The Springs

7/30/2019 The Springs

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THE SPRINGS

PILOT

"ON THE RUN"

Written by

Britney Lee Hussey

80 Churchill St, Unit #2Waterloo, Ontario, CanadaN2L 2X2519-939 [email protected] WGA Registration #:1624459



ACT ONE

FADE IN

RUSTIC COUNTRY HOME - NIGHT

CHRISTINE ROBERTSON (72) sits alone on a rose printed sofaflipping through late night blaring informercials on her tubetelevision.

The wind chimes on her front porch blow wildly, caught in theupdraft of a summer storm. In the distance, we can seelightning.

Suddenly there is the LOUD CREAKING of HEAVY FOOTSTEPS comingfrom the outside porch.

CHRISTINE turns the volume down on the television.

She flips on the porch light and peeks through her front window to investigate the sound.

There is nothing there.

She resumes her position on the couch and turns the volumeback up.

The distant lightning and thunder grow closer and a heavyrain starts to fall.

Suddenly there is a LOUD KNOCK at the door.

Startled, she drops the remote and looks towards the door.

CHRISTINEWho is it?

No answer. Just a few slower knocks.

Her hands tremble as she slowly makes her way towards to thedoor.

She opens it just a crack, leaving the chain lock on.

No one is there.

She removes the chain and opens the door fully. She walks outonto the front porch.

That’s when she sees him, sitting on the porch swing, hisback towards her, smoking a cigarette.



MANHello Christine.

He flicks his cigarette and gets up to face her.

CHRISTINE looks at the MAN with terror in her eyes. She has

seen him before.

He is tall, medium build, wearing a black trench coat. Theshadows hide his face.

She quickly runs back into the house and tries to close thedoor behind her but the man is too fast for her and pushes itback open.

MAN (CONT’D)Let’s not be to hasty.

CHRISTINE

I don’t have it.

The man laughs and steps closer to her, the shadows stillcovering his face.

MANI know YOU don’t have it. But Ibelieve you know who does. (beat)Where is she?

CHRISTINE looks away.

CHRISTINE

I have no idea what you’re talkingabout.

MANI think you do.

The MAN pulls out a 9mm pistol with silencer from underneathhis long black trench coat and SHOOTS CHRISTINE at pointblank range 3 times in the chest.

She falls to the floor.

He steps overtop of her lifeless body as he enters the house.

He then takes a look at the wall in the front foyer adorned with pictures. He spots one that has peeked his interest.

He takes it from the wall and SMASHES THE GLASS to remove theit from the frame.

2.



PICTURE

CHRISTINE and an attractive younger woman.

The mysterious man’s black glove strokes the face of theyounger woman in the picture.

He then dashes out of the house as quickly as he came in.

CHRISTINE lies in a pool of blood as the T.V. blares loudlyin the background.

CREDITS

INT. RUSTIC COUNTRY HOME - DAY

The house is taped off and filled with police officers andforensic specialists who are dusting for prints and taking

photographs.

A black sedan pulls into the dirt driveway.

Special Investigators MIKE GUPPY (35) and FRANK POLLONI (42)step out. They are eagerly met by SERGEANT LARRY TIMMS (48) .

SERGEANT TIMMSHello gentlemen.

He shakes their hands.

POLLONI

I’m special investigator FrankPolloni and this is my partner MikeGuppy.

SERGEANT TIMMSSergeant Larry Timms.

SERGEANT TIMMS walks beside them as they walk toward thehouse.

SERGEANT TIMMS (CONT’D)What exactly did they tell you?

GUPPY pulls out his file.

GUPPYCHRISTINE ROBERTSON, widower, 72,found dead in her home. Cause ofdeath, 3 gunshot wounds to theupper chest, fired at close range.(beat) That’s all I got.

3.



POLLONIBreak and enter?

SERGEANT TIMMSWe found no signs of forced entryand nothing is missing except for

a...except for a...a picture.

GUPPYA picture?

POLLONIForgive us sir, but we’re notnormally called in to locate

missing scrap booking accessories.

SERGEANT TIMMSIt’s not the picture. It’s what wethink was on it.

INT. RUSTIC HOUSE

SERGEANT TIMMS guides the men through the front foyer to theliving room.

GUPPY & POLLONI cover their noses with the sleeves of theirjackets.

SERGEANT TIMMSDon’t mind the smell. Neighborsdidn’t find her for a few days.

Have a seat.

GUPPY & POLLONI take a seat on the couch.

SERGEANT TIMMS pulls out an old photo album from a plasticbag marked EVIDENCE and places it on the coffee table.

SERGEANT TIMMS (CONT’D)I’ve got something to show you.

He flips through it until he finds the page he’s looking for.

SERGEANT TIMMS (CONT’D)Here.

PICTURE

Black and white photograph of CHRISTINE as a baby being heldby an attractive younger woman.

SERGEANT TIMMS flips the picture over and reads:

4.



SERGEANT TIMMS (CONT’D)Mother and me, 1942.

He slides the picture towards them so they can get a betterlook.

POLLONIShe had a mother, how terriblyunusual.

SERGEANT TIMMSI’m not finished.

He flips through the book again and pulls out anotherpicture.

PICTURE

CHRISTINE at her 60th birthday party, she sits in front of a

banner and is hugging her mother who LOOKS THE SAME AGE ASSHE DID IN THE PICTURE TAKEN IN 1942.

GUPPYWhat the....

POLLONISixty years later? There’s no way.

POLLONI grabs the photo album and starts looking through it.CHRISTINE’s mother looks the same age in every picture ofher.

SERGEANT TIMMSMadalyn Baker, Christine’sbiological mother.

He hands them CHRISTINE’s birth certificate.

POLLONIThat’s impossible.

SERGEANT TIMMSImprobable, is what it is.

GUPPYAny idea of her whereabouts?

SERGEANT TIMMSWe turned this house upside down.No address, no phone number,nothing. That’s why we requestedyour expertise.

5.



POLLONIIs she a suspect?

SERGEANT TIMMSAt this time we are not ruling outany possibilities. However, it’s

safe to say we have a few questions we’d like to ask her.

EXT. GRAVEYARD - DAY

A few people are gathered around the casket as it is beinglowered into the ground.

The first bit of dirt is shoveled in.

GUPPY & POLLONI watch the service from their car to see ifanyone matching MADALYN’s description shows up.

WILLIAM (68) A distinguished looking older man notices a woman wearing all black in the distance.

Once the funeral is over and the loved ones disperse, he makes his way over to her. Her face is covered by blacknetting but you can still make out that it is the woman inthe pictures.

This is MADALYN (21)

WILLIAMNot very smart, you showing up here

like this.

MADALYN sniffles into a handkerchief.

MADALYNI had to say a proper goodbye toher. I couldn’t even...I couldn’teven...

She bursts into tears and hugs him tightly.

WILLIAMShhh, Shhhh. There, there. (beat) Iam very sorry for your loss,Madalyn. Christine was a lovely

woman and we’re all going to missher.

MADALYNThank you William, that’s verykind.

6.



She lets go of him.

They stroll side by side through the graveyard.

MADALYN (CONT’D)It’s always sad when a parent

outlives their child.

William facetiously raises an eyebrow.

WILLIAMWhat did you think was going tohappen?

MADALYNHave they found out who did it?

He stops walking and looks at her.

WILLIAMYou know perfectly well who did itand you know why.

She begins to tear up again. He grabs her sternly by the arm.

WILLIAM (CONT’D)Don’t be so foolish Madalyn. If hefound her, he’s found you too.

He looks around.

MADALYN

I can’t run forever.

WILLIAMWell you should bloody well try.

She breaks free of his grasp.

MADALYNDon’t you tell me what I should andshouldn’t do. I’ve lost everything.

Tears stream down her face.

WILLIAMThen you have nothing left to lose.(beat) And you still have me oldfriend and I’m not going anywhere.

WILLIAM reaches into his pocket and pulls out a money clipfilled with bills. There is at least a few thousand dollarsthere.

7.



WILLIAM (CONT’D)Take it.

MADALYNI can’t.

WILLIAMYou can’t go home. Please take it.It’s the least I can do.

She takes the money, and hugs him.

MADALYNThank you.

She quickly walks towards her car and jumps in.

He looks down the hill to where the INVESTIGATORS BLACK SEDANis parked.

INT. BLACK SEDAN

POLLONI watches MADALYN and WILLIAM hug one another through apair of binoculars. GUPPY flips though a file.

GUPPYIs that her?

POLLONIThat’s our girl. I knew she wouldcome. No mother can resist her

daughter’s funereal.

POLLONI puts down the binoculars and takes a bite of hissandwich, dropping bits of it on his jacket and pants.

GUPPYLike no woman can resist yourcharm?

POLLONI looks over at him, mustard on his face, mouth full offood.

POLLONIExactly.

POLLONI starts the car.

There is a knock on the car window.

POLLONI quickly hides the binoculars and rolls down the window.

8.



WILLIAM bends down to the height of the car window.

WILLIAMAfternoon gentlemen. Can I help youfind anything?

WILLIAM notices the pictures of MADALYN on the dashboard ofthe car.

POLLONII think you already have.

He quickly puts the car in drive, obnoxiously squealing thetires.

EXT. GRAVEYARD - DAY

Another pair of binoculars have been spying on both parties.

We see the back of a tall man, wearing a black jacket.

He flicks his cigarette and walks over to his BLACK LINCOLN.

EXT. HIGHWAY - DAY

MADALYN looks in her rear view mirror and suspects that aBLACK SEDAN is following her.

She changes lanes.

The BLACK SEDAN changes lanes.

She changes lanes again.

The BLACK SEDAN changes lanes again.

She KNOWS they are following her now.

Her foot hits the gas pedal as she speeds up to lose them.

The BLACK SEDAN matches her car’s speed.

She weaves in and out of traffic trying to lose them.

They follow her closely.

In the distance she sees an off ramp.

GUPPY pulls out a gun and rolls down his window.

9.



POLLONIWhat are you going to do? Shoother?

GUPPYJust gonna slow her down a bit.

POLLONIIn the middle of civilians? Are youout of your mind? Put that away.NOW!

He lowers his gun.

Suddenly there is the sound of GUNSHOT coming from behindtheir car followed by the loud POP of BLACK SEDAN’S reartire.

Their car starts to slow down and eventually comes to a

complete stop on the shoulder of the road.

The BLACK LINCOLN speeds past them, the male driver pullinghis 9mm back into the window.

Both POLLONI and GUPPY fire their guns at the BLACK LINCOLN wildly. They miss and he’s now out of range.

In her rear view mirror, MADALYN doesn’t notice the BLACKLINCOLN but sees the BLACK sedan stopped on the side of theroad in the far distance.

She breaths a sigh of relief as she gets on the exit ramp.

POLLONI & GUPPY pull out their badges and start franticallytrying to flag down cars on the highway.

They notice the BLACK LINCOLN a few car lengths behindMADALYN’s car on the exit ramp.

INT. SMALL TOWN CAFE - DAY

MADALYN, still dressed in black, sits alone at a table fortwo in the cafe.

Her hand trembles causing her to spill coffee on the table asshe attempts to take a sip.

She puts the cup back down.

A MAN takes the seat in front of her. He is tall and quitehandsome. This is THOMAS ELLIS (25)

10.





ELLISWhy would I want to kill abeautiful creature like you?

As he reaches out to touch her face, we see a small tattoo ofa star on his right wrist. Repulsed by him, MADALYN moves her

head.

ELLIS (CONT’D)Especially before you tell meexactly what I want to know.

MADALYNAnd what’s that?

ELLISWhere is it?

MADALYN

I don’t know what you’re talkingabout.

ELLIS throws back his head in laughter.

ELLISThat’s funny. Everybody’s acomedian these days. And you knowthe funniest part? (whispers) Iknow you know what I’m talkingabout and I know you know where itis and you’re going to take me toit or so help me god...

The WAITRESS delivers the coffee. ELLIS, turns his head tokindly smiles and thanks her. In that brief second, MADALYNquickly and discreetly takes a BUTTER KNIFE from the tableand hides it in the sleeve of her dress.

He takes a sip of his coffee.

MADALYNWhat are you going to do with it?

ELLISLet me ask you something, whatgives you the right to sit on asecret like this? It was there foreverybody, not just for aprivileged few. What gives you theright to decide what’s best?

MADALYNYou made the decision too. We allagreed it was for the best!

12.



ELLISPeople change their minds. It’s

what makes us human...Well some ofus.

INT. WHITE HATCHBACK - DAY

GUPPY & POLLONI have managed to borrow a car from someone onthe highway. There’s furry dice, coconut air refreshershanging from the rearview mirror and a hula girl attached tothe dashboard.

Thinking he’s lost them, POLLONI angrily chucks the dice outthe car window and slams his fist against the steering wheel.

That’s when GUPPY notices MADALYN’s car and the BLACK LINCOLNparked outside a SMALL TOWN CAFE.

GUPPYStop. Stop. Stop.

POLLONI slams on the brakes.

POLLONIWhat? What? What?

GUPPYLook.

POLLONI sees the cars.

POLLONIHaving a little tea party, are we?

EXT. CAFE PARKING LOT - DAY

GUPPY & POLLONI have parked the WHITE HATCHBACK on a sidestreet.

Heads down, guns drawn, they run towards the side of theSMALL TOWN CAFE.

They creep towards one of the front windows and duck down infront of it.

POLLONIEstablish the suspect location andon my mark, we go in.

GUPPY pokes his head up to look through the window and spotsthem.

13.





ELLISHow about you put down your guns orI’ll shoot her right now.

ELLIS cocks his gun and points it at MADALYN.

ELLIS (CONT’D)One. Two.

GUPPY & POLLONI put their guns on the floor.

ELLIS (CONT’D)Good boys. Slide them over to me.

They do and he picks them up and puts them in the back of hispants.

He proceeds to drag MADALYN to the kitchen entrance.

ELLIS (CONT’D)(To POLLONI & GUPPY) If I see apolice cruiser, hear a siren or so

much as smell a donut, I’ll killher. Understand?

They both nod.

ELLIS (CONT’D)Have a great afternoon boys.

ELLIS smiles at them and then proceeds to drag MADALYNthrough the kitchen entrance.

INT. SMALL TOWN CAFE KITCHEN - DAY

ELLIS is dragging MADALYN through the kitchen.

He fires his gun in the air and the kitchen staff run out theback door.

He grabs a dish towel to sop up some of the blood that ispouring out of his chest wound.

MADALYN struggles to get free kicking over pots and pans.

ELLISI think this will be easier foreveryone if you just cooperate.

She spits in his face.

ELLIS (CONT’D)Fine. We’ll do it your way.

15.



He looks for something to bind her hands with. Spotting arope on the floor, he bends down to pick it up.

MADALYN manages to free one of her hands and grabs one of theOFFICER’S GUNS from the back of his pants.

She aims it at him.

MADALYNDrop. Your. Gun.

Her hand is shaking.

He stands up with his back to her.

MADALYN (CONT’D)I SAID DROP IT!

He drops the gun and turns to face her. His arms in the air.

He gives her his charming smile.

ELLISYou wouldn’t shoot me, would youpeaches?

MADALYNYou had no problem shooting me.(beat) You killed my daughter. Howcould you do that to her, Ellis?

MADALYN starts to cry.

ELLISEasy. Put the gun down. We’ll talkabout it.

MADALYNThere’s nothing to talk about. Youkilled her.

He puts his hands down by his sides.

His eyes fill with tears.

ELLISAnd you killed my wife. Guess that

makes us even, don’t it?

MADALYNNobody killed her.

16.





GUPPYHey, I’m THE bad cop.

GUPPY makes his most serious face.

POLLONI just laughs at him.

SERGEANT TIMMS approaches.

SERGEANT TIMMSNice work gentlemen. I’ll take itfrom here.

He rudely grabs the questions from them.

SERGEANT TIMMS (CONT’D)You’re more than welcome to take aseat in the box if you’d like.

GUPPY & POLLONI look at each other is disbelief. They thoughtthey were hired to do this investigation.

INT. DRAYTON POLICE STATION INTERROGATION ROOM - NIGHT

SERGEANT TIMMS sits across the table from MADALYN. He staresat her with bewilderment.

SERGEANT TIMMSWould you like to contact someone?A lawyer maybe?

MADALYNAm I in some kind of trouble...?

He smiles at her.

SERGEANT TIMMSPlease, call me Larry.

MADALYNOkay. Larry.

SERGEANT TIMMSNo trouble at all. We just need toask some routine questions aboutyour...ah...your whereabouts on thenight of August 12th?

MADALYNI think what you really want to ask

me is how is it possible that a woman my age has a 72 year olddaughter?

18.



SERGEANT TIMMSWe are curious, yes.

He laughs.

She lights up a cigarette.

MADALYNI suffer from a rare disease calledAnageria. It’s a rare geneticdisorder that causes the agingprocess to stop completely.

SERGEANT TIMMSYou can’t smoke in here.

She puts the cigarette out on the table.

MADALYN

Better? (beat) And I’d thank younot to make light of the subjecteither as I am sensitive about it.

SERGEANT TIMMSDidn’t mean nothing by it. Youstill haven’t answered my question.

MADALYN touches her face.

MADALYNI was at home.

SERGEANT TIMMSAlone?

MADALYNYes.

SERGEANT TIMMSWhen was the last time you saw yourdaughter?

MADALYNI don’t know, maybe ten years ago.

SERGEANT TIMMS flips through his file.

SERGEANT TIMMSThat’s interesting. Seems to bearound the same time that Christinechanged her name to Robertson and

moved. You wouldn’t happen to know why she would do that?

19.



MADALYNNo. She must have done it after westopped speaking. Maybe she justnever wanted me to contact heragain.

SERGEANT TIMMSSeems like something someone does when they’re afraid. (beat) Did thetwo of you have a falling out?

MADALYNYes.

SERGEANT TIMMSOh. What over?

MADALYNIt’s private.

SERGEANT TIMMSAny information you can give us ishelpful.

MADALYNI sincerely doubt the details of apetty argument we had ten years ago

would be of assistance to you.

SERGEANT TIMMSYou’d be surprised.

MADALYNI doubt it.

SERGEANT TIMMSThe man at the restaurant, had youseen him before?

MADALYN tries to keep a cool and calm demeanor but touchesher face again before responding.

MADALYNNo.

SERGEANT TIMMSA few witnesses said you seemedlike you did.

MADALYNI’d never seen him before. He justsat down at my table and startedbabbling some nonsense about havinga gun.

20.



SERGEANT TIMMSMrs. Baker, are you aware that itis against the law to lie to apolice officer?

SERGEANT TIMMS sleeve raises slightly revealing a small star

tattoo on his right wrist, the same one that Ellis has. Shenotices it and leans in close.

MADALYNFully.

INT. TWO WAY MIRROR ROOM - NIGHT

GUPPY & POLLONI watch the interrogation being conducted bySERGEANT TIMMS on the other side of the glass.

GUPPY

She’s lying.

POLLONIAny fool could see that.

He flips through his file.

GUPPYNo medical records, no birthcertificate, no drivers license, nobank account, no credit cards,nothing.

POLLONIHouse?

GUPPYNo place of residence on record.

POLLONIHometown?

GUPPYNothing. Although, Christine’sbirth certificate said she was bornin a place called Nawayee. Everheard of it?

POLLONIIsn’t that the dried up old oiltown that was burned to the grounda while back?

GUPPYI’m not sure.

21.



POLLONICheck that out for me, would you.

INT. BLACK SEDAN - NIGHT

GUPPY & POLLONI are driving MADALYN, who is sitting in thebackseat, somewhere.

POLLONI, looks in the rearview mirror as he is driving.

POLLONISorry about your car.

MADALYNI guess it was only a matter oftime before I was caught without mylicense.

POLLONIYou should really get one.

MADALYNOne of these days. (beat) Just thesecond entrance on the left.

Their car pulls up to an outside-of-town run down motel.There is nothing but fields surrounding it.

GUPPYYou live in a motel?

MADALYNI’m just staying here for thenight.

POLLONIWhy’s that?

She touches her face.

MADALYNMy house is being fumigated rightnow. Thanks for the ride.

She gets out of the car and walks towards the motel entrance.

GUPPYShe’s a terrible liar.

POLLONII know. We’d better get somecoffee.

22.



INT. BLACK SEDAN - LATE NIGHT

GUPPY & POLLONI are parked across the street watchingMADALYN’s motel room.

Through her window, they can see MADALYN pacing back and

forth and talking on the phone to someone.

She looks like she is crying.

POLLONI spills some hot coffee onto his lap.

As he tries to clean it up, his body ACCIDENTALLY HITS THECAR HORN.

MADALYN looks right at their car.

She quickly hangs up the phone, draws the curtains and turnsout the lights.

GUPPYYou idiot.

He exits the car, POLLONI follows.

EXT. MOTEL ROOM NIGHT

GUPPY & POLLONI stand on either side of the door.

POLLONIMrs. Baker? We just wanted to make

sure you’re all right.

No answer.

POLLONI (CONT’D)Mrs. Baker?

He looks at GUPPY.

GUPPY kicks the door in.

At the other side of the room we see the window open andMADALYN running as fast as she can through a large openfield.

GUPPY hops through the window and starts chasing after her.

POLLONI runs around the side of the building.

23.



EXT. FIELD - LATE NIGHT

MADALYN is running like her life depends on it.

GUPPY is close behind her.

GUPPYMRS. BAKER, PLEASE STOP.

She looks back at him and keeps running.

GUPPY (CONT’D)WE’RE NOT GOING TO HURT YOU! STOP!

GUPPY runs faster and faster and finally catches her,tackling her to the ground.

She cries out and struggles.

He holds her arms behind her back while pushing her face tothe ground and cuffs her.

GUPPY (CONT’D)Relax. I’m not going to hurt you.It’s okay.

MADALYNWhat do you want from me?

POLLONI slowly catches up to them.

POLLONI

Nice job Gups.

EXT. MOTEL ROOM - LATE NIGHT

GUPPY, covered in mud and still restraining MADALYN, guidesher back to her room. She is also covered in mud.

INT. MOTEL ROOM - LATE NIGHT

GUPPY tosses MADALYN onto the bed, releasing her from hisgrip.

POLLONI tries to close the door but realizes that he’s bustedthe handle.

He grabs a towel from the bathroom and throws it at her.

MADALYNCould you at least take the cuffsoff?

24.



GUPPYNo.

POLLONI looks at him disapprovingly. GUPPY looks like he’sthinking about it and then approaches MADALYN and removes thecuffs.

She rubs her wrists and wipes some of the mud off herself with the towel.

MADALYNWhat do you want anyway? I told youguys everything back at thestation.

POLLONIWe want the truth so we can helpyou, Mrs. Baker. You keep giving usthe run around and that’s not going

to be possible. Understand?

MADALYNI told you everything. There’snothing else.

She scratches her face, another lie.

POLLONI takes a seat in a desk chair while GUPPY stands inthe corner, looking out the window.

POLLONIThen why did you run?

She looks at the ground.

POLLONI (CONT’D)Mrs. Baker, are you familiar with aplace called Nawayee?

POLLONI hands her a picture of a town completely burned tothe ground. A deathly look sweeps across her face, as ifshe’s seen a ghost.

MADALYNI don’t know anything about it.

POLLONII think you do. I mean yourdaughter was born there, you mustknow something. (beat) Look,everything here is off the record,if that’s what you’re worriedabout.

25.



MADALYNI’ve heard that before.

POLLONIScouts honor. I only lie to my

wife.

GUPPYIt’s true.

POLLONIYou can trust us.

MADALYN walks over to the mini bar and makes herself a drink.

MADALYNI wouldn’t even know where tobegin.

POLLONIWe’ll start small. With no medicalrecords, I sincerely doubt you’vebeen diagnosed with even a commoncold let alone something as complexas a genetic abnormality.(beat) Youdon’t have a disease, do you?

Madalyn looks at him and, for once, does not touch her facebefore she answers.

MADALYN

No. I was born before there were medical records and birthcertificates and drivers licenses.

GUPPYOh, and when was that exactly?

MADALYN1826.

POLLONI laughs.

POLLONIYou’re telling us, you’re almosttwo hundred years old?

POLLONI laughs until he realizes that she’s not kidding.

He walks over to the mini bar and pours himself a drink too.

26.



ACT 2

INT. MOTEL ROOM - LATE NIGHT

MADALYN

My family along with several others migrated here from England in theearly 1800’s, arriving in New York.My father was a blacksmith and my

mother was, lets just say, a womanof a different profession.

INT. 1800’S BROTHEL - NIGHT

In the basement, a piano plays while the local drunks areseduced by prostitutes.

Up the stairs are a few small and dingy rooms.

Inside one of them is ALEX BAKER (28) A strikingly handsomeand tall man with an unsightly scar on his right cheek. Hedoes up his pants while EMILY MILLER (19) fixes her hair and

make up in a vanity mirror.

ALEXOne of these days Miss Emily, I’m going to take you away from here.You’re too pretty to be stuck in aplace like this.

She powders her face.

EMILYUnfortunately you’re not the firstto propose that.

He comes up behind her and holds her.

ALEXI mean it. I’ve been saving up.There’s a settlement going west.Land, dirt cheap. We could get

married.

She turns to face him.

EMILYNice men like you don’t marry girlslike me Mr. Baker.

27.



ALEXIs it my scar? Are you afraid of

me?

She gently touches his face.

EMILYNo. We’re all meant to be what weare. Bankers, lawyers...

ALEXPrincesses and trolls.

He puts the money on her bedside table. Her smile immediatelyturns to a frown.

ALEX (CONT’D)Next week?

She smiles at him and he leaves the room, closing the doorbehind him.

She looks at herself in the mirror.

INT. 1800’S DOCTOR’S OFFICE - DAY

DR. KINGSLEY, a plump and greying man with a large moustache,sits at his desk before EMILY. She looks nervous and keepsfidgeting.

DR. KINGSLEY

You are definitely with child MissEmily.

She looks down.

DR. KINGSLEY (CONT’D)Do you know who the father is?

EMILYNo.

DR. KINGSLEYA woman in your ...ah...professionhas such few options. The HawthornHouse is a good alternative forbastard children. They will lookafter it and raise it proper.

28.



EMILYI know all about the properupbringing of the children ofHawthorn House, Dr. Kingsley.(beat) I was one of them.

She puts on her hat and moves towards the door.

EMILY (CONT’D)Good day sir.

She exits and closes the door behind her.

EXT. 1800’S NEW YORK STREETS - DAY

As EMILY leaves the doctor’s office, she wipes the few tearsfrom her face. She walks down a busy street filled lotspeople yelling and merchants selling various things.

She looks at some of the unfortunate poorer children, theirfaces covered in soot and dirt. They stretch out their handsto passers by for food or a little money but are justignored.

She stops in the middle of the pushing crowd, solemnlylooking around.

How could she want this for her child?

She then turns in the opposite direction and ducks down aquieter street.

She passes a few large, burly men, their faces black withsoot. She tries to avoid eye contact with them.

INT. 1800’S BLACKSMITH SHOP - DAY

EMILY enters the front door and is met by a small elderly man.

ELDERLY MANWhat’s a pretty young thing doing a

wretched part of the city likethis? It’s dangerous to go aboutunescorted miss.

EMILYI wish to speak with Alex Baker,sir. I understand he works here.

29.



ELDERLY MANWhat if he does. What you want withthe likes of him?

EMILYThat business is between me and

him.

She winks at him.

ELDERLY MANOh beg my pardon miss. I’llbring’em round.

The ELDERLY MAN leaves and returns with ALEX. ALEX sees thatis EMILY and wipes the dirt and sweat from his face with arag.

ALEX

Emily. What are you doing here?

EMILYI’ve been thinking about your offerand I wanted to take you up on it.

ALEX hugs her and pick her up of the ground in excitement.

ALEXWhat made you change your mind?

EMILYYou’re a good man with a good

heart, Alex.

They kiss.

EXT. 1800’S OPEN WHEAT FIELDS - DAY

A CARAVAN pulled by two horses makes it’s way across an openplain. EMILY is now approximately eight months pregnant. Shesits in the back of the CARAVAN with nine other wearytravelers. Most of them look malnourished and sick.

A woman is passing around a few crusts of bread and refusesto give any to EMILY.

EXT. 1800’S WHEAT FIELDS - NIGHT

The CARAVAN has stopped

A fire has been lit an many of travelers are asleep.

30.



EMILY lays down in the grass beside ALEX who is sitting up.He covers her with blankets.

EMILYHow did they find out?

ALEXApparently Mr. Summers recognizedyou from one of the bars. Told somecock and bull story that he wasthere to get his brother. As a man,I know better. Anyway people talk.

EMILYI thought this would be my chanceat a fresh start.

ALEXIt is. Next town is two days west

and after that, we won’t see mostof these people again, I recon. Youcan’t change what’s been nor canyou run from what you’ve done. Youcan only worry on what’s ahead.

He puts his hand on her large stomach and kisses her head.

ALEX (CONT’D)Get some rest. We’ll be settled upnice before you know it. My wife,

my land, my son.

EMILY forces a smile.

INT. DRAYTON VILLAGE HOTEL - NIGHT

EMILY lies in a bed, legs apart, knees up sweating andscreaming in agony. Women fuss around her.

One of the women dabs her forehead with a damp cloth.

She holds tightly to one of the women’s hands as she keepsyelling. The woman looks at her and smiles, guiding her withher facial gestures.

MIDWIFEOne more push.

31.





SHOPKEEPER (CONT’D)That’s an awful lot of land youhave. Special friend of the kings?

ALEXProperly bought and paid for.

SHOPKEEPERGood for you sir. We don’t get manyof those round these parts.

ALEXI’ll bet.

Suddenly the DRAYTON VILLAGE REGISTRATION OFFICE door swingsopen and in walks A tall, slender man with a handlebar

moustache and a presence that commands respect. This is GRADY(32)

GRADYAfternoon gentlemen.

SHOPKEEPERAfternoon Grady.

He looks at ALEX.

GRADYHope you’re not thinking of buyingland round these parts.

ALEX

What if I am?

GRADYThen you’ll be up a creek. Damnland’s sour. Can barely grow a goddamn blade of grass.

SHOPKEEPERGet out of here, Grady. I’ve toldyou and your boys, we can’t giveyour money back. It belongs to thecrown.

GRADY reaches over the counter and grabs the SHOPKEEPER bythe collar of his shirt, dragging him across and holding him close to his face.

GRADYMy boys are damn near swollenbellied on account of the crown.

The shopkeeper catches a whiff of his breath.

33.



SHOPKEEPERAnd yet you can still find moneyfor drink.

GRADY throws the SHOPKEEPER to the ground and walks out ofthe OFFICE.

ALEX chases after him.

EXT. DRAYTON VILLAGE STREETS

GRADY walks down the street in a huff.

ALEX walks behind him.

ALEXHey.

GRADY keeps walking.

ALEX (CONT’D)Hey, I want to talk to you.

GRADY finally stops.

GRADYI ain’t got nothing to say to you.

ALEXWhere abouts is your land?

GRADYNawayee area. Why?

ALEXThat’s where mine is too.

GRADYWelcome to the worst decision youever made neighbor.

GRADY walks over to his horse and adjusts the saddle beforehopping on. ALEX follows him.

GRADY (CONT’D)Ever stop to wonder why you got itso cheap? You don’t get everythingfor nothing. The land’s cursed.

ALEXCursed?

34.



GRADYWhat are you deaf? That’s what Isaid. Natives cursed it since westole it from them. It’s theirproperty and hell if they’ll letthe likes of us enjoy it. Nothing

grows and nothing can live long.You’ll see what I mean.

GRADY takes hold of the reins and quickly rides off towardsthe edge of town.

ALEX is left in the dust with a worried look on his face.

EXT. TINY FRONTIER CABIN - DAY

We can hear the crash of waves and the roar of the ocean tidebelow. The quaint CABIN sits close to cliff. The landscape is

filled with beautiful green rolling hills and mountain sides.

There is a small pen at the side of the house with a fewchicken and some sheep.

As ALEX is walking towards the CABIN, he grabs a handful ofdirt from the ground, inspecting it. Finding nothing new, heANGRILY throws it.

He opens the door to the CABIN.

INT. TINY FRONTIER CABIN - DAY

EMILY is busily hovered over an open flame, preparing a soupof sorts. She looks tired, worn down and malnourished. Shecoughs heavily.

ALEX barges through the front door and sits down at the tablein a huff.

ALEXWhat’s for dinner?

He takes back a shot of whiskey.

EMILY(scared) Just a broth.

ALEXAgain.

He slams his fist hard down onto the table causing her tojump.

35.



ALEX (CONT’D)We can’t live like this.

EMILYIt wasn’t my idea to come here.

ALEXIt wasn’t your idea to stayneither. Where’s the girl?

EMILYOff playing somewhere. (beat) I’llcall her in.

EMILY goes to the front porch and yells for MADALYN.


A SIX-YEAR OLD MADALYN is hiding behind a rock with a youngboy about the same age is her. He has a frog in his hand andputs it in the grass. The young boy picks up a rock andthrows it at the frog. He misses and the frog jumps away.

YOUNG MADALYNWhy’d you do that for, you bigjerk?

YOUNG ELLISBecause I can dummy. I’m bigger andsmarter. If the frog was smartenough to chuck a rock at me, he

would.

YOUNG MADALYNMaybe he is and just isn’t as big ajerk as you.

YOUNG ELLISThat’s stupid.

She sticks out her tongue at him.

MADALYN hears her mother calling her.

YOUNG MADALYNI gotta go. I’ll see you tomorrowEllis.

She runs in the direction of the house.

She finally arrives at the front porch and is greeted byEMILY.

36.



EMILYLook at you. Get inside and get

washed up.

INT. TINY FRONTIER CABIN

YOUNG MADALYN, EMILY and ALEX are seated at the table andeach have a bowl of broth in front of them.

The silence between the three of them is deafening and isonly broken by the loud, SLURP SLURP SLURP of YOUNG MADALYNenjoying her broth.

ALEX(to Madalyn, teeth clenched) Do you

mind?

YOUNG MADALYN

Sorry Daddy.

She tries to slurp quietly.

ALEXWhat’d you do today?

YOUNG MADALYNEllis and I went to the woods andhe showed me the best tree forclimbing and we climbed it, all the

way to the very top.

ALEX slams his fist down on the table.

ALEXWhat did I tell you about playing

with Grady’s boy. All them boys arethieves and liars.

YOUNG MADALYNHe’s my friend!

ALEXDON’T YOU RAISE YOUR VOICE TO ME.You’ll be friends with who I sayyou’re friends with and you are notto go around those boys again,understand?

MADALYN runs towards her room.

ALEX (CONT’D)GET BACK HERE!!

37.



MADALYN she runs into her room and closes the door.

EMILY coughs.

EMILYI honestly don’t know what you’re

expecting from her, Alex. She’sjust a child.

EMILY coughs some more. She gets up from the table to clearthe plates. Her coughing becomes progressively intense untilshe can no longer breath and FAINTS, crashing to the floor.

ALEX watches in terror and then rushes to her aid when shehits the floor. He cries out.

ALEXMADALYN!!!

YOUNG MADALYN runs out from her room to see ALEX picking upEMILY and putting her in their bed.

ALEX (CONT’D)Stay here with her. Keep a closeeye.

YOUNG MADALYN is crying and holding her mother’s hand.

ALEX puts on his jacket.

ALEX (CONT’D)I’ll fetch the doctor.

ALEX opens the front door and leaves.


EMILY is lying in bed, looking much more ill then before. Sheis having difficulty breathing.

YOUNG MADALYN sits at her bed side holding her hand.

EMILYWhy don’t you go out and playdarling? Don’t stay all cooped upin here with me. I’ll be betterbefore you know it.

YOUNG MADALYNOkay momma.

38.



EXT. FOREST - DAY

YOUNG MADALYN and YOUNG ELLIS walk through the forest. Thetrees sway eerily in the wind. Above their heads, a crowcircles.

YOUNG ELLISWhy don’t you just take her to thedoctors to get her fixed.

YOUNG MADALYNWe did. He can’t do anything. She’snot getting better.

YOUNG ELLIS(beat) Daddy says, there’s a groupof natives around The Point andthey have a medicine man who canfix anybody.

YOUNG MADALYNWell, let’s go!!! Come on!!

She excitedly starts to run through the trees.

YOUNG ELLISWhat are you stupid? Those peopleskin kids like us alive andprobably eat them. They put a curseon everything. Probably even onyour momma..

YOUNG MADALYNWell then I have to go and ask them to undo it.

YOUNG ELLISYou can’t. We’re not supposed to gothere.

YOUNG MADALYNThey might be her only chanceEllis, let’s go.

YOUNG MADALYN runs off and YOUNG ELLIS reluctantly trailsbehind her.

EXT. THE POINT - DAY

YOUNG MADALYN sits on top of a large rock looking down at acommunity of Native Americans. They’re all dressed in theirtraditional native clothing except for one, who is wearing a

military jacket.

39.



She begins to walk in their direction when ELLIS pulls herarm.

YOUNG ELLISNo. It’s too dangerous.

YOUNG MADALYNLet go of me.

He won’t let her go so she bites his hand.

He lets out a scream and she runs off toward the Natives.

EXT. THE POINT TRIBE CAMP - DAY

The NATIVE COMMUNITY, of about fifty people, is buzzing dailylife activities. The children play together, the woman sewand make jewelry, the elderly men smoke long pipes and talk

amongst themselves while the young, fit men prepare for ahunt. Everyone seems to be happily going about their dayuntil they all see something and stop what they are doing.

YOUNG MADALYN walks through the middle of their camp. Theyall stare at her. The only sound that can be heard is thecawing of the crow circling above her.

THE NATIVE WEARING THE MILITARY JACKET rides his horse infront of her. He is a terrifying man. His face is stern andbares many scars.

COCHETA

(teeth clenched) What are you doinghere?

YOUNG MADALYNI came to see your medicine man.

COCHETA Go back to where you came from.You’re kind is not welcome here.

He pulls on his horse’s reins to turn it around.

YOUNG MADALYNPlease. My mother is sick. I thinkshe’s dying. Please help me.

He continues to trot away.

COCHETA We will not help you.

40.



Out of one of the TEPEES emerges a tall man of impressivestature. He wears a headdress and is much more decorated thanhis fellow tribesmen.

This is the MEDICINE MAN. He speaks to COCHETA in theirnative language. COCHETA becomes angry. The MEDICINE MAN

seems as though he is trying to describe something to him butCOCHETA refuses to listen and trots off on his horse.

The MEDICINE MAN motions to YOUNG MADALYN and she runs overto him.

MEDICINE MANDo not worry about him. (beat) Whatdo they call you?

YOUNG MADALYNMadalyn sir. Madalyn Baker.

She sticks out her hand to shake his. He takes her hand andjust looks at it, clearly not familiar with this gesture.

MEDICINE MANYou are very brave to come hereMadalyn sir Madalyn Baker.

YOUNG MADALYNYou can call me just Madalyn if you

want.

MEDICINE MANOkay. Just Madalyn.

YOUNG MADALYNCan you tell me where I can findthe medicine man?

MEDICINE MANI am the one you seek.

YOUNG MADALYNCan you help my mother? I’ve heardyou can fix anyone. Please, she’svery sick.

MEDICINE MANFix? Fix? I’m not familiar but Ican help. It is often said thatillness comes when a spirt losesit’s connection to the earth.

MADALYN just looks at him blankly with anticipation.

41.



He looks at a group of young men by some horses. They havebeen watching them.


ALEX is sitting outside smoking his pipe when in the distancehe sees five men on horse back approaching rapidly.

He reaches for his gun.

As the horsemen get closer we can see they are the NATIVES,YOUNG MADALYN rides with the MEDICINE MAN.

ALEX looks shocked as they get off their horses and approachthe CABIN.

From inside the CABIN we can hear EMILY’s loud coughing.

YOUNG MADALYN steps between her father and the MEDICINE MAN.

YOUNG MADALYNThey’re here to help Daddy.

She takes the MEDICINE MAN by the hand and leads him into theTINY FRONTIER CABIN.

THE OTHER FOUR NATIVES stay by their horses and stare downALEX.


MADALYN shows the MEDICINE MAN to her mother who coughs andcan barely breath. She does not seemed shocked or alarmed byhim. He places his hands over top of her body and waves them around.

THE MEDICINE MAN pulls some herbs from his satchel. He rubs apaste on Emily’s lips.

He looks at YOUNG MADALYN.

MEDICINE MANCan you bring some hot water justMadalyn?

YOUNG MADALYN runs into the kitchen.

ALEX walks in sees the MEDICINE MAN at work. He is singing inhis Native Language and waving a smoking stick around in theair.

42.



EXT. TINY FRONTIER CABIN - NIGHT

ALEX walks out of the house balancing four tin mugs ofcoffee. He brings it over to the NATIVES who are stillstanding close to their horses. They have now coveredthemselves with pelts to battle the cold. As ALEX hands them

the mugs, they nod at him in thanks.

ALEX resumes his place back on the porch.

THE MEDICINE MAN walks out and stands beside him.

ALEXIs she going to be alright?

MEDICINE MANYou’ll know when the sun’s in thesky.

The MEDICINE MAN looks at ALEX’s face. His expression isstern.

ALEXThank you.

MEDICINE MANYou bare the mark of the warrior.(Referring to his scar)

ALEXThat was a long time ago. I’m adifferent man now.

MEDICINE MANI’m not familiar with different

man. (beat) This land is sacred. Itholds many secrets.

ALEXMaybe you can tell it to reveal theone on how to grow something. Can’tgrow a thing.

MEDICINE MANYou don’t tell it anything. You askit. You white men are all the same,too forceful, always taking.Somethings you cannot take.

ALEX looks at him confused.

The MEDICINE MAN reaches into another satchel and pulls outsome seeds. He puts them in ALEX’s hand.

43.



ALEXWhat’s this?

MEDICINE MANWe grow this at The Point. Maybe ifyou ask, it will grow here too.

The MEDICINE MAN chuckles. He says something to the otherhorsemen in his Native language and they all hop onto theirhorses and ride off into the night.

EXT. TINY FRONTIER CABIN PORCH - NIGHT

ALEX sits in his chair, deep in thought.

YOUNG MADALYN carries a blanket over to him. She sits on hislap and covers them both up.

ACT 3

INT. MOTEL ROOM - NIGHT

MADALYN is sitting on the bed. POLLONI seems gripped by herstory, he’s barely touched his drink. GUPPY is still on lookout but has an ear in the story as well.

MADALYNAn then the next day, it was like a

miracle. She just walked out ontothe porch like nothing had evenhappened.

Through the window we see the flash of headlights as a carpulls into the MOTEL parking lot.

GUPPY whistles to POLLONI who draws his gun, moves towardsthe door and shuts off the lights.

GUPPYGet down Mrs. Baker.

MADALYN pays no attention and looks out the window.

MADALYNIt’s him.

POLLONICoffee shop guy?

44.



MADALYNI knew he would find me. We have toget out of here.

GUPPYWe can handle him.

MADALYNYou don’t understand. He’s a

monster. He’ll kill anyone andanything to get what he wants. Youasked me to trust you, now you’llhave to trust me. Please, we haveto go.

She looks at them with genuine terror in her eyes.

POLLONIAlright.

GUPPYThrough the back window.

MADALYN hops through the back window followed by POLLONI, whostruggles to fit but makes it through.

GUPPY watches through the window as ELLIS makes his waytowards the room directly beside theirs.

GUPPY jumps through the window.

EXT. FIELD - NIGHT

MADALYN, GUPPY & POLLONI duck underneath the window. GUPPYpoints towards a street in the distance where the car isparked.

They all run towards it as quickly as they can.

EXT. MOTEL ROOM - NIGHT

ELLIS stands in front of the door.

He knocks.

ELLISRoom service.

There is no answer.

He draws his gun.

45.



ELLIS (CONT’D)Someone ordered some peaches?

He laughs sinisterly to himself before he notices that doorhas marks on it and the knob is broken.

He gently pushes on the door and it opens.

He looks around the room. No one is there.

INT. MOTEL ROOM - NIGHT

ELLIS enters the room.

He picks up an empty glass and sniffs it.

ELLISSingle malt. You never change.

He notices the back window is open.

He frantically looks in the distance but can’t see anything.It’s too dark.

Suddenly, he hears a car start and the tires squeal as itspeeds away. They got away.

Out of anger and frustration, he starts throwing thingsaround her MOTEL ROOM. He smashes the television and is aboutto smash the phone, when an idea strikes him.

INT. MOTEL OFFICE - NIGHT

A balding 40 year old, MOTEL SUPER sits at the front desk watching his television.

ELLIS walks in, fixing his hair.

ELLISSorry to bother you again sir, butI was wondering, do you charge forlocal calls?

MOTEL SUPERYep. Five dollars. Long distance,twenty, flat rate.

ELLISAnd you wouldn’t happen to keeprecords of those calls, would you?

46.



MOTEL SUPERYep. We keep them right here.

The MOTEL SUPER taps a filing cabinet.

ELLIS

Thank you, that’s incrediblyhelpful.

ELLIS flashes his charming smile before pulling out his 9mm pistol with silencer and SHOOTING the MOTEL SUPER in thechest several times. His dead body, rolls out of the chairand onto the floor.

ELLIS walks around to behind the desk and opens the filingcabinet.

He searches through it and finds a file with her room numberon it. He pulls out a sheet of paper and quickly gives it the

once over before picking up the phone and dialing.

WILLIAM (V.O.)Hello (beat). Hello, who is this?

ELLIS recognizes the voice. He hangs up the phone and walksout of the office, leaving bloody boot prints on the floor.

INT. BLACK SEDAN - NIGHT

POLLONI is at the wheel, GUPPY rides passenger and MADALYN isin the back.

GUPPY looks angrily out the window.

GUPPYStop the car!!

POLLONIWhat is it? What?

POLLONI stops the car. GUPPY turns around to face MADALYN.

GUPPYAlright, enough of this. What doesthat guy want?

POLLONI turns the car off.

MADALYNHe wants me dead.

47.



GUPPYThat’s bull. He’s had more thanenough opportunities. You havesomething he wants. Now what is it?

MADALYN looks around frustrated. After a long beat, she

reluctantly tells them.

MADALYNA map.

POLLONI, can’t be bothered to turn a round and speaks to herby looking at her in his rear view mirror.

POLLONIA map? A map of what?

MADALYNA map to a spring.

GUPPYLike a hot water spring?

MADALYNYes.

POLLONIYou mean to tell me that this Ellisguy is killing people for a map toa spring? Is he building a spa?

POLLONI chuckles to himself.

MADALYNVery funny. Look, you don’tunderstand. It’s not just anyspring. Its....Its...Its why Ican’t age.

GUPPYWhat the hell are you talkingabout?

MADALYNWhen I was twenty one I went intothe spring and when I came out, I

was changed. I couldn’t age. Icouldn’t get sick.

POLLONIThe fountain of youth.

48.



MADALYNIn a way, yes. There were seven ofthem in the area. Things began tohappen to the people that went inthem, bad things. So me and theothers decided to fill them in. All

except one. Maybe it was ourvanity, or just our blind stupiditybut we kept one hidden.

GUPPYWhy hide it? Why not share it?

MADALYNHave you ever sat down Mr. Guppyand questioned how many of yourdaily actions are attributed toyour awareness of your own

mortality? Almost all of them.

Without a sense of mortality,you’re barely a human beinganymore. I’ve seen what it can doto people.

POLLONI stares blankly at the steering wheel.

GUPPY doesn’t know quite what to say.

POLLONIWhat’s the next move Mrs. Baker?

MADALYN

I have a friend that doesn’t livetoo far from here. We can stay withhim for a while until I can figurethis out.

POLLONI starts the car.

INT. MOTEL OFFICE - NIGHT

A herd of cop cars is swarmed outside of the motel.

SERGEANT TIMMS arrives on the scene.

He walks into the office where a FORENSIC SPECIALIST istaking pictures of the bloody boot prints on the floor.

He is greeted by a young and energetic JUNIOR OFFICER who iseager to inform him.

49.



JUNIOR OFFICERWoman in 217 came for ice and foundhim lying here, three shots to theupper chest made at point blankrange.

SERGEANT TIMMS walks over to the body.

SERGEANT TIMMSSame as the Robertson case. Any

witnesses?

JUNIOR OFFICERNadda but you’re going to want tosee this.

The JUNIOR OFFICER shows him the registration for room 237signed by MADALYN BAKER.

SERGEANT TIMMSI’ll be god damned.

JUNIOR OFFICERShe checked in at Eight. We checkedthe room. Door was kicked in andthe room was trashed. No sign ofher.

SERGEANT TIMMSHave you tried Special AgentPolloni?

JUNIOR OFFICERYes sir. Nothing from him or hispartner.

CUT TO:

A SHOT OF A CELL PHONE LYING IN A PUDDLE OF MUD IN THE OPENFIELD BEHIND THE MOTEL

CUT BACK TO:

THE MOTEL

SERGEANT TIMMSWould you excuse me. I have to makea call.

50.



EXT. OLD SUBURBAN HOME - NIGHT

WILLIAM sits on his backyard, patio lanterns on, drink inhand, enjoying the hot august night.

He takes a sip of his drink and then glances up at the stars.

He seems at peace.

Suddenly, we hear the sound of the backyard gate open andclose.

WILLIAM looks around but no one is there. So he resumes hisposition, head cocked back, enjoying the night sky.

As he eases back into his chair, we see that ELLIS has takenthe seat beside him.

ELLISBeautiful isn’t it?

WILLIAM is so startled that he almost falls out of his chair.

WILLIAMYou scared me young man.

ELLISWe both know I’m over twice yourage. How have you been old friend?

ELLIS lights up a cigarette.

WILLIAM

Oh you know me, keeping busy.

ELLISI’ll bet.

ELLIS’s CELL PHONE IS BUZZING. He pulls it from his jacketpocket and looks at the screen. It reads ‘TIMMS’. He hitsignore and puts it back in his jacket. He takes a long dragof his cigarette.

WILLIAMYou really need to quit thatdisgusting habit.

ELLISWell it certainly isn’t going tokill me. (beat) You know why I’m here, don’t you?

WILLIAMYes. I really don’t know why you’redoing this again.

51.

(MORE)



Have you come into trouble? Drugs?Gambling? What is it this time?

ELLISOh I almost forgot, Ellis the screwup. Maybe there’s something more to

all this. It’s wasn’t ours to begin with. It was put there for everyoneand we were selfish enough to thinkthat we should be the ones tocontrol it.

WILLIAMHow much is it worth?

ELLISWhat?

WILLIAM

I may be old but I’m no fool. How much?

ELLISMore money than you could everimagine.

WILLIAMHow very nice for you. What do youintend to with all of it?

ELLISHaven’t really thought about it.

WILLIAMMaybe you could buy a big house foryour family? Haven’t got one. Takea nice trip with your wife? Haven’tgot one of those either. Have aparty for your friends? I’d say youburned most of those bridges,

wouldn’t you? (beat) No, the onlyperson who ever loved or gave ashit about you is who you came hereto take what you wanted from,

murder and then throw in the trashlike she never meant a bloody thingto you. You’re pathetic.

ELLIS his cigarette. He angrily gets up out of his chair andpaces back and forth.

ELLISShut up.

52.

WILLIAM (CONT'D)



WILLIAM is now up out of his chair, still holding his drink.

WILLIAMYou still have a lot of growing upto do old man.

ELLISI said shut up.

ELLIS pulls out his 9mm with the silencer and it aims it atWILLIAM.

WILLIAMBig man who needs a gun to fightoff a little old thing like me.

EXT. OLD SUBURBAN HOME FRONT PORCH - NIGHT

MADALYN runs up to the front porch. She knocks on the doorbut gets no response.

She looks at POLLONI and GUPPY who are waiting in thedriveway and shrugs.

Then she remembers there is a key under the front mat.

She grabs it and opens the door.

MADALYNWilliam?? William are you home?

INT. OLD SUBURBAN HOME - NIGHT

MADALYN fumbles around in the dark until she notices that theporch lights are on in the backyard.

She makes her way to the back. As looks out the back kitchen window, she sees ELLIS POINTING HIS GUN AT WILLIAM.

She burst through the back door.

EXT. OLD SUBURBAN HOME BACKYARD - NIGHT

MADALYNNo! Stop!

ELLIS is startled by the noise and FIRES by mistake.

The bullet hits WILLIAM in the stomach. He clenches the woundand falls to the ground.

53.



MADALYN rushes to his side and holds his hand.

MADALYN (CONT’D)Don’t die on me old friend. I needyou.

WILLIAM is dead in a matter of moments.

MADALYN weeps hysterically beside his body.

MADALYN (CONT’D)William, no.

She looks up at Ellis, who for once looks like he feelsremorse for something he has done.

MADALYN (CONT’D)You killed him!!

ELLISIt was an accident.

MADALYNYou’ve taken everything from me.

She runs at him, her teeth clenched and slaps his facerepeatedly.

MADALYN (CONT’D)You monster!! I hate you!!

He stands there stoic. After several slaps, he restrains her

and grabs a rag from his pocket, placing it over her mouth.She goes limp in his arms.

He flips her over his shoulder and carries her through theback of the property and off into the woods.

EXT. OLD SUBURBAN HOME BACKYARD - NIGHT

Concerned that MADALYN is taking too long, POLLONI and GUPPY make their way into the backyard.

They see WILLIAM lying in a pool of blood and run over tohim. GUPPY checks for a pulse and shakes his head.

POLLONICall 911.

GUPPY pulls out his phone but it is caked in mud and broken.POLLONI reaches into his jacket pocket but finds that hisphone is missing.

54.



GUPPY runs inside the house to call.

POLLONI yells into the night.

POLLONI (CONT’D)MADALYN!!! MADALYN!!!

EXT. NAWAYEE - NIGHT

The BLACK LINCOLN tires roll on the gravel road and finallycome to a complete stop. The small down town area of Nawayeeis filled with charred buildings and broken windows. Not asingle soul resides there. In the distance we can see rustedoil well pumps sitting still.

ELLIS sits in the driver seat smoking a cigarette.

He shuts off the car and pulls out his gun.

He walks around to the back of the car and opens the trunk.

He pulls MADALYN out of it. Her face is filthy and containssmall cuts from branches. Her hands are covered in thebelated WILLIAM’s blood. Her heart is heavy.

ELLISOn your feet.

She remains seated on the gravel road. Completely giving up.

ELLIS (CONT’D)

I said on your feet.

He grabs her by the arms and hoists her to her feet. Her bodyis loose and flaccid, like a rag doll. She looks at theground, refusing to make eye contact with him.

He lights a cigarette and puts it in her mouth.

She spits it onto the ground and looks at him with a burninghatred.

He turns her away from him.

ELLIS (CONT’D)Take me to it.

He presses the barrel of the gun against her spine.

ELLIS (CONT’D)Now move.

MADALYN drudges in front of him.

55.



ELLIS follows close behind with his gun on her and in hisother hand, a shovel.

As the camera pans out above their heads, we can see a blackcrow circling.

FADE OUT

56.

Documents

The Springs