FADE IN:
The following text fades in over black.
Death is not extinguishing the light; it is only putting out
the lamp because the dawn has come.
RabindranathTagore
Flare to white
Fade in from white
Slowly the white become recognizable. A pristine COTTON BALL.
Eerie, faint SOUNDS OF CHOPPING ARE HEARD. Slowly, the SOUND
INCREASES as small, almost alien creatures appear from the
far side of the cotton ball. BOLL WEEVILS.
The CAMERA PULLS BACK to show the BUR of the cotton plant
containing a single drop of blood. We follow the drop of
blood in SLOW MOTION as it begins falling from the plant. The
speed of the blood drop increase as it falls until it
splatters inside the outline of a human footprint. The moment
the drop of blood splatters, we hear the faint SOUND OF A
HARMONICA PLAYING in the distance.
DISSOLVE TO:
1 EXT. COTTON FIELD - DAY 1
We are on the edge of the cotton field that is barely visible
because of low lying fog. Across the muddy dirt road is
another large, seemingly endless cotton field. The SOUND OF
THE HARMONICA INCREASES and we hear the CLUMPING SOUND OF
HORSES HOOVES. The SOUND OF THE APPROACHING HORSES GETS
LOUDER, LOUDER...
The legend reads: Near Pollocksville, North Carolina,
October, 1867.
DISSOLVE TO:
2 EXT. DIRT ROAD - DAWN 2
Through the fog, two large draft horses appear pulling a
buckboard. REVEREND DORRIE; a large, gray haired black man in
his early fifties has the reins. JASPER; an old black man
with a white beard in his late sixties, sits next to him
softly playing the harmonica. Sitting in the back of the
buckboard, softened with a thick layer of hay are six happy,
playful black children ranging between the ages of three and
eight.
REVEREND DORRIE
(to Jasper)
How the children doing?
JASPER
(stops playing,
glances back at at
children)
They fine. Foggy mornin'. Bet the
river's up too.
REVEREND DORRIE
Probably so. Where has the time
gone? Hard believe this is the
ninth one room school house we
helped build. Praise the Lord
Almighty.
JASPER
It's been a quick year and a half
alright. Think we'll have any
trouble crossin' that old wooden
bridge? Don't want to be late to
the dedication.
REVEREND DORRIE
We have plenty of time old friend.
Jasper, let me see that plaque
again.
JASPER
(to the children)
Children, pass me that bag.
(they pass him a
heavy burlap bag)
Thank you, child.
Jasper places the heavy bag on his lap and pulls out a wooden
plaque. He turns it so the Reverend can see the writing.
3 EXT. WAGON - REVEREND DORRIESPOV - DAWN 3
The CAMERA IS CLOSE IN on the polished and glowing wooden
plaque. The words JONESCOUNTY #9 are finely carved deep into
thick wood.
4 EXT. WAGON - DAWN 4
REVEREND DORRIE
Beautiful. Simply beautiful. By
far the best plaque you've made.
What wood did you use?
JASPER
Black Oak. Should last forever.
REVEREND DORRIE
Jasper, you are truly gifted.
JASPER
Thank you, Reverend.
(looks down the road)
Looks bad foggy up by the bridge.
5 EXT. JASPERS POV - DAWN 5
The fog is so thick that the bridge in not visible. The
CAMERA SEE'S ONLY FOG AHEAD.
6 EXT. IN FRONT OF THE BRIDGE - DAWN 6
The Reverend stops the wagon directly in front of the bridge
which is totally enveloped in fog. The sign, TRENT RIVER
BRIDGE, is barley visible. The SOUND OF RUSHING WATER is
heard.
Reverend Dorrie hands the reins over to Jasper.
JASPER
The river sounds angry.
REVEREND DORRIE
Well, we've had a lot of rain. No
sense takin' chances. Think I'll
take my time and walk the horses
across the bridge.
Reverend Dorrie dismounts the buckboard. The moment his feet
hit the ground we HEAR THE SOUND OF MANY FOOTFALLS ON THE
WOODEN BRIDGE.
JASPER
(stands, yells)
Hello! Wagon on the road! Wagon...
Through the fog Civil War soldiers, North and South, walk by
either side of the wagon and past a anxious Reverend Dorrie.
Some soldiers with no faces, others with no heads. Others
have dangling limps. Most all of them moaning in pain.
Suddenly, the children begin to scream in terror. The horses
rear up and bolt ahead, then are engulfed in the swirling,
thick fog.
The SOUND OF CRACKING WOOD. The SOUND OF CHILDREN SCREAMING.
Then...dead silence.
7 EXT. BRIDGE - DAWN 7
Reverend Dorrie lay stunned in the middle of the muddy road.
Slowly, he stands and HEARS ONLY THE SOUND OF THE RAGING
RIVER.
REVEREND DORRIE
(dazed, yells)
Dear God. Children! Children!
CHILD (O.S.)
(softly)
Help. Help me.
Reverend Dorrie rushes down the side of the bridge and to his
horror see's a YOUNG CHILD clinging to a mass of debris
floating near the river's edge.
REVEREND DORRIE
(begs)
Dear Lord! Give me strength!
Reverend Dorrie lunges into the rushing water. Pulling
himself along the debris he reaches out to the terrified
YOUNG CHILD. Just as their fingers meet, the mass of debris
lets go and they are washed away. All that is left is the
SOUND OF THE RAGING RIVER.
CUT TO:
8 EXT. GRAND RAPIDSMICHIGAN - 1976 - AERIAL VIEW - DAY 8
The legend reads: Grand Rapids, Michigan, Fall, 1976
It is midday and the traffic is heavy. The traffic slows to
a trickle as we move toward the huge auto factory in the
distance. The CAMERA FOCUSES on the 1970 Ford Torino spewing
smoke as it labors toward the factory. A following police car
flashes its lights and the Ford pulls over. We continue down
the street to Bailey's Tavern across the street from the
entrance of the plant. The CAMERA MOVES IN ON THE SIGN
"BAILEY'S TAVERN".
9 INT. BAILEY'S TAVERN - DAY 9
The tavern is quiet. The calm before the storm. At the far
end of the bar sits ROGERWALKER; mid-twenties, a little
chubby, sleeping with his head resting in his crossed arms.
TWO MEN, early sixties, sit at a table while GREG, late
twenties, long haired stoner, plays pool by himself near the
rear of the tavern.
MAN 1
Who is that kid at the bar? He
looks familiar.
MAN 2
RogerWalker. Worked day shift as
a janitor. Got laid off a few
weeks ago. Usually comes in here
before shift change. You know, the
guys buy him beers, something to
eat.
MAN 1
Oh, yeah. Ain't he retarded?
MAN 2
Just slow. I guess. He's Carl
Walker's youngest. Remember Carl?
MAN 1
Hell of a maintaince man. Knew
more about those machines than the
engineers. When'd he retire? Ten,
twelve years ago?
MAN 2
Something like that.
Greg strolls up to the table.
GREG
Heard ya' talkin' 'bout Roger.
Know how he got that way? Hell of
a story.
MAN 1
No.
GREG
(sitting down)
When he was three or so, his
Mother sent him to fetch Grandma
for breakfast. When they didn't
return, Mom went to check and
(stands behind Man 1
and demonstrates)
found the old woman choking the
boy to death with her forearm.
Hell, by then, the kid had already
passed out and had no pulse.
MAN 2
What the...?
GREG
The boy had crawled up in the old
woman's lap and she had a stoke.
Death grip type deal. Guess his
father had to nearly break the
old woman’s arm to get the
child away. Boy was in a coma for
over a month. Mind will never get
beyond that of a five year old.
Hell of a thing.
MAN 2
Hell of a thing. How'd you hear
about it?
GREG
Worked with Roger's older brother,
Allen four or five years ago. Nice
guy. Talk your ear off.
MAN 1
(looking at his watch)
About that time.
A LOUD SIREN SOUNDS startling Roger.
MAN 2
(to Roger)
You alright?
ROGERWALKER
(smiles and nods)
The tavern quickly fills with factory workers. A few seconds
later, ALLENWALKER; late twenties, good looking, enters the
tavern.
10 INT. TAVERN - ALLENSPOV - DAY 10
ALLEN looks around then sees ROGER scarfing down nuts and
pretzels at the end of the bar. Behind Roger floats a bright,
barely distinguishable female aberration with what looks like
a thin, red string dangling from her head.
11 INT. TAVERN - DAY 11
ALLENWALKER
(dazed, looks down)
Damn.
(fallaciously)
Great. Just great.
Allen looks up and the aberration is gone.
GREG
(see's Allen, shouts)
Hey, Allen!
ALLENWALKER
(stoic)
Hi, Greg. Long time.
GREG
Come on over!
ALLENWALKER
No thanks!
(points to Roger)
GREG
(nods understandingly)
Where you workin'?
ALLENWALKER
Burger World.
GREG
Assistant Manager?
ALLENWALKER
Yeah.
GREG
That sucks!
ALLENWALKER
(to himself)
Tell me about it.
(approaches Roger,
aggravated)
Where you been all week?
ROGERWALKER
Here. Mostly.
ALLENWALKER
(aggravated, almost
angry)
I need to talk to you.
(roughly grabs Roger)
Let's find a table.
12 INT. TAVERN - POV ROGERS EMPTY BAR STOOL - DAY 12
The CAMERA SLOWLY PANS TO A DARK SPOT BEHIND THE BAR. The
grotesque face of an EVIL MAN aberration appears, then slowly
recedes back into the darkness.
13 INT. TAVERN - DAY 13
Allen and Roger approach a table near the rear of tavern.
Allen shoves Roger into a chair.
ROGERWALKER
(visibly upset)
What's wrong?
ALLENWALKER
(gathers himself,
contrite)
I'm sorry.
(hugs Roger)
I just haven't been myself lately.
I need to talk to you about Dad.
He really seems to be going
downhill since Mom died.
ROGERWALKER
It's only been four months.
ALLENWALKER
I know, bit they were together
nearly sixty years. He really took
it hard. It's getting to the point
where I don't feel comfortable
leaving Dad alone.
ROGERWALKER
What's wrong with him?
ALLENWALKER
Well, for one thing, he thinks I'm
Frank.
ROGERWALKER
His best friend? He's dead.
ALLENWALKER
And for some reason he thinks it's
nineteen fifty-four.
ROGERWALKER
Frank's been dead for years.
ALLENWALKER
(aggravated)
I know. That's not...
(calms himself down)
Look. I can stay with him at
night. Can you stay with him
during the day?
ROGERWALKER
Sure.
ALLENWALKER
Great. Hungry?
ROGERWALKER
(ever smiling, nods,
"yes')
14 INT. TAVERN - DAY 14
Except for Allen and Roger the tavern is empty. Roger's side
of the table is full of empty plates and two empty bottles of
beer. In front of Allen are two empty soda cans.
ALLENWALKER
Had enough?
ROGERWALKER
(smiles, nods "yes",
burps)
Why didn't you eat?
ALLENWALKER
Not hungry. Let's go over to Dad's.
(stands, looks down
at the messy table)
That's why I always like come here
to eat. The service and
cleanliness are outstanding.
On the way out the door Allen glances at the food inspector's
grade rating posted on the wall. It's an A.Allen shakes his
head in disgust.
15 EXT. WALKER HOUSE - DUSK 15
Allen stops his 1970 Ford Torino in front of the attached
garage of his father's well lit two story house. The front
porch is spacious and has seating for three.
ALLENWALKER
(getting out of car)
Looks like he has every light in
the house on.
As they walk up to the house Allen see's a bright, ghostly
image flash across the front window inside the house.
ALLENWALKER
(continuing; dazed)
ROGERWALKER
You O.K.?
ALLENWALKER
Yeah, I'm fine.
(stops)
Roger, maybe Dad will be his ol'
self tonight. But if he isn't and
he thinks you're somebody else,
don't get upset. O.K.?
ROGERWALKER
O.K.. Maybe he'll think I'm Elvis.
The moment they enter the house both Allen and Roger get a
whiff of something in the air.
ROGERWALKER
(continuing; excited)
Mom's home.
ALLENWALKER
You know better than that.
(sniffs the air)
Dad's just had her perfume out
again.
Allen and Roger walk into the living room; Allen turns off
lights as they go. In a large overstuffed lounge chair sits
CARLWALKER; late seventies, gruff, ex-Marine, in his work
clothes, blue coveralls with his name embroidered in white
letters. He has lost allot of weight since he last wore them
and they are now almost two sizes to big. His polished work
boots are neatly tucked under the coffee table. Above the
fireplace rests a large brass urn. Beside it is an old, worn
picture of EMMA. Carl's late wife.
CARLWALKER
Hi, Frank. You and Helen at it
again?
(to Roger, nods)
Lloyd. How was your trip to Toledo?
Allen giggles and pats Roger on the back. Roger shrugs the
hand off.
ROGERWALKER
(confused)
Good?
ALLENWALKER
(to Carl, holing back
giggling)
Be right back.
Allen and Roger walk toward the front door.
ALLENWALKER
(continuing)
He thinks you're Lloyd.
ROGERWALKER
(gruffly)
His pervert brother? I don't like
it.
ALLENWALKER
(holding back
laughter)
He's not a pervert.
ROGERWALKER
(gruff)
Shows his wears.
ALLENWALKER
Only when he's drunk. Two...three
times a years. Tops
CARLWALKER
I don't like it.
ALLENWALKER
(trying not to laugh)
You'll be fine.
(hands Roger his car
keys)
Then here. Now make sure you're
back by six-thirty. I need to be
at work by seven.
ROGERWALKER
O.K.. See ya' in the morning.
Allen pats Roger on the back then watches him start the car
and pull out of the driveway. The CAMERA MOVES CLOSE-INON
ALLEN AS HE TURNS TOWARD THE LIVING ROOM. He is worried about
his father's condition. Forces a smile.
16 INT. WALKER LIVING ROOM - NIGHT 16
Allen enters the living room.
CARLWALKER
You two sure have become fast
friends. I thought you hated
Lloys's guts?
ALLENWALKER
Ah, just being friendly.
CARLWALKER
(scowls)
I wouldn't get too friendly. Had
supper? Leftovers in the fridge.
ALLENWALKER
No, thanks.
CARLWALKER
Well, its late.
(standing)
Emma's got the boys to bed and is
waiting for me upstairs.
(starts to walk away,
turns to Allen)
You're welcome to the couch.
ALLENWALKER
Thanks.
17 INT. TORINO - DUSK 17
Allen is driving down a narrow country road listing to music
on the radio. He pays no attention to the large truck
approaching, then he sees the truck is moving too fast. They
reach a curve in the road. The truck slams on its breaks.
Allen swerves. The car spins wildly and slams backward into
a tree.
Allen is dazed but fine. He smells gasoline and hurriedly
tries to unbuckle his safety belt but it is stuck.
Looking out the drivers side window he see's someone
approaching, then is horrified as the EVIL MAN approaches on
foot and shatters the drivers side window with his fist.
Suddenly, the car explodes in fire.
EVIL MAN
(deep, foreboding,
near Allen's face)
Listen to me!
Allen tries to scream but no sound comes out. Allen is now on
fire and in tremendous pain. He frantically tries to put the
fire out with his hands but the fire only gets larger. When
the fire is about to engulf him...
Allen see's the bright female aberration moving through the
passengers side window.
Just as she reaches out and touches Allens arm...
CUT TO:
18 INT. WALKER LIVING ROOM - NIGHT 18
The CAMERA IS CLOSE-IN ON ALLEN who is clutching the blanket
he has pulled tightly around his neck. The room is dimly lit.
Allen is sweating, holding back a scream.
19 INT. WALKER LIVING ROOM - NIGHT 19
CARL, still half asleep and wearing a bathrobe stands over
ALLEN poking his arm.
CARLWALKER
You told me to wake you at five.
Fix yourself some breakfast.
(walks away, turns
around)
And for God's sake take a shower.
For some reason you smell like
french fries.
ALLENWALKER
(realizes where he
is, knows all is
well)
I don't remember asking you to...
Never mind. You off today?
CARLWALKER
It's Saturday. Get a life.
(starts to walk away,
turns around, somber)
Frank, I still have nightmares
about the war too. We really went
through hell together. Didn't we?
20 INT. WALKER LIVING ROOM - DAWN 20
Allen see's the Torino pull into the driveway. He reaches the
front door just in time to see Roger walking onto the porch.
ALLENWALKER
Thanks for getting here early. I
forgot I need to stop by my room
and change cloths. I fixed you
some breakfast.
ROGERWALKER
Thanks. Dad O.K.?
ALLENWALKER
(in a hurry)
Except for being in nineteen fifty-
four and all the rest, he seems
just fine.
ALLENWALKER
(continuing)
By the way, he thinks it's
Saturday. If you need anything
call me at work.
Roger watches Allen drives away.
21 INT. BURGER WORLD OFFICE - DAY 21
Allen, dressed in his assistant manger uniform sits in the
tiny Burger World office. The phone rings.
ALLENWALKER
Burger World, Allen speaking. May
I help you?
ROGERWALKER (V.O.)
(through the phone)
I'm hungry.
ALLENWALKER
Fix yourself something to eat.
There's plenty of stuff in the
fridge.
ROGERWALKER (V.O.)
(softly)
He won't talk to me.
ALLENWALKER
(frustrated)
He thinks you're Uncle Lloyd.
That's how they acted around
each other
ROGERWALKER (V.O.)
(softly)
Just kinda' glares at me once in