WARNING: Intended for mature readers only.
TEASER
EXT. WOODS - NIGHT
The woods are filled with darkness, making it hard to see
anything at all. Only a rare beam of moonlight manages to
cut through the dense foliage in this area.
The sounds of CRICKETS CHIRPING can be heard. They are all
that can be heard. That is, until a VAMPIRE rushes into view.
He's in vamp face, but something about him isn't quite normal.
His eyes are red, instead of the standard yellow, and his
ears have a gnarled, almost pointed look to them. This vampire
isn't new to the world. This is one of the old ones. His
style is old too.
He is clothed in animal skins, sewn together by hand. Nothing
fancy, or flashy about him at all.
What is most striking about this vampire isn't that he looks
different than normal vampires, it's the fact that he's
scared. Very, very scared.
He stops, and looks back.
VAMPIRE'S POV
We now see the woods a little easier, through the eyes of
the vampire (and their ability to see in the dark). All we
see though, is woods.
The CRICKETS STOP CHIRPING. Now, there is an eerie silence.
Something which scares the vampire even more.
After a moment, there is another sound. Something so faint,
that it's hard to hear. It's the SOUND OF A HEARTBEAT. If
it's possible, this worries the vamp even more than before.
VAMPIRE
Why?
(beat)
Why are you doing this?
There's no answer. The HEARTBEAT GETS A LITTLE LOUDER. It's
a steady heartbeat. Calm.
The vampire begins to cry.
VAMPIRE (CONT'D)
I don't hunt your kind!
As the heartbeat continues to get louder, the vampire freaks
out. He turns and runs as fast as he can.
WORDS APPEAR ON THE SCREEN: "NEW ENGLAND, 2016"
2.
EXT. ELSEWHERE IN THE WOODS - MOMENTS LATER
The vampire rushes between the trees at a speed that no human
could. Especially in this darkness.
He pauses once again, and listens. At first, he hears nothing.
Then, THE SOUND OF THE HEARTBEAT can be heard again.
He smells the air.
VAMPIRE
(quietly, to self)
It's coming.
He looks into the distance. Now, he knows where he's going.
He takes off again.
INT. CAVE - NIGHT
The cave is very plain. An animal skin rug covers part of
the floor, but other than that, there isn't much to describe.
The granite walls are empty. There are no chairs, or tables.
No markings. The only light is given by a single candle.
The vampire runs into the cave, and stops. He turns around
to face the entrance of the cave. He knows it's coming. He
knows he doesn't stand a chance.
ANGLE ON : THE VAMPIRE, FROM THE ENTRANCE OF THE CAVE
The vampire stiffens up a little as his enemy enters the
cave. He tries to be strong.
VAMPIRE
Welcome to my sanctuary, Slayer.
We can only see her back. This SLAYER is small, with dirty
blond hair that's been pulled into a loose bun. Her clothes
aren't particularly stylish (whatever that means, since we
don't know the style of the time). She walks with strength,
and is very calm.
VAMPIRE (CONT'D)
You don't have to do this. I
understand why you're here, but you
don't have to do this. I don't hunt
your kind.
SLAYER'S POV
Though the space is pretty dark, she can see the vampire
pretty well. He looks at her with fear in his red eyes.
VAMPIRE (CONT'D)
I feed on rodents and game. I have
since long before your kind came to
this land. I am at peace.
3.
She takes a couple of steps toward him. When she speaks, she
speaks quietly, and softly. Her voice has a tired raspiness
to it. A hardness, yet it is calm.
SLAYER
Not yet, but you will be soon.
VAMPIRE
I will not kill your kind, nor will
I sire mine. Why won't you allow me
to exist? I will live in this cave,
as I have for as long as anyone can
remember. I will harm nobody.
(beat)
Please.
SLAYER
You can fight, or you can surrender.
Either way, your "existence" is over.
The Slayer raises her weapon. As it catches the dim light of
the candle, the vampire looks at it. Tears fall from his
eyes, though he tries to remain strong. He can feel it's
power. He can sense it's purpose. He's never seen the Scythe
before, but he knows it.
Slowly, his eyes drift back to the Slayer.
VAMPIRE
What will you do? What's to happen
to a person once their purpose is
complete?
She doesn't answer. He takes a moment, and then looks down.
VAMPIRE (CONT'D)
I will die as I have lived. In peace.
He lowers himself to his knees, and closes his tear-filled
eyes. He turns his head upward, toward the moon that he cannot
see.
The Slayer walks to him, and stands over him for a beat before
raising the Scythe. She swings it with all of her power,
slicing through the vampire's neck, and taking off his head.
The Scythe continues on it's path, eventually being driven
into the granite wall of the cave. The VAMPIRE SLOWLY TURNS
TO DUST.
The Slayer lets go of the Scythe handle, leaving it in the
wall of the cave. She takes a step back.
SLAYER
(to herself)
What's to happen to a person once
their purpose is complete?
4.
She walks to the wall opposite the Scythe, and slides down
it. She rests on the ground.
SLAYER (CONT'D)
They rest.
With that, she lowers her head, and closes her eyes.
ANGLE ON : THE CANDLE
A gust of wind rushes into the cave, blowing out the flame.
The cave goes dark.
FADE TO BLACK:
END OF TEASER
5.
ACT ONE
OVER BLACK:
WORDS APPEAR ON THE SCREEN : "20 YEARS LATER"
SARA (V.O.)
"My dearest Sara, the road to hell,
they say, is paved with good
intentions. Those who have paved my
road will never know the pain that
they have caused.
(beat)
I don't mind the pain though. It has
forced me to endure. My life was
meaningless before I knew, but now...
Now I have made a difference on this
earth. I have looked into the face
of evil without fear, without
flinching. I have destroyed that
evil, and I have made the earth safer
for the daughter that now grows inside
me..."
FADE IN:
INT. SARA'S HOUSE - KITCHEN - DAY
SARA sits at the kitchen table. She's 16 years old, and pretty
(though she doesn't show it off). She looks tough, but in a
rural way, not a big city way.
She's reading a letter. She's not exactly sure what it is
that she's reading, but she reads it anyway.
SARA
"I am but one in a long line, chosen
to balance the evil that walks among
us. I have just one regret for what
I have done... I regret that I will
never see my daughter meet destiny
when it comes. You must continue the
fight. You are a Chosen One. I will
always love you, my daughter."
Sara stares at the letter for a moment, trying to understand
it.
SARA (CONT'D)
What does this mean, "Chosen One?"
She gets no answer. She turns to face the kitchen counter.
REVEAL BETTY NEWSTEAD, standing near the counter, a slightly
nervous look on her face. She's a woman in her early 50's
with newly graying hair. Her clothes look like they're from
the 1950's.
6.
The kitchen is a small, country kitchen. New England style.
SARA (CONT'D)
Ma?
Betty walks to the table and sits down next to Sara.
BETTY
You're a young woman now. You deserve
to know.
SARA
Mom, I'm sixteen years old. I've
been a young woman for quite a while
now.
(holds up the letter)
You didn't write this?
Betty pauses, finding it hard to say this.
BETTY
No, honey.
(beat)
I'm-- I'm not you're real mother.
Sara's face goes blank. Too many thoughts at one time, making
it impossible for her face to pick just one expression.
Betty looks down.
BETTY (CONT'D)
I've wanted to tell you for so long.
I wanted to... When your father died,
I thought it would be better to let
things calm down.
SARA
(to self)
My father?
BETTY
I didn't want your entire world to
change overnight. I wanted to make
this easier.
SARA
'Cause that's gonna happen.
Sara thinks for another moment, and then it all becomes too
much. She stands up with a sudden need to move.
SARA (CONT'D)
I can't believe this.
BETTY
I'm sorry.
7.
SARA
Mom, I don't understand this. If
you're not my mother, then who is?
Betty hesitates.
BETTY
I don't know.
Betty gets up and puts a comforting hand on Sara's shoulder.
BETTY (CONT'D)
Nobody ever knew. All we know about
her is from that note. Your mother...
You're real mother wanted it that
way.
SARA
Why?
BETTY
I don't know. I wish I had more
answers for you, sweetie, I do. I
just don't.
SARA
(beat)
My father...?
Betty shakes her head and shrugs. She has no clue.
BETTY
I never wanted to lie to you. I just
wanted you to be happy. I love you.
Sara looks into Betty's eyes strongly.
SARA
I love you too. None of this matters.
You're my real mother. No letters
can ever change that.
Sara hugs Betty. Betty hugs back, holding onto her daughter
for as long as she can.
EXT. SARA'S HOUSE - DAY
Snow is falling outside this rural New England home. Smoke
is puffing out of the chimney. Everything seems so simple,
looking at this house. Nobody would ever suspect the drama
unfolding inside.
DISSOLVE TO:
8.
EXT. SARA'S HOUSE - DAY
The season has changed. Now, it is spring. The snow has been
replaced by green grass and flowers. The smoke of the chimney
is gone. The windows are open, allowing a fresh spring breeze
to flow through the house.
EXT. JOHN HANCOCK HIGH SCHOOL - DAY
A typical high school. Old. It must have been there since
the 1900's.
The yard is empty now. School is in session.
INT. JOHN HANCOCK HIGH SCHOOL - CLASSROOM - DAY
STUDENTS fill the desks, listening to the teacher, MRS.
KRAMER, who stands at the front of the class.
As she talks, we slowly PAN ACROSS THE ROOM.
MRS. KRAMER
I'm sure that all of you did the
reading last night. If you didn't,
you'd be wasting my time. You all
know how much I dislike having my
time wasted, right?
No response.
As we pan, we eventually FIND SARA, sitting at her desk.
She's staring at a binder. She's not paying attention to the
teacher.
ANGLE ON : THE BINDER
The binder's cover is a picture of Sara, with her adopted
mother and father. Happy as can be.
Sara's hand moves into frame, gently touching the image.
Remembering.
MRS. KRAMER (CONT'D)
So, can anyone tell me what the
reading was about last night?
No response.
MRS. KRAMER (CONT'D)
Anyone?
Sarah's hand moves, and opens the binder now. Inside, there
is a copy of the letter that she got from her birth-mother.
In big red letters, the word "WHO?" is written on the bottom
of the copy.
9.
Sarah flips the page, scanning over the information she's
gathered. Copies of her adoption papers. A few print-outs
from an online DNA scan for those seeking lost relatives,
with the words "SEARCH YIELDS NO INFORMATION" written in
bold letters.
Finally, she comes to a page with another copy of the letter,
or part of it. It's been blown up. We can now see a watermark
in the top corner of the paper, with the initials W.H.S.,
and a dragon symbol on it.
Below it, Sara has written "WHAT IS W.H.S.?" and below that,
"WHARING HOUSE STATIONARY"
Mrs. Kramer looks around the room, and sighs.
MRS. KRAMER (CONT'D)
Allona?
A female student, Allona perks up.
ALLONA
Hmm?
MRS. KRAMER
The reading?
Allona doesn't respond. She doesn't know what Mrs. Kramer is
talking about.
MRS. KRAMER (CONT'D)
What was it about?
ALLONA
Oh! It was- uhm- I know this.
(beat)
The Reformation?
MRS. KRAMER
Thank you!
(beat)
At least one person glanced at the
index of their book. I don't suppose
you actually did the reading by any
chance?
Allona shrugs. Mrs. Kramer rolls her eyes. She continues to
talk, but her VOICE IS MUFFLED into background noise.
ANGLE ON : SARA
She flips another page.
ANGLE ON : THE BINDER
The page is now an e-mail, sent to Wharing House Stationary.
10.
Sara writes : "I'M LOOKING FOR INFORMATION REGARDING THE
WOMAN WHO PURCHASED THIS PAPER. INCLUDED IS THE SCAN I MADE
OF THE LETTER. ANY INFORMATION WOULD BE GREATLY APPRECIATED."
Their response is this, "SCAN SHOWS THAT THE PAPER WAS FROM
OUR DRAGON-TEAR LINE. THE ONLY LINE TO USE THAT PARTICULAR
WATERMARK. THE DRAGON-TEAR LINE WAS AN EXTREMELY LIMITED RUN
FOR US. THE LINE WAS DISCONTINUED YEARS AGO, DUE TO LOW SALES
AND HIGH COST OF PRODUCTION."
Sarah responds : "WOULD YOU HAPPEN TO HAVE RECORDS OF THOSE
WHO BOUGHT THE PAPER? I'M LOOKING FOR MY BIRTH MOTHER. PLEASE
HELP ME."
To which they reply : "I SHOULDN'T BE DOING THIS, BUT I DO
HAVE THOSE RECORDS. THE PAPER WAS PURCHASED BY THREE
CUSTOMERS. WENDYLL HARRING, NANCY REINHOLD, AND ANOTHER WOMAN
WHO PAID CASH. RECEIPT SIMPLY SIGNED, "RACHAEL W.". I HOPE
THIS HELPS YOU."
Under that last reply, Sara has written the names, along
with phone numbers for Wendyll and Nancy. They have since
been crossed out. The only remaining name is Rachael's, and
that has a big question mark after it.
MRS. KRAMER (CONT'D)
Now, could someone please tell me
the socioeconomic consequences of
the global quake of 2013?
(beat)
Aaron?
Another student, AARON almost jumps out of his seat. He looks
at Mrs. Kramer like she's speaking another language.
MRS. KRAMER (CONT'D)
Care to tell us the answer to that?
He doesn't respond. Mrs. Kramer sits on her desk, looking
quite upset.
MRS. KRAMER (CONT'D)
I honestly don't know why I bother
with you kids. I try my hardest to
teach you these lessons, but you
won't apply yourselves. Is it really
that hard?
No response.
MRS. KRAMER (CONT'D)
Can nobody tell me the answer to
that question? Please? I beg you.
Any thoughts at all?
No response. Mrs. Kramer closes her eyes in annoyance. A
slight GIGGLE can be heard.
11.
Mrs. Kramer opens her eyes and looks at another student.
MRS. KRAMER (CONT'D)
Well, Mr. Landry, it would seem that
you have an opinion. Care to share?
She waits for a response, but none comes.
SARA
The consequence was humanity.
Mrs. Kramer looks over at Sara, amazed that someone actually
spoke.
MRS. KRAMER
I'm sorry?
Sara doesn't look up. She still seems disinterested by the
whole thing.
SARA
Humanity. The World responded by
helping those in need. Like everyone
suddenly forgot what asses they'd
been and actually started caring.
Some of the other students roll their eyes.
SARA (CONT'D)
They managed to put aside the evils
of the world long enough to help the
people that were suffering after the
quake. Without that, millions would
have died. Instead, cities were
rebuilt faster. Even today, murder
rates are lower than ever, and war
is rare.
(beat)
It's like... It's like the earth
opened up and swallowed the evil.
People were left with a need to help
each other out.
STUDENT (O.S.)
So the quake was a good thing. Big
"yay" for suffering, chaos and death.
Sara still doesn't look up.
MRS. KRAMER
Shut up, Steven.
(then)
As thought provoking as that is,
Sara, I was hoping for more definable
results. Something more academic,
and less philosophical.
12.
STUDENT (O.S.)
Yeah, Sara.
MRS. KRAMER
Seriously, Steve, I'm this close.
Sara finally looks up.
SARA
Umm, okay. When President Ri--
ALLONA
Here we go with the idol worship.
"The great and powerful Oz."
MRS. KRAMER
Everyone who's spoken in the last
ten minutes, who isn't Sara or
myself... get out.
(beat)
Leave. Now. Go to the office.
Those students who have spoken get up and walk out of the
class.
MRS. KRAMER (CONT'D)
Go on, Sara.
Sara takes a breath.
SARA
The Allies bailed out the rest of
the world with our troops and rescue
teams, while what remained of the
U.N. sat on their asses, trying to
decide whether or not they should
vote on something. Without the U.N.
"help", the smaller countries were
left to fend for themselves. It forced
those countries to democratize in
order to compete globally.
(beat)
But, whatever. It's kinda hard to
speak about philosophical topics on
a purely academic level.
Mrs. Kramer takes this in. She'd probably have some kind of
comment for Sara, but she's just happy that someone spoke
up.
MRS. KRAMER
Interesting points. Would anyone
else like to--
The BELL RINGS.
13.
MRS. KRAMER (CONT'D)
Nevermind. We're out of time.
Remember, reports are due on Monday.
All late reports will result in lower
grades, I don't care how well you
downloaded them. The school-year
might be winding down, but that
doesn't give you a free pass.
(then)
Class dismissed.
The students get up, and begin to leave the room.
INT. JOHN HANCOCK HIGH SCHOOL - HALLWAY - DAY
Sara walks out of the classroom, and heads for her locker.
Another student, MARIA (same age, better dresser) catches up
to her.
MARIA
You know you'll never be popular if
you keep doing that, right?
SARA
Doing what?
MARIA
Answering questions. Speaking in
class. Getting good grades. How do
you expect to succeed in life if you
keep doing well in school?
SARA
I know I can't be the only one who
finds this system of yours flawed.
(beat)
Besides, I was just doing it to get
under Mrs. Kramer's skin. She hates
it when people say things that go
against her own politics. 'Specially
when she doesn't understand half of
what they say.
Sara gets to her locker and opens it. Inside, there are more
papers and documents that relate to the search for her mother.
MARIA
(re: the research
materials)
Find anything new?
SARA
Not yet, but I mean to.
MARIA
Yeah, I was thinking about that. The
trip, I mean.
14.
SARA
I wanna be out of here Wednesday
night.
MARIA
Wednesday? What about the party on
Friday? I was looking forward to
that.
SARA
Don't have to come if you don't wanna.
MARIA
(pouting)
No. I'll forget the party. We can
still go to the stupid dance thing
though, right?
Sara gives her a look that asks "Why would you want to?"
MARIA (CONT'D)
I know.
(beat)
Anyway, I was thinking about the
trip, and I thought that we could-
maybe- stop by the beach for a day
or two. Look...
Maria pulls out a Palm-like device and shows it to Sara.
MARIA (CONT'D)
I mapped it all out. We don't even
lose any time.
SARA
Damnit, Maria! I told you, this isn't
a vacation. We're not going on this
trip to get tans.
MARIA
I wasn't thinking about tans.
Maria taps her little device thingy. She shows it to Sara
again.
MARIA (CONT'D)
I was thinking about this. Five guys
to every one girl. With numbers like
that, who's gonna get a tan?
SARA
You're a slut.
MARIA
I am not a slut.
15.
SARA
Yes you are.
(beat)
We're not going to the friggin' beach.
I'm going on this trip to find my
mother.
Sara closes her locker and starts to walk away. Maria follows.
MARIA
Fine.
(then)
You're so serious these days.
SARA
I need to be.
MARIA
Have you told your mom yet? I mean,
Betty?
SARA
No. Ma doesn't even have a clue.
MARIA
Don't you think you should tell her.
Y'know, before she wakes up and finds
you gone.
SARA
And say what? "Ma, we're out of milk.
Oh, and by the way, I'm taking off
to go find my real mother"?
MARIA
You have to say something.
SARA
I will. Eventually.
(beat)
Somehow.
MARIA
If you don't, you know you're rotting
in hell, right? I mean, this has to
be hell-rotting territory.
SARA
Aren't you supposed to be my
supportive friend?
MARIA
I'm supporting. I just wanna make
sure we're clear on the rotting part.
16.
SARA
I'll tell her. My own way, and in my
own time.
INT. SARA'S HOUSE - UPSTAIRS HALLWAY - DAY
Betty is in her robe and slippers. She walks up the stairs,
picking up a stray sock as she goes.
She walks to Sara's door and knocks on it.
BETTY
Sara? Sweetie, breakfast is on the
table. I'm taking a shower, okay?
There's no reply.
BETTY (CONT'D)
Sara?
Betty opens the door and looks inside. After a moment, she
walks into the room.
INT. SARA'S HOUSE - SARA'S ROOM - CONTINUOUS
Betty walks into the room and finds that Sara isn't there.
The bed is made, and has a few hangers scattered on it.
There's a note on the pillow. Betty goes to it, and reads
it.
SARA (V.O.)
Mom, I'm so sorry, but I need to
know the truth. I need to know where
I come from. Who I am. Please don't
think this means that I don't love
you, because I do. That can't ever
change. I just need answers, and
this is the only way for me to get
them. Please don't worry about me.
I'll be fine. This is something that
I had to do... Your Daughter, Sara.
Betty needs to sit down. She sits on Sara's bed, not knowing
what to think. She wants to cry, but she can't bring herself
to do it.
FADE TO BLACK:
END OF ACT ONE
17.
ACT TWO
FADE IN:
INT. SARA'S CAR - DAY
Sara and Maria are parked. Both staring straight ahead. Sara's
a bit nervous.
The car is an old 2004 SUV, with a few added gadgets here
and there, but nothing too Star Trek. It's in good shape,
but you can see that it's been put through the ringer.
The back of the car is filled with junk. Food wrappers, and
fast food bags mostly.
Maria looks over to Sara.
MARIA
Two months. Tracking and driving and
not bathing, and it all leads to
this.
SARA
Yeah.
ANGLE ON : THE WINDSHIELD
Through the windshield, we can see what they're looking at.
The neighborhood is a suburban neighborhood, which was
probably nice in it's day. The houses are older, and run
down. The street is dirty, and not at all pleasant looking.
They're looking at one house in particular. It's windows are
lined with foil, and the grass is in need of mowing. It's
not the sweet country home that Sara's used to.
MARIA
So, would it have killed you to track
down your mother and have her be
rich? Or a spy? A spy'd be cool too.
Maybe a rich spy.
SARA
She could be in there right now.
MARIA
Yeah, but she's probably not a spy.
SARA
Enough with the damn spy already!
This is serious.
(beat)
My real mother could be in that house,
and she wouldn't even know I was out
(MORE)
18.
SARA (CONT'D)
here. She'd have no clue that her
entire life is about to change.
MARIA
Yours too.
SARA
But at least I'm ready for it.
MARIA
Are you?
Sara looks at Maria. She's not sure what Maria means.
MARIA (CONT'D)
Look, I'm acutely with you here. I
got you, you know that. I just want
you to be sure that you're ready for
whatever you find.
SARA
I'm ready.
MARIA
And what if she's not?
(beat)
This woman isn't your mother. Betty
is. She's the one that took care of
you when you were growing up.
SARA
This isn't about me turning my back
on Ma. I wouldn't do that. This is
about me finding out who I am and
where I come from.
MARIA
I get that. Just keep in mind that
not all women are like your mom.
This Rachael dame might not be kisses
and cuddles. Just be ready for it,
that's all.
SARA
I'm ready. I've been ready since we
started this. In my head, I've played
it out every possible way. Sometimes,
she's nice and she cries and hugs
me. Sometimes she's mean and slams
the door in my face.
(beat)
I just want to know why. Why didn't
she want me?
There's silence for a moment. Finally, Maria speaks again.
19.
MARIA
Maybe she couldn't keep you.
(beat)
Maybe she couldn't afford the risk
of bringing you on missions for the
CIA.
Sara smiles. The tension draining for a moment. She slaps
Maria on the shoulder.
SARA
You're so stupid.
MARIA
Hey, you never know.
There's another pause in the conversation.
MARIA (CONT'D)
So, are you going in?
SARA
Yeah.
(beat)
I'm just waiting for my legs to start
functioning again.
MARIA
Nervous?
SARA
Wouldn't you be?
MARIA
Hey, I'm the one who's gonna be
waiting out here alone.
SARA
You wanna come in?
MARIA
I'll be okay out.
(beat)
Unless you want me in. If you want
me in, I'll go in.
SARA
It's up to you.
MARIA
I just said it was up to you.
SARA
Whatever you want is fine.
20.
MARIA
Don't do that! I hate when you do
that!
SARA
Fine. Stay out here.
ANGLE ON : THE HOUSE
SARA (CONT'D)
I guess I'm going now.
MARIA
Good luck.
SARA
Thanks.
Sara doesn't move. After a couple of seconds, the door to
the house opens and a woman, RACHAEL WILSON (60's, graying
hair, old clothes) sticks her head out and yells.
RACHAEL
You girls have been sitting out there
for almost an hour! You coming in,
or not?
Sara and Maria look at each other.
MARIA
Creepy.
SARA
I guess I'm going.
Sara opens the door and gets out. She starts to walk toward
the house.
Maria takes a look around the neighborhood again. She quickly
opens her door and rushes after Sara.
MARIA
Wait up!
She catches up to Sara and they continue toward the house.
MARIA (CONT'D)
Last thing I need is a close encounter
of the ax murderer kind. You're mom's
probably not one of those, right?
EXT. RACHAEL'S HOUSE - CONTINUOUS - DAY
Sarah and Maria make their way toward the house, where Rachael
is waiting. They're both nervous. Sara, because this could
be the moment she's been waiting for. Maria, because this
place gives her the creeps.
21.
MARIA
If we do get killed, I just want you
to remember... It's your fault.
They get to the door, and stop. Rachael looks at them,
squinting a little.
RACHAEL
C'mon in.
Rachael walks into the house. Sara and Maria share a look,
and then Sara follows. Maria isn't sure that she wants to go
inside, but when she hears a BANG in the distance, she quickly
jumps through the doorway.
INT. RACHAEL'S HOUSE - FOYER/LIVING ROOM - CONTINUOUS - DAY
Rachael walks into the living room, and sits in an old rocking
chair.
Sarah follows, looking around the house as she walks. The
place is dirty, and dark (thanks to the foil-lined windows).
Old papers and magazines are piled on the tables. Litter
boxes, filled with kitty litter are scattered around the
room. There's an empty fish bowl on a bookcase, which Sara
looks at for a second, wondering if the fish ended up in one
of the litter boxes.
Maria follows Sara into the house, closing the door behind
her. As it closes, the house gets even darker than before.
As Maria follows Sara into the living room, the smell of
cats hits her hard. She tries her best to fan it away from
her face, but it's not possible.
The girls walk into the living room, where Rachael is waiting.
They don't know quite what to do, so they stand near Rachael,
not saying anything.
RACHAEL
Sit.
The girls look back, and see the couch. They're not sure
it's the cleanest place to sit, but they sit anyway.
SARA
Thank you, Ma'am.
Rachael smiles.
RACHAEL
"Ma'am." I haven't been called "Ma'am"
since... Hell, I ain't ever been
called Ma'am. You girls aren't from
around here, are you?
SARA
No.
22.
A cat jumps out of a shadow, running right in front of the
girls. Maria jumps, and then catches herself.
MARIA
Cats. I hate cats.
She looks at Rachael and notices that she's staring at Maria
now.
MARIA (CONT'D)
But not these cats.
(beat)
Good cats you have here.
SARA
I'm sorry about my friend. She's
easily excitable.
RACHAEL
It's all right.
Rachael takes a sip from a glass of water that sits on the
table next to her, keeping an eyes on the girls as she does.
RACHAEL (CONT'D)
So, is there any particular reason
that you've been sitting outside my
house?
SARA
Well...
Sara's not sure how to go about this conversation. She tries
to think of the best way, but it doesn't come to her. She
looks to Maria, who gives her a reassuring nod.
SARA (CONT'D)
I recently found out that I was
adopted.
Sara pulls the now-worn letter from her mother out of her
pocket and holds it out to Rachael.
SARA (CONT'D)
This is all I know about my mother.
Rachael takes the letter and looks it over, squinting to see
it better. She grabs the glasses that hang around her neck
and slips them on as she reads the letter.
SARA (CONT'D)
The paper has a watermark on it. I
tracked it back to a stationary shop,
and that eventually led here.
23.
MARIA
(under her breath)
Eventually... two months later.
SARA
(ignoring Maria)
It was purchased sixteen years ago,
just before I was born. I was kinda
wondering if maybe you were...
Sara doesn't know how to finish that sentence. Rachael looks
back to her, giving Sara the note.
RACHAEL
Oh, honey, no. I'm not your mother.
I'm too old, just look at me.
SARA
But you bought the paper. I know you
bought the paper.
RACHAEL
I bought the paper. It was just before
I moved here.
(beat)
I knew your mother.
MARIA
So where is she? Do you know where
she is now?
Rachael takes a moment. She looks into Sara's eyes with deep
sympathy.
RACHAEL
I'm sorry to have to tell you this,
child, but your mother is dead.
Sara's face goes pale. Two months of traveling, and
researching finally catching up to her in this one moment.
The air is knocked out of her.
SARA
Dead?
She tries to wrap her mind around this concept, fighting
back tears. She manages to keep them back as she looks at
Rachael again.
SARA (CONT'D)
How?
Maria puts a hand on Sara's shoulder.
Rachael takes off her glasses and leans back in her chair,
thinking back.
24.
RACHAEL
Sara...
(smiles)
I remember when your mother chose
that name.
Her smile fades.
RACHAEL (CONT'D)
She was such a troubled girl. So
sad.
Rachael looks down, and wipes a tear from her eyes. She looks
back to Sara.
RACHAEL (CONT'D)
It was such a hard night for all of
us. See, you almost died too. Your
mother passed before she had a chance
to see you.
Sara wipes a tear from her eye. This is a lot to take in.
Rachael takes another sip of her water, and continues.
RACHAEL (CONT'D)
It was raining cats and dogs that
whole week. Your mother had lived
with us for a little while by then.
Maybe a few months or so.
SARA
What?
(beat)
Who's "us"?
RACHAEL
Well, your mother was an orphan of
sorts too. She never had the chance
to know her mother, just like you.
'Course, I heard several versions of
that story. A few of them from Laura
herself.
(then)
Laura was your mother's name.
Sara takes this information in. Maria rubs her shoulder,
knowing that this is important.
RACHAEL (CONT'D)
From what I understand, your mother
was born in aught-four, when your
grandmother was very young. About
your age, I'm guessing.
Maria thinks for a second, struggling to do the math. She
looks to Sara.
25.
MARIA
That means that your mom was about
sixteen too.
Rachael nods slightly.
RACHAEL
Your grandmother had died as well.
I'm not sure how, but she was still
pregnant with your mother at the
time. Your mother was saved, somehow-
I'm not sure how, really- and became
a ward of the state. That's how she
eventually came to live with "us".
At the time, I ran a home for wayward
young women. We took her in when
nobody else would. She was so
troubled, and she was pregnant with
you at the time. I couldn't turn her
out on the streets. She had nowhere
else to turn.
SARA
But, how did she die?
Rachael doesn't like reliving this memory, but she forces
herself to.
RACHAEL
That night changed my life. Like I
said, it was raining pretty hard. I
got a call that your mother was in
some kind of accident, so I rushed
to the hospital.
(looks down)
By the time I got there, it was too
late. Your mother had already passed,
but you were alive, and well. I
remember thinking how odd it was,
the similarities between how you
were born and how your mother was.
SARA
How did sh--?
(beat)
Was it me?
RACHAEL
Oh, no. Don't you think that for one
second.
(beat)
Honey, your mother was murdered.
She was found, nearly dead from the
loss of blood. They said she was
attacked, and cut somehow. They never
did catch whoever did it.
(MORE)
26.
RACHAEL (CONT'D)
(then)
But your mother was a hero. She saved
your life. She made sure she stayed
alive long enough for you to be born.
Rachael sits back in her chair, tired.
SARA
My father then? Do you know where he
is?
Rachael shakes her head.
RACHAEL
I never knew who your father was.
Laura never mentioned him. She was
so independent. She always wanted to
do everything for herself. Such a
strong, brave young woman, your mother
was. I'm sorry you didn't have the
chance to know her.
Sara thinks for a moment.
SARA
There has to be some way for me to
find out who my father is.
(then)
What was my mother's full name? Where
was she from? Anything, please!
Sara finds herself on her knees, next to Rachael. She realizes
that she's being very emotional, which is new to her. She
humbly gets back to the couch, pulling herself together.
SARA (CONT'D)
I appreciate everything you've told
me. I do. It's just that, I've been
looking for so long. There has to be
something else that you can tell me.
Anything.
MARIA
Sara, maybe we should go. I think
she's told us everything she knows.
RACHAEL
Nonsense. You girls are staying for
dinner.
Rachael starts to get up.
MARIA
Oh, I don't know.
27.
RACHAEL
Well, I do know. Now, let's get into
the kitchen and see what we can dig
up.
Rachael gets up, and walks out of the room, toward the
kitchen.
Sara and Maria stand to follow her. Maria leans in closer to
Sara.
MARIA
Are you sure we should stay?
SARA
Leave if you want to. I'm staying.
MARIA
Fine.
(beat)
She just better have something to
eat besides cat food.
They walk into the kitchen.
INT. RACHAEL'S HOUSE - FOYER/LIVING ROOM - LATER
Sara, Maria and Rachael are walking out of the kitchen now.
Maria's still munching on a leftover piece of chicken.
MARIA
Okay, can I just say that this is
the best food I've eaten in two
months? Seriously.
RACHAEL
(with a smile)
You poor thing. What have you been
eating?
SARA
It was delicious, Ma'am. Thank you
again.
RACHAEL
I enjoyed having you here. You're
welcome back anytime. I sorta miss
the sounds of other people in my
home.
SARA
We'll come back and visit sometime.
I promise.
RACHAEL
Which will make you better kids than
my own. I haven't seen them in ages.
28.
They get to the foyer, and stop for final farewells. Sara's
face turns more serious once again.
SARA
You said that you might remember
something else. My mother's full
name? Anything?
RACHAEL
I've told you everything that I can
remember.
Sara looks down, a little sad, but then looks back to Rachael
with a smile.
SARA
Thank you.
RACHAEL
Come. Help and old woman out before
you go.
SARA
What do you need?
Rachael walks to a closet door and opens it. The closet is
packed... very packed. It's full of boxes, and old clothes,
and bags and papers. It looks like an accident waiting to
happen, there is so much old junk piled in there.
MARIA
(re: the junk)
Wow. That's a whole lot of stuff.
RACHAEL
You'll have a lot of stuff too, when
you're my age.
(to Sara)
Up on the top shelf, sweetie. To the
right, I think, there's a little
brown box. I've been trying to get
at that damned box for months now.
Sara nods, and looks around. She sees a chair, and looks
back to Rachael.
SARA
Mind if I stand on the chair?
RACHAEL
Sure. Just don't sue me if it falls
apart.
Sara smiles a small, gracious smile and then pulls the chair
over to the closet. She climbs on top, and then starts to
look for the box.
29.
She pulls away an old vase and tries to hand it down to Maria,
but Maria's still holding onto a chicken bone, so her hands
are greasy. She gives Sara a "I can't" gesture, but Sara
puts the vase in her arms anyway, avoiding her hands.
Sara pulls out some other things. Clothes, file folders,
bags. She hands most of them down to Maria, and tries to
find someplace to relocate the others, inside of the closet.
Finally, she sees the box.
SARA
I think I see it.
She reaches to the back of the shelf, and grabs the box. As
she pulls it out, she knocks over an old figurine. She gasps
as it falls, but it doesn't break. It lands on a pile of old
clothes.
Sara breaths a sigh of relief, and pulls the box the rest of
the way out. She hands it to Rachael.
SARA (CONT'D)
Is this it?
Rachael smiles as she takes the box.
RACHAEL
Thank you.
Sara starts to get off of the chair, when Maria speaks up.
MARIA
Umm... What about this?
She holds up all of the junk in her arms.
RACHAEL
Oh, just throw that stuff back in
there.
Sara helps Maria quickly pile the junk back into the closet.
As they do this, Rachael opens the box, and starts to look
through it.
When they're done piling the stuff back into the closet,
Sara starts to close the door, but Rachael stops her.
RACHAEL (CONT'D)
No. One more thing.
Sara opens the door again.
SARA
Oh.
30.
RACHAEL
(pointing)
That trunk. Right there. Could you
pull that one out too?
SARA
Yeah.
Sara goes to the trunk that Rachael is pointing to. You can
only see one of the sides, as most of it is buried in the
closet.
She grabs onto the handle, and pulls the trunk out. It's a
replica of an old steamer trunk, and has a big, thick lock
on it. As she pulls it out, she expects there to be some
sort of cave-in, or something, but to her surprise, there
isn't. She wonders for a moment why there wasn't, but then
shrugs it off and pulls the trunk the rest of the way out.
She sets it in front of Rachael.
SARA (CONT'D)
Anything else?
RACHAEL
That's all, dear. Thank you.
Rachael pulls a couple of papers out of the box she's holding
and smiles.
RACHAEL (CONT'D)
Love letters. My husband died two
years ago, and I couldn't bring myself
to read them.
(beat)
Now, I just want something to remind
me of him.
Sara smiles, feeling how much Rachael misses her husband.
SARA
My father died, not too long ago.
It's hard.
Sara's eyes begin to drift, as she thinks of something else.
SARA (CONT'D)
And my mom... I never even told her
I was leaving. I just left a note.
Rachael allows Sara to have a moment to reflect before she
speaks again.
RACHAEL
You girls should be going. You don't
want to be caught out here in the
dark.
31.
She gives Sara a hug.
RACHAEL (CONT'D)
I wish I could help you more.
SARA
You did a lot. I know my mother's
name now. Thank you.
As Rachael and Sara finish their hug, Sara takes a step back.
Rachael looks over to Maria.
RACHAEL
You too. Come here.
Maria's not a big hugger, but she smiles and hugs Rachael
anyway.
MARIA
Thanks again for the chicken.
RACHAEL
You're welcome, honey.
Sara and Maria start to walk toward the door. Sara opens it.
RACHAEL (CONT'D)
I have had that trunk for sixteen
years.
The girls stop and turn around.
RACHAEL (CONT'D)
I never did open it. It was all that
I had left of your mother. I always
hoped that someday, a young girl
named Sara would come looking for
it.
(beat)
It belongs to you now.
Sara looks down at the trunk, not knowing what to think at
first. Slowly, her face begins to light up. She rushes to
Rachael and gives her a hug.
SARA
Thank you.
RACHAEL
You're welcome.
The hug ends and Sara goes to the trunk.
RACHAEL (CONT'D)
Now, take your trunk and get the
hell out of here, before those damn
(MORE)
32.
RACHAEL (CONT'D)
teenagers start prowling around your
car.
Sara can't take her eyes off of the trunk. She doesn't know
what's inside, but she can feel hope building within her.
FADE TO BLACK:
END OF ACT TWO
33.
ACT THREE
FADE IN:
INT. MOTEL ROOM - NIGHT
Sara is sitting on one of the two beds. The trunk rests next
to her, it's top open. There is a pair of bolt cutters on
the nearby nightstand, and the now-broken lock is sitting
next to it.
Maria is staring out the window, at the beach across the
street.
MARIA
Hey, we finally made it to the beach.
Sara's not listening to her. She's too busy going through
the contents of the trunk.
The trunk is full of notebooks, and diaries. A lot of them.
Sara is reading one of them.
Maria walks to the bed and sits down. She starts looking at
another one of the diaries.
SARA
Can you believe this?
MARIA
What? The fact that your mom never
learned how to use a computer?
SARA
(ignoring Maria's
joke)
Some of these are from when she was
just a little kid.
Sara reads some of the diary, and smiles. Maria flips through
her diary, but it's not as thrilling to her. This isn't her
mother.
SARA (CONT'D)
She wrote everything.
(beat)
She was bounced around as a kid,
going from orphanages to foster homes.
She didn't seem to mind it though.
Sometimes, she sounds like she enjoys
living with different people. I mean,
it was hard on her, but she felt
loved.
MARIA
That's good. Kids should have that.
34.
SARA
(still skimming)
She went to birthday parties, and on
trips. She was happy. All the things
that a normal kid would do, and she
wrote it all down.
MARIA
Happy? Not really the impression I
got from Rachael.
SARA
Something had to have happened.
Maria puts the diary she's flipping through down. She's a
little bored.
Sara flips a page.
SARA (CONT'D)
She had chicken pox.
(looks up at Maria)
I never had chicken pox.
MARIA
Seriously?
SARA
Nuh-uh. Is it weird that I kinda
wish I did though? I mean, all of
these things that she's writing
about... I've felt them. I know them.
It's like we're connected somehow.
MARIA
Except chicken pox.
SARA
In a weird way, I want to know what
it feels like to have it... them?
Whatever. Is that crazy?
MARIA
Yes.
(beat)
But it still doesn't explain why
your mom was all "troubled".
Sara holds out the diary, so Maria can see it.
SARA
Check it out.
ANGLE ON : THE DIARY
The entry is written in crayon, and there's a smilie face
sticker on the bottom of the page.
35.
MARIA
What am I checking?
SARA
See the sticker? She fell off her
bike and hurt her wrist. Her foster
sister, Landi, put the sticker on
her cast.
(beat)
Sounds like they were close.
Sara seems genuinely thrilled by all of this, but Maria just
doesn't feel the same way. She's happy for Sara, but she
can't possibly know what this feels like. She moves over to
her own bed, and lays down.
MARIA
It's late. You should sleep.
SARA
(still reading)
I will later.
MARIA
Just remember, we're beaching
tomorrow.
SARA
(not paying attention)
Yeah.
Maria closes her eyes and falls asleep. Sara stays awake,
enthralled by the diaries.
INT. MOTEL ROOM - DAY
It's morning now. Sara has fallen asleep on a pile of the
diaries. The curtain is closed, so there isn't much sunlight
in the room.
Maria walks out of the bathroom.
MARIA
Hey. Rise and shine, morning glory.
Sara doesn't even move. Maria rolls her eyes and goes to the
window. She pulls open the curtain, causing a blast of
sunlight to shine on Sara's face.
MARIA (CONT'D)
Time to get up.
Sara stirs, still keeping her eyes closed.
SARA
(groggy)
Time to sleep.
36.
MARIA
It's nine. Time to smell the fresh
beach air, and partake in the...um...
wetness of the water.
(beat)
You promised.
SARA
I went to bed at- like - three hours
ago. Let me sleep.
MARIA
Fine, I'll let you sleep. But only
until I get back with breakfast.
Doughnuts?
SARA
If I have to eat another doughnut,
I'm going to kill somebody. Bagels.
MARIA
Fine. Bagels and coffee, coming up.
Don't forget, when I get back, you
wake up.
Maria walks out the door. Sara falls back to sleep.
HARD CUT TO:
INT. MOTEL ROOM - DAY
MARIA
Get up!
Sara doesn't wake up.
MARIA (CONT'D)
Sara, c'mon. Seriously.
SARA
Go get breakfast.
MARIA
Breakfast got.
SARA
Is the bagel place- like - in the
bathroom?
MARIA
Eew. Seriously, I've been gone for
like, a half hour. The place was
busy. I got you a plain with cream
cheese, and a mocha.
Maria puts Sara's food down next to her. Sara opens her eyes,
and slowly sits up. She grabs the mocha and smells it.
37.
Maria pulls another bagel out of the bag.
MARIA (CONT'D)
And an onion with butter for me.
Sara gives Maria a strange look.
MARIA (CONT'D)
What?
SARA
I thought you wanted to guy-hunt
today?
MARIA
(taking a bite)
So?
SARA
Don't you think the onion might scare
off the prey?
Maria stops chewing and looks down at the bagel.
MARIA
Oh.
She shrugs and swallows.
MARIA (CONT'D)
Oh well. I guess I'm not smart like
some people. My kind have to learn
to live on stupidity and good looks.
(beat)
Not that you're ugly. You're okay
looking... You have the whole smart
thing too though.
SARA
Is that a bagel you're eating, or
your foot?
Maria moves one of the diaries and sits next to Sara.
MARIA
So, are we ready to have some far
out beach fun?
SARA
I...
Sara looks down at the diaries. They're all she can think
about.
SARA (CONT'D)
I don't know.
38.
MARIA
No. No, you do know. I know you know,
because you promised me.
SARA
I just want to read them. For the
first time in months, it's like I
can breath again. I wanna know
everything about her. I wanna know
what happened to her.
MARIA
But... beach.
SARA
You go. Have a good time. I'll still
be here when you get back.
MARIA
Are you sure?
SARA
Yeah. I'd just slow you down anyway.
Guys hate the depressing friend.
MARIA
That's true.
SARA
Go. If you hurry, maybe you can get
a guy to buy you into an all-you-can-
eat breakfast.
Maria thinks about that for a second. She looks at her bagel,
and then puts it down.
MARIA
(holding up her watch)
Rattle me if you need me. You know
my code.
Sara nods. Maria gets up and walks toward the door.
MARIA (CONT'D)
Bye.
SARA
Have fun.
Maria gets to the door, and stops to look back at Sara. Sara's
already getting back to the diaries.
Maria puts her hand on the knob, but can't bring herself to
turn it. Finally, she just gives up and walks back to her
bed. She wants to leave, but she's a good friend.
39.
MARIA
Toss me one of the diaries.
Sara looks up at her friend, knowing what Maria's giving up
for her. She takes a moment to appreciate it, and then tosses
Maria a diary.
INT. MOTEL ROOM - LATER
A couple of hours have passed. There are some more junk food
wrappers scattered around. Maria is pacing as she reads a
diary.
MARIA
(reading)
"I was in a room. It was there with
me. It trapped me. Blocked the door.
I was so scared, but I couldn't
scream. It spun me around, and then
I saw it's face. It was horrible.
Deformed somehow. And it's teeth...
He bit my neck so hard, I could feel
his teeth scraping bone. What was
it?
(beat)
Stupid dreams. That's the third one.
When will they stop? I just want
them to stop."
(then, to Sara)
My goodness, that drama class paid
off. Did you get the emotion I put
into that reading?
(then)
She was thirteen here. Did you get
that I was being thirteen?
SARA
She sounds upset, but they're just
dreams. Who doesn't have nightmares
sometimes?
Maria tosses that diary down.
MARIA
Last entry for that one.
Sara starts to read the diary she's holding.
SARA
"I saw it again. It was silvery.
Shiny, with red too. In my dream it
was heavy, but I could still lift
it. One of 'them' was there too.
(beat)
Molly told me that they sound like
Dracula.
(MORE)
40.
SARA (CONT'D)
I said she was stupid, but she's
kinda right. I'm not gonna tell
anyone about the dreams anymore.
They think I'm losing it."
Sara flips through a few pages, skimming as she goes.
SARA (CONT'D)
After that, it's like her life goes
back to normal for a while. No mention
of another dream until a month later.
Sara skims the page with the latest dream. She winces a
little.
MARIA
What's wrong? What's it say?
Sara takes a breath.
SARA
(reading)
"Vivid. It's so real. I had another
one of the dreams last night.
(beat)
It was a cold night. I was hunting
again. Chasing a demon... A vampire.
I could actually feel the air burning
the back of my throat, and the dew
on the leaves of the trees as I ran
by them. I stopped in the moonlight,
and saw my enemy. We just looked at
each other for a second. We both
knew that I was going to kill him,
but I didn't want to rush it. I wanted
to take my time... It wasn't like
when the dreams started and I was
scared. I was enjoying this now. It
felt right somehow. Natural."
Maria winces.
MARIA
Vampires. Demons. Sure, completely
natural.
Sara ignores her and keeps reading.
SARA
(beat)
"This one looked younger than the
others I'd killed. Closer to my own
age, but that didn't matter.
(MORE)
41.
SARA (CONT'D)
I guess he could have been a hundred
years older than me, and he'd still
look the same. There was still fresh
blood on his mouth, dripping down
his chin. I checked my neck, but I
wasn't cut. That's when I realized
that it was my leg that was hurting.
I hadn't even noticed it while I was
running, but that was where he'd
bitten me. The pain wasn't like
normal pain though. It almost felt...
Nevermind. The pain didn't matter.
The only thing that mattered was
that this demon was about to die.
(beat)
And then he changed. His face turned
into a human face. That never happened
before. Could I still kill this thing
when it looked normal? More than
normal, he... it looked good. I took
a step toward it. That's when he
said it. The same thing they always
say. Why do they always say it?
'Chosen One'. I think it means me. I
am a Chosen One."
Sara pauses now. She looks away from the diary.
MARIA
What?
SARA
"Chosen One." That's what she called
me in the letter.
MARIA
Maybe she lost it.
Sara doesn't understand this, but she looks back to the diary.
She reads more.
SARA
"I'm meant to kill these things.
Knowing this made me feel something
new. I'm not sure what it was exactly,
but it was a sensation I'd never
felt before. His appearance didn't
matter. He looked normal, standing
in front of me now. I ran the blade
of my ax across his neck, making him
bleed. It actually hurt, I think. He
started to cry. This didn't stop me.
I wanted to kill this monster. I
turned my ax around, and plunged the
sharp wooden end into it's chest.
(MORE)
42.
SARA (CONT'D)
As I watched, the vampire vanished!
I think it turned to dust.
(beat)
This was just a dream, but I still
felt so much of it. I can only imagine
what it'll be like when I do it for
real."
(beat)
That's the end of that entry.
MARIA
Okay, now she's just creeping me
out. "Real"? She believed this stuff?
SARA
(thinking)
She called me a "Chosen One". I still
don't get it. What does that mean?
MARIA
It means that she was a very sick
woman. That or a pretty bad writer.
Maria looks at the clock.
MARIA (CONT'D)
Damn, it's almost ten-thirty.
She stands up.
MARIA (CONT'D)
I'm going to the machine for a fajita.
I'll be back in a few minutes.
Sara doesn't respond. She's still looking through the diary.
SARA
(to herself, re: the
diary)
She was alone. Nobody wanted her
anymore.
Maria grabs her key and walks out of the room.
Sara turns a few more pages. She reads more.
SARA (CONT'D)
"I figured it out. The Chosen One.
The one person in each generation
that is meant to battle the advancing
forces of darkness. To protect the
humans against those that would kill
them. To turn the predator into the
prey! This is why my mother died.
She passed on her power to me.
(MORE)
43.
SARA (CONT'D)
But where is the weapon from my dream?
Will I know it when I see it? I
have so many questions. I only wish
my mother had kept a diary, as I
have. Maybe that's why I've done it.
To pass on this information to my
children and answer the questions
that they might have. I will have to
see this through, and hope that
destiny provides me with answers."
She flips a few more pages. She's growing more concerned.
SARA (CONT'D)
They're all dreams now.
EXT. MOTEL - NIGHT
Maria is walking toward a food machine on the side of the
motel. LOUD MUSIC can be heard coming from a room upstairs.
Maria stops at the machine and starts looking at her options.
As she does this, she starts to bob her head to the music.
Finally, she looks up, and sees PARTIERS going in and out of
the room.
MARIA
At least someone's having fun.
She turns a little, and sees a guy, JAMES (late teens, good
looking) walking toward her. She smiles at him in a flirty
way.
He stops at the machine and looks over his options.
JAMES
Hey.
MARIA
Hi.
(re: the machine)
If you find anything edible, let me
know.
He smiles.
JAMES
We have a ton of chips and stuff
upstairs, but I felt like something
sweet.
MARIA
Ah.
(beat)
Sounds like you guys are having fun
though.
44.
JAMES
It's all right, I guess.
He looks at her.
JAMES (CONT'D)
If you want, you can check it out
for yourself.
MARIA
I probably shouldn't. My friend is
waiting for me.
JAMES
Oh. Okay.
MARIA
(beat, then a smile)
Doesn't mean I won't though. Just
that I probably shouldn't.
She grabs onto his arm, and they start to walk back toward
the party.
JAMES
Think your friend will miss you?
MARIA
Probably won't even notice I'm gone.
FADE TO BLACK:
END OF ACT THREE
45.
ACT FOUR
FADE IN:
INT. MOTEL ROOM - NIGHT
Sara finishes up one of the diaries, and puts it down. Her
face tells us that what she read was both confusing and
disturbing. She's watched her mother change from a pretty
happy child to a very troubled young adult over the course
of a few hours, and she couldn't understand why.
She reaches into the trunk for the next diary. Unable to
reach it, she leans over and looks inside. As she pulls this
diary out, she takes note of the fact that it is the last
one. The trunk is now empty.
She looks at the cover, and touches it. Trying to work up
the nerve to open it. She closes her eyes and takes a deep
breath. When she speaks, it's hard to tell whether she's
speaking to the diary itself, or her dead mother.
SARA
You better explain this to me.
She opens her eyes, and slowly opens the diary. When she
sees what's inside, she's not sure what to think.
ANGLE ON : THE DIARY
There is only one sentence written on the page :
"IT IS ONLY WHEN WE HAVE REACHED THE BOTTOM THAT WE CAN FULLY
APPRECIATE ALL THAT WE HAVE"
This can't be it. Sara won't accept that.
SARA (CONT'D)
No. No, you're not doing this to me.
She flips through the pages of the diary, desperate for more
answers. When each page turns out to be blank, anger builds
in Sara.
SARA (CONT'D)
No. No. NO!
She throws the diary across the room, knocking over a cheesy
motel vase.
She can't believe this is it. The end of her search is nothing
but more questions. She puts her head in her hands, trying
to calm down, but finding it to be a challenge.
Finally, she grabs one of the other diaries from a stack on
the nightstand, and quickly begins to flip through it,
searching for more answers but finding nothing new.
46.
She throws it to the ground and grabs another diary, repeating
the process.
SARA (CONT'D)
You can't do this to me, you stupid
bitch. You can't bring up all of
these questions and then just stop!
I need to know what this means!
She throws the diary onto the floor with the other one, more
angry now than she was before. She sweeps the rest of the
diaries off of the nightstand, onto the floor.
Once this is over, she looks at the mess she's created. She
sits on her bed, with her head in her hands, out of breath,
trying not to break into tears.
She looks to the empty nightstand, seeing only the alarm
clock that it sitting on it. It reads : "5:23"
Sara looks around the room, confused. She'd totally lost
track of time.
SARA (CONT'D)
Maria?
She stands up and rushes out of the room.
EXT. MOTEL - CONTINUOUS - NIGHT
Sara goes to the food machines, looking for Maria. She doesn't
find her. There's not even a sign of her.
Sara stops to think about this. Finally, she hears THE MUSIC
coming from the room upstairs. There's a party going on.
Sara thinks about this for a second, and then starts to walk
toward the room.
INT. OTHER MOTEL ROOM - NIGHT
The music is much louder in this room. Some DRUNK TEENAGERS
are still up and dancing, or making out. Others have passed
out.
Sara opens the door and walks into the room. She looks around
for Maria, but doesn't see her. She keeps walking, looking
at the faces of the other people as she makes her way toward
the back of this room.
Finally, she notices something.
ANGLE ON : JAMES
He's on the floor, mostly hidden by the bed. We can only see
his bare chest and head, but he is interacting with someone
else on the floor. Laughing. Drunk.
47.
Sara walks over to where James is, and looks at the floor.
Maria is laying near James, giggling. She's also drunk.
James leans down and starts to kiss Maria in a very passionate
way.
SARA
(over the music)
Maria.
Before there's even time for Maria or James to look up, Sara
rushes over to them, and slams into James, sending him
crashing into the wall and off of Maria.
MARIA
Hey!
JAMES
What's your problem?
SARA
(to James)
Can't you see she's drunk?
Sara then turns her attention to Maria. She grabs Maria's
arm and pulls her up.
MARIA
(slurred)
I arm not drump.
SARA
What were you thinking, Maria?
MARIA
Calm down, Mom. I'm just having some
fun.
SARA
With him? You don't even know these
people.
MARIA
Relax. It's just a party.
SARA
Let's just get out of here.
Sara pulls Maria out of the room, avoiding all of the other
drunk people.
MARIA
He's not that bad.
(calling back)
I'll call me!
48.
INT. MOTEL ROOM - NIGHT
Sara brings Maria back into their room, and helps her to the
bed. Maria looks around at the mess.
MARIA
Whoa. Did we have a party too?
SARA
Go to sleep.
MARIA
You didn't have to pull me out of
there y'know? I was having fun for,
like, the first time this entire
summer.
Maria lays down, falling asleep.
MARIA (CONT'D)
(dozing off)
You never wanna have any fun.
Maria's asleep as soon as she finishes that sentence.
Sara looks at her, not knowing what to think. She looks around
the room. This is as far from fun as she can imagine being.
She walks to the window and closes the curtain. When that's
done, she walks back to her bed, and falls onto it, trying
to avoid the papers that are scattered around it.
She closes her eyes to go to sleep. As she drifts off, she
reaches over to the empty trunk, and touches it.
FLASH TO:
EXT. THE WOODS - SARA'S DREAM - NIGHT
The woods are bathed in an eerie blue glow, coming from rays
of moonlight that make their way through the leafless trees.
Sara runs through the cold woods. It's winter, but she is in
bare feet and a t-shirt. Her hair is messy, and there is
dirt on her face.
We soon realize that she is running from something, not after
something.
ANGLE ON : HER FEET
They are dirty, and bleeding as she runs across the frozen
ground.
49.
ANGLE ON : HER ARMS
As she rushes past tree branches, they leave scratches on
her. They begin to bleed.
ANGLE ON : HER FACE
Filled with fear. Also being scraped by the branches.
She stops running, and looks back. She is out of breath, and
as she gasps for air, we can see STEAM coming from her mouth
as she exhales.
She's scared. Not sure what to do next. She looks around for
any help she can find, but she can see nothing.
There is FAINT MUSIC in the background. It starts to get
louder. Closer.
She turns and begins to run again. Away from the music.
Behind her, we can hear BRANCHES SNAPPING as someone chases
her.
Her fear grows as she continues to run. She doesn't know
what's after her. Could it be one of "them"? She can hear it
calling to her.
VOICE (V.O.)
(faintly)
Stop running. You can't hide forever.
She doesn't listen to it. She keeps running.
VOICE (V.O.) (CONT'D)
I'm everywhere. You can't escape
what you don't know.
She stops running now. She tries to calm herself down and
figure this out.
She closes her eyes and tries to feel her way out of this.
SARA
Help me.
VOICE (V.O.)
I'm coming for you.
She opens her eyes and looks around the area.
In the trees above her, an animal RUSTLES THE BRANCHES.
She looks up, but figures that it's nothing. She continues
to look for a way out of this.
The MUSIC GETS LOUDER.
50.
SARA
(whispered)
Help me. Please.
She finally sees something.
ANGLE ON : A OUTCROPPING OF LARGE BOULDERS
They're in an open area of the woods.
Sara starts to walk toward them slowly.
VOICE (V.O.)
What makes you think you can hide
from me?
She ignores the voice.
VOICE (V.O.) (CONT'D)
What makes you think you're safe?
As Sara reaches the boulders, the LIGHT AROUND THEM FADES.
She finds herself in total darkness.
BETTY (V.O.)
It's only once we've reached the
bottom that we can fully appreciate
all that we have.
FLASH TO:
INT. MOTEL ROOM - DAY
It's early morning, but only a small ray of sunshine manages
to sneak through the curtain.
Sara's eyes shoot open as she jolts herself awake. She is
out of breath, as though she has actually been running.
She rolls over and picks her head up to look at the clock.
It's 10:37.
She puts her head back down, wanting to go back to sleep.
She looks over at Maria. Maria looks like hell, but is still
soundly sleeping.
The sound of a DOOR CLOSING next door can be heard, followed
by a CAR STARTING. Sara just lays in bed, listening to this
for a moment.
Finally, she sits up, and rubs her eyes. She gets herself to
her feet, and walks into the bathroom, avoiding the mess on
the floor.
51.
INT. MOTEL ROOM - BATHROOM - DAY
The water is running, but Sara is just staring into the
mirror. Looking into her own eyes, trying to figure out where
they come from.
She touches her face, remembering the scratches from her
dream.
She pulls herself back to reality, and grabs one of the two
bathroom kits from the side of the sink. As she does, the
other one falls into the sink. A nail file falls out of it.
She puts the file back into the bag, and puts the bag back
where it was. Then she proceeds to brush her teeth.
INT. MOTEL ROOM - DAY
Sara walks out of the bathroom. She walks through the mess,
going to the dresser. She picks through some food wrappers,
looking for something to eat. She comes across the bagel bag
from the other day, and reaches inside. She pulls out a half-
eaten bagel and begins to eat it. It's stale, but it's all
she has.
Outside the SOUNDS OF PEOPLE can be heard. Laughing, yelling,
fighting. This is a beach town, and there are a lot of people
making a lot of noise. There's also the sound of the AIR
CONDITIONER HUMMING softly.
She sits in a chair next to the dresser, looking around the
mostly dark room. The little sunlight that shines through
the curtain gives the room an almost eerie glow.
The strongest part of this sunlight is shining in Maria's
face, but she's sleeping too deeply to notice.
Sara looks at the diaries on the floor. She sees the last
diary that contained the one sentence.
SARA
"It's only when we've reached the
bottom that we can fully appreciate
what we have."
She lets that thought echo in her head for a moment.
SARA (CONT'D)
Whatever the hell that means.
She looks at Maria again. Maria's still sleeping peacefully.
A thought pops into Sara's head. More of a realization,
really. She watches Maria for a moment, and then looks at
the dresser. On it rests her binder, with all of her research
information in it. It's closed now, so the only thing Sara
can see is the picture of her, with her family, smiling.
52.
She grabs the binder and stares at the cover.
SARA (CONT'D)
(with new acceptance)
It's only when we've reached the
bottom...
She gently touches the picture. After a second, another
thought pops into her mind. She looks up, at the empty trunk.
SARA (CONT'D)
...That we can fully appreciate what
we have.
She puts the binder down and walks to the trunk. She looks
down at it, studying it.
She reaches down and picks it up.
SARA (CONT'D)
Heavy.
(thinking)
It's still heavy.
She puts the trunk down, and gets on her knees. She feels
the bottom of the trunk, and taps on it. There's nothing
unusual about it at all.
Using her hands, she measures the outside of the trunk.
SARA (CONT'D)
Five hands tall outside.
She measures the inside. She tries to figure out if there's
a difference.
SARA (CONT'D)
A few inches.
(then)
Maybe.
She tries to find a way to pull on the bottom of the trunk,
but there's nothing to grab onto. She sits back and looks at
it for a moment, trying to figure this out. She's getting
worked up now.
She gets back to her knees, and closes the lid of the trunk.
She flips the trunk over, and examines the bottom. She feels
the decorative rivets that line the trunk, but nothing about
them seems unusual.
Annoyed, she turns the trunk back over and opens the lid.
She looks inside for a second, and then stands up and looks
around the room. She's trying to find a tool.
53.
She sees the bolt cutters on the nightstand and grabs them.
She goes back to the trunk, and looks at it, trying to figure
out the best method of attacking it.
She gets back to her knees, and presses the bolt cutters
into the bottom right-hand corner of the trunk. The bottom
of the trunk starts to bend down under the pressure. She
puts all of her weight into it.
The corner SNAPS LOUDLY. She loses her balance for a moment,
but quickly recovers.
Before she looks inside, she looks back at Maria to see if
she heard the noise.
ANGLE ON : MARIA
Still sleeping soundly.
Sara turns back to the trunk, and looks inside.
ANGLE ON : THE INSIDE OF THE TRUNK
The corner is broken, bending a triangle-shaped piece farther
into the bottom. There is definitely a space down there, but
it's impossible to see what's there with the broken piece
still blocking it.
Sara tries to pry out the broken piece with her hands, and
with the bolt cutters, but she can't do it. She puts the
cutters down, and looks around the room for something thinner
to use.
She gets an idea, and rushes into the bathroom. A moment
later, she comes back out with Maria's nail file. She goes
to the trunk, and kneels next to it.
Using the nail file, Sara digs out the broken piece of trunk
bottom. Once that is out of her way, she looks into the newly
cleared hole.
ANGLE ON : THE HOLE
It's too dark to see anything in there, but it's just big
enough to fit her hand.
She reaches into the hole, and pulls on the fake bottom with
all of her strength. Soon, she pulls another large chunk of
the bottom out. As she does, she falls backward hard. The
lid of the trunk LOUDLY SLAMS SHUT.
She shakes her hand, trying to dull some minor pain caused
by her fall.
Maria stirs, keeping her eyes closed.
54.
MARIA
Huh? What's...?
Sara looks at Maria, sorry that she made the noise. She
doesn't really want Maria to wake up.
SARA
Shh. It's okay. Go back to sleep.
Maria rolls over.
MARIA
The bus to Graceland leaves in four
minutes. We have to hurry, Rhoda.
Sara stops to wonder what Maria's talking about for a moment,
but then shakes it off. She looks at the chunk of trunk bottom
in her hand. This piece is much larger than the other.
Roundish shape, and about a half foot in diameter. She goes
back to the trunk and opens the lid.
She looks inside.
ANGLE ON : THE HOLE
We can see more of the true bottom now, but still nothing
special.
Sara's confused. There has to be something.
She tilts the trunk backward, trying to see if there's
something else in there. As she does, WE HEAR SOMETHING MOVE
inside.
She smiles as she shakes the trunk a little, and tilts it to
the right. Soon, a notebook slides into view.
Sara's smile fades as she grabs it. She's happy to find it,
but this serious. This could be the answer that she's been
waiting for. She pulls the notebook out of the hole, bending
it slightly in order to make it fit.
After she pulls it out, Sara sits back on the floor, leaning
against Maria's bed.
She holds the diary tightly, preparing herself for what it
has to say. Slowly, she opens the cover and begins to read.
As she reads the first page, a pained expression forms on
her face. Whatever this diary says, it is troubling to her.
She flips the page and continues reading. Soon, she flips
the page again. She's reading fast, but carefully. She has
been pulled into the world of her mother's mind.
Tears form in her eyes as she reads now. She can't believe
what she's reading.
55.
She closes the diary, and puts it on the floor next to her.
She can't go on right now, it's too hard.
She puts a hand on her mouth, trying to grasp this
information, but finding it hard. Tears roll down her cheeks.
After a moment, she pulls herself together. She doesn't want
to read more, but she has to. She need to know.
She picks up the diary, and prepares herself. She opens it,
and finds her place. Within seconds, she's pulled back into
her mother's world, and the emotions start coming back to
her. She's terrified by what she's reading. She can't believe
it.
SARA
(in total shock)
No. Oh, God.
She starts to cry harder, but she presses on. After a moment,
she wipes the tears from her eyes, and tries to gather herself
as she reads. She grips the collar of her t-shirt tightly
without even realizing it, needing to hold onto something.
The passage ends. Sara flips through a few more pages to
make sure there is nothing else before she closes the diary.
She stares into the space in front of her for a moment, just
trying to comprehend what she's just read, and trying to put
the pieces together.
After a moment, a thought comes into her head. She drops the
diary and gets to her feet.
She walks to the trunk and looks down into it. She then bends
down and grips the edge of the hole in the bottom as tightly
as she can, and puts her foot on the side of the trunk for
more leverage. She pulls.
The faux bottom pops out of the trunk, and Sara straightens
out. As she looks into the trunk now, her arms fall to her
sides. She drops the faux bottom that she has pulled out of
the trunk.
She stares at what she has uncovered with wide eyes. Her
mouth is open with amazement. She cannot believe what she's
looking at.
FADE TO BLACK:
TO BE CONTINUED...
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