THEM (Chapter I)

OVER BLACK:

“To live is to suffer, to survive is to find some meaning in the suffering“. – Friedrich Nietzsche.

EXT. FARMHOUSE – DAY

The wooden door opens, a FARMER (52) steps out of the old white house and walks into the front yard and into the cornfield.

The sky grizzled.

Shrouded in a dense fog that makes the plantation barely visible.

The farmer rubs his hands together for warmth and walks down the corridor between the—

EXT. CORNFIELD – DAY

—corn rows.

Suddenly, a noise from the left side alerts him.

He sees the tip of the corn moving, stops to listen.

Silence.

The farmer prepares to move forward, when a new noise stops him.

He goes through the corns on the left, moving them with his hands to make his way.

Stops and looks to both sides, nothing.

He returns to the corridor between the corn, looks to the house.

Suddenly.

A person comes out from behind the farmer, who turns around, surprised.

It’s JULIA (32) who walks towards the house.

Her look expressionless, her eyes half closed, her clothes covered in blood.

FARMER
Hey!

The farmer grabs Julia by her shoulder, but she moves to let go and continues moving forward.

FARMER
Stop!

The farmer grabs Julia again, turns her around to face him.

Julia’s gaze doesn’t change.

FARMER
Hey, wake up!

The farmer moves Julia to wake her up.

Julia blinks her eyes, then opens them wide.

JULIA
Aaaaaaaaaaaaaaaaah!!!

Her expression, HORROR.

CUT TO:

OVER BLACK:

TITLE: “THEM”

CLAIRE (V.O)
What is the last thing you remember?

EXT. HOSPITAL EXIT – DAY

There’s an empty ambulance parked on the sidewalk, red lights contrasting on the grayness of the walls, on the cloud sky.

Julia exits the hospital and walks down the sidewalk.

JULIA (V.O.)
I remember going to the hospital for my pregnancy checkups.

JULIA (V.O.) (CONT’D)
I had this feeling, you know…like someone was watching me the whole time.

As she does so, she looks back, to the sidewalk, the entrance of the hospital, across the street.

JULIA (V.O.)
I’ve felt that way ever since.

There’s no one there, she continues walking.

INT. JULIA’S HOUSE – NIGHT

Julia closes the door and faces the foyer, she looks into the living room, it’s empty.

JULIA (V.O.)
When I got home my boyfriend wasn’t there. I wanted to tell him about the checkups, that everything was fine.

Julia walks upstairs, to her room and—

INT. JULIA’S ROOM – NIGHT

— she turns on the light of the lamp on the bedside table.

She leaves her phone and keys on top of it.

JULIA (V.O.)
I was tired, I thought I would rest until he arrived.

And lies down on the bed, closes her eyes.

CUT TO:

DARKNESS

(Someone slowly knocking on the door)

INT. JULIA’S ROOM – NIGHT

The room is pitch black.

JULIA (V.O.)
When I woke up I couldn’t move…

JULIA (V.O.) (CONT’D)
No… I hadn’t woken up yet.

Julia’s body tense, her eyes slightly open.

JULIA (V.O.)
There was someone standing in the doorway.

As the door opens slowly (creaking) a silhouette in the doorway.

Julia’s respiration becomes agitated.

Her head moves slightly but the rest of her body is still.

With force she manages to close her eyes completely.

HARD CUT TO:

INT. JULIA’S ROOM – NIGHT (SAME)

Julia opens her eyes, the room is illuminated by the lamp.

She gets up in a hurry, agitated.

The door is closed.

Suddenly.

Knocking on a far door, outside.

JULIA (V.O.)
I got up when I listen the knocking.

New knocks are heard, Julia leaves the room and goes to—

INT. JULIA’S HOUSE ENTRANCE – NIGHT

—the entrance, where the MAIN DOOR is open.

An intense white LIGHT illuminates from outside—

JULIA (V.O.)
My boyfriend was at the door, and this intense light, like from a car outside.

—revealing the silhouette of a person in the doorway.

CUT TO:

INT. INTERROGATION ROOM – NIGHT

HARRY MASON (37), signs of insomnia on his face, short, untidy beard, dull green clothes and blue jeans (retired military feeling).

He’s sitting in the chair, handcuffed to the table, his expressionless gaze fixed on the ceramic floor.

From the other side of the one-way mirror, CLAIRE (36) looks at him in concentration.

Officer BROOKS (39) reads the file in his hands.

BROOKS
The suspect is Harry Mason, found approximately 300 feets from the survivor. Police officers found an abandoned car in the middle of the road, they searched the area…

(BEGIN FLASHBACK)

EXT. OPEN FIELD NEAR THE ROAD – DAY

The space is surrounded by a thick fog.

Two policemen approach Mason.

He has his back turned pouring dirt into a hole in the ground with a shovel.

POLICEMAN I
Sir?

Mason doesn’t respond, continues with the shovel.

POLICEMAN II
Sir, turn around, please.

Nothing.

The policemen keep approaching Mason, they look at each other.

Policeman I raises his shoulders confused.

The policemen continue to approach, arriving next to Mason.

POLICEMAN II
Sir?

MASON
(turning around)
Someone had to clean up after THEM.

Looking into the hole in the ground, the policemen see the face of a person partially covered with dirt.

(BACK TO PRESENT)

EXT. HOT DOG CART ON THE STREET – DAY

Brooks eats a hot dog, Claire drinks coffee.

People walking in the street.

CLAIRE
THEM?

Brooks nods as he finishes swallowing a piece of hot dog.

BROOKS
Mason is a patient at the psychiatric hospital. Reported missing a year ago.

CLAIRE
Missing.

BROOKS
(raising his eyebrows)
They say he suffered from hallucinations, a severe form of SLEEP PARALYSIS.

CLAIRE
What kind of hallucinations?

BROOKS
You tell me, you are the psychologist.

Claire looks down the street. Brooks finishes the hot dog.

BROOKS
That’s not all.

Claire returns her gaze to Brooks.

(BEGIN FLASHBACK)

EXT. OPEN FIELD NEAR THE ROAD – DAY

A forensic expert cleans the face buried in the ground.

Police officers walk on the site that has been sealed with police tape, other forensic experts clean other places near the face.

BROOKS (V.O.)
So far they have found parts of more than 50 different people, including bones of babies.

An aerial view allows to see hands, legs and torsos buried in the ground.

(END OF FLASHBACK)

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