>>/ Signs

/ Signs ( 2)

: / Signs.

/ Signs

MORGAN Dad!

Graham doesn't take his eyes off the screen.

GRAHAM (preoccupied) Find another tape.

Graham and Merrill sit down at the same time on the sofa. They both have the same dazed, slow movements.

Morgan rummages through the pile of videos frantically. He finds one and reaches for the VCR.

MORGAN Uncle Merrill, I'm using your tape.

Morgan slams the tape marked "Bay Watch" into the VCR and presses record. He's breathing heavy now. Wheezing actually.

Morgan moves to the sofa and takes a seat in between his father and his uncle. Bo walks over and squeezes in also. The four of them stare at the television.

TV ANCHOR ... You're seeing a live feed from our NBC affiliate down in Mexico City. The time there is 7:17pm. This image has not been adjusted or enhanced in any way. What you're seeing is real. (beat) Everything they wrote in science books is about to change.

Beat.

MORGAN (soft) Told you.

Morgan brings his asthma spray to his mouth and inhales.

DISSOLVE TO:

INT. FAMILY ROOM - MIDNIGHT

The family room lights are off now. The TV is still on. The SOUND IS MUTED. There are a couple glasses of Bo's water on the television now.

The fourteen lights are still hovering on the screen. Morgan is asleep on Graham's lap. Bo is asleep on Merrill's shoulder.

MERRILL (whispers) Some people are probably thinking this is the end of the world.

Graham turns his sleepy eyes away from the screen to Merrill.

GRAHAM (whispers) That's true.

Merrill looks his brother in the eyes. Beat.

MERRILL (whispers) Do you think it's a possibility?

GRAHAM (whispers) Yes.

MERRILL (whispers) How can you say that?

GRAHAM (whispers) That wasn't the answer you wanted?

MERRILL (whispers) Can you at least pretend to be like you used to be? Give me some comfort?

Beat. Graham thinks it over.

GRAHAM (whispers) ... There are all different ways you can tell that there's someone really there watching out for us. You see signs. Sometimes they're little ones. You think of someone. The phone rings. They're on the phone... Sometimes they're big, like fourteen lights hovering over Mexico City. (beat) Sure, there are a lot of people watching this who think this could be a bad thing. But there are a lot of people watching this, who think it's a miracle. A sign of God's existence. It's all in how you look at things Merrill. (beat) What you have to decide is what kind of person you are? Are you the type who believes in miracles and looks for signs or are you the kind who believes, things just happen by chance?

Beat. Merrill is deep in thought.

MERRILL I was at this party once. I'm on a couch with Sara Mckinney. She was just sitting there, looking beautiful and staring at me. I go to lean in and kiss her and I realize I have gum in my mouth. I turn and take out the gum. Stuff it in my paper cup next to the sofa and turn around. Sara Mckinney throws up all over herself. (beat) I knew the second it happened. It was a miracle. I could have been kissing her when she threw up. That would have scarred me for life. I may never have recovered.

Merrill looks at the TV screen. Beat.

MERRILL I'm a miracle man. Those lights are a miracle.

Graham smiles.

GRAHAM (whispers) There you go.

Beat.

MERRILL (whispers) So which type are you?

Beat.

GRAHAM (whispers) Do you feel comforted?

MERRILL (whispers) Yes.

GRAHAM (whispers) What does it matter then?

The two of them turn back to the silent screen of the television. It's a long beat before Graham speaks.

GRAHAM (whispers) Do you know what Colleen's last words were before they killed her?

Beat. Merrill turns and stares quietly at his brother.

GRAHAM (whispers) She said, "See", and then her eyes glazed a bit and she said... "Tell Merrill to swing away."

Merrill's mouth opens a bit. Graham turns and chuckles at his expression.

GRAHAM (whispers) Do you know why she said that?

Merrill nods, "No."

GRAHAM (whispers) Because the nerve endings in her brain were firing as she died, and some random memory of us at one of your baseball games popped into her head. (beat) There is no one watching out for us Merrill. We're all on our own.

Graham turns back to the television. Beat.

THE LIGHT OF THE TELEVISION FLICKERS ON THE FACES OF THE TWO BROTHERS AS THEY SIT WATCHING IN SILENCE.

CUT TO:

INT. FAMILY ROOM - DAY

Graham's eyes open. DAYLIGHT FILLS the family room. He is alone on the couch. Alone in the room.

He looks to the television. It's not there.

Graham moves to his feet and look around the room. His eyes stop on an EXTENSION CORD that runs from a wall outlet in the family room, across the front hall, and under a closet door.

Graham moves to the door. WE HEAR MUFFLED TELEVISION VOICES. Graham opens the

CLOSET.

Merrill looks up. He's seated on a kitchen chair with the television on a roll-away stand crammed in with him.

MERRILL For the kids protection. All they were doing was watching TV from five a.m. I felt like they were getting obsessed like you said. They should be playing furry, furry rabbit or tea party or something right?

GRAHAM What's furry, furry rabbit?

MERRILL (points) That's a game isn't it? (beat) Anyway... (points at the TV) There's been some interesting developments.

GRAHAM What time is it?

MERRILL Eleven a.m. They're gone.

Beat. Graham looks at the TV screen. There's a daylight shot of Mexico City. The skies are empty above it.

MERRILL But they're not really gone. We just can't see them. Early this morning a bird flew right at the area where the lights were hovering last night.

Merrill puts a finger in the sky on the screen.

MERRILL It stopped dead in the air and fell straight down.

Merrill's finger trails to the bottom of the screen.

MERRILL They caught it on tape and they've been playing it all morning. They found the bird. His head crushed in. When you see the footage it looks like the bird flew into a wall in the sky. (beat) They think they have some invisible shield thing going, like an optical illusion.

GRAHAM The bird could have had a heart attack and crushed his head when he fell.

MERRILL Already thought of. Two other birds did the same thing an hour later. Not as dramatic. They lived. But you could see they hit something.

Graham looks at the empty sky on the screen with different eyes.

MERRILL They're still there hovering. In fact, some people think there's more of them now. All over the place. Over us even. (beat) And there's a theory about the crop circles now. They think it could be some kind of landmark, visual mapping system -- so they can navigate. Coordinate. Makes sense doesn't it?

CUT TO:

INT. MASTER BEDROOM - DAY

We are inside Graham's bedroom facing his bathroom door, which is closed. The same sun-faded outline of where a large cross used to hang, is stained on the wall next to the door.

Graham opens the bathroom door and steps out with wet hair. He towels it dry as he moves to his bedroom window.

WE LOOK OUT THE SAME WINDOW WE LOOKED OUT AT THE VERY BEGINNING.

The backyard is large and green with a wooden jungle gym. A single tree throws shade onto a picnic table. The back of the yard is lined by corn crops. Golden and brown. Six feet high.

The crops go on well beyond our view. Graham stares at them quietly. Watching.

Beat. THE SOUND OF WHISPERING DRAWS HIS ATTENTION FROM THE WINDOW.

He listens closely. HIS CHILDREN ARE WHISPERING IN THE NEXT ROOM.

CUT TO:

INT. CHILDREN'S BEDROOM - DAY

Graham walks into the hall and looks in their room.

Morgan and Bo are seated on the edge of their bed. They have TIN FOIL wrapped around their heads like a helmet. Graham stares at his children.

MORGAN So the aliens can't read our minds.

GRAHAM Oh.

MORGAN They tell you everything in this book.

Morgan holds up the book he bought from Nathan's bookstore.

Graham enters the room. The children make space for him on the bed. He takes a seat between them. Morgan puts the book on his father's lap.

MORGAN It says they're probably very small -- like my height -- because, as their brains developed, there was no use for physical development. It says they're probably vegetarians, because they would have realized the benefits of such a diet.

GRAHAM Who wrote this book?

Graham looks on the back cover for a picture. There's none there.

MORGAN Scientists who have been persecuted for their beliefs.

GRAHAM That means they're unemployed.

Morgan closes the book.

MORGAN Dad, are you going to be serious?

Bo points at the book.

BO Yeah, serious.

Graham looks at his two children with foil on their heads.

GRAHAM I don't know what got into me.

Beat. Morgan puts the book on his father's lap.

MORGAN There are pictures.

Beat. Morgan opens the tome.

MORGAN Dr. Bimboo, one of the authors of the book --

GRAHAM Bimboo?

MORGAN Dad.

GRAHAM I just asked his name.

MERRILL You had a tone.

Beat. Graham acknowledges with a nod that he did have a tone.

MORGAN He says there are two reasons why Extraterrestrials would visit us.

Morgan turns the page.

MORGAN To make contact in the spirit of exploration and furthering the knowledge of the universe.

Graham looks at an illustration of a small, bulbous headed figure shaking hands with a bearded human.

MORGAN Or the other reason... They're hostile. They've used up the resources on their planet and are looking to harvest our planet next.

Morgan turns the page. There is a picture of a house. A space ship is hovering over the home shooting laser beams at it. Beat.

GRAHAM Looks a little like our house doesn't it?

Morgan and Bo lean in closer to look at the picture. Beat.

BO The same windows.

MORGAN (soft) That's weird.

The three of them study the picture of the house. It's on fire. Their eyes move to the front yard. There are three bodies lying dead on the front lawn. Two are children.

THE PHONE RINGS.

The children SCREAM and cling to their father. THEIR SCREAMS DIE DOWN. The PHONE RINGS again. Graham gets up. He closes the book.

GRAHAM That's enough from Dr. Bimboo for now. Everybody in this house needs to calm down and eat some fruit or something.

Graham steps out into the hallway. He tucks the book under his arm and picks up the phone.

PHONE VOICE Father.

THROUGH THE PHONE WE HEAR SUDDEN SCUFFLING, A CHAIR SQUEAL AGAINST THE FLOOR and then the phone disconnects.

GRAHAM Hello?

NOTHING BUT DEAD AIR. Graham looks at the receiver and then slowly hangs it up.

Graham walks down the hall to a small window.

The window looks down the driveway and out onto the road. Graham stares into the distance. About a half-mile away we see the TIP OF A HOUSE. Graham gazes at it for a beat.

CUT TO:

INT. FRONT HALL - DAY

Graham comes down the stairs with his overcoat on. He moves to the closet door and knocks on it before opening it.

Merrill looks up from the television.

GRAHAM I'm going out for a few minutes. No one leaves this house. No one.

Merrill nods.

MERRILL Where are you going?

GRAHAM Ray Reddy's house.

Graham starts down the hall. Merrill steps out of the closet for the first time. He looks down the hall shocked.

MERRILL Why?

Graham unlocks the front door.

GRAHAM I think he just called here.

CUT TO:

INT. CHILDREN'S BEDROOM - DAY

BLUE SKY -- OUR VIEW MOVES OVER CLOUDS. WE ARE LOOKING THROUGH SOME KIND OF LENS.

BO (O.S.) You don't think something bad will happen do you Morgan?

Morgan pulls his eye away from the telescope that is set up on the window seat in his room.

MORGAN Why, you got one of your feeling again?

Bo nods, "Yes."

MORGAN Is it bad?

Bo nods, "Yes" slowly.

MORGAN If it does, I won't let anything bad happen to you.

Bo hugs Morgan tight.

BO (soft) I don't want you to die.

MORGAN Who said I was going to die?

Bo keeps hugging Morgan.

MORGAN Who said I was going to die?

Beat. Morgan peels Bo's arms off of him.

MORGAN Come on Bo. I need to keep a look out.

Bo lets go. Morgan puts his eye to the eyepiece of the telescope.

CUT TO:

EXT. REDDY HOUSE - DAY

A mailbox reads "R. Reddy."

There is a gray and white house at the end of the quarter mile driveway. We saw the roof of this house from the Hess hallway window.

Graham stands at the front door and RINGS THE DOORBELL AGAIN.

Beat. Graham tries to look inside. Curtains block his view.

Graham walks around the porch. Turns the corner of the house. He looks in a side window.

THE VIEW THROUGH THE WINDOW IS OF A KITCHEN. THE KITCHEN CHAIRS ARE ON THEIR SIDE. THE KITCHEN TABLE ITSELF, IS UPSIDE DOWN, LEANING AGAINST A CLOSED DOOR. THE ROOM IS TOTALLY WRECKED.

Graham stands straight up. He looks around nervously. He takes two steps back towards the front of the house and the safety of his station wagon before he notices the GREEN TRUCK parked to the side of the house.

There is someone sitting in it.

CUT TO:

EXT. REDDY DRIVEWAY - DAY

The passenger side window of the truck is open. Graham steps up to it and looks inside. The thin man with the leather jacket, we saw in town, sits behind the wheel. He stares out the windshield. He is covered in sweat.

GRAHAM Hello Ray.

RAY REDDY doesn't look over. Doesn't react. Keeps staring.

Ray clutches the steering wheel tightly, turning his knuckles a yellow white.

Graham glances to the backseat of the truck. There are two large bags over flowing with clothes.

Graham's eyes gently move back to Ray and drift down to the TWO BLOOD STAINED AREA ON HIS SHIRT. Beat.

GRAHAM What happened Ray?

Beat. Ray doesn't look over when he speaks.

RAY I wrote your number down to call you. It's been sitting next to the phone for six months. When I knew it was inside the house, I couldn't think of any other number to call. I panicked. (beat) Thank you for coming Father.

GRAHAM (soft) You're welcome Ray.

Tears start falling down Ray's face.

RAY I worked so long that night. I ain't never fallen asleep driving before. And never since. Most of the ride home, there wasn't a car insight in either direction. If I'd fallen asleep then, I'd a ended up in a ditch with a head ache. It had to happen at that right moment. That certain ten-fifteen seconds when I passed her walking. It was like it was meant to be.

Ray finally turns. His red face quivers as he talks.

RAY I guess if this is the end of the world, I'm screwed right? People who kill Reverends' wives aren't exactly ushered to the front of the line in heaven.

Ray starts the car.

GRAHAM Where you going Ray?

RAY To the lake. The way I see it, all the places marked in the crops and such -- none of them are really near water. I figure they don't like water. (beat) Can't be any worse than here.

Beat.

GRAHAM Ray, did you see one of them?

Ray looks at Graham.

RAY I'm truly sorry for what I've done to you and yours.

The two men stare at each other for a beat. Ray looks away. He puts the car in drive.

RAY And don't open my pantry Father. I locked one of them in there.

Graham steps away as the truck moves forward and pulls down the driveway.

CUT TO:

INT. CLOSET - DAY

Merrill's head is leaned against a bunch of winter coats. His eyes are closed.

TV ANCHOR ... The startling footage we're about to show you was photographed by a forty-two year old Romero Valadares.

Merrill's eyes open.

TV ANCHOR This video was taken yesterday afternoon at his son's seventh birthday, in the city of Passo Fundo, Brazil. It was sent to the local news bureau there and satellited to us a few minutes ago. All initial opinions are; this is genuine.

THE TELEVISION ANCHOR APPEARS FLUSTERED.

TV ANCHOR What you are about to see, may disturb you.

Merrill sits up in his chair.

THE PICTURE OF THE ANCHORMAN IS REPLACED BY A HANDHELD VIDEO IMAGE ON THE TV SCREEN. THE IMAGE IS OF A FAMILY ROOM WHERE A BUNCH OF CHILDREN IN DRESS CLOTHES CROWD AROUND A SLIDING GLASS WINDOW.

THE CHILDREN ARE SPEAKING PORTUGUESE EXCITEDLY. THEY LOOK AT THE CAMERA AND POINT TO THE OUTSIDE THROUGH THE GLASS DOORS.

THE HANDHELD IMAGE MOVES OVER THEIR SHOULDERS TO LOOK OUT THROUGH THE GLASS INTO A CRAMPED BACKYARD. THERE IS A RECTANGULAR TABLE WITH PARTY DECORATIONS AND AN UNTOUCHED BIRTHDAY CAKE ON IT. COLORFUL BALLOONS FLOAT AROUND THE BACKYARD. THERE IS NO ONE OUTSIDE.

THE IMAGES PANS AROUND THE DENSE FOLIAGE THAT FORMS A WALL AROUND THE YARD. THE IMAGE ZOOMS AND SEARCHES IN THE DARKNESS OF THE BRANCHES.

The chair in the closet CREAKS as Merrill leans forward a little towards the television screen.

WE HEAR A BURST OF PORTUGUESE. THE IMAGE PANS AWAY FROM THE GLASS DOORS BACK INTO THE HOME. WE LOOK DOWN A NARROW HALL TO THE KITCHEN. A BOY WITH A BIRTHDAY HAT IS SEATED ON THE KITCHEN COUNTER, POINTING FRANTICALLY OUT THE KITCHEN WINDOW. HE YELLS IN PORTUGUESE.

THE CROWD OF CHILDREN AROUND THE GLASS DOORS START RUSHING INTO THE KITCHEN. THEY ARE JOINED BY A FEW ADULTS. THE IMAGE FOLLOWS THEM IN.

THE KITCHEN WINDOW IS BLOCKED BY HEADS WHEN WE FIRST ARRIVE.

MERRILL Move children! Vamonos!

THE IMAGE FINDS AN OPENING OVER THE SHOULDER OF THE BOY WITH THE BIRTHDAY HAT AND ANOTHER CHILD.

WE ARE NOW LOOKING OUT THE KITCHEN WINDOW. WE SEE A NARROW ALLEY ONLY A FEW FEET WIDE CREATED BY A STONE WALL AND A SMALL GARAGE BUILDING. ON THE OTHER SIDE OF THE WALL IS DENSE FOLIAGE. THE WALL ENDS A FEW FEET AFTER THE GARAGE BUILDING.

WE HEAR THE CHILD'S VOICE VERY CLOSE TO US SPEAKING IN PORTUGUESE. THE CAMERA PANS JUST A LITTLE AS THE FACE OF THE LITTLE BIRTHDAY BOY FILLS THE SCREEN. HE TALKS EXCITEDLY DIRECTLY AT US AND AT SOMEONE BEHIND THE IMAGE.

BOY WITH HAT Esta atras da garagem! Esta atras de ai! Is behind!

THE BOY GESTURES TO THE GARAGE BUILDING. THE IMAGE SETTLES BACK ON THE WINDOW. WE STARE AT THE NARROW ALLEY. THE IMAGE ZOOMS A BIT. SEARCHES THE EDGE OF THE GARAGE BUILDING. THE IMAGE STARTS WIDENING OUT.

AND THEN WE SEE IT.

THE KITCHEN ERUPTS WITH CHILDREN'S SCREAMS AS A LARGE NON- HUMAN FIGURE MOVES FROM THE GARAGE BUILDING TO BEHIND THE WALL. IT'S OUT OF SIGHT IN LESS THAN A SECOND.

Merrill is frozen like a statue. His mouth is open a little. The closet FILLS WITH THE PANDEMONIA OF THE KITCHEN ON THE VIDEO.

THE VIDEO IMAGE ON THE NEWS, PAUSES. BEAT. WE SEE IT REWIND. WE SEE THE FIGURE ZIP BACK BEHIND THE GARAGE IN A FLICKER. THE VIDEO STOPS. PLAYS AGAIN.

THE IMAGE ZOOMS A BIT. SEARCHES THE EDGE OF THE GARAGE BUILDING. STARTS TO WIDEN OUT. THE KITCHEN STARTS TO FILL WITH SCREAMS AS THE FIGURE APPEARS... THE IMAGE FREEZES.

THE NEWS HAS PAUSED THE VIDEOTAPE ON THE EXACT MOMENT THE NON-HUMAN FIGURE IS VISIBLE. IT'S HALFWAY ACROSS THE ALLEY. IT'S MOTION HAS BLURRED IT, BUT YOU CAN TELL ITS SHAPE NOW.

Merrill Hess stares stunned at the IMAGE OF AN UPRIGHT ANIMAL LIKE CREATURE. THE STRIATIONS ALL OVER ITS BODY LOOK LIKE BRANCHES. EXACTLY LIKE BRANCHES. THEY MATCH THE BUSHES WHERE IT WAS HIDING, PERFECTLY.

CUT TO:

INT. KITCHEN - DAY

The door swings open slowly. Graham steps into Ray Reddy's kitchen.

Cabinets are open. Dishes are broken. Chairs are turned over. The faucet is running full blast.

Graham's eyes move across the room. The kitchen table is upside down and leaned up against the pantry door.

THE SOUND OF A GLASS JAR BREAKING ON THE GROUND CAN BE HEARD INSIDE THE PANTRY.

Graham takes a few conservative steps to the middle of the kitchen.

He leans a little bit and listens. From behind the pantry door WE HEAR THE SOUND OF BREATHING. THERE ARE QUIET MOVEMENT SOUNDS. THE SOFT SOUND OF GLASS BEING CRUSHED AS IT'S BEING WALKED ON.

Graham can almost see the bottom of the door around the leaning table. Graham stands up straight and thinks it over. Beat.

Graham takes two small steps closer.

When he leans, he can now see the entire bottom of the pantry door. THERE IS LIGHT LEAKING OUT FROM BENEATH IT. THERE IS SHADOW BEING THROWN FROM INSIDE THE PANTRY. THE SHADOW MOVES BACK AND FORTH UNDER THE DOOR.

GRAHAM Hello.

THE SHADOW STOPS MOVING.

Beat.

GRAHAM (loud) The police are here... I am with them... I am a police officer. (beat) I just want to talk to you.

SILENCE. There is no movement from the pantry. Beat.

GRAHAM (loud) We know all about the hoax. We already took some of your friends downtown in the paddy wagon. (mouths to himself) Paddy wagon?

THE ONLY SOUND IN THE KITCHEN IS THE SOUND OF THE FAUCET RUNNING. Graham waits for a reply, but none comes.

GRAHAM If you tell us your name and why you did it, we'll give you the same deal we gave the others. Don't throw away your life son.

Beat.

Graham bends down where he stands. He puts his head near the wood floor. He tries to look under the door. All he can see are the bottoms of a couple shelves in the corner of the pantry. He's at too severe an angle.

Graham sits up. He's only four feet away from the pantry door. He looks around not knowing what to do. His eyes fall on a bunch of kitchen knives that have spilled from a drawer onto the floor.

He takes a butcher knife from the group and moves closer to the door. Beat. He reaches with the butcher knife underneath the slanted kitchen table. He uses the knife like a mirror to see under the door. Graham watches the SOFT REFLECTION IN THE FLAT STAINLESS STEEL SURFACE OF THE BLADE. WE CAN MAKE OUT BROKEN GLASS AND RIPPED OPEN PACKETS OF RICE AND CEREAL ON THE GROUND. THERE ARE POCKETS OF SHADOWS WE CAN'T SEE INTO.

Graham pulls the knife out. He sits there kneeling two feet from the door. Beat.

He takes a deep breath and starts to lower his head under the slanted table.

He stops halfway down. He loses his nerve and sits up. He rises to his feet as he places the butcher knife on the counter. Graham starts walking across the kitchen. He gets to the door. Puts his hand on the doorknob.

He stays like that for a long time. Beat.

Graham lets go of the doorknob -- He turns and walks quickly across the kitchen -- He picks up the butcher knife -- He kneels down next to the pantry -- He ducks his head under the slanted kitchen table -- He places his cheek to the floor, only inches from the bottom of the door, and looks into the pantry.

There is broken glass and rice throughout the wooden floor of the pantry. Nothing else.

Graham stares at his VIEW OF THE FLOOR. Something's wrong. Parts of it feel like a painting. THE PAINTING MOVES.

TWO BLACK EYES OPEN -- SEEMINGLY SUSPENDED IN THE MIDDLE OF THE ROOM. THEY ARE SIDEWAYS. THEY LOOK AT GRAHAM.

GRAHAM YELLS. HE JOLTS UP. HIS HEAD HITS THE SLANTED TABLE HARD.

FOUR LONG FINGERS AND CLAWS, THE EXACT COLOR OF THE WOODEN FLOOR REACH OUT AND MISS HIS FACE BY A FRACTION OF AN INCH.

GRAHAM REACTS. THE BUTCHER KNIFE COMES DOWN FAST AND HARD ON THE PROTRUDING WOOD COLORED FINGERS. SLAM!

WE HEAR AN UNBEARABLY HIGH-PITCHED INHALE SOUND FROM INSIDE THE PANTRY.

CUT TO:

EXT. STATION WAGON - DAY

The station wagon knocks over the "Ray Reddy" mailbox as it turns sharply onto the road.

Graham picks up speed as he passes the wall of crops on his right.

THE STATION WAGON SUDDENLY BRAKES.

Two black skid marks form on the road as the station wagon comes to a fast stop.

Beat. Graham gets out of the car. He walks a few feet ahead of the station wagon. He bends down in the middle of the road.

A BIRD lays limp on the asphalt. Its head is crushed.

Graham gazes at the still pile of feathers. Beat.

Graham turns and looks straight up at the BLUE, CLOUDLESS SKY above him.

GRAHAM (soft) Douche bag.

CUT TO:

INT. HESS FAMILY ROOM - DAY

Graham enters his front hall. He closes the door and locks it behind him. He turns and looks into the family room.

Morgan and Bo and Merrill are seated together on the sofa. All three are wearing foil helmets. Beat.

MERRILL They're skin changes color. That's why we couldn't see him that night.

Graham stares at his family huddled on the couch. Beat. Graham takes in the news as he moves to the stairs. He takes a seat on the second to last step.

He sits obscured by the balusters. Beat.

GRAHAM Tell me something Morgan. In that book of your, did they happen to detail what would happen if they were hostile?

MORGAN Yes. They would invade us using only ground tactics. Hand to hand combat. They wouldn't use their technology or fight an airborne battle, because they would know we would eventually use nuclear weapons and the planet would be useless to them.

MERRILL I'm sorry, what book is this?

GRAHAM Did they say what our chances would be if they did invade?

MORGAN They said one of two things could happen. One, they fight and are defeated and leave to return again with full forces hundreds or even thousands of years later.

GRAHAM What's two?

MORGAN They win.

The words hang in the air. Graham sits quietly on the second step of the stairs.

GRAHAM What do you think about the idea that they don't like places near water, and we might be safe from them near a lake or something?

MORGAN Sounds made up.

Beat.

GRAHAM We can choose to believe it and pack up and leave. (beat) Or we can stay here. Board up this house. Hide inside our home and wait it out. Either way, at least we'll be together. (beat) All those in favor of the lake, raise your hand.

No one raises their hand.

GRAHAM All those in favor of home, raise your hand.

All four put their hands in the air. Beat. They lower them and sit in silence.

MERRILL How do we know boards will do anything?

Beat.

GRAHAM (soft) Because, they seem to have trouble with pantry doors.

CUT TO:

EXT. HESS HOUSE - AFTERNOON

WE ARE WATCHING THE HOUSE FROM THE CROPS. We see Graham inside the house, closing the window shutters in one room after another.

WE SEE a stack of wooden boards on the porch.

OUR VIEW MOVES to the barn where Isabelle is tied. She is not pacing. She is not barking. She sits staring right at us. She is shivering.

OUR VIEW MOVES to the garage building where we see Merrill carry a huge pile of his clothes and things down the stairs. He's moving into the main house.

Merrill walks across the yard. His eyes look around carefully as he moves.

Part of the pile in his arms falls to the grass as he crosses the lawn. He stops walking and starts to gather up the fallen things. He picks up a couple shirts and two baseballs encased in glass cases.

The glass encasing one of the souvenir baseballs, has cracked. He takes the ball out. Stares at it.

We watch from the crops as Merrill puts down his pile of clothes and things on the grass. He looks around and finds what he's looking for. A rake.

Merrill unscrews the fork on the rake from the wooden handle. With the wooden stick in one hand and the souvenir baseball in the other, he turns to face the crops.

WE PULL BACK A LITTLE INTO THE CROPS. PART OF OUR VIEW IS OBSCURED BY STALKS, BUT WE STILL SEE MERRILL CLEARLY.

Merrill looks around cautiously again, before getting into a batter's stance. His left leg digs into the grass in front of him. His weight is mostly on his back leg. He looks out into the distance high over the crops. He throws the baseball up in the air...

Merrill grabs the wooden handle. Merrill's shoulders move with blinding speed. The wooden rake handle slices the air. And misses the ball.

The ball drops at Merrill's feet.

WE WATCH as Merrill picks up the ball and tries again. This time his shoulders move even faster. The wooden stick actually makes A RESONANT SOUND as it cuts the air.

The ball drops at Merrill's feet.

WE WATCH THROUGH THE CROPS as Merrill snatches the ball up and tries a third time. This time he YELLS as he swings. He rips the air with the wooden stick so fast it blurs to the eye.

The baseball drops at his feet. Strike three.

Merrill stands still in the yard. He's breathing a little heavy as he stares down at the ball.

He gently picks it up. He walks back to his pile of things and then suddenly turns. He throws the ball in the air as he does. His left leg goes out. His weight goes to his right leg as he turns his shoulders with astonishing speed and power...

THE SOUND OF THE BASEBALL HITTING THE WOODEN HANDLE CRACKS ACROSS THE WHOLE YARD.

The ball rockets into the air. We watch it fly overhead... sail high over the crops... it becomes a tiny dot in the sky.

After a long beat of silence it comes back to earth. It lands in the street and bounces twenty feet into the air. It cleared at least four or five hundred feet of crops. Maybe more.

WE LOOK BACK to Merrill standing in the backyard. He drops the wooden stick to the grass and moves for his things. He piles them in his arms. When his arms are full, he starts for the porch. WE WATCH FROM THE CROPS AS MERRILL GOES INSIDE THE HOUSE.

CUT TO:

INT. CLOSET - LATE AFTERNOON

Morgan and Bo are seated on the kitchen chair in the closet.

MORGAN Come quick!

THE FLICKER OF THE TELEVISION FALLS ON THE CHILDREN'S FACES.

WE HEAR MERRILL AND GRAHAM COMING DOWN THE HALLWAY BEFORE WE SEE THEM.

They appear almost at the same time in the doorway to the closet. Graham and Merrill are holding hammers.

All four stare at the television.

ON THE SCREEN IS A STREET FILLED WITH PEOPLE RUNNING WITH SUITCASES AND BAGS. SOME PEOPLE ARE GETTING TRAMPLED. OTHERS ARE STANDING ON THE STREET CORNER AND YELLING. THERE IS PANIC IN THE AIR.

TV ANCHOR Tel Aviv joins Nairobi, Lagos and Jerusalem as the latest to confirm the appearance of lights. There are lights in the skies over an estimated two hundred and seventy four cities. That total could be as high as four hundred within the hour.

THE IMAGE ON THE TELEVISION SCREEN CHANGES TO A NIGHT TIME VIEW OF THE TEL AVIV CITY LINE. THERE ARE FOURTEEN LIGHTS IN TWO "V" FORMATIONS OVER THE CITY.

GRAHAM They decided to show themselves.

Beat.

MORGAN They think these look like stages immediately proceeding an attack maneuver.

MERRILL It's like War of the Worlds.

MORGAN They think it might happen all at once.

The words silence everyone. Beat.

The image goes back to a quiet TV anchor. He takes a second before starting up again.

TV ANCHOR Hundreds of thousands have flocked to synagogues, churches and temples.

The television shows hundreds of Israelis in a temple and in the streets praying.

Graham watches quietly as the masses pray side by side.

TV ANCHOR Ground forces are being assembled in countries throughout the globe...

GRAHAM I'm going to get back to the windows.

Bo watches as Graham leaves the doorway of the closet. She turns back to the television.

Beat. Merrill leans down between his niece and nephew.

MERRILL (whispers) You guys okay?

They don't answer. They watch the soldiers loading up onto trucks on the television.

MORGAN Some guy had a sign that said it was the end of the world. (beat) Nothing really bad is going to happen, is it Uncle Merrill?

MERRILL Don't worry.

Morgan glances at Bo and then back to his uncle.

MORGAN You sure right?

Beat. Merrill gazes at the two questioning faces. He looks back at the empty closet doorway where Graham stood. He turns back to the children.

MERRILL You know about signs Morgan? Not like the ones people write on. It's like if you poured a glass of milk and you dropped the glass by mistake and broke it before you could drink it. Then you looked at the milk carton and saw that the milk was spoiled. They're things that happen by chance or luck, but make you feel that someone's watching out for you.

The children think it over. Beat.

MORGAN I once had a bad dream and I couldn't wake up. I kicked at the table next to my bed and something fell on me and I woke up. It was a picture of mom. She was smiling. It made me feel safe... You mean like that?

Beat.

MERRILL Yeah, like that. (beat) I believe in signs Morgan. I think there's someone watching out for us. I got to believe he's going to make sure we're all right in the end.

CUT TO:

INT. HALLWAY - LATE AFTERNOON

Merrill smiles as he steps out of the closet and closes the door half-way.

He stands in the hall by himself. He takes a couple deep breaths as everything hits him.

CUT TO:

INT. CLOSET - LATE AFTERNOON

Morgan turns off the television.

He and Bo sit quietly in the closet under the stairs.

CUT TO:

INT. FAMILY ROOM - LATE AFTERNOON

Graham sits in a chair by the windows. He has a board on his lap. He has a hammer in his hands. Graham drowns in his thoughts as the skies darken behind him.

CUT TO:

INT. UPSTAIRS LANDING - EVENING

Graham, Bo and Morgan are seated in the upstairs hallway. There's a couple boards left leaning against the walls.

Merrill comes out of the children's room with his tools.

MERRILL Too many windows in the bedrooms. We don't have enough boards.

Merrill stands and leans against the wall.

GRAHAM We'll have to board up the bedroom doors.

MORGAN Where are we going to sleep?

GRAHAM The family room.

Everyone sits quietly for a moment.

MORGAN What about Isabelle?

GRAHAM We'll keep her in the garage, after dinner.

Beat.

MERRILL I'll make sandwiches.

BO I want spaghetti?

MERRILL We should eat fast Bo.

GRAHAM Spaghetti sounds great.

Merrill glances at Graham.

GRAHAM What do you want, Morgan?

Beat.

MORGAN Anything?

Graham nods "yes."

MORGAN French toast... and mashed potatoes.

GRAHAM Now we're talking. (beat) How about you Merrill?

Graham turns and looks at Merrill. They stare at each other quietly. They have a conversation without words. Beat.

MERRILL (soft) Chicken Teriyaki.

GRAHAM Good choice... I'm going to have a cheeseburger with bacon. (smiles) Extra bacon.

CUT TO:

INT. KITCHEN - EVENING

The windows in the kitchen are boarded up, as is the back door.

The sink is piled with pots and pans. It seems like every utensil and dish in the kitchen was used.

CUT TO:

INT. DINNING ROOM - EVENING

One side of the dinning room is lined with windows that have been boarded up.

The table is set. Mash potatoes, spaghetti, French toast, chicken teriyaki and bacon cheeseburgers are all displayed elegantly on serving dishes.

The Hess family sits around the table. Beat. The scene is somber. No one is moving.

GRAHAM What's the matter with everyone? Eat.

No one says anything. No one eats.

Beat.

MORGAN I'm scared.

BO Me too.

GRAHAM I don't want to hear anymore talk like that. And I don't want to see anymore faces like the ones I'm looking at. (beat) We are going to enjoy this meal. Nothing can stop us from enjoying this meal! Enjoy!

Bo sits next to her three glasses of water and begins to cry.

GRAHAM Stop crying!

MORGAN Don't yell at her!

Morgan's face is hard, but tears start to fall anyway. Graham watches as both his children cry at the table.

GRAHAM Fine, if you all don't want to eat, then I'm going to have some of everything.

Graham takes big scoops of every dish and piles it on his plate. He digs his fork into the pile and starts to shove it in his mouth. He swallows.

GRAHAM This tastes so great.

Bo, Morgan and Merrill watch in stunned silence as Graham stuffs more in his mouth. He chews and chews and swallows hard. He digs his fork into the pile again.

Graham starts crying as he eats. He keeps taking more bites. More tears fall.

Morgan gets up from his seat. He goes to Graham's chair. He leans against his dad's arm and cries with him. Graham's fork stops moving. He watches as Bo moves from her seat to his other side. She holds her dad's arm and cries.

Beat. Graham pulls them both up onto the chair with him and hugs them tight. Merrill leans forward and comes to the pile on Graham's chair. Merrill buries his head in Graham's shoulder. The Hess family huddles together at one end of the table. Beat.

THE BABY MONITOR EXPLODES WITH STATIC AND NOISE.

Everyone slowly turns and looks over to Morgan's place setting where the baby monitor sits on the table. THE RED LIGHTS ON THE FRONT ARE ALL LIT UP.

Merrill sits up. Graham puts down the children from his lap. He gets up from his seat and moves around the table and out of the dinning room. He moves through the family room and into the hall.

Graham opens the closet door and looks in at the television. He turns it ON.

Beat. THE EMERGENCY BROADCAST SYMBOL IS ON THE SCREEN. A LOW TONE EMITS FROM THE TV. Beat. Graham changes stations. THE SYMBOL AND TONE APPEAR ON EVERY CHANNEL. THE MONOTONE SOUND FILLS THE CLOSET. Beat.

Graham steps out into the hall. Merrill and the two children are standing there waiting. Graham looks at them.

GRAHAM (soft) It's happening.

CUT TO:

INT. UPSTAIRS HALL - EVENING

Merrill pounds furiously with his hammer as he nails boards to the children's bedroom door. The master bedroom door is open with a board leaning next to it. Graham is inside his bedroom

CUT TO:

INT. GRAHAM'S BEDROOM - EVENING

Graham walks to the window next to his bed. It's the same one we've looked out twice before.

Graham looks out onto his backyard. The FLOOD LIGHT FROM THE HOUSE THROWS LONG SHADOWS OVER THE YARD. There is a light breeze. Nothing seems wrong.

Graham's eyes stay locked on the crops which go on and on into darkness. He moves closer to the glass. Watches the top of the corn stalks swaying slightly with the wind.

SOMETHING MOVES IN THE DARKNESS.

Graham's eyes moves to where the corn crops fade into black forty feet away. Graham goes very still.

LINES EMERGE IN THE CROPS; THE KIND OF LINES MADE BY SOMEONE TRAMPLING THROUGH A FIELD. WE CAN'T SEE WHO'S MAKING THEM. ALL WE SEE ARE THE COUNTLESS LINES BEING FORMED. THE LINES MOVE FROM THE DARKNESS TOWARDS THE HOUSE. GRAHAM WATCHES THEM CLOSE IN ON HIS BACKYARD. THIRTY FEET... TWENTY FEET... TEN...

Graham backs away from the window towards the middle of his bedroom.

MERRILL Graham hurry.

Graham turns to see Merrill standing with the last board in the hall. Graham moves out into the hall and shuts the bedroom door behind him.

CUT TO:

INT. UPSTAIRS HALL - EVENING

Merrill immediately puts the wooden board up and starts hammering nails into the frame. Graham picks up his hammer and quietly begins to hammer nails into the wood.

Graham glances to his right as he works. Bo and Morgan are standing together at the top of the stairs. Bo holds Morgan's hand.

Graham keeps hammering as he speaks.

GRAHAM Did I ever tell you what everyone said when you were born, Bo?

Bo nods "no" lightly.

GRAHAM You came out of your momma and you didn't even cry. You just opened your eyes and looked around at everybody. Your eyes were so big and gorgeous, the ladies in the room gasped.

Graham stops hammering. Merrill keeps going.

GRAHAM They literally gasped. (Graham gasps like them) Then they go, "She's like an angel." They said, "We've never seen a baby so beautiful."

Graham smiles to himself as he remembers the moment. Merrill finishes hammering.

Graham goes over and picks up Bo.

GRAHAM (soft) And you know what else happened?

Bo nods, "no."

GRAHAM (soft) When they put you on the table to clean you up, you looked at me and smiled. They say babies that young can't smile... You smiled.

Graham looks at his daughter quietly. He brushes the hair out of her face as Merrill moves to Morgan and picks him up.

All four turn and look at the three boarded up bedroom doors. Beat.

GRAHAM (soft) Let's go down now.

CUT TO:

INT. FRONT HALL - EVENING

Graham puts Bo down in the hallway. She stands close to him. Merrill puts down Morgan. The four of them stand quietly in a tight group.

THEY HEAR FRANTIC BARKING IN THE DISTANCE.

MORGAN We forgot about Isabelle.

ISABELLE'S BARKING BECOMES DESPERATE AND ANGRY. THEY LISTEN AS SHE BARKS NONSTOP FOR TEN SECONDS... AND THEN SUDDENLY STOPS.

THE LOW EMERGENCY TONE FROM THE CLOSET TV FILLS THE SILENCE.

Beat.

MERRILL (whispers) Should we turn off the lights?

GRAHAM (soft) They already know we're here.

THE FIRST SOUNDS OF MOVEMENT ARE HEARD OUTSIDE. CREAKS OF WOOD FROM THE FRONT PORCH CAN BE HEARD.

THERE IS SOUNDS OF MOVEMENT FROM BEHIND THE LOCKED BACK DOOR.

SOUNDS OF MOVEMENT AGAINST THE SIDE OF THE HOUSE. SOUNDS FROM ALL DIRECTIONS.

THERE IS SCRATCHING NOISES AGAINST THE FRONT DOOR. METAL NOISES AS THE HANDLE IS TRIED.

MORGAN (almost inaudible) Dad --

THE DOOR CREAKS AS PRESSURE IS PLACED AGAINST IT.

GRAHAM Do you know what happened when you were born Morgan?

Morgan looks at his father, unable to speak.

GRAHAM You came out and your momma kept bleeding. The doctors rushed you out of the room before I could even see you.

THERE ARE THUDS ABOVE THEM.

All four look up.

MERRILL They're on the roof.

GRAHAM While they were trying to fix her up, all she kept asking about was you.

THEY LISTEN AS THE THUDS INCREASE IN NUMBER.

THE FIRST SOUND OF SHATTERING GLASS IS HEARD FROM UPSTAIRS.

Merrill looks up the stairs at the boarded bedroom doors.

MERRILL They're in the house.

Graham takes Morgan's hand.

GRAHAM I wanted your momma to see you first. She had dreamed about you her whole life. (beat) They waited till she felt better, then they brought you in. They placed you right in her arms. And she looked at you. And you looked at her. You just stared at each other for the longest time and then she said real soft, "Hello Morgan, I'm you momma, you look just like I dreamed."

Graham smiles down at his son who smiles gently back.

SCRATCHING NOISES BEGIN TO COME FROM UPSTAIRS.

The group of four turns and watches the top of the stairs. The BEDROOM DOOR HANDLES ARE BEING RATTLED.

Merrill's eyes moves quietly above the bedroom doors, to the ceiling of the upstairs hallway. He stares at a rectangle in the ceiling. A tiny rope hangs from the rectangle. Beat.

MERRILL The attic door.

Merrill sprints up the stairs.

Morgan and Bo watch as Graham follows after Merrill.

CUT TO:

INT. UPSTAIRS HALL - EVENING

Graham and Merrill stare up at the ceiling. There is movement right above them. Dust falls from a ceiling light right next to them.

The rope hanging from the attic trapdoor hangs between them. They watch as it begins to twitch and sway.

The springs in the trap door begins to GROAN. The door starts to fall open.

Merrill and Graham raise their arms above their head and reach up. The door opens a few inches. Merrill is taller. The door presses against his fingers first. It gives a few more inches before Merrill stops it.

Graham's finger are barely touching it. Merrill's face turns red with strain as something pushes down on the door.

MERRILL This is a very temporary solution.

Graham brings his arms down. He sees his children watching from the bottom of the stairs. Graham looks around where he is. There is a very small table with photos against a wall. A laundry closet and three boarded up bedroom doors... nothing else. Graham turns to Merrill.

GRAHAM How temporary?

Merrill's face is a deep crimson.

MERRILL Twenty-two seconds.

Graham looks around again... the same things... the same table... the same closet... Graham stops and stares at the closet. It has a wooden folding door that opens and closed on a guide rail. The wooden folding door is very tall. Its top is one foot from the ceiling.

Graham goes to the closet and grabs the door. He starts rocking it hard. Pulling it out... It starts to come out of its guide rail... Graham leans back with all his weight... The thin wooden door rips out of place. One end is still attached at the hinge. Graham pulls it straight. It reaches into the middle of the landing. It stands right next to Merrill. Right under the attic trapdoor. Its top is only a few inches lower than Merrill's reach.

GRAHAM Let go.

Merrill hesitates and then lowers the attic trapdoor. It connects with the top of the closet door and stops. The trapdoor is now open almost a foot... We can now see part of the bottom step of the wooden pull out stairs that lead to the attic.

Merrill and Graham step away as the closet folding door holds the weight of the attic door.

After a moment, the spring on the attic trapdoor recoils as the pressure is let up. The trapdoor closes. Beat.

It opens with force, slamming the top of the standing closet door with a THUD.

The attic trapdoor closes again. Opens again with force. THUD.

The closet folding door begins to pull away from the hinges keeping it upright.

Graham moves down the stairs. Merrill follows him.

CUT TO:

INT. FRONT HALL - EVENING

THE SCRATCHING NOISES FILL THE HOUSE.

Morgan and Bo are frozen watching a set of long fingers reach under the front door. THE COLOR OF THE FINGERS CHANGES -- TO THE EXACT COLOR AND TEXTURE OF THE YELLOW CRACKED PAINT ON THE DOOR.

THUD. THE TRAPDOOR SLAMS THE TOP OF THE FOLDING DOOR UPSTAIRS.

Graham and Merrill arrive in the front hall. Graham takes Morgan and Bo by the hand and leads them quickly down the hall. Merrill backs away as he watches the top of the stairs.

ANOTHER THUD ECHOES THROUGH THE HOUSE.

CUT TO:

INT. KITCHEN - EVENING

The swinging door swings open and closed behind Merrill as he enters the kitchen.

Graham has moved the chairs away from the kitchen table and waits by it. Merrill goes over and the two of them push the table against the swinging door.

They take the kitchen chairs and pile a couple on top, and jam the rest underneath the table.

Graham leans against the kitchen counter. Merrill stares at the pile of furniture.

MERRILL This is going to do nothing.

GRAHAM We have to go in the basement.

Graham points to a set of narrow stairs that lead to a darkened door at the bottom.

MERRILL There's no way out of there.

Beat. Graham looks at the faces of his frightened children.

GRAHAM Did I ever tell you, I dislocated Uncle Merrill's arm?

THUD.

MERRILL Should we make a run for it out the back?

GRAHAM They're right behind the door.

Merrill looks at the boarded up back door. Graham turns to Bo and Morgan who stand against the wall.

GRAHAM He was only a year and half old.

MERRILL (to Graham) What are you doing?

GRAHAM He was trying to eat a second chocolate bar. Your grandma said, "No." He tried to take a bite, so I grabbed it.

THUD WITH A CRACK OF WOOD FROM UPSTAIRS. Merrill turns and stares at the barricaded entrance to the kitchen.

GRAHAM I must have pulled his arm at an awkward angle. His elbow popped right out of the socket.

THE LAST THUD COMES WITH A SOUND OF WOOD SPLINTERING. THE CLOSET FOLDING DOOR CRASHES TO THE GROUND IN THE UPSTAIRS HALL.

WE HEAR CREAKS AS THE ATTIC TRAPDOOR OPENS.

GRAHAM He didn't scream or anything. His arm just flopped to his side and he got real still.

MERRILL They're coming.

Graham moves towards the basement stairs.

GRAHAM I held him in my lap in the back seat as we drove to the hospital. I couldn't stop crying... We need to go into the basement now.

Graham gestures for the kids to come to the stairs. Morgan and Bo move to their father slowly.

GRAHAM You know what your Uncle Merrill did right after the doctor put his arm back in place? He jumped off the table and gave me a hug. He had already forgotten that I was the one who hurt him.

Graham ushers the two children down the stairs. He waits for Merrill. Merrill turns from the kitchen door and walks toward him. Merrill stops and looks down the stairs.

MERRILL We won't be able to get out of there.

GRAHAM I'm sorry I hurt your arm.

Beat. Merrill's eyes fill with water. He doesn't look up at his older brother.

MERRILL I know.

Merrill walks down the stairs. Graham waits at the top. He watches the kitchen door with the table and chairs against it. Beat.

THERE IS MOVEMENT OUTSIDE IN THE HALL.

The door starts to force its way open. THE TABLE AND CHAIRS BEGIN TO SCRAPE ACROSS THE KITCHEN FLOOR LIKE NAILS AGAINST A CHALK BOARD.

WE HEAR VOICE-LIKE SOUNDS ENTER THE KITCHEN. SOUNDS MADE FROM INHALES, NOT EXHALES.

CUT TO:

INT. BASEMENT - EVENING

Graham comes down the last few steps and enters the basement.

MORGAN We forgot our foil helmets!

Graham closes the door behind him. It has no lock.

GRAHAM We need something to wedge against the doorknob.

The basement is lined with metal shelves. The shelves are cluttered with all sorts of canned goods, extension cords, cleaning supplies, decorations, outdoor tools. Merrill rummages through the shelves frantically.

MORGAN They'll read our minds!

GRAHAM You're scaring your sister.

BO I'm already scared.

Graham puts his ear to the door and listens.

GRAHAM Merrill --

MERRILL I'm looking!

Merrill moves to another set of shelves. He starts knocking things to the ground.

MORGAN (to himself) They'll know our secret thoughts.

There is SCRATCHING AGAINST THE DOOR. The doorknob turns. Graham grabs it with both hands. The door begins to push open.

GRAHAM Merrill!

MERRILL Got it!

Merrill reaches between two stacks of shelves and pulls out a pick for digging in the ground. He holds it up in the air. It has a three-foot wooden handle.

Merrill turns and rushes in Graham's direction.

A single light bulb hangs from a wire in the ceiling. It is the only light in the room. Merrill CLIPS THE LIGHT BULB with the end of the wooden handle as he crosses the room.

THE BULB SHATTERS.

THE BASEMENT IS INSTANTLY BLACK.

BO Dad!

WE HEAR THE SOUNDS OF SUDDEN COMMOTION, VOICES. STRUGGLING AT THE DOOR. STEPS ON BROKEN GLASS.

CLICK. A BEAM OF A FLASHLIGHT COMES ON.

IT ILLUMINATES MORGAN STANDING NEXT TO A RACK OF METAL SHELVES. HE TURNS THE FLASHLIGHT IN HIS TINY HANDS.

THE NARROW BEAM MOVES ACROSS THE DARKNESS. IT FINDS MERRILL AND GRAHAM LEANING UP AGAINST THE BASEMENT DOOR.

MORGAN MOVES THE BEAM DOWN TO THE PICK, WHICH IS WEDGED BETWEEN THE DOORKNOB AND THE GROUND. THE PICK WAVERS A LITTLE WITH EACH PUSH FROM THE OTHER SIDE, BUT HOLDS.

THE SCRATCHING AND MOVEMENT OUTSIDE THE DOOR BEGINS TO LESSEN.

Beat. Morgan slowly moves THE BEAM BACK UP TO HIS FATHER'S FACE.

GRAHAM Where's Bo?

THE BEAM SEARCHES IN THE DARKNESS. THROUGH THE BOXES, BETWEEN THE SHELVES... IT SETTLES ON A SMALL FOOT HIDING BEHIND A COUPLE TWENTY-FIVE POUND BAGS OF DOG FOOD. BO'S HEAD SLOWLY APPEARS. SHE SQUINTS AS SHE LOOKS IN THE LIGHT.

BO I'm okay.

ANOTHER BEAM COMES ON. IT REVEALS MERRILL AT THE SHELVES WITH A SECOND FLASHLIGHT. HE LOOKS OVER THE CONTENTS OF THE SHELVES NEAR HIM. BEAT.

HIS BEAM OF LIGHT FALLS ON A RADIO.

He turns the knob to "on." The radio lights up, but no sound emerges for it's speakers. Merrill turns the channel knob and checks all the stations. No sound. No signal. He listens to the LIGHT HUM FROM THE SPEAKERS.

Beat.

MERRILL What's happening out there?

Beat.

GRAHAM (in the dark) I can't even imagine.

THEY ALL LISTEN TO THE DEAD AIR HUM FROM THE RADIO SPEAKERS.

MORGAN I hope they're doing better than we are. We don't even have helmets.

THERE IS A LOUD BANG.

BOTH FLASHLIGHT BEAMS CRISSCROSS OVER THE BASEMENT AND COME TO A STOP ON THE DOOR.

ANOTHER BANG. THE DOOR VIBRATES. THE PICK WITH THE WOODEN HANDLE HOLDS IN PLACE.

BANG.

GRAHAM STEPS INTO THE BEAM OF LIGHTS. He looks at the door and then turns and faces the lights.

GRAHAM They're just making noises. They're not trying to get in. (beat) Why are they doing that?

Graham looks at Merrill's corner of the darkness. Morgan moves his BEAM ONTO MERRILL.

MERRILL They want our attention on the door?

BANG. A beat of silence.

GRAHAM They're distracting us?

MERRILL From what?

MORGAN The book says they're probably very good problem solvers.

MERRILL What book!

MORGAN They'll find a way in.

BANG.

GRAHAM Morgan, give me your flashlight.

Morgan puts the FLASHLIGHT ON THE GROUND AND ROLLS IT ACROSS THE FLOOR. THE BEAM SPINS IN TINY CIRCLES SHOWING THE BROKEN GLASS OF THE BULB IN THE MIDDLE OF THE FLOOR.

THE FLASHLIGHT COMES TO A STOP IN GRAHAM'S PALM. He picks it up.

GRAHAM Is there an air vent in here?

Merrill moves next to Graham. ANOTHER BANG FROM THE DOOR.

They aim their FLASHLIGHTS IN ONE CORNER OF THE ROOM. The brothers move in opposite directions.

GRAHAM MOVES HIS BEAM UP AND DOWN CHECKING THE WALLS AND THE CEILING AS HE MOVES.

MERRILL MOVES BETWEEN SHELVES, ONE AT A TIME. HIS FLASHLIGHT PEERS BEHIND THE STACKS OF CANNED GOODS.

A BANG ECHOES THROUGH THE BASEMENT DOOR.

Merrill and Graham are at opposite ends of the room now.

GRAHAM I can feel air.

MERRILL Me too.

THE TWO BEAMS OF LIGHT START MOVING TOWARDS EACH OTHER.

GRAHAM It's getting stronger.

MERRILL I'm close.

BANG.

THE BEAMS MOVE UP AND DOWN OVER THE FINAL WALL. GRAHAM AND MERRILL MOVE CLOSER AND CLOSER... THE TWO BEAMS FINALLY COME TO A STOP IN THE SAME PLACE... THEY SHINE DOWN ON MORGAN.

HE SITS ON THE GROUND AGAINST THE WALL. HE STARES UP AT THE TWO LIGHTS.

MORGAN What?

IN THE BEAM OF LIGHTS YOU CAN SEE HIS HAIR MOVING GENTLY FROM A BREEZE.

GRAHAM AND MERRILL TURN THEIR LIGHTS STRAIGHT INTO THE AIR VENT HE'S LEANING AGAINST.

EYES ARE REVEALED IN THE DARKNESS OF THE VENT. A NARROW SET OF METALLIC COLORED FINGERS SHOOT OUT BETWEEN THE HOLES IN THE VENT GRILL AND GRAB MORGAN.

MORGAN SCREAMS. THE FLASHLIGHTS DROP TO THE GROUND. THERE'S A DESPERATE SCRAMBLE. FEET MOVE THROUGH THE BEAMS OF LIGHT.

WE CAN'T SEE WHAT'S HAPPENING.

MERRILL (O.S.) Hold the vent!

SOMEONE PICKS UP A FLASHLIGHT. WE SEE GLIMPSES OF STRAINING FACES. MORGAN SCREAMING.

GRAHAM Pull him!

THE FLASHLIGHT IS DROPPED AND PICKED UP AGAIN. WE SEE IT IS BO WHO IS HOLDING THE LIGHT.

BO TURNS THE LIGHT AT THE VENT. MERRILL IS THE ONLY ONE THERE. HE PRESSES ONE OF THE TWENTY-FIVE POUND BAGS OF DOG FOOD AGAINST THE METAL GRILL. HE DRAGS THE SECOND BAG OVER WITH HIS FOOT AND SLAMS IT AGAINST THE FIRST BAG. HE QUICKLY MOVES OUT OF THE LIGHT.

BO FOLLOWS HIM WITH THE BEAM. SHE FINDS HIM DRAGGING AN ENORMOUS BAG OF FLOUR OVER TO THE VENT. HE HEAVES IT ON TOP OF THE PILE. HE LEAVES THE LIGHT AGAIN. RETURNS WITH ANOTHER GIANT BAG OF FLOUR. GRUNTS AS HE THROWS IT ON TOP OF THE REST.

MERRILL FALLS TO THE GROUND EXHAUSTED. THE PILE OF DOG FOOD AND FLOUR COMPLETELY OBSCURE THE VENT. A CAN OF SOUP ROLLS ON THE GROUND NEAR MERRILL. HE SLOWLY PICKS IT UP AND PUTS AN ADDITIONAL EIGHT OUNCES ON THE PILE.

Merrill slowly catches his breath. He reaches over to his side and grabs the remaining flashlight. HE TRAINS THE BEAM AROUND THE ROOM TILL HE FINDS MORGAN.

HE FINDS THE BOY IN GRAHAM'S LAP. MORGAN IS SEATED WITH HIS BACK AGAINST GRAHAM'S CHEST. USING HIM AS A CHAIR. MORGAN'S FACE IS PALE. HE IS TAKING VERY LONG SLOW HEAVES. IT SOUNDS LIKE THE AIR IS GOING THROUGH A STRAW. HE'S SUFFOCATING.

GRAHAM LOOKS UP INTO THE LIGHT.

GRAHAM We don't have his medicine.

Merrill looks at his nephew turning gray.

Graham pulls Morgan closer to his body and talks into the child's ear.

GRAHAM Don't be scared Morgan. We'll slow it down together. Feel my chest. Feel it going in and out. Breathe like me. Breathe like me.

Morgan's throat is closing -- his face is filled with strain and panic.

BO He can't breathe.

Bo moves to Merrill and curls up with him as they watch.

Graham closes his eyes. Beat. He opens his eyes and talks into Morgan's ear.

GRAHAM Stay with me. Stay with me. I know it hurts. Be strong baby... It'll pass.

Graham closes his eyes -- talks to the darkness.

GRAHAM Don't do this to me again. Not again.

Merrill stares at his brother's desperate face.

Graham's eyes open as Morgan's tiny fingers press down on Graham's hand. The fingers squeeze with all the strength they have.

Graham looks to Merrill helplessly. Merrill's eyes fill up with water.

Graham's eyes close.

GRAHAM I hate you. I hate you...

Graham's eyes open as he leans in close to Morgan's ear.

GRAHAM The fear is feeding it... Don't be afraid of what's happening... Believe it's going to pass... Believe it... Just wait... Don't be afraid... The air is coming... Believe... We don't have to be afraid... It's about to pass... Here it comes... Don't be afraid... Here comes the air...

A THIN STREAM OF SOUND EMITS FROM MORGAN'S THROAT. LIKE THE SOUND OF AIR LEAKING FROM A BALLOON.

GRAHAM There we go... We don't have to be scared at all... We know it'll pass. We believe it... Don't be afraid Morgan.

Morgan's fingers relax a little on Graham's hand.

THE LEAKING BALLOON SOUND TURNS BACK INTO THE SOUND OF AIR THROUGH A STRAW.

Merrill watches as Graham's face stays pressed up against his son.

GRAHAM Feel my chest... Breathe with me. Together... The air is going in our lungs... Together... We're the same. We're the same.

Merrill watches as Morgan's chest starts to move in sync with Graham's.

THE SOUND OF THE STRAW FADES AS MORGAN'S BREATHING TURNS INTO LABORED BREATHS.

Graham's eyes close. He starts crying. He speaks to no one.

GRAHAM (soft) I hate you.

Morgan's fingers relax on Graham's hand. Merrill watches as father and son breathe together. Merrill and Bo hold each other tight.

THE FLASHLIGHT FLICKERS ON GRAHAM AND MORGAN'S EXHAUSTED FACES. THEY BOTH STARE OUT INTO THE DARKNESS OF THE BASEMENT. TEARS DRYING ON THEIR CHEEKS. THEY'RE BOTH LOST IN THEIR THOUGHTS.

Beat.

MERRILL I should save the flashlights.

Beat. Graham nods without looking over.

MERRILL PRESSES THE BUTTON ON HIS FLASHLIGHT. THE BEAM OF LIGHT ILLUMINATING GRAHAM AND MORGAN GOES OUT. THEY DISAPPEAR INTO SHADOWS.

Merrill looks down to Bo, who has the second flashlight in her hand. THE BEAM POINTS UP AT THE BASEMENT CEILING ABOVE HER AND MERRILL.

Merrill nods to her. She reaches down and presses the button.

THE BASEMENT IS ENGULFED BY BLACK.

DISSOLVE TO:

INT. BASEMENT - MORNING

WE ARE STILL IN BLACK. A VOICE IS HEARD IN THE DARKNESS. IT'S MURKY AT FIRST, THEN BECOMES CLEARER.

VOICE ... Jordan, Saudi Arabia and Bahrain have also confirmed.

Graham opens his eyes from sleep. HE SQUINTS FROM THE LIGHT OF THE HANGING BULB IN THE BASEMENT.

Merrill steps into his vision.

MERRILL I found a pack of light bulbs.

Merrill walks back to the radio on the metal shelf. THE VOICE WE HEARD IN THE DARKNESS COMES FROM THE TINY SPEAKER OF THE RADIO.

RADIO VOICE ... Parts of China and Northern Korea are among the few remaining to verify withdrawals.

GRAHAM They're broadcasting...

MERRILL It came on about two hours ago. Woke me up. (beat) We won Graham.

Merrill waits for his brother to say something. Beat.

MERRILL It went on all night. Everywhere. It was completely a ground battle. Mostly hand to hand. You can't see them unless you're up close. A lot of people died. Some from combat. But most from poison gas inhalation. They secrete it.

Beat.

GRAHAM How many died?

MERRILL They think over a hundred thousand. They're just estimates. (beat) But we held strong.

GRAHAM How do they know it's over?

MERRILL A mass evacuation by them started about eight o'clock this morning. It's eleven now. (beat) They're leaving.

Beat.

MERRILL You didn't think we'd make it.

Beat.

GRAHAM No.

MERRILL (low voice) Listen, there's things I can take and a couple things I can't and one of them I can't take, is when my older brother -- (voice cracks) -- who is everything I want to be, starts losing faith in things. I saw your eyes last night. (beat) I don't want to ever see your eyes like that again, okay? I'm serious.

Merrill's face is hard. He looks shaken. Graham stares at the conviction in his younger brother's expression.

GRAHAM (soft) Okay.

Beat.

THERE'S A WHEEZING SOUND FROM THE CORNER OF THE ROOM. Graham and Merrill turn to look at Morgan -- laying down on Merrill's folded sweater. Morgan's breathing is strained. He still looks grey.

MERRILL He's been like that for awhile. We need to get him some medicine.

GRAHAM Have they said anything about our area?

MERRILL Philadelphia and its outlying counties are cleared, but who knows for sure?

Graham looks at Morgan lying limp on the ground. Graham turns to Merrill.

GRAHAM (whispers) He's not strong enough to fight off another attack.

MERRILL (whispers) I know. (beat) We need to be sure, before we open that door Graham.

The two men stand under the single dangling light bulb. Graham quietly turns and looks at Morgan. He moves across the room towards him.

Merrill watches as Graham kneels down and reaches to Morgan's side. Graham unclips the baby monitor from his son's belt.

Graham walks back to Merrill. He holds it out between them. Beat.

He turns it ON.

A SLIGHT STATIC IS HEARD. GRAHAM TURNS THE VOLUME ALL THE WAY UP. THE STATIC GETS A LITTLE LOUDER, BUT DOESN'T CHANGE. THERE ARE NO NOISES, NO SPIKES, NO VOICES... JUST EMPTY ELECTRICAL STATIC. Beat.

Graham makes eye contact with Merrill. Beat.

MERRILL That's good enough for me.

GRAHAM Me too.

CUT TO:

INT. BASEMENT STAIRWELL - MORNING

DAYLIGHT FILTERS DOWN FROM THE KITCHEN AND PIERCES THE STAIRWELL TO THE BASEMENT.

The basement door cracks open a few inches. Beat. Merrill opens it all the way.

DUST FLOATS UP IN THE DAYLIGHT THAT SPILLS DOWN THE STAIRS.

Merrill moves up the stairs by himself. He reaches the top and looks around. Turns back down to the faces at the bottom. Gives them the thumbs up.

Graham leads Bo up the stairs. He carries a limp Morgan in his arms.

CUT TO:

INT. KITCHEN - MORNING

THE KITCHEN IS KIND OF BEAUTIFUL IN ITS DESTRUCTION. BEAMS OF DAYLIGHT CRISSCROSS THE ROOM FROM THE PUNCHED OUT HOLES IN THE WINDOWS AND BOARDS.

THE BACK DOOR IS WIDE OPEN.

WE HEAR SOUNDS FROM THE TV FILTERING IN FROM THE HALL.

Graham and Bo and Morgan watch as Merrill walks over the toppled chairs to get to the cabinets.

GRAHAM Get the syringe as well. We might need to give him an epinephrine shot.

Merrill nods as he begins to search the piles of things that have fallen from the cabinets.

CUT TO:

INT. FAMILY ROOM - MORNING

SHAFTS OF SUNLIGHT STREAM IN FROM ONE SIDE OF THE FAMILY ROOM WHERE THE WINDOWS HAVE BEEN BROKEN IN.

Graham gently lays Morgan on the sofa.

WE HEAR CHEERING COME FROM THE TELEVISION, FILTER THROUGH THE FRONT HALL AND INTO THE FAMILY ROOM.

Bo steps out of the closet and looks into the family room.

BO People are dancing.

She points at the closet.

Morgan strains to look in her direction. Graham looks at him.

GRAHAM You want to see it?

Morgan nods, "yes" as he struggles to breathe.

GRAHAM I'll bring the TV in here.

CUT TO:

INT. CLOSET - MORNING

THE TELEVISION SHOWS A SHOT OF A STREET CORNER. THOUSANDS OF PEOPLE STAND IN THE STREETS. A REPORTER STANDS AMONGST THEM AND TALKS INTO A MICROPHONE.

TV REPORTER Today there are no countries, and no races, and no differences -- we are all apart of the same --

Graham unplugs the television. The screen goes black.

Bo moves the coats aside as Graham wheels the television and the television cart out into the hall.

CUT TO:

INT. FAMILY ROOM - MORNING

Graham pulls the television into the family room. Careful not to trip it on the carpet.

THE GLASS OF THE TELEVISION IS LIKE A MIRROR.

Graham moves the television into position. THE BLACK SCREEN REFLECTS THE FAMILY ROOM BEHIND GRAHAM AS IT TURNS.

THE REFLECTION OF A CREATURE SILHOUETTED PANS ACROSS THE TELEVISION SCREEN.

The TV stops moving. Graham stays frozen with his hands on either side of the television cart. He's slightly bent over. His back is to the family room.

Graham straightens and turns around slowly.

Morgan is held by his waist three feet in the air. Morgan's face turns to the color of ash as his throat closes up.

For a moment it appears he's suspended in the air. Then we see the outlines... and we see the eyes. The black eyes.

There is a creature close to seven feet tall standing in the middle of the family room. It's powdery skin has taken on the shades, lines and colors of the family room so perfectly, it almost disappears.

It blinks.

Graham and Bo have turned to stone. Bo stands frozen in the front hall.

Merrill comes out of the doorway from the kitchen to the family room. He takes two steps into the room and comes to a stop next to the fireplace. The inhaler and syringe in his hand fall to the ground. The creature is between Graham and Merrill in the middle of the family room.

Morgan is dying. THE LAST SOUNDS OF AIR STOP IN HIS THROAT.

The lines of the chairs and windowsill mimicked on the creature's skin move as the creature moves its free hand.

Graham's eyes shift to the hand. THREE OF THE CREATURES FINGERS ARE MISSING -- SLICED OFF BY A BUTCHER KNIFE.

The creature's hand moves to Morgan's face. It tilts its fingers and palm back. THE COLORS ON THE HAND ARE ALREADY CHANGING TO MATCH IT'S NEW POSITION IN THE ROOM.

A small pore opens up on its wrist. A YELLOWISH GAS STARTS TO LEAK OUT OF THE OPENING.

Graham looks up from the leaking poison gas to the face of the creature. It's large empty black eyes lock on Graham's.

GRAHAM STARTS TO HEAR A HIGH PITCH RINGING SOUND -- IT BEGINS TO ENGULF ALL SOUND IN THE ROOM.

GRAHAM STARES HELPLESSLY INTO THE LARGE BLACK EYES.

WE MOVE INTO GRAHAM'S EYES... THEY WIDEN. WE SEE THE EMOTION IN THEM. HIS MOUTH BARELY GETS THE WORDS OUT.

GRAHAM (soft) He's reading my --

THE HIGH PITCHED RINGING SOUND OVERWHELMS EVERYTHING. THE ROOM GOES BRIGHT WHITE.

DISSOLVE TO:

EXT. STREET - NIGHT

WE ARE BLINDED BY A BRIGHT LIGHT. THE LIGHT IS MOVING. WE REALIZE IT IS THE HEADLIGHTS OF A CAR THAT PULLS TO THE SIDE OF THE ROAD.

The car door opens. Graham Hess steps out. His coat is open. He is wearing a black shirt and black pants. A priest's white collar sits under the lapel of the black shirt. Graham looks around in a daze.

We are on a country road. THERE ARE STROBING RED AND WHITE LIGHTS FILLING THE NIGHT AIR. Four police cars are scattered amongst the tow trucks and the ambulances.

A large group of officers and workers hover around a green truck that has swerved off the road into a grouping of trees.

Officer Edgar Paski walks up to Graham. He whispers something into a walkie clipped to his shirt as he approaches. Edgar looks badly shaken. Beat. The two men look at each other.

OFFICER PASKI What do you know?

Graham stands motionless with his hands at his sides. Beat.

GRAHAM There was an accident. Drunk driving. They weren't sure.

OFFICER PASKI He wasn't drinking. Ray fell asleep at the wheel.

Officer Paski gestures in the direction of one of the ambulances. Ray Reddy sits to the side on the grass. His arms rest on his bent knees.

GRAHAM Is he okay?

OFFICER PASKI Yes... That's the first thing Colleen asked too.

Graham smiles a little smile.

GRAHAM She's talking... Which ambulance is she in?

Beat.

OFFICER PASKI She's not in an ambulance Father.

GRAHAM Why not?

OFFICER PASKI See Father, Ray's truck swerved off the road and ah... Hit Colleen and then a tree. She was pinned between the two.

GRAHAM Pinned? What does that mean?

Beat.

OFFICER PASKI The truck... the truck has severed most of her lower half.

GRAHAM What did you say?

Beat.

OFFICER PASKI She won't be saved. At this point she's alive, because the truck is holding her together. She doesn't feel much, and she's talking almost like normal. We didn't pull the truck out, cause we wanted you to come down here to be with her, as long as she's awake. That won't be very long. (beat) Father, you understand what I've told you?

Beat.

GRAHAM Edgar. (he starts crying) Is this the last time I'm going to talk to my wife?

Beat.

OFFICER PASKI Yes it is.

CUT TO:

EXT. STREET - NIGHT

The other officers turn and look as Graham walks by them. He walks on, unaware of the stares.

He slows as he reaches the back bumper of the truck. It sticks out onto the road a few feet. He comes around the side of the vehicle.

COLLEEN HESS is beautiful in a delicate way. Her straight brown hair falls down over her small face. She leans over the front bumper of the truck onto the hood. Her head rests on her arms like a child resting on a school desk. Her back is against a tree. The lower half of her is obscured by the truck.

She's able to raise her head and shoulders as Graham walks up to her. She is shivering slightly.

COLLEEN (soft) Hi sweetie.

GRAHAM Hi baby.

Graham glances down. There are bundles of blood soaked blankets in the area below her. They peek out under the twisted front of the truck. Graham looks up quickly.

COLLEEN I was just taking a walk before dinner.

GRAHAM You love walks.

Beat.

COLLEEN I guess it was meant to be.

Beat.

GRAHAM Does it hurt?

COLLEEN I don't feel much.

GRAHAM Good.

Graham touches her cheek. She starts crying. Graham starts crying with her.

COLLEEN (crying) ... Tell Morgan to play games -- it's okay to be silly.

GRAHAM (crying) ... I will.

COLLEEN (crying) ... Tell Bo to listen to her brother. He'll always take care of her.

GRAHAM (crying) ... I will.

COLLEEN (crying) ... Tell Graham --

GRAHAM (crying) I'm here.

COLLEEN (crying) Tell him... See. Tell him to see.

Colleen presses her cheek on top of Graham's hand. She rests on it. Her eyes are distant.

COLLEEN (soft) And tell Merrill to swing away.

GRAHAM (soft) What? (beat) Colleen?... Colleen?

WE ARE OVERCOME BY A BRIGHT WHITE.

CUT TO:

INT. FAMILY ROOM - MORNING

WE ARE IN THE FAMILY ROOM. THE HIGH PITCHED RINGING SOUNDS FADE AND ARE REPLACED BY THE BREATHING IN THE ROOM.

THE BREATHING IS JOINED BY THE HISSING OF GAS AS IT'S BEING RELEASED.

THE CREATURE FORCES POISON GAS OUT INTO MORGAN'S UNCONSCIOUS FACE.

THE ROOM IS ENGULFED WITH STREAMS OF SUNLIGHT FROM THE BROKEN WINDOWS. THE LIGHT SEEMS TO CATCH CERTAIN THINGS IN THE ROOM AND MAKE THEM STAND OUT. THINGS ON SHELVES, THINGS ON TABLES, THINGS ON THE WALL.

Graham stares at the baseball bat on the wall. Beat.

GRAHAM (soft) Swing away, Merrill.

Morgan's face is obscured by gas.

GRAHAM (loud) Merrill.

Merrill turns and looks to Graham.

GRAHAM Swing away.

Graham's eyes are not on Merrill. Merrill follows his eye line to the baseball bat mounted above him.

Beat. Merrill reaches up and takes the bat off its resting place.

The creature starts to move.

Merrill's hands tighten around the handle as he walks forward. He stops. His weight shifts to his right leg.

The creature begins to turn and becomes more visible as its lines and colors don't match in position in the room.

Merrill's left leg goes out. His torso and shoulders turn with staggering speed and strength. The bat slices through the air of the family room... Contact.

The creature gets HAMMERED across the back with the baseball bat.

Morgan is dropped. He falls to the carpet of the family room in an unnatural crumpled pile. His arms and legs flop lifelessly to the carpet.

The creature turns to face Merrill. All the creature sees is the BLUR OF WOOD as Merrill swings like a lumberjack. SLAM. The creature falls to the ground.

Graham takes Bo by the hand and moves to Morgan. Graham picks up his son's limp body in his arms.

The creature moves to its feet.

Merrill's hands choke up on the bat. Merrill's eyes are on fire.

Graham leans down and picks up the full syringe of medicine on the ground.

Merrill SCREAMS as he swings again. His powerful muscles pull his shoulders whipping around. The bat connects with the creature across its chest. The creature is thrown back into the wall. Two glass of water fall off a shelf and CRASH ONTO THE CREATURE'S SHOULDER. The water connects with it's skin. The creature makes a HIGH PITCHED INHALE SOUND.

Bo and Graham look up.

THE CREATURE'S SHOULDER STOPS CHANGING COLORS AND WITHERS INTO A POWDERY WHITE.

Merrill looks back across the room at Bo and Graham. They stare at each other with sudden realization.

Merrill looks around at Bo's half-filled water glasses places all over the family room.

CUT TO:

INT. KITCHEN - MORNING

Graham carries Morgan through the kitchen and out the back door. Morgan's arms and legs swing limp as Graham walks.

Morgan's head bobs back from its own weight as Graham steps outside.

CUT TO:

INT. FAMILY ROOM - MORNING

Merrill steps in. THE WOODEN BAT MAKES A SOUND AS IT CUTS THROUGH THE AIR. SLAM! It connects with the creature. The creature falls back into the coffee table. Bo's glasses of water crack and SPLASH OVER the creature's TORSO. ANOTHER HIGH PITCHED INHALE SCREAM. His torso turns a powdery white. Parts of its body are still changing and matching its environment. Parts are white.

The creature stands again.

Merrill looks for the next target in the room. Bo points to the dinning table where the old chicken teriyaki, bacon cheeseburger and spaghetti with meatballs sit untouched.

Merrill sees the three glasses of water at Bo's seat. He nods.

CUT TO:

INT. FAMILY ROOM - MORNING

MERRILL YELLS WITH EVERYTHING IN HIS LUNGS. His wrists turn. His shoulders torque. THE WOODEN LOUISVILLE SLUGGER SLICES THE AIR AND SHATTERS WHEN IT CONNECTS WITH THE UPPER CHEST OF THE CREATURE. PIECES OF WOOD SPLINTER OVER THE FAMILY ROOM.

THE CREATURE WAVERS AND THEN ALL SEVEN FEET OF IT TIPS OVER. IT FALLS BACK. IT CLIPS THE TV STAND AS IT FALLS. IT LANDS ON THE GROUND WITH A THUD.

THE CREATURE'S BLACK, EMPTY EYES LOOK UP IN TIME TO SEE BO'S GLASSES OF WATER RESTING ON THE TELEVISION, FALL... AND SPILL OVER THE EDGE -- RIGHT ONTO ITS FACE.

THE CREATURE'S SCREAMS FILL THE FAMILY ROOM -- AND THEN SUDDENLY STOP.

IT BECOMES VERY STILL. EVERY INCH OF ITS BODY TURNS A WITHERED, POWDERY WHITE. BEAT.

Bo watches quietly from the door. Merrill drops the handle of the bat in his hands.

CUT TO:

EXT. BACKYARD - MORNING

Merrill and Bo find Graham kneeling in the grass. Morgan lays limp in his arms. They kneel down in the grass with him.

Merrill sees the empty syringe in Graham's hand. He looks to Morgan. The boy's head is tilted back. His tiny mouth hangs open unnaturally.

GRAHAM His lungs were closed. (beat) His lungs were closed. No poison got in... No poison got in.

Merrill stares at Morgan. His body is utterly still.

GRAHAM His lungs were closed.

Merrill reaches for Morgan's still hand.

GRAHAM Don't touch him.

MERRILL (soft) Graham.

Beat. Morgan lies lifeless.

BO Daddy.

GRAHAM Don't touch him.

Bo is crying.

MERRILL Graham.

GRAHAM Don't.

Beat.

MORGAN'S VOICE Dad.

HIS SON'S VOICE MAKES HIM STOP. Graham starts crying. Every bit of sadness trapped in his body is released. He looks down through tears and tears at Morgan.

MORGAN Did someone save me?

GRAHAM Yeah baby. I think someone did.

CUT TO:

INT. WINDOW - MORNING

We look out through the broken glass of the second story bedroom window. We see the worn jungle gym. We see the single tree throwing shade on the picnic table. We see the golden brown corn lining the back of the yard.

And we see the Hess family. Sitting together on the grass. Huddled together in the sunlight.

FADE TO BLACK.

<<<

/ Signs.
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