preparation
room. The priest looks in his fifties, eyes tired, blood shot.

DAVID
I used to play football in
college. In my first year as
quarterback, we went on this
winning streak. It just went
on and on. It didn't matter
who we played... I'd always
win.
(beat)
You get superstitious when
something like that happens.
You give things meaning.
Like you wear the same color
socks each game or you
listen to the same B.B. King
song before you leave the
apartment. I wouldn't even
untie the shoelaces on my
cleats. I'd just slip them
on and off so nothing would
change... I gave things
meaning that had no meaning.
(beat)
I'm here to make sure I'm
not making shoelaces into
something they're not again.
(beat)
I was the only person to
survive that accident. The
only one... It feels like it
means something.

Beat.

PRIEST
Are you a religious man,
David?

David nods, "No."

The priest removes the sacred stoll from his around his neck and kisses it before
folding it carefully.

PRIEST
Good. Because I'm going to
talk to you as a man. Not as
a man of the cloth.

DAVID
Okay.

Beat. The priest turns to David.

PRIEST
It was luck.

Beat.

DAVID
What do you mean?

PRIEST
Luck... Random... Without
meaning.

David just sits awkwardly.

PRIEST
Three years ago, my cousin
died on a plane that crashed
on take off at Philadelphia
International airport. Do
you remember that crash?

David nods, "Yes."

PRIEST
I prayed and prayed and
finally found some meaning
in the event. It gave me
peace... And then not quite
a year later, an entire
family from my parish burned
to death in a hotel fire
downtown...
(beat)
Again I prayed. Again I
found meaning.
(beat)
Just two days ago, my nephew
rode with you on that train
back from New York. He was
traveling alone for the
first time.

PRIEST
I'm sorry if I can't react
to your survival with the
appropriate 'It was the hand
of God. It was a miracle.'
kind of answer... I'm fresh
out of those right now.

David is shaken. Beat.

DAVID(soft)
The metal of the watch I was
wearing was crushed like a
sledge hammer hit it.

Beat. The priest's eyes fill with emotion.

PRIEST
My twelve year old nephew's
neck was broken in four
places... What's your point?
You were chosen?
(beat)
I don't think so.

The priest turns and continues putting away artifacts from the mass. Silence
fills the back room.

CUT TO:

INT. CHURCH PARKING LOT - LATE AFTERNOON

No cameras greet his exit. No people anywhere.

David walks across the now empty parking lot. His car is the only one left.

He walks to the driver's side. Pulls out his keys. That's as far as he gets.

His eyes catch sight of the GRAY ENVELOPE tucked under the windshield wiper of
his car.

David moves forward and gently pulls it out. His name is typed on the front. He
turns it over. Two embossed words on the back.

"Limited Edition"

He opens the envelope. One line, handwritten, gazes at him from the gray index
card.

The line reads...

"How many days of your life have you been sick?"

Nothing else is written.

David Dunne looks around the empty parking lot quietly.

CUT TO:

INT. EMPLOYEE LOCKER ROOM - MORNING

A poorly lit changing room. A row of metallic lockers sits against one wall. A
bench splits the room. A brown folding table with Dunkin Donuts boxes and bagels
on it is crammed in the corner. A puke colored concrete floor sets the tone.

David and three other large men are changing out of their street clothes. They
all put on the same yellow short sleeve shirts. The same two words are written on
all their backs...

"Stadium Security"

This ritual goes on without a word.

CUT TO:

INT. MAIN STADIUM CORRIDOR - MORNING

David walks along the massive curved wall around the outer rim of the stadium. As
he passes the different walkways we get glimpses of the enormous and empty
sixty-thousand seat football stadium on the inside.

David stops at a door marked "PERSONNEL".

CUT TO:

INT. PERSONNEL OFFICE - MORNING

David knocks on the door as he steps into the cramped reception room to the
personnel office.

The SECRETARY, an ancient woman with thick flabby arms never stops typing and
never looks up as she talks.

ANCIENT SECRETARY
Yes?

DAVID
Is Noel in?

ANCIENT SECRETARY
No sir he is not.
(beat)
I read about you in the
paper.

DAVID
Oh.

ANCIENT SECRETARY
I was in an accident once
too. A horse almost trampled
me to death.

DAVID
Wow.

ANCIENT SECRETARY
I had to put him down.

Beat.

DAVID
That's a sad story.
(beat)
Do you think you could ask
Noel something for me?

The ancient secretary's right hand immediately picks up a pen and positions it
over a blank pad. Her left hand keeps typing. She never looks up.

ANCIENT SECRETARY
Proceed.

DAVID
Ask if he can check how many
sick days I've taken since
I've worked here?

Beat.

ANCIENT SECRETARY
Is that the entire message?

DAVID
Yes.

CUT TO:

EXT. STADIUM FIELD - AFTERNOON

Rain falls in sheets in the stadium.

David stands at the entrance to a tunnel that empties out onto the field. He
stands in an imposing dark green rain poncho and hood. The poncho almost touches
the ground. The word 'security' on the back has almost faded away. We can barely
see David's face under the hood.

There is a football game in progress on the enormous field. The players seem
unusually small. There is no one in the stands. About four hundred people are on
the sidelines of the field watching the players. A soggy limping banner stretched
behind them declares, "The Pennslvania Elementary School Championships."

David's eyes scan the tiny figures on the field. His eyes come rest on a surge of
activity on the sidelines. Beat.

David steps out into the rain.

CUT TO:

EXT. SIDELINES - AFTERNOON

A handful of red faced fathers are yelling at each other. They're in each other's
rain soaked faces. The scene feels on the verge of physical violence.

David and another security guard jog over. David steps in the middle of the tight
circle. The men stop yelling in the presence of stadium security. Everyone just
stands in the rain glaring at each other. Beat.

DAVID
You know what I think about
to calm down? I think about
those big fat, hundred and
twenty pound turtles that
live in the islands. Those
suckers never get angry,
never get in fights and live
longer than all of us and
all they do all is sit on
the beach and hump other
turtles.
(beat)
Why don't we take a second
and think about the turtles?

Nobody moves. Rain washes over the agitated faces. A father breaks the moment.

FATHER
Yeah Jerry why don't you
think about the fat ass
turtles... Like your fat ass
son on the field
jeopardizing the rest of our
chances at a fucking
championship.

David tenses. Everyone looks to JERRY. A bald man who stands just a foot away.
Jerry nods to himself. Looks like he's going to say something. Instead he lunges
forward and smashes a HEADBUTT to the man who spoke to him.

David tackles Jerry hard and fast. He drives him into the ground.

Blood starts rushing out of the nose of the dazed father who took the headbutt.

The other fathers start yelling and pushing each other. The remaining security
guard calls on his walkie for assistance.

David keeps Jerry immobilized in a powerful arm and head lock that holds the
man's enraged face hard into the wet surface of the field.

David's eyes are not on Jerry. They gaze out onto the field where twenty two
elementary school boys have stopped playing and are standing frozen, helmets off,
rain washing over their faces. They watch in horror as their parents attack each
other on the sidelines.

CUT TO:

INT. EMPLOYEE LOCKER ROOM - LATE AFTERNOON

David is the last one left. He's showered and back in his street clothes. He sits
in the dimly lit room on the bench, lost in his thoughts when the door opens.

He turns to find a somewhat pregnant looking man with a tie step in. This is
NOEL.

DAVID
Hey Noel.

Beat. He just stares.

NOEL
Forty dollars.

David turns on the bench.

DAVID
What?

NOEL
You're getting a forty
dollar raise per week...
that's it.

Silence.

NOEL
I checked. You were right.
You've never taken a sick
day.
(beat)
Five years, no sick days. I
get it. You want a raise.
You made your point.

The room is still. Beat.

NOEL
All right fifty dollars and
that's the god damn limit.
(beat)
Are we done here?

Beat. David nods, "Yes."

CUT TO:

INT. BEDROOM - NIGHT

LIGHTS OUT.

David is wide awake in his bed. He glances over. Jeremy is in deep sleep next to
him.

CUT TO:

INT. GUEST ROOM - NIGHT

David knocks again quietly. The guest bedroom door opens.

Megan looks up at David. She's just woken up.

MEGAN(low voice)
Is Jeremy okay?

DAVID(low voice)
He's asleep.

MEGAN(low voice)
Oh.

Beat. They both stand awkwardly for a moment.

DAVID(low voice)
I wanted to ask you a
question. It'll sound
strange, but just think
about it for a second.

Megan nods, "Yes."

DAVID(low voice)
When's the last time I was
sick? You remember?

Megan tries to mask her reaction to the oddness of the question. Beat.

MEGAN(low voice)
I don't know. It's been a
while.

DAVID(low voice)
I haven't been sick this
year. I know that.

MEGAN(low voice)
Okay.

DAVID(low voice)
Do you remember me getting
sick?

MEGAN(low voice)
Not a specific day. What's
this about?

DAVID (low voice)
Megan, do you ever remember
me getting sick?

Beat.

DAVID(low voice)
In the three years we've
been in this house?... In
the old apartment?... Before
Jeremy was born?... Before
we were married?

Beat.

MEGAN(low voice)
...I can't remember.

DAVID(low voice)
That's strange isn't it? Not
remembering one fever... Or
a cold... Or a sore throat.
What do you think that
means?

MEGAN(low voice)
It means we're probably to
tired to remember.

David becomes quiet as he thinks. Beat.

MEGAN(low voice)
Is that what you wanted to
ask me?

DAVID(low voice)
Yes.

MEGAN(low voice)
Is there anything else you
wanted to ask me while I'm
up?...

MEGAN(low voice)
...When was the last time
you wore pink? When was the
last time you drank soup
standing up? Final call for
strange questions at two in
the morning.

DAVID(low voice)
No that's it.

David seems lost in his thoughts.

MEGAN(low voice)
Maybe you should go up.
Jeremy might see you're gone
and get frightened.
(beat)
The train thing, really
shook him up. He's scared
something's going to happen
to you. He doesn't want to
let you out of his sight.

David stares at Megan. Beat.

DAVID(low voice)
Yeah. I know.

There's silence for a bit.

DAVID(low voice)
When was the last time I
wore pink?

MEGAN(low voice)
The Mitchell barbecue three
years ago.

DAVID(realizing)
Oh shit...

MEGAN(low voice)
Matching shirt and shorts.
It was brutal.

David half-smiles as Megan turns and starts back into the guest room.

DAVID(low voice)
Goodnight Megan.

Megan looks back at her husband. Just for a moment. Then she looks down.

MEGAN(low voice)
Goodnight David.

Megan closes the door slowly shut.

FADE TO BLACK:

INT. BEDROOM - AFTERNOON

WE EMERGE in a cramped sparse bedroom.

LEGEND "1974"

A thirteen year old Elijah sits in a chair with his arm in a sling. He watches a
small black and white television in the corner of the room.

WE HEAR FOOTSTEPS. Elijah's mother walks into the room. She looks around for a
moment, and then moves to the television. Turns it off.

The room GOES SILENT.

ELIJAH'S MOTHER
No more sitting in this
room. I've let it go on long
enough.

ELIJAH
I'm not going out anymore.
I'm not getting hurt again.
This was the last time. I
told you.

ELIJAH'S MOTHER
You can't do anything about
that. You might fall between
that chair and this
television. If that's what
God has planned for you,
that's what's going to
happen. You can't hide from
it in your room.

Elijah just sits staring at the dark television screen.

ELIJAH
They call me Mr. Glass at
school. Cause I break like
glass.

Elijah's face is tense. Unyielding. Beat.

Elijah's mother says the next words in almost a whisper.

ELIJAH'S MOTHER
...You make this decision
now to be afraid...
(beat)
And you'll never turn back
your whole life. You'll
always be afraid.

Elijah's eyes move from the television to his mother. He sees the emotion in her
face. Neither says anything for a while. Beat.

ELIJAH'S MOTHER
...I got a present for you.

ELIJAH
Why?

ELIJAH'S MOTHER
Forget why. Do you want it
or not?

Elijah thinks it over. He nods, "Yes."

ELIJAH'S MOTHER
Well, go get it then.

ELIJAH
Where is it?

ELIJAH'S MOTHER
On a bench, across the
street.

Elijah looks at his mother with disbelief.

ELIJAH'S MOTHER
You calling me a liar?

She points to the window. Beat. Elijah gets up and moves to the only window in
the room.

The view from his room looks out over a narrow street. On the other side of the
street is a public playground. A handful of children are playing on it.

There are three benches to one side of the swings. On one of them is a THIN
PACKAGE wrapped in brown paper with a bow on it.

Elijah looks to his mom who has joined him at the window.

ELIJAH
Someone's gonna take it.

Beat.

ELIJAH'S MOTHER
Then you better get out
there soon.

CUT TO:

EXT. PLAYGROUND - AFTERNOON

Elijah walks across the playground. He's very wary of the other children running
about him.

He walks towards the bench with the present on it. Takes a seat. Puts the package
on his lap. It's flat. The edges of the bend down over his thin legs.

He undoes the white bow. He peels off the clear tape holding the brown paper
together. He unfolds the paper. Beat.

Elijah stares down at the single comic book in his lap.

He feels the shadow of his mother. She takes a seat next to him.

ELIJAH'S MOTHER
I bought a whole bunch.
They'll be one of these
waiting for you, every time
you want to come out here.

Beat.

ELIJAH'S MOTHER
They said this one has a
surprise ending.

Elijah looks to his mother. His intelligent piercing eyes take her in for a
moment.

He looks back down at his lap. He opens the first page...

DISSOLVE TO:

INT. STORE - DAY

The same intelligent piercing eyes, twenty-five years older. Elijah has grown
into a handsome, regal looking man. He leans on a walking stick.

He's looking at an impressively framed charcoal sketch on a wall. Two figures are
depicted on the top of a building locked in fierce battle. One figure is
extremely muscular with a mask. The other is half human, half animal.

MAN
This is from Fritz
Champion's own library. This
is before the first issue of
the comic book hit the
stands in 1968.

Elijah glances at the BUSINESS MAN standing next to him and then back to the
sketch.

ELIJAH
It's a classic depiction of
good versus evil. Notice the
square jaw of Slayer -
common in most comic book
heroes. And the slightly
disproportionate size of
Jaguaro's body to his head.
This again is common, but
only in villains... The
thing to notice about this
piece... The thing that
makes it very, very
special... is its realistic
depiction of its figures.
When the characters
eventually made it into the
magazine they were
exaggerated... as always
happens.
(beat)
This is vintage.

The business man rubs his face. Gazes at the sketch. Beat.

BUSINESS MAN
Wrap it up.

ELIJAH
You've made a considerably
wise decision.

Elijah starts to the back of the store which we now see is some type of art
gallery where all the framed pictures are images and sketches from comic books.

BUSINESS MAN
My kid's gonna go berserk.

Elijah jams his walking stick into the extra thick carpet and stops. He turns.

ELIJAH
Once again please?

BUSINESS MAN
My son Jeb. It's a gift for
him.

ELIJAH
How old is Jeb?

BUSINESS MAN
Four.

ELIJAH
No.

Elijah starts back to the businessman shaking his head strongly.

ELIJAH
No, no, no, no no... You
need to go now.

BUSINESS MAN
What did I say?

ELIJAH
Do you see any Telletubbies
around here?... Do you see
a slender plastic tag
clipped to my shirt with my
name printed on it?... Do
you see a little Asian child
with a blank expression
sitting outside in a
mechanical helicopter that
shakes when you put a
quarter in it?... No?...
Well that's what you see at
a toy store? Any you must
think this is a toy store,
cause you're in here
shopping for an infant named
Jeb. One of us has made a
gross error and wasted the
other person's valuable
time...

Elijah's eyes pierce through the shaken man.

ELIJAH
This is an art gallery my
friend. This is piece of
art...

Elijah points at the sketch.

ELIJAH
This is one of seventeen
original drawings by Fritz
Champion remaining in the
world. It's value will
triple every year... This
piece is to be treasured. To
be cherished... To be
coveted by every single one
of your banker friends that
think they're better than
you.

The business man stares at the sketch with large eyes. Beat.

BUSINESS MAN
What if I kept it?

Beat.

ELIJAH
I'm listening.

BUSINESS MAN
I'll keep it in my office
room.

ELIJAH
What about Jeb?

BUSINESS MAN
I have a lock on the door.

Elijah just stares.

ELIJAH
Will it be near a window?

BUSINESSMAN
No direct sunlight will fall
on it.

Elijah eyes the man for many seconds. Beat.

ELIJAH
Come back in three days.
I'll think about it.

Elijah starts to the back. He passes the front door as two customers walk in.
Elijah talks over his shoulder to them.

ELIJAH
We're by appointment only.

MAN
I received a card from your
store.

ELIJAH
Congratulations, you have a
mailbox... The sale isn't
for two weeks.

MAN
This one was under the
windshield of my car.

Elijah turns and faces the customers for the first time. David Dunne stands with
Jeremy.

Elijah just stands staring for the longest time. Beat. He walks closer to them.
When Elijah speaks, his voice has a whispery quality to it.

ELIJAH
You've never been sick?

DAVID
I don't know for sure.
(beat)
...I don't think so.

David and Elijah quietly look at each other. Beat.

ELIJAH
Well if this ain't a riddle
worthy of the Riddler?

CUT TO:

EXT. LIMITED EDITION - LATE AFTERNOON

Three chairs have been placed on the walkway in front of the bay window of the
store. The words, "Limited Edition" are etched in the window.

David, Jeremy and Elijah are seated watching the people stroll by. Elijah's cane
is on his lap.

Jeremy sips a drink in a paper cup.

ELIJAH
So let's get some of the
usual questions out of the
way. Why am I using a cane?
Raise your hand if you were
thinking that.

Jeremy raises his hand.

ELIJAH
I fractured my leg. It's the
fifth time I've done that
particular bone. It didn't
really heal well this time.

ELIJAH
Raise your hand is you're
wondering who the hell
breaks the same bone five
times?

Jeremy and David raise their hands.

ELIJAH
I have something called
Osteogenesis Imperfecta.
It's a genetic disorder. I
don't make this particular
type of protein very well
and it makes my bones very
low in density, very easy to
break. I've had fifty-four
breaks in my life. I have
the tamest version of the
disorder... Type one.
(beat)
There are type two, type
three, and type four. Type
four's don't make it very
long...
(beat)
That ends our lecture on the
medical anomaly known as
Elijah Price.

Elijah stares at his two rapt listeners.

ELIJAH
How certain are you that you
haven't been sick in your
life?

DAVID
Seventy-five percent.

ELIJAH
Seventy-five percent? That's
not nearly good enough for
me. I'm extremely skeptical.

DAVID
Skeptical about what?

ELIJAH
Your answer to my question.
It's one thing to have never
been injured in your life,
but to state that you've
never taken ill, well that's
a whole new level.

JEREMY
Dad's been injured.

Beat.

ELIJAH
What's he talking about?

DAVID
In college. A car accident.

ELIJAH
Was it serious?

David nods.

JEREMY
He couldn't play football
anymore.

Beat. Elijah looks shaken.

ELIJAH
I assumed because of the
train.

DAVID
You assumed wrong.

Elijah closes his eyes. When his eyes open, the life force in them has
diminished. Beat.

ELIJAH
It's over.
(beat)
You can go now.

Elijah uses his cane to get up and walk back through the doors of the store.

INT. LIMITED EDITION - LATE AFTERNOON

David and Jeremy enter the store. Elijah leans on a walking stick before one of
the framed sketches. He gazes at it quietly.

DAVID
I think you skipped a couple
steps.

Elijah turns.

DAVID
You forgot the "Now I'm
going to tell you what the
hell is going on" step. See
usually that comes before
the, "It's over" Step. And
it always, always comes
before the "You can go"
Step.
(beat)
What is over?

ELIJAH
The life of an idea that has
lived too long in my head.

David stares at Elijah impatiently.

ELIJAH
There are probably only four
or five individuals in the
world who can claim more
knowledge of comics than
myself. I've spent a third
of my life in a hospital bed
with nothing else to do but
read. I have studied the
form intimately. I have seen
the patterns in them... The
references to social and
cultural events and the
atmosphere that surrounded
them. I've come to believe
that comics are our last
link to the ancient way of
passing on history.

ELIJAH
The Egyptians drew pictures
on walls about battles, and
events. Countries all around
the world still pass on
knowledge through pictorial
forms.
(beat)
I believe that comics, just
at their core now... have a
truth. They are depicting
what someone, somewhere felt
or experienced. Then of
course that core got chewed
up in the commercial machine
and gets jazzed up, made
titillating - cartooned for
the sale rack.

Elijah gazes at David.

ELIJAH
This city has had its share
of disasters. Well
publicized ones. It was
around the time of that
plane crash, when it first
entered my head. And there
it stayed, as I waited and
watched the news over the
years...
(beat)
And then one day I see a
news report on a train
accident and its sole
survivor who was
miraculously unharmed.
(soft)
And just like that, an idea
blossoms into the flower of
possible reality.

DAVID
What was your idea Elijah?

Beat.

ELIJAH(soft)
If there is someone like me
in the world, and I'm at one
end of the spectrum...
Couldn't there be someone
the opposite of me, at the
other end?
(beat)
A person who can't be hurt
like the rest of us. A kind
of person they were talking
about in those stories.

Elijah points at the framed comic sketches.

ELIJAH(soft)
A person they believed was
put here to protect the rest
of us. Guard us.

JEREMY
You thought my dad was a
real-

DAVID
Jeremy don't take another
sip of that drink.

Jeremy looks down at the paper cup in his hands.

DAVID
Throw it in the trashcan
near the door and wait for
me outside. Do it now
please.

David waits for Jeremy to exit the store. Beat.

DAVID
At the church... You were
following me weren't you?

ELIJAH
Technically no. I gambled
that you would attend the
church service. I just
waited for you.

David glares at Elijah.

DAVID
What's this about? This is
obviously some scam. Is this
where you tell me one of
those pictures is like an
investment?

ELIJAH
You've misunderstood.

DAVID
I see guys like you all the
time in my work. You find
someone you think is
emotionally vulnerable and
you tell them a fantastic
story, utterly convincing...
and somewhere in there, you
slip it in... 'I just need
your credit card number','I
just need a small down
payment.'

David shakes his head. He smiles out of frustration. Beat.

DAVID
Did you know that this
morning was the first
morning I can remember, that
I didn't open my eyes and
feel that sadness... Do you
know what I'm talking about?
That little bit of sadness?
(beat)
I thought the person that
wrote that note had an
answer for me. For why I
survived that train. For why
my life feels so out of
balance...
(beat)
But I guess that's what you
were counting on.

Elijah stares carefully at David. Beat. David glances over to the entrance.
Jeremy watched through the window concerned.

DAVID
I'm going to leave now.
(beat)
Good luck with your sale.

Elijah watches David walk towards the front door.

ELIJAH
What type of job do you have
David?

David opens the door. He looks back at Elijah.

ELIJAH
You mentioned you've met
'guys like me' in your work.
(beat)
What type of job would that
be?

Beat.

DAVID
I work at the stadium as a
security guard.

Beat. David closes the door behind him. Elijah watches through the window as
Jeremy takes David's hand as they cross the street.

Elijah gazes out the window in a bit of a daze.

CUT TO:

INT. BEDROOM - NIGHT

ALL LIGHTS ARE OUT EXCEPT THE SMALL BEDSIDE LAMP ON DAVID'S SIDE.

David sits up in bed staring at a torn section of newspaper in his hands.

Jeremy is asleep horizontally with his legs over David's legs.

David doesn't blink as he gazes at the headline silently...

"TRAIN CRASH DEATH TOLL CONFIRMED AT 131 DEAD. 1 SURVIVOR"

Beat. David slides out from under his son's legs. Jeremy stirs but doesn't wake
up.

David moves to the darkness of the corner of the room. He opens a closet door.

A NAKED HANGING BULB GOES ON as David yanks a chain. David steps inside the
narrow closet and closes the door slightly so the LIGHT FROM THE BULB DOESN'T
FALL ON JEREMY.

There's just enough room to stand and look around. David reaches up and pulls a
small travel bag out of the way. David stretches as he feels on the top shelf.

His hand comes down with something wrapped in a t-shirt. He unwraps it. It's a
handgun.

He stares at it for a beat before wrapping it back up and replacing it to the
highest shelf.

He stretches even more. Reaches farther back. WE HEAR SOMETHING SLIDE ON THE
SHELF AS HE PULLS IT FORWARD.

He pulls down a folder jammed with clippings. He opens the folder to reveal a
young David in football uniform holding his helmet in the air victoriously. The
word "Champion" is written over his head. David flips through the top clippings
- all are images and stories of David and football.

He turns the pile over. Goes to the last clipping. This piece of paper is folded
over three times, unlike the others. He opens it.

It's a newspaper headline. It reads...

"CAR ACCIDENT LEAVES TWO INJURED"

David puts the new headline next to the old one... They look like a set. Even the
font is similar.

David stares at the old headline. Stares hard at the photo of the bent and
heavily damaged car laying upside down in the middle of the highway... The bulb
seems to flicker. David is utterly still.

SOMEONE KNOCKS AT THE BEDROOM DOOR. David gets startled.

He puts back the clippings. Stuffing the new one inside with them. He replaces it
back to the top shelf and leaves the closet.

ANOTHER SOFT SET OF KNOCKS as David moves across the bedroom. He opens the door.

Megan stands in the darkened hall. Beat.

DAVID(whisper)
Hi.

Megan nods. Beat.

MEGAN(whisper)
I've come to a decision.

DAVID(whisper)
Oh.

Beat.

MEGAN(whisper)
Let me just ask you
something okay? And you can
be totally honest. I'm
prepared for any answer. It
won't affect me...

David nods, "yes."

MEGAN(whisper)
Have you been with anyone?
Since we started having
problems? The answer won't
affect me.

Beat. David stares at his wife.

MEGAN(whisper)
It won't affect me either
way.

Beat. David doesn't say anything. He just nods, "No."

Megan's face starts to tremble. She starts crying. Tears roll over her very
affected face. She tries to wipe them away, but there's too many. Beat.

MEGAN(soft)
...My decision is... I'd
like to start again. Pretend
we're at the beginning.
(beat)
It's a big deal you walked
away from that train. It's
a second chance.
(beat)
If you want to ask me out
sometime, that would be
okay.

Megan nods and walks down the stairs as she wipes her face. David watches her
disappear into the shadows.

DISSOLVE TO:

EXT. VETERAN'S STADIUM - AFTERNOON

Sunday afternoon. The cavernous stadium opens up into a picture perfect blue sky.
The Philadelphia Eagles pro football players are in uniform and doing stretches
on the field. The opposing team warms up on the other end of the field.

The sixty thousand seats are already half filled as fans stream in on every level
of the stadium.

CUT TO:

EXT. ENTRANCE GATE 27B - AFTERNOON

A line of ticket holders snakes towards two turnstiles where stadium crew are
ripping tickets.

David Dunne stands to one side with two other security guards.

The fans moving through the turnstiles are clad in all types of Eagles
paraphernalia. A group of girls carries a homemade banner that David reads as he
tilts his head sideways. "We sleep with quarterbacks," is written in block
letters.

David stares at a woman carrying a newborn infant in her arms. The baby is
wearing an eagles uniform.

The WALKIE TALKIE on David's hip bursts to life. He pulls it off his hip an
listens.

WALKIE
Dunne, it's Jenkins, we got
a guy at gate 17C with a
bogus ticket. Says he knows
you. He won't tell me his
name.

DAVID(into walkie)
What's he look like?

WALKIE
He's got the most beautiful
eyes... The hell kind of
question is that? He's a
guy.

DAVID(into walkie)
Send him packing. I'm not
walking all the way over
there.

WALKIE
Consider him packed. I
didn't like his attitude...
Struttin around with a cane
and shit.

Beat.

DAVID(into walkie)
Hold up Jenkins...

CUT TO:

EXT. ENTRANCE GATE 17C - AFTERNOON

David finds Elijah waiting to the side as the crowds funnel through the gate.
Elijah offers his hand as he walks up. David doesn't take it.

ELIJAH
They said I couldn't get in
with my ticket.

Elijah offers him the ticket. David inspects it.

DAVID
It's for last week's game.

ELIJAH
I've come to understand
that...
(beat)
An ill advised purchase in
the parking lot.

David hands Elijah back the ticket.

DAVID
What do you want?

ELIJAH
Not money.
(beat)
But I appreciate your
healthy cynicism in the
manner. It will be wise for
both of us to proceed with
greatest caution.

DAVID
We're not proceeding
anywhere together.

ELIJAH
We've already begun.

David looks around.

DAVID
One more time. What is it
you want?

Beat.

ELIJAH
Why is it, do you think,
that of all the professions
in the world... you chose
protection?

DAVID
Are you for real?

ELIJAH
You could have poured coffee
in Starbucks, you could have
learned to install track
lighting in office
buildings, you could have
told people their horoscopes
on the internet... You could
have been one of ten
thousand things... but in
the end, you chose to
protect people. You made
that decision... and I find
that very, very interesting.
(beat)
Now all I need is your
credit card number.

Beat. Elijah smiles.

ELIJAH
That last part was a joke.

David fights it. But he smiles anyway. Beat.

DAVID
I got this job because my
college coach called the guy
who manages the stadium.
There's no hidden meaning to
it.

David's walkie makes NOIES on his hip.

DAVID
They need me at the gate.

David stares at Elijah leaning on his walking stick.

DAVID
Did you really want to see
the game? I can get you in.

CUT TO:

EXT. ENTRANCE GATE 27B - AFTERNOON

The line of fans outside the gate has tripled in size and intensity.

David and Elijah move along the line towards the turnstiles.

DAVID
It gets heaviest ten minutes
before kickoff.

David bumps a guy in line wearing an army jacket. David looks backs at him and
continues walking.

David moves to a security guard near the turnstiles.

DAVID
Why don't we pat down?

David walks to his post near the gate and faces the crowd. Elijah moves next to
him.

DAVID
Just give me a minute.

ELIJAH
Is there a problem?

DAVID
That guy in green. Sometimes
people carry weapons in
here. Then they drink too
much. They're team isn't
doing so well, bad things
happen... We do random pat
downs of the crowd to
discourage people from
carrying.
(beat)
If he's carrying, he'll step
out of line.

Elijah observes as a security team pats down random males as they move through
the turnstiles.

The GREEN ARMY JACKETED MAN moves forward in the line. His face is blank as he
watches the pat down ahead of him. He's twenty people from the turnsstile.

David eyes him. Fifteen people away... Ten...

The man coughs and steps out of the line. Elijah watches the green army jacket
melt into the thick part of the crowd and disappear as it moves away from the
stadium.

CUT TO:

INT. STADIUM TUNNEL - AFTERNOON

AN UNLIT arched concrete passageway. The SUNLIGHT from the stadium streams in
causing long shadows.

Elijah stands waiting in the ground tunnel by himself.

THE THUNDEROUS CHEERS OF THE SIXTY THOUSAND FANS IN THE STADIUM ECHOES FROM THE
FIELD INTO THE TUNNEL.

David enters the tunnel and joins Elijah. He hands him a ticket.

DAVID
I got you a seat in the
seven hundred level.
(points straight up)
It's nose-bleed territory,
but at least you won't get
spit on.

ELIJAH
How did you know that man
you bumped was carrying a
weapon?

DAVID
Probably the army jacket.
Those guys carry hunting
knives and stuff for show.

ELIJAH
You thought he was carrying
a knife?

Beat.

DAVID
I thought he was carrying
something.

ELIJAH
But not a knife?

DAVID
I got this picture of a
silver handled gun tucked in
his pants.
(beat)
Like on t.v.

Elijah stares at David. THE STADIUM CHEERS BOUNCE OFF THE GRAY WALLS.

ELIJAH
You have good instincts when
it comes to things like
that?

DAVID
Like what?

ELIJAH
Telling when people have
done something wrong?

Beat.

DAVID
Yes.

ELIJAH
Have you ever tried to
develop it?

DAVID
I don't know what you're
asking?

ELIJAH
You're skill.

Beat.

DAVID
Listen. I got to be on the
sidelines during the game...
You can get to your seat by
taking the stairwell at-

ELIJAH
Characters in comic books
are often attributed special
powers. X-ray vision, things
of that sort.

David exhales slowly as he stares at Elijah.

DAVID
Okay, I don't want to play
this game anymore.

ELIJAH
It's an exaggeration of the
truth. Maybe it's based on
something as simple as
instinct. Like being able to
touch someone and tell
whether they've done
something wrong... Or the
level of what they've done
wrong.

DAVID
The guy might not have been
carrying anything.

ELIJAH
Or he might have been
carrying a silver handled
gun tucked in his pants.

David's WALKIE ERUPTS WITH NOISE.

DAVID
I have to go now.

ELIJAH
One last question.

Beat.

DAVID
Quick.

ELIJAH
The car accident you were
in... Was there anyone else
involved?

The two men stand very still in the tunnel.

DAVID
Yes. My wife Megan. She was
in the car with me.

David turns and starts down the hall. David talks back over his shoulder.

DAVID
Have a good life Elijah and
try to buy your tickets at
an authorized sales
location.

Elijah watches as the silhouetted figure of David Dunne jogs down the darkness of
the tunnel.

CUT TO:

INT. CAR - LATE AFTERNOON

We are inside a customized car. The dashboard is covered in some sort of thin
foam padding. The steering wheel and gear shift have the same padding. Every
corner and hard surface has been safe guarded. Elijah sits behind the wheel of
his car in the parking lot of the stadium. He sits as thoughts crash at his head.
Beat.

He finally reaches for the keys and starts up the car. He looks into the rearview
mirror and sees the man in the GREEN ARMY JACKET pass behind his car.

Elijah quickly turns and sees the man moving through the parked cars heading out
of the parking lot.

Elijah takes a deep breath and turns off the engine.

CUT TO:

EXT. PARKING LOT - LATE AFTERNOON

Elijah's walking stick makes RHYTHMIC CLICKS on the concrete parking lot.

The figure in the army jacket seems to move farther away with every step.

Elijah starts breathing harder. He pushes himself to move faster. He avoids the
hard chrome bumpers and tailpipes that jut out from the cars as he quickens his
pace through the lot.

He gains on the army jacket.

ELIJAH(calls out)
Hold up for a second!

The man in the army jacket turns as he reaches a subway entrance that marks the
end of the parking lot. He looks back at Elijah for a beat. Doesn't like what he
sees. He disappears into the subway entrance.

Elijah quickens into a jog now. He hasn't done this in a while and it's painful.
He makes it with great strain to the subway.

He looks into the entrance...

A steep flight of stairs leads to the subway floor. The tail of the army jacket
is glimpsed before it disappears.

Elijah breathes hard as he takes hold of the railing.

ELIJAH(calls out)
I just want to ask you
something!

Elijah's VOICE ECHOES down the stairs. No response.

Elijah starts his descent.

THE SOUND OF A SUBWAY PULLING IN ROARS UP THE STAIRS.

Elijah has to move fast. He takes the steps with less and less hesitation. He's
moving with great agility... and then his foot catches on a step.

His hand slips away from the railing...

He falls down the remaining part of the stairs. The FIRST SICKENING CRACK is
heard when his hand reaches out to stop his fall.

The SECOND CRACK IS MORE LIKE A CRUNCH AS HIS LEG LANDS AWKWARDLY ON THE METAL
STAIRS.

He comes to a stop in a pile on the dirty gum stained floor of the subway
landing. His jaw is locked in a HORRIFIC SCREAM THAT GETS EATEN BY THE ROAR OF
THE SUBWAY TRAIN PULLING IN.

His contorted anguished face sees the turnstiles of the subway upside down. The
green army jacketed man looks back at Elijah with a blank expression pushing
through the turnstile.

The last thing Elijah sees before he blacks out, is the tail of the man's coat
riding up as he move through the turnstile. The SILVER HANDLE OF A GUN peeks out
from the belt of his pants.

CUT TO:

EXT. BUS STOP - DUSK

David's neighborhood turns crimson as the day comes to an end. The Septa bus
pulls to a stop in front of a public high school. David steps off, still in his
security clothes. The bus pulls away as he hears his SON'S VOICE.

David turns to the high school football field behind him. A group of children are
having a touch football game. Jeremy runs out from the huddle across the field to
David.

JEREMY
Was it sold out?

David nods, "No."

DAVID
You know how mad your mom
would be if she knew you
were playing football?

Jeremy nods.

JEREMY
Are you going to tell?

David nods, "No."

JEREMY
You want yo play the last
downs? We got a big guy like
you. You can play on
opposite sides.

David looks to the fields to see a very muscular college age man in sweats who
stands with the other children.

JEREMY
He's Potter's cousin. He's
the starting corner back for
Temple University.

David stares at his son.

JEREMY
He going pro in the draft.
They say he can run the
fifty-

DAVID
In under six seconds.
(beat)
I've heard.

David watches the cornerback being surrounded by kids. He's letting a couple of
the kids feel his flexed bicep.

DAVID
I'm going to go in.

JEREMY
Just play one set of downs.
I told them you were great.

DAVID
Why'd you do that?

JEREMY
Just one-

DAVID
Jeremy.
(beat)
I'm going in. I have to do
some things.

JEREMY
What things?

DAVID
I'm going to work out.

JEREMY
I'll help you.

DAVID
There's nothing to do.

Jeremy turns back to the children and waves.

JEREMY(yells)
I can't play! I'm working
out with my dad!

Jeremy turns back to his father and takes his hand. David looks down at his son
who waits patiently.

CUT TO:

INT. BASEMENT - EARLY EVENING

The basement is dominated by storage boxes and Christmas decorations. An old
bench press and weights are in a cluttered corner.

David sits and turns at the end of the bench as Jeremy laboriously carries and
places fifteen a pound weight on the bar. David talks over his shoulder.

DAVID
Why don't you rest now? I'll
take it from here. You've
been a big help.

Jeremy goes to the opposite side of the bar and starts to put on another weight.

JEREMY
You think you could beat up
Mike Tyson? I mean before he
started wiggin out and
eating people's ears?

DAVID
No.

JEREMY
What if you worked out
everyday for six months? You
think you could beat him
then?

DAVID
No.

JEREMY
What if you only ate foods
that were good for you and
you worked out everyday for
a year?

Jeremy is breathing hard as he puts the safety collars on the barbell and comes
around to David's end of the bench. David lays back.

DAVID
No.

David takes hold of the barbell. Beat. He takes a deep breath.

The weight comes off the armrests of the bench. David lowers it to his chest and
pushes it back up. He does just one more rep with serious strain. He puts the
weight back on the armrest and sits up.

DAVID
How much did you put on
there?

David twists around and looks back at the barbell. He counts up the black metal
circles. He turns back to Jeremy.

DAVID
You put too much. That's two
hundred and fifty pounds.

JEREMY
How much can you lift?

David looks back at the weights.

DAVID
That's the most I've ever
lifted.
(beat)
That could have been
dangerous Jeremy. Why don't
you go upstairs and let me
finish up?

Jeremy starts back to the barbell.

JEREMY
I'll take it off. I'll help
you right.

He slips off the safety collar.

JEREMY
You think you could have
beaten up Bruce Lee?

David hears the SOUND OF THE WEIGHTS SLIDING OFF THE BAR BEHIND HIM.

DAVID
No.

JEREMY
I mean if you knew karate?

DAVID
No Jeremy.

JEREMY
What if he wasn't aloud to
kick and you were really mad
at him?

Jeremy is breathing hard again as he finishes with the weights and comes around
to David.

David lays back.

DAVID
No.

David takes hold of the bar. Lifts it off the armrest. Brings it down. His arms
are straining hard again. He raises it and lowers it two time; it takes a sizable
effort. The weights bang down onto the armrest.

David sits up.

DAVID
How much did you take off?

JEREMY
I lied.

Beat.

DAVID
You added?

Jeremy nods, "Yes" slowly.

David turns completely around and looks at the barbell. He counts the black discs
on the steel bar. Beat.

Nobody says anything for a long time.

JEREMY(soft)
How much is it?

DAVID(soft)
Two hundred and seventy.

David just stares at the black steel circles on the metal bar. Jeremy comes and
sits on the bench next to his father. They both stare at the weight. Beat.

JEREMY(dead serious)
Let's put more.

Beat.

DAVID
Okay.

CUT TO:

INT. BASEMENT - EARLY EVENING

David's fingers wrap around the cold metal of the bar. He leans his head forward
and looks to Jeremy.

DAVID
Why don't you move back a
bit? Just to be safe.

Jeremy moves back to the bottom of the stairs leading up to the house. He waits.

Another deep breath as David heaves. The weight CLINKS as it comes off the arm
rest. David is full out straining now as he lowers and raises it. His arms begin
to tremble as he lifts it for the second time. BANG the weight lands back safely
onto the rest.

David sits up. He looks at his son whose eyes are wide. Beat.

JEREMY
More?

Beat. David nods, "Yes."

CUT TO:

INT. BASEMENT - EARLY EVENING

An enormous amount of black discs sits on the bar. David's hands are gripping the
metal.

He talks to Jeremy who stands in his position at the bottom of the stairs without
looking at him.

DAVID
You should never try
anything like this. You know
that right?

Jeremy nods, "Yes."

DAVID
What do you do if something
happens?

JEREMY(soft)
Get mom.

David nods, "yes" before starting his deep breathing. He takes one last breath.
CLINK the weights comes off the rest. His arms are trembling immediately now. His
face is locked in a grimace as he brings the bar down to his chest and back up
again two times before dropping it onto the armrest.

He slowly sits up.

DAVID
How many did you put on that
time?

JEREMY(soft)
All of it.

DAVID
There's no more left?

Jeremy nods, "no" in a slight daze. Beat. David looks around his basement.

DAVID
What else can we use?

CUT TO:

INT. BASEMENT - EARLY EVENING

A set of two unopened MAB satin finish paint cans are dangling by their metal
handles on the outside of each side of the weights.

The fours cans sway a little as the bar is heaved off of David's chest. His arms
are shaking hard. He raises the weight to it's apex and brings it down again. It
touches his chest and rises up again. David's red strained face exhales
powerfully as he straightens his arms.

The bar lands on the armrest with A CRASH. The paint cans make METAL SQUEAKS as
they swing to stillness, one at a time. Beat.

David sits up and turns back to the weights. His mouth moves as he calculates the
discs and the cans.

His lips stop moving. Beat.

JEREMY(soft)
How much is it?

David doesn't react.

JEREMY(soft)
How much is it dad?

It takes a second for David to register the question. He looks to his son. Beat.

DAVID(soft)
About three hundred and
forty.

David turns and looks at his son. Jeremy's mouth is slightly open. He gazes at
his dad. Awe in his tiny eyes.

CUT TO:

INT. BATHROOM - EVENING

David sits on the edge of the bathroom tub. He's just showered and wearing jeans
and a t-shirt. He sits still with his elbows resting on his knees, staring at the
white tiles of the floor.

THE PHONE RINGS.

David gets up and walks out of the bathroom. He picks up the phone and stands in
the bathroom doorway.

DAVID
Yeah, hello.

WOMAN(on phone)
Is David Dunne there?

Beat.

DAVID
Megan?

MEGAN(on phone)
Yes. Is this David?

DAVID
Yeah? Megan where are you
calling from?

MEGAN(on phone)
My name is Megan Inverso. We
went to college together.

David looks at the phone. The lights for line ONE and line TWO are glowing RED.
David squints his eyes as he pieces together the situation. Beat.

He moves back into the bathroom. The cord stretches as he takes his seat on the
edge of the bathtub.

DAVID
I remember you.

MEGAN(on phone)
I was hoping you would call
me, but... Anyway I decided
not to wait.
(beat)
I was thinking, it might be
nice to go to dinner
together.

Beat.

MEGAN(soft)
...Hello?

Beat.

DAVID
Yeah it might be nice.

We hear A SOUND ON THE OTHER END OF THE PHONE. A SOUND MUCH LIKE AN EXHALE.

CUT TO:

INT. CHINESE RESTAURANT - LATE EVENING

The local Chinese restaurant. Red and gold plastic dragons hang from the ceiling.
A couple late-nighters are at the bar. Megan and David are two of a handful of
people left dining in the restaurant. They're a little dressed up. Megan looks
kind of stunning.

DAVID
...When you work with
clients on machines, do they
sometimes just jump up a
level or two? Do something
they didn't know they were
capable of?

MEGAN
Not often, but it is
possible. Most people get
scared when they see the
shadow of their limits. They
don't know how long the
shadow really is. They don't
know how far away the real
limits are standing... They
stop out of fear.

David nods as he takes it in. Beat. He looks down at his plate and twirls his lo
mein onto a fork. Megan watches him.

MEGAN
This is kind of strange
isn't it?

David nods, "yes" before taking the bite.

MEGAN
We're not even acting like
ourselves.

David touches his mouth with his napkin.

MEGAN
Like that. Your mouth's
dirty. You tapped your
napkin to your lips. You
only do that when you're
with someone you don't know.

David looks down at his napkin.

DAVID
What do I do when I'm around
someone I know?

MEGAN
You use your sleeve.

They both smile at each other. Beat.

WOMAN(o.s.)
Megan?

David and Megan look over to the only other table of late night diners as they
get up from their table. A woman about Megan's age walks over to her.

WOMAN
I thought it was you.

MEGAN
Hi.
(to David)
This is Claire. Her son is
in Jeremy's class. Claire
and I worked on the school
food drive together.

DAVID
Hello.

CLAIRE smiles as she stares at David. She turns to Megan.

CLAIRE(mouths)
He's cute.

Claire turns back to David.

CLAIRE
I'm very happy about this.
Megan mentioned to me she
was considering dating
again.

Megan becomes still.

CLAIRE(to David)
I'm sorry, what's your name?

Beat. David doesn't look up.

DAVID
David.

CLAIRE
David?

MEGAN
This is my husband.

Beat. All three people become frozen in silence.

Claire looks to Megan.

CLAIRE(soft)
I am so sorry.

Megan nods.

Claire quietly walks away form the table and joins her group as they leave the
restaurant. Beat.

Megan and David are the last one's left. They sit silently in their booth. Megan
looks at David's face. He's shaken.

He slowly takes a sip of water and then taps his mouth with napkin.

CUT TO:

INT. FRONT DOOR - NIGHT

It's late. NO LIGHTS ARE ON EXCEPT THE ONE IN THE HALL. The babysitter has black
dyes hair and Buddy Holly glasses. David waits as she puts on her jacket.

DYED HAIR GIRL
He ate about six of those
chocolate covered doughnut
holes with his milk. He said
he only had three, but I
know he had six.

DAVID
Okay.

David is not paying attention to the girl. He watches as his wife takes off her
coat and heads to the guest room. She turns before entering the room. David and
his wife make eye contact.

MEGAN(soft)
Goodnight.

David nods. Megan goes into her room. The guest door closes softly.

David finds the babysitter looking at him with an odd expression.

DYED HAIR GIRL
My parents sleep in separate
beds.

David reaches into his wallet and hands the girl money.

DAVID
Thank you.

David opens the front door for her.

DYED HAIR GIRL
By the way, Jeremy went to
sleep in his room tonight.

DAVID
His room?

The baby sitter nods with a smile as she walks out the front door.

CUT TO:

INT. JEREMY'S BEDROOM

David walks into the darkened child's bedroom. The lump on the bed turns when he
hears movement. He smiles when he sees David.

JEREMY(whispered)
I'm sleeping in my room.

DAVID(soft)
I see.

JEREMY(whispered)
I'm not scared.

DAVID(soft)
That's great.

JEREMY(whispered)
Do you know why?

David nods, "No."

JEREMY(whispered)
I know now.

DAVID(soft)
Know what?

JEREMY(whispered)
You're secret identity.
(beat)
That man was right.

Beat. David just stares at his son. Jeremy's eyes start to close.

DAVID
Jeremy.

Jeremy opens his eyes.

DAVID(soft)
There are big guys in almost
every gym who can lift that
much.

Beat. Jeremy's eyes start to shut.

JEREMY(whispered)
You could have lifted more.
(his eyes close)
...Don't worry, I won't tell
anyone.

Jeremy Dunne falls asleep. David Dunne stands in the darkness of his son's room.
Posters of comic book heroes don the walls around him.

CUT TO:

INT. HOSPITAL ROOM - NIGHT

Elijah's cheek rests against two pristine white pillows. He looks exhausted. His
eyes are fixed on some abstract point in the room. WE HEAR SOUNDS OF A HOSPITAL.

The torso of a PHYSICIAN can be seen on the other side of the bed. We hear him
speak but never see his face.

PHYSICIAN(o.s.)
...fracture of the proximal
phalanx of the little finger
as well as multiple
fractures of the sixth,
seventh, and eighth ribs.
The worst of the injury,
however, was sustained to
the left leg in the form of
a spiral fracture. There
were fourteen breaks. It
simply shattered...

ELIJAH
They call me Mr. Glass.

Beat.

PHYSICIAN(o.s.)
Who does?

ELIJAH
Kids.

Elijah just keeps staring.

PHYSICIAN(o.s.)
Shall I continue?

Beat. Elijah's head nods the slightest bit up and down.

PHYSICIAN(o.s.)
Pins were placed throughout
the length of the leg. The
use of a wheelchair will be
needed for a two month
period. The use of crutches
will follow for twelve to
fourteen months. Hospital
stay will range from five to
eight days followed by nine
to twelve months of physical
therapy. Prescribed
medication for pain
management will take the
usual forms of...

The PHYSICIAN'S WORDS FADE AWAY as Elijah continues to gaze at an abstract point
in the room.

FADE TO BLACK:

INT. PHYSICAL THERAPY CENTER - LATE MORNING

WE EMERGE FROM DARKNESS TO FIND OURSELVES IN THE PHYSICAL THERAPY CENTER.

A CO-WORKER finds Megan working with an elderly gentleman who's laboring on a
stationary bike.

JANIS
Your ten o'clock is here.
The hospital discharged him
this morning.

MEGAN
Thanks.

The co-worker takes Megan's position by the elderly man.

Megan crosses the physical therapy center. A man in a wheel chair waits by her
office. She walks up to him with a smile.

MEGAN
Elijah right?

Elijah's leg is immobilized by a metal brace and held straight. Under his shirt
we see the wrappings around his ribs. His left pinky is in a splint. He smiles
and nods, "yes" to Megan.

CUT TO:

INT. STADIUM LOCKER ROOM - LATE MORNING

David Dunne stands in security uniform by a set of double doors that leads into
the players locker room.

Three walls of the locker room are lined with shiny lockers. One side of the room
has benches and massage tables. The far end of the room has work out equipment.

About twenty players and trainers are scattered throughout the spacious room lost
in their own pre-game rituals.

David watches as a massive muscular player takes a seat on the massage table and
removes his dress shirt. His body is covered in old bruises. He lays down,
wincing a bit from the pain. A trainer begins to massage him.

David just stares at the battered athlete. His gaze moves across the room. Beat.

David stares at something in the crowded room then he starts towards it.

He moves through the room of players and trainers. He moves to the one area of
the large room not occupied by anyone.

David comes to a step at the foot of an Olympic bench press. Racks and racks of
free weights sit behind the press.

David looks down at the thick silver bar. Three large black plates are on either
side. Six in all.

David looks back and glances at the double doors where he should be standing.
Beat. He looks to the twenty or so players and trainers in the room. Some of the
players have headphones on. Some are staring into space. A couple are on cell
phones...

No one notices David Dunne as he reaches for a forty-five pound black plate off
the weight rack.

The huge disc slides onto the bar with almost NO SOUND...

A matching forty-five pound disc goes on the other side...

And then David adds another. He matches it on the other side...

THE BENCH CREAKS just the slightest bit as David takes a seat.

No one notices the security guard lay back on the bench.

David's hands take hold of the shiny bar.

He closes his eyes...

David's arms become tense. He pushes against the weight. It doesn't move.

His face turns deep red. He opens his eyes and stares at the bar as he keeps
training. His face and arms are shaking... He keeps staring... focusing.

And then, without any fanfare, the bar lifts off the arm rest.

The weight hovers over David. He lowers it to his chest for a second time. His
arms aren't shaking anymore. He pushes the weights back up.

He carefully brings the bar back to the arm rest. It touches down with the
smallest of CLINKS.

David's fingers uncurl from the bar.

David lets out two slow soft breaths as he counts the thick black discs.

DAVID(whispers)
Four ten... four
forty-five...
(beat)
Five hundred.

Beat. David sits up in a daze.

He finds the entire room of athletes and trainers staring at him. Some of the
players have stood up. Everyone stares as David Dunne with the same quiet
disbelief in their eyes.

CUT TO:

INT. PHYSICAL THERAPY CENTER - AFTERNOON

Megan and Elijah are in the far corner of the room. They're separated from the
other clients. Megan is seated on an exercise machine. Elijah is in his wheel
chair facing her.

MEGAN
We're going to prevent any
substantial atrophy of your
good leg with this.
(She taps the machine)
It works the quadriceps.

ELIJAH
How long have you been
married?

Megan is taken off guard by the question. She stares at Elijah. Beat.

MEGAN
Twelve years.

ELIJAH
How did you get together?

Elijah smiles warmly. Megan smiles softly back.

MEGAN
A car accident.

Elijah smiles even bigger.

ELIJAH
Now you're going to have to
tell me more.

MEGAN
...See my husband was a big
football star in college and
we were in an accident
together. Our car flipped on
an icy road. We were both
injured. He couldn't play
football anymore.
(beat)
If that hadn't happened, we
wouldn't have been together.

ELIJAH
How so?

MEGAN
Football wasn't the kind of
life I wanted... For ten
years I'd be by the phone
waiting for a call telling
me he broke his neck in a
practice game. And if it
wasn't that call, it would
be a call telling me he blew
out his knee or suffered his
third concussion. I've seen
way too much of it in my
job... I can barely take it
when my clients are in pain.
(beat)
I don't hate the game. I
admire the amount of skill
it involved and, like
everyone else, I was in awe
of how he could play it, but
I couldn't give him my heart
and then have something
happen to him. And it always
does with that game.
(beat)
It's not a thing many people
would understand.

ELIJAH
You and my mother would have
a special connection.

MEGAN
Any way, fate stepped in and
took football out of the
equation.

ELIJAH
...And everyone lived
happily ever after.

Beat.

MEGAN
Sort of.

Beat.

ELIJAH
What part of David's body
was injured?

Beat. Megan's eyes become utterly still.

MEGAN
Who said my husband's name
is David?

CUT TO:

INT. STADIUM - AFTERNOON

Eleven football players in white and green battle eleven football players in blue
and gray on the field. A sold out stadium watches the event.

David stands at the lip of a tunnel that opens out onto the upper section of the
second level. Waves of people move from their seats through the tunnel to the
bathrooms and concession stands and back again.

David stares to the side away from the movement, his shoulder leaned up against
the wall. He looks over at the constant movement of spectators through the
tunnel.

Beat. His shoulder leaves the wall. He STEPS OUT into the stream of people.
Shoulders and arms bump into him and brush by him as they move.

David's eyes are looking down - his expression still - like he's listening.

He continues into the dead center of the tunnel. He's in the heaviest part of the
movement now. Fans continue to brush against him as they pass.

And then it happens... A stocky woman bumps into him.

FLASH CUT: AN IMAGE OF THE STOCKY WOMAN IN A BATHROBE STANDING IN A KITCHEN.
SHE'S HOLDING THE SHOULDER OF A FIVE YEAR OLD BOY STANDING NEXT TO HER. HE'S
CRYING UNCONTROLLABLY.

THEY BOTH ARE LOOKING DOWN AT THE KITCHEN TABLE WHERE THREE THINGS ARE LAID
OUT... A BELT, A HANGER, AND AN EXTENSION CORD.

STOCKY WOMAN
Choose.

SLAM CUT BACK TO PRESENT:

We're back with David in the crowd. He turns and watches the stocky woman walk
down the tunnel. She's holding the wrist of her five year old son. She yanks it
quickly and violently to keep the boy close at her side. She and the boy dissolve
into the crowd.

CUT TO:

INT. PHYSICAL THERAPY CENTER - AFTERNOON

Elijah and Megan sit very still.

ELIJAH
There have been three major
disasters in this city over
the last four years. I've
followed each one of them...
A Seven-three-seven crashes
on take off. One hundred and
seventy-two die. No
survivors... A hotel fire
downtown. Two hundred and
eleven die. No survivors...
And am Amtrak train derails
seven and half miles outside
of the city. One hundred and
thirty one die. One
survivor. He is unharmed.
(beat)
I've spoken with your
husband about his survival.
I suggested a rather
unbelievable explanation.
Since then, I've come to
believe, that my
explanation, however
unbelievable, is in fact,
true.

MEGAN
And what was that
explanation?

Beat.

ELIJAH
It's a mediocre time Mrs.
Dunne. People are starting
to lose hope. It's hard for
many to believe that
extraordinary things live
inside themselves as well as
others... I hope you can
keep an open mind?

Beat.

MEGAN(soft)
Is this a religious thing?

ELIJAH
I own a comic book museum.
It's called the Limited
Edition.

MEGAN(smiles)
For a second there I thought
you were a fanatic.

ELIJAH
I believe comic books are
based loosely on reality -
I believe there are real
life equivalents of the
heroes in those books that
walk the earth - I believe
your husband is one of those
individuals.

Beat. Megan becomes utterly still.

ELIJAH
I'm glad you brought up fate
Mrs. Dunne. I'm becoming a
strong believer in it...
See, David refuses to speak
with me any longer... And
when I saw your name on my
insurance list of approved
physical therapists... It
was like fate had
intervened...
(beat)
We were meant to speak to
each other.

CUT TO:

INT. STADIUM - AFTERNOON

David lets the waves of people move by him in the tunnel.

A MAN WITH GRAY EYES and wearing a dark blue sweat shirt carries a cardboard tray
of nachos and drinks. He brushes David's arm as he passes.

FLASH CUT: THE IMAGE OF THE GREY EYED MAN WEARING A BLOOD SPLATTERED T-SHIRT IN
A MEN'S BATHROOM. HE'S VIOLENTLY KICKING ANOTHER MAN CURLED UP ON THE FLOOR OF A
TOILET STALL.

HE STOPS KICKING. HE GLARES DOWN WITH POWERFUL GRAY EYES.

SWEAT SHIRT MAN(whispers)
This is my house, bitch.
These are my customers.

SLAM CUT BACK TO PRESENT:

The gray eyes man in the blue sweat shirt pauses with nachos in hand at the top
of the stairs to locate his seats. Beat.

David walks the five feet between them and taps him on the shoulder. People
continue to stream by as the man turns to face David. The man's GRAY EYES go from
David's face to the security emblem on his shirt. The man's face becomes still.

GRAY EYED MAN
Yeah?

David stares hard at the man in front of him.

DAVID
We've had some problems with
drug selling in this
stadium.
(beat)
Would you mind if I checked
the pockets of your
sweatshirt?

The gray eyed man stands eerily still with his nachos and drinks. The two men
just stare at each other, evaluating the situation. People move in both
directions around them, unaware.

The gray eyes man holds his tray of food to the side and raises his arms slowly.

David steps forward and reaches into his pockets. Beat. David pulls his hands out
from the pockets. They're empty.

The gray eyes man brings his arms down. Beat.

The walkie on David's hip COMES TO LIFE. David reaches down and pulls it off his
belt without removing his eyes from the man in front of him. David brings the
walkie to his mouth.

DAVID(into walkie)
Yeah?

WALKIE(o.s.)
There's a message for you at
the office. Your kid was
hurt.

David's face changes.

DAVID(into walkie)
When?

WALKIE(o.s.)
Just now. They want you to
come down to his school.

David lowers the walkie from his face. The gray eyed man has a slight smile on.
Beat.

GRAY EYED MAN
Why don't you go take care
of your business?

The gray eyed man takes a bite of a nacho as he stares at David.

GRAY EYED MAN
And dude, no one carries
their merchandise on them
any more. They got
messengers for that shit
now.
(beat)
That's what they tell me.

The gray eyed man in the blue sweat shirt turns and starts down the stairs to his
seat. He raises his fist in the air as someone scores a touchdown on the field.

CUT TO:

INT. ELEMENTARY SCHOOL NURSE'S RECEPTION AREA - AFTERNOON

Jeremy is seated in a chair with abrasions and cuts on his face. He sits next to
a smaller boy with a thermometer in his mouth.

They're both looking at the glass window of the nurse's private office. There are
tow people inside talking. David and A WHITE HAIRED NURSE.

The THERMOMETER BOY pulls the thermometer out of his mouth.

THERMOMETER BOY
Is that your dad?

Jeremy nods "Yes."

THERMOMETER BOY
I bet my dad can beat up you
dad.

Jeremy turns to the thermometer boy.

JEREMY
I don't think so.

CUT TO:

INT. NURSE'S OFFICE - AFTERNOON

NURSE
...No, he insisted we only
call you.
(beat)
Though it took us a while to
track down your number. It's
not on file here.

DAVID
Megan handles that type of
stuff.

NURSE
What stuff is that?

DAVID
Jeremy's stuff.

David feels uncomfortable as the nurse just stares at him. Beat. David rises from
his seat.

DAVID
So do I need to put any
smelly ointments on him or
anything?

The white haired nurse nods, "no."

NURSE
It's more emotional damage.
It wasn't very serious
physically.

David nods.

NURSE
Nothing like when I sent you
to the hospital.

David stares at the white haired nurse.

DAVID
What was that?

NURSE
My office was on the other
side of the building back
then.
(beat)
You don't remember me do
you?

David nods, "no."

NURSE
I had red hair.

David stares at the woman. He doesn't recognize her.

NURSE
I think you were a little
younger than Jeremy when it
happened.
(beat)
Did you know we changed the
conduct rules of the pool
because of you?

David nods, "no" slowly.

NURSE
The kids still talk about it
like some ghost story..."Did
you know there was a kid
that almost drowned in the
pool? He got pneumonia and
almost died."

The nurse shakes her head.

NURSE
We let them tell it... It
helps keep them safe.

Beat.

NURSE
Are you still phobic of
water?

David seems lost in his thoughts. He looks up at the nurse.

DAVID
Yes I am.

CUT TO:

EXT. BUS STOP - AFTERNOON

David and Jeremy are seated on a bench at a Septa bus stop. No one else is
waiting with them.

Jeremy talks without making eye contact with his dad.

JEREMY(soft)
It was Potter and another
guy I play football with.
They were messing with this
Chinese girl. She's kind of
fat. She doesn't talk to
anybody.
(beat)
I tried to make them stop.
They kept pushing me down
and wouldn't let me get up.

Beat. Jeremy's VOICE STARTS TO TREMBLE SOFTLY.

JEREMY(soft)
I thought maybe cause you
were my dad, I thought I
might be like you.

Jeremy finally looks up. Tears in his eyes.

JEREMY(soft)
I'm not like you.

David moves closer to Jeremy on the bench.

DAVID
You are like me. We both can
get hurt. I'm just an
ordinary man.
(beat)
I'm not what you think I am.

Jeremy just stares at his father. Beat.

JEREMY
Why do you keep saying that?

CUT TO:

INT. KITCHEN - EVENING

David stares at his bowl of pasta. He sits alone in the kitchen. Beat.

He gets up, slides the pasta in the trash and moves to the sink.

David is rinsing out the bowl when Megan walks in. David turns off the water.

MEGAN
He's just laying in bed.
He's pretty upset. He won't
talk.

DAVID
He's dealing with a lot of
things.
(beat)
I think he needs to find
answers himself.

Beat.

MEGAN
It's weird to hear you tell
me about Jeremy.
(beat)
A good weird.

David looks at Megan. They stand silently in an awkward pause. Beat.

DAVID
Would you like to try going-

MEGAN
Yes.

DAVID
-out again.

Beat. David smiles.

DAVID
But if we see another mother
from Jeremy's school, me
name is Juan. I always
wanted to be a Juan.

Megan smiles softly back. Beat.

MEGAN
Oh. Elijah Price came to
visit me at the center
today.

DAVID
Jesus.

Megan sees David's shocked expression.

MEGAN
He didn't do anything. He
just told me his theory...
It's sad when patients get
like that. They loose
reality.

DAVID(whisper)
Jeremy what the hell are you
doing?

Megan suddenly realizes David is looking over her shoulder.

Megan turns around. She SCREAMS.

Jeremy is standing in the doorway to the kitchen. He's crying hard. In his
outstretched hands is the HAND GUN FROM DAVID'S CLOSET. It's pointed directly at
David.

JEREMY(crying)
You don't believe. I'll show
you... You can't get hurt.

MEGAN(realizing)
-Oh my God.

DAVID
-Jeremy did you load that
gun?

Jeremy nods, "Yes." Crying harder now.

JEREMY(crying)
-You won't get hurt...

DAVID
-Elijah was wrong.

MEGAN
-Sometimes when people are
sick or hurt for a long
time, like Elijah, they're
mind gets hurt too.

David shoots a tense glance at Megan.

MEGAN
-They start to think things
that aren't true. He hold me
what he thought about your
father. It isn't true.

JEREMY(crying)
-I'll show you.

David starts moving a little to his right. Jeremy follows him with the barrel of
the handgun. David stops moving.

DAVID
-You know the story about
the kid who almost drowned
in the pool?

Jeremy stops moving.

DAVID
-That was me they were
talking about. I almost
died. That was me.

JEREMY(crying)
-You're lying.

DAVID
-I'm not. I just didn't
connect it.

MEGAN
-Jeremy, your father was
injured in college - you
know that. You know all
about that.

Jeremy's small face tenses. Confusion mixes with the desperation on his face.

MEGAN
-Don't do it. He'll die
Jeremy.

Beat. Jeremy looks up, tears streaming down his cheeks.

JEREMY(crying)
-I'll just shoot him once.

DAVID
-Jeremy listen to what-

Jeremy starts pressing the trigger. The hammer clicks back.

JEREMY
-Don't be scared.

DAVID
-Jeremy if you pull that
trigger I'm going to leave!
I'm going to go to New York.

Jeremy freezes. David flashes a desperate glance at Megan then back to Jeremy.

DAVID
You're right... If you shoot
me, that bullet is going to
bounce off me and I won't
get hurt... but then I'm
going to go upstairs and
pack. And then leave to New
York.

Beat.

JEREMY(crying)
-Why?

Jeremy's hands are trembling. He starts to close his eyes as he raises the gun
level with David's chest.

DAVID(loud)
Jeremy!

Jeremy's eyes open.

DAVID(loud)
You're about to get into big
trouble! I'm your father and
I'm telling you to put that
gun down right now God damn
it!
(beat)
One!...
(beat)
Two!...

Jeremy puts the gun down on the floor in front of him and stands up.

Megan leans against the refrigerator and slides down to a sitting position on the
tiled floor.

David walks over and picks up the gun. He unloads the bullets in his hand. David
bends down very slowly and takes a seat on the kitchen floor.

Jeremy is the last to sit down. He takes a seat in the doorway of the kitchen.
Beat. He wipes his eyes with the back of his hand. Beat.

JEREMY(soft)
...You didn't have to yell.

The Dunne family sits in silence on the floor of their kitchen.

CUT TO:

EXT. LIMITED EDITION - AFTERNOON

People move up and down the streets outside the storefronts. David is one of
them. He waits to cross the street. He sees movement inside the Limited Edition
window.

CUT TO:

INT. LIMITED EDITION - AFTERNOON

Elijah opens the door. It takes him a bit, because of the wheelchair.

David stares at Elijah's damaged condition. Beat.

ELIJAH
Joined a rugby league.
Turned out to be a bad idea.
(beat)
Come here I want to show you
something.

Elijah wheels over to one of the framed sketches on the wall. It's a charcoal
drawing of a muscular figure shielding himself from a blow about to be delivered.
A huge ominous shadow is covering him, as if something unspeakable and evil is
just out of frame.

ELIJAH
Look at this. I just noticed
this today.

David steps in close and studies the drawing.

ELIJAH
This is from the Sentryman
series. A color version of
this was actually used in
the second issue.

Elijah points up to the drawing's face.

ELIJAH
Look at this eyes. What do
you see?

David looks right at the intense eyes of the drawing.

ELIJAH
It's fear.
(beat)
He was scared. They were
being honest in the
beginning you see. They let
him be human.
(beat)
They turned him into a
garden variety hero later...
Then he was brave all the
time.

Elijah turns to David.

ELIJAH
I followed the guy in the
army jacket.

David becomes still as his words register.

ELIJAH
He had a silver handled gun
tucked in the back of his
pants.
(beat)
Were you really injured in
that car accident in
college?

David looks unsteady all of the sudden.

ELIJAH
Because I think you faked
it. I think you took the
opportunity to end your
career - no questions asked.
(beat)
And I think you did it, of
all things, for a women...
(beat)
Not only do you have the
physical traits of a hero,
down somewhere in there, you
have the moral code of one
too. You were ready to
sacrifice everything for
what's right. Where can you
find that these days?
(beat)
Only thing you didn't realize
is that you were giving up
a part of yourself when you
gave up football. The
physical part. And you need
that part desperately to
feel balance again...
(beat)
You can have it back now.
(beat)
This was all just make
believe before. What if
there was someone the
opposite of me? What if?...
(beat)
I now believe you are the
genuine article Mr. David
Dunne. The kind of person we
knew existed, from our
history.

Elijah points to the room full of pictures.

ELIJAH
It's time for someone like
you.
(beat)
Bad is winning. I can feel
it.

Elijah looks at David with deep admiration. His voice cracked a little at the end
of his words. Beat.

David doesn't take his hands out of his pockets.

DAVID(rattled)
I must have felt some lump
in his back when I bumped
him. Most guns have a black
or silver handle. I had a
fifty-fifty shot at the
color.

ELIJAH
That's not what I witnessed
David.

DAVID
Stop messing with my life
Elijah. My son almost shot
me last night. He wanted to
prove you were right.

ELIJAH
I never said you couldn't be
killed. I never said that.

DAVID
You have a problem, Elijah.
My wife is right. Somewhere
along the line one of your
bones broke and your mind
just broke with it.

Beat.

ELIJAH
Are you finished?

DAVID
No. And I have been sick. I
spent a week in a hospital
when I was a boy recovering
from pneumonia and almost
drowning.

DAVID
Two skinny eight year old
kids were playing around the
pool. They were dunking me.
I swallowed water. They
didn't know it and they
almost killed me.
(beat)
Heroes don't get killed like
that. Normal people do.

Beat. Elijah seems shaken for the first time. David stares at him coldly.

DAVID
I don't want to see you
again okay.
(soft)
Now I'm finished.

David turns and starts for the entrance. The BELL OF THE DOOR CLANGS as David
Dunne leaves the store.

CUT TO:

EXT. STREET - AFTERNOON

David exits the Limited Edition and moves down the street lost in this thoughts.
He bumps a man in a jacket and tie walking in the opposite direction.

FLASH CUT: THE SAME MAN STANDS IN A BAGGY SWEATER. AGAINST A PARKED CAR HE'S
HOLDING SOMETHING SHINY AND METALLIC IN HIS HANDS. HE INSERTS IT IN THE HALF INCH
GAP BETWEEN THE GLASS OF THE DRIVER'S WINDOW AND THE DOOR. THE DOOR UNLOCKS.

THE MAN LOOKS AROUND QUIETLY BEFORE ENTERING THE CAR.

SLAM CUT BACK TO THE PRESENT:

David looks over his shoulder at the conservative looking man in a shirt and tie
walking down the street.

David Dunne is shaken. He turns and keeps walking.

CUT TO:

INT. JEREMY'S ROOM - NIGHT

A superhero action figure and a plastic villain do battle on Jeremy's desk.

David sits dressed up in a white shirt and dress pants. He holds the villain.
Jeremy holds the superhero.

Megan enters the room in a beautiful brown dress.

MEGAN
The sitter's here.

David nods, "yes." Megan studies his tense expression.

MEGAN
We can do this another time
if you want? I'm fine with
anything.

David looks from the action figures, to his son's face to the face of his wife.
They both have the same quiet anxious expression. Beat.

DAVID
But I put cologne on.

Megan smiles.

MEGAN
Is that what that smell is?

Jeremy giggles.

CUT TO:

INT. DOWNTOWN COMIC BOOK STORE - NIGHT

An overweight man in sweats and a ponytail counts the cash in the register. We
are in a low-end comic book store. The walls are lined with shelves of comic
books. The more expensive issues are kept in a glass case.

THE PONYTAIL MAN looks at his watch and then to far back of the store where one
head is visible behind a low rack.

PONYTAIL MAN
Hey man it's twenty after.
It's time to close. I gotta
head.

The top of the man's head doesn't move. Beat.

PONYTAIL MAN
You better not be jacking
off to the Japanese comics.
I swear to God.

No response. Ponytail man closes his register and walks towards the back.

As he gets closer to the customer, he realizes that the man is in a wheelchair.
The Ponytail man walks ups to Elijah.

PONYTAIL MAN
Listen man, I didn't know
you were in-
(beat)
Just choose something all
right?

Elijah doesn't react. He sits in his chair in a quiet daze. Ponytail man leans
over.

PONYTAIL MAN
Hello. You understand
English?

Ponytail man makes fake sign language gestures in front of Elijah's face.

PONYTAIL MAN
Look man, I'm just gonna
wheel you out. You can think
about things outside on the
sidewalk. I gotta get some
chicken in me, you know what
I'm saying?

Beat. The Ponytail man shakes his head moves behind Elijah. He starts wheeling
him towards the front of the store. They move down a narrow aisle of comics.

Elijah suddenly grabs the left wheel and turns the chair. His immobilized left
leg hits a rack of comic books. A handful of comics tumbles to the ground.

PONYTAIL MAN
Shit.

The ponytail man straightens the wheelchair and starts down the aisle again.
After a couple of feet, Elijah jerks and grabs the other wheel sending the
wheelchair ramming violently into the opposite wall. Comics are knocked free and
fall onto the wheel chair and the nearby ground.

PONYTAIL MAN
Dude, I don't care if you
are in a wheelchair. If you
do that again, I'm calling
Five-O.

Beat. The Ponytail man takes Elijah's silence as a, "Yes." He straightens the
chair.

They move down the aisle. All is quiet... and then Elijah jerks the wheelchair to
the left again. His metal brace and the wheelchair crash into two racks. Elijah
gets covered in comics.

PONYTAIL MAN
That's it crackerjack!
You're going to sit your ass
in jail now.

The Ponytail man moves to the front counter.

Elijah sits in a trance - slightly hunched over. His eyes stare at a comic book
in his lap. His expression changes for the first time.

The Ponytail man finishes dialing. He looks over to Elijah as he waits for a
voice on the other end. Elijah raises a single comic book in his hand.

ELIJAH
How much is this one?

CUT TO:

INT. RESTAURANT BAR - NIGHT

LATE EVENING. A trendy restaurant. Not enough light to read the menus.

David and Megan are on stools at one end of the bat. They sip their drinks as
they appear in deep thought.

DAVID
...I think rust.

MEGAN
Rust?

DAVID
As a color, not as rust. You
know, a rust colored paint
or wood?

Megan leans slightly closer.

MEGAN
I didn't know that. Mine's
still brown.

DAVID
My turn. What's your
favorite song?

MEGAN
Soft and Wet, by the Artist
Formerly Known as Prince.

DAVID
What was that?

MEGAN
We're supposed to be honest.

Beat. David brings his stool closer.

DAVID
Soft and Wet. That's very
interesting.

MEGAN
My turn.
(beat)
When was the first time the
thought popped into your
head that we might not make
it?

David's grin slowly fades.

DAVID
That's not the game.

Megan moves her stool closer. They're only a foot or so apart.

MEGAN
It's a second date. There
aren't any rules.

Beat. David sips his drink slowly.

DAVID
I'm not sure.

MEGAN
Think carefully?

DAVID
What about the game?

MEGAN
It's finished. I won.

Beat. David glances at Megan. She waits for his answer.

MEGAN
Maybe it wasn't a specific
moment, maybe it-

DAVID
I had a nightmare one night
and I didn't wake you up so
you could tell me it was
okay.
(beat)
I think that was the first
time.
(beat)
Does that count?

MEGAN(soft)
That counts.

Beat. Megan takes her glass up to her lips. Doesn't take a sip. Brings it back
down.

MEGAN
Do you knowingly keep Jeremy
and me at a distance?

Beat.

DAVID
Yes.

Megan's face tenses. She's on the verge of getting upset.

MEGAN
Why?

DAVID
I don't know Megan.

MEGAN
It's like you resent us
David. Resent the life you
have.

Beat. David doesn't answer.

MEGAN
You know even if it meant we
couldn't be together, I
would never have wished that
injury on you? What you
could so physically was a
gift. I would never have
wished it to go away.

Megan's eyes glaze with water. Beat.

MEGAN
You know that right?

David takes a sip with a trembling hand. David's eyes look up and make eye
contact with Megan's. He stares at her for the longest time.

DAVID(soft)
I know.

Husband and wife sit close together in the corner of the bar on their second
date.

CUT TO:

INT. FRONT DOOR - NIGHT

Megan stands next to David as he pulls out his wallet. The babysitter with the
black dyed hair and Buddy Holly glasses stands ready to leave in the doorway.

DYED HAIR GIRL
You got two calls. One came
through while I was on the
line - I wasn't talking too
long. There was an emergency
with my sister. She tried to
do her own perm and now she
looks like-

DAVID
Who called through?

Megan tries to hide her smile.

DYED HAIR GIRL
Someone from New York.

The smile instantly fades.

DYED HAIR GIRL
About a security job at a
museum. They want to hire
you.
(beat)
I didn't know you guys were
moving to New York. Thanks
for telling me.

MEGAN
We're not moving.

DYED HAIR GIRL
Oh.
(beat)
I let the answering machine
pick up the other call.

The babysitter fixes her Buddy Holly glasses as she looks at the two suddenly
quiet faces.

David hands her the money. She opens the door. It's started to rain.

DYED HAIR GIRL
Great.

The babysitter covers her head with her jacket and runs down the walkway. David
closes the door. Beat.

MEGAN
Look let's be honest here.
We're just at the beginning.
I don't expect you or I to
change the course of where
our lives were headed
because of two dates.
(beat)
If you do go to New York, we
can still develop this.
We'll just be forced to take
it slow. And in the end,
that's definitely better.
(beat)
This is our second time
around David. I don't expect
us to get carried away.
(beat)
I guess congratulations is
the right thing to say.

Megan takes off her coat as she moves to the guest bedroom. She disappears
inside. The door closely behind her.

CUT TO:

INT. KITCHEN - NIGHT

Only the COUNTER LIGHT is on in the kitchen. David stands by the phone.

ELIJAH'S VOICE IS HEARD ON THE ANSWERING MACHINE.

ELIJAH(on tape)
...David. It's Elijah. It
was so obvious. It's
referred to over and over.
That's the key you see. The
repetition across time. That
means at some point it was
all based on common thought,
a common event - a fact.
(beat)
It was this one issue that
brought it back for me...
Century Comics
One-Seventeen. That's where
this group, the Coalition of
Evil, tried to ascertain the
weakness of every superhero.

ELIJAH(on tape)
...Because they all have
one.
(beat)
Just like you.
(beat)
The cells that make up your
muscles and your bones react
to forces that act upon it,
slightly different from than
mine. That's clear... Your
cells react to bacteria and
viruses slightly differently
than mine... That's also
clear...But for some reason,
you and I react the exact
same way to water. We
swallow it, we choke. We
swallow too much of it, we
drown. However unreal it may
seem, we are connected, you
and I, we are on the same
curve... just on opposite
ends.

ELIJAH
The point of all this is, we
now know something we
didn't... You have a
weakness... Water. It's your
krpytonite.
(beat)
You hearing me David? Call
me back... I got rugby
practice in an hour.

THE SOUND OF ELIJAH HANGING UP IS HEARD. THE ANSWERING MACHINE BEEPS AS IT TURNS
OFF.

David hits a button on the answering machine. It makes a WHIRRING SOUND before
ANNOUNCING.

MACHINE
Message erased.

CUT TO:

INT. BATHROOM - NIGHT

The master bedroom is very narrow. A bathtub and toilet are at one end. Two
identical sinks sit opposite each other.

David sits on the edge of the tub. His shirt is unbuttoned. He sits in a daze
staring at the tiled floor.

His eyes slowly move to a small white and red box laying on its side under one of
the sinks.

David rises and picks it up.

It's a BOX OF BAND AIDS. David looks up to Megan's sink. Perfume and lotions sit
on its edge.

David opens her mirrored cabinet. He starts to put the band aid box back, he
hesitates.

His eyes begin to roam the cabinet shelves. They stop on certain items... A
CONTAINER OF TYLENOL... A LOTION FOR DRY SKIN... A BOTTLE OF ALLERGY DROPS...
COUGH SYRUP... A TUBE OF MUSCLE PAIN OINTMENT...

David just stands quietly for a beat before turning and looking across to his own
identical mirrored medicine cabinet.

There are three things on the shelf... DISPOSABLE RAZORS. SHAVING CREAM. AND
COLOGNE.

David's mouth opens just a little bit as he stares.

CUT TO:

INT. FRONT HALL - NIGHT

ALL THE LIGHTS ARE OUT.

David moves through the darkness down the stares in jeans and a sweatshirt.

He moves to the coat closet. Pulls out the dark green rain poncho. The word
"security" is almost faded away.

He opens and closes the front door with virtually NO SOUND.

CUT TO:

EXT. THIRTIETH STREET STATION - NIGHT

Rain falls like gunfire from the sky.

David's car pulls into the massive rain station parking lot.

David steps out and pulls the hood of the poncho over his head.

CUT TO:

EXT. METAL STAIRS - NIGHT

A steel fence leads to a set of stairs that travel down to the dozens of
interconnected tracks below. David walks down about forty feet. A fenced gate
with a lock stops his progress.

David looks through the fence down to the tracks. Just to the side is a
construction site. Cranes and lifts and various equipment stand idle in the area
next to the section of train wreckage that has been brought to the station
grounds for dismantling and salvaging. The bent shapes of the train pieces can
only be glimpsed in outlines as they sit in the darkness, hundreds of feet away
from the immaculately lit train station.

Beat. A HUGE METALLIC CRACK ECHOES THROUGH THE TRAIN YARD as David kicks open the
fence door that holds him back from going down.

CUT TO:

EXT. TRAIN WRECKAGE - NIGHT

Frightening twisted pieces of metal glisten in the rain. David walks along the
body of the caved-in passenger car.

The passenger car is split in two. Just before the tear, along the window line,
the windows have been crushed in. A huge hole has been ripped below the windows
exposing the ravaged interior.

David stands before this heavily damaged area of the car. He just stares at the
wreckage. Water falls off the rim of his hood in front of his face.

His eyes drift over the ominous pieces of deformed metal. He takes a couple slow
breaths as THE SOUNDS OF HARSH RAIN FADE AWAY TO SILENCE.

CUT TO:

FLASHBACK: EXT. STREET - NIGHT

SILENCE. BLACK. OUR VISION CLEARS TO REVEAL the glazed icy top of a street.

THE SOUND OF DISTANT FIRE COMES INTO THE SILENCE.

A TWENTY YEAR OLD DAVID DUNNE rises to his feet from the ground where he was
laying amongst the fragmented pieces of windshield. He looks down at himself. His
football jacket is torn. So are his jeans... He's trembling slightly, but not
bleeding.

HE LOOKS UP TOWARDS THE NOISES.

About thirty feet away is a Honda, upside down, wrapped around a telephone pole.
It's front is on fire.

Through one of the crushed door windows, WE SEE A WOMAN'S HAND.

Young David heads toward his car. He slips a couple of times on the slick iced
surface of the road.

He kneels down next to the inverted car. He looks in the crushed window frame.

THE FACE OF A TWENTY YEAR OLD MEGAN IS UPSIDE DOWN. She is unconscious.

DAVID
Megan...

She doesn't answer. Her body is twitching as it sits pinned behind the wheel.

David pulls at the handle of the mangled door. It's wedged tight. It won't move.

The heat from the fire is tremendous.

David's powerful arms keep pulling with all their strength.

WE HEAR THE CREAK OF METAL... THE DOOR BENDS UNNATURALLY AND THEN PRACTICALLY
RIPS OPEN.

David leans into the car and unbuckles Megan. He works her out underneath the
steering column. He slides out. Her leg is bleeding.

David picks her up and carries her to the grass next to the road. He lays her
down gently.

DAVID
Megan?

He just stares at her. She doesn't respond.

A LIGHT WASHES OVER THEM. David turns to see a truck approaching up the road.
David waves frantically. The truck slows.

David turns back to Megan. Her eyes are open.

Tears fall from David's face as he moves the hair out of her eyes. She looks at
David.

MEGAN(soft)
I thought I was dead.

Beat.

DAVID
Me too.

The driver of the truck slips and slides his way over to David.

DRIVER
Is she all right?

DAVID
I think her leg is
fractured.

DRIVER
Are you injured?

Beat. David looks at Megan who lays shivering in the grass. He looks back at the
driver.

DAVID(soft)
My shoulder's hurt.

The driver nods.

DRIVER
Hold on. I got a C.B. in the
truck.

The driver moves back to his truck.

David takes Megan's hand in his and waits in the grass by the sight of their car
on fire.

CUT TO:

PRESENT: EXT. TRAIN WRECKAGE - NIGHT

David stands utterly still in the graveyard of train 177.

CUT TO:

INT. HALLWAY - NIGHT

The wheels of Elijah's wheelchair move down the hall as he follows the SOUND OF
THE PHONE RINGING.

He follows THE SOUND to a PHONE RINGING in the storage room of the store. There
are shelves and shelves of comic books. Thousands of them filed away in neat
piles.

Elijah picks up the phone a little out of breath.

ELIJAH
Hello.

DAVID'S VOICE
Elijah?

Beat.

ELIJAH
David?

Nothing is said on the other line for a couple of beats. WE HEAR THE ECHOED DIN
OF A LARGE ROOM FILLED WITH PEOPLE AND MOVEMENT IN THE BACKGROUND.

DAVID'S VOICE
What am I supposed to do?

Elijah closes his eyes. His face fills with strength.

CUT TO:

INT. THIRTIETH STREET STATION PHILADELPHIA - NIGHT

The interior of the station is a mystical sight. One huge cavernous room, a
football field in size, lined on both sides with giant pillars that rise into a
misty hand painted ceiling.

ELIJAH(v.o.)
David, it's okay to be
afraid. Because this part
won't be like a comic
book... Real life doesn't
fit into little boxes that
were drawn for it.

David stands in a quiet corner and watches the faces of passengers arriving and
departing late night trains. Even at the late hour, there is heavy traffic
throughout the station.

ELIJAH(v.o.)
Go to where people are...
You won't have to look very
long.

David stares out at the midnight travelers. Beat. He starts towards them.

He passed the towering black statue standing at the far end of the station. It
watches over the whole building. It's in the form of an angel lifting a soldier
to heaven.

David moves through the first group of people - a crisscross of arriving
passengers from tracks one and two. They brush by him and lightly bump him as
they move.

FLASH CUT: WE ARE NO LONGER IN THE TRAIN STATION. A BLOND WOMAN IN HER TWENTIES
STANDS AT A COUNTER IN A CROWDED STORE.

SHE SLIDES THE SILVER BRACELET AND EARRINGS SHE WAS LOOKING AT OFF THE GLASS
COUNTER AND INTO HER PURSE. NO ONE SEES.

SLAM CUT BACK TO PRESENT:

David turns and glances at the blonde woman as she walks away from him towards
the exit of the train station. He doesn't stop moving.

David heads towards the densest part of the floor. The area near the information
board. Sleepy friends and tired family members stand and wait. A steady
spider-like web of movement flows as six tracks let out on either side.

David moves to the center. His rain poncho almost touches the marble floor. Lines
of passengers emerging from trains below the main level move steadily on either
side of him.

David looks down and gently turns the palms of his hands out as they at his side.
His finger tops graze the jackets and clothes of the passengers walking by.

Dozens and dozens of people pass. Nothing happens. Then a man in a crumpled shirt
and slicked back hair brushes by...

FLASH CUT: THE SLICKED BLACKED HAIRED MAN LEANS OUT THE WINDOW OF A TRUCK. HE'S
HOLDING A BOTTLE OF BEER.

SLICKED HAIR MAN
Go back to Africa!

THE SLICKED HAIR MAN THROWS THE BOTTLE WITH FORCE AS HE PASSES A CLACK FAMILY
WALKING ON THE SIDEWALK. THE BOTTLE SHATTERS AS IT HITS A WOMAN IN THE GROUP.

SLAM CUT BACK TO PRESENT:

David's eyes dart up as the slicked haired man turns the corner at the
information booth. He watches him for a beat.

FLASH CUT: WE ARE IN A BEDROOM. A YOUNG MAN IN HIS LATE TEENS LOOKS DOWN AT A
GIRL LAYING IN A PILE OF OVERCOATS ON A BED. THERE IS LOUD MUSIC AND LAUGHTER
COMING FROM SOMEWHERE DOWNSTAIRS.

TEENAGER
What's your name? I think
you drank too much.

THE GIRL MOANS SOMETHING INAUDIBLE AS SHE ROLLS ON HER SIDE. HER SKIRT RIDES UP
HER THIGH.

THE YOUNG MAN STARES AT HER AND THEN GETS UP. HE MAKES SURE NO ONE IS LOOKING
BEFORE CLOSING THE DOOR. HE LOCKS IT FROM THE INSIDE.

SLAM CUT BACK TO PRESENT:

David watches the teenager with baggy jeans hanging off his hip. He walks and
greets a group of identically dressed friends.

Beat. David turns his hands back in. He seems shaken. He takes a couple of deep
breaths as he gathers himself.

Then David steps back to look around. HE BUMPS the shoulder of a man standing
behind him.

David takes a sudden breath like someone punched him in the solar plexus.

FLASH CUT: AN ENORMOUS MAN WITH GLASSY EYES STANDS BEFORE A SCREEN SIDE DOOR.
HE'S BALDING. THE HAIR HE DOES HAVE IS SHOULDER LENGTH. HIS ECLIPSING SHADOW
FALLS ON THE CONSERVATIVE LOOKING MAN WHO STANDS ON THE OTHER SIDE OF THE SCREEN
DOOR INSIDE THE HOUSE.

GLASSY EYED MAN
Can I come in?

MAN IN HOUSE
Who are you?

GLASSY EYED MAN
I like your house. Can I
come in?

MAN IN HOUSE
What is this?
(beat)
No you can't come in.

Beat.

GLASSY EYED MAN
Are you sure?

The enormous glassy eyed man takes hold of the screen door handle. He turns it.
The man inside the house grabs the door handle on the inside to stop him.

MAN IN HOUSE
What are you doing?

The man inside the house uses all his strength to keep the door from opening...
It opens slowly anyway.

SLAM CUT BACK TO PRESENT:

David stands frozen in the train station. His face is almost unreadable.

David is standing less than a foot away from the man he bumped. They're standing
shoulder to shoulder. David's eyes slowly move from the ground over his right and
then finally onto the man.

He's huge. At least three inches taller than David. His shoulders are massive.
He's wearing a one piece ORANGE UNIFORM.

The man in the orange uniform leans over a trashcan next to him and removes the
full trash bag within it. He replaces it with a fresh one. He throws the full
trash bag into a gray plastic bin with wheels and starts pushing it.

David watches the man head across the floor towards a double door marked "Station
Maintenance Staff Only".

Four identical gray bins sit outside the door. The huge man disappears with his
bin inside.

David waits. He just stares hard at the double doors. Nothing happens for the
longest time... No one comes out. David makes a decision. He starts towards the
doors.

And then they open.

The huge glassy eyed man in orange emerges carrying a bag over his shoulder. He's
wearing a baseball hat with his uniform now. He heads toward a back exit.

David lets him get about twenty feet away before deciding to follow him.

CUT TO:

EXT. RESIDENTIAL STREET - NIGHT

The man in the orange uniform walks in the driving rain down a residential city
block. Almost all the lights in the middle class homes he's passing are off at
this late hour. No one is out walking except him and David Dunne fifty feet
behind.

The orange figure turns the corner onto a block of modest stand alone homes. The
uniformed man walks slower in this block. He looks around carefully as he moves.

He turns into a driveway of one of the homes. He stops and pulls a wad of mail
out of the mailbox.

David stands with the hood of his security coat covering his head and face. He
stands in the shadows and watches silently as the man in the orange uniform looks
over his massive shoulder before turning a knob and entering the white paneled
house through a familiar side door with a screen on it.

CUT TO:

INT. LAUNDRY ROOM - NIGHT

The side door opens with almost no sound. The hooded figure of David Dunne steps
into a narrow laundry room. THE SOUND OF A TELEVISION IS HEARD FROM ANOTHER ROOM.

A very large pile of unopened mail sits in a mound on the clothes dryer. Two or
three days worth.

David shuts the door very slowly.

CUT TO:

INT. KITCHEN - NIGHT

THE SOUNDS OF CHEERING FROM THE TELEVISION IN THE NEXT ROOM SPILL INTO THE
KITCHEN.

David stares out from under his hood at the mess.

Cabinets are left open. Empty cans of food sit on the counter with a handful of
unwashed dishes. The breakfast table is the eeriest thing in the room. It sits
frozen with a plate of half-eaten, now moldy eggs at one setting and two bowls of
colorful cereal in another. The cereal has dissolved in the old milk. Two
cockroaches are crawling in the bowl.

David moves slowly to a door in the kitchen. It's slightly open. As David gets
closer, he shields his face from the strong smell. He pulls the door open
quietly.

A SHAFT OF KITCHEN LIGHTS FALLS DOWN THE STAIRS INTO THE BASEMENT. At the bottom
of the stairs is a MAN'S BODY. The same man who answered the door in the
flashback lays partly in the shadow, partly in the light. His crumpled tie lies
folded over itself on his still chest.

CUT TO:

INT. FAMILY ROOM - NIGHT

A BOXING MATCH BLARES ON THE TELEVISION. Empty beer bottles and coke cans sit in
a pyramid on the coffee table.

David steps into the unoccupied room. His movements are slow and tense.

THUDS OF HEAVY FOOTSTEPS COME FROM THE CEILING OF THE ROOM. David looks up and
follows the SOUND AS IT MOVES AROUND ABOVE HIM.

David moves to the stairs as SOMEONE GETS KNOCKED OUT ON THE TELEVISION.

CUT TO:

INT. GIRL'S ROOM - NIGHT

Three closed doors converge on a landing. David opens the closest one.

It's a young girl's room. Posters of boy bands are on her wall. Clothes are
everywhere. The room is empty.

A NOISE COMES FROM THE HALF OPEN BATHROOM DOOR ATTACHED TO THE BEDROOM.

CUT TO:

INT. BATHROOM - NIGHT

A slightly overweight girl, probably fourteen years old is tied by her wrists
with a phone cord to the metal towel rack in her bathroom. She sits with her arms
pointed upward over her head. He knees tucked up to her chest.

Next to her is her younger brother. A skinny boy, maybe twelve. He's tied and
seated in the same way.

Their heads are leaned back against their arms. They're completely listless. Eyes
half mast. They watch as the door to the bathroom opens and the dark hooded
figure of David Dunne steps in. His long dark slowing rain poncho still dripping
water. He stands in the doorway for a moment before moving towards them.

They don't react in anyway as David reaches for the phone cord and unties them.
They're arms flop to their laps as they gaze up at the figure leaning over them.
They boy blinks once slowly.

David takes a step back and stares at them from under his hood.

DAVID
You need to leave now.

CUT TO:

INT. MASTER BEDROOM - NIGHT

An exercise bike in the corner of the bedroom has been turned into a clothes
hanger long ago. The t.v. across the bed has framed family photos displayed on
top of it.

David's shadow passes over them as he moves towards the open bathroom on the
other side of the bedroom.

A woman is tied to the bathroom door handle. She sits on the tiled floor slumped
against the door. Her eyes stare blankly at the ground. She has considerable
bruises on her face and arms.

David stands before her.

DAVID(soft)
Where is he?

The woman doesn't answer, but a SOUND COMES FROM THE SCREEN DOOR nearby. The
curtains draping the screen door move with the wind from outside.

David crosses the room and pushes aside the curtain. It leads to a small balcony.
An empty lawn chair is the only thing on it.

David steps onto the balcony and looks down.

The rain still pours down unmercifully. It comes down on a black tarp that covers
a pool in the backyard.

David turns to go back inside.

A BLURR OF ORANGE ATTACKS HIM.

The collision is sudden and explosive. The huge man drives his shoulder into
David's chest and takes him off his feet. David's body flips over the railing.

The dark green rain poncho flaps in the wind as he falls two stories directly
towards the black tarp.

CUT TO:

EXT. POOL - NIGHT

David lands on his stomach with a TREMENDOUS SLAP onto the nylon black tarp.

There's a thin layer of rain water on the tarp's surface. David is laying on his
cheek. Half his face is covered in water.

Beat. David's exposed eye looks around in a daze. The surface of the tarp gets
pounded by the rain.

David uses his hands to push his body off the tarp. His hands sink into the water
as his pressure pushes the tarp down.

THE FIRST SOUNDS OF NYLON SLIDING AGAINST CONCRETE START.

David stops pushing. His vision catches the corner of the swimming pool as the
tarp slides out from under the sand bags that hold it in place.

The tarp sags. David becomes utterly still. THE SOUND CONTINUES ANYWAY.

One by one the tarp starts sliding out from under the sand bags all around the
edge of the pool.

And then without warning, the tarp caves in. It folds around David as he and the
tarp get pulled UNDER THE COLD DARK WATER.

CUT TO:

EXT. UNDER WATER - NIGHT

David's body is tangled in the pool cover. His legs and arms thrash against the
constricting black tarp. He's drowning.

GLIMPSES OF LIGHT FROM THE HOUSE PIERCE THE DARKNESS UNDER WATER. THE BLURRED
IMAGE OF A DISTANT FIGURE HIGH ABOVE ON A BALCONY FLICKERS AND DISAPPEARS.

The last of the tarp slides out from under the sandbags that old it in place
around the edge of the pool.

The rain keeps falling.

The tarp moves like it's alive underwater. It shifts and wraps David tighter with
every movement.

GLIMPSES OF LIGHT AGAIN. TWO SMALL FIGURES NOW STAND IN A BLURRED SILHOUETTE NEAR
THE EDGE OF THE POOL. FLASHES OF SOMETHING SHINY THEY'RE HOLDING... A ROD OR
POLE... IT'S SHAKY NEBULOUS IMAGE WAIVERS IN THE AIR ABOVE THE SURFACE.

David's only free hand reaches for the light. It catches the silver pole.

The tangled mass of David and the tarp are pulled slowly towards the edge of the
pool. David's head and shoulders emerge from the darkness. He takes hold of the
pool's edge.

Huge desperate breaths as he pulls his body out from the water and the grasp of
the tarp. He hauls himself onto the ground.

He sits hunched over in a dark mass, his head down under his hood. The rain
poncho covering him like a blanket. Beat.

He rises to his feet. The water rushes off of him. His breathing is slowing,
calming.

He stands in a silhouette from the light of the house. He turns and looks to the
two small figures standing near the edge of the pool.

The children from the bathroom stand still in the rain. They're holding an
aluminum pole with a brush head for cleaning the pool. They stare up at the
hooded figure.

No one says anything.

CUT TO:

INT. MASTER BEDROOM - NIGHT

The man in the orange one-piece uniform stands over the woman tied to the door
handle of the bathroom. His back is to us. He's drinking from a beer bottle as he
looks down at her.

He doesn't notice the third presence come into the room. He doesn't hear him move
closer. Right behind him.

The man in orange takes another sip of his beer, not realizing an arm is reaching
over him... He doesn't get to swallow the sip in his mouth.

David Dunne's powerful arm wraps around the man's thick neck. David's hands clamp
together like and iron vise. He squeezes.

The man's beer bottle crashes to the ground as his neck begins to get crushed.

David yanks back hard, pulls the man off balance. The man's legs push back
violently, sending both of them backwards across the room. They come to a hard
stop as David's back gets RAMMED INTO THE BEDROOM WALL.

The huge man in orange pulls away and then SLAMS DAVID harder against the wall.
David's arm remains locked around his throat.

The man becomes frantic. His face turning dark red. He clutches at David's arm.
He spins, taking David with him into another wall. The IMPACT IS TREMENDOUS. The
room shakes. David holds on. His face bent low and hidden under his hood.

And then the man in orange throws a powerful elbow back. It lands hard right in
David's side. David groans. The huge man delivers another one. Savage, desperate
blows. WE HEAR THE IMPACT OF EACH ONE WITH DAVID'S BODY. And David never lets go.

The elbows slow and then stop. The legs of the man in orange start to buckle.

David pulls him back onto his heels. He turns him in a half circle. All of his
tremendous weight is hanging from David's arm now. David LETS OUT A YELL AS HE
APPLIES ALL HIS STRENGTH. The man's legs stop kicking.

David keeps turning him. The man's body goes completely limp. David's just
dragging two hundred and seventy-five pounds of weight in a circle over the
carpet now.

David slowly comes to a stop. He stands there with his arm wrapped around the
man's neck....The man's limbs dangle down to the ground. Beat.

David's hands let go of each other. His arm slips out from under the man's jaw.
The man in orange crumples to the ground like a rag doll. The only SOUND IN THE
ROOM IS DAVID'S HEAVY BREATHING. Beat.

He moves to the woman slumped against the door. He starts to untie the phone
cords that bind her wrists to the handle. He whispers to her.

DAVID(soft)
It's over now.
(beat)
Your children are fine.
They're getting help.

He unties her wrists. Her arms stay above her head where they were.

DAVID(soft)
I'm going to go now.

He stares at the woman whose eyes stare blankly at him. She sits unnaturally
still against the door with her arms above her head. The mascara that has run
down her face and dried, has tracks where countless tears have rolled down.

David moves his hand near her mouth and nose. He checks for the feeling of breath
against his hand. Beat.

He rises up. Removes his hood. David Dunne stands silently in the master bedroom
of someone's house and gazes at the dead woman frozen in a slumped position
against her bathroom door.

CUT TO:

INT. FRONT HALL - NIGHT

The front door opens to SILENCE. The silhouetted figure of David steps into the
darkness of his home.

CUT TO:

INT. CLOSET - NIGHT

The dark green faded security poncho gets hung back on its hook in the closet
next to the family winter coats.

CUT TO:

INT. JEREMY'S BEDROOM - NIGHT

David enters the quiet of Jeremy's room. Jeremy lays sound asleep. David stares
down at the shadowy figure of his son.

He pulls the blanket over the boy's small shoulder.

CUT TO:

INT. DAVID'S BEDROOM - NIGHT

David sits on the edge of the empty bed in the darkness of his room.

He doesn't makes a sound. He doesn't move an inch. He is so still, he seems to
disappear into the shadows of the room.

CUT TO:

INT. GUEST BEDROOM - NIGHT

Megan stirs in her sleep. She shifts her head on the pillow.

Then her body RISES INTO THE AIR.

She starts to wake as she floats across the room. She opens her eyes and sees
David close by. He's carrying her in her arms. He moves up the stairs with her.
No words are spoken.

CUT TO:

INT. THEIR BEDROOM - NIGHT

They enter their bedroom. David lays her down gently on her side of the bed.

She watches as he walks out of sight. He lays down right behind her.

He covers her with his arm... His hand is shaking. Beat. He speaks softly.

DAVID(soft)
I had a bad dream.

David tucks his head in close to hers and closes his eyes.

Megan lays stunned in her husband's arms. Beat.

MEGAN(soft)
It's over now.

She closes her eyes too as the tears start coming.

DISSOLVE TO:

EXT. STREET - DAY

Downtown Philadelphia.

People move up and down the sidewalks in front of the storefronts. David Dunne is
among them.

He crosses the street in front of The Limited Edition. The front doors of the
store are open.

A banner over the door reads, "Annual Sale."

CUT TO:

INT. LIMITED EDITION - DAY

The compact store is crowded with customers.

David spots Elijah with a group of people before a framed painting of a comic
hero.

David moves to a less crowded area of the store and waits. He turns and looks at
a framed sketch.

Beat. An older woman walks over from a near by picture and joins David.

WOMAN
...See the villain's eyes.
They're larger than the
other characters'. They
insinuate a slightly skewed
perspective of how they see
the world. Just off normal.

David stares at the drawing.

DAVID
He doesn't look very
threatening.

WOMAN
That's what I said to my
son. He said, there's always
two kinds. The soldier
villain who fights the hero
with his hands, and then
there's the real threat. The
brilliant and evil arch
enemy who fights the hero
with his mind.

David turns and looks at the striking and beautiful African American woman in her
sixties who stands next to him.

DAVID
Are you Elijah's mother?

The woman turns and looks at David for the first time.

ELIJAH'S MOTHER
I am. I'm helping him with
the sale.

DAVID
It's a pleasure to meet you.
I'm David Dunne.

ELIJAH'S MOTHER
He's spoken of you. He says
you're becoming friends.

DAVID
We are.

David looks across the store at Elijah talking with the customers.

DAVID
He's doing well today.

ELIJAH'S MOTHER
I'm very proud of him.
(beat)
He's been through a lot in
his life. A lot of ups and
downs, a lot of bad spells.
A couple I'd thought had
broken him... I mean
emotionally.
(beat)
They were bad... But he made
it. Yes he did.

DAVID
He's kind of a miracle.

ELIJAH'S MOTHER
Yes he is.

They both watch Elijah from across the room.

ELIJAH'S MOTHER
I'll tell him you're here.

David watches as Elijah's mother walks across the store and waits for Elijah to
finish talking.

David turns back to the framed sketch. He looks at it with his hands in his
pockets. Beat.

David's stare turns into a gaze. His gaze turns into stillness.

THE SKETCH is of a withered man with large tense eyes. He sits in the shadows.
He's seated in some type of machine. There are lots of buttons and levers on the
machine. The machine has wheels.

David turns from the sketch. He looks across the room to Elijah seated in his
wheelchair. Elijah's large eyes stay focused on the customer's as he finishes
negotiating.

David turns back to the sketch. He looks at it with growing confusion. The more
you look at drawing, the more the machine the man is seated in looks like a
wheelchair.

David looks back across the store. Elijah and his mother are talking. Elijah has
spotted David.

Beat. Elijah starts across the crowded store towards David. He wheels up to him.

ELIJAH
Did you see this?

Elijah has a newspaper on his lap. He holds it up.

There's a drawing on the front page. It's a hooded figure shielding two huddled
children behind him.

ELIJAH(soft)
It has begun.

David stares quietly at the sketch of himself.

ELIJAH
When I saw it this morning.
I felt a part of the world
again.

Elijah looks down at the newspaper.

David hesitates and then reaches forward.

He reaches past the paper... And TOUCHES ELIJAH'S ARM.

FLASHCUT: AN AIRPORT GATE. ELIJAH IS STANDING AT THE WINDOW LOOKING OUT ONTO THE
AIRFIELD. HE'S CRYING.

SIRENS START SOUNDING THROUGHOUT THE AIRPORT.

WAITING PASSENGERS START GETTING UP AND MOVING TO THE WINDOWS.

MAN
What's going on?

Elijah speaks to no one in particular as he stares out the window with tortured
eyes.

ELIJAH
A plane just crashed.

CUT TO:

FLASH CUT: ELIJAH AND AN ELDERLY MAN IN A UNIFORM ARE SEATED IN A HOTEL BAR.

ELDERLY MAN
I've worked here twenty-five
years. I know all its
secrets.

ELIJAH
Secrets?

ELDERLY MAN(whispers)
Like if there was ever a
fire on floors one, two, or
three... Everyone in this
hotel would be burned alive.

ELIJAH LOOKS UP FROM HIS DRINK.

CUT TO:

FLASHCUT: ELIJAH LEAVES THE ENGINEERING ROOM OF AN AMTRAK TRAIN. HE PASSES THE
ENGINEER WHO HAS JUST ARRIVED WITH COFFEE.

ENGINEER
Passengers aren't allowed in
there.

Elijah doesn't answer and doesn't turn around as he exits train 177.

SLAM CUT BACK TO PRESENT:

David takes two unsteady steps back. Elijah has tears in his eyes as he gazes
down at the newspaper. He looks up to David.

ELIJAH(low voice)
I almost gave up hope. There
were so many times I
questioned myself. I've made
so many sacrifices but it's
all been worth it.
(beat)
There are millions and
millions or mediocre people
in the world David. Isn't it
great that we aren't one of
them?

David looks like he stopped breathing as he backs up in the store.

Customers step between him and Elijah. Elijah becomes obscured and then blocked
from view.

CUT TO:

EXT. STREET - DAY

David emerges from the store slowly. He braces himself against a parked car and
then keeps on walking in a nightmarish daze.

WE PULL BACK as David Dunne blends in with dozens and dozens of ordinary people,
walking on an ordinary street, in an ordinary city.

FADE TO BLACK: