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The Stillness
by k.j.diagostino (twelthofadime@comcast.com)

Rated: R   Genre: Horror   User Review: **1/2
Tonight,the farmland surrounding the house of the Kennedy brothers is deathly silent.Yet they are not alone.And their visitors are the least of the horrors which await them in THE STILLNESS.

This screenplay is copyrighted to its author. All rights reserved. This screenplay may not be used or reproduced without the express written permission of the author.

RAY and GARY are seated,eating on trays.One light is on in
the house and in the halflight GARY is singing the 50 states
song.His intention seems to be to annoy RAY,who tries to
tone him out.Finally,RAY turns as GARY gets to Virginia with
a foul temperance.GARY quiets for a moment,then starts once
again.RAY throws a hunk of his meal at his
distraction,hitting him on the forehead.GARY makes no
attempt to deflect the throw,rather jokingly says his next
I want to be an ice cream man so I
can ride really slow so the kids
have to wait for me for like 20
minutes.Then when I get to
'em,I'll take a popsicle and eat
real fast so the little basterds
see how good it tastes.Then when
they come close I'll speed up so
they have to chase the truck.Then
I'll drive around their
neighborhood in circles with the
bells so they think I'm coming,but
I won't.
You would be a very poor ice cream
man.Now shut up and eat.
      (hurt that RAY
       does not play
       into his ploy to
       cheer him up)
Fuck you man, why do you have to
be such a prick all the time?
There was this uncanny quietness
today.It was kind of strange for a
while,but it's really grown on
me.Do you hear it?(pauses to take


                       RAY (cont'd)
in the silence)No cars,people
running their mouths,nothing.Your
an adult Gary.I'm trying to enjoy
my meal,a meal I cooked and made
for the two of us.So please let me
finish it in peace.
GARY sits quietly for a moment as RAY turns to look out the
L/room window.
I'm sorry.I'll enjoy the
quiet,because I sure as hell won't
enjoy this shity ass meal.Must of
really put you out to make some
hashbrowns and simmer these
delious hotdogs.
RAY laughs at GARY disrespectful demeanor despite his
anger.GARY laughs,feeling his success.The power shuts off as
the two enjoy the moment.
Goddamit.Where's the flashlight?
Should be on the coffee table,near
the phone.
GARY rummages around.Flashlight comes on and he sweeps it's
glow around the room.
GARY ignores his question and walks downstairs.RAY's face is
viewed and GARY's footsteps are heard o.s.
      (checking fusebox)
Are they on yet?


      (voice echoing)
No.(pause)I don't think it's the
Let me try it again.
GARY checks the fusebox again and flips the switch.
      (to himself)
I hope this house's got good
insulation then.
I'm goin check if the whole
block's out.
Walking outside he notices that other people's lights are on
too.Assuming that it's some problem with his house that can
not be rectfied immediately,he starts to become frustrated.
Come on damit,don't do this now.
Walking out from the backdoor,noticing the situation.
Why's their light on?
      (half heartedely)
Who know's,maybe we fried a
circuit board or something.


I don't think we even have a
circuit board.
But we've got the backup generator
don't we?I forgot all about that!
Yeah,but it hasen't been filled
since the last time we used it.And
I know we don't have any extra
Great.Jim has none,I know that
cause he came over yesterday
asking if we had some.Naturally I
didn't even check,just told him I
didn't have any so he'd fuck
off.This sucks.
We could take the gas out of the
car,but it's unleaded.The
reserve'll suck it up and the
whole hunk of junk will gut itself
in less than about 10 minutes.
Clark's store is closed this time
on a Tuesday.We're looking at
being a little chilly tonight.
You'd go home early too if your
      (interrupting with
Here comes Jim.


GARY moves over to meet JIM.They begin conversing.
Hey stranger.
Hay man, were you just in my yard?
No. I've been standing here for
like 5
minutes, talking with Ray.
JIM makes a quick attempt to see RAY.He responds, though
still unseen from the camera's vantage point,coming to his
brother's aid.
Ya, he has.
You sure?
Of course I'm sure.Why would I lie
to you?
I don't know.It's cool, I didn't
mean to accuse you of anything.I
thought I saw someone walking
around my shed.
Hmm.Your power out too?


      (Trying awkwardly
       to make
Did a transitor blow or what?
      (as if strangley
       intrigued by the
I don't think so.Lights are on in
a couple of houses.(looks at
Suzanne's house)Why's Suzanne's
house all lite up if she's not
Gary makes a gesture siginifying that he dosen't know
exactly why.There's a pause in the conversation, as if the
two are reflecting on what has transpired so far.The next
lines are presented in a fashion that shows the two are
trying to wrap up thier caucus.But normal formalities seem
to slacken thier pace.
I'll call BGE and ask them whats
up, or report it or whatever.
Alright, cool
Angle on RAY.RAY seems to be examining something far off
that is, at the moment, unintelligilable as the darkness
defeats his eye.He crouches back out of view.Angle on
      (Trying to get
       JIM's attention
       from RAY)
You want to come in?I got to warm
up the reserve generator, but that
should only take like 5 minutes or


Na.I got to go get ready to pick
Claudia up from the airport.Her
flight might be delayed because of
all this shit, so I have to get
this all figured out.
I doubt it.(pauses)How is she
      (distant, troubled)
She's good.Went up to Manchester
on Monday with her sister to
checkup on thier mother.
Something wrong with her?
Complications with her surgery.She
won't go to get help, too scared
to have them put her under again.
      (Trying to find
       the correct
       response, but
       obvisously coming
       anything but
That's ironic.
Hopefully fatal too.3 calls a day
to her daughter from fucking
Tennesee is starting to dip into
my beer fund,you know what I mean?
Both laugh.
Yeah.(pause)Alright then, nice
seein you again Jim.


      (checking himself,
       with a reprized
       tone of energy)
You too man.Appreciate the offer.
No problem.
Both walk o.s.
GARY goes over to a cryptic faced RAY who is seated at the
base of the porch.
What did he ask you?
You were right there man.You
talked to him.
Please,save me the grief and
answer my question.
I don't know what he was talking
about.He asked if I was walking
around his yard or something to
that effect.
To that effect,huh?(pause)Well he
wasen't seeing things.


Don't fuck with me Ray.
      (disregarding his
       crass manner)
I think we should go inside the
house, get the power back on...
Was there really someone in his
I saw something, yes.
If you really saw someone we need
to tell Jim.
Sure.Once were inside.
I go tell him right now.
No.you'll call him.
You will not go into his yard,is
that understood?
      (in fevered
Jeff can handle himself.I don't
want anyone getting hurt,and
walking into that man's yard will
immiediately,regardless of what


                       RAY (cont'd)
you think,will put you into
jeopardy!Now Jeff is a good
man,not my favorite but he has a
good head on his shoulders.I don't
want anyone getting hurt, and I'd
rather you'd stay away.Okay?
       giving in)
Fine.I'll call him when I get
Thank you.
The two are quiet for a moment.RAY seems to want to say
something,but wishes not to get GARY started again.
There was something wrong with the
way that guy looked though.His
eyes seemed to reflect the
light.To my knowledge only
animal's eyes do that.
I'm going inside.
I'm going to check something real
RAY walks up the driveway and stands,looking both ways down
the street.It's completely deserted.RAY returns to the
vicinity of the house and begins conversing with GARY.
(looking at the house to his far
right)I thought their lights were


      (hurried,a hint of
Who cares?Just get get inside.
      (almost as if he
       is probing GARY's
I think something's going on.
Great,let's talk about it inside.
      (with innocent
I didn't know you scared so
You do now.Come on!
      (starting to scare
What makes you think we'll be so
safe inside either way?
      (starting to lose
Who the hell cares man?!Just get
in the goddamn house!
Fades out as the two return to the confines of the house.
GARY is submerged in darkness, fooling with the fusebox and
the instruments around it.After a moment the lights come
on.GARY turns off his flashlight.Cuts to trucking shot that
moves in a linear fashion from the dining room window to the
kitchen.At the window RAY is looking at something.P.o.v. of


RAY, looking out the window a dark,strange figure lurks
across the yard.The stove light flicks on next to RAY,which
he quickly turns off.The figure notices movement and
scuttles away into the shadows.RAY drops to the
floor,terrified.GARY enters.
      (looking out the
       window as if he
       had noticed
I think someone's outside.
Gary,look at
Why?That could just be Jim.
      (emphasis on
That's definetely not Jim.
You sure?
Postive.But don't put shells in
it,it's just to scare him off.
One sec,-and hey,turn the lights
on so he knows we're home.
      (trying to hurry
       him on)
RAY gets up as GARY leaves and locks the sidedoor.GARY
rushes back downstairs with the shotgun.The two begin
conversing,GARY standing near the downstairs door and RAY
with his back flattened against the kitchen cabinet.


I got it.
When I turned the stove light back
on,the guy ran into the dark.You
can still kind of see him,his
shadow, on the side of Fay's house
Do you want me to go out or what?
Well,if he ran off when I just
flicked on the stove light,that
probodly means he thought nobody
was home.(pauses for a moment to
think)I'm thinking we should turn
on some more lights,see how he
Cuts to numerous lights coming on around the
house.After,angle on the two conversing.
Where out back?
Around the front of Suzanne's
house,but I don't know now.
Alright stay up here and look out
the window.
To see if he's tryin to sneak up
on me.I don't know,just do it.


No,this is a bad idea,we should
call Jim.
What the hell's Jim goin do?If
you're goin call anyone call the
Dude,it's probodly just some
dumbass kid.
Great.I hope it is,so he can go
home and tell his mom you
threatened him with a shotgun.
Yeah,but I guarentee he won't come
around here anymore.
GARY walks downstairs.RAY watches after him.Long shot.Gary
reappears and begins his dialogue with RAY.
I told you to look out the window,
man,what the hell are you doing?
I wouldn't have been able to tell
you in time anyway.(pauses
Was there anyone out there?
No.Nothing was out there.
I swear to God I saw someone out
there.I mean I swear to God.


Who knows man.It was probodly just
somebody coming to ask if our
power was off too.Maybe they saw
you turn the light on,they're
question then would be
answered,and they went home.That's
That's f'd-up.
Silence envolpes the two as they pause.
To what?
It's so quiet.
Yeah,it is kinda quiet.
When's the power goin shut off?
Half an hour,maybe twenty
minutes.We should pack the food up
but I'm too lazy.
I'm going to-hey,did they shut off
our cable or somethin' cause I
check it a minute ago and it was
just blue fuzz.
Pop in a tape.I'm not doing jack
shit until tommorow.


What's that?Gary
procrastinating?Why I never!
RAY shuts the door.Cuts to the kitchen clock which reads
8:45.Fades to black.
RAY lays in an almost comatose state on his dinner tray
watching the television.A funny line makes RAY crack a
smile.Angle on dog downstairs,growling and barking warningly
at something outside.Cuts back to previous shot,RAY now
noticing the dogs barking.Angle on GARY's silouette at the
top of the stairs.
Ray!Stop banging damit!
Cuts to RAY.He rises,knocking over his tray in his
restrained panic.
Oh no,oh no...
That's not me!Something's hitting
the backdoor!
What do you want me to do?


      (frustrated and
Grab the gun and see what's going
on!Come on man,Christ!
Camera cuts to GARY moving briskly into a side bedroom.He
moves past the camera and rummages o.s.
Gary moves back into view and jogs out of the room with a
hat,a handful of game loads and the shotgun.He rushes
downstairs.Angle on a piece of literature that is suggested
to have fallen during GARY's raiding.It's marked 'WAR of the
WORLDS'Fades to barking heard from a upstairs vent.Which
cuts to RAY turning off the VCR.Cuts to GARY placing the
shotgun on the coach as he checks himself over for something
he has misplaced.Ray is looking out the living room window
as Gary enters the room.He turns and moves swiftly over to
Gary,speaking urgently.From time to time Ray looks toward
the downstairs door,his expression alert and fearful.Gary is
absorbed in his task of loading the weapon.The dog barks
furiously throughout.
Is someone out there doin' that?
Yeah,I-I think so.
Do you know so?
Ray looks toward the door,not responding to Gary's
question.Gary finishes loading the weapon and sets it in his
lap.He looks at Ray in frustration.
Come on you cocky son of a
bitch,your not scared are you?
Ray looks back at Gary.


      (laughing in his
       embrassed honesty)
Yeah,I'm actually terrified.
Well maybe it's that fella you
keep seeing come to say hello.
Tell him I'm not home.
Well,that door down there's custom
framed,so whatever-
Fuck the door,I'll pay for
it,Jesus Christ I'll install it
just get that fucking banging to
GARY frowns and rises to his feet.
Seeing as this person might be
drunk or violent,there maybe a
need for me to use force.
A 12 gauge shotgun isn't force
Gary,it's overkill.
That's the point,and hopefully
he'll get it.
I'm calling the police.
GARY opens the D/door.
About time,ain't it?


I'll be back in a jiffy.
GARY salutes and walks downstairs,shutting the door behind
RAY hestiates for a moment,and then makes off for the
guestroom.Once there,RAY picks up the phone.There's no dial
tone.He puts it on the reciever and trys again,trying to
dial.Nothing.He sets it down slowy.Angle on GARY,shotgun
shouldered.The back door is open and the dogs are gone.GARY
begins speaking threats.
Hey,this is 52 Church Rd.,so that
means get the fuck
out.(pausing)This is a 12 gauge
pump action Remington shotgun.I
got it when I was 8.I have this
strange tendency to hit what I'm
shooting at,okay?
GARY notices the backdoor is open and that the dogs are
      (almost comically
Oh you let the fucking dogs
out,you mother-FUCKER!(calming
himself)If I don't shoot you
before the police come it'll be a
FUCKING miracle!
GARY moves cautiously over to the L/door.
      (almost to himself)
I'm goin get my dogs now,and shoot
your ass if you sneak up on me.


Cuts to RAY listening upstairs,head to the floor.Cuts back
to GARY making his way around to the back door.Before he
enters the laundry room, GARY screws in the light bulb above
his head.Once GARY goes through the already open door, he
begins to examine the door knob.
      (in an accusing
       manner, as if
       he's so surprized
       and horrified
       that he hasen't
       even been angered)
Oh my God, what the fuck did you
do to my door?
Looking up from the door knob, he begins to beckon his dogs.
Come Shadow,come!
The windchime next to GARY rattles,but there is no
wind.GARY, the resolute persona he portraits suddenly
broken, looks as if he had just suffered a stroke.The
smaller of the two dogs walks into view.


      (trying to coax
       the dog toward
       him,he mimicks a
       voice.His true
       feelings of blame
       and wrath become
       apparent when the
       dog hastens
       toward him.)
Come 'ere Rusty girl, come
on.(once the dog comes within
grabbing range GARY drops the
act)Get the hell in there-now!
The dog enters the house.GARY turns around quickly to beckon
the dog.
      (with fearful
Shadow.SHADOW!Get the hell in
GARY is cut off by the shake of his neighbors windchime.A
reverse angle shot from GARY moves to the action.Again
nothing is seen.
The door behind GARY cracks open slightly more.It's
suggested that the dog has just entered o.s.
      (calming himself)
P.o.v. of GARY pans across the landscape of his
backyard.GARY backs slowly in, looks at Rusty as he does
so.GARY takes a moment to get his bearings, then turns off
the porch and t.v. room light.GARY then walks into the
laundry room, calling the dogs after him.


Come on guys.Rusty,Shadow come.
Rusty, the smaller of the two dogs, comes forth and through
the laundry room door.The other dog does not go though.
Rusty, the smaller of the two dogs comes forth and through
the laundry room door.The other dog does not come.
Shadow.S-h-a-d-o-w.I will give
your dumbass five
seconds.(pauses)Five mutt.No
longer.You get me?It's goin' be
the wrong move, bud.Come on you
big pussy-get the hell in here!
A figure emerges from the dark.Moving slowly,as if
wounded,the figure moves past.GARY goes to hit the dog as it
passes.He strikes it.The figure stops, as if
astounded.GARY's face goes slack.
Oh-your not Shadow.(the reality of
the situation hits him,and his
reaction is spaztic and well, just
completely reactionary.)
GARY slams the laundry door shut.Cuts to outside shot of the
side of the house.The backside of the dog is viewed jutting
out upon the ground.The dog is still, lifeless.
GARY is seated onthe floor.There's a scuffle heard, the
wimper of a dog, then silence.GARY is paralyzed with
fear.Suddenly the laundry door is slammed and scratched.The
movement behind the door is in a manner of examination, as
if the one behind is trying to access the mechanism that
will open the door.It gives up, and resorts to ramming the
door furiously.With each impact,GARY flinches in fearful


anticipation.Cuts to RAY upstairs.He's still got his ear to
the floor.But as GARY begins to scream o.s., RAY looks
toward the camera in alarm.
What the fuck?!WHAT THE FUCK?!GET
GARY stops his desperate cries abruptly.The camera is held
on RAY for a few more moments.Cuts to the basement, where a
creature is trying to displace the table that sections off
the gym from the t.v. room.*The table was in place
originally to keep the dogs out of the television area.GARY
is suddenly caught in the reflection of a mirror, edging
stealthlily towards the basement door.Once in range, his
intentions now clear to exit through the door, he begins to
count down with trepidition.
One,two(stuggling stops and the
arms are retreated)One...(deep
Tight shot of the doorknob, GARY is at a further
perspective, gaining his nerve.
      (relizing the
       danger of the
GARY grasps the doorknob and throws the door open with all
his might.The door does not swing as far open as GARY would
have wished, as it is clasped by an inhuman grip and slammed
shut.A spilt second later the light in the gym room is
smashed and the screen is engulfed in darkness.
The clock on the stove is focused in on, the time reading
8:52.O.s. RAY rummages for some kind of weapon to defend


himself with.Though not seen on film at this point in time,
RAY gets hold of a large butcher knife.His words are hurried
and tense, as he does not know what to do to aid his
Come on, come on.Oh shit, oh
shit...(losing patience)COME ON
THE HELL ARE YOU?!Come on God,
please, PLEASE!(finds his
bounty)Yes, yes!Alright,
alright.(Takes a moment to truly
assess what he's to do now with
the current situation.)Oh
God...what the hell am I goin' do?
RAY moves past the clock quickly into the living room.Fade
Angle on the stairwell, as viewed from the t.v. room
closet.The camera slowly pans to it's left, and GARY's face
comes into view.His complection is tense and desperate, as
if his very life depends on what he is to do in the next few
seconds.Shadows play across his face.GARY is aware of
everything around him, his breath fluttering.Cuts back to
prev.shot of stair well.GARY's hand moves outward as he goes
to take hold of a stair to help pull himself through
with.His hand stops short as a sound is made in the other
room.The camera rev. angles to GARY's face, sweaty and
tortured with the suspense.Cuts back to the stair well, and
a figure moves into view.Before it passes out of sight it
stops short.The figure slowly turns it's head to meet the
camera's eye.After this moment of recognition, the figure
moves out of view.Cuts to GARY's face.His hand retracts, and
his scream is one of panic.
The t.v. is in focus.O.s., RAY is turning off the light next


to the couch.Moving very quickly around through the guest
room , RAY makes it to the kitchen and turns off the stove
light.Next, he travels to the room with the door to the
basement.After turning off the light in this area, RAY moves
into the view of the camera,behind him a something casts a
shadow on the porch window.Ray takes no notice of
this,instead he just stands still in shock.
Sounds of struggling are heard, but GARY's cries cease.
Cuts to GARY downstairs, struggling to squeeze through the
stairwell.The shotgun is placed on the stair onto which he
is trying to get a purchase.GARY's attempts are both violent
and hysterical, his fight or flight instinct going into
overdrive.Angle on the laundry room door from the inside of
the laundry area.The frame of the door is being slammed from
the reverse side, this action going on for a good ten
seconds, and then ceases.After a moment the doorknob is
tampered with, and begins to jiggle.Cuts to GARY's back as
he still struggles and reverse angles to the window directly
behind him.A shadowy figure passes by.Once it goes out of
sight, the camera will pan over to view the facing wall in
the laundry room.A door will be heard opening and a slash of
light will be thrown up onto this wall.In the contents of
this ray, a shadow of a long figure will exist.For the brief
moment of it's showance, the figure's actions should be
those of amazement, gratifying itself on the resolution of
it's problem.
Cuts to the basement door.RAY moves into view, crouched and
armed with the knife.RAY reaches for the door, takes hold of
it but refuses to act.GARY is heard o.s., scrambling.In a
blind rush RAY opens the door and rushes down.He moves past
his brother, and the door slowly moves to obstruct the
vision of the camera.A moment later, GARY crashes back into
the door, armed with the shotgun.RAY is nowhere in
sight.GARY yells for is brother, the truimph in his voice
slowly fading away with each call.


      (exhausted to the
       point of
       repeating his
Ra-Ra...Ray?(understanding the
situation now)Hay
RAY moves into view.Backing away, his face blanched of
RUN!(growing in urgency)RUN!!
RAY flinches, as if reacting to the assumed sudden movement
of the creature o.s..He drops the knife and turns to GARY,
or rather the camera(as the shot is from GARY's p.o.v.)RAY's
mouth is wide open.He turns back and makes a move of
revulsion, and then sudden panic.RAY races upstairs
screaming, and the thing rounds the corner.As soon as it is
in view, the lights shut off in the basement.Only the rush
of footsteps are heard.RAY is seen making it upstairs in the
halflight, and passes the camera.The lights flicker on one
last time, backlighting the thing as it stands still towards
the zenith of the stairwell.It does not give chase, but the
reason is not evident.The door is shut and the two brothers
are again reunited.
GARY grabs the far right chair of the dining room set, and
wedges it under the doorknob, handicapping the door.As this
unit of action occurs, angle on the creature behind the
door.It realizes what is going on and retreats down the
stairs.Angle on RAY his head in his hands, trying to
breath.GARY's back is to the door, the shotgun's choke being
strangled in his grasp.
      (breathing heavily)
I-can't -breathe...Oh god...my
chest...oh shit...shit...


I thought it was the dog.I'm
sorry.My God I'm sorry.
What was that?.
Your guess is as good as mine
bro,as good as fucking mine.
The phone's dead.No help for us.
That's bad.
Oh my God,Gary,what was that?
Why don't we just calm down
already,okay?Because what just
happened in the past five minutes
was just a little to much for me
to handle.
Theres a long pause.The two sit in a mixture of volatile
emotion, trying to dissect it so it's digestable.RAY speaks
first, though he feels deep down perhaps he should have
stayed quiet a bit longer.
The power's off downstairs, but
not up here.That's not how it
works.Something's wrong-(gets up
and takes sight of GARY's
hair)Fucking no-way...
      (worried suddenly)
What?What the hell is it?(looking
around in fright)WHAT?!


RAY moves forward and looks at GARY's head.GARY tries to
understand what he's looking at, turning to look at the door
in confusion.
Shake your head.
Wait, do what?
Shake your head Gary.
GARY shakes his head, his hair falling out in a plume.He
just stares at it. As the camera cuts to his profile RAY
begins to speak, and GARY looks up hestiantely.
It's been three days since there's
been anyone on the road.Who knows
how long the phone's been gone,
who knows how long the t.v.'s been
out.Your hair, and my vision's
getting blurry.And the stillness,
the-the deadness.If we didn't talk
or the dogs bark, I'd swear I was
fucking deaf.
RAY pauses for a moment pondering the situation.
The electronics are
scraped.But...but my teeth aren't
loose, just your hair and my
sight.If we're being irradiated I
sure as hell don't know
why.That(RAY points to the
D/door)would kill us too, if there
was any doubt in your mind.I saw
what was left of Rusty...(morbid
disgust)she was splattered all
over the floor, just all over...
GARY turns to look at the door parallel to his right
shoulder.He turns back quickly, a stunned look on his
face.GARY's breath becomes thin.


      (in disgusted
It's at the door.
      (hoping what he
       just heard isn't
Ray,it's at the fucking window
looking at me.
RAY swings out to get a better vantage point.He sees it and
begins to devise a course of action.
      (to the figure
       behind the door)
Oh shit.
The figure runs off the porch.There's a pause.Suddenly
something downstairs begins to fool with the gym
equipment.It rushes up and slams the door with the weight
bar.GARY buckles the door with his weight, dropping the
It's got something in it's
arms!It's goin' tear the door
apart!It's goin' to get us, oh
shit-(dropping the shotgun)Take
the fucking gun!
RAY grabs the gun and stands up, opposing the creature.The
attack on the door intensifys.
      (unsure and
Hold the door!


It's goin' get through, spill out
on the floor with that.What do you
want me to do,oh shit!It's got the
weight bar, it's going to impale
me!I'm movin, I am fucking moving!
NO.Just no.Wait two
seconds,weather you're even
helping keep it shut or not.If
it's smart, it'll move when-
When what?!You shoot out the
window so it can knock the fucking
door in?!Hell no!I'm running as
fast as I can upstairs, I'm
You fucking move it's you that
will get shot.A few seconds.Then
we'll move.If not I'll tell you to
duck, and if you don't your head
along with that door will be
stipled with buckshot.
I'll give you ten seconds.Ten
fucking seconds.
Camera cuts to the living room window.Behind the half open
blinds, a lithe body strides along the side of FAY's
house.Moving quickly and with purpose, it steals around the
house and out of view.As RAY stands up with the shotgun
shouldered, the banging downstairs ceases.After a moment,
the figure behind the side door reappears then,after a
moment, lowers out of view, as if it knows what the gun can
do.RAY is extremely uneasy about this, looking always at the
door but his attention divided between everyone of his
senses.Movement on the stairs is heard again, RAY flinches
and GARY looks at the basement door.After the minute
scuffling, all is quiet.GARY looks back at the side door.RAY


picks up a pen off of the coffee table next to him and lofts
it at the door.As soon as it impacts, the figure darts up
with deadly striking speed.It splays it's four fingered
hands onto the window, diminishing force as it realizes
there's nothing in range to grapple.It examines for a mere
five seconds then taps the glass with it's talons.It walks
o.s. down the side stair well.
RAY moves into to the kitchen, trembling.He pauses every few
seconds to well up his courage to move on.GARY is staring at
RAY, still seated in front of the downstairs door.As a
close-up of GARY holds, the weight bar in the basement
crashes onto the floor.Startled by the noise, the nerve
wracked RAY swings around to assess the situation.GARY
slowly creeps away from the downstairs door to rest his back
against one of the dining room chairs.Once doing so he again
retains his uneasy observation of his brother.RAY turns back
to face the the door.The p.o.v of RAY sweeps the kitchen
before he advances further.RAY moves forward a bit more then
lowers his weapon.Turning back around, (which seems foolish
but RAY is either too tired or overwelmed to care)RAY begins
conversing with GARY.
Let's not dick around now,alright?
If it gets on this floor,then
there's no running.That makes us
dead.From what I just
witnessed,it's a complete
possiablity that there could even
be two of them out there.Now
listen, the flashlight is where
you left it,right?(GARY nods his
head)We turn off the lights up
here , only in this room until
were done.Okay?If it's got that
weight bar it may throw it at me
so-so when we cut the lights and
I'm in place,I'll tell you to open


                       RAY (cont'd)
the door.Only a hair,alright,only
a tiny bit so I can see where it
is if possiable.In half a second
I'll move the barrell to tell you
to swing it open, the door,got
me?Then shine the light down into
the basement, over my shoulder so
I don't shoot your hand off.I'll
shoot, if I miss, which I most
probodly will,I'll wait until it
rushes up those stairs and put a
round in him up close to tumble
it.Falling it may break it's
neck.This holds how many shells?
Power's out Ray.You'd never see it
Okay, that's when you turn the
flashlight on it.Think.Now how
many shells Gary?
Seven,five in the gun and two in
my pocket.One's in the chamber
right now.
Okay,okay.Now when it runs back
down, we'll go and do
this.(speaking to himself)My God
this is maddness.What happened
here tonight?
After RAY says his lines, the creature first walks, then
races up the stairs to shoulder the door with all it's
weight.GARY scrambles into the kitchen and RAY grabs his
shotgun.Outside the dining room window something lopes
across the yard.The thing walks slowly back downstairs to
perhaps ready a second offensive.RAY speaks hurriedly to


      (face in innocent,
       wretched fear,
       pushing himself
       to do this last
       sucidal deed.)
Your goin knock the chair
over,swing the door open-I'll do
the rest.
      (knowing that this
       may all turn out
       very, very
       bad.Voice very
I love you man.
Don't.We'll be all
right,okay?Okay?Now do EXACTLY as
I told you and it'll be over
before you know it.
Both rush for the door.GARY throws the chair and throws the
door open.At the bottom of the stair well two patient eyes
stare back at him.Cuts to RAY shouldering the shotgun.
*Clip is muted, loop in the desolate outside audio. JEFF
puts the keys in the ignition of his truck and starts the
vehicile up.Two loud shotgun reports ring out, and JEFF
turns the truck off quickly.JEFF sits idle, seeing if he
really actually heard anything.Slowly, he takes a flashlight
out of the glove compartment and turns it on.JIM steps out
of the truck.JIM advances in the direction of the camera
hestiantily.Suddenly JIM stops as if he has heard
something.Turning in the direction of 1 o'clock, JIM quickly
lays the cone of light on a figure immediately in front of
him.The thing freezes as it realizes it's cover is blown,
but before JIM can react, something snatches him up from
behind.There is a quick struggle between the two, and JIM
drops his flashlight.The only thing visable is the glow of


the light, and there is no visiable action for about 10
seconds.Suddenly the light is picked up by JIM,who's
movements indicate he's been seriously injured.Sprinting
with violent urgency, JIM limps finally over to the house
with the wooden perimeter fence.
JIM collapses on the peeble driveway after leaping the
fence.Knowing his danger, JIM rears back up to his feet
almost as if his body is trying to push him forward.As he
backs up,now erect,JIM sweeps the light across the lawn in
front of him, searching for his assailants.When nothing is
seen, JIM hobbles very cautiously forward, still searching
the darkness ahead with his light.He moves to the fence,
combing wider with his light.At JIM's feet,one of his
attackers has lain in wait, and springs up,going to grap
JIM. Evading the things grip in time, JIM leaps aback and
slams the thing on the head with his light.As the creature
stumbles, gripping it's head in pain, JIM takes his
chance.In a violent outburst, JIM starts wailing on the
dazed creature.The thing stumbles back, and JIM swings
missing it on about the seventh swing.As JIM rears back to
swing again,the thing swipes his open lower jaw, and JIM
drops limply to the ground.JIM, light still in hand, is
dragged under the fence and for roughly four feet.
JIM comes up to his feet, breaking free of the thing's
grasp, the light beam slashing up and down as the mortally
wounded man runs desperately toward RAY and GARY's besieged
RAY has his ear up to the basement door, listening for
movement.GARY is seated on the floor next to him, holding
the shotgun.The weight bar the creature was using to slam
the door is lying on the floor in front of the t.v.The
basement door is again wedged up with the chair.
Nothing.I told you this five
minutes ago.You killed it, and I
don't know why you didn't see what
I saw, as you did fire the gun,
but I'm positive you hit it in the
face.Bam, you blew it's face
off,trust me, he's done.


RAY looks up in quiet recognition.
That's not the wind blowin' done
there, believe you me.
      (turning to look
       over at the side
What the fuck was that?
I'm telling you, something's down
there, so shut up and let me
There's a moderate pause.GARY starts up again.
The last thing I thought it would
do was throw the weight bar
up.Especially that well.
There's a loud buzz as the power downstairs comes back
on.RAY looks up at GARY, senses back.
Is that the power?
GARY seems to settle.The two's mannerisms become more
conversational.They begin to speak softly.
      (relaxed minorly)
That's not going to be a regular
thing,it's going to be a habitual
threat.Every minute our power's
draining, hiccups may last 5, even
10 minutes.


Yeah, but the question is if the
power even really matters.We've
based all of this on circumstance,
not in fact.They maybe waiting for
something else.
What if they've got guns?
They're not people.
Don't say that.
They aren't fucking people,they
ain't fucking animals and I
know.(pause)When I looked at it,I
knew it.Ridculous,but it can't
be.The way it breathed,the way it
moved,the way it smelled wasen't
right.It was the emptiest,erriest
feeling when it looked at
me,that's why I froze.It wasen't
fear,Gary,I was terrified.I was so
scared,I almost died down
there.And why?Because there is no
explanation for what it was no
reason.It was a primal fear,like I
was prey.I can't just deny that.
RAY pauses to reflect on the point that GARY has just
made.After a moment, RAY opens his mouth to respond.He's cut
off by a crash of something metallic in the basement.RAY
puts a silencing finger to his lips and the two
Open the door and get me.
There's a pause.GARY whispers softly to RAY.


That's Jim's voice.
I really hope it is.I don't want
this door opened and be proved
RAY raises himself up,and tries to talk to the speaker.
Jim?What's wrong?Why are you in
our basement?Jim,I really don't
want to leave you down there, so
start talking man.
Your dog's dead.
Yeah,we figured as much.(pause)Can
you walk.
No,no I don't think so.(pause)I
locked the door,okay,so-so don't
worry about getting me or anything
He said the door down there is
Well the lock's fucking smashed.
RAY nods his head in quiet response.


You better get me.I've called you
and called you,quiet so they
wouldn't hear me.But you better
come get me goddamit,so help me
God you better not let them lay a
hand on me.
You didn't hear him calling
because I sure as hell
No, and I was pretty attuned to
noise during the past however many
No, you were running your mouth a
little bit.
Ya, a little bit.
One of us should really go help
GARY chuckles at RAY's insincerity.
There's not one fucking funny
thing about this.One of us has to
go down there and help him.I don't
know what's funny about that.That
thing tore apart my 86 pound
labrador retreiver, and hurtled
the weight bar which almost
shattered my kneecap,fucker.
GARY,reprimanded, stops laughing.The two stand up,and GARY
speaks first,loudy so JIM can hear him.


Hey Jim,hang tight,I'm coming
RAY looks at GARY with a certain admiration as he says these
      (to RAY)
He's dieing.The outside door is
shut, and you shot the only one I
saw.I just hope it didn't
disappear and no one believes any
of this in the end.
I'm sure we've got enough evidence
to prove that something unnatural
happened here.You tell me if you
need help carrying him or whatever
I'm goin go turn some lights on
here.Get up here fast,please.
I'm not going to be dragging my
GARY walks over to the downstairs door as he says his
lines.RAY does a kind of semicircle pivot as he tries to
keep eye contact with GARY as he walks past him.After the
dialogue ceases,RAY walks into the next room,turning on
lights as he goes.GARY slowly opens the downstairs door and
begins descending the steps.


GARY slowly makes it to the bottom of the stairwell.The door
is open behind him and the shotgun is in his hand.Once he is
at the last step,he spots JIM.Laid out on the basement
floor,JIM is bloody and worn.GARY gasps in horror.
      (terrified of what
       lays before him)
Wait a second...let me...ah...let
me get up first.
JIM props himself up and begins to speak again.GARY is still
in a minor state of shock.JIM seems completely out of
Heart's beating too fast,way too
fast.Let me sit for a second...
Do you need help?I mean do you
need to be carried or something?
      (breathing heavily)
No...just...just need to slow my
What happened?
There was alot of them out
there.10 maybe even 20.
There is a long pause.GARY seems extremely anxious to get
upstairs.JIM tries to calm his overwhelmed senses.
Jim,your face...


It slashed my face,and it's nail
out snagged in my cheek.It ripped
my goddamn face open,didn't it?
We got to go back upstairs.
JIM looks over at the camera,suddenly his face goes slack in
shock.He looks back over at GARY.GARY bends over to help him
      (suddenly paniced)
Oh Jesus man,I don't think I can.
      (panicing himself)
I really don't want to be down
here,I'll help you okay,here-
Don't try,you can't.
Do not do this now.Now come
on,grab my hand.
I can't.
Because one of them is down here.
GARY stands up now,very alert.
Cut to RAY getting ready to turn on the light near the front
door.He pauses before he does, and calls down to GARY.


      (going more
       concerned with
       each word.)
Cuts back to previous shot.
Jesus Christ Jim,I can't just
LEAVE you.
      (looks up at him
       very comforting)
I'll be fine,trust me.Just go.
GARY looks desperately at JIM one last time, then finally
runs upstairs with violent speed.There's a crash,then with a
blood curdling scream JIM's legs are dragged out of
sight.Once upstairs,GARY slams the door shut and lays in
front of it in wide eyed terror.Inert with the severity of
the situation, RAY stands still.
      (talking to
No, don't think about that.All we
have to think about is how to get
away from this maddeness.
      (trembling in
Oh Jesus Christ...I could been
killed,why the FUCK did I go down
Please don't tell me he's dead.
I don't know what happened, how he
got over here or what.He was
bleeding real bad, said there's


                       GARY (cont'd)
more than one, maybe-maybe alot
Unfocus to a few flashback clips, focus back in on the
living room.RAY slowly turns on the lamp next to the f/door,
then drops his arm limply back to his side.GARY cautiously
turns on the light above his head, then sits, listening.
O.s. RAY's hushed voice is heard.
Is there anything wrong with you?
RAY appears crouched near the couch after he asks this
question.*RAY has hair on his face and shoulders.
Yeah, my night's ruined.
We can get to the car, I'm
sure.Yeah, we could do it.20
minutes ago you said we had half
an hour till the power shut off.If
they're, and now we're sure
there's more than one,going to
break in, they'll make a better
effort when it's harder for us to
see them.
RAY, towards the end of his speech, begins to brush the hair
off of his shoulders.GARY notices and a slight look of
disgust comes over his face.He checks his own shoulders
subtlely.As GARY begins to speak, RAY seems distracted by
something in the next room.


There's 3 shells left in this
shotgun,2 in my pocket.After that
we've got knives from the kitchen,
that weight bar and a driver.But
I'm not going outside,I'll run
when their all in the house, jump
out the upstairs window then
run.But you can fucking forget me
going outside if there's another
option available.
There's a pause as GARY examines RAY's body langauge.
What is it?(pause)Hey!(RAY looks
at him)What is it?
RAY puts his index finger to his lips.
The power goes out.In the blackness, rummaging is heard.The
flashlight is turned on and RAY is viewed from GARY's
p.o.v.RAY is brandishing the wieght bar, crouched as he
looks tensely towards the guest room.The window in the guest
room is slowly shut, then there is quiet.The two hold their
postions in silent anticipation.The light in the guest room
is flicked on, and someone coughs (o.s.).After a moment, RAY
and GARY look at each other, they talk under their breath so
much so that their speech is not audible.Mid way into their
panicky conversation, the light near the f/door shutters
back on, then back off quickly again.The two look towards
the lamp in surprize, then the t.v., as well as the rest of
the power, comes back on.Illiminated in shaky light, Courage
the Cowardly Dog's Eustece screams out in distress "It's the
end of the world!"as the cartoon runs on the screen.Next,
the TV is heard o.s., and the light in the guest room is
turned off.


      (a half whisper
       as tries to stay
GARY turns the vcr off, keeps the flashlight on.RAY puts the
weight bar down.*TV is blue after the vcr is turned
off.Turning back toward the guest room, RAY tries to contact
whoever is in the next room.
If you hear my voice, don't walk
through that door - or any door
towards us. You will be treated as
a threat if you don't answer or
choose to exit that room without
identifying your self.There's a
shell in the chamber of this 12
gauge, and if you in any way make
me feel like I am in any kind of
danger, either my partners or I
will shoot you on sight.
The light comes back on in the guest room.A voice replys
      (almost a whisper.)
Come here.
GARY turns off the flashlight.RAY picks up the weight bar.
Fuck you.You come here.
If I leave this room, where the
light's not so good, they'll come
through the same way I did.My
gun's trained on the window, when
you get in here,I'm going to speak
with you about some things.After
that we're going to lock the
window and lock this door across
from me.


RAY blows the hair out of his eyes.RAY sits for a moment in
thought, then slides forward like he is about to stand
up.GARY nudges RAY's shoulder before RAY stands up with the
shotgun.RAY looks at the gun with a bit of trepidation, then
drops the bar and takes the gun.RAY stands up, and begins to
slowly make his way over to the guest room.
I'm walking over to the door now,
don't point that gun at me.
RAY makes for the door, the light in the guest room
flickering on and off as he does.RAY stops in front of the
door, the light near the f/door stutters then ceases.GARY is
quiet, absorded by the suspense.RAY nudges the door open and
shoulders the gun quickly.CURATE,haggard,skin dry like he
has just suffered a flash burn, is seated on the couch.A
handgun rests in his lap.He seems wild and starved.Blood
wells up in the rivets of his burnt flesh.
Are we safe?They won't come
through with both of us in here,
will they?
Nothing saw me come through the
window, I just wanted to save us
some time.
What's happening?
      (guiltly ,
Oh God, you don't know do you?
CURATE pauses and gives RAY a meaningful look.He gets up and
walks over to a worried RAY.CURATE embraces RAY
violently.Fade out.


Fade in on the kitchen clock which now reads 9:07.The word
'TIME' blinks incessantely to the left of the digits.Fade
Fade in on the kitchen window.A figure is moving outside the
window, just behind the glass.*Back light may have to be
provided so the movement can be picked up by the camera.All
the lights in the kitchen are on, and knifes are assorted
from biggest to smallest on the kitchen floor.*Hair litters
the floor around the knives.GARY is seated on a stool next
to the refrigerator.The shotgun is in his lap along with a
strap from a sports bag.His hair is an inch or two shorter
than it was previously.GARY seems to have stopped what he
was doing to watch whatever is currently outside the
window.His complexion is unhealthy and he stares blankly out
the window.Suddenly the thing slides awkwardly off it's
perch and can no longer be seen.GARY's goes back in a very
routine manner to what he was doing.*CURATE's voice over
starts here.He attaches the strap to the gun.Once he's
finished,the camera cuts away to Curate wrapping up he's
speech.*The dialog below is CURATE's entire speech, 80% of
which will be a voice over the previous action.
The power went out first in New
York.The East Coast power grid was
thought to have been
overloaded.But then the MidWest
grid went out,then the Western
power grid.37 major cities in the
U.S. had power left in the span of
2 days.Atlanta,where I lived was
thought to be one of the last to
lose it.The news reports showed
millions of people crowding the
streets,walking almost
aimlessly.It was as if someone had
awakend the world from a deep
sleep and no one really knew what
was going on.An hour before we
lost power,there was one last
broadcast from New York on MSN.A


                       CURATE (cont'd)
local news helicoptor had sent
five seconds of footage before
their signal was cut off.The pilot
was screaming 'Oh my God!Oh my
God!'It looked like thick black
smoke filling the streets,people
were running terrified.Trampling
and fighting and screaming.But
what was really scary was that
they were dieing,and it looked
like it was because of the gas.I
was in a subway train at
6:22p.m.,going home to see my wife
5 days ago.There had been no
operating channels except the
local for 2 days leading up to
that.The power went out and I was
trapped in a subway car for two
days.There was this horrible
hissing noise that went through
the night and into the
morning.Screaming was what you
heard when the noise stopped,but
it would come right back on
again,and little by little those
screams weren't so loud,and after
a while we couldn't hear anything
at all.Someone on that train shot
himself in the bathroom.I snapped
then.I went to the bathroom and
took the gun,with the kids and
women crying around me.A guy got
up to stop me,I guess he thought I
was going to shoot someone.So I
shot him in front of his son,and
got out of that fucking train with
those fucking people.It took me a
day and a half to get to a
terminal,more than 24 hours in the
dark.When I got to the steps to go
up,it was so quiet,so still.The
whole city was on fire.And there
was a man with glass gouged into
his entire face down the street
screaming 'They destroyed
everything they could


                       CURATE (cont'd)
see'.(pause)I told you the
rest.I'm so goddamn sorry I had to
tell you this.
Quick cut to RAY,head in his hands.*RAY's hair is shorter as
well.RAY opens the guest room door and slips out.He pauses
outside the door,looking toward the camera with a look of
great loss and rage,hidden behind a thin veil of diginity.
Stay in here until I tell him.
RAY starts to walk upstairs.RAY leaves the door half way
open.The light flickers inside as CURATE sits still with his
thoughts.RAY walks upstairs as the light above flickers.As
he reaches the top,the light goes out,and RAY stops for a
moment.He starts forward again in the blackness.RAY enters
the upstairs bathroom,then slams the door shut.Inside RAY
goes into a fit of violence,which climaxs with RAY sobbing
his eyes out once he can't destroy anything else.With
time,RAY leaves the bathroom slowly.Once he reaches the
stairs,RAY stumbles,catches himself,then lowers himself onto
the third step.He sits for a moment,then begins to sniffle
lightly.RAY begins to walk downstairs when the light comes
on.RAY looks treacherously at the bulb for a moment,then
descends the rest of the way.At the landing,RAY adjusts his
demeanor before he goes to see GARY.All the blinds are down
on all of the windows.All lgts are off in the living room
except the lgt in GARY's room,the lamp on the living room
desk,and the two lgts in the china cabinet.The TV is still
blue.GARY is seated on the couch,gun in lap with the
attached flashlight taped to it on.He looks gaunt,suffering
from a distinct loss of sight.
      (Angry but tired.)
What's going on?I want to know,I
want to know why there are things
crawling on the porch roof.I want
to know why your sight's going and
why my fucking hair is falling
out.I want to know who that guy is
and why my next door neighbor got
drag off into the corner of my
basement and killed.


No you don't.
If he told you something,I think
it would be wise to tell me.I
deserve an explanation as well as
you do.
Thank you for closing the blinds.
They've just started standing at
the doors,at the windows.No
movement,their just
standing,waiting.Their waiting for
something to happen.I think they
know about the power or somehow
their scared of the light.And the
lights are burning out because of
all the flickering,and we're out
of bulbs now.I figured if the
blinds were closed they wouldn't
be able to watch us.And I wouldn't
have to watch them.
RAY walks slowly over as GARY speaks,and sits next to GARY.
All the knives are laid out on the
kitchen floor.Most of them are
serrated,and more than three
inches long.
There's a nervous pause,RAY's zoned out and GARY is scared
of what he may say.
Is it bad?


All of the power went out in the
world about 5 days ago.There was a
panic, some riots.There was a long
queitness.At first there was
gas,thick and black he said.Anyone
who breathed it died
instanteously.The national guard
was in place in every city across
the U.S..What happened no one was
prepared for.Machines,their land
craft, hundreds of feet tall
combed the cities.That man is
scalded from some invisiable heat
weapon they use.He survived the
intial attack,then snuck past
their perimeter a day later.He
made it here a few hours ago.He
seems mentally unstable.But this
is what matters now.These machines
are systimatically radiating
outward for the little pockets of
civilzation left.
      (wooden tone)
Okay.You believe this?
What do think?
It's Tuesday night.
Tommorow's Wednesday.
I'm so sorry.
I have work on Thursday,I...


The wind seemed to stop last
night.I woke up,cause I couldn't
sleep.I just sat for the longest
time listening for
something,anything.But there was
nothing.Maybe I shouldn't have
wondered why,maybe I should have
gone back to sleep.It's over for
them,not for us,no,not yet...not
GARY gets up and walks into the kitchen quickly.RAY stays
still,looking forward until GARY enters the kitchen.RAY
wipes his nose as if it's bothering him.RAY looks over
towards the kitchen,GARY is o.s..There's a sound of pills
spilling out on the counter.RAY moves quickly into the
RAY enters the kitchen urgently.GARY is bent over the
counter,looking at a variety of pills.GARY's face is very
RAY stops staring,moving quickly to help his desperate
brother.GARY pushes him with one hand,almost like he's
swatting away a fly.RAY hits the oven,then quickly launches
RAY attacks again,but GARY grabs his hand.As it struggles in
his grip,RAY notices what GARY has already;his hand is
bloody.RAY breaks his hand free and rubs his nose
Blood smeared on his face,RAY gives GARY a dangerous
glare.GARY is still staring at the pills.
Put them away-now.
GARY looks at the cabinet then his brother with a serious
stare.Turning back to look down,GARY's face turns slightly
remorseful.He slowly puts them away and turns toward the
camera.He slowly puts his hand on his mouth.His look is
somber.GARY's eyes look up suddenly.


Reverse angle to CURATE seated on the stoll.Silent looking
at the floor.During his first lines he does not look up.
Something had to be running those
machines,pouring the gas into the
cities,something that could think
and plan and construct.I've only
seen one,it was dead on the
road.Had two legs,two arms but
besides that it couldn't be
compared to a man.Eeriest feeling
looking at it as I passed by,I
guess I didn't believe anything
like that could really exist.
Curate looks up.
Smell the air.It's clean.Your hair
is falling out.Your vision's
going.What are you losing,near or
All those are signs of old age,and
all old age is is the final stage
of oxygen poisioning.There's sense
in this,if they are in fact what I
say they are.Their atmosphere had
to be different from ours,even in
the slightest respects,and if
their walking on the ground they
would have to have changed the air
we breath somehow to suit them
The three stand quietly,a heavily oppressive feeling is
present.Gary looks slowly up at the ceiling.Ray looks at him
quickly as he doses so.Curate keeps his eyes trained on the
floor.He does not look at Gary until Gary begins to
speak,still looking up at the ceiling.


This is insane.Utterly,fucking
Curate takes a moment before he responds to Gary's comment.
This is probodly the last bit of
humanity.The overlooked.I had the
luck of the draw,but you two,you
two had three more days than
everyone else.Normal days,not
these strange,long,lonely days
I've had to endure.
You don't know what that quietness
can do to you.Drives you crazy
after a while,makes you hear
things that aren't there.Because
there isn't anything,anywhere.Not
a goddamn thing.Just that goddamn
quiet,the stillness that
constantly reminds you of how dead
everything really is.
Gary,still looking at the ceiling,replys.Ray turns and looks
at the clock.
Nowhere's everywhere,that what
your trying to say?
Gary looks down at Curate.
Wait,I don't care what you do have
to say.Why the hell should I,huh
Mr.?Ain't goin' help none,is it?Is
it?But no,don't answer,because
yeah,that's right,it ain't goin'
help.Let's get this straight,okay?


Shut your fucking mouth.
Gary turns and looks at Ray sharply.
Ray,you shut your goddamn mouth.
Gary looks back at Curate slowly once he's sure he quieted
Now let's get this out in the
open,because side steppin' never
was my speciality.These ships,or
whatever the fuck they are,where
are they?Right now,how close?
Curate seems to be growing steady in anger.
      (failing to subdue
       his anger.)
You better calm yourself friend.
I ain't your motherfuckin' friend
you stupid son of a bitch!Now
answer my question goddamit!
Still looking at the clock,Ray interrupts.
      (raising his voice)
Shut the fuck up.
Shut up!Just shut the fuck up and
answer my question goddamit!


Curate snaps,screaming back,much more animated before.As
Gary and Curate scream at each other,Ray slowly closes his
Why the fuck do you think I
know,huh?!Really,tell me.Do I have
a radar system with me,or-or a
fucking pair of super binoculars
or something?
Gary seems to have been verbally beaten into submission.But
his facial expression is still obviously one of
agruement.Curate stands up and begins to barrate Gary
You want to run your mouth at
me?Your scared and angry,but you
think no one else is?You think
that your the only one going
through this shit,like you can
look at me and tell me to shut the
fuck up like I don't mean
anything,like my feelings don't
fucking matter?I buried my wife,my
beautiful,loving and very dead
wife with my own hands.Jesus
Christ,do you think it's going to
help if I tell you anyway?
Tomorrow,if you make it to
then,you'll die.Tonight you'll die
or tomorrow night or the next
one.But it's going to
happen,very,very soon,and you
better understand that.Everyone in
this room hasn't got a chance in
hell.What do you think your going
to do,huh?Shoot all of them,start
a rebellion?You need people for a
rebellion,and there aren't


                       CURATE (cont'd)
any.There all dead,everyone is
dead.And you can try and deny
it,go ahead.I've tried.But reality
is still right here,looking me
straight in the face when I try
and open my eyes again.
Curate looks from Ray to Gary,then back to Ray.Curate lowers
his voice as he says his next lines to Ray.
Those minutes are going to keep
passing,and you can cry and
despair and hope,but the seconds
aren't going to stop.The deaths of
billions aren't going to be
erased,no matter how hard you try
and shut it out of your mind.And
when time runs out,and your power
goes out,they aren't going to keep
behind the glass and the doors
anymore.And you won't be able to
hope your way out of it then.
Ray becomes tense,the panic that has been getting to him is
starting to show more clearly now.
Why would God do this to us?
We'll be able to ask him soon
enough I guess...
Gary looks at Curate slowly.
Right Mr.?
Curate meets Gary's glare.The two look at each other for a
long moment.


What kind of man brings news like
that to dead men?Yeah,rub some
salt in the wounds,some suffering
will do them boys some good,that
what you was thinkin'?Kill their
souls before they kill our
bodies?Yeah,thanks alot.
Ray turns to Gary.Curate lowers his head in shame.
I've had it.Seriously,seriously
had it kid.Come on,let's all whine
like you,snivel and snot all over
overselves while we have a little
temper tantrum.
Fuck you.
Curate says his next lines almost to himself,as he tries not
to make eye contact with the other two.
Please explain the light situation
Gary turns and looks out the window behind him.He makes sure
that he does not get to close to the pane.As Gary turns,he
says his lines quietly.
It ain't a situation,but it works
like this.Lights go on,those
things stay outside,don't
bang,don't try and get in,don't do


Gary peers out the window a moment longer.Ray keeps his
attention completely fixaded on his brother.Curate makes
more of an effort to look at Gary,even though his back his
turned,as he says his previous and upcoming lines.Gary turns
around to face Curate quickly.
If the lights go off...
Gary outstretches his hand to Curate,motioning for his
gun.Curate takes a moment before he fully understands.He
slowly gives Gary the gun.Gary tries to hand Ray the gun.Ray
looks at him,half puzzled,half angry.
What are doing?
Aim it at the door for Christ's
Curate looks at the floor,strangly unpaniced.
I hope you understand that they
don't know your just doing a
Ray takes the gun.He holds it up with his elbow bent,looking
toward Gary,then finally at the door.Gary moves over to the
stove light.He puts his finger on it cautiously,looks at the
door with trepidation.
There's one in the chamber,safety
should be off.
Ray looks at the gun quickly.
Where's the-oh.It's th-the red dot


It's got a hair trigger.
      (to Ray)
Aim it at the door.
Ray looks at him.His face becomes suddenly,but very subtley
This ain't a toy.I need to know
how it works first.
Ray aims the pistol at the door.Gary looks at him for a
moment,then turns toward the door.He begins to count down
slowly.Curate looks up,seeming to be slightly interested.
      (trying to be calm)
Gary clicks off the light.There is a three second pause
before quick steps are heard on the stairwell.The door is
suddenly shouldered feriously from the outside.The door is
pounded three times more before Gary flicks the lights back
Gary stares at the door,keeping his finger on the light
switch even after he has just turned it on.Curate is still
staring at the floor,deep in thought.Ray is trying to keep
his dignified expression,but he is still pale,breathing hard
and shaking just a hair.Slowly he lowers the gun.Before it's
half way down,Ray remembers the safety,and clicks it
on.Curate outstretches his hand for the gun slowly.
Ray hands the pistol to Curate forcefully,as if he doesn't
want it anymore.Ray looks at Gary,then marches into the
dining room and grabs the shotgun.Ray reenters the
kitchen,holding the weapon tightly.Gary moves his hand
slowly to the light switch for the porch.He flicks the porch
light on and the silhouette of a figure shows up on the


blinds.Looking at Ray,obviously frightened,he flicks the
light quickly back off.Ray swallows sharply.Curate puts his
hand to his mouth and looks at Gary.
No.They're anxious.You've got this
wrong somehow.They're
impatient,and there's a reason
Curate seems to be thinking quickly,eyes darting back and
forth,debating with himself quietly.Gary moves back to his
original position slowly.Ray has his attention focused on
Curate.He looks strangly at the man thinking aloud,almost as
if he confused and at the same time frightened.Gary's eyes
shift to Curate,then the clock,then back to Curate.The clock
reads 9:16.Suddenly Curate looks up at Ray as if he has
found the answer.
We have to turn off all the lights
now.You need to get whatever
ammunition you have,put it on your
person's and turn off the
lights.And not a few,all of them.
The gas should be run out by
Christ,Jesus,Jesus,Jesus...Do the
two of you hear me?
Ray looks at Gary as he says this,but quickly averts his
attention to Curate.Curate stares blindly off,half in
thought still.
Curate doesn't respond.Ray looks quickly at Gary as Gary
begins rambling.
       by fear)
God in heaven,why does it have to


                       GARY (cont'd)
end like this.What did I
do,huh?You son of a bitch.Who
thought we deserved this?
Ray looks quickly back at Curate.
      (frightened by
Why means fucking why,hey,look at
me when I'm talking to you!
Curate stares on.
Why?Huh?Nothing,no answer.There's
nothing in the tank now,there's no
power in a second,here it comes,I
know it,it's going out...
Ray,hunched over Curate,turns quickly toward Gary in anger
and fright.
Just turn the fucking clock off if
it's bothering you so much,just
shut the hell up cause your
scaring the shit outta of everyone
Gary looks at him,dazed.Curate begins talking quickly.
They're anxious because they want
to go,because the others are
almost here.The ones in the
machines,and they're scared that
you'll get away with the blessing
that was given to you,the same
blessing that you think is a


The what?What is it,spit it
out,please...come on!
Curate looks up at Gary,then the light on the ceiling
It's the lights.They didn't know
you were here because your lights
weren't on,that's why you
accidentily saw one of
them,because they saw you reenter
the house that wasn't suppose to
be lite up,and you caught them
investigating.And on top of that
you killed one of them.And in the
house you relite,which was
mistaken most probadly for an
uninhabited home and whose power
was shut off,their boxing you
in,at all routes of possible
escape,hoping your ignorance lasts
a little too long,so they can
scurry back into the night trying
to outrun the heat radius of the
blast that will hit this house.If
that happens,theres no doubt that
you'll be gone.
Curate turns to Ray who turns to Gary.Slowly Ray comes to
understand.Gary slowly shinks to the floor,looking at the
clock silently.
They don't like you turning off
the lights because if you do,your
just more darkness in a very dark
night,and with no visable target
given to them,those machines have
nothing to target.You will be
gased,but all you need to do for
that is go to the top floor, it
shouldn't reach any higher than
the first floor.But for that small


                       CURATE (cont'd)
chance to work,you have to turn
off the power and that means
everyone who is outside comes
inside,and inside is a very small
place.But it's all you've got.
If we turn the power off
ourselves,we control when it
Gary looks at Curate.
But not when it ends.
Gary looks at up at the light bulb overhead.The others look
up as well.
At least fifteen ways onto the
middle floor,who knows how many
else from below or above.They'll
be in in less than a
minute.Whatever happens,it will be
quick.I hope.
As Curate's v.o. occurs,Ray and Gary prepare for the plan
they have composed.The two lock doors,wedge others shut with
chairs,gather ammunition and load weapons onto their
The lights go down,here they
come.Through the
windows,crash,they're in now.Here
they are,inside,no more doors or
lights to shrink down behind.No
more garlic or crosses or
charms.Nothing but that shotgun
clenched in your hands,the fear of
it freezing you.The fact that it's
come down to this.We pull the


                       CURATE (cont'd)
triggers,our bullets,knives,sweat
and blood beating them
back,wounding,killing them as they
crash through our doors,through
our windows,our house and us.If we
we fall them quick,cut their feet
off before they can stand,stop
them before they're too many and
we're too few,we can move to the
stairs,whoever's still with us,and
into the rooms upstairs where the
locks are strong and the windows
are few and far between.They may
be up there before us,so run to
safety only if you know it's
offered.Then we crawl into the
corners,the shadows,locked in and
as safe as God intends us to
be,and we wait,hidden,quiet.We lie
still,silent until they disappear
and we know the worst is not yet
to come,but that it's here and
immediate and from there it leaves
our hands if it was ever in
them,and fate spins it's final
web.It's time.Now,before the storm
comes,in the quietness of the
unknown we say our last
farewells,we let out one last
breath,we look at all we have seen
for forever,and we prepare.We
prepare for the moment that we may
have to watch everything we have
known die before us.We smile our
last smiles,we cry our last
tears,we see our last sights,and
we hear the silence that is to be
broken,and we listen deep into the


Gary,the shotgun slung over his shoulder,holds two pictures
in both of his hands.He seems to be smiling,recounting some
memory from long ago.On the stairwell leading up to the
upstairs,Ray and Curate are standing close to one
another,talking secretively.Curate is still holding his
pistol,now in his left hand as he bends over slightly to
speak with Ray who is on a lower step.
Ray is holding the flashlight,a large knive handle
protruding from his left pocket as he looks up at Curate.The
two seem to be in mid conversation.
The one on the stove,Gary says he
reset it without checking the
other clocks,which all read a
little more than ten minutes ahead
of that one.We have time,so ask me
what you were going to.
Curate looks past Ray breifly,as if he's forgotten he's
there.He slowly pulls a crumpled envelope from his
pocket.Curate clenches this tightly as he begins to speak to
Ray,gradually making eye contact with him.
I want you to read this to me.When
I ask you to,not now,but before it
happens.It's a letter from
Shelby,she said she didn't want me
to read it until we were together
again.I kept that promise,for more
reasons than one.But this is
what's left of her,the last thing
she will say that I have yet to
hear.Read it to me when I ask
Ray shakes his head 'yes' and reaches his hand out for
it.Curate gives it to him unwillingly.Ray holds it,looking
at it with deep consideration.He looks up quickly at Curate.
I don't know if I should do


                       RAY (cont'd)
this.Especially with you saying
that.I offered the job of turning
off the circuit breakers,I never
offered to turn a blind eye to a
suicide.I won't.
I want to see my wife again
Ray.She's the only thing I ever
lived for,she's the only thing I
would die for.The lights need to
go off and their down there all
ready waiting for someone to try.
Curate hands Ray the pistol,and puts a hand on his shoulder.
You go talk with your brother
now.He's scared for you.You can't
understand what I'm doing,so let
me do it.The two lights are wired
to the car batteries,remember?They
won't go off when I throw the
breaker,you two have to flip them
off yourselves.
Ray hands Curate the flashlight.Curate begins to walk down
the stairs,taking his arm off of Ray.Ray looks at the
note,then back to Curate as he walks away.
You didn't deserve this.
Curate turns around sorrowfully.
No one did.
Ray gives Curate a look of admiration.Curate turns after a
moment and walks downstairs slowly,flashlight gripped
tightly in his hand.Curate holds his head high as he makes
his way into the living room.Ray remains on the
stairs,thinking to himself.As Curate walks down into the
living room,Gary makes no notice as he stares at the two
pictures that he is holding.


Curate pauses as he sees this.He gradually moves forward
again,looking at Gary.Gary looks up at him quickly,then back
down at the two framed photographs.As Curate comes
cautiously close,Gary eventually looks at him,his expression
neither compassionate nor aggravated.
Where's Ray?
Curate moves past Gary and stops in front of the downstairs
door before he replys.
On the stairs.
Gary looks back at the pictures.
Just sitting there or what?
Probodly thinking about
things,like the rest of us.
Ray walks downstairs,the letter held in his left hand with
care,the pistol held with authority in the other.As Ray
walks downstairs,Gary looks up at him with a kind of
admiration.Ray walks toward the light closest to the
fireplace without looking at either of the two.
Raycomes to the light post,looking at it with a kind of
harsh bitterness.Slowly he turns to look at Gary.Gary looks
back at him desperately.Curate stares intensely at the
door,gripping the flashlight tightly in his hand.
Read it now Ray.
Ray breaks eye contact with Gary,looking down at the ground
in silence for a moment.Without looking back up,Ray sets the
pistol on the couch and opens the letter with care.He takes
a quick glance at Curate before he begins to read.
There hasn't been a day I haven't
thought about you,and I never want


                       RAY (cont'd)
there to be one.I love you,that's
all I wanted to tell you.Through
the nights and days since I've met
you,life has meant something for
me.I wanted to thank you for those
times,I wanted you to just know
that,and be able to look back on
this little sheet of paper when I
can't be with you so that you know
my love is always with you,and no
matter how hard time tries,it
can't erase the love I feel for
you.Nothing can.Sorry if I was
sappy honey,but you know me
right?Love Shelby.
Ray looks up at Curate.He looks like he's about to cry,but
he seems to with hold.He sputters out his next words.
That's all?
Ray shakes his head.
Curate looks at Ray,Gary turns around to look at
Curate.Curate seems to be shaking a little as he tries to
hide some powerful emotions.
I'm thankful,to both of you.For
Ray and Gary smile at Curate.Curate slides the chair out
from the door and grabs the door knob to the downstairs door
tightly.His breathing his hurried,fear is evident in his


Don't let me hold you up,say what
you have to before there's too
little time.
Ray walks over to Gary.Gary sets the pictures down.Ray
embraces his brother,the two hug each other firmly.Ray
begins to cry a little,Gary looks off distantly,sorrow in
his eyes.
Said alot of mean things to you as
a kid.I never meant 'em,okay?I
never met nothin' by 'em.Not a one
of them,okay?
I know.You don't gotta
apologize.Your my little
brother,and I love you.And if I
had a choice on who would have
been my brother,I wouldn't have
chosen anyone else.
I love you too man.
Ray takes a step back and takes his hold off of his
brother.Gary grabs the shotgun sling and takes a hold of the
shotgun,fingering the trigger.Ray holds his arms at his
sides,staring proudly at his brother.
Go grab the other light,okay?
Gary shakes his head slowly.
Both go to their respected places.Gary takes his grip off of
his weapon and takes hold of the light switch.Ray takes hold
of his light's switch as well.Curate grips the door knob
firmly.Ray takes a deep breath,then speaks.


Now Curate.
      (to himself)
Here I come baby,here I come.
Curate swings the door open and slams it behind him.Gary
moves quickly,wedging the door behind him.He moves back to
his light.Ray looks quickly toward the other lights around
the living room.In a moment they shut off.
Ray looks at Gary.In a few seconds a struggle is heard
downstairs,Curate screams defiantly.
Okay,turn her off.
Gary looks desperately at Ray.
I don't want to,I'm scared.
It'll be okay,I'm here with you
now and always.
Goodbye Ray.
Bye Gary.
Gary turns his light off slowly.There are footsteps on the
stairs from the basement.The sidedoor is slammed
solidly.Gary aims his weapon toward the downstairs door.Ray
aims his toward the front door.Ray shuts his light
off.Gunshots are heard around the house as the picture fades
The picture fades in.Gary is seated on the kitchen


floor,cuts adorn his face.Ray is slouched over his brother,a
widening pool of blood spreading from Ray's torso.Ray still
clenches his pistol,the slide back to show the open chamber.
Broken plates and scattered debris cover the floor around
the two.The kitchen door is open,but no light seems to be
shining through the window.
Shh,it's alright.Take deep breaths
It doesn't seem so quiet anymore,I
think I can hear something
now,it's far off,but it's there.
We're here,nothing else matters
besides that.We made it,we beat
it,all of it.
Gary looks up slowly,his eyes seem to see something far
off.The two are quiet for a moment.
I just wish I knew where to go
from here.
A ray of sunlight comes through the window,landing on Ray
and Gary's persons.Ray squints his eyes,and Gary slowly
turns to look out the window.
What is that?
It's the sun,wouldn't you
know,it's the goddamn sun.
Fade to the credit screen.


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From Nicole S. Porter Date 3/18/2005 *1/2
The spelling is deplorable and the format changes throughout the course of the script. Ray's early dialogue and actions are not believable. Some later dialogue from both Ray and Gary is much too long, and too much space is spent describing how dialogue should be presented. Finally, parts of this make me feel like I'm reading the script for "Signs." All in all, this script needs some serious work.

From Cayleigh Date 3/11/2005 ***1/2
Dialogue needs to be a little shorter, but other than that, good job!!! Keep it up!!

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