>>/ Signs

/ Signs. .

: / Signs.

/ Signs

FADE IN:

INT. WINDOW - MORNING

We are looking out a second story window of a house. The backyard is large and green with a wooden jungle gym, worn from use. A single tree throws shade onto a barbecue and a picnic table.

The backyard is lined by crops. Corn. Golden and brown. Six feet high.

Everything is perfect. Like a postcard. And then we HEAR A CHILD SCREAM. IT'S FAR AWAY. WE DON'T KNOW WHERE IT'S COMING FROM.

CUT TO:

INT. BEDROOM - MORNING

GRAHAM HESS wakes up from his sleep. He thought he heard something. He listens. HE HEARS THE HEATER. THE REFRIGERATOR DOWNSTAIRS HUMMING. THE OCCASIONAL BIRDS OUTSIDE CHIRPING.

Graham climbs out of bed. He moves in his pajama pants and white Barron's minor league baseball T-shirt towards the bedroom door.

CUT TO:

INT. HALL LANDING - MORNING

Graham stands in the hall landing where three bedroom doors meet. He moves to the door that has children's drawings taped to it. He puts his ear close. Listens. Beat.

He relaxes. Graham leans down and picks up two balled up sweat socks and a child's sweater from the hallway floor. He puts it in the hallway hamper before heading back into his bedroom.

CUT TO:

INT. BATHROOM - MORNING

A bathroom door is open. WE HEAR THE SINK RUNNING. WE HEAR THE SOUNDS OF TEETH BEING BRUSHED.

Outside the bathroom on the bedroom wall is the sun faded outline of where a large CATHOLIC CROSS used to hang. It's ghostly stained forever on the blank wall.

A CHILD SCREAMS FROM FAR AWAY.

The water from the sink stops. Graham steps into the doorway. Toothbrush and foam in his mouth. He becomes very still.

CUT TO:

INT. CHILDREN'S BEDROOM - MORNING

The bedroom door bursts open. Graham steps into his children's room. There are children's books everywhere. Overflowing off shelves. Piled in corners.

Graham's eyes move to the small messy beds. They're both empty.

CUT TO:

INT. GARAGE BEDROOM - MORNING

WE HEAR THE VOICES OF TWO CHILDREN NOW. THEIR SCREAMS FLOAT INTO A DARKENED BEDROOM OVER THE GARAGE.

MERRILL HESS throws the bed sheets off himself as he swings onto his feet in one quick motion. He is hyper-awake. Merrill is in his late twenties. He is well build. His muscles are tense as he stands in his red bikini briefs and looks around bewildered.

CUT TO:

EXT. BACKYARD - MORNING

Graham bangs open the back screen door and runs into the backyard. He spins as he looks around.

Merrill, now with a T-shirt and jeans, rumbles down the side stairs adjacent to the garage building.

Merrill and Graham make eye contact as they approach each other across the yard.

MERRILL Where are they?

Graham looks around -- panic growing in his eyes.

CHILDREN (yelling in the distance) Daaaad!

Graham and Merrill in unison turn in the direction of the YELLING. They look away from the house, across the yard and into THE THICK WALL OF CROPS.

CUT TO:

EXT. CROPS - MORNING

The tall stalks of corn smack Graham and Merrill's faces as they run through the crops.

A LITTLE GIRL appears in the crops thirty feet ahead of them like an apparition. She is in her nightgown. She is four.

They reach her fast. She stands unaware of them in a daze. Her hair is messed from sleep.

GRAHAM Bo where's Morgan?

BO stands peacefully lost in her thoughts. Beat.

GRAHAM Bo?

Bo finally looks at her father. Beat. She smiles softly.

BO Are you in my dreams too?

Beat.

GRAHAM This isn't a --

BOY (O.S.) Dad!

Graham looks in the direction of THE BOY'S VOICE. He's close. Graham picks up Bo and rushes through the crops.

He finds MORGAN standing with his hands in the pockets of his pajama bottoms. DOGS ARE BARKING NEARBY.

GRAHAM Morgan what's happening?

Graham puts Bo on the ground and moves right in front of Morgan. The ten-year old boy looks deep in thought.

Graham takes hold of Morgan's chin and turns his face so he's looking straight at him.

GRAHAM Are... you... hurt?

Beat. Morgan's eyes reveal he's come to some answer.

MORGAN I think God did it.

Beat. THE DOGS KEEP BARKING.

GRAHAM Did what Morgan?

Morgan takes hold of his father's unshaven chin and turns his face. Graham is forced to look to his right. Beat. Graham sees something.

Graham Hess slowly rises to his feet. He starts moving forward towards something.

He walks through a thin layer of crops and emerges in a clearing. Two German Shepherds are running back and forth. They are clearly agitated.

Graham looks around at the THOUSANDS OF CORN STALKS LYING FLAT ON THE GROUND. THEY LAY IN A GIGANTIC CIRCLE, A HUNDRED FEET WIDE.

Graham Hess looks around in a daze as he walks out into the center. Merrill, Bo and Morgan follow him.

The dogs keep running and barking as WE PULL BACK AND REVEAL THE FOUR MEMBERS OF THE HESS FAMILY STANDING IN THE MIDDLE OF THIS PERFECT, GIGANTIC CIRCLE.

WE KEEP PULLING BACK TO EXPOSE THIS EERIE DESIGN -- FIVE HUNDRED FEET WIDE -- SITTING IN THE MIDDLE OF AN ENDLESS, UNTOUCHED CORN FIELD.

LEGEND:

"BUCKS COUNTY PENNSYLVANIA... THIRTY MILES OUTSIDE PHILADELPHIA"

CUT TO:

EXT. BACKYARD - LUNCHTIME

Graham holds his hand over the barbecue to see if it's at the right temperature. The other hand holds a cordless phone to his ear.

GRAHAM (into phone) ... Lee actually the reason I'm calling is about Lionel.

Graham stokes the coals with a LONG BARBECUE FORK.

GRAHAM (into phone) Was he at home last night with you or was he out and about with the Wolfington brothers?

Graham moves around from behind the barbecue and heads towards the house.

GRAHAM (into phone) Well, there was a little mischief done to our crops last night.

Beat.

GRAHAM (into phone) I know he's a fine boy... No one's saying otherwise.

Graham steps through the back screen door into his

KITCHEN.

Graham holds the phone a little closer and talks in a HUSHED VOICE.

GRAHAM (into phone) Listen Lee, I don't even mind if it was him. You could just talk to him and that would be enough for me... See it was kind of strange finding the crops like that. The kids were... confused by it. It would take the strangeness away if we knew it was Lionel and the Wolfington brothers just messing around... (beat, listens) The movies... (beat) Are you sure? (beat) Okay, then... Thank you for your patience Lee.

Graham turns off the phone. He turns to put it on the counter and realizes his children are seated on the kitchen floor with one of their two German Shepherds. There is a LARGE PUDDLE on the kitchen tiles.

MORGAN Houdini peed. I think he's sick.

Graham looks at the majestic dog. It's shivering.

GRAHAM Take him outside. I'll call Dr. Reynolds.

Morgan and Bo lead their dog out with worried expressions on their faces.

Graham grabs a handful of paper towels and places it on the puddle of urine. The DOORBELL rings with Graham still on his knees on the kitchen floor. He leans back so he can see down the hall.

A balding police officer stands on the other side of the screen door.

GRAHAM That was quick Edgar. I only called you boys about two hours ago.

OFFICER EDGAR PASKI nods that he knows.

OFFICER PASKI Mrs. Kindleman twisted her ankle as she put it, "diving for her life" when a bunch of school kids rode down the sidewalk on skateboards. She went down to Thorton's store this morning and started spitting on the new skateboards. Spitting! By the time I got there, Mrs. Kindleman had sprayed the whole damn place... She must have had a cold or something. It was enough to turn a grown man's stomach.

Beat. Graham stares at Officer Paski.

OFFICER PASKI So what happened to your crops?

CUT TO:

EXT. BACKYARD JUNGLE GYM - LUNCHTIME

Bo walks from the house with a large glass of water. She moves to Houdini, who sits in the shade by the picnic table.

Morgan pokes the barbecue fork into two meat patties on the grill. He places two pieces of cheese on the hamburgers, before walking over to Houdini.

The two children sit down in the grass with the dog.

Bo is about to pour the glass of water into the dog bowl. She stops. Takes a tiny sip of the water first.

She holds the glass out to Morgan.

BO I think it's contaminated.

MORGAN You don't even know what that word means.

He drinks.

MORGAN It's not contaminated. It's just tap water. Pour it in his bowl.

BO It tastes funny.

MORGAN He licks his butt everyday. He's not going to mind.

Bo shrugs and pours it into the bowl. Beat.

Houdini just sits staring at them. He is not shivering. He doesn't drink. He is unnaturally still.

Bo pushes the bowl closer.

HOUDINI MOVES...

BO'S HAND PULLS BACK...

HOUDINI'S JAWS SNAP SHUT IN THE AIR WHERE HER HAND USED TO BE. HE WAS JUST A FRACTION OF A SECOND LATER...

BEAT. The children turn white.

MORGAN Houdini?

HOUDINI BEGINS TO GROWL. Bo stands up.

MORGAN Bo don't run.

Houdini crouches down.

MORGAN What's wrong boy?

THE DOG'S GROWL BECOMES DEEP, MENACING.

MORGAN Stop it Houdini!

The German Shepherd trembles. His body tightens. He's about to leap. Beat.

MORGAN (soft) Bo, run.

CUT TO:

EXT. CROPS - LUNCHTIME

Officer Edgar Paski stands facing Graham fifty feet away. They are on opposite ends of the crop circle. Beat.

The crops all around them sway as the wind blows. Beat. Officer Paski yells over the wind.

OFFICER PASKI (yelling) It's the strangest thing Father.

GRAHAM (yelling) Don't call me Father.

OFFICER PASKI (yelling) What's that?

GRAHAM (yelling) Don't call me Father. It's just Graham now.

OFFICER PASKI (yelling) Sorry.

They stands in awkward silence fifty feet away from each other. Beat.

GRAHAM (yelling) You said something was strange. What's strange?

OFFICER PASKI (yelling) The footprints.

GRAHAM (yelling) What about them?

OFFICER PASKI (yelling) There are none.

CUT TO:

EXT. CORN CROPS - LUNCHTIME

Officer Paski's knee touches the ground. He points to a single stalk of corn laying flat on it's side.

OFFICER PASKI (soft) Look at where it's bent over.

Graham stands next to him and leans in. The joint where the stalk bends from the ground is a perfect "L".

GRAHAM It's not broken.

OFFICER PASKI What kind of machine can bend a stalk of corn over without cracking it?

Graham looks around at the hundreds of thousands of corn stalks bent over each other in a perfect wave.

GRAHAM (softy) Can't be by hand... It's too perfect.

Beat.

OFFICER PASKI Doesn't sound much like Lionel Prichard and the Wolfington brothers. They can't take a piss without wetting the front of their pants.

Graham, nods in agreement. Officer Paski stands up.

OFFICER PASKI Second thing this week I can't explain.

GRAHAM What was the first thing?

OFFICER PASKI Some animals around the county exhibiting uncharacteristic behavior. Sometimes violent behavior. Theo Henry had two of his fingers bit off by his cow.

GRAHAM Sounds like a virus.

OFFICER PASKI No Father, they're edgy. On alert. Like they act when they smell a predator around... Peeing on themselves and everything.

We see a thought catch in Graham's eyes. He turns back and stares in the direction of the house. You can barely see the roof over the crops. Beat.

GRAHAM (preoccupied) Edgar, please don't call me Father.

The two men stand as the wind blows lightly around them. Officer Paski notices the still expression on Graham's face.

OFFICER PASKI What's wrong?

Beat.

GRAHAM I don't hear my children.

CUT TO:

EXT. BACKYARD - LUNCHTIME

Morgan watches the thin line of smoke rising from the charred patties on the grill next to the overturned picnic table.

Morgan's attention moves as the crops part and his father and Officer Paski enter the backyard. They stop cold when they look in his direction. They begin a slow walk towards him.

Morgan Hess is seated under the jungle gym with Houdini on his lap. Morgan is petting Houdini's fur gently. Bo is on top of the jungle gym curled up in a ball.

As Graham and Officer Paski get closer, they see Morgan is crying.

Then they see the dog is laying on it side and has a BARBECUE FORK DEEP IN ITS NECK.

Beat.

They stare at Morgan as he slowly pulls an inhaler from his pocket and brings it to his mouth. He inhales the asthma spray. Beat. He lowers the inhaler so he can speak.

MORGAN (soft) He wanted to kill Bo.

Beat. Graham stares at his ten-year old son.

GRAHAM Did he hurt you?

Beat. Morgan nods, "No." His tough exterior breaks as his face starts to tremble. He starts crying. Graham picks him up in his arms.

GRAHAM (whispers in his ear) I'm so sorry Morgan.

Graham reaches up for Bo. She has dirt and tears on her face. Beat. She slowly climbs down. Graham carries both his children as they cry in his arms.

He starts towards the house. Merrill walks out from the back holding a bowl of food.

MERRILL I used a little Tabasco in the potato salad.

Merrill sees Houdini lying under the jungle gym.

BO Houdini's sick.

GRAHAM Please tie up Isabelle to the back of the shed. Make sure the knot's tight.

Merrill stands still with potato salad in his hands. He nods.

The children watch over their father's shoulder as Merrill runs to their other German Shepherd sitting quietly near the house and leads her by her collar across the yard to the shed.

Graham reaches the porch of his house and opens the screen door.

The last thing the children see as they enter the house, is the image of Officer Paski pulling the barbecue fork out of their dead dog's neck.

CUT TO:

INT. BEDROOM - LATE EVENING

Graham lies in bed. He rests his cheek against the pillow as he lies by himself.

GRAHAM They're tough cookies, those two. They think Houdini's playing with you up there. (beat) At least it got them to sleep.

Graham stares off. Beat. He smiles a little.

GRAHAM Okay Miss Puzzle Master. I got one for you... What can make geometric shapes the size of a football field... and what would scare every animal in this county? (beat) Have you figured it out yet? (smiles) You probably have... (beat) Give me a hint Colleen... Is it bigger than a bread box?

DISSOLVE TO:

EXT. HOUSE - NIGHT

The large Hess farm house sits in the moonlight.

A MILLION CRICKETS AND BUGS FILL THE NIGHT AIR WITH SOUND.

THEY SUDDENLY STOP.

AN UNNATURAL SILENCE FILLS THE YARD.

CUT TO:

INT. BEDROOM - NIGHT

Graham opens his eyes slowly as he stirs from his sleep. His daughter Bo stares at him from the edge of the bed. She is five inches away from his face.

Graham gets startled.

GRAHAM What's the matter?

BO I saw a monster. Can I have a glass of water?

Beat.

GRAHAM What's wrong with the water next to your bed?

BO It tastes old.

Graham slowly gets up from the bed. He takes his daughter's hand and starts out of the room.

GRAHAM What's the rule about getting up in the middle of the night?

BO Only for pee or poop.

GRAHAM Right.

Graham leads his four-year old daughter down the darkened hall.

CUT TO:

INT. CHILDREN'S BEDROOM - NIGHT

Morgan's body is half off his bed. Graham gently lifts him back onto the pillow and covers him up.

There are two glasses of water on Bo's bedside table. Graham moves to Bo's bed. He sits on the edge of it. She stares back at him as she holds her panda.

GRAHAM (soft) What are you thinking about?

BO (soft) Why do you talk to mom when you're by yourself?

Beat.

GRAHAM (soft) It makes me feel better.

BO (soft) Does she ever answer back?

GRAHAM (soft) No.

BO (soft) She doesn't answer me either.

Beat. They both sit quietly for a moment.

Graham's eyes drift to the bedroom window. A LARGE SILHOUETTED FIGURE STANDS ON THE ROOF IN THE DARKNESS AND STARES AT HIM.

THE FIGURE MOVES. HIS SHADOW PASSES OVER THE CHILDREN'S BEDROOM AS HE JUMPS FROM THE ROOF.

Graham stands. He looks to his daughter with startled eyes.

BO (soft) Get under a blanket. They can't get you under the blankets.

CUT TO:

INT. FAMILY ROOM - NIGHT

GREY SNOW FILLS THE SCREEN. Merrill sleeps in front of the family room television.

A hand gently shakes him. Merrill wakes and looks up at his brother zipping up his overcoat.

CUT TO:

EXT. FRONT DOOR - NIGHT

Merrill quickly puts on his boots at the front door.

MERRILL Okay, this guy is trying to scare us. He's messed with our property, he's coming around the house. It's time for an ass whoopin'!

GRAHAM This is not an intelligent way to approach this.

Merrill opens the front door. It's pitch black outside. Merrill turn to Graham and gestures with his fingers.

MERRILL (whispering) We both go outside and move around the house in opposite directions. We act crazy, insane with anger. Make him crap in his pants and force him around till we meet up on the other side.

Merrill brings his fingers together at the end of a circle.

GRAHAM (whispering) Explain, act crazy?

MERRILL (whispering) Curse and stuff.

GRAHAM (whispering) I'm not going to curse.

MERRILL (whispering) You don't mean it. It's just for show.

GRAHAM (whispering) It doesn't sound natural when I curse.

MERRILL (whispering) Just make noises then.

GRAHAM (whispering) Explain noises.

MERRILL (whispering) Are you going to do this or what?

GRAHAM (whispering) No I'm not.

MERRILL (whispering) You want him coming in the house next time?

Beat.

They HEAR MOVEMENT OUTSIDE. Merrill and Graham look out into the darkness.

MERRILL (hushed tone) On the count of three. (beat) One... two... three.

Merrill and Graham go out the front door in opposite directions.

CUT TO:

EXT. MERRILL'S SIDE OF HOUSE - NIGHT

Merrill is in a full sprint. He hugs the side of the building as he runs.

MERRILL We're gonna beat your ass bitch!

CUT TO:

EXT. GRAHAM'S SIDE OF HOUSE - NIGHT

Graham runs through the darkness around the first corner of the house. He waves his arms.

GRAHAM Ahhhh... I'm insane with anger.

Graham spots a LARGE FIGURE darting around the corner ahead of him.

GRAHAM I've lost my mind! It's time for an ass whoopin'!

CUT TO:

EXT. MERRILL'S SIDE OF HOUSE - NIGHT

Merrill turns a corner full speed. THE LARGE FIGURE HAS COME TO A STOP IN THE SHADOWS AHEAD OF HIM. HE SEEMS TO BLEND INTO THE DARKNESS WHEN HE'S STILL.

MERRILL I'm gonna tear your head off!

Merrill charges. WE JUST MAKE OUT MOVEMENT IN THE DARKNESS AS THE FIGURE DISAPPEARS AROUND THE CORNER.

CUT TO:

EXT. SIDE OF HOUSE - NIGHT

Graham and Merrill come screaming around two corners and come to a stop facing each other. Beat.

They look around, panting heavily.

GRAHAM I cursed.

MERRILL I heard.

Graham's eyes drift above them.

GRAHAM He's on the roof.

They follow the roof around the corner. They find themselves in the backyard.

Their eyes catch movement away from the house. They just catch A GLIMPSE OF THE LARGE FIGURE as he disappears into the crops. The swing on the swing set is still moving from being hit.

They stare across the yard silently. ALL WE HEAR IS THEIR HEAVY BREATHING.

MERRILL (V.O.) It was very dark.

GRAHAM (V.O.) Yes it was.

CUT TO:

EXT. PORCH - DAY

Officer Edgar Paski stands on the porch with his note pad open. He faces Graham and Merrill.

OFFICER PASKI You can't describe him at all? Don't you think that's find of odd?

GRAHAM It does seem kind of odd doesn't it?

OFFICER PASKI I don't know whether to look for a midget or a --

GRAHAM He definitely wasn't a midget.

OFFICER PASKI Okay. (beat) So he was tall?

GRAHAM (to Merrill) I would say so.

MERRILL Probably.

OFFICER PASKI Over six feet?

Beat.

MERRILL It was very dark.

GRAHAM Yes, it was.

OFFICER PASKI We've established that. (beat) Just tell me about his clothing then.

Graham and Merrill stare at Edgar Paski.

OFFICER PASKI Was he wearing a Scottish kilt or jeans?

They keep staring. Edgar closes his pad.

OFFICER PASKI Let me ask you two something. Don't be embarrassed by the answer. It is possible... Just possible now, you might have been chasing each other around? You said you went in opposite directions.

GRAHAM Edgar, it sounds as strange to me saying it, as it is to you hearing it. But we couldn't see him. He stayed mostly in the shadows. All we could make out was movement. (beat) But I'll tell you something with absolute certainty. There was someone watching our house last night. He was looking in my children's windows and I want you to find him Edgar. (beat) I need you to take this seriously, just incase, it is something serious.

The three men stand in the doorway. Edgar opens his pad.

OFFICER PASKI I apologize.

Morgan walks up to the front door. He holds up a baby monitor.

MORGAN Can I use Bo's old baby monitor as a walkie-talkie?

GRAHAM Yes.

MORGAN It needs batteries.

GRAHAM Edgar, come inside.

The three men follow Morgan into the house. They pass through the family room where Bo stands at the television.

She is staring at the screen. ON THE SCREEN IS AERIAL FOOTAGE FROM A HELICOPTER. THE FOOTAGE IS OF A LARGE FIELD WITH ENORMOUS CIRCLES AND DIAMONDS CARVED INTO ITS CROPS.

Bo changes the channel. She finds a cartoon. She sits down on the sofa.

Morgan and the men, can't see the screen, and move into the

KITCHEN.

OFFICER PASKI How certain are you, that this was a male?

MERRILL I don't know any girls can run like that.

Graham opens one of the cabinets and pulls down some batteries. He hands them to Morgan.

MORGAN These are D's; I need double A's.

GRAHAM I have some upstairs.

Graham starts out of the kitchen.

OFFICER PASKI I don't know Merrill. I've seen some of those women on the Olympics. They could out run me easy.

They all move into the

FAMILY ROOM.

Bo watches cartoons. THE CARTOON MUSIC AND CARTOON PRAT FALLS FILLS THE ROOM.

MERRILL This guy got on the roof in like a second.

GRAHAM Bo, can you turn down the volume until Officer Paski leaves?

Bo nods and moves to the television. The pack of men follow Graham up the

STAIRS.

MERRILL That roof is over ten feet high.

GRAHAM He's telling you the truth, Edgar. Whoever it was, is very strong and can jump pretty high.

They arrive on the landing and follow Graham into his bedroom. He moves into his

BATHROOM.

They all move in with him.

OFFICER PASKI They got women's high jumping in the Olympics. They got these Scandinavian women who could jump clean over me.

Graham takes the clock radio from the sink. Tries to open the back.

GRAHAM Shoot, it needs a screw driver. I have double A's in here.

Graham waves the radio. The men and Morgan move out of the bathroom.

GRAHAM I know you're making a point Edgar. I just don't know what it is.

They moves down the STAIRS.

OFFICER PASKI Yesterday afternoon, an out of town woman stopped by the diner and started yelling and cussing cause they didn't have her favorite cigarettes at the vending machine. Scared a couple of customers. No one's seen her since... My point is, we don't know anything about the person you saw. We should just keep all possibilities available.

They move through the FAMILY ROOM.

Bo's cartoon is replaced by a special report news icon.

BO Dad, where's the remote?

Bo starts looking around the couch.

Graham stops before entering the kitchen. The group stops with him. He looks at Bo searching the couch. He walks over to the television.

There are three glasses of water on the TV set. He stands next to the set. Doesn't see what's on the screen.

GRAHAM Bo, you're too old to still be doing this. The rule is, you take a glass of water, you finish it. (beat) Now what's wrong with this one?

Bo stops looking through the sofa cushions and looks to her father. Looks at the glass.

BO There's dust in it.

GRAHAM This one?

BO A hair.

GRAHAM This one?

BO Morgan took a sip. It has his amoebas in it.

Beat. Bo turns back to her search. Graham tucks the clock radio under his arm and collects the three glasses. He heads towards the kitchen.

MERRILL Excluding the possibility that a female Scandinavian Olympian was running around outside our house last night, what else is a possibility?

OFFICER PASKI I'm not done asking questions and I don't appreciate the sarcasm.

They follow Graham and Morgan through the swinging door into the KITCHEN.

Graham puts the glasses in the sink with a group of other half-filled water glasses and opens the drawer to pull out a screwdriver. He starts opening the clock radio.

OFFICER PASKI Do you have anyone who might have a grudge or something against you? Maybe a church member, who might not have liked the fact, that you left the church?

Graham looks at Edgar.

GRAHAM I don't think so.

OFFICER PASKI Do you owe anybody money? You can tell me off the record if you need too.

GRAHAM No.

MERRILL No.

Morgan hands Graham the baby monitor and Graham starts replacing the batteries.

OFFICER PASKI Is anything missing?

GRAHAM No.

Graham hands Morgan the monitor. He turns it ON. THERE IS A STATIC CRACKLE WITH SPIKES OF SOUND.

MORGAN It's still making the noises. It's broken.

GRAHAM It's old Morgan.

Morgan heads out of the kitchen.

MERRILL Listen, I was out of line with that whole female Scandinavian Olympian thing.

Edgar nods.

MERRILL It's just that, I'm pretty strong and pretty fast. And I was running as fast as I could. And this guy... (embarrassed smile) He was just toying with us.

Beat. Merrill walks out of the kitchen. Graham watches Edgar think it over.

CUT TO:

INT. FAMILY ROOM - DAY

Graham moves to a windowsill where more glasses of water sit. He picks them up. Sees two more on the coffee table. He gives up and puts the two glasses back on the windowsill.

OFFICER PASKI Could everyone just take a seat on the couch. I have some preliminary thoughts.

Morgan sits with his monitor next to Bo, who quietly watches the TV. Merrill and Graham squeeze in next to Morgan.

OFFICER PASKI There are three possibilities here. We'll call them one, two and three. The level one scenario is that there is a sane individual, who for real reasons wants to do you harm. I really don't believe that's what we're looking at here. In my opinion, whoever this is, they don't want to do harm to you all. That's kind of clear. (beat) The level two scenario is, this is a mentally unstable person who's fixated on you and your family. This is a possibility, but a very slim one. (beat) I assure you I will treat all three possibilities carefully, but in all likely hood we are looking at what we'll call a level three scenario. He's a watcher. Someone who this is a game for. He's laying low. Doesn't want to be seen. But he wants to watch you. Study you folks.

Officer Paski walks towards the windows. Graham, Merrill and Morgan follow him with their eyes. Officer Paski walks next to the television.

ON THE SCREEN WITH THE SOUND ALMOST MUTED, IS AN AERIAL SHOT FROM A HELICOPTER. A DIFFERENT ONE THAN BEFORE. THE FOOTAGE IS OF A VAST FIELD OF CROPS. THERE ARE TWO DIAMONDS FLANKING TWO SIDE OF A TRIANGLE IN THE CENTER OF THE FIELD.

Officer Paski turns to them.

Graham, Merrill and Morgan stare at the screen.

OFFICER PASKI Now I don't want you all to worry about this no more. You're making more of this than it is. (beat) You guys have had a tough couple of days with the vandalism to the crops and the death of your shepherd. (beat) Maybe you guys should do something fun? Let me worry about this person. Let me find out who it is and then -- What the hell are you people looking at?

Edgar comes around to see the screen.

WE ARE ON A TV SCREEN. THE CROPS SWAY IN THE BREEZE.

A HANDFUL OF PEOPLE ARE WAVING FROM THE DIAMONDS ON THE FIELD.

OFFICER PASKI I'll be damned.

GRAHAM Turn up the volume Bo.

Bo gets up.

BO I can't find the remote.

She presses the up arrows on the TV controls.

TV ANCHOR -- images were shot yesterday afternoon by a thirty-four year old local camera man in Kerala, a southern city of India. It is the eighteenth reported crop circle found in that country in the last seventy-two hours.

The television report cuts to Columbia University PROFESSOR.

PROFESSOR (TV) Crop circles first emerged in the late seventies with the renewed interest in extraterrestrial life. They died out by the early eighties; dismissed as hoaxes. This new resurgence is wholly different. Elements of it are unexplainable. The speed and the quantity in which it has appeared implies the coordination of hundreds of individuals over many countries... (beat) There is only a limited amount of explanations. Either this is one of the most elaborate hoaxes ever created, or basically... (beat) It's for real.

Morgan takes the asthma inhaler from his pocket and breathes in deeply.

MORGAN (wonder) Extraterrestrials.

OFFICER PASKI What in God's name is going on?

Beat.

THE ROOM GOES SILENT as everyone watches the images on the television screen.

CUT TO:

EXT. HESS DRIVEWAY - DAY

The two men walk down the driveway to Edgar's patrol car.

OFFICER PASKI Don't ask me what I think. Cause I can't think straight right now. I'm going back to the station. Have a cup of Marcia's coffee and try to think clear. After that I might make some calls. (beat) Hoaxes... People got way too much time on their hands.

Edgar turns back to Graham.

OFFICER PASKI But I'll tell you something, what I said in their, still goes. You and your family have been through a lot in the last two days... Not to mention what happened to you all seven months ago.

GRAHAM Six months.

Edgar stares at Graham.

GRAHAM And three weeks.

OFFICER PASKI It's left its mark still. The last thing these children need to do, is worry about some crazy things happening in the world. Take them into town. Get their minds -- your mind, on everyday things. It's good medicine.

GRAHAM It's good advice... (beat) Say hi to Marcia for me.

OFFICER PASKI You take care of yourself... (beat) Graham.

CUT TO:

EXT. STATION WAGON - AFTERNOON

WE MOVE THROUGH BACK ROADS OF BUCKS COUNTY. RURAL PENNSYLVANIA IN ITS MOST BEAUTIFUL. TREE LINED STREETS. WHITE PICKET FENCES. APPLE ORCHARDS.

The Hess family rides in their station wagon. Graham drives. Merrill is shotgun. The children are in the back.

Morgan leans forward and TURNS ON THE RADIO.

RADIO VOICE ... signs intended to be seen from the sky --

CLICK. Graham TURNS IT OFF.

GRAHAM No radio either... Just for a while.

Morgan nods and then plops back into the backseat.

CUT TO:

EXT. MAIN STREET - AFTERNOON

Downtown Bucks County. A group of small stores along a quiet street.

The Hess station wagon pulls in front of a free parking meter.

Graham steps out the driver's side and looks around. Merrill puts change in the meter.

Morgan walks up to Graham with Bo.

MORGAN Book money.

Morgan holds out his hand. Graham gives his son a look as he reaches into his back pocket.

GRAHAM Only one.

Morgan takes the money Graham gives him, then takes Bo's hand and walks down the sidewalk.

Graham watches them turn into a store.

Merrill steps onto the sidewalk. Hands in his pockets as he walks away.

Graham turns and calls after him.

GRAHAM (calls out) Meet back in fifteen minutes.

Merrill waves over his shoulder. He keeps walking.

Graham starts across the street to the pharmacy.

CUT TO:

INT. NATHAN'S BOOKSTORE - AFTERNOON

A mom and pop bookstore. Three isles wide. MR. AND MRS. NATHAN, a couple in their early seventies, sit behind their counter and watch a black and white TV. The PICTURE ON THE TELEVISION IS OF A WHEAT FIELD. THREE ENORMOUS TRIANGLES SURROUND A CIRCLE.

Morgan steps up to the counter.

MORGAN Extraterrestrials?

MR. NATHAN That's what they keep alluding to. It's just a bunch of crock. They're trying to sell sodas, plain and simple. I've been watching these reports since morning. I've seen twelve soda commercials so far. Twelve!

MORGAN Do you have book on extraterrestrials?

MR. NATHAN Don't tell me you believe this horse manure?

Morgan shrugs. Mrs. Nathan pushes her husband aside.

MRS. NATHAN As a matter of fact, I think we have one. Came by mistake in a shipment. Decided to keep it for city people.

Mrs. Nathan points over to the far corner.

MRS. NATHAN Last row. Third book from the left honey.

CUT TO:

INT. PHARMACY - AFTERNOON

Graham waits at a white counter. A gum chewing PHARMACIST in her early twenties, who looks like she's in her teens, glances through back shelves of medicines as she listens to the radio.

RADIO HOST (V.O.) Why is no one saying the obvious? This is just a rash case of copycats. Someone, somewhere, does the first one. It's on TV, it's on the internet. In less than an hour a couple hundred people get the same brilliant idea and here we are... on the verge of mass hysteria.

PHARMACIST It was asthma medicine right Father?

GRAHAM For Morgan Hess. And it's not Father anymore.

The Pharmacist looks back at Graham and then reaches up and TURNS OFF THE RADIO. She quietly finds the prescription on the shelf and moves to the counter across from Graham.

She doesn't ring it up. She just stands there fiddling with the bag holding Morgan's medicine. Beat.

PHARMACIST Can I ask you a favor Father?

Graham stares at the girl. Beat. He nods "yes."

PHARMACIST Can I take confession with you?

Beat. Graham leans forward on the counter and takes the girl's hands in his. He talks very slowly.

GRAHAM Tracey, I -- am -- not -- a -- reverend -- anymore. I haven't been for six months. You know this.

Beat. When Tracey speaks her VOICE IS A BIT SHAKY.

TRACEY All this stuff on TV... (beat) Joe Gills was in here talking about the end of the world... I'm just a little scared. (beat) Please. I need to take confession with you.

Graham looks at the young girl's teary eyes. He exhales slowly.

CUT TO:

INT. ARMY RECRUITING OFFICE - AFTERNOON

Merrill stares up at a poster with a muscular guy in an Army uniform standing at attention on a beach.

We are in a narrow ARMY RECRUITING CENTER. Inside the small storefront space is a desk. A gentleman sporting a CREWCUT sits behind it.

A young man, Merrill's age, sits at a side card table filling out some forms.

CREWCUT GUY I got it figured.

Merrill realizes the crewcut guy is talking to him.

MERRILL You do?

CREWCUT GUY I've had two separate folks tell me they think there are strangers around these parts the last couple of nights. Can't tell what they look like, cause they're staying in the shadows -- covert like. No one's got hurt mind you... And that's the give away.

MERRILL (doesn't see) I see.

CREWCUT GUY It's called probing. It's a military procedure. You send a reconnaissance group, very small, to check out things. Not to engage, but to evaluate the situation. Evaluate the level of danger. Make sure things are all clear...

MERRILL Clear for what?

The crewcut guy savors the beat of silence.

CREWCUT GUY ... For the rest of them.

It takes a second, but Merrill smiles. The crewcut guy smiles back. Merrill points at a poster.

MERRILL You have a pamphlet or something I can read?

The crewcut guy reaches to a stack of brochures. Picks the top brochure and hands it to Merrill.

The crewcut guy begins to stare at Merrill closely.

CREWCUT GUY Hey you didn't used to play baseball did you?

Merrill looks up from the brochure. Beat.

CREWCUT GUY Shit. I know you. You're Merrill Hess. I was there that day you hit that five hundred and eighty seven footer over the left field wall and set the record. That thing had a motor on it... It's still the record right?

Merrill not, "yes."

MERRILL (soft) I got the bat at home... On the wall.

CREWCUT GUY You got two minor league home run records don't you?

Beat.

MERRILL Five. The five longest.

CREWCUT GUY Boy, why aren't you in the pros making stacks of cash and getting handfuls of T and A?

YOUNG MAN (O.S.) Cause he also has the minor league strike out record.

Merrill turns to the young man, about his age, who sits at the folding table.

MERRILL Hello Lionel.

LIONEL smirks.

LIONEL He'd just swing as hard as he could every time. It didn't matter what the coach said, didn't matter who was on base, he'd whip that bat through the air as hard as he could... Looked like a lumber jack chopping down a tree. (beat) Merrill here, struck out more times than any two players.

Beat.

CREWCUT GUY You really hold the strike out record?

Beat. Merrill tucks the pamphlet in his jacket. Looks like he's not going to say anything. When he does, the words are soft and worn; they've been said a hundred times.

MERRILL Felt wrong not to swing.

Beat. The crewcut guy shakes his head. Merrill turns and starts walking.

As he passes Lionel, Merrill makes a small, quick move in Lionel's direction, like he might hit him. Lionel flinches and covers his face.

Merrill walks out the door of the army recruiting office.

CUT TO:

INT. PHARMACY - AFTERNOON

PHARMACIST I cursed thirty-seven times last week... I said the f-word a couple times, but mostly "shits" and "bastards." (beat) Is "Douche bag" a curse?

Graham glances at the girl as she sits sideways to him at the counter.

GRAHAM I suppose it's in its usage.

PHARMACIST How about "John you're a douche bag for kissing Barbara?"

GRAHAM That's a curse.

PHARMACIST Then it's not thirty-seven. It's seventy-one.

Graham's eyes widen.

PHARMACIST I stole a bottle of Ruby red lip stick from K-mart... I punched my brother in the back three times...

Graham looks around the empty store for help.

CUT TO:

INT. NATHAN'S BOOKSTORE - AFTERNOON

Bo sits at a tiny reading table and drinks a glass of water. There is another glass, half-full, on her table. Mrs. Nathan watches as the little girl takes careful sips.

Beat. Bo looks up with a grimace.

BO It's contaminated.

MRS. NATHAN YELLS TO MR. NATHAN AT THE FRONT OF THE STORE.

MRS. NATHAN Carl, there's something wrong with our water!

Morgan doesn't look up from the extraterrestrial book.

MORGAN Your water is fine. Bo has a thing about her drinking water. She's had it her whole life. Like a tick people have. Except it's not a tick.

MRS. NATHAN (fascinated) Is that right?

Bo shrugs. She places the glass she sipped on the table with the other glass.

Mrs. Nathan stares at the four-year old.

MR. NATHAN (O.S.) Thirteen!

Everyone turns to the front of the store where Mr. Nathan points to the TV screen. A Coke Cola commercial is on.

Beat. Mrs. Nathan turns back to find Morgan holding out the extraterrestrial book to her.

MORGAN I'll take it.

CUT TO:

EXT. STATION WAGON - AFTERNOON

Merrill, Morgan and Bo are waiting in the parked car. Beat.

The driver's side opens and Graham sits in.

MERRILL Pharmacy crowded?

GRAHAM I don't want any one of you spending time with Tracey Abernathy alone. Is that understood?

Beat. Everyone nods, "yes."

Graham puts the key in the ignition and turns the car on. Merrill watches as Graham's hand goes to put the car in reverse -- and then stops.

Graham is staring out the windshield. Merrill follows his stare to a thin, thirty-year old man in a LEATHER JACKET coming out of a store. Merrill's face changes expression too. They both stare as the man passes in front of the car.

MORGAN (soft) Is that him?

MERRILL (soft) Yeah.

Everyone in the car watches the man in the leather jacket as he steps off the sidewalk towards the truck. It's here that he notices the stares. He glances up to see the faces watching him from the station wagon.

The leather jacketed man keeps moving to his truck. He gets in, turns it on, and without looking over to the station wagon, backs out of the parking lot.

Beat. The Hess family sits quietly.

BO Who is he?

Nobody says anything for the longest time.

MORGAN He's the man who killed mom.

Graham puts the station wagon in reverse and backs out into the street.

CUT TO:

EXT. HESS HOME - AFTERNOON

THE SKY IS GOLDEN RED. The crops sway hypnotically in a gentle breeze.

The Hess station wagon pulls into their driveway. It comes to a stop in front of the house. The engine goes off. No one gets out.

CUT TO:

INT. STATION WAGON - AFTERNOON

All four sit quietly not getting out.

A MUFFLED SPIKE OF NOISE IS HEARD FROM THE BACK SEAT.

Graham and Merrill turn and see Morgan pull the baby monitor out of his jacket. He holds it in his lap.

Beat.

MORGAN What if Bo's baby monitor is picking up signals from the extraterrestrials?

Beat.

MERRILL All this crop stuff. They did it twenty-five years ago. It was a joke.

THE MONITOR SPIKES WITH A SUDDEN CRACKLE. MORGAN PULLS IT AWAY FROM HIS EAR.

GRAHAM It's just static Morgan. Turn it up and see.

Morgan turns a knob on the side.

THE VOLUME SUDDENLY JUMPS UP ON THE MONITOR. WE HEAR BEEPS IN THE STATIC. THE RED LIGHTS ON THE FRONT OF THE BABY MONITOR LIGHT UP WITH EACH BEEP.

MORGAN It's a code.

GRAHAM Let me see that please.

Morgan hands Graham the monitor in the front seat. THE BEEPS COME AND GO AS THEY GET COVERED BY THE STATIC.

MERRILL It's noise.

GRAHAM It's broken Morgan. It'll just keep doing this. (beat) Let's get out of the car okay?

MORGAN We might lose the signal.

GRAHAM We can't just sit in the car in our own driveway like this.

MERRILL We'll look like mental patients.

Beat. Nobody gets out of the station wagon.

GRAHAM I'm getting out now.

MORGAN Don't do it.

Graham pulls the handle. His door opens. He waits before getting out. The other three station wagon doors open right after.

OUTSIDE CAR

Graham stands and closes his driver side door.

THE MONITOR CHANGES SOUNDS. THE BEEPING DISAPPEARS. THE STATIC BECOMES LOUDER, BECOMING A MOVING, SWIRLING SOUND TEXTURE.

MORGAN Nobody move!

Everyone becomes frozen, standing next to the station wagon. Three of the doors are open.

IN THE TEXTURE OF SOUND, JUST FOR A MOMENT, WE HEAR SOMETHING THAT SOUNDS LIKE...

MORGAN Voices. Did you hear that?

Everyone stares at the baby monitor in Graham's hand.

MORGAN Not English though. You heard the voices right Uncle Merrill?

BO I heard them Morgan.

Graham doesn't move his arm. He keeps it out in the air where he had it as he closed his door. Graham looks to Merrill over the roof of the station wagon.

GRAHAM It's probably picking up another baby monitor.

MERRILL That's right.

THE SWIRLING TEXTURE SOUND FLOATS THROUGH THE AIR ABOVE THE STATION WAGON.

MERRILL Let me see it.

Beat. Graham moves. He hands the monitor over the hood. Merrill reaches for it.

THE SWIRLING, MOVING TEXTURE BECOMES LOUD AND FILLED WITH UNINTELLIGIBLE NOISES.

MORGAN Stop!

Graham and Merrill freeze -- both touching the monitor over the roof of the station wagon.

WE HEAR SOMETHING THAT SOUNDS LIKE A VOICE EMERGE AND THEN QUICKLY FADE AWAY.

MORGAN It doesn't sound like words.

Merrill concentrates on THE SWIRLING MOVING TEXTURE COMING FROM THE BABY MONITOR.

Graham looks around at his rapt family.

GRAHAM See this is why we're not watching those news reports. People get obsessed. (beat) I'm letting go now.

BO No dad!

MORGAN Don't do it!

MERRILL You'll lose the signal!

Graham looks at Merrill, who's now one of them. Beat.

Morgan is the first one to move.

MORGAN Don't let go.

He moves from the back passenger door to the back bumper where he begins to climb onto the station wagon.

GRAHAM Morgan?

MORGAN It gets clearer, the higher you hold it.

Morgan crawls on the roof and takes the monitor ever-so gently out of Graham and Merrill's outstretched hands.

GRAHAM Morgan, be careful.

MERRILL I got him.

Merrill climbs up over the side and joins Morgan on the roof. Merrill keeps a hand on his nephew. Morgan raises the monitor above his head.

THE RED LIGHTS ON THE BABY MONITOR ALL TURN ON.

THE SWIRLING TEXTURE COMING FROM THE MONITOR BECOMES SOMETHING MORE MECHANICAL, LIKE THE HUM OF LARGE EQUIPMENT IN THE DISTANCE.

THE VOICE LIKE SOUNDS ARE UNDER A CRACKLE BUT ARE CLEARER AND LOUDER.

Bo runs to the front bumper and climbs onto the hood.

GRAHAM Hold on.

Graham cuts her off by taking a seat on the hood. He takes hold of Bo. All four are on the car now.

Morgan stands up on the roof of the station wagon. Merrill holds him by the waist.

Bo tries to get up onto the roof by climbing over Graham and the windshield. Graham boosts her up over his head with both hands.

GRAHAM Merrill you got her.

Merrill reaches out his free hand. Bo reaches out to him. THE SOUND FROM THE MONITOR SUDDENLY CHANGES.

MORGAN Stop!

Everyone STOPS exactly where they are. Graham holds Bo over his head. Bo reaches out to Merrill. Merrill sits on the roof with one arm out. Morgan stands with the baby monitor raised high in the air. The Hess family remains very still on the hood of their station wagon as they listen.

THE CRACKLING IS GONE. THE VOICE-LIKE SOUNDS ARE CLEAR AND UPFRONT. THERE ARE TWO DISTINCT TONES IN THE MIX.

MORGAN (soft) There's two of them talking.

THE VOICE-LIKE SOUNDS ARE NOT WORDS BUT MORE LIKE GRUNTS AND GURGLING LIKE SOMEONE DROWNING. THE SOUNDS ARE BEING CREATED BY INHALES, NOT EXHALES. A SEQUENCE OF THESE SOUNDS IN ONE TONE IS FOLLOWED BY SILENCE AND THEN THE SECOND TONE BEGINS ANOTHER SEQUENCE LIKE A CONVERSATION.

Graham struggles to hold Bo up. Bo struggles to keep her arms out. Merrill struggles not to turn his face to the incredible SOUNDS ABOVE HIS HEAD.

THE TONES ESCALATE IN VOLUME.

Morgan's eyes widen as THE SEQUENCE OF SOUNDS BECOMES SHORTER AND FASTER. THE TONES BECOME HARDER, ANGRIER. THE SILENCES ALMOST GONE.

THE VOICE-LIKE TONES REACH A LOUD FEVERISH PACE, ALMOST VIOLENT AND THEN WE HEAR A CLICK AND THEY'RE GONE.

Beat. Everyone looks up at the baby monitor. The red lights are off. ONLY THE BLAND HUM OF NORMAL STATIC COMES FROM IT'S SPEAKER.

Beat.

MORGAN (soft) They hung up.

Graham brings Bo down into his lap. Morgan takes a seat next to Merrill on the roof. The Hess family sits like mental patients on the top of their station wagon.

CUT TO:

EXT. BACKYARD - EVENING

WE ARE AT THE EDGE OF THE CROPS LOOKING BACK AT THE HOUSE. The LIGHTS are on in the kitchen. We see Graham, Merrill and the children doing dishes after dinner.

The DOG IS BARKING FURIOUSLY.

OUR VIEW TURNS TO LOOK AT THE BARN THROUGH THE CROPS. Isabelle, the remaining German Shepherd is tied to a post outside the barn. The dog whips back and forth frantically. She keeps looking in our direction.

WE HEAR A SCREEN DOOR OPEN. WE TURN TO LOOK BACK AT THE HOUSE. Graham steps out the back screen door with a bowl of dog food and a bowl of water.

We watch him as he walks towards the frantic dog. When he gets close, Graham slows. He approaches the dog carefully. He places the two bowls close but not too close. The dog has no interest in them. She keeps barking and glaring in our direction.

Graham watches her for a few moments, and THEN TURNS AND LOOKS DIRECTLY AT US FROM ACROSS THE YARD.

WE PULL BACK INTO THE DARKNESS OF THE CROPS.

CUT TO:

EXT. BARN - EVENING

Graham stands frozen looking across his yard. Isabelle, the dog turns in desperate circles behind him. Graham's eyes stay focused on the same point in the darkness. He talks to no one.

GRAHAM You know something? Even entertaining the possibility of this for a minute has been exciting.

Beat. Graham starts to move.

GRAHAM I can see how people can get carried away with this type of thing.

Graham reaches the barbecue area. There's a flashlight on the picnic table. Graham TURNS THE FLASHLIGHT ON. A NARROW BEAM FALLS ON THE GRASS FIVE FEET AHEAD OF HIM.

Graham starts toward the crops.

GRAHAM It's a kind of faith. It's an intoxicating thing to believe in something you can't see.

THE BEAM OF LIGHT FALLS ON THE WALL OF CORN CROPS LINING THE BACKYARD. Graham steps right up to them. He hesitates and then steps into the field of

CORN CROPS.

We can't see two feet in any direction. Six foot stalks of corn line Graham on all sides. THE FLASHLIGHT THROWS A WAVERING BEAM ON THE CROPS AHEAD OF HIM.

GRAHAM You were always good at that...

THE BEAM OF HIS FLASHLIGHT FINDS A NARROW PATH. Graham starts following it. His shoulders brush crops on either side.

GRAHAM Believing in things you couldn't see. (beat) You would have been the first person on that station wagon wouldn't you? You and Morgan would have been wrestling for that baby monitor.

SOMETHING MOVES UP AHEAD.

Graham stops. HE SHINES HIS LIGHT DOWN THE PATH. Nothing but crops disappearing into darkness.

GRAHAM It'll be secretly kind of sad for everybody, when this turns out to be -- all just make believe.

THERE'S MOVEMENT RIGHT NEXT TO HIM. Graham spins and aims the FLASHLIGHT AT THE CROPS TO HIS RIGHT. THE LIGHT ONLY PENETRATES A FEW FEET INTO THE CROPS.

GRAHAM (yelling) You're wasting your time here! I'm not going to report this or anything you do to me crops, to the news or TV or anybody! You're not going to get famous!

Beat. There is no response. GRAHAM CAN HEAR HIS OWN BREATHING... IT SOUNDS HEAVY, ECHOISH... LIKE THERE'S TWO OF HIM.

Beat. Graham holds his breath. THE SOUND OF SOMEONE ELSE BREATHING CONTINUES BEHIND HIM.

Graham turns and drops the FLASHLIGHT at the same time. THE BEAM OF LIGHT TURNS OFF WHEN THE FLASHLIGHT HITS THE GROUND.

GRAHAM IS IN DARKNESS NOW. HE LOOKS IN THE DIRECTION OF THE BREATHING. BUT CAN'T SEE ANYTHING. HIS OWN BREATHING IS FAST AND LOUD NOW.

Graham kneels down and gropes in the darkness. His hands search over the ground in all directions. They finally touch the flashlight. Graham quickly fumbles with it to find the "on" button. He does.

A BEAM OF LIGHT SHOOTS ACROSS THE GROUND. SOMETHING POWDERY WHITE STANDS FIVE FEET AWAY.

It instantly moves into the darkness. Graham tries to get up. He stumbles backwards into the crops. He's tangled in crops as he struggles to rise. He gets up and starts running.

Leaves and stalks slap him from all directions. He panics. He doesn't know where he is. THERE IS SOMETHING COMING BEHIND HIM.

Graham makes a sudden right turn. He puts his hands in front of him to protect his face and eyes. He's running as fast as he can. HE HEARS STALKS OF CORN BREAKING BEHIND HIM.

Another sudden turn, this time left. Graham emerges into his

BACKYARD.

Graham keeps running across the yard. ISABELLE BARKS FRANTICALLY.

When Graham reaches the porch stairs, he stops and turns.

There is no one behind him. The wall of crops fifty feet away sway in the gentle night breeze.

Graham gains control of his breathing. He turns and walks to the screen door, slowing his breathing down with each step.

CUT TO:

INT. KITCHEN - EVENING

Graham steps into the kitchen. His hair is messed. His shirt has a few leaves from corn stalks stuck to it. He locks the back door.

The children don't notice his presence. They're splashing each other at the sink as they clean the dinner dishes.

Graham looks through the kitchen doorway to the family room. He sees Merrill there.

Merrill's hands are in his pockets as he stares at the WOODEN BASEBALL BAT mounted above the fireplace. Merrill doesn't notice him either.

Graham takes two steps to the kitchen table and slowly takes a seat. His breathing is a slow controlled pant. He runs one shaky hand through his hair as he gathers himself and thinks. His kind eyes stare down at the ground as he slows his mind. Beat.

Merrill is the first to notice him. He moves from where the baseball bat is hung, into the kitchen. As he passes the children at the sink, he turns off the faucet.

The children stop playing and look up to Merrill. They follow his stare to the kitchen table.

Beat. Graham looks up at them.

GRAHAM (soft) Okay. (beat) Let's turn on the TV.

CUT TO:

INT. FAMILY ROOM - EVENING

THE TV GOES ON WITH A CLICK. THE SCREEN BLOWS WHITE AND THEN IMMEDIATELY DARKNESS. OUTLINES AND SHAPES EMERGE.

THE SOUND POPS ON.

TV REPORTER -- first appeared fifty two minutes ago.

THE SCREEN FILLS WITH CRISP BLACKS. WE ARE WATCHING VIDEO OF A NIGHT SKY OVER A DENSE CITY. THE THOUSAND LIGHTS OF THE CITY FILL THE BOTTOM OF THE SHAKING IMAGE.

ANOTHER SET OF LIGHTS DOT THE SKY ABOVE THE CITY. THEY ARE ARRANGED IN TWO "V'S" SIDE BY SIDE.

Bo puts her finger to the screen and counts the hovering lights.

BO Fourteen.

Morgan, Merrill and Graham stand silently before the television set.

TV ANCHOR Mexico City officials as well as U.S. officials have confirmed that these are not air crafts from either government's airforce. The first sighting was made by an Air Mexico 747 en route from Mazatlan to New York as the unidentified crafts entered Mexico City air space. They were not detected by radar by either country.

Beat.

MERRILL The crazies were right.

Beat. Everyone just watches the fourteen lights hovering on the screen.

MORGAN We have to tape this...

Morgan reaches into the pile of video tapes under the television stand. He grabs one.

Bo snatches the video as Morgan tries to put it into the VCR.

BO My ballet recital.

Morgan stares at his sister.

MORGAN (gravely serious) Listen Bo. This is very important. Everything people have written about in science books is going to change. The history of the world's future is on the TV right now. We need to record this so you can show your children this tape and say you were there... (beat) For your children Bo.

BO My ballet recital.

>>>

/ Signs.
Copyright 2005-2017. ! ! homeenglish@mail.ru