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Clearwater Falls
by William Long (Darclin17@hotmail.com)

Rated: R   Genre: Science Fiction/Fantasy   User Review: **
A washed up detective and a scienctific genius band together to put an end to the mysterious murders haunting the ghostly community of Clearwater Fall A WORK IN PROGRESS

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.



The school is bordered to the north and east sides by an
ominously thick pine forest. Mist seems to roll gently
through the trees toward the five buses that line the school
parking lot. We circle the school in a smooth and
moderately sped motion before lowering to view the schoolís
exit doors. We hear the release bell ring. The doors
explode open and a mass of students begins to pour from the
doors down the stairs and into the courtyard. DANIEL exits
the school in the midst of nearly thirty other adolescents.
He is centered in our view of the school courtyard. He
walks with his head down. He has pale skin and jet-black
hair that hangs in his face. His long-sleeved black T-shirt
is marked with various with spiders webbing that appears to
have been hand painted. He carries a standard backpack
except for the fact that it has a single strap that crosses
his chest at an angle. Several other students snicker
behind his back. It is clear that Daniel knows that they
are mocking him, but he ignores them. Daniel looks up at
the cloudy sky. The entire sky seems blanketed in a single
grey cloud that only allows a fraction of the sunís light to
filter through it. We are close as Daniel sighs and the
cold chill hanging in the air allows us to see his breath.
We shift to an over the shoulder shot as Daniel watches the
rest of the students head down the street and into town. He
then turns and looks at the woods. The tall pines would
seem almost inviting if it werenít for the nearly invisible
wisps of fog surging from them periodically. The forest
almost appears to be breathing. Daniel sets off toward the
forest. Two preppy teenage girls turn to watch Daniel as he
makes his way to the woods.
                       PREPPY GIRL 1
Whereís Goth Boy going?
The second preppy girl shrugs.
                       PREPPY GIRL 2
I donít know and I have no idea
why you care.
Preppy girl 1 huffs as though she is offended.
                       PREPPY GIRL 1
I ďdonítĒ care.



The girls return to their route as Daniel enters the forest.
We once again focus on Daniel.He is now in the forest. An
abundance of pine needles, pinecones and broken twigs create
a mock carpet that can be seen stretching to unimaginable
distances in all directions. Daniel walks past a tree with
a bright orange band of cloth tied around it. Daniel
touches the orange band and looks out for another one. We
see from his perspective as he spots another tree with an
orange band in the distance. The excess cloth flows
abruptly followed by several pine needles in the nearby
area. Daniel smiles slightly. He quickens his pace as he
heads toward the marked tree. We follow his steps from
ground level. We match his speed for a moment before we
surpass him and loop around in front of him. A large branch
eclipses our view of Daniel.The branch has several smaller
broken branches on it. We pan upward to see Daniel approach
and trip over the branch. Daniel yelps and crashes to the
ground directly in front of us. It takes him several
seconds to regain any motion. We follow a gust of ďwindĒ
toward Daniel. Daniel struggles to his feet just before we
reach him. We shift our focus to Daniel once more. We see
from his perspective as he pulls his pants leg up. His sock
is torn and stained red with blood. Daniel grumbles and he
tries to stand on his wounded leg. He winces and drops to
one knee. He lifts his pants leg again. Once again we
return to first person perspective. Daniel pulls a thin
piece of wood from the wound and looks at it.We are close on
the piece of wood as Daniel lifts it to take a closer look.
Our focus shifts from the wood to Danielís eyes. His hair
hangs in front of his face, but begins to spread apart.
Danielís eyes widen. Strands of hair brush his nose and
upper lip as they drift to either side of his face. Danielís
face wrinkles as though a sneeze is coming.
We shift to a profile view of Danielís right side to watch
his hair tuck itself behind his ear. Daniel recoils
slightly and sneezes. The spray of moisture rolls off the
form of a womanís face mere inches from his. Daniel recoils
slightly and sneezes. The spray of moisture rolls off the
form of a womanís face mere inches from his. Save for the
odd motions of the sneezeís moisture the womanís face is
completely invisible. Daniel jerks back for a second and
hobbles to his feet.
Who are you?
There is no response save for the motion of wind carving a
path into the distance with blazing speed. The wind wails
as it trails off. We watch Danielís expressions change as
he scans the woods around him for any sign of where she


might have gone. We circle Daniel as he turns to survey in
every direction. There is a slight sound of a baby crying
can be heard in the distance to Danielís left. Daniel turns
sharply toward it. The wisps of fog swirl to opposite
directions as though parting for some approaching force.
I didn't mean to scare you.
The cry intensifies as the wind seems to gather more power.
The pine needles and pinecones begin to part as though a
gale force wind is cutting through them. The cry erupts into
a woman's shrill scream as the effects of the wind near
Oh shit.
Daniel dives to the ground as the wind passes over him. His
hair divides into four columns. Daniel screams in pain. He
touches the back of his head and looks at his blood-covered
fingers. Danielís eyes widen as he jumps to his feet. He
attempts to locate any sign of his attacker, but as he scans
he is only able to see the debris of the forest settle back
to the forest floor. As Daniel continues to turn we are
able to see blood drip from the bottom of his shirt. We
focus on the blood as it falls to the ground. As it near
the ground it arcs as though falling on a foot. Our
perspective of time slows slightly as Danielís shirt and
backpack move violently. We return to regular speed as
Daniel spins and yells in pain. Again his shirt moves
violently. Daniel jerks away and grips his chest. We see
from his perspective as he removes his hand and view the
blood on it. We notice that Danielís clothes are not
damaged in anyway. Daniel turns to run. We see the parting
of forest debris begin directly behind him and end directly
in front of him. Daniel flies backward several yards and
lands harshly. The breath is knocked out of him. Daniel
struggles to return to his feet, but is attacked once more.
Daniel slides across the forest floor swiftly. Our view of
this action is intermixed with a rapidly strobe of shots of
Daniel being slashed by invisible hands. Each strobe is
matched with a separate scream of pain. Danielís back slams
into a tree and he falls still for a moment. Several orange
bands of cloth are gathered around him. The elements of the
forest floor settle around him. We notice that Daniel has
been slashed a number of times. Four long slashes stretch
from the side of his face and continue down the backside of
his neck. We are close on Danielís eyes as he opens them
and screams. He looks around frantically then struggles to
his feet. We scan the forest from his perspective.


There is a ďclearingĒ covered in mist no more than fifty
yards to our right. Daniel limps to the ďclearingĒ as fast
as he can. We follow Daniel from thirty feet away as he
falls into the fog with a sharp scream. We accelerate and
pan downward as we near Danielís position. Daniel hangs
over a rocky cliff overlooking a fatal fall onto jagged
rocks. The choppy ocean breaks on the rocks below as Daniel
struggles to pull himself back up onto the cliff. We focus
on Danielís back as he rises slowly up the rocky cliff face.
As his head begins to rise over the cliff we reposition
ourselves to view the forest from over his shoulder. Deep
in the forest we see the elements of the forest floor begin
to swirl with unbound intensity. An all-encompassing wail
erupts as the swirl begins to resemble looking down into the
cone of a cyclone. We are close on Danielís eyes as they
close tightly. We pan down to Danielís lips as he speaks.
Our father who art in heavÖ
We see Danielís attacker enter the mist. As the mist trails
off of her we can see her face clearly. He features are
distorted in a feral rage, but otherwise she is beautiful.
We cut to a mid-ranged profile shot as Daniel is knocked
twenty feet from the cliff wall. He falls almost
angelically until he is stopped. His arms and legs hang
limp in our slowed perception. The wind carries the mist
over Daniel and we can see the female ghost gripping him in
an almost romantically vampiric pose. The shot is
panoramic. We can see Daniel and his attacker centered
onscreen with a muted blue ocean stretching under a grey
sky. The pitiful efforts of the sun form a weak white
circle that can be seen in upper left corner and the abrupt
formation of the rocky cliff borders to the right. A thin
veil of fog hovers with Daniel and his attacker. We shift
to Danielís perspective. Everything is fuzzy and unclear,
but we can still see that she is beautiful.
She holds her mouth open as though inhaling something that
we do not see. Her ďhairĒ is immune to the effects of
gravity and her ďskinĒ seems to trail off into invisibility
like smoke or steam. We see Danielís attacker opens her
eyes. She has no pupils. The serene expression on her face
twists into violent rage as the wisps of mist pass. Daniel
falls from our shot as his attacker ďvanishesĒ.
The choppy waters cause boats the bob gently in the water.
The clouds hang pale in the sky and a thick mist can be seen


over the water. Visibility is low, but the roving light of
a lighthouse somewhere out east over the water set the
rhythm of the scene. Two Greenford policemen converse with
one another while OLD MAN HOBBS vomits over the pier behind
them. His wife rubs his back lovingly and tries to comfort
him. We can hear him retching as the police officers talk.
                       OFFICER 1
I almost canít believe it. Little
Daniel Sunderland; murdered.
OFFICER 2 shakes his head slowly.
                       OFFICER 2
My Becky went to school with that
boy, hell he used to deliver my
paper till we moved over to
OFFICER 1 sighs heavily.
                       OFFICER 1
If Hobbs is telling the truth we
might have a problem on our hands.
Both officers look over at Old Man Hobbs. Hobbs retches and
we hear the splashes of his vomit on the water. The
officersí faces contort in disgust.
                       OFFICER 2
I donít think heís lying.
                       OFFICER 1
Me either.
Cut to: Sheriff HANK CAUGHFIELD drives his car down the
foggy streets of Pinehurst. A thin light rain coats his
windshield forcing him to adjust his wipers. He looks over
at his hat in the passenger seat. The hat appears to be in
perfect condition.
God I hate that hat.
Hank turns the steering wheel to the right and the car
drifts into the gravel parking lot of the Pinehurst Harbor.
Hank steps out of the car into the gentle rain and fires a
disapproving look at the perfectly grey sky. Hank grasps
the hat from the car fiercely.
Cut to: MICHAEL WARREN kneels over a vaguely human form
covered in a deep green tarp. He holds the tarp up and we


canít see his face clearly. He lowers the tarp and rises to
his feet. He steps out off of Hobbsí boat and onto the
dock. We see a close up of a human sized form under a dark
green tarp. Old Man Hobbs still leans over the side of the
pier while his wife comforts him. We cannot hear what she
is saying to him. Michael makes his way toward the elderly
couple. He steps between the two Greenford policemen.
                       OFFICER 1
Have you drawn any conclusions?
Michael looks at the officer curiously.
Well, itís clear to me that the
boy was murdered, but in order to
find out anything else for sure
weíre going to have to send the
body to the county coronerís
Officer 2 shakes his head slowly.
                       OFFICER 2
The last thing we need is to have
the county in on this. Theyíre
already itching to take over these
                       OFFICER 1
Old Hankís not going to be too
pleased with sending the body off.
You know how he feels about
getting involved with the
Michael pats Officer 1 on the shoulder.
                       PREPPY GIRL 2
Well, heís just going to have to
deal with it this time. We canít
investigate this murder without
having a clear idea of exactly how
this boy was killed.
                       OFFICER 2
You took a look at the body, what
did it look like to you?
Michael shakes his head.


Insert Shot: We see a gloved hand lift the tattered collar
of a black shirt to reveal four slashes in the flesh. All
of the appropriate coloration from exposure to water is
present as are what appear to be light burns on the outside
of the slashes. We return to Michael.
I donít know. Iíve never seen
anything like it.
We hear the faint sound of gravel rustling. Michael and the
officers look up to see Hank Caughfield making his way down
to the pier. He is wearing the Sheriffís hat and grumbling
to himself.
Hank Caughfield is a short overweight man with deeply
graying hair and a neatly trimmed mustache/goatee that
matches his hair color. He wears a parker over his uniform,
but it is open so that we can see that he wears the
Sheriffís uniform beneath it.
You guys might want to make a
sweep of the boat and make sure I
didnít miss something.
The officers nod and make their way to the boat. Michael
continues over to the elderly couple. He clears his throat
and Mrs. Hobbs looks up at him.
      (to Mrs. Hobbs)
Thereís no pressure, but let me
know when youíre ready to give
your statement.
Mrs. Hobbs nods. We can see that she is unnerved by the
events, but she is struggling to maintain her composure.
Hank Caughfield walks up to Michael and looks up at him
Well, talk to me.
The victim is Daniel Sunderland;
age fifteen.
Mrs. Hobbs put in the call as soon
as they found him. That was at
about nine-thirty this morning and
I got here about half an hour
after that. She was frantic on


                       WARREN (cont'd)
the phone, but and I havenít been
able to get a statement from
either her or her husband as of
Hank nods thoughtfully.
What are you thinking about all
Michael sighs.
Well, he sure didnít slash himself
up like that.
Michael looks back at the boat as the two officers kneel
over the tarp-covered body.
                       WARREN (cont.)
Beyond that I have no idea, but
the county coroner should be able
to find out more.
Hank Caughfield looks up at Michael in near disbelief.
Is that your way of telling me
that you think weíre going to have
to get the mainland involved in
this case?
Michael shrugs.
Well, if we want to find out
exactly what happened to him I
think it would be best to use all
the resources available to us.
Hank nods slowly.
I donít want any of this news
leaking out before we have all the
facts, got it? The last thing I
want is to start a panic.


Michael looks at Hank curiously. Hank takes three steps
toward the boat while Michael looks on. Hank looks over his
shoulder at Michael casually.
Was there something else?
Michael shakes his head.
I was expecting a little more
resistance from you on this
considering how you feel about the
Hank turns and continues toward the boat.
Someone's child is dead, Michael.
My personal views have nothing to
do with this.
Yes, sir.
I would suggest that you get on
the phone and get someone out here
to collect the body before the
whole town comes down here.
Michael nods and jogs down the pier and into the enveloping
fog. Hank looks at the two police officers with growing
Why donít you two make yourselves
useful? (to Officer 1) Head over
there and take the Hobbs back to
my office. Theyíll catch their
death out here. (to Officer 2) I
want you to find out every shred
of information you can about
Daniel Sunderland.
Hank kneels down and pulls up the tarp. He drops it back
down swiftly.
Jesus Christ.


The house appears to be in complete disarray. Old clothes
are thrown over dusty and forgotten furniture. There are no
pictures on the walls and smoke stains mark the previously
white walls. We drift through the living room and down an
equally suited hallway. A small table sits beneath a broken
mirror. Fragments of the mirror rest in smaller pieces on
the table and floor.A dusty, old rotary dial telephone rests
in the midst of numerous empty liquor bottles atop the same
table. We can hear a heavy exhale as though someone we do
not see is smoking a cigarette. Smoke billows out in front
of us as we near the exit of the hallway. We cut to a view
of a wooden kitchen table. We are level with the tabletop.
The shape of a man in a white shirt is our backdrop. The
man is sharply out of focus, but a number of empty liquor
bottles crushed, discarded cigarette packs and a
nine-millimeter Beretta frame him.The barrel of the gun is
pointed at us as it rests on the table. An empty liquor
bottle crashes down on the table violently in front of us.
We begin to focus on the man through the bottle as we slowly
rise from our tabletop view.
ISAAC STONE is a tall slender man with dark brown hair and a
face full of stubble. He wears a sweat stained white
T-shirt and a pair of dirty brown slacks. He appears to be
slightly inebriated, but still in his right mind.
He grips a cigarette tightly between his lips as he inhales
from it. The tip of the cigarette burns slightly brighter
causing the ashes to extend past their breaking point. The
ashes fall down onto an old portrait of Isaac as a child.
His mother stands beside him, but the picture is torn where
his father would have stood. There is still a small amount
of his arm left attached to the picture. Isaac brushes the
ash off of the picture and lifts it slowly. He removes the
cigarette from his lips with the index and middle fingers of
his right hand. He exhales the smoke at the picture and
puts his cigarette out on the table. Isaac reaches for the
gun and holds it to his head. He closes his eyes. We are
close up on the trigger as Isaacís finger slowly adds
pressure. There is a knock at the door. We are close on
Isaacís eyes as they open swiftly. We focus once more on
the table as Isaac slams the gun down angrily.


Isaac rises from his chair and storms down the hallway. We
see Isaac from level with the gun. The gun slides out of
our view as Isaac continues toward the door. It is obvious
that Isaac does not know about the gunís motion. Isaac
storms through the living room and toward the front door.
Canít a man even shoot himself in
Isaac turns the doorknob and jerks the door open violently.
Isaac looms in the doorframe menacingly. CAITLIN DELL
stands on his doorstep. She is a slender blonde of average
height with penetrating blue eyes and a radiant smile. She
wears a deep green winter coat with a thick faux fur collar,
a pair of formfitting blue jeans and a pair of gray
sneakers. A backpack hangs casually over her left
shoulder. Isaac looks her up and down carefully before
What do you want?
The smile on Caitlinís face fades into disbelief.
      (in disbelief)
Donít you remember me Mr. Stone?
Isaac takes a mere second before he replies. He does not
seem to have any recognition or remorse as he speaks.
No, am I supposed to?
Caitlin sighs as though suppressing her disappointment, but
it still shines through.
Iím Caitlin Dell, I stopped by
last week to set up this
It is clear that Isaac still doesnít remember. He makes no
motion to make the situation any more comfortable.


I made an appointment with you to
investigate your problem with
Ellie Parkerís ghost
Isaacís eyes narrow as Caitlin speaks.
I donít have a problem with Ms.
Caitlin grows more and more agitated with each exchange,
though she struggles to remain civil. Isaac has a blatant
disregard for Caitlinís position.
You told me last week that you
were having problems with her
hiding things from you and leaving
pointless messages.
Isaac grins as though he has discovered some hidden motive.
So what are you supposed to be
some ďSupernatural PsychiatristĒ?
Caitlin begins to speak, but it is clear that Isaac has made
up his mind about her.
Actually, Iím a PhysiÖ
Isaac slams the door in her face. He slowly makes his way
toward the kitchen. We are close on the handle of the door
as it turns and the door slowly swings open. Caitlin begins
to storm off of the porch as the door opens.
      (under her breath)
Who does he think he is leading
Both Isaac and Caitlin turn toward the door. Caitlin jogs
toward the door and enters as Isaac tries to reach the door
to close it. Caitlin enters the house as Isaac gets within
feet of the door.
Thank you Mr. Stone. I havenít


                       CAITLIN (cont'd)
been able to test out any of my
equipment. The people here are so
rude and self-absorbedÖ
Isaac looks up at nothing and points his finger.
      (under his breath)
Ellie, if you werenít already
Caitlin surveys Isaacís living room. We see both her and
Isaac from over the mounds of dirty clothes and disarrayed
Whoa, that must have been some
blow out you planned.
Isaac heads back to the kitchen as Caitlin lingers for a
It probably would have been if I
didnít have to worry about
uninvited guests.
Caitlin follows Isaac into the kitchen.
So what do you know about Ms.
                       ISAAC (O.C.)
Son of a bitch!
Caitlin enters the kitchen. Isaac leans on the kitchen
table looking down at the words ďNo EscapeĒ. The words are
spelled out in ashes and the shredded innards of fresh
cigarettes. The letters are wild as though made with swift
strokes in a very short amount of time. Caitlin looks
around cautiously.
Does she threaten you often?
Isaac smears the words away. The flying fragments of
shredded tobacco and ash swirl in the air on the opposite


side of the table. They move as though bouncing off and
rolling around a solid object, but there is ďnothingĒ there.
Caitlinís jaw drops.
I was right. They all have an
adverse affect physical matter.
Isaac lights his last cigarette.
Thatís nothing.
Isaac takes a drag of his cigarette turns to the side of the
table where the odd reaction was and blows the smoke out. We
follow the movement of the smoke. As it rises and thins we
are able to see the form of a woman standing on the opposite
side of the table from Caitlin. The smoke slowly thins
itself out as it reaches her kind and smiling face. The
smoke does not hang on ELLIE as is does a physical object;
instead it constantly spreads away from her giving us a view
of her form through what we donít see as opposed to what we
do. Beyond that the smoke reacts as it normally would.
Say hello to Ellie Parker.
Caitlin places her backpack down on Isaacís table and begins
to rummage through it. She removes a piece of plastic and a
spray can.
What exactly do you think youíre
Caitlin answers without looking at Isaac.
Iím going to talk to her.
So why do you need all that?
Caitlin stops and turns to Isaac.
      (matter of factly)
None of the ghosts I've come
across can speak, so I have come
up with a way for them to answer
me when I ask them questions.


Isaac looks at Caitlin skeptically.
And that has something to do with
the spray can?
Caitlin smiles.
Itís pretty crude, but if I spray
foam cleaner on something flat and
smooth the ghosts can write on it
and we can get some communication
going. Unfortunately most of the
other ghosts Iíve been studying
are illiterate, but from what you
told me before and judging by what
Iíve seen today, Ms. Parker can
actually read and write.
Isaac sighs and sinks into the chair he was in when the
scene began. He smokes his cigarette casually.
Youíre not from around here are
Caitlin hazards a glance at Isaac as she sprays the foam on
the sheet of plastic.
Well, let me give you some advice.
Donít get caught up in the
mysticism that they feed you in
the rest of the world. These
islands are swarming with ghosts
and there really isnít anything
special about them.
Caitlin laughs out of disbelief.
Are you kidding? Theyíre ghosts.
Of course theyíre special. Itís
not every day that we have a
chance to interact with those that
have passed on.
Isaac takes a drag from his cigarette and exhales.


You donít get it. Everybody that
dies here becomes a ghost. Thatís
what that message meant. You
canít escape here, not even if you
Caitlin looks over at Isaac curiously.
I know, it's a "Vergence".
A what?
A Vergence.
Caitlin takes her time making sure the entire sheet is
covered with foam.
That's not even a word.
That's because there isn't a word
for what's happening on these
Isaac takes another drag from his cigarette and rises to his
That's the truth. (pause) How long
is this going to take?
Caitlin shrugs.
That depends on how talkative Ms.
Parker is today.
We follow Isaac into the living room. He grabs hold of a
battered brown leather trench coat and puts it on. He heads
for the front door.
Iíll let you two ladies talk.
Isaac opens the door and looks out into the misty streets.
Light rain spatters off the sidewalk at a steady pace.


                       CAITLIN (O.C.)
Arenít you worried about leaving a
stranger in your house?
Isaac pulls the door closed slowly.
Why? If you stole something Iíd
just track you down.
Isaac closes the door behind him and steps off the porch and
into the rain. He pulls the coat tight around him and walks
off down the street.
Cut to: Caitlin lays the foam covered sheet down on the
table, pulls out a chair and sits down.
How can you live with someone like
The foam on the board moves to form the words, ďI donítĒ.
Point taken.
Evenly placed fluorescent lights light the long
hospital-like hallway. The lower half of the walls are
covered in ivory white tiles. Several four-person benches
line the walls. There is an alcove in the center of the
hallway that is home to a set of vending machines and a
water fountain Michael Warren sits patiently on a bench near
a set of double doors. He twirls his handcuffs on his right
index finger and whistles. The CORONER is a short balding
man who enters the hallway from the door on the far right.
The man moves quickly as though he is late for something.
Michael turns and quits whistling. He places his handcuffs
back on his belt and stands as the Coroner nears him.
So have you had a chance to look
at the body?
The Coroner looks at Michael in disbelief as he uses his key
to unlock the set of double doors.
Are you joking? Iíve spent most
of my day examining it.


The Coroner enters the room and Michael follows. The room
looks like a hospital morgue only slightly smaller. There
is a single examining table in the center of the room under
a large circular light. The Coroner and Michael make their
way to the table. The Coroner pulls on a pair of rubber
gloves and pulls two facemasks from a nearby drawer. He
hands one to Michael and places one on his face. Michael
pulls his facemask on nervously. There is a form on the
table that is covered with a blue hospital sheet.
So what do you think?
The Coroner grips the blue sheet and rolls it back. Daniel
Sunderlandís body lies on the table. His skin is tinted
blue and his lips are purple. There are a number of
lacerations on his body, but the interiors of them have
turned a rust color. We can see Danielís veins and arteries
through his skin. Michael steps back from the table.
I think you have a problem. There
are over forty lacerations on this
boyís body, each averaging four
inches long and half an inch deep.
Thereís no doubt this kid was
murdered, but thatís where things
get weird.
Michael looks down at the body. The Coroner looks up at
                       CORONER (cont)
Whatever made these lacerations
wasnít particularly sharp, but it
was really fast.
What kind of weapon do you think
was used? I had guessed a knife,
but we didnít remove the clothing
to this extent and my theory
doesnít hold up now.
The Coroner nods. He spreads his fingers and lowers his
hand to the body. We see that his four fingers mirror the
spacing of the slashes save for the size and exact spacing.
The coroner pulls his fingers through the air above the
body. He traces the path of the slashes slowly.
This was all done by hand and
judging by the tests weíve


                       CORONER (cont'd)
conducted he was still alive when
it happened.
Who could have slashed this kid up
with this type of design?
The Coroner shrugs.
I canít help you with that one,
but what I can tell you is that
whoever did this is going to kill
again and heís going to do it
Michael snaps his fingers as though he has discovered
Are there any signs of struggle?
Anything under the fingernails
that might give us a clue to whom
his attacker might be?
The Coroner shakes his head.
The ocean would have washed most
of that type of evidence away.
Honestly, youíre pretty lucky you
have a body at all with the
currents of the coast off
Clearwater Falls.
Warren shakes his head in defeat.
So thereís nothing else that you
can tell us?
The Coroner shrugs.
Iíve given you everything that the
facts support. Anything else I
could tell you would only hurt the
Michael turns to leave the room. The Coroner looks down at
the body once more.


Well, Iíve got to report this to
the Sheriff, but if we have any
more questions Iíll let you know
Michael exits and the Coroner pulls the sheet back over
Danielís body. We are close on Danielís face as the sheet
shades it.
The light rain has stopped but the street shimmers under the
sparsely placed streetlights. The houses that line the area
are all half hidden behind lines of evergreen trees with
only snaking driveways and yellowish lights to denote their
presence. Isaac walks under a streetlight. His hair is
still wet and he clinches a lit cigarette in his lips. He
has his hands thrust deep into the pockets of his leather
coat and pulls it tightly around him. He surveys the street
as he exits the lightís arch. Isaac takes a drag from his
cigarette and looks up at the sky. The first of a series of
small breaks in the cloud cover accents the sliver of moon
high above. Isaac huffs and continues down the street. We
follow Isaac as he continues down the street.
                       CAUGHFIELD (O.C.)
Well, if it isnít Isaac Stone.
Isaac doesnít acknowledge that his name has been called. He
keeps walking. We lead him and as he walks toward us Hank
Caughfieldís car pulls into view. Hank drives beside Isaac
as he walks. Isaac continues to ignore Hank and walks at
his normal pace. Hank sighs.
I have a few questions for you
Isaac continues to ignore Hank.
All right Isaac, Iíll give you a
choice. You can either answer my
questions here, or you can answer
them at my office.
Isaac continues to walk and does not make eye contact with
What do you want?


Hank smiles almost wickedly.
Thatís more like it.
Isaac takes a drag from his cigarette. He winces slightly
before he exhales.
I donít know the Sunderlands or
their boy and I was nowhere near
the school yesterday.
Hankís smile widens.
Well now, how would you know all
that then?
Isaac looks at Hank and removes the cigarette from his
mouth. Isaac is obviously agitated.
You know damned well how I know
that, "Sheriff".
Hank shakes his head.
Donít feed me that psychic crap
you know I donít believe it.
Isaac takes another drag from his cigarette and exhales it.
Believe what you want, but you
know I donít have anything to do
with your case.
Believe what you want, but you
know I donít have anything to do
with your case
Isaac returns his focus on his walk.
Well, I suggest you get it through
your head. Iím not a criminal.
Hank laughs.


Yes you are. Any man that attacks
the elderly in a rest home is able
to commit just about any crime
Iím going home now, Sheriff.
Isaac accelerates his pace and Hank drives up beside him
Weíre not quite done yet, Isaac.
I think we are.
Hank pulls his pistol and aims it at Isaac.
Well, I suggest you think again.
Now get in the car.
Isaac hesitates for a moment then opens the door to the
backseat of the Sheriffís car and seats himself. He closes
the door and Hank places his gun in the passengerís seat.
Isaac takes another drag off his cigarette. Hank steps on
the accelerator and the car speeds by Isaacís house. Caitlin
steps out of the door and locks eyes with Isaac as the car
drives past.
Thatís more like, Stone. Now we
might actually get somewhere.
Isaac exhales.
Suck it, Caughfield.
Hank laughs haughtily.
The moonlight shines through a pristine country window onto
a well-crafted wooden crib. A mobile hangs over the crib.
The mobile has a night sky motif with kind looking shooting
stars and a smiling crescent moon. The BABY in the crib is
dressed in pink footed-pajamas and covered in a blanket that


matches the mobileís motif. The baby is sound asleep under
the moonlight. Suddenly, the babyís eyes open. The mobile
moves. The hanging parts separate as though something is
passing through them. The babyís eyes are locked on the
mobile as it begins to sway gently. The baby smiles and
kicks until the side of the crib collapse violently. The
baby begins to whimper and cry. We are close on the baby as
she begins her steady cry. At first we cannot see her
breath, but suddenly it begins to mist as though the
temperature has dropped substantially. The babyís cry
begins grow inconsistent as she struggles to draw breath
until finally she falls silent. We move down past the crib
and phase through the floor into the kitchen. The babyís
MOTHER and FATHER are locked in a heated argument. The
father stands in front of a two-door refrigerator. The
mother leans on a small island in the center of the floor.
The money just isnít there. People
have been canceling their
appointments and I know we canít
afford it.
The Mother is clearly irritated by the Fatherís words and
makes no attempt to hide her contempt for the situation.
If you had helped me get the
operation in the first place we
wouldnít be in this situation,
would we?
The Father folds his arms defiantly.
Weíve been through this a million
times. We had Amy because I
wanted a baby andÖ
The Mother turns to the Father angrily.
And what about what I want?
The Father turns his head away from the Mother in disgust.
                       MOTHER (cont)
What about my life?
The Father turns back to the Mother and steps toward her.


If youíre so interested in
yourself, why donít you leave us
alone? We donít need you!
The Mother turns to leave.
I think I will!
The mother storms through the house and into the living
room. We follow her gliding smoothly through walls as she
walks through doorways. The Mother walks in front of the
large bay window that decorates the front wall of the living
room. A large comfortable sofa sits under the window. A
row of pine trees can be seen out the window and beyond that
the pale street light from the street shimmers like a
beacon. There is a wind in the room. Pictures on the wall
sway and the Motherís hair fans elegantly. The wind brings
a soft sound that resembles a baby crying to the Motherís
left ear. The Mother turns toward where she perceives the
words to have come from. The Mother is clearly unnerved,
but shakes off her concern.
Stupid ghosts. I hate this towÖ
The Mother flies across the living room and through the
glass window. She flies fifteen more feet and slam into a
large pine tree. We can hear her bones snap as the slams
into the tree. We are close on her face as she begins to
slide down the trunk toward the ground. She bleeds from her
nose and mouth and she seems incoherent. We watch as a
single four-inch long shard of glass rises from the ground
and flies through the air. The glass impales the Mother
pinning her to the tree before she has slid to a full
sitting position. The Mother screams and squirms against
the glass in her stomach. We can hear her flesh tearing on
the glass. A howl resounds as the furniture and decorations
within the living room begin to spin and swirl in the wake
of an invisible force. We see from just to the left of the
tree where the Mother is pinned. The debris from the living
room and the houseís exterior form a turbulent column as
though a great tornado has been laid on its side. We see
the Motherís face in a close profile view as something hits
her. Our perception of time slows as her eyes slowly roll
into the back of her head and she struggles and fails to
draw a single breath. Fragments of the tree she is pinned
to fly into the air due to the force at which she is hit. We
switch back to our view from behind the tree as it is


splintered by the impact. A single fragment of the tree
flies toward us to eclipse our view of the house. We can
see that the trunk of the tree is severely damaged and
stained with blood. The large pine sways slightly and tips
toward the house. We return to the living room of the house
as the Father looks out of the shattered window and up at
the swaying tree. We are close on the Father to watch as an
expression of fear and disbelief befalls him as the tree
falls toward the house.
The tree smashes through the roof of the house nearly
folding the upper floor of the house around it. The Father
sprints to the far end of the stairs and up to the second
floor as the tree tears down through the house mere feet to
his left. The treeís branches tear at his flesh, but he
continues up toward the babyís room. The doorframe to the
babyís room is completely destroyed by the treeís fall. The
Father fights his way into the room and stops in his tracks.
His body blocks our view of the babyís crib. The Father
falls to his knees and we are able to see pieces of the
destroyed crib.
n-No. No!
The father punches the floor vibrating the debris that rests
on it. Two tears fall to the floor. We can see the
fatherís face as he mourns his daughter. A wind speeds past
him. It whispers something, but we are unable to discern
exactly what it is. The Father looks up yet sees nothing.
Small branches and pine needles left by the treeís descent
move across the room smoothly in the wake of the wind.
Is that you Dad?
There is no motion and no reply in the room. Suddenly, the
Father is lifted from the ground and slammed into the
severely damaged right wall of the babyís room. He falls
back to the ground hard. Something we do not see flips him
over on his back. We are close on his chest and it moves
violently. The Father screams in pain and attempts to fight
off his attacker. We can hear the sounds of a blade
slashing through flesh violently as the Father crosses his
arms over his chest and attempts to get away. We can see
his arms bleeding through his shirt. The Fatherís breathing
slows and he looks down at his chest. The shirt is
absorbing blood from his wounds. The blood on the shirt
reads ďNot DadĒ in frantically scribbled lettering. The


gentle whispering winds moves once more. The Fatherís looks
up at the shattered window to the babyís room where the
scene began. His eyes narrow and he sprints toward it. He
leaps and our perception of time slows. We see from outside
the window and the Father exits the house. We shift to a
close up of the window frame as four slash marks carve into
it, but stop abruptly. The Father lurches in the air. We
are close on his face as he gasps for breath. We pan down
to his neck as he reaches for his throat as though he is
being suffocated. There are five puncture wounds around his
the left side of his collarbone as though someone with long
fingernails is holding him. We see from a distance as the
father is pulled back into the darkened window. The
fatherís left shoe falls off as he is pulled inside. We
follow the shoeís path after we can no longer see the
Father. The shoe bounces in slow motion on the dying grass
of the lawn. It flips in the air and lands on its side with
the opening toward us.
The sheriffís office is covered in wood paneling from
ceiling to floor and has a number of portraits of older
gentlemen who have served the community before the current
time. The main office harbors three large wooden desks with
matching chairs as well as the Washington state and American
flags yet only one computer. Isaac is handcuffed to a chair
on the opposite side of Hankís desk. Hank leans back in his
chair and props his feet up next to his computer monitor. He
looks at Isaac wickedly
Well now, Iím supposed to take
your word for it that you were
nowhere near the school two days
ago, right?
Isaac uses his free hand to take a cigarette out of his
pocket and place it in his lips. He then searches for his
lighter. The unlit cigarette bobs up and down as he talks.
Nope. You already know I had
nothing to do with it.
Hank removes his feet from the desk and leans toward Isaac.
Isaac removes his lighter and strikes it. We can see his
eyes as a small orange flame lights them just before a
pillar of smoke rises in front of his face. We see Isaacís
eyes narrow through the smoke.


Cut to: Isaacís eyes fade and are barely visible as we move
through ďthumbnailsĒ of vivid images. These images divide
and branch to form nearly countless others. The surrounding
space reminds us of a thunderstorm with random lights and
rolling smoke-like clouds. Small bursts of electricity leap
from image to image swiftly then disappear. We find an image
of the sheriffís office from Hankís perspective. He is at
another desk in the room. The flags flow gently in and
intangible wind. Paperwork flies off the table and the
florescent lights that line the ceiling dim as an invisible
force nears Hank. We can hear both Hankís and Michaelís
voices, though Michaelís is filtered as though it is coming
through a radio. We never see Hank, or Michael.
                       WARREN (O.C.)
The Coronerís thinking like I am
on this one, Hank. It looks like
we have a Grade-A psycho on our
                       CAUGHFIELD (O.C.)
I want this kept quiet, do you
The dimming lights reach Hankís desk and papers rattle
slowly as though someone is pawing them. Hank slams his
hand down on the papers.
                       CAUGHFIELD (O.C.)
      (to the ghost)
Donít even think about it,
Sherman. If you keep making a
mess of my office Iíll cart your
sorry spirit down to hell myself.
The papers calm themselves and Hank hair blows in a wind
moving away from his desk. We can hear Michael clear his
                       WARREN (O.C.)
I understand sir, but what do you
plan to do about this? I mean
weíve never had to deal with
anything like this before.
Hank laughs.


Iím going to see if I canít
persuade our "friend" Detective
Stone to come out of retirement
for this one.
                       WARREN (O.C.)
Good idea sir, Iím at the Ferry
station now and Iíll deliver to
the Coronerís report to you as
soon as I reach the Greenford
Hank does not reply. We hear the click of a phone hanging
up. Isaacís eyes and his surroundings return to prominence
and all else fades away.
You want me to work on this case.
Did Michael tell you that?
Isaac winces as though he has a headache. He takes a drag
off of his cigarette and exhales.
      (matter of factly)
No, you did.
Hank stands up and leans ominously over his desk in an
attempt to intimidate Isaac.
I told you I donít believe inÖ
Isaac leans back in his chair casually. He is apparently
unphased by Caughfield's display.
I donít care what you believe it
wonít change the facts.
Hankís face turns red with anger.
Do you know that I could throw you
under the jail and no one would
give so much as a damn about you?
I could solve all of my problems
by serving you up on a silver


                       CAUGHFIELD (cont'd)
platter for this murder and be a
hero for it!
Isaac raises his hand to mock Hank and his speech.
You know as well as I do now, that
locking me up wonít stop the
murderer. You donít even have the
slightest clue as to who he is or
why heís doing this and most
importantly, you donít have enough
evidence to convict me.
Hank walks around the desk and snatches the cigarette from
Isaacís mouth. We are close on the cigarette as it falls to
the floor and is stomped by Hankís boot.
I donít need evidence, Stone. All
I need to do is say you did it
cover you in blood and ship you to
the mainland and the case is
The door to the sheriffís office opens and a human form
stands in the doorway. The person is sharply out of focus
and neither Hank nor Isaac knows that they are there.
                       CAUGHFIELD (cont)
Youíre a felon, Stone, and the
worst kind. You used to be an
officer of the law. Now youíre a
washed up alcoholic who thinks he
has psychic abilities. No lawyer
on the West Coast could lose a
case like that.
We can see in Isaacís face that Hank is right. Isaac
grimaces at Hank.
                       OFFICER 2 (cont)
The fact of the matter is I have
you by the balls, Stone, and if
you donít do exactly what I want
you to do I wonít hesitate to have
you singing soprano on death row.
Isaac can barely contain his anger as Hank walks back around
to the other side of his desk. Before he takes a seat He
notices someone standing in the doorway. We are finally


able to focus on the person in the doorway. It is Caitlin
Dell. She stands perfectly still with a shocked expression
on her face. We can see on Hankís face that he know sheís
heard his speech. Hank seats himself and waves for her to
come into the office.
      (to Caitlin)
Can I help you?
Caitlin walks up beside Isaac. Isaac looks up at her then
huffs and turns away.
I kind of need to talk to Isaac.
Hank tosses Caitlin the keys to Isaacís handcuffs and smiles
at him.
Heís actually free to go at the
Caitlin catches the keys and unlocks Isaacís handcuffs.
Isaac springs out of the chair and rubs his left wrist for a
few seconds. He reaches into his right pocket and retrieves
another cigarette. He put the cigarette in his mouth and
searches for his lighter again.
Isnít that convenient?
Hank nods.
Youíre right, it is.
Isaac turns and walks toward the exit. Caitlin walks behind
him. Hank leans back in his seat and places his feet on the
desk as before. We see into the office from the doorway as
Isaac steps up so that his face frames the left side of the
frame. Caitlin walks casually gripping her shoulder bag
with one hand. Hank folds his hands behind his head.
Oh, one more thing, Stone.
Isaac stops walking, but does not turn. Caitlin refocuses
her attention on Caughfield as he speaks.
                       CAUGHFIELD (cont)
Iím sending Michael to pick you up
early in the morning.


Isaacís jaw tightens with anger. He steps toward us and out
of our frame. Caitlin follows him. Before she can leave
the room and radio dispatch blares out.
Sheriff, pick up sheriff. Thereís
been another attack, a family this
Hank rises from his desk quickly and sprints to the radio as
Caitlin eyes him curiously. Hank waves for her to leave the
room and Caitlin follows his command.
                       RADIO (cont.)
The Sheppardís house is ruined.
You have to get down here.
Hank grips the radio and pulls it to his lips.
I'm on my way.
      (In frustration)
Damn it!
Hank looks up at the doorway in disgust. He slams the radio
down on the table.
Caitlin and Isaac sit in an uncomfortable silence. The
windows of the car are slightly foggy and the rain begins
once more. The rain is light at first, but as the scene
progresses it becomes more violent. Isaac stares out the
passenger side window thoughtfully. His face is close to
the window and his breath causes condensation to fan across
the window. Caitlin looks over at Isaac then back at the
road several times in the minute of silence.
So, Ellie told me some interesting
things about herself.
Isaac huffs. It is clear that he is not interested in what
Caitlin has to say. Caitlin pauses as she waits for a reply
from Isaac, but receives none.


Yeah, she says that as time passes
she feels weaker. I was thinking
that maybe ghosts arenít so
different from us. Maybe they
need sustenance or something like
that to stay in this world too.
Caitlin smiles. She is clearly pleased with this new idea.
Isaac does not respond in any way. Several seconds pass
before Caitlin speaks again.
You know, ever since I got here
Iíve been thinking about the
afterlife and how it really works.
I mean if everyone who dies on
these islands rises as a ghost,
then that would mean that it
happens everywhere else too. This
place is the proof that we donít
just fade away when we die.
Caitlin laughs to herself. Isaac looks over at her from the
corner of his eye then returns his gaze to the street
outside. The car speeds down a road between two sections of
a large forest. The fog from the forest spills out onto the
road. Caitlinís car slices through the fog like a boat
through water. Isaac turns to look out the front windshield
just as the fog wraps around the translucent form of an old
Trapper. Isaacís eyes widen and he braces himself.
Caitlin drives right through him as though there were
nothing there. She laughs at Isaac.
Itís just a ghost. (pause) Maybe
youíre the one whoís new here.
Isaac folds his arms and returns his gaze to the passenger
side window.
You mind if I smoke?
Caitlin shakes her head "no".


If you keep smoking like that
youíre going to be dead before you
turn fifty.
Isaac pulls a cigarette from his pocket and puts it in his
mouth. The unlit cigarette bobs as he talks.
Isaac lights the cigarette and takes a drag. Caitlin looks
over at him then back at the road. She cracks the driver
and passenger side windows. Another awkward silence befalls
So, where are you from originally?
Isaac ignores Caitlin.
I know youíre not from here
originally and if I had to guess I
would say that you came from a
pretty large city.
Isaac still does not reply or attempt to acknowledge Caitlin
in any way.
Okay, what did the sheriff want
with yÖ
Isaac turns toward Caitlin swiftly.
Why are you trying so hard to talk
to me? Weíre not friends.
Caitlin shrugs.
I guess I'm just trying to keep
the awkward silences to a minimum.
Isaac turns back the window.
Just because there's silence,
doesn't mean it's awkward.


Well, I hate silence. It reminds
me ofÖ
Isaac exhales a pillar of smoke.
Devon and Henry...your parents,
Caitlin looks over at Isaac in disbelief.
How do you know my parents?
Isaac sighs.
All I know is what you remember.
Caitlinís brow wrinkles in confusion.
What's that supposed to mean?
Isaac hesitates, but speaks after a moment.
I guess that your driving me back
home is worth some kind of trade.
(pause) I have a condition. Thatís
why I left LA. (pause) I can read
and affect other peopleís
Caitlin looks over at Isaac with amazement.
Thatís not a ďconditionĒ thatís a
Isaac huffs.
Well, it landed me in prison for
seven long years so I think itís
fair to label it a curse, but Iím
being generous with my words.


Isaac pauses thoughtfully for a moment. He turns toward
Caitlin in disbelief.
      (in disbelief)
Wait, you believe me?
Iíve seen so many strange things
in my life that a selective
psychic isnít that far of a
I wish the people in this ghost
town were as easy to convince as
you are.
Caitlin sighs heavily.
Most of these people are so
absorbed in their own little world
here that they wouldnít be able to
survive anywhere else. (pause)
Thatís probably why theyíre always
fighting the annexation.
Isaac wears a puzzled expression on his face.
What are you talking about?
Caitlin turns the steering wheel and the car drifts through
the gate toward the ferry station.
These islands are prime real
estate. The state has been trying
to capitalize on that for decades,
but public opinion has kept them
at bay.
How do you know all this?
Caitlin smiles slyly.
I'm conducting research here. I
need to know that my lab's not
going to get yanked from under me.


I'm sure that's what it is.
Caitlin pulls the car to a stop in front of an open road
that is blocked by another heavy metal gate. The gate
stands in front of a road that abruptly ends in the face of
the ocean. In the distance there are two islands. The
nearest island (Pinehurst) has several lights on it, but
everything else seems to be covered in forests. The
farthest island (Midea) is partially eclipsed by the closer
one, but we can see that the forest is thicker there and the
trees appear as though they might be somewhat misshapen. A
blanket of fog hangs over the water and seems to flow
through the islands making their coastlines difficult to
make out. The thin crescent moon yields its light though
sporadic breaks in the rain clouds. The light dances across
the phantasmal ocean beneath the fog toward the ferry
station. Caitlin turns the key in the ignition and turns
off her car. The headlights fade to black as both she and
Isaac admire the view of the islands.
I know that you probably donít
want to do this, but can you read
my memory?
Isaac looks at Caitlin curiously.
Caitlin grips the steering wheel powerfully, sighs and
releases it.
If you can read memories I assume
that you can see them with some
Isaac nods and takes a final drag off his cigarette.
I see them as clear as a movie or
a TV show, but IÖ
Isaac hesitates. He shakes the thought away and throws the
cigarette butt out of the small opening in the passenger
side window.


But you what?
Isaac sighs.
I don't want to do it.
Caitlin smiles weakly.
I kind of figured you wouldn't.
Isaa watches Caitlin regain her composure for a moment then
tears himself away. He taps the clock read out on the
dashboard. It reads 3:50 am.
The ferry will be here any minute
Caitlin peers out of the front windshield.
No, I think it's going to be late.
It's never late
Caitlin looks at Isaac skeptically.
Then why can't I see...
Isaac raises his hand and Caitlin stops talking. He points
to the fog through the front windshield and Caitlinís gaze
follows. The fog seems to part and the ferry fades into
view. It looks almost like a ghost ship as it drifts toward
the car. Half a smile creeps across Isaacís face as he
watches Caitlinís wondrous expression. We see Caitlin from
Isaacís perspective as the moonlight dances across her skin
and glimmers in her wide eyes. Isaac turns away from
Caitlin and watches as the ferry slow to a stop in front of
them. The half smile fades from Isaac's face and is
replaced by a look of concern as he watches the ferry draw


      (in awe)
I love it here.
Michaelís police car cruises down the street and comes to a
stop in front of Isaacís house. We see from under the car
as Michael steps out. We drift toward the front end of the
car as he turns and walks around the car. We pan up to
reveal Michael in his deputyís uniform. Michael walks
across Isaacís unkempt yard and up the door. The paint on
the door and porch is peeling and unattractive. As Michael
knocks on the door one of the house numbers falls off the
wall. Michael eyes the number for a moment then knocks once
more. The doorknob turns and opens slightly. Isaac
immediately walks away from the door and over to an armchair
that has his trench coat thrown over the back.
Come in, Iím running a little
He wears a plain white T-shirt that appears to be clean. His
old harness is strapped over the shirt with his
nine-millimeter snapped in it. Michael clears his throat as
Isaac slides his coat on.
I was expecting a little more
resistance from you. Hank said
that you would be a problem.
Hank doesnít know me, besides if I
have to be threatened into solving
your little problem we might as
well not hate each other from the
very beginning.
Good point, but we have a problem.
What's that?
Isaac steps toward the door. Michael places his hand on
Isaacís shoulder


Iíve also been ordered of make
sure you donít do anything to
jeopardize the situation.
Isaac removes Michaelís hand from his shoulder.
                       WARREN (cont.)
I canít let you carry that weapon.
Isaac takes a step back and looks Michael in the eye.
Thereís a murderer on the loose
out there and you expect me to
hand over my only protection?
Iím an officer of the law. Iím
all the protection youíre going to
need. So hand over the gun and
donít make this any harder than it
has to be.
This is "my" gun. I've never
taken a case without it and I
don't plan to.
Then I suggest you change your
There is a tense silence as Isaac and Warren stare each
other down.
Don't do anything stupid. You
know the situation you're in.
Yeah, I know, but Iíd rather not
die anywhere near these islands if
I can help it.
Then do as you're told, Mr Stone.
Is that a threat?


Look if you botch this case youíll
spend the rest of your life in a
cell on Greenford. And that comes
straight from Hank Caughfield
himself. So I suggest you
cooperate in everyway, if you ever
want to get back to the mainland.
Isaac keeps his gaze locked on Michael as he hands his gun
to Michael. He removes the clip and expels the bullet from
the chamber.
Good choice.
Michael motions for Isaac to leave the house and Isaac does
So much for the whole not hating
you thing.
Michael ignores Isaacís statement and closes the door to the
house as they exit. Another number on the house falls off
with the impact of the door slamming. Only the number ď2Ē
is left
Police tape ropes off the wooded driveway leading to the
Sheppard house. Only two other houses can be seen from the
street and the ladies of those houses stand on the sidewalks
curiously as Michael and Isaac pull up to the driveway.
Michael parks the car on the side of the road and exits the
car. He waves for the ladies to leave the area. Isaac
slowly steps out of the car. He looks down at the tiny
splinters of wood that seem to fan out over the sidewalk and
into the street. We follow his gaze up the driveway and can
see a tiny portion of the Sheppard house. The roof of the
house has been folded and broken around large crevice that
seems to split the house in two.
Move along ladies, thereís nothing
to see here.
The ladies walk slowly to their houses as Michael makes his
way back to the driveway. Isaac glances at Michael out the
corner of his eye. He wears an expression of contempt.



      (To himself)
Yeah right.
Michael places his hand on Isaacís shoulder and motions for
Isaac to move up the driveway toward the house. Isaac turns
toward Michael as though he is ready to fight. Michael
places his hand on his gun and Isaac pulls away. As the two
pass the tree line we pan up from their backs to see the
full destruction of the house. An enormous pine tree has
torn the house almost in half. The doorframe and upstairs
center window have been completely destroyed. Michael seems
awe struck, but Isaac scans the area carefully. The base of
the fallen tree has a small amount of blood that can be seen
over the fold of the tree. There is blood splattered on
several other trees and it seems to fan out around the base
of the fallen tree. Isaac turns his attention to the
shattered bay window in the living room. A stream of foam,
broken vinyl albums, wallpaper and pieces of furniture fans
out from there. Officer 1 and 2 (as previously seen) exit
through the shattered window and approach Michael. They
look at Isaac curiously, but do not react with him. Isaac
nods and takes a cigarette from his pocket. He puts the
cigarette in his mouth and lights it.
So what happened here?
The Officers look at Isaac for a moment then turn to
Michael. Isaac rolls his eyes casually and exhales the
smoke for his cigarette.
                       OFFICER 1
What's this guy doing here?
Heís here to see if he can help us
get this under wraps as quickly as

Officer 2 nudges Officer 1.
                       OFFICER 2
      (To Isaac)
Oh, so you're the big city
Not really.


Officer 2 looks at Isaac skeptically.
                       OFFICER 1
What weíve found is pretty
gruesome, but we canít find Margie
or the baby.
Michael steps between Officers 1 and 2 and looks inside the
house. The living room is completely destroyed studs have
been thrust out of the walls while splintered timbers and
torn insulation hang from the ceiling. The furniture that
remains is broken and scattered about angrily.
What about Lester?
                       OFFICER 2
His bodyís upstairs and its all
slashed up like Danielís
Micheal turns to Isaac.
Well, weíd better have a look at
Isaac takes the cigarette from his mouth and raises it into
the air slightly.
I just lit this cigarette.
Warren ignores Isaacs comment. Isaac passes the cigarette
to Officer 2 and follows Warren inside. The Officers look
at each other with confusion.
Columns of dim daylight pour through the destroyed roof and
ceiling as Isaac and Michael move through the living room
and into the kitchen. The upper cabinets are shattered and
the dishes and foods they once held are strewn across the
floor. The refrigerator has been turned over and a mixture
of milk, beer and Kool-Aid has run across the floor and
congealed. Michael follows Isaacís lead. Michael covers
his nose as they walk through the kitchen. Isaac seems
unaffected as he scans the area carefully.


You should tell those two to
inspect the base of this tree.
I saw blood around it. I think
that the woman theyíre looking for
is under it, or what's left of her
Have some respect you sick
bastard. I knew these people.
Isaac ignores Michaelís comment. The door leading to the
main hallway and stairwell is broken and the frame has been
largely crushed, but it seems to be holding. Several
branches from the tree nearly block the rest of the access
way. Isaac ducks down and pushes his way through the
branches. Michael steps through the doorframe as Isaac
disappears from view. We see an overhead view of Michaelís
motion through the treeís branches. The tree shifts
slightly as Michael forces his way through the branches.
Get back here, Stone.
The house creaks, but Michael pays no attention to it. He
pushes farther into the tree, but doesnít advance. Michael
looks back. We see a close up of his shirt where it has
been caught in a tree branch.
Michael jerks himself, but his shirt does not come free. The
tree shifts again as Michael continues to try and tear
himself free.
What are you crazy?
Michael does not answer. He continues to try and tear
himself free as we see the exposed studs of the hallway
split apart. The house creaks loudly and this time Michael
hears it. We see a mid-ranged shot of him through the
branches of the tree as he looks up. Isaacís foot pierces
the branches and kicks Michael backwards. Michael tumbles
backward into the kitchen as the tree crashes farther down


through the house. We watch as the tree splits the kitchen
ceiling open on its way down. Michael scoots away from the
falling tree as fast as possible. A broken branch slashes
into Michaelís right thigh. Michael screams in pain. He
breaks the branch off the tree and crawls farther into the
You can thank me for saving your
life later.
Michael pulls the broken branch from his leg and winces. He
breathes heavily as he throws the branch across the kitchen.
Where do you think youíre going?
We shift our focus to Isaac as he looks around the den of
the house.
Iím going to see if I can find any
clues before this whole house
falls apart around us.
The den is large and well decorated. In the center of the
room stands a well-crafted pool table. A set of pool hall
styled light fixtures lay broken on the table with wires
hanging from the ceiling. The broken glass has cut the
otherwise perfect felt cover of the table. The table is
surrounded by black leather furniture of every seated
assortment. A rack for pool cues hangs above a small wooden
cabinet, though no pool cues hang there. A single window
hangs on the far wall.
It is cracked horribly, but all the glass remains in the
frame. Isaac scans the room. The structure of the room
seems to have held up better than the other rooms of the
house. The ceiling and outside wall show significant
damage, but unlike the living room and kitchen no daylight
can be seen through the splits and cracks. Isaac walks
casually across the room and opens the small cabinet. He
moves the pool cues that once hung on the wall with his
foot. We are close on the cabinet as Isaac pulls the drawer
open. Inside there are several old photographs of the
Sheppards entertaining company. Isaac thumbs through the
pictures swiftly. There is a picture of Michael and Mr.
Sheppard in fishing gear on a boat. The picture appears to
have been taken near Clearwater Falls. Isaac places the
pictures back in the drawer and lifts out a disposable
camera. He checks the amount of unused film. The display
informs us that there are still ten picture left. Isaac
puts the camera in his pocket and closes the drawer. He


walks to the doorway on the opposite end of the den and
exits. We follow Isaac into a hallway that connects
directly to the main stairwell and the living room. On the
opposite side of the tree we can see Officer1 and Officer 2
helping Michael out of the window of the living room.
Michael turns and notices Isaac as he carefully makes his
way up the stairs. Isaac removes the camera from his pocket
and holds it up for Michael to see.
Is there anyone who can develop
film on these islands?
Officer 1 and 2 stop so that Michael can speak to Isaac.
Michael nods.
Gail can do it. She runs Picture
Isaac nods in reply and stuffs the camera back in his
pocket. He continues upstairs. We see from behind Isaac
that the tree has fallen diagonally through the house and
that the stairs are more damaged toward the bottom than they
are at the top. The upper floor just beyond the stairs has
been completely cut in half by the tree. The mist fog from
the forest hangs in the air upstairs. The sky and the tops
of nearby trees can easily be seen. The treeís path through
the babyís room can clearly be seen as Isaac nears the top
of the stairs. The wall is torn away creating an unstable
bridge across the rift. Inside we can see the broken window
and the remains of the babyís crib. The legs of the father
can be seen, but only the right shoe is being worn. The
crevice created by the fallen tree is slightly more than
five feet wide. The floor has been warped and broken from
the impact and we can see on Isaacís face that he is
apprehensive about crossing the rift. Isaac slowly walks
to the broken edge of the rift and looks down. We see from
his perspective as he gazes down at the tree and broken
timbers below. Many of the treeís branches have been broken
off on its path downward leaving raged spikes of wood that
spell instant death. Our perspective wavers as though we
are afraid of the height we stand at. We shift our view and
look up at Isaac through the jagged crevice as he swallows
hard and steps back from the edge. Isaac backs up to the far
wall, closes his eyes and takes a deep breath.
Gotta make it, Gotta make it.
Isaac opens his eyes. We see the path he must take from his
perspective. We shift to a mid-ranged frontal shot of Isaac
as he speaks.


Iíll be damned if I die in this
Isaac sprints toward us. His body eclipses our view. We
shift to an aerial view of the upper floor we see Isaac leap
through the tear in the rooftop. We shift to a close-up
ground level view of the fallen wall of the babyís room as
Isaac lands and rolls across it. The camera flies from
Isaacís pocket and slides across the floor and into the
babyís room. The camera comes to a stop beside the
Fatherís bloody hand. The piece of the wall begins to slide
into the crevice as Isaac regains his footing. The wallís
decent accelerates and Isaac scrambles to find more stable
footing. As the last portions of the wall slide into the
crevice Isaac leaps to safety. We track the wall as it
slides off the edge of the crevice and breaks on the tree
below. Isaac rolls over onto his back, closes his eyes and
sighs. Isaac opens his eyes and stands up. He eases his
way through the hole in the wall of the babyís room and
scans the room. We are able to see more of the room due to
the daylight pouring through the broken window and damaged
roof. The walls are decorated in a pastel mural of a rising
sun. Cute little cows, pigs and ducks frolic here and there
as vast grasslands stretch into the horizons. In many areas
the paint has been ruined due to the damage of the tree and
the persistent rain. Most of the furniture has been
overturned and soggy stuffed animals have been strewn
everywhere. Isaac walks over to the Fatherís body and lifts
the camera. He looks at the father closely. We are able to
see every detail of the body from the neck down. His shirt
is still stained with blood from his chest, but the words
can no longer be made out. The wall around him is cracked
in a circular pattern that denotes impact. Isaac shudders
and readies the camera. The flash of the disposable camera
brightens the screen as the scene ends.
We fade from white into a still frame photograph of the
Fatherís blood soaked shirt. Another still photo eclipses
the first. This picture is of the broken window and the
blood that leads to it.
Good God.
We zoom out to see Hank flipping through a number of
photographs. Hank holds up a single picture. The image on
the photo is the windowsill with five deep scratches in it.


These were taken at the Sheppard
For the first time in the scene we are able to see the
Sheriffís Office in full. Michael, Isaac and several other
officers are inside and appear to be unbelievably
uncomfortable. Michael sits in one of the two chairs in
front of Hankís desk. His right leg is bandaged up from the
treatment of his previous injury. Isaac is seated in an
armless chair farther away from Hank. He has the chair
propped up with its back against another desk and only the
chairís back legs touch the ground. Isaacís arms are crossed
defiantly. The other four officers cover the middle ground
between Isaac and Michael. Two of them stand nervously,
while Officer 1 and Officer 2 are seated off to the right of
Hankís field of vision.
Yes sir.
Hank raises his eyebrow and looks at Michael carefully.
Did you take these?
Michael fidgets then turns to look at Isaac.
Actually, Stone was the only
person able to make up to the
Hank takes a look at another picture. The photo is a full
body shot of the Father. The Fatherís head is turned
sharply to the left and we are unable to see his face. We
can see the area around him clearly. The indented wall is
more pronounced in the photo and the save for his seated
position the Father is in the exact same pose as at the end
of Scene 7. His hands are still up near his neck as if he
is grasping at some unseen stranglerís hands. We are close
on Hank as he looks over the edge of the picture at Isaac.
Isaac has placed a cigarette in his mouth and strikes a
match to light it.
You took these, Stone.



Isaac turns his head slightly and raises an eyebrow as he
looks at Hank to reply. He lights the cigarette and exhales
Yeah, but thereís a lot more at
that house that I didnít have
enough film to get.
Hank looks at Isaac curiously.
Like what?
Isaac pushes the book of matches back into his coat pocket
with his left hand and removes the cigarette from his mouth
with his right. He carefully rocks the chair back up on all
four legs before replying.
Well, I would have liked to take a
closer look at the base of the
tree that fell on the house. I
have more than a hunch that Mrs.
Sheppardís body, or whatís left of
it is under there.
Hank places the stack of pictures down on his desk.
Iíve got a crew taking that tree
apart piece by piece as we speak.
If they find anything under it
weíll know.
Isaac sighs.
Yeah, but what does this crew know
about preserving the crime scene?
Theyíre probably stomping around
on clues we need to catch the
killer right now.
Hank eyes Isaac skeptically.
So you think these deaths are

Isaac huffs as though he has been insulted.


Look at the picture of the Mr.
                       OFFICER 3
His name was Lester.

Isaac shrugs.
Fine, Lester then. His body was
slashed just like the Sunderland
kid. When the shirt was removed
the words ďNot DadĒ were carved in
his chest.
Michael shakes his head in disagreement.
I donít think we need to be trying
to link these two together like
this. The last thing we need is
to get a panic started.
Everyone except Isaac mumble their agreements.
We donít have to try to link them,
the similarities are right in our
faces. Iíve seen this kind of
thing before and the fact that
heís using his victims to
communicate with us means things
are getting worse by the minute.
Isaac takes another drag from his cigarette and casually
exhales it.
                       ISAAC (cont.)
I hate to break it to you guys,
but youíve got a full-blown serial
killer on your hands.
Everyone in the room turns to face Isaac at once. Isaac
ignores them all and focuses on his cigarette.


This town hasnít had so much as a
robbery in the last fifteen years
and you expect us to believe that
thereís some mad man on the loose?
How would you explain this then?
Iíve seen the pictures of
Sunderlandís body and I saw Lester
Sheppardís too. They have the
same slash marks and when the
coronerís report comes in weíll be
able to get every last detail on
the two killings.
Hank clears his throat. The other police officers look
uneasy. Isaac begins to take notice.
What is it? Whatís wrong?

Michael shakes his head.
Weíre not sending Lesterís body to
the Mainland.
Isaac looks around the room in disbelief.
What are you, stupid? Whoeverís
responsible for these murders is
still out there.
No one responds to Isaacís statement.
                       ISAAC (cont.)
Is that what you want?
Hank motions for Isaac to sit down.
Iíve put you on the case to assist
us in catching this criminal. You
have to do it our way.
Isaac ignores Hankís motion.


To hell with that! Iíll start my
own damned investigation first.
No you wonít! There are things at
stake here that you donít
Isaac grabs his coat and puts it on.
Really? Well, youíll forgive me
if I donít give a shit. People
are dying out there and all youíre
worried about the politics. To
hell with this!
Hank looks at the officers in the office.
Make sure he does not leave this
The officers rise from their seats and pursue Isaac to the
door. Isaac raises his hands as if to give up. The
officers slow.
Look, if you want me to solve this
case we have to go by the book.
Thatís all there is to it.
That might be the way it works in
the city, Stone, but we have our
own way of doing things here in
Clearwater Falls.
Isaac slowly turns around while Officer 2 approaches him
with handcuffs drawn.
Fine, but when half this
godforsaken town is dead, youíll
be begging me to do things the
right way.
Once Officer 2 is within arms reach Isaac spins and sucker
punches him in the throat. Officer 2 falls gasping for


Honestly though, I donít think I
can wait that long.
Isaac and the other officers begin a short fistfight that
ends with Isaacís escape from the sheriffís office. The
other officers begin to give chase.
Let him go. We can pick him up
anytime, but right now we need to
focus on how we're going to
control the situation.
Reluctantly, the other officers return to their places in
the room.
The streets are empty save for three parked cars. The
street runs between a series of buildings like a river
through a canyon and only a phone booth helps the moon to
light the area. Rain falls heavily on the surroundings and
on Isaac as he crosses the street toward the phone booth. He
has his coat pulled tight around him in spite of the fact
that he is already soaking wet. He is cautious and he scans
the area several times before making his call.
Hello Caitlin? You wonít believe
the day Iíve had.
The car is parked under the deck of the ferry as the ferry
pulls away from shore. The windows are slightly foggy. The
ocean view beyond the ferry is calm and pristine, though a
heavy blanket of fog hangs on the water in the distance.
Isaac and Caitlin sit in the car. Both seem uneasy but
neither speaks for some time. After several seconds Caitlin
turns to Isaac.
So let me make sure I got this
straight. Yesterday you were
recruited by Hank Caughfield to
work on a murder case and after
your first day you insulted the
entire sheriffís department
punched an officer in the face and
now youíre on the run.


Isaac laughs at the sound of his story. Caitlin is
obviously not amused.
I didnít punch the officer in the
face, per seÖ
Caitlin shrugs and throws her hands up in frustration.
Well, is there any particular
reason you even signed on to help
the police at all?
Isaac wipes the rain from his face before he speaks.
I never signed on to help, the
ďgood ole boysĒ. I was drafted
and threatened into working the
case. So like a good citizen I
did my part, but no one is really
interested in catching this killer
except for me.
Caitlinís gaze softens as Isaac continues.
Caughfield seems preoccupied and
thatís fine by me, but there is a
dangerous person on the loose here
and he needs to be stopped
regardless what the sheriffís
department thinks.
So what are you going to do now?
Isaac shrugs in frustration.
There isnít really that much I can
do on my own. If Iím going to
even attempt to catch this guy I
need to have some resources at my
Caitlin grips the steering wheel and sighs as though she has
made a very large mistake.


Iím guessing that your chances of
finding this guy would increase if
you had some help.
Isaac turns to Caitlin.
You think?
Caitlin ignores Isaacís reply.
Iíll help you any way I can, but I
donít really know what I can do.
Isaac sighs heavily.
The biggest thing I need right now
is a place to hide out. The cops
will be all over my place by
tomorrow morning and I really
donít know anyone else that I can
Caitlin does her best to look mysterious, but fails.
How do you know you can trust me?
Isaac looks into her eyes carefully.
I have a hunch.
Isaac and Caitlin eye each other for an awkward moment
before they both turn away. Isaac wipes some of the
condensation off of the front windshield and peers out of
Since we spent the entire ferry
ride in the car last time, I think
that we should probably get a
better seat this time around.
Caitlin nods and opens her car door.


Sounds like a good idea.
The moon shines over the choppy pacific waters as the ferry
continues on its path to the island of Pinehurst. The
faintest hints of the forest canopy can be seen though the
ominous fog that blankets the horizon. The rain continues
at its previous pace. Caitlin hears the hood of her jacket
over her head to protect her from the rain. Isaac stands at
the border wall with his coat pulled tightly around him. He
stares off into the distance as Caitlin nears him.
I know he's out there.
Caitlin looks up at Isaac curiously.
I take it you mean the killer.
Isaac nods in reply.
Heís on Pinehurst somewhere just
waiting on his next chance to
Caitlin looks out to the ghostly outline of Pinehurst.
Where do you think heíll strike

Isaac shrugs.
His attacks so far seem random,
but I have a sinking feeling that
heís getting bolder.
Well, what kind of clues have you
been able to find?
Isaac grows frustrated as he speaks.


I havenít been able to find too
much of anything. Caughfield
wonít send the most recent body to
the coronerís office and thereís
no way to get anything more
revealing than fingerprints
without going to the Mainland.
Then maybe thatís where you should

Isaac shakes his head.
I donít know. If Caughfield has
them convinced everything is under
control they wonít come out here
anyway. Besides, I want to catch
this guy myself.
Caitlin smiles.
You know I didnít expect to hear
you say something like that.
Isaac looks at Caitlin curiously.
Ellie is convinced that you are
going to kill yourself. From what
she told me I kind of thought you
would too, but now youíre looking
forward to facing the future.
Caitlin looks up into Isaacís eyes.
That doesnít sound like someone
whoís suicidal to me.
Isaac sighs.
So youíve been checking up on me?


Not exactly, it just kind of came
up in the course of conversation.
Caitlin takes in a deep breath and speaks.
So why did Caughfield come to you
for help? I mean the only thing
that I can figure he would want
would be your gift.

Isaac fires an angry look at Caitlin.
Why do you keep calling it that?
Itís not a gift and besides
Caughfield doesnít even believe
that I have it.

Then why else would he bring you
into the investigation?
Isaac seems uncomfortable suddenly. After a pause he
I have some experience with these
kinds of things.

How so?

Isaac releases his coat and rests his hands on the border
A long time ago I used to be a
homicide detective.


Isaac laughs to himself.
I used to be damn good too.
Marianna and I were the best on
the LAPD payroll, but I guess it
wasnít meant to be. Like all good
partners we were close, but before
I knew it we were too close andÖ

Isaac chokes off his words and shakes his head. Caitlinís
eyes are locked on him. She hangs on his every word.
Anyway while we were chasing a
suspect the car skidded out of
control and hit a power line. I
watched her die before I passed
out and a part of me died too.
When I came to in the hospital I
was able to read other peopleís
memories. Even though I was given
this new ability it never made up
for the loss of Marianna.
So was that how you ended up in
Isaacís tone of voice booms ominously as he speaks.
No, and I donít really want to
talk about it.

Caitlin turns away from Isaac swiftly. For some seconds
neither Isaac nor Caitlin speak. The form of Pinehurst
grows more tangible as the ferry approaches it.
Iím sorry I asked you to read me
last night.
Isaac waves her statement off as though it is
If we change the subject Iíll call
it even.


Isaac nods in agreement.
Fine, then why donít you tell me
about the case?
The walls and floors of the house are wooden and perfectly
polished. Every piece of furniture in the living room is
carved from cherry and bares similar wolf carvings denoting
the fact that they are all part of the same set. Old brown
and white photographs of women in long dress and men with
full beards grace the walls. The entire room is lit by
several oil lamps place atop a coffee table an empty
bookshelf and an end table. The cushions on the sofa and
chairs are made from animal pelts and appear to be in great
condition considering their obvious age. The room is
perfectly still save for the dancing of the oil lampsí
flame. We hear the turning of a doorknob and our focus
shifts to Caitlin and Isaac as they enter the house.
ÖWhen I moved here. The nearest I
can tell this house and almost
everything in it are is over a
hundred years old. Thatís minus
my equipment, of course.
Isaac scans the living room. We can see the admiration on
his face as he looks around.
Everyone says its amazing. But
when I consider the fact I have to
use lamps to light and a wood
stove for heat I canít help but
think that this place is one huge
fire hazard.
Isaac strolls deeper into the house.
You mean you donít see how much
history is in this house?

Caitlin removes her coat and hangs it on a wooden coat rack
behind the door.


Donít tell me that you can read
memories from objects too.

Isaac shakes his head.
Unfortunately, I can only read
humans, but I donít need to be
psychic to see the heritage here.
Caitlin shakes her head. Isaac removes a single cigarette
from his pocket, puts it to his lips and removes a book of
matches from his opposite pocket. Caitlin immediately grabs
the matches out of his hand and stuffs them into her coat
Well, just remember that since
this whole place is made of old
wood, thereís no way Iím going to
let you smoke in here.
Isaac turns to Caitlin in disbelief.
You're joking right?
Caitlin ignores Isaacís statement.
Iím going to see if thereís
anything here you can wear, but in
the meantime try not to drip all
over the floor. I donít want them
to warp.
Caitlin walks through the living room. She takes the oil
lamp from the coffee table and heads down one of the two
connecting hallways. Isaac wanders through the living room
admiring the photographs and other antiquities that fill the
room. He speaks loudly so that Caitlin can hear him.
So whereís this equipment you were
talking about?
We can hear Caitlin, but she remains off camera.


                       CAITLIN (O.S.)
I set up a makeshift lab in the
basement. Itís down the other at
the bottom of the stairs.
Isaac makes his way toward the first second connecting
hallway. He takes one of the oil lamps to light his way.
The wooden walls ceiling and floor give the hall an eerie
brownish gold hue when matched with the lamplight. Much of
Isaacís body is not visible in the darkness and his face is
dressed in harsh dancing shadows. Caitlin digs through an
old chest. She lifts an old pair of brown trousers and eyes
them carefully.
I wasnít able to do any work down
until I bought the generator.
It is clear that Isaac cannot hear Caitlin. The lamplight
dances across the wall until a wooden stairwell is revealed.
Isaac curiously investigates it. The air grows colder as
Isaac nears the basement and we are able to see his breath
(like the Baby). Isaac holds the lamp up higher so that the
light can penetrate farther into the darkness. The lamp
illuminates the stairwell but the opening at the bottom
remains pitch black. As Isaac continues his breath becomes
more and more visible due to the falling temperatures.
Caitlin makes her way back through the living room with an
old off white shirt and the brown pants from earlier. The
clothes are draped over one arm while she holds the oil lamp
with the opposite hand.
Donít break anything down there.
Isaac now stands in the basement. He is clearly cold as he
pans the lamp across the basement. The soft yellow-orange
glow of the firelight dances across mechanical parts and
other lab equipment. Isaac looks at the equipment with
disappointment. He turns and begins toward the stairwell
once more. He huffs in disbelief. The condensation from
his face dances across the side of an invisible man that is
walking across his path. Isaac starts, but swiftly regains
his composure.
I hate ghosts!
Several halogen lights flicker on as Caitlin walks down the
stairs with the clothes in hand. The lights have been
attached to the ceiling recently. For the first time we can
see that the basement actually extends beyond the boundaries


of the house. There are five folding dinner tables each
with different equipment on them. At first glance the room
seems completely unorganized.
This is where I really live.
Isaac blows turns off the oil lamp.
Why didnít you tell me you had a
ghost in the house?
Caitlin looks at Isaac curiously.
Doesn't everybody?
Isaac is not amused. He turns away from her and surveys the
basement lab in its full glory.
What is all this stuff?
Caitlin walks over to Isaac and hands him the clothes before
heading to the first table.
Iím a mechanical engineering major
with a healthy interest in
physics. I tried to tell you that
two days ago.
Isaac shrugs off Caitlinís comment.
Iíve been trying to understand the
nature of ghosts from a scientific
platform and most of my
conclusions have been proven
And what kind of conclusions have
you come up with exactly?
Ever since I got here Iíve been
thinking that ghosts really arenít
supposed to be here and that since
they are there must be some trade
off. Then a couple of weeks ago
it hit me.


Isaac stands with a confused look on his face once Caitlin
stops speaking.
Havenít you ever wondered why
ghost stories fade away as time
goes by?
Not really.
Caitlin turns and begins to pace between Isaac and the
Ghosts canít sustain themselves
here. Thatís why people forget
about them. They actually do fade
away or disperse.
Isaac places his oil lamp on the table and crosses his arms.
And you proved this, how?
Ms. Parker confirmed it.
She told me that as time went by
she felt she was getting weaker.
Like she was wasting away to
I didnít think there was enough
space on that little board for her
to write all of that.
What are you going to believe:
your own skepticism or the words
from a ghostís mouth?
Well, the former tells me that the
latter isnĎt possible.


Caitlin rolls her eyes and walks away toward the stairs.
Wait, I promise to keep my
comments to myself.
Caitlin turns toward Isaac critically.
Am I supposed to believe that?
If I donít live up to it you can
always throw me out on the street.
Caitlin smiles at Isaac wickedly.
I donít need your permission, you
So what do you think causes it?
Caitlin shrugs.
Iím not really sure about that,
but Iím sure it has something to
do with the type of energy theyíre
made up of.
Caitlin walks over to the third table back and picks up what
appears to be a ďfish-finderĒ.
One of my weaknesses is carrying
on multiple projects at once.

She holds up the ďfish-finderĒ for Isaac to see before she
presses a button on it and it beeps to life.
                       CAITLIN (cont.)
In between my huge expanses of
theorizing Iíve been trying to
find a way to track ghosts so that
I can make my research easier.


The ďfish-finderĒ beeps rhythmically as Caitlin casually
walks over to a support beam and lifts a fire extinguisher
from its perch. Caitlinís eyes are locked on the
ďfish-finderĒ as she walks through the basement.
Honestly, I stumbled onto the
answer when Clint here was
throwing one of his fits. I felt
so stupid that I couldnít see it
Caitlin ends her walk near the far right corner of the room.
Isaac watches her closely.
The biggest obstacle was finding a
way to get a response from
something that is pure energy.
Isaac wears a look of confusion.
See what?
The answer; itís sound. Ghosts
are energy and that yields a
charge that is in direct
opposition to physical matter.
They repel physical matter by
nature. By using sound waves we
can force air to travel and fill
an area, but if a ghost is in that
area the air will be repelled and
thus the sound will echo back
Isaac nods.
I get it. Thatís how they
interact with things and thatís
why it seems like they throw stuff
all the time.
Caitlin points the fire extinguisher at the far corner of
the room.
Not just that, but if you have a
grasp of what rules they follow
you can use them to devise a way


                       CAITLIN (cont'd)
to see them. (softly) Sorry

Caitlin sprays the fire extinguisher at the corner. The
elements of the spray flow around the form of CLINT who
would otherwise be invisible. Clint flails and struggles to
keep the spray from his face until finally he retreats
through the wall and the spray elements react as they
normally would.
Of course, you have trumped all my
work on this little device.
What do you mean?
Your gift. Itís how you knew
Ellie was beside you when you blew
that smoke in her face?
Isaac hesitates.
Yeah, somtimes I can see what she
Caitlin shakes her head ďnoĒ.
Thatís not true; not if you can
only read memories. You must have
seen what she most recently
remembered. You can track ghosts,
Isaac shakes his head in disbelief.
It didnít make any sense to me
either until you told me about
your ability. I would have liked
to have gotten the chance to
believe you without proof and I
know I would have, but I already
had it.
Thereís no way I read her memory
sheís not even alive, besides I


                       ISAAC (cont'd)
have complete control over it. I
have to actively want to do it.

Caitlin walks toward Isaac swiftly. She looks at him
seductively. Isaac is immediately uncomfortable and takes a
few steps back, but eventually brings himself to stand
still.Caitlin grabs Isaac by the collar of his jacket and
pulls him close to her as though she wants to kiss him. When
they are inches away from one another she touches her
forehead to his. Isaac yells in pain, but the pain is
clearly not from Caitlinís actions. Our perspective slows
and once again we receive the same ďReading EffectĒ as in
Scene 7. Numerous cascading images surge through the
storm-like backdrop, but one is much larger and more
prominent. It is the image of the Dell funeral. We stand
in the funeralís crowd and watch as two caskets are lowered
into the ground. The headstone above the graves read ďSusan
and Harrison DellĒ. The image grows crisper as the memory
progresses. We pan around to look at the people gathered at
the funeral. Isaac stands beside Caitlin. The image shakes
violently and the Isaac in the image flickers and begins to
fade. The cascade of images begins to stream almost
endlessly as Isaac pulls himself away from Caitlin. Isaac
stumbles backwards and falls against the basement wall.
Caitlin appears to be slightly dazed, but is able to stand.
Isaac grips his head tightly and strains to regain a normal
breathing pattern.
Donít you ever, ever do that to me
Caitlin sits down on the floor in front of him.
What did you see?
Isaac does not make eye contact, but we are able to tell
that he is very angry.
What do you think I saw? I saw
your memories.
Caitlin seems overly eager.
I guessed that much, but what
memory was it?
Isaac struggles to his feet.


What does it matter? You proved
your point already.
Was it a funeral?
Isaac ignores her.
Why does everyone I read have a
miserable life? Why canít I read
Michael Douglasí wedding night or

Caitlin seems to be celebrating the fact that Isaacís
ability works as she has foreseen.
Isaac, I think I can help you with
your gift.
The cloud cover is heavy dimming every detail of the town
down with a dull grayish hue. There are a few cars
traveling up and down the street, but it is far from busy by
any standards. Caitlinís car pulls into view.
Caitlin and Isaac sit in the car. Isaac slouches just low
enough to avoid direct eye contact with anyone. Caitlin
struggles to look casual, but is obviously failing. Isaac
looks over at her and eyes her for a moment before speaking.
Just relax, everythingís going to
be fine.
Caitlin replies, but does not look over at Isaac.
I donít think this is a good idea.
I mean, weíre way too close to
the police station.
Look, I need copies of those
pictures. Caughfield has them,


                       ISAAC (cont'd)
but I have the negatives. So I
have to come down here to get them
duplicated. Besides, you said you
needed groceries.
Yeah, but I didnít expect for you
to ride with me.
Iím only riding to the photo lab.
You can just pick me up when
youíre done at the store.
Caitlin parks the car on the side of the street and scans
the area. There are a few people walking on the sidewalks
with umbrellas and plastic bags, but the streets are
otherwise empty.
Okay, Picture Perfect is just up
the street. Do your thing.
Isaac pulls a cigarette from his pocket and lights it as he
exhales he speaks.
Do me a favor.
Caitlin eyes Isaac expectantly.
Remember something pleasant this
Isaac closes his eyes and we can see the wince as though he
is suffering some great pain. There is a low bass roll that
expands outward slowly. We shift to an aerial view of the
street as a rippling wave of translucent force slowly
envelops everything. When the wave hits people there is a
rebounding effect, like a visible radar ping, that creates
opposing ripples leading back to the car. There are several
in distinct ďmemory flashesĒ of ordinary people doing normal
things intercut within the radar-like image. There is one
lasting sequence of someone looking out the window of a
modest house into a forest that is consumed by flames. The
shadow of a woman stands in the flames. A gunshot rings out
and punctuates the end of the vision. Just as the gunshot
fires we cut to Isaac opening his eyes. There is a tear in
his left eye that he wipes away instantaneously. He
immediately takes a deep drag off of his cigarette and
exhales it slowly. Caitlin eyes him curiously.


Does it really hurt that bad.
Isaac opens the car door as he speaks.
You have no idea, (raising his
cigarette to accent the line) but
a steady diet of nicotine and
alcohol help.
Isaac closes the car door and strolls out onto the sidewalk.
An elderly lady passes him walking rather hurriedly. Isaac
walks with a since of casual pride that we have never seen
in him before.
(casually) Would your husband
approve of stolen anniversary
The elderly lady slows and turns to look at Isaac
suspiciously. Isaac does not turn as he replies.
I didnít think so.
The elderly lady turns and walks away even faster. We shift
to a close-up of Isaac smiling almost sinisterly as steady
streams of smoke rise from his lips. Isaac scans the street
carefully. We see from his prospective. We can see Picture
Perfect clearly, but we can also see a small building off
the main road. Isaacís eyes narrow as he focuses on the
building. We can see several flashing lights and violent
looking motions. Once again we see the image of a forest in
flames before we return to Isaac. We can see the struggle
on Isaacís face as he makes his decision. Isaac steps off
the sidewalk and moves swiftly off the main road toward the
building in the distance.
The clouds roll slowly through the sky as several customers
cross the rapidly filling parking lot. The sun still
remains hidden and some puddles still pepper the parking
lot. We follow the elderly FERGUSON couple as they make
their way into the store.
                       MRS. FERGUSON
ÖThe Sheriff sent out a letter.
Emma says itís about the new


                       MRS. FERGUSON (cont'd)
annexation attempt, but Iím not
Another couple passes the Fergusonís on their way back to
their car. Mr. Ferguson waves at them hospitably.
                       MR. FERGUSON
Iíve seen so many plans to annex
this town that I donít even get
ruffled up about it anymore.
Mrs. Ferguson agrees with her husband. The Fergusonís pass
the threshold of the Grocery store. MR. WILSON stands a
register and waves at them as they enter.

                       MR. WILSON
Is it Wednesday, already?
                       MR. FERGUSON
Yes sir, it is. Has the new
produce made it in yet?
Mr. Wilson nods. A customer approaches Mr. Wilsonís
register and places his purchases on the counter.
                       MR. WILSON
Yep, it just came in ten minutes
                       MRS. FERGUSON
Thank you, sweetie.

The Fergusons shuffle off toward the produce area. The
store is large and speckled with townsfolk. Soft white
halogen lights hang from the ceiling while shelves filled
with all kinds of food decorate the wide floor of the
building. We travel a simple path through the store and
into the back storeroom. We drift through the stacks of
non-perishable items and out to the truck dock. We can see
from inside the truck dock that the produce delivery truck
is stalled. As we continue toward it a large pothole in the
asphalt ripples like a wind is blowing across it at a
moderate rate of speed. A slight wail can be heard as we
pass the area and continue toward to truck. Inside the
truck sits the driver. He is clearly dead. His body is
stiff and he has a look on his face as though he is being


Mr. Ferguson thumps a melon and frowns. The produce section
runs the entire length of the Eastern wall. The Fergusons
are near the very back corner. Past them we can see the
shipping entrance. The swing-away doors that lead to the
storage room blast opens suddenly. Mr. Ferguson drops the
melon on the floor and turns swiftly. Mrs. Ferguson is not
at all surprised.
                       MR. FERGUSON
The storage room doors swing back and forth losing momentum
as they do so.
                       MR. FERGUSON
May, did you see that?
Mrs. Ferguson shakes her head.
                       MRS. FERGUSON
Iíll never understand why youíre
so jumpy, Henry. We were raised
here. Things like that happen all
the time.
Mr. Ferguson turns back to the produce rack. He wears a
look of confusion on his face as though he canít remember
what he was doing before.
                       MR. FERGUSON
Iím not jumpy. It was just so
sudden. I didnít know what it

Mr. Ferguson looks down at the ruined melon on the ground.
                       MR. FERGUSON
Mr. Ferguson kneels down and picks up the pieces of the
broken melon. We follow him to the ground. Mrs. Fergusonís
feet can be seen in the frame with Mr. Ferguson. The
lighting begins to flicker. Mr. Ferguson looks up. We see
from his perspective as the soft halogen lights over the
produce flicker wildly. It appears as though the electrical
current is not making its way through the bulb. We see Mr.
Fergusonís face for a moment as he struggles to understand
what is happening.



                       MR. FERGUSON
What theÖ?
We can barely see Mrs. Fergusonís feet above his right
shoulder. Mr. Ferguson begins to stand and turn.
                       MR. FERGUSON
May, are you seeing thiÖ?
Mrs. Ferguson hangs in the air gasping for a splits second
gasping. We are close on Mr. Fergusonís face to capture the
look of fear and confusion he wears. Mrs. Fergusonís body
falls to the ground. Mr. Ferguson drops to his knees and
scoops Mrs. Fergusonís upper body into his arms lovingly.
                       MR. FERGUSON
His eyes tear as he holds her. Seconds later his teeth
clinch and he looks up.
                       MR. FERGUSON
Somebody help mÖ!
Mr. Ferguson is torn upward out of our shot with inhuman
speed. We pan upward to watch as he flails against an
unseen force near the storeís ceiling. Even though he is so
far from us we can still hear him gasp for breath as though
he is right beside us.Fergusonís body plummets to the floor
as we cut away. A young woman stands twenty feet away. She
screams and her scream punctuates another cut. We see the
woman from the ceiling where Mr. Ferguson was held. A wail
begins as we streak toward her. Our wail and the womanís
scream seem to merge together as one as we overtake her
position. When the young womanís torso fills our shot we
cut away. We see a wide shot of the young woman screaming
from twelve feet into the aisle she was previously shopping
on. The woman is forced backward and out of shot by an
unseen attacker. We shift to a profile shot of the young
woman as she sails through the remainder of the grocery
storeĎs length. Our perception is slowed as she struggles
to breathe. For a split second the face of an enraged woman
can be seen and then it fades away. The scenery behind her
is a solid blur and nothing can be made out. After a moment
the young womanís eyes roll into the back of her head and we
return to normal speed. She is pushed past us to our left
we move to follow her motion. The young woman sails through
the back aisle of the store and toward the adjoining wall
with more than terminal speed. She impacts the wall forming
a crater in it.


Caitlinís car pulls into the parking lot. We can tell that
she is driving too fast. She swiftly maneuvers the car into
a space that is a moderate distance from the Supermarket and
steps out of it. She holds a slightly crumpled piece of
paper in her left. It is a list of groceries. We can see
several of the items listed and among them are a pack of
cigarettes and a bottle of Jack Daniels (both have been
penciled in Isaacís hand writing). Caitlin is so
preoccupied with the list that she does not see the
flickering lights or hear the shrieks and rumblings coming
from inside the Supermarket until she is about to enter the
Inside the Supermarket aisles have been knocked over,
shopping carts have been damaged almost beyond recognition
and the broken bodies of former customers lay scattered
amidst the ruined foods and other products that were once in
perfect order. Caitlin surveys the area in disbelief. We
scan the area once more and notice the violently flickering
florescent lights that hang from the ceiling. The cries of
the injured and dying can be heard fully for the first time.
As we crane up we can see the full extent of the
destruction to the Supermarket and it is nearly absolute.
All but three sections shelves within the building have been
toppled and or completely broken. Many rest atop lifeless
bodies that are still frozen in expressions of horror and
suffering. We can see Caitlin at the very bottom of the our
view. Her frame is dramatically dwarfed by the immense
chaos within the walls. We shift to an over the shoulder
shot as a screaming woman rockets into the rafters of the
building. Within seconds her screams stop and she falls
over twenty feet and crashes to the ground behind a toppled
shelf. Caitlin jumps at the sound of the impact. Mr.
Wilson cowers behind his register mumbling something
inaudible. Caitlin hears him and moves stealthily to his
position. As she moves we can see and hear two more victims
being taken up into the rafters and dropped. She crawls
behind the register and places her hand on Mr. Wilsonís
shoulder to calm him. It doesnít work. Mr. Wilson attempts
to tear away from her grasp, but Caitlin tightens her hold
on him and pulls him back down to the floor.
Don't panic.
Mr. Wilsonís eyes focus on Caitlin for the first time and
after a few short seconds we can see a small amount of
composure come over him. He nods. Caitlin smiles at him.


She looks over the counter. We see from her perspective as
everything looks calm. We shift to a close up of Caitlinís
face. We can see that she is heavily skeptical of what she
Where are the controls for the
Mr. Wilson throws Caitlin a puzzled look.
                       MR. WILSON
I-itís the computer I-in the
office. Why?
Mr. Wilson nods to the office door on the far end of the
checkout area. Caitlin turns to eye the path herself. It
is only thirty yards away, but the look of despair on
Caitlinís face is meant to make us believe that she could
never reach it.
We have to give the rest of these
people a chance to get out of
It is clear that Mr. Wilson has no idea what Caitlin means.
Caitlin takes one more look over the counter and once again
there are no signs of danger. Caitlin turns and surveys her
path to the office doors. On the very last checkout counter
we can see the cash register stir just slightly. The
movement is so subtle it is as though we are not meant to
see it. Caitlin does not notice this movement until the
cash register ďleapsĒ from the checkout counter and sails
through the air toward her. Caitlin ducks just as the
register collides with the top of the counter she hides
behind. The contents of the register explode outward and
sail into the air as our perspective of time slows. The
dollar bills and change swirl in the air as though a
powerful wind current is forcing them to part. Caitlin
turns to see Mr. Wilson fly through the air and toward the
rafters. We can see the fear on his face as he screams and
reaches out for Caitlinís help. Our perspective returns to
normal in the middle of Mr. Wilsonís flight. His face
contorts slightly and his scream ends as his body plummets
to the ground. Caitlin scrambles to her feet and sprints
toward the office.
We can hear the signature howling wind/wail from previous
scenes. As Caitlin sprints toward us we can see large


amounts of debris swirling begin to rise from the ground and
speed toward us. We can see the strain and effort on
Caitlinís face as she attempts to out run the speeding
ghost. We stay on her, but lower toward the ground as she
gets closer. Our focus shifts to the rapidly approaching
As Caitlin passes us we can see that there is now a massive
amount of debris all moving at blinding speed. A frail
plywood door slams in front of us and almost immediately
shatters. Caitlin dives under a cheap-looking desk, turns
the chair over and pulls it toward her. The hurricane of
debris explodes into the office along with the presence of
the ghost. The fear and desperation on Caitlinís face is
readily apparent as objects in the room begin to fly around
wildly. We can hear Caitlinís breathing and heartbeat grow
more intense as the ghostís search wanes. We are close on
Caitlinís eyes as she looks around to see if there is any
clue of the ghostís presence. We shift to Caitlinís
perspective once again to see that nothing is providing an
immediate threat. Several torn pieces of paper drift to the
floor on our left. The last sheet of paper sweeps violently
to our right taking the computer on the desk with it into
the right wall. We track the paper and the computer in
their journey, but the top of the desk blocks our view of
the computer until it is well on its way to the wall.
Caitlin recoils with the sound of the computer shattering
against the wall. The chair is torn away from the gap under
the desk exposing Caitlin. Caitlin screams sharply and
trembles slightly expecting an attack that doesnít come. A
look of confusion and relief dawns on Caitlinís face for a
moment. The desk splits in half and Caitlin soars up
through the divide as the two sides of the desk flip toward
opposite walls. Caitlin does not scream but we can hear her
struggling as she fights to free herself from an invisible
force. Our perspective slows as Caitlin begins to gasp for
breath. We can see brief flashes of a violent womanís face
in the close profile shot with Caitlin. We are close on
Caitlinís mouth as the mouths the word ďNoĒ authoritatively,
but we hear no sound.
Our perspective returns to normal as Caitlin falls to the
floor where the desk used to be. Some invisible force slams
into the opposite wall tearing a rounded hole in it. Caitlin
coughs repeatedly as she scrambles to her feet and climbs
onto the steadiest part of the ruined desk.
Wh-what just....
She tries to take the matches out of her right jacket pocket
with her right hand, but it refuses to work. We can see the


panic begin to form on Caitlinís face as she looks down and
sees that her hand has turned a bluish tint with visible
veins and capillaries throughout. After a second of panic
Caitlin reaches into her pocket with her left hand and takes
the book of matches that she got from Isaac. We are close
on the matches as she strikes one and raises the flame to a
sprinkler head. There is a short delay and then the
sprinklers seem to explode coating everything in a thick
blanket of continuously falling water. Caitlin steps down
off the desk and sighs with relief. We can hear police
sirens in the distance, but Caitlin pays them no attention.
The ghost looks up at the sprinklers. The steadily falling
water allows us the see the ghost in high detail as the
liquid streams around her. We can see three police cars
speed into the parking lot through the shattered windows
behind the newly visible ghost. She turns sharply and
arches her back slightly as though she is offended by their
presence. The ghost launches herself through one of the
broken windows and into the open air beyond. The light mist
outside still allows us to see the ghost, but in a much more
generalized way. Caitlin exitís the office through the
massive hole where the doorway once stood. She looks out
the window and watches as the ghost tears into the hood of
one of the police cars. The carís front end splits
violently seconds before the entire car lifts from the
ground and is sent cart wheeling across the parking lot
until it lands on CaitlinĎs car. Caitlin winces and
immediately retreats from the window.
She creeps through the newly chaotic interior of the
Can anyone hear me?
Several moans and cries for help ring out almost instantly.
Caitlin moves swiftly to help a woman pinned under
heavy-looking display.
Donít worry, Iím going to get you
out of here.


We pan slowly through the office. It is empty, but there is
still movement. As we pan past the record room door we can
see papers flying through the air and being torn to shreds.
We hang on that doorway for a few seconds longer than any of
the other areas of the office. Our pan continues until we
reach the officeís backdoor. We zoom in on the door knob to
see it twitch as though someone is trying to open it. The
knob falls still for a moment, then the door explodes open.
Isaac stumbles into the office with his shoulder lowered as
though he just charged the door. Isaac slows and regains
his balance. Isaac walks slowly through the hallway with an
unseen level of confidence. Three sheets of paper fly out
of the Record Room door and there is a continuous rustling
sound that plays throughout the hallway. Isaac reaches for
his gun, curses to himself and walks slowly up the hallway.
      (clearing his
This is the police. Stop what
youíre doing and come out with
your hands up.
The rustling stops. Isaac continues his path up the hallway
without any hesitation. We can see on Isaacís face that he
is nervous as he approaches the records room.
I said come out with you hands up!
There is no reply. The office is completely still and
silent except for Isaacís breathing. Isaac sighs in
frustration and closes his eyes. His brow contorts as he
flinches. We are privy to a sequence of rapidly flashing
images of an out of control forest fire. Each of the images
is heavily shadowed which plays out in stark contrast to the
raging flames. Isaacís eyes open and he is forced to take a
breath. It is clear that he is still in pain from the scan,
but he focuses on sneaking to the record room door. We
creep with him as he moves slowly with his back against the
wall. As Isaac near the threshold we dolly around him to
see that there is nothing visible in the room. Many dozens
of files have been spilled out across the floor and the
shelves which once stood neatly have been strewn about with
no more care or effort than the files that were once on
them. We are close on Isaac as he peeks around the corner.
Suddenly there is an explosion of motion from the room.
Isaac pulls his head back swiftly as an eruption of paper
and debris blast out of the door. The papers swirl around
in a wide ďJĒ-shaped path within the lobby area of the


office. Isaac regains his composure. As he stands we are
able to see that a large section of the wall where his head
had been has been torn away by the swift motion. We can see
Isaac is shaken by the events but only through the soft
undertones of his performance. As in previous scenes the
ghost speaks more by manipulating the wisps and whirls of
the wind rather than by and usage of a solid voice.
SsssStone, wwwWhy here? WwwWhy
Isaac ignores the question.
Who are you? What do you want?
The Ghost laughs. We watch Isaacís eyes as he searches the
room for the Ghost.
Medea, sssStone Medea.
A single sheet of paper lifts from the ground and drifts
slowly on to the floor at Isaacís feet.
The Ghost streaks through the office lobby and tears through
the wall leaving Isaac standing with a dumbfounded look on
his face. Isaac slowly kneels and lifts the single sheet of
paper. It is simply a note written by Dr. Sheppard that

January 23rd 1978

The sheriffís department has finally agreed to escort
Lester and I to Medea in order to give the children there
some much needed vaccines.
I canít believe how much of a fight it was. It's almost
seems like the people here are content to just forget about
that island entirely. I wonder why that is?

Margaret Sheppard
Isaac folds the paper and puts it in his pocket. He turns
his head and looks out at the jagged hole in the wall where
the ghost exited.
Okay, big problem.


Caitlin sits on her couch. She seems preoccupied with a
local newspaper resting on her table. She repeatedly
clinches and unclenches her right hand as though stretching
or exercising it. We can hear a heavy rain pounding on the
house as she continues reading. There are three heavy
knocks at the door which startle Caitlin fiercely. She
cautiously moves toward the door and opens it only slightly.
After peering out she relaxes noticeably and opens the door
the rest of the way to reveal Isaac Stone standing on the
porch. He is soaking wet and very displeased.
Our killerís a ghost.
Caitlin nods.
I know she attacked the
supermarket earlier today.
Isaac peels off his coat and removes the piece of paper from
it before tossing it to the side and stepping into the
Then sheís had a very busy day.
Caitlin looks at Isaac curiously.
What do you mean?
I ran across her at Sheppardís
office. She gave me this.
Isaac hands Caitlin the piece of paper. Caitlin opens it and
reads it swiftly.
I think itís from a journal, but I
couldnít find the rest.
Isaac plops down on the couch almost lifelessly and releases
a heavy sigh.
I didnít know that the Sheppards
ever went out to Medea.


I never thought anybody actually
lived on that island.
I had heard rumors about gypsies
that used to live out there, but
no one seems to know it their true
or not.
Caitlin walks behind Isaac and hand the paper back to him.
Well, I think we have our proof
Caitlin sits beside Isaac and hands him the newspaper sheís
been reading.
I think we might have a bigger
problem though. Caughfieldís
called a town meeting to discuss
the new annexation attempt.
Isaac tosses the paper to the side callously.
Let the Mainland take over this
place why should we care.
We should care because this will
be the largest gathering of people
since the killings started and if
she keeps going at the same rate
sheíll definitely take advantage
of it.
And what do you want to do about
it? We canít catch a ghost, we
canít kill it and we canít stop
Maybe we canít, but you might be
able to.
Itís a ghost, Caitlin. I canít
see it, I canít touch it I canít


                       ISAAC (cont'd)
shoot it; not that I actually have
my gun anyway.
Caitlin regains her excitement as she turns to Isaac.
What if you didnít have to?
The auditorium is nearly full with the citizens of
Clearwater Falls. The mounting chatter creates a rumble of
inaudible noise that blankets the scene. Caughfield, Warren
and the other officers are seated on the stage. Warren
leans over to Caughfield.

I hope you know what you're doing.
I'm playing this by ear.
Caughfield stands and moves slowly toward the podium in the
center of the stage.
If I could have everyone's
attention please!
The noise level in the room quiets dramatically over a few
short moments. The citizens begin to turn their attention
to the stage. Caughfield hesitates.
Okay, I know that we are all a
little nervous about the things
that have been happening recently,
but there are more pressing
matters at hand. As many of you
know the government offices on the
Mainland have been trying to annex
our community for sometime. Up to
now their attempts have been in
vain, but with the
recent...problems that we have
been having I think that they may
have a solid basis to come in and
take our home by force.


The people in the audience stir uncomfortably at
Caughfield's words. One man stands defiantly.
                       MAN 1
Well, I say if they can put an end
to these murders, then we should
welcome them in.
Caitlin's car pulls into the parking lot of the school.
Isaac opens the car door and lights a cigarrette. He
inhales deeply and blows out a thick cloud of smoke. Caitlin
opens her door and exits the car.
Okay, so if the cops are throwing
a get-together here and they're
looking for me; why are we here?
Stop complaining and get out of
the car.
Isaac reluctantly exits the car and walks around to Caitlin.
I'm sure there's a good reason why
I let you talk me into coming
here, but I can't remember it for
the life of me.
Caitlin leads Isaac toward the entrance to the auditorium.
These people need your help.


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From Gary Hornbeek Date 8/22/2005 *1/2
Too much "text density". I didn't even get past page 2. Rule #1 in screenwriting - leaner is better. Too much text and your script won't even make it out of the "scan through" department. Also, too much description takes the creativity away from the director, and they don't care for that! My suggestion is to chop alot of the unnecessary description out, and go from there.

From Denis taaffe Date 8/20/2005 ***
I'm not an expert, but enjoyed the script,whre is it going..... will be really cool when finished!! well thought out , didn't like one scene, the scene on page 12 where caitlin shows up and talks about the ghost, maybe use the word entity or rewrite that part so it is more mysterious, the rest is very cool, just that that one scene is too obvious and not believable for me anyway...overall, I could see this made into a feature film, well done, also I would consider this horror, maybe science fiction/horror....just my opinion

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