In the Dark Places

7/23/2019 In the Dark Places

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In theDark Places

by Ragnar Trnquist


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FADE IN:

EXT. ROAD - NIGHT

We open on a dark stretch of road, slick with rain,bordered by tall pines.

A car -- SUV; black, expensive -- passes slowly throughthe downpour.

INT. CAR - NIGHT

ELLIE MORGAN -- late 40s, elegant -- is driving. In theseat next to her is MICHAEL, 8, Ellies son. Hes playinga Gameboy.

Ellie glances at Michael, smiles. Hes focused, doesntnotice.

SOFT JAZZ plays on the cars stereo.

EXT. FOREST - NIGHT - ANOTHER TIME

Were in a dark fairy-tale forest, beneath the canopy ofgigantic oaks. Here, too, it rains.

SOMETHING HUGE AND FAST CRASHES through the thick underbrush.

Its a LARGE HORNED STAG. Its running for its life.

Seconds later, THREE HUNTERS follow. They are shadows with

spears and bows. They leap barefoot over roots and rocks.

Theyre almost as fast as the stag.

FURTHER ON

The stag is slowing, impeded by the foliage.

Its weary. It wont last much longer.

INT. CAR - NIGHT - NOW

Its difficult to see very far ahead.

Ellie turns up the speed of the wipers, to little avail.

EXT. FOREST - CLEARING - NIGHT - ANOTHER TIME

The stag comes to a clearing in the forest. For a second,the full moon breaks through the clouds.

The clearing is about a hundred feet in diameter. Thelarge primordial moon is reflected in a black pool at thecenter of the clearing.

The stag slows as it approaches the water...and then anarrow embeds itself in its left flank.


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Its just a flesh wound, but the animal rears and gallopson, back into the thick of the forest.


Ellie leans forward, peers into the night. The headlightsarent doing much good in this weather.

She glances at her son again. Michaels fallen asleep.

EXT. FOREST - NIGHT - ANOTHER TIME

The stag CRASHES through more underbrush and heavy foliage,and arrives at the edge of a deep gorge with a steep descent.

The moon has vanished again. Theres only darkness below.

The stag decides: A final desperate leap into theunknown...and across millennia--


--and SOMETHING LARGE lands in the middle of the road,right in front of the car.

The headlights reveal a LARGE STAG.

The stag has landed not fifteen feet from the car. Itshead turns towards the light, eyes reflecting theheadlights like white saucers, like headlights themselves,blinding Ellie.

She steps on the brakes, turns the wheel a hard right.

The car begins to SKID off the road.

Ellie reaches out to Michael...

CUT TO:

INT. BUS - DAY

CERI, 19, is sleeping in the back of the bus, her headleaning against the window. Raindrops run like tears on

the glass.

Outside, its a dull November afternoon. The gray-greenlandscape rolls slowly by. Fields and forests. Fences andferns. Telephone poles.

Ceri is a pretty girl. Long raven black hair, pearly whiteskin, tall and slim.

Theres a thick paperback book in her hands, and a largered backpack on the seat next to her.

There are A FEW PASSENGERS, but it is still eerily quiet.


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The bus hits a BUMP. Ceri wakes with a start.

The paperback novel drops from her hand to the floor.

INSERT - BOOK

"THE DARK PLACES" by "NEW YORK TIMES BEST-SELLING AUTHORELLIE MORGAN".

The cover is luridly gothic: A dark forest where shadowythings lurk.

BACK TO SCENE

Ceri picks up the book, turns it over.

On the back theres a picture of the author: Its thewoman from the car accident, ELLIE MORGAN.

She puts the book on the seat next to her and turns tolook out the window.

EXT. WELSH COUNTRYSIDE - ROAD - DAY

The bus passes a field where a flock of wet sheep huddletogether under the umbrella of a massive oak.

The sky is an ominous bruise. Rain falls in heavy sheets.

TITLE: "INTO THE DARK PLACES"

EXT. WELSH COUNTRYSIDE - ROAD - DAY

The bus crosses a bridge and starts to climb a low hill.Scattered trees, sheep, and fences.

Though the rain has abated somewhat, the sky is stillturbulent.

INT. BUS - DAY

A LARGE WOMAN, 40s, across the aisle from Ceri, glancesover and spots the book. She leans in.

WOMAN(quietly)

Ellie Morgan?

Ceri turns, puzzled. The woman points to the book.

WOMANHer final novel?

Ceri nods.


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WOMANShe wrote such wonderfullygruesome books. Its a real shame

what happened. Like somethingfrom one of her stories. And herboy. He was only eight...

(shakes her head)It was almost like she knew what

was going to happen. Like--(whispers)

--she could see into the future.

Ceri turns towards the window again. The woman doesnttake the hint.

WOMANIts like I always say.

She waits for Ceri to take the bait.

CERIWhat.

WOMANThere are no coincidences in life.Some things are meant to happen.

Ceri closes her eyes. Leans her head against the window.

WOMANEllie Morgan was originally from

these parts, did you know? Yes,Welsh blood. They say this iswhere she gets her stories from.

(nods)Its like I always say. Youcannot escape who you are, no

matter how hard you try or howfar you go.

(looks at Ceri)How about you, dear? Visitingfamily?

CERI

(sighs)My grandfather.

Ceri has an American accent.

WOMANThats wonderful, dear. Wheredoes he live?

CERIDont really know. Im supposedto get off at the Mill.


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WOMAN(frowning)

Are you certain, dear? Why, Idont think anyone lives outthere anymore.

CERISomeone does. My grandfather. Hehas a farm.

Ceri turns away from the woman, folds her arms, closes hereyes.

EXT. WELSH COUNTRYSIDE - BUS STOP - AFTERNOON

Ceri gets off, backpack in hand. The doors shut and thebus drives off. Shes alone.

It has stopped raining. Cold rays of sunlight penetrate

the black and blue clouds.

The fields look neglected, the hills wild and untended. Afew ramshackle stone fences have partly collapsed.

There are no animals. The only sign of population is thebus-stop sign and a gravel road that leads off from the

main road. The gravel road is bordered by moss-grown stonefences and wild fields.

Where the gravel road joins the main road, there are twocrumbling stone cairns.

BUS STOP - LATER

The light is fading. The rain starts to come down heavilyagain.

Ceri scrambles to pull a raincoat out of her backpack.Hurriedly, she puts it on, zips it up, but it doesntappear to help much against the cold. Shes shivering now.

BUS STOP - LATER

The light is disappearing fast. Its still raining. Ceri

looks distraught, looking left and right on the main road.

Finally -- the SOUND OF A CAR, coming down the gravel road.

Ceri turns to face the approaching vehicle. Headlightsilluminate her pale face.

Moments later, a RED PICKUP TRUCK comes to a stop wherethe gravel road meets the highway.

A TALL MAN steps out and approaches Ceri. Hes wearing afaded yellow raincoat. The hood is up. Hes silhouetted

by the cars headlights. Its an ominous image.


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When the tall man sees Ceri, he stops.

CERIHello.

TALL MANCeri Morgan?

CERIYes. Youre Bran Morrighan.

The tall man, BRAN MORRIGHAN, 65, comes closer. He liftshis hood, revealing a gaunt and weathered face. He smilesbriefly -- its a smile without pleasure, one that isntoften used.

BRANI am. Im sorry Ive kept you

waiting.

CERIIts okay.

Bran points at Ceris backpack.

BRANThat yours? Ill take it into thecar for you.

CERIThanks.

He lifts the backpack into the rear of the truck.

BRANThere is dinner on back at the farm.

CERIOkay.

BRANIt will be dark soon. We shouldnot be out in the dark, in the rain.

Bran goes around to the drivers side door, opens it. Cerihesitates for only a moment, then walks over to thepassenger side. They both get in.

Bran U-turns -- kicking up a cloud of dirt -- and drivesback up the gravel road, past the stone cairns, away fromthe main road.

EXT. GRAVEL ROAD - LATE AFTERNOON

The gravel road winds its way past weed-infested paddocks,rotten fences, and overgrown fields -- past groves of oak

trees, over grassy knolls and through shallow vales wherestreams run heavy with rainwater.


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INT. TRUCK - THAT MOMENT

Its hard to see more than fifty yards ahead, but Bran isgoing fast.

Ceri looks apprehensive. She glances repeatedly out thepassenger side window.

BRANYou got here all right?

CERIIts a long trip.

BRANSo it is.

Silence. The truck hits a BUMP. The chassis RATTLES. Ceriholds onto the dashboard.

BRANIm sorry about Michael, aboutyour mother.

There is a long pause.

BRANIm sorry I wasnt there.

Ceri turns to look at him. Her eyes are wet.

CERIAre you? Because you were neverthere, Bran. You didnt even cometo the funeral. What right do youhave to be sorry?

Bran keeps his eyes on the road. Ceri looks away, out thewindow.

GRAVEL ROAD - THAT MOMENT

The truck approaches the edges of a dense, black forest --the first weve seen. This is the Wildwood. The tall trees

form a solid, black wall. Inside there is only darkness.

The gravel road skirts the trees, running parallel withthe increasingly overgrown fields on the right hand side.

Brans truck speeds along, disappearing into the risingnight.

EXT. FARMSTEAD - SUNSET

The rain has abated quite a bit. The sky has cleared upin the west. The sun sinks blood red below the horizon.

To the north and west, past the farm, the Wildwood continues.


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INT. TRUCK - SUNSET

The headlights illuminate two buildings; the house and thebarn -- both dilapidated, the barn more so.

Bran stops the car in the front yard between the buildings.

BRANRight. Here we are.

CERI(quietly)

I remember now. I had a hard timepicturing it. But now that I seeit, I remember.

(beat)It looks different.

BRAN

Its been a while.

CERIIts been a lifetime.

EXT. FARMHOUSE - PORCH - SUNSET

Bran, carrying Ceris backpack, opens the front door. Helets her enter first.

INT. FARMHOUSE, HALLWAY - NIGHT

A narrow hallway, illuminated by a bare lightbulb. Lightgreen wooden boards, hardwood floor. Beyond rustic. Archaic.

A steep staircase goes up to the second floor, and an opendoorway leads into the kitchen.

Theres little decor, only three framed black-and-whitephotographs on the walls.

Ceri looks at them in turn.

The first photo shows the farm in its past glory, barn andfarmhouse both with fresh coats of paint. It could be the

1940s or 50s.

The second photo is of a YOUNG BRAN, late 20s, with alittle girl. This is ELLIE, Ceris mother. She looks no

more than eight or nine.

The third photo is a black-and-white photograph of aBEAUTIFUL YOUNG WOMAN who looks eerily like Ceri.

CERIIs that my grandmother?

Bran stands at the foot of the stairs with the backpack.


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BRANMm.

CERIShe looks just like...

She stops short of me.

BRANI have to get the room ready.Ill take your bag upstairs.Theres soup on the stove. Helpyourself to some, if youre hungry.

Ceri nods. Bran goes upstairs.

She stares at the picture for a few more seconds. Then shesteps into the--

KITCHEN - NIGHT

Its genuinely rustic -- not the Pottery Barn variety:White wooden panel walls, rough hardwood floor. An ancientand NOISY fridge, a white gas stove. Theres a closed doorat the opposite end of the room.

The kitchen table is set for one.

Ceri serves herself some soup. She sits down to eat. Dipsher spoon into the soup, lifts it, SNIFFS it. Tastes it.

There are NOISES from upstairs, Bran WALKING AROUND. Theold house has thin walls and floors.

Ceri eats slowly. She lifts each spoonful to her lipsfirst and BLOWS on it.

Bran continues to MOVE AROUND upstairs.

Soup DRIPS from the spoon into the bowl.

The NOISES from upstairs stop.

Ceris face tightens, her eyes squeeze shut. She drops the

spoon into the soup. Soup SPLATTERS onto the table, hersweater. Her hands go to her head, to her temples.

She rises unsteadily, neck bent, MOANING. Her chairtopples, CRASHES to the floor.

Ceri grabs the glass from the table, stumbles to the sink,starts the water running.

The SOUND OF THE WATER is DEAFENING.

She fills the glass. Water spills down her hand. She

drinks it in large GULPS, spilling more water onto hersweater, her pants, the floor.


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She lowers the glass again. Left hand pushed against herleft temple.

She looks out the window behind the sink.

THROUGH WINDOW

First theres just her own reflection. Then, outside,between the house and the forest...

...SOMETHING moves.

Its a LARGE STAG. Its staring right at Ceri. It movesnervously, tossing its head.

Moments later, it leaps away into the forest.

KITCHEN

Ceri stands as frozen...

A beat.

...and then she collapses to the floor.

INSERT - GLASS OF WATER

As it SHATTERS--

INT. ELLIES CAR - NIGHT - FLASHBACK

--and the shattered fragments become a jumble of lightreflecting off the water and the windshield, and wereback on the forest road.

The car spins out of control,veering off the road, towardsthe ditch.

Ellie struggles with the wheel. Michael is awake, confused,reaching for his mother.

A large tree looms in the windshield. A collision isinevitable.

BLACK

BRAN (V.O.)...Ceri? Ceri!

INT. KITCHEN - EVENING

Ceri is on the floor. Her head on a towel. A moist clothon her brow.

Bran hovers.

BRANAre you all right?


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CERIMm. Head.

She tries to sit up. Bran helps her to her feet. He pullsout a chair. She sits down.

BRANDo you need to lie down? ShouldI call the doctor? What happened?

CERI...its nothing serious.

BRANYou were out cold. I should callthe doctor.

CERIIts okay. Its happened before.

Bran sits down, but he cant sit still.

BRANBefore?

CERIAfter the accident. After thefuneral. There have been blackouts.

BRANHave you seen a doctor?

CERIIve seen all the doctors. Theysay the same thing. The blackoutsarent symptomatic of anything.Theyre just...

(beat)They just are. I black out.

Bran gets up. Paces.

BRANIs there a pattern to it?

CERI...no.

Bran picks up the towel from the floor. Folds it.

BRANWell.

He puts the towel in a drawer.

BRAN

If you feel all right?


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CERI(shrugs)

Im sure itll pass. Eventually.

Bran sits down again. Fingers DRUMMING nervously.

BRANIf youre sure.

(beat)Ill be just a minute.

He rises and walks over to the closed door. It opens intothe adjacent LIVING ROOM.

THROUGH DOOR

Bran takes something from the top of a cluttered bookshelf.

BACK TO SCENE

He returns to the kitchen, closing the door to the livingroom behind him.

He places a photo album on the table in front of Ceri andpulls his chair around.

Bran opens the album from the back. Ceri leans in to look.

INSERT - PHOTOGRAPH

This is the final photograph in the album:

CERI, 5, sits on her mothers lap on the porch of thefarmhouse. Ceri looks ecstatic, but ELLIE, early 30s, isgrim.

BACK TO SCENE

Ceri looks up from the album, to her grandfather.

BRANYou didnt stay long -- twodays -- but I got to see your

mother again. I got to meet you.

CERII remember some of it. It wassummer. Everything was green. Idnever seen anything like it.

BRANYou were a city girl.

CERIStill am. This place was an alien

world. It was real wilderness.

(beat)A fairy-tale.


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She smiles. Remembering.

CERII would ask my Mom if this was

where Hansel and Gretel got lost,or where Goldilocks lived withthe three bears. I was spellbound.She mustve gotten so sick of metalking about the farm.

(smiles)And about you. You told mestories. About the forest and thehills, about fairies and elves,princes and princesses. I thoughtyou were a king. I always

wondered where you kept your goldcrown and scepter.

Ceri looks down at her hands folded in her lap. She flexes

her fingers.

CERILike in a fairy-tale.

She moves her fingers slowly. Studies them.

BRANThe farm has seen better days.Theres only so much I can do on

my own.

CERIOkay. If I can help...?

BRANWinters coming. Theres not muchto be done this late.

(considers)Ive been thinking about givingthe porch a new lick of paint.If the weather clears up.

CERII could help. When we moved into

the new house...

Ceri passes her hand over the picture of her mother.

BRANI could use some help.

Ceri smiles.

CERIAre there any more pictures of her?


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BRANThats all I have -- pictures ofyour mother.

He pages backwards through the album, reversing the flowof time.

The first photograph is of ELLIE AT SIXTEEN. Her face isset -- grim, almost.

BRANThis one...73. The day beforeshe left. I didnt see her againfor three years.

CERIShe doesnt look very happy.

BRAN

She wasnt.

CERIThree years is a long time.

He turns the pages.

The clock is turned back on Ellie from age SIXTEEN throughELEVEN. In no picture does she ever smile.

CERIShes so serious...

BRANAfter her mother passed, Elliedidnt like having her picturetaken. She would refuse to smile.It was as though she didnt wantanyone to see her happy.

(turns the page)She was happy...sometimes. Sheloved the farm, her secret places.

CERISecret places?

BRANThats what she called them, theplaces she alone knew about.Where she could hide herself away

when she wanted to.

Bran reaches the halfway point of the album. Theres aphoto of BRAN, ELLIE, and GWEN.

Bran is young -- around thirty. Ellie, barely ten, smilesbroadly for the first time.

It is Gwen, mid 20s, who is grim now.


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CERI(quietly)

Its amazing how much I look likeher. Gwen.

BRAN(nodding)

I noticed it the first time youwere here, and when your mothersent me a picture a few yearslater. You had her features,unlike Ellie, who got saddled

with mine.(frowns)

But now, the likeness... You lookso much like your grandmother.

CERIHow did she die?

BRANAn accident.

(deep breath)It was a terrible accident. Shedrowned. And Ellie... It was veryhard on Ellie.

CERIThat why she didnt like comingback here?

BRAN(lost in thought)What?

(beat)Yes. Yes.

(stands up)It is late. Let me show you theroom.

He closes the album.

INT. UPSTAIRS LANDING - NIGHT

There are three doors here, two of which lead to bedrooms,one to the bathroom. The walls are bare.

Bran, trailed closely by Ceri, opens the door to the leftof the stairs, leading into--

ELLIES BEDROOM - NIGHT

Its a little girls room, kept like a shrine. Everythingis neat, tidy, and clean.

Ceris backpack sits on the floor in front of a large

closet. There is a narrow bed -- freshly made -- a desk,and a curtained window.


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The shelves above the bed are stacked with books.

BRANJust the way she left it.

CERIThis was Moms room. You haventcleared it out?

BRANWhat would I do with the space?I have no need for it. And it

makes the house feel more alive.

CERI(to herself)

...ghosts...

BRAN

Sorry?

CERIIt must get lonely out here.

BRANDont know anything else.

(shrugs)The bathroom is down the hall,Im calling it a night. Tomorrow

morning Im going into town early,but Ill be back by noon. Unless

you want to come...?

CERI(shakes head)

I should sleep. Im very tired.

BRANWell. Good night, then.

CERInight.

Bran closes the door behind him.

Ceri stands in the middle of the room. She squeezes hereyes tightly shut. Clenches her fists. BREATHES SLOWLY.DEEPLY.

CERIMom. If youre there...

(another deep breath)Im sorry. I had to come. I knowyou didnt want me to. But I havequestions. And I didnt know

where else to look.

(exhales)You were never easy to figure out.


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She opens her eyes again, sits down on the bed, runs herhands along the dry white linen.

CERIGhosts.

She looks up at the shelves above the bed. There are somewhite porcelain figurines, decorative rocks, dried flowerpetals -- and many, many books.

Ceri runs her fingers along the spines of the books:

"Treasure Island", "The Count of Monte Cristo", "TheHobbit", "Mary Poppins", "Winnie the Pooh"...

...and many more.

Ceri checks the closet. Its empty.

She walks over to the window, parts the curtains.

THROUGH WINDOW

Ceris reflection. The moon, covered by clouds. Beyond themirror image of the room -- a vast dark shape, barelyvisible.

The Wildwood.

She lets the curtain fall.

INT. ELLIES BEDROOM - LATER

Ceri is under the covers. The bedside lamp is lit. Shesreading from her mothers book, "THE DARK PLACES". Shesreached the halfway mark.

Shes not able to focus. She pages backwards, reads alittle, then flips to the title page.

INSERT - TITLE PAGE

Written in red, in Ellies handwriting, is the following:

"For the Secrets that haunt us & cripple us. For a pastthat will never be resolved. Never let the darkness cloudyour heart and mind. Love. Ellie."

BACK TO SCENE

Ceri closes the book. Puts it carefully aside. Stares upat the ceiling.

CERI(quietly)

Good night, Mom.

She turns off the light.


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INT. ELLIES BEDROOM - MORNING

Pale sunlight falls through the white drapes onto the bed,where Ceris waking.

Ceri YAWNS and stretches. She looks rested.

She rises. Walks over to the window. Parts the curtainsagain.

THROUGH WINDOW

Its a completely different world from the previous evening.

The sky is a clear and deep blue. THE WILDWOOD -- speckedwith color -- bathes in pale November sunlight.

The woods look much smaller now that they are no longerobscured by darkness: A dense valley of trees nestled in-

between rolling green mounds and fields, and bordered, tothe north, by hills.

This is the last of the primeval wildwood; a pocket ofhistory, a remnant of the endless forests that covered theland in ancient times; dark green and wild, beautiful andintimidating.

It is a fairy-tale forest, a birthplace of magic and myth.

INT. KITCHEN - DAY

Ceri scopes out the fridge. Its almost empty. A bottleof milk, cheese, black bread, a few apples.

She grabs an apple, BITES into it. CHEWS. Grimacing, shetosses it into the garbage.

She goes through the door into the...

LIVING ROOM

Large, gloomy, and messy. The windows are curtained.Bookshelves on all four walls. The furniture is from the1950s and 60s: A worn sofa, a rickety table, lamps, chairs.

Books, papers, and newspapers are stacked on allsurfaces -- like a library after a hurricane.

In the middle of the room stands an easel with a half-painted CANVAS. There are paints and brushes on the floorbelow it. More canvases -- some completed, most not -- arestacked against the wall beneath the window.

The canvas on the easel depicts a forest scene. Heavy onthe dark blues and blacks.

Ceri walks over to the shelves, inspects the books.


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On the shelf next to the sofa she finds copies of hermothers novels, as well as a clip book.

Ceri browses quickly through the clip book. Its crammedwith newspaper cuttings -- interviews, articles, andreviews -- from Ellies career. All of it carefully pastedin, neatly chronological.

She puts it back, and picks up a copy of Ellie Morgans"THE BLACK POOL".

Its worn, and has obviously been read many times.

Theres a second door at the other side of the room. Sheopens it. It leads into the...

HALLWAY - DAY

Ceri walks down the hallway and notices a door set into

the staircase. She opens it.

BASEMENT STAIRCASE

A stairwell goes down into the basement. Its pitch blackdown there.

Ceri searches for a light switch, but finds none.

HALLWAY

Ceri closes the basement door. She returns to the foot of

the staircase, looks upstairs.

UPSTAIRS LANDING

The door to Brans bedroom is slightly ajar. Ceri pushesit gently. It swings open, allowing her a good look of theroom.

THROUGH DOOR

Its spartan. A twin bed, a commode, a closet. A windowoverlooking the front yard.

There are three framed photographs on top of the commode.

BRANS BEDROOM

Ceri enters the bedroom and walks over to the commode tolook at the framed pictures.

The first picture is of ELLIE, age six or seven. Thesecond picture is of CERI, age twelve.

The picks up the third picture.

Its MICHAEL. Hes no more than tree years old, andgrinning from ear to ear.


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CERIMikey...

As she puts the picture down again, she spots a letter ontop of the commode. She picks it up and looks at it.

INSERT - LETTER

The letter begins:

"Bran,

"Please, do not try to contact us anymore. You owe usnothing, and I expect the same courtesy in return. I kept

my promise with Ceri, but made no such promises regardingMichael--"

BACK TO SCENE

A SCRATCHING NOISE makes Ceri jump and drop the letter tothe floor.

The SCRATCHING continues. Its coming from the window.

Ceri picks the latter up and puts it back on the commode.She tiptoes over to the window. Unlatches and opens it.

THROUGH WINDOW

A BLACK RAVEN lifts off, wings beating fast, SQUAWKINGINDIGNANTLY.

The raven flies across the yard, towards the barn,disappears behind it.

BACK TO SCENE

Ceri stares at the barn.

EXT. FARMSTEAD - BARN - DAY

The barn is dilapidated, walls cracking, weeds growingtall around it. It hasnt been painted in a long time.

Ceri checks out the barn door. Its padlocked. The lockis shiny, new. She RATTLES the door. Its solid.

She gets close and puts her eye to the crack in the door.

THROUGH CRACK

Its quite dark, but light falls in pockets through holesin the ceiling.

Theres a rusty tractor, bales of dried hay, stackedchicken cages, various farm tools, machine parts. And what

looks like a circle on the floor. Black soot. Burned intothe floorboards.


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BACK TO SCENE

She tries the door again. It wont budge.

INT. FARMHOUSE - HALLWAY - DAY

Ceri checks the coat hooks behind the front door, thepockets of Brans raincoat. Nothing.

KITCHEN - DAY

She opens and closes all the drawers, the cabinets. Nothing.

BASEMENT STAIRCASE - DAY

She looks down. Theres a key-ring hanging from a hook onthe wall. She grabs it, goes through the keys one by one.

Nothing.

EXT. FARMSTEAD - BARN - DAY

Ceri circles the barn, determined.

Stacked against the wall facing the forest, theres a pileof firewood about five feet tall. Above it, a broken window.

Ceri pushes the woodpile. It appears stable. She looks upat the window. Then she climbs up.

She manages to lift herself up onto the stack. The window

is still too high to look inside. Cautiously, hands to thewall, she stands.

Her head is now level with the bottom of the window. Thereare a few shards of glass in the frame. She removes them,tosses them to the ground.

She reaches up, puts her arms through the window.

Theres a SUDDEN EXPLOSION OF NOISE AND MOVEMENT. CeriSCREAMS. A BLACK RAVEN flies right into her face. Itstalon cuts her cheek, its wings tangle with her hair.

Ceri stumbles backwards, arms flailing to keep herbalanced. The raven frees itself and lifts off.

The stack begins to topple. Ceri is losing her footing --and she begins to slip sideways as the logs roll...

...and then shes being grabbed by STRONG ARMS, lifted tothe ground.

Feet planted solidly again, Ceri whirls around, and findsherself face to face with DANIEL GRIFFIN, 25 -- clean cut,blond hair, square jaw.


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CERIOh god--

DANIELSorry. Are you okay?

The young man has an American accent.

CERI(steps back)

You scared me.

DANIELSorry. I didnt mean to frightenyou.

(points to Ceris face)Youre bleeding.

Ceri touches her cheek where the raven scratched her.

Theres some blood.

CERIShit. I should clean it.

(frowns)Wait -- what are you doing here?This is private property, and mygrandfather is right back there,and...

(points to house)...and all I have to do is yell.There are guns.

DANIELGuns. Im not--

CERIOkay?

DANIELIm Daniel. Daniel Griffin.

CERIOkay.

DANIELIm sorry I frightened you.Looked like you needed some help.

CERIIt wasnt what you think, becauseI was just, you know--

DANIELClimbing on top of the firewood.

CERI

Okay. What are you doing here?


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23.

DANIELI came to see Mr Morrighan. Ididnt see his truck, so Ithought he wasnt around. Then Isaw you, and...

CERIHell be right back.

(clears throat)So Im Ceri. Granddaughter.

DANIELThat makes sense, because he

mentioned that. That was today?

CERIYesterday. I came in yesterday.It was late, and I didnt get achance to look around. So thats

what I was... And youre not fromaround here, are you?

DANIEL(laughs)

Sorry. This is just a veryconfusing conversation. No. Justvisiting. Actually, Im writinga paper, which is why Im here.Mr Morrighans been helpful.

CERI

Okay.

DANIELSure youre okay?

CERISurprisingly -- yes.

She touches her cheek again. Winces. Looks at her fingers.Theres blood.

CERIYou know, I should get this cleaned.

She starts walking around to the front of the barn. Danielfollows.

CERIBy the way -- thanks. I couldhave hurt myself. I know betternow than to climb firewood forthrills.

DANIELIs that what you were doing?


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CERIWhat?

DANIELClimbing. For thrills.

CERISure. You know, you shouldntsneak up on people like that.

DANIELEven when Im saving them from abroken neck?

CERIYes. Helpful with what?

DANIELWith what? Okay. The paper.

They pass Daniels car in the yard -- a battered late 70smodel brown Datsun,.

CERIYoure writing a paper?

DANIELLike a dissertation. Maybe Illturn it into a book. About mythsand legends.

Theyve reached the porch. Ceri stops, turns to Daniel.

CERISo youre a -- whats thatthen -- a historian?

DANIELIm studying for my doctorate.

CERIAnd there are things worthwriting about round here? Mythsand legends?

DANIELAbsolutely.

(animated now)Its a fascinating area. Youveseen the Wildwood.

He points to the line of trees bordering the farm on twosides.

CERIThe Wildwood?


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DANIELThats what they call it. The oldforest.

CERIWhy do they call it that?

DANIELBecause thats what it is -- a

wildwood.

CERII havent heard that word before.

DANIELOkay, so its a forest leftunchanged by humans, still as

wild as it was before peoplesettled here. You wont find many

of them in this country.

CERII thought it was just a forest.

DANIELThere are not many forests as oldas this one. And theres not muchleft of it. This is all there is.Its fading.

CERI

How can a forest fade?

DANIELIts a living thing...

(off Ceris reaction)...which sounds a little strange.What I mean is that the forestis a complex ecosystem. It cantexist in a vacuum. Thatd be likecutting off your pinky andexpecting it to survive withoutthe rest of your body.

CERIThey cut it down?

DANIELMost of it. Over a period ofhundreds of years. Its a miraclethat this last pocket has survived.

CERIAnd this is why youre here? Towrite about the forest?


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DANIELNo, but the forest is animportant part of history. Itsa living artifact. Being insideit is like traveling thousandsof years into the past...

(beat)Which doesnt mean that I spend

my time walking around the forest.I talk to people, I visit museumsand antiquarians, researchprivate collections... Gatherinformation.

CERIAnd what does Bran help you with?

DANIELHes lived here a long time. I

ask him questions, he points mein the right direction. He knowsa great deal, your grandfather.Hes a fascinating man.

CERIReally?

DANIELYou dont know him well.

CERI

No. Ive met him just oncebefore -- when I was five. Icant say that we have aparticularly close relationship.

DANIELOkay. You came here to get toknow him better?

CERIHe didnt tell you anything.

DANIEL

He said you were visiting?

CERISo yes. To get to know him better.To learn about my familys past.

DANIELOkay. Youre bleeding again.


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CERIOh.

(wipes at her cheek)Shit. So I need to get thiscleaned, and...

(considers)...you can wait in the kitchen?

She starts towards the door, turns around.

CERII mean, if you want. Im sureBran will be back soon.

DANIELOkay.

INT. KITCHEN - LATER

Daniel is sitting by the kitchen table. He gets up whenCeri comes back downstairs. Theres a band-aid on her cheek.

DANIELHow is it?

CERI(shrugs)

Just a scratch. I cleaned it withalcohol. You never know. Doravens have rabies?

DANIELI doubt it.

She gets a glass from the cupboard.

CERIWant something to drink?

DANIELIm fine, thanks.

(sits back down)There are lots of them here, Brantold me.

(off Ceris reaction)Ravens. Used to be a problem forthe crops. Now... I guess hedoesnt much care?

Ceri fills the glass with water from the sink.

CERIIt cant be easy. My mother leftin 1973, and hes been alone eversince. I think.

(MORE)


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28.

CERI (CONTD)(sits down)

You know, I never asked him...ifthere was ever anyone else. Ishould ask him.

(sips the water)So you were talking about theresearch. You interview people?

DANIEL(nods)

Ive been here three weeks now,and Ive gathered a pile thishigh--

(hands two feet apart)--of material relating to mypaper. Not counting a suitcasefilled with books. I wasnt surehow much Id get out of this trip.

Ive been very lucky.

CERIThats good. Where are you from?

DANIELOriginally? Massachusetts. ButIve lived everywhere. We movedaround a lot, my Dad and me.

CERII grew up in Philadelphia, but

when my Moms books becamepopular we moved to New York.Ellie Morgan, the author?

(Daniel nods)Then just last year, after Idstarted college, she got it intoher head that she wanted to moveto the country. Ive always

wanted to live in the country --so she waited until I moved out?

Anyway, she sold the brownstoneand bought a big house up inConnecticut.

DANIELIm sorry about what happened.

CERIOkay.

DANIELI didnt know that Bran was EllieMorgans father when we first met.Such a weird coincidence. Ibrought a couple of her books to

read while I was here. She was agood writer.


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CERIShe was a great writer. Sheshould have written proper books,not just those silly ghoststories. She told me that she

would get around to the GreatAmerican Novel one day, aftershed gotten all those otherstories off her chest.

(beat)I dont know if she was jokingor not.

She tucks her hair behind her ears. Looks towards the window.

CERII can see where she got herstories from. This place...

(beat)

Its a little intimidating.

DANIELIts...atmospheric.

CERIAnd the forest? The Wildwood.

DANIELGothic?

(smiles)So I see your point, yes. But

its not all "oooh!", ghosts andgoblins -- the Wildwood is alsovery beautiful. I should take youon a--

Theres the SOUND OF A CAR ARRIVING. Ceri gets up and goesover to the window, looks out.

THROUGH WINDOW

Its Brans truck.

Bran steps out, shuts the door. He notices Daniels car,

walks over to look inside it. Then he glances up at thewindow.

EXT. FARMHOUSE - THAT MOMENT

Ceri, in the kitchen window. She waves. Bran is about towave back, but stops himself. Instead, he just nods.

He goes around to the back of his truck and lifts out acardboard box with shopping-bags in it.

INT. KITCHEN - DAY

As Bran enters, carrying the box, Daniel gets to his feet.


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DANIELMr Morrighan, hello. Need anyhelp with that?

BRANNo.

He puts the box down on the floor by the fridge. SizesDaniel up.

BRANWhat are you doing here?

DANIELOh. I thought wed agreed...?

BRANWell then.

(looks at Ceri)

Ive got...(beat)

What happened to your cheek?

CERI(touches band-aid)

This? Oh. Just a scratch. Im okay.

BRANYou didnt...

CERI

Pass out?(glances at Daniel)No. Hey--

(to Bran)--did you get any groceries?Because the fridge is a littlespartan, and Im starving.

BRANI got groceries. I thought Id

make lunch.

CERI

Ill make something. Do you mindif Daniel stays for lunch?

(to Daniel)Are you hungry?

She starts going through the bags, pulls out some eggs,milk, and bread.

DANIELOkay.

(to Bran)If its okay with you?


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CERIIll make some omelettes and toast.

BRANTheres enough food. I need to

wash my hands.

He leaves the kitchen and goes upstairs.

DANIELIm not sure hes too happy abouthaving me stay.

CERIBut you had some questions,didnt you? For Bran.

DANIELI can talk to him another time.

CERIYoure staying. My omelettes arefantastic. But youll have to help.

DANIELOkay. What do you need me to do?

She puts a bowl down on the kitchen table, next to the eggs.

CERIEgg duty.

DANIELI can do that. I was afraid youdask me to slice the bread. Mycooking skills are limited toscrambling eggs.

CERI(laughs)

Ill remember that.

He smiles, and starts cracking the eggs.


The plates are clean. Daniel is clearing the dishes away.Bran has lit up his pipe. The room is filling with smoke.

Ceri COUGHS, and goes to open the window. Bran doesntappear to notice.

CERI(to Daniel)

Just leave the dishes in the sink.

She walks over to him, steers him back to the table.


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CERIDo you guys want some tea?

BRAN(pipe in mouth)

Mm-hmm.

DANIELTea would be great.

(sits down)Thank you, Ceri.

She fills a kettle with water and places it on the stove.Turns the gas on.

CERISo where are you staying, Daniel?

Ceri starts opening the cabinets one by one.

DANIELAt a bed and breakfast near thevillage. Its nice. Im the onlyguest. People come and go, butright now its just me.

(shrugs)I have a TV. And three channels.When the weathers good.

CERI(to Bran)

Tea?

Bran points at a jar next to the sink. She opens it, getsthree bags of tea.

CERI(to Daniel)

How far is the village?

Daniel looks at Bran.

DANIELFrom here? What -- half an hour?

Bran removes his pipe.

BRANForty, forty-five minutes.

CERIDo you go often?

She places three mugs on the table, each with a tea bagin it.


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BRANNot often. Only when I need tovisit the store. Most of the folkI knew back when have gone away.Some have moved, some are dead...The few that remain arentparticularly happy to see me.

CERIWhys that?

BRANI reckon they dont like to bereminded of the past.

Daniel leans slightly forward, staring intently at Bran.

CERIWhat do you mean?

BRANNot everyone appreciates havingold memories stirred up. Somebelieve that water under thebridge is just that. There are

worries enough in the present...(looks at Daniel)

...we dont need to go lookingfor more.

Daniel looks away. Bran puts the pipe back in his mouth.

Ceri looks back and forth between the two.

The kettle WHISTLES, distracting them all.

EXT. FARMHOUSE - LATER

Ceri follows Daniel out. They stop by the car. She stepscloser, looks up at him.

CERIIm sorry about Bran. That was alittle uncomfortable.

DANIELYou dont have to apologize. Itsbeen nice.

CERIOkay. What was that all about? Ithought hed been helpful.

DANIELHe has been. Dont worry aboutit -- I had a good time.

(touches Ceris arm)

Listen, would you maybe like totake a walk tomorrow?


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CERIA walk? Okay.

DANIELIf you want?

CERIOkay. Id like that. When?

DANIELAround lunchtime. Ill come by.Youll be here?

CERI(gives Daniel a Look)

Right. So Im gonna be where? Onthe beach, getting a tan?

(off Daniels reaction)Seriously. Its not like theres

anywhere to go.

DANIELIll show you. Tomorrow.

He gets into the car and gives Ceri a smile and a wavebefore he drives off.

Ceri watches the car disappear down the road. She goesinside.

INT. HALLWAY

She passes by the kitchen entrance. Pauses.

Brans still sitting at the kitchen table, smoking. Hesstaring into the distance, and doesnt notice her.

INT. ELLIES BEDROOM - AFTERNOON

Ceri is unpacking. Shes tossed her clothes on the bed, acouple of books on the floor.

She adjusts the time on her alarm clock and places it onthe shelf above the bed, next to some porcelain dolls. She

picks up one of them -- an antique Victorian doll -- toinspect it closer.

Its head falls off, bounces off the bed, and rolls underthe closet.

Ceri grimaces and puts the dolls body on the bed. Thenshe gets down on her stomach and reaches under the closet.

As she feels her way under the closet she discovers aloose floorboard. She lifts it aside and pulls out asquare object wrapped in a white handkerchief.

She sits up and unwraps the package.


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Its a diary.

Excited, Ceri sits down on the bed and opens the book.

INSERT - DIARY

The first page contains a short passage.

Ceri reads the words aloud as she traces them with herfinger:

CERI"My name is Ellie Marie Morrighan.I am ten years old. These are mySecrets."

BACK TO SCENE

Ceri frowns. She puts the diary aside, and picks up her

copy of "THE DARK PLACES". She opens it to the first page.

As before, Ellies inscription begins with: "For theSecrets that haunt us". The word Secrets is similarlycapitalized.

CERI(to herself)

"Secrets".

Ceri picks up Ellies diary again. She turns the page andstarts reading.

CERI (V.O.)"September 24th, 1967."

She scans down the page, then begins to read from the top.

CERI (V.O.)"I live on a farm by the forest

with my mother Gwen, my fatherBran..."

As she reads, Ceris VOICE-OVER is replaced with the VOICEof ELLIE MORGAN, age ten.

YOUNG ELLIE (V.O.)...father Bran and my cat Merlin.I wouldnt want to live anywhereelse in the world.

DISSOLVE TO:

INT. ELLIES BEDROOM - NIGHT - 1967

Ellies bedroom looks very similar, even though itsthirty-six years ago.


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The curtains and bedcovers are different, there are moreitems on the shelves -- more books, more pictures -- andthere are prints on the walls, some of angels and saints,others of elves and goblins.

The moon shines brightly through the curtains.

ELLIE MORRIGHAN, 10, sits by her desk, writing in herjournal. She writes by the light of a kerosene lamp.

Ellie appears to be intently focused on her writing.

YOUNG ELLIE (V.O.)Most days I go to school, whichis far away. Father drives me tothe main road, and I take the businto the village. Often, afterschool, I go to the library. OnSaturdays, I help out at home.

On Sundays, after church andbefore dinner, I explore.

EXT. FARMHOUSE - DAY - 1967

Ellie walks around the back of the house with a long stickin her hand.

Its a sunny day in autumn. The garden is still green, butthe leaves on the trees are turning red and orange.

YOUNG ELLIE (V.O.)

I explore the house, the barn,the garden. There is alwayssomething that I have missed.There is always something new tosee. There are always secretplaces to discover.

She walks to the edge of the forest. Stops. Looks into thedark places.

YOUNG ELLIE (V.O.)Sometimes I go into the Wildwood,but I never go far on my own,

never so far that I cannot stillsee the garden. Only with fatherdo I go further. We explore the

woods together, just the two of us.

EXT. THE WILDWOOD - DAY - 1967

BRAN MORRIGHAN -- much younger, around 30 -- trails hisdaughter down a narrow path through the forest. Elliekeeps glancing over her shoulder at her father, but shestays bravely ahead.


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YOUNG ELLIE (V.O.)He takes me down the hidden pathsthat only he knows, to the secretplaces that no one can findunless they want to be found.Without him, I would be lost. TheWildwood would lose me. Butfather always knows the way. Always.

INT. KITCHEN - DAY - 1967

Ellie and Bran enter the kitchen, where GWEN MORRIGHAN,mid-20s, is cooking dinner. She looks tired, but shesmiles at them both.

Ellie runs to hug her mother. Gwen kisses her daughtershead.

YOUNG ELLIE (V.O.)

Mother doesnt ever come with us.She says she doesnt like to walkin the woods, that they are toodark and too wild. She says thatthe Wildwood gives her nightmares.

KITCHEN - LATER - 1967

The table is set, and the family has sat down to eatdinner. Bran is SAYING GRACE. Ellies and Gwens hands arefolded, their eyes closed.

YOUNG ELLIE (V.O.)I think mother is havingnightmares again, becausesometimes she is up late at night.I hear her. Once, a few days ago,I woke and heard her downstairs.But when I went down to find her,she wasnt there. Maybe she wentto the barn?

EXT. FARMHOUSE - PORCH - DAY - 1967

Ellie is playing with her CAT -- a gray tom -- on the

porch. The trees are golden.

YOUNG ELLIE (V.O.)Its already late September, andit will be winter soon. I like

winter, when Christmas isnt sovery far away.

She scratches the cat, MERLIN, behind his ears. He PURRS.


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38.

YOUNG ELLIE (V.O.)I know what I will be wishing forthis year -- a little brother.

(beat)Or sister. Im not picky. I knowI shouldnt be. A brother or asister, either one would be good.

Merlin pricks his ears and runs off, leaving Ellie aloneon the porch. She hugs herself. Its chilly.

YOUNG ELLIE (V.O.)Because sometimes, when motherand father are busy, I get alittle lonely.


Theres a KNOCK on the door. Ellie closes her diary and

looks up.

YOUNG ELLIEYes?

Bran opens the door.

BRANTuck you in?

Ellie beams at him.

YOUNG ELLIEIm going to bed now.

Bran walks into the room. Ellie jumps into bed, lets himtuck her in.

BRANWhat were you writing?

YOUNG ELLIESecrets.

BRAN

Oh.(taps his nose)

Dont worry, Ellie, I wont tellanyone. Not even Merlin.

YOUNG ELLIESilly. Merlin already knows all

my secrets.

She smiles up at Bran -- an adoring smile.


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BRANOf course he does. Cats know allthe secrets and all the secretplaces. Thats what cats do.Thats why theyre special.

(kisses her)Sweetest dreams, my little fairyqueen.

YOUNG ELLIE(giggles)

Good night.

YOUNG ELLIE (V.O.)We are all very happy. I wouldnot want to be anywhereelse...not for the world.

Bran turns off the lamp and leaves the bedroom.

YOUNG ELLIE (V.O.)But I am worried sometimes. Im

worried about mother. She istired. Im worried about theanimals -- because fathers saidthat they have been actingstrangely. And Im worried about

my dreams...because they frightenme.

(beat)They make me feel like Im slowly

drowning in the darkness.

CUT TO:

INT. ELLIES BEDROOM - NIGHT - NOW

A sudden KNOCK on the door startles Ceri. She closes thediary, holds it to her chest.

CERIYes?

BRAN (O.S.)

Dinners ready.

CERIOh. Ill be right down.

She tucks the diary into her backpack.


Bran and Ceri are eating dinner in silence.

Ceri lowers her utensils and looks at Bran. He doesnt

notice. She CLEARS HER THROAT. Bran looks up, stops eating.


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CERIIts good.

BRANGood.

He stares at her for a second, then continues eating.

She waits, but he says nothing further.

EXT. FARMHOUSE - PORCH - NIGHT

Its dark. The stars have come out in force, each onebright and clear. The moon hasnt yet risen.

Ceri sits on the porch, gazing up at the sky. Her breathmakes small clouds of condensation. Shes wearing a thicksweater; neck up, sleeves pulled over her hands.

The door behind her opens and closes. Bran sits down onthe other end of the porch, lights up his pipe.

CERISo when did you want to paint theporch?

Bran considers, puffing on his pipe.

BRANTomorrow morning? If the

weathers good.

CERIOkay.

They sit in silence for a little while.

CERIWhen did Mom start writing?

BRANEarly.

He lowers his pipe.

BRANWell. She started reading whenshe was four. She must have readeverything in the house, and I

would take her to the libraryevery week. She wrote her firstshort story when she was eight.It was called "The Saddest Duck".

CERIEllie Morgans first story was

about a duck. If her fans onlyknew...


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BRAN(chuckles)

Oh, it wasnt without its morbidparts. As far as I recall, theduck met a tragic end. Your

mother was always fascinated byscary stories.

CERIDo you still have them?

BRANShe took all her stories with her

when she left. Now you can buythem anywhere. Theyre basicallythe same stories. Some of them

we made up together on our walks.I reckon they stuck in her head.

CERIAnd youve read them all? Momsbooks?

BRANA dozen times. Theyre good, butI always knew she could do better.

CERIShe was afraid her fans would bedisappointed if she didnt stickto horror.

BRANMaybe it went deeper than that.

CERIYou mean what happened to Gwen?

BRANIt wasnt easy for Ellie. It

wasnt easy for either of us,living alone out here -- more and

more people left and didnt comeback. Ellie was so close to her

mother...

Bran looks at his pipe. Its gone cold.

BRANThere was bound to be a lot ofdarkness in her stories.

He lights it up again.

CERIForests were such a strong theme

in her stories. I neverunderstood why.


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She looks in the direction of the Wildwood.

CERIIt was such a dominating presence,right outside her bedroom window,for so many years.

BRANMm.

He exhales a cloud of smoke.

BRANSome day, itll all be gone. Itclings on now, but its time haspassed. The world has changed...

(shrugs)Theres little room for the old.

CERIWhy didnt you come to thefuneral, Bran?

BRANWell.

(beat)I miss Ellie a lot, Ceri. Everyday since the day she left. I

wish I could have met yourMichael. Life is filled withregrets...

He empties his pipe, tucks it into his pocket.

BRANI havent been well, and it wasa very long trip. I hadnt seenyour mother in fifteen years. She

wanted nothing to do with me.

CERIShe was your daughter.

BRAN

I know.

He stands up.

BRANTheres a reason for everything,and it may not always be apparent.But Im sorry I didnt go to thefuneral. If only for your sake.I hope you can forgive me.

Bran goes inside. Ceri gazes up at the brilliant stars again.


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43.


Ceri sits on the floor reading Ellies diary. She turnsthe pages, moving forward in time.

CERI (V.O.)"October 12th, 1967. I heardsomething at school today, and

when I told father he was veryupset. He said that I shouldntbe listening to the otherchildren -- that they say thingssometimes that arent true..."

Ten-year old Ellies VOICE picks up:

YOUNG ELLIE (V.O.)...arent true, but I know thatthis is true. Because I heard the

adults talking about it too.

INT. ELLIES BEDROOM - EVENING - 1967

Ellies at her desk, writing in her journal.

YOUNG ELLIE (V.O.)Two cats have died, and theydidnt just die. Someone...

(whispers)...murdered them.

INT. CLASSROOM - DAY - 1967

Its recess. THREE GIRLS -- amongst them, Ellie -- havegathered in the corner. Theyre WHISPERING to each other,

making sure no one else can hear.

YOUNG ELLIE (V.O.)Thats what Marjorie saidhappened to her cat.

One of the girls -- MARJORIE, a redhead -- is wiping tearsfrom her eyes.

YOUNG ELLIE (V.O.)She said that Lancelot had beendrowned, that he couldnt swimand save himself because someonehad tied his feet together with

wire.

EXT. BUS STOP - DAY - 1967

Ellies waiting, alone.


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YOUNG ELLIE (V.O.)And Marjorie said that Lancelotwasnt the only cat who haddrowned. She said that FionaThomass cat Willow wasdead...and that there were others,too. They say the cats are dying.

INT. TRUCK - DAY - 1967

30-year old Bran is behind the wheel. Ellie sits next tohim. Theyre driving down the gravel road towards the farm.

YOUNG ELLIE (V.O.)They say that its happened before.

EXT. FARMSTEAD - DAY - 1967

Ellie jumps out of the car, runs inside the house.

Bran climbs out slowly. He seems distracted. He lookstowards the barn.

YOUNG ELLIE (V.O.)They say its coming back.

INT. KITCHEN - 1967 - THAT MOMENT

Ellie runs into the kitchen.

YOUNG ELLIE

Mum?

The kitchen is empty.

YOUNG ELLIE (V.O.)I dont know what "it" is, butIm worried. Im worried aboutMerlin, about whats going tohappen him.

She runs out again, into the hallway, up the stairs.

INT. UPSTAIRS LANDING - 1967 - THAT MOMENT

Ellie knocks on her parents bedroom door.

YOUNG ELLIEMum!

Theres no answer. She opens the door.

YOUNG ELLIE (V.O.)Im worried about whats goingto happen to all of us.


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INT. MASTER BEDROOM - 1967 - THAT MOMENT

The bedroom looks very different, brighter, more colorful.There are pictures on the walls, books, clothes, brightercurtains.

Theres no one here either.

YOUNG ELLIE (V.O.)And Im worried about whatshappening to mother.

Ellie walks through the room, to the window.

THROUGH WINDOW - 1967 - THAT MOMENT

Bran is leading Gwen out of the barn. Shes having troublewalking. Bran appears angry. Gwen holds one hand to her head.

YOUNG ELLIE (V.O.)Shes not well.

(beat)Not well at all.


Ceri closes Ellies diary, tucks it away in her backpack.

She lies down in bed, stares at the ceiling, hands foldedon her chest.


It is past midnight. The room is dark. Ceris asleep. Thestark moon has risen, shining through the curtains andcasting sharp shadows on the floor.

Ceri turns, MOANS.

The curtains flutter. The window CREAKS open a crack.

A chill wind passes through the room, RUSTLING papers,causing Ceri to shiver.

She wakes -- looks up, notices the open window.

Ceri rises unsteadily, shivering, and walks over to thewindow.

THROUGH WINDOW

The moon hangs fat and pale over the forest, framed byblack clouds.

On the lawn below the bedroom window, halfway between thehouse and the trees, stands the STAG. Its looking up at

Ceri.


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BACK TO SCENE

Ceri takes a step backwards. Her hands go to her face.Seconds go by. She lowers her hands again.

INT. UPSTAIRS LANDING - NIGHT

Ceri closes the door behind her and tiptoes quietly byBrans bedroom door and down the stairs.

HALLWAY

She goes outside...

EXT. FARMHOUSE - NIGHT

...and round the back to where she saw the stag.

EXT. FARMHOUSE - GARDEN - NIGHT

The stag is still there. It stands ten feet from theforest, SNIFFING the air. When it spots Ceri, it lowersits head briefly and gazes at her.

The stag is calm.

Ceris freezing, her body shaking. Her breath is white.Cool dew clings to her bare feet. She approaches the stagcautiously.

As she nears, the stag becomes agitated. It dances,

doesnt bolt. Its black eye remains on Ceri -- its makingWORRIED NOISES.

Close now, she stops, reaches her hand out to the largeanimal.

CERIEasy.

The stag calms down again. Turns its head towards her hand...

Just as shes about to touch it, the stag rears up on itshind legs. Ceri has to step backwards, arms raised to her

face, to avoid being struck by the animals hooves.

The second the stag is back on all four, it bolts --straight into the forest, where its immediately swallowedup by the dark.

Ceri lowers her arms, takes a step forward...and collapsesto the ground.

EXT. FOREST ROAD - NIGHT - FLASHBACK

Were back at the scene of the accident -- on a wet and

dark forest road.


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IN SLOW MOTION, Ellies car HITS THE DITCH, BOUNCES, andcontinues straight towards a large tree.

INT. ELLIES CAR - THAT MOMENT

Ellie is throwing her arms over her boy, hoping to protecthim.

The stag in the road has become diffuse now, obscured bythe water and the darkness -- and yet its eyes are brightlike headlights. The stag is transforming into somethingelse, something larger and darker...

INT. ELLIES BEDROOM - MORNING - NOW

Ceri wakes with a start, confused. She looks around asthough surprised by where she is.

Shes in bed. The bedroom window is closed. Its light

outside, but its a gray light, a cloudy day.

INT. BATHROOM - LATER

The bathroom is white tiles and white porcelain -- cleanand utilitarian. Theres a sink, a large mirror, and abathtub with a shower curtain.

Ceri is in the shower. The room is filled with steam. Ithas obscured the mirror.

IN SHOWER

Ceri lowers her head to rinse her hair. She looks into thetub. The water running from her feet is brown.

Supports herself with one hand on the wall, she raisesfirst one foot, then the other.

They are both soiled, brown and green.

She looks at her hands. Her palms are dirty.

She washes the dirt off.

EXT. FARMHOUSE - PORCH - LATER

Its a gray morning, clouds low and uniform, but its notraining.

Bran is painting the porch. Hes finished a corner of therailing and one of the posts.

Ceri comes out the front door.

CERIYou started without me?


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BRANYou were sleeping. I just wantedto give myself a head start. Imnot young anymore.

He hands her a brush and a pail of paint, and points tothe other corner of the porch.

BRANIm not about to do this on myown. Meet you in the middle?

CERIOkay.

She carries the paint across the porch, and starts painting.

SERIES OF SHOTS - PORCH

Bran and Ceri painting the porch:

-- Ceri dips her brush in the paint.

-- Bran stands up to wipe his forehead.

-- Ceri uses long strokes on one of the poles.

-- Bran gets down on his knees to paint between the railings.

EXT. FARMHOUSE - PORCH - LATER

Ceris taking a break, flexing her hands. Theyve made italmost halfway to the middle -- Brans still ahead of her,but only by a little.

Down the gravel road, towards the highway, a PICKUP TRUCKapproaches.

Bran, on his knees, stands up -- gazes towards theapproaching vehicle. He looks concerned.

The truck passes the final turn. Theres a logo paintedon the side of the car.

BRANChrist.

(to Ceri)You should go inside and eatlunch. I need to speak with thesepeople.

CERIOkay?

BRANThey are not good people. They

want the property.


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CERIWhy?

BRANOut with the old, in with the new...

The truck stops in the farmyard. TWO MEN step out --construction worker types.

Bran steps off the porch and goes to meet the men.

INT. KITCHEN - DAY

Ceri looks out the window, to where Bran is speaking withthe two men. It appears to be a civil conversation. TheirVOICES are a LOW MURMUR.

Bran leads the men away from the house, towards the barn.

EXT. FARMHOUSE - PORCH - DAY

Ceri comes out of the house. Bran and the visitors arenowhere to be seen. She walks into the yard. Looks up atthe house.

She circles around the house to the back, into what usedto be the garden.

FARMHOUSE - GARDEN

Ceri crouches on the ground where she saw the stag. The

ground has been disturbed, but its impossible to tell ifthe tracks are from a deer or from something else.

She walks over to the edge of the forest, to where thestag disappeared. A PATH winds its way into the woods.

Ceri looks back, briefly, to the house -- and then shewalks down the path, into the woods.

EXT. THE WILDWOOD - PATH - DAY

Its much darker in here. The gigantic trees tower overCeri, blocking out the sky.

On both sides of the path, the foliage is heavy,impenetrable.

The path itself is narrow. It rises and falls, over rocksand streams, past anthills and fallen trees, twisting leftand right, never straight.

Ceri treads carefully, keeping her eyes to the ground.Branches and roots, slick rocks and tussocks, threaten totrip her at every step.


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FURTHER ON

She passes beneath the trunk of a huge tree thats fallenacross the path.

FURTHER ON

Ceri leaps across a stream with muddy banks.

She checks for tracks. Aside from her own, there are none.

EXT. THE WILDWOOD - CLEARING - DAY

Ceri emerges from the woods into a clearing. The sun isout -- passing between clear patches in the cloudy sky --yet the clearing appears cast in shadow.

The clearing is about a hundred feet in diameter, with aDEEP POOL at the center. A still river, partly obscured

by grass and weeds, cuts across the clearing.

Ceri approaches the pool, walking slowly and deliberately.The ground is wet. Her shoes sink into the earth withevery step -- SQUELCHING -- but not so deep that they getstuck.

She comes close to the waters edge. The pool is a clearblack, still as a mirror, and yet the sky and the sundont reflect in it.

Cautious now, she leans over to look into the water.

Ceris reflection stares back at her from the pool. Itsas though shes watching herself drowning. But her facelooks different...more like--

CERIGwen.

Transfixed, she stares into the water, where herreflection wavers slightly...and then theres a secondimage, right behind her own.

Bran.

The phantom image is gone as soon as it appears, but nowCeri has leaned in too far, and her right foot begins tosink into the mud.

CERIShit!

Ceri pulls back -- at first the foot is stuck, so shepulls harder, and then shes stumbling backwards and shehits a tussock.

She falls. Lands on her butt.


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51.

It takes Ceri a moment to gather her wits. She removes herright shoe. Her sock is still dry. She wipes the shoe onthe grass, puts it back on, and gets up again.

She casts one last glance at the pool, and then shebacktracks to where she thinks she entered the clearing.

The path isnt there.

She looks left and right. The forest curves inwards aroundthe clearing. The line of trees is uniform. She considers,then follows the woods to the right, peering into thedense foliage, until she reaches the river.

She turns around, heads in the opposite direction until,again, she arrives at the river.

Hurriedly, she returns to where she originally thought thepath was. Hesitating only a moment, she pushes her way

through the thick branches and the underbrush...into thedark.

EXT. THE WILDWOOD - DAY

Its darker still in here, where theres no path. The treecanopy is a solid roof, and the underbrush is so heavythat the ground isnt visible.

Ceri battles her way through, pushing aside and breakingbranches. Its heavy going, and she has to stop from timeto time to catch her breath.

FURTHER ON

She stumbles again, but catches herself against the trunkof a tree. Her palms rub against the bark. A broken branchpokes out, barely missing her eye.

She wipes her face with the sleeve of her sweater. Hereyes are red and wet. Shes tired.

Theres a SOUND -- SOMETHING MOVES, behind her, BRANCHESSNAPPING.

Ceri straightens, breath held. Her eyes go wide.

Again: The unmistakable SOUND of SOMETHING MOVING THROUGHTHE WOODS. Something LARGE. Something FAST.

Ceri starts backing away, and then she turns and runs, asfast as she can, through the woods.

SERIES OF SHOTS - THE WILDWOOD

-- Branches SNAP into Ceris face.

-- She crawls up an incline, slipping in the soft earth.


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-- She jumps across a stream, barely making it across.

-- Ceri pushes through thick foliage that grabs at her --and then...

EXT. THE WILDWOOD - PATH - THAT MOMENT

...Ceri stumbles back onto the path. The light is suddenlymuch brighter.

Without pausing, she runs back up the path, back towardsthe farm--

FURTHER ON - THAT MOMENT

--and almost crashes into Daniel, whos heading in theopposite direction. Ceri SHRIEKS, and Daniel jumps.

DANIEL

Jesus!(beat)

Ceri? Jesus -- you scared me!

CERII scared YOU?

(pushes him)What are you doing here? I almosthad a heart-attack! Is this yourM.O., scaring people to death?God. Thats the second time intwo days...

DANIELI came looking... What happenedto you?

CERIShh.

She moves closer to Daniel, grabs his arm.

CERI(whispering)

Listen.

They both stand still for a few moments.

Theres not a sound to be heard anywhere.

DANIELWhat...?

CERIThere was something in the woods,something following me. I swear.Something big.


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DANIEL(intrigued)

Along the path? An animal?

CERINo, in there, in the forest.

DANIELWhat were you doing off the path?

CERIIt disappeared.

DANIELThe animal?

CERIThe path.

(sighs)

God, you have no idea -- I wasso scared. I went all the way tothe clearing, and then I couldntfind my way back.

DANIELYou should always stick to thebeaten path.

CERIIf Ive learned anythingtoday...that would be it, Daniel.

This is the last time I take awalk...oh! The walk. I forgot.

Daniel shows her the bag on his back.

DANIELSupplies. You started without me,so I brought lunch. Unless youjust want to go home?

CERIFive minutes ago, I wouldvekilled to be back at the farm.

But if you promise me that itwont be very exciting at all,and that we wont have to battleany trees, Ill take that walk.

DANIELI promise. Itll be incrediblyboring.

CERIGood. So what do you think cameafter me in there?

They start walking.


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54.

DANIELHonestly? Maybe a badger.

CERIA badger?

(shakes her head)I dont think so. I would haveguessed a bear. A big one.

DANIELMaybe a deer.

CERINot likely. Wolves?

DANIELA beaver.

CERI

Shut up. Im serious, it was huge.Like a moose.

DANIELWere not in Canada, Ceri.

CERIThey migrate? The moose?

DANIELOkay.

DISSOLVE TO:

EXT. HILLTOP - AFTERNOON

Ceri and Daniel are climbing a hilltop to the east of theforest. It rises high above the landscape with a clearview of the Wildwood and the surrounding fields and mounds.

The sky has cleared, though there are still scattered clouds.

They follow a moss-grown stone fence along the edge of themound towards a solitary tree growing at the top of the hill.

Daniel points to the massive oak as they approach.

DANIELSee that oak up there?

CERI(out of breath)

Uh-huh.


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55.

DANIELThe oak is significant in Celtic

mythology. The sacred oak, B le--(he pronounces it"bee-leh")

--was the origin of life. And theword druid?

CERIYeah.

DANIELIt comes from the words "dru",for oak, and "vid", knowledge.Knowledge of oak. Knowledge ofnature -- of the power of nature.

CERISo druids worshipped trees? I

thought they were more into bigstones.

DANIELActually, Stonehenge has littleif anything to do with druids.

And I dont think they worshippedthe oak. It was more of a symbol.Like an altar or a cross.

CERIAnd the druids were like priests?

DANIELYes, but religion and science

were one and the same back then.The druids were more likeintellectuals, keepers ofknowledge. Keepers of the balancebetween man and nature.

CERIAre there any druids left today?

DANIEL

Probably not in the true senseof the word. But some traditionshave been carried on through thecenturies, into modern times.

They reach the tree. The air is clear, and they can seefor miles around.

CERI(breathing heavily)

This was one such spot?(leans against the tree)

This hilltop, this oak? A temple?


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56.

DANIELThere was probably a grove herat some point. So yes. Butprobably not this oak.

He runs his hand along the trees trunk.

DANIELOf course, oak trees can grow tobe more than a thousand years old.So who knows? The old beliefs

were still strong here a thousandyears ago. Christianity couldnt

wipe them out just like--(snaps fingers)

--that.

Ceri sits down with her back to the tree, facing southwest,facing the sun.

CERILike the oak.

DANIELLike the oak. Old and strong.

He sits down next to her.

CERIAnd this story? Bile? The tree.

DANIELB le. The tree of life. A linkbetween this world and theOtherworld -- the spiritual world.Long ago, there was probably agrove of oak trees right here. Acircle where druids performedtheir rituals.

CERIHuman sacrifices?

DANIEL

No, more like... More likeprayers -- chanting, dancing,offerings. We honestly dont knowthat much. Were assuming things.

CERIIts strange to think about whatthis place was like so long ago.Its humbling. So little haschanged, and still...everythinghas changed. The world is verydifferent.


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57.

DANIELAnd yet the old linger...

CERILike the Wildwood.

DANIEL(frowns)

Yeah.(turns to Ceri)

Are you hungry?

CERII thought youd never ask.

Daniel unwraps the sandwiches, hands her one. He pulls outa thermos and pours two plastic cups of tea. Ceri takesone of the cups. They start eating.

CERI(between bites)

Its nice up here.(chews)

You were right.(sips tea)

There are places to go.

DANIELYou just needed a guiding hand.

CERI

Mm. (swallows)So how long are you staying?

DANIELI havent decided yet. Ive onlyscratched the surface. Buttheres only so much I can dohere. There are libraries I needto visit, people I need to talkto. In England, back home.

CERI

Whens your work due?

DANIELWhen its ready. This isimportant to me. Im not rushing it.

They eat in silence for a few moments.

DANIELHow about you?

CERI

What, how long am I staying?


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58.

He finishes the sandwich and empties his cup on the ground.

DANIELYeah.

CERIYou know. When I came here Ithought, two weeks, three tops.I have an open return. I can goback to school whenever -- thatsnot an issue.

She takes another bite of her sandwich, chews.

CERIAnd I have money. You have noidea how well Moms books areselling now that...

DANIELI can imagine.

CERIHer fans are a morbid lot. Theysee the accident as a sign ofsomething, some deeper truth toher stories,

She wraps the remainder of her sandwich.

CERI

Like violent deaths are rare inreal life? But to these nutcasesits...

(beat)Ive seen them pick apart everycar accident in every story shesever written, and somewhere alongthe line she becameprescient...psychic. "She knewhow she was gonna go, dude!".Its sick.

She takes a sip from her cup.

CERIShe just died. It was a horribleaccident. It rained. The road wasslippery.

(shakes her head)There was nothing meaningful,nothing ominous, nothingpreordained about any of it.Death is never that. Death just is.

DANIEL

Maybe.


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CERIBecause you dont want to believethat death is meaningless?

DANIELIt doesnt have to be. Dont youthink theres an argument to be

made for destiny? That someevents are so unlikely, socoincidental, that its highlyunlikely that they arejust...accidents?

CERII dont believe in destiny. Ibelieve in treading our own paths,regardless of the past,regardless of other people. Ibelieve in taking chances and

seizing every opportunity as itarrives...

(leans in on Daniel)...and damn the consequences.

She kisses him. Hes momentarily surprised, but he doesntpull away, and soon the kiss becomes a passionate one.They embrace.

After a long kiss, Ceri pulls away. She touches Danielsface, holds onto his hands.

CERISee what Im saying?

DANIELAnd this is not destiny? The factthat we both ended up here, atthis moment in time, in thisremote spot? Thats just, what,"coincidence".

CERIDont ever read too much intothings, Daniel. It doesnt have

to be fate in order to be good,or real. Besides...

(smiles)...its just a kiss. Dont readtoo much into that either.

She gets up, pulls Daniel with her.

EXT. FARMHOUSE - PORCH - SUNSET

Ceri and Daniel are back at the farmstead. Theyre kissing.Around them, darkness falls. The lights are on in the

farmhouse.


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Ceri eventually pushes Daniel away.

CERIYou have to go. Now.

DANIELWhy?

CERIBecause otherwise I wont be ableto let you go.

DANIELThat sounds okay with me.

CERIIm not sure how Bran would feelabout that, Daniel.

DANIELOkay. You could come with me?

CERII cant. So I could, yes. But Ionly arrived here two days ago.I need to spend more time with Bran.

DANIELBut tomorrow? We could drive intothe village, eat lunch.

CERII can see you tomorrow.

DANIELThats good.

He kisses her again, a quick kiss.

DANIELGood night.

She smiles, pushes him away again.

Daniel gets into his car and drives off.

INT. KITCHEN - NIGHT

Ceri and Bran are eating dinner.

BRANSo you had a good walk, then?

CERIWe did. Sorry we didnt get tofinish the porch.


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61.

BRANWell do it another day. You andDaniel are getting along?

CERIHes sweet. What happened withthe people who came by?

BRANNothing.

(cuts his meat)Well. What always happens. Theyask me to sell the land, I tellthem no, they threaten me -- Itell them to go to hell.

(chews)They leave. And come back again.

(drinks water)And again.

(beat)Some day soon, they wont leave.Theyll take the Wildwood.

CERIHow can they do that? Isnt itprotected?

BRANStrangely, no. Most of it, whatsleft of it, belongs to me. Morepotatoes?

CERINo thanks.

BRAN(forks the last potato)

The last of it -- aside fromwhats left today -- was choppeddown in the early 70s, when thelast of the neighboring farmsfolded. Ive asked the forestrycommission to look at it. Theynever have.

CERIHave you considered just selling?

BRAN(he stops eating)

There hasnt been a day thesepast ten years when I haventthought about it.

(beat)But if I dont fight them,therell soon be nothing left.

(MORE)


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BRAN (CONTD)We will have lost the last of theold forests -- and so much morethan that. We will have lost apart of ourselves.

He mashes his potato in the sauce.

CERISounds like a good cause to fightfor.

BRANEven when its a losing war?

He continues eating.


Ceri is washing the dishes.

She gazes out the window, across the lawn, towards theforest. With the lights on in the kitchen, its difficultto see anything out there.

She wipes a plate, puts it aside -- picks up another. Allthe time she keeps glancing up and out.


Ceris in bed. Shes reading Ellies journal. She pages

forward, scanning the text. A section catches herattention -- she begins to read.

CERI (V.O.)"Mother is getting worse. Shedoesnt sleep very much anymore,and she is always tired..."

As before, Ellies VOICE picks up where Ceris finishes:

YOUNG ELLIE (V.O.)...always tired. They are oftenangry at each other, mother and

father. Sometimes he yells at her.I dont like that.

(beat)The other day I found a newsecret place. Just a little one,big enough for a mouse, maybe,but not for me. I wonder ifMerlin knows about it? He hasntbeen around all day.

(beat)Hes probably hunting.

Ceri pages forward, begins reading again.


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63.

EXT. FARMHOUSE - GARDEN - DAY - 1967

Ellie is standing on the lawn, looking around, CALLING forher cat.

YOUNG ELLIE (V.O.)Merlin has disappeared. He hasbeen away before, sometimes forseveral days, but I know thatsomething terrible has happened.I can feel it.

Dejected, Ellie gives up and goes inside.

INT. KITCHEN - DAY - 1967

Ellies sitting at the kitchen table, reading. Her fatherenters. He ignores her as he goes over to the fridge. Heappears tired and angry.

Ellie looks up at him, but she doesnt say anything.

YOUNG ELLIE (V.O.)Father doesnt talk to me, unlesshes telling me to do somethingor when hes angry at me.Sometimes, when I try to talk tohim, he doesnt say anything atall. I dont think he hears me.


Ellie, in her nightgown, stops writing. She closes thejournal, blows out the light, goes to bed.

YOUNG ELLIE (V.O.)He doesnt even tuck me in.

She pulls the covers up to her chin. She looks scared.


Ceri turns the page over.

YOUNG ELLIE (V.O.)(whispering)

I think something is coming.

Ceri stops reading. Closes the diary.


Its the middle of the night.

Ceri wakes with a start, a SCREAM on her lips. She fumblesfor the light-switch, finds it.

Her face is pale, covered in sweat.


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She hurries over to the window, looks out, down into thegarden.

Theres nothing there.

INT. BATHROOM - NIGHT

The bathtub is filling up. Ceri sits on the edge of thetub, hands cupped to her face.

INT. BATHROOM - LATER

Ceris soaking in hot water. The steam is thick, obscuringeverything. The mirror has fogged up completely.

She rises from the tub, wraps a towel around herself,pulls the plug to drain the water.

Ceri moves to the sink. She starts running the cold water.

The mirror begins to clear up.

Using her hand, Ceri wipes the mirror. She wipes a bigcircle right in the center, to see her face.

As she looks at her reflection, it suddenly appears towaver ever so slightly -- and for a moment her facedoesnt look like her own face:

It looks like Gwens grim and unsmiling face.

Ceris hands go to her mouth, her eyes open wide. She

SCREAMS.

The mirror image SCREAMS back at her, and its just Cerinow -- a very frightened Ceri.

Seconds later, theres a KNOCK on the door.

BRAN (O.S.)Ceri? Whats the matter? Are youokay?

CERIIm fine.

She sits down on the toilet, visibly shaken.

CERIIt was...just a spider. I saw aspider.

BRAN (O.S.)(hesitant)

Are you sure?

CERI

Yes.


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BRAN (O.S.)Okay.

His FOOTSTEPS RECEDE into the bedroom.

CERI(to herself)

Something is coming...

EXT. GRAVEL ROAD - DAY

Daniels Datsun travels down the gravel road towards thehighway. Its another gray day, with the promise of rain.

INT. DANIELS CAR - DAY

Ceri sits in the passenger side seat. Shes quiet. Danielglances at her repeatedly.

DANIELWhats wrong?

CERIBad dreams.

DANIELAbout...?

CERIThe accident.

DANIELYeah.(beat)

Ive been having nightmares too.Last few weeks, I wake at thestrangest hours. Could be the

weather, the changing seasons.

CERICould be.

Theyre approaching the main road.

DANIEL(hesitant)

Are you sure youre okay?

CERIListen...I know youre justtrying to be nice. Im sorry Ima little out of it. I didntsleep well, but Ill be okay.

DANIELOkay. You hungry?


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CERIA little. Yes.

DANIELOkay.

EXT. WELSH COUNTRYSIDE - BUS STOP - DAY

The Datsun passes the stone cairns and turns left, ontothe main road.

EXT. WELSH COUNTRYSIDE - ROAD - FURTHER ON - DAY

Daniels car passes a TRACTOR. The fields here are inbetter condition. There are even some grazing sheep.

EXT. WELSH COUNTRYSIDE - PUB - DAY

The car pulls into the empty parking lot of a roadside pub,

"THE GREEN DRAGON". It lies surrounded by green fields andgroves of trees -- a picturesque and rustic location.

INT. PUB - DAY

Daniel and Ceri enter the pub. Daniel tips his head at thePUBLICAN, a scrawny man in his 50s.

DANIEL(to Ceri)

You want a beer?

CERISure.

He extends two fingers to the publican, who nods back.

They sit down in a booth by the window. Daniel puts hishands out across the table.

After a moment, Ceri takes them. Finally, she smiles.

CERIIts nice to get away from the farm.

DANIELFed up already?

CERIIts a little claustrophobic,living with a lonely old man Ihardly know and the ghosts of two

women. Claustrophobic isnt theright word. Suffocating.

(she turns Danielshands around)

Memories and secrets.


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DANIELWhat does that mean?

CERIIt means that Im making it my

mission in life to avoid secrets.

She pulls her hands back. Turns to look out the window.

DANIELSome secrets are inevitable,arent they?

She looks back at him. Frowning. Considering. Then:

CERIHow about you, Mr Griffins -- anydark secrets in your family?

They stare at each other. A beat.

DANIELDark secrets?

(pauses, thinking)Every family has their secrets.But they dont affect me.Whatever secrets there are remain

moored in the past. They dontinterfere with the present.

CERI

I thought you believed in destiny.

DANIELOkay, but... That doesntnecessarily mean I believe thatthe sins of the fathers arevisited upon their children.

CERIYou dont?

DANIELWouldnt that be a terrible thing

to believe? That we can neverfree ourselves from the shacklesof our heritage? That old secretscan keep us chained?

CERISome secrets are like chains.Whether we notice them or not.Whether we believe in destiny ornot.


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68.

DANIELBut unless they are your ownsecrets, how can they be yourchains?

Ceris about to answer when the publican arrives with twopints of beer and menus.

PUBLICANAll right?

DANIELThanks, Thomas.

The publican walks off. They browse the menus. Danielglances at Ceri over the top of his menu.

DANIELIve eaten lunch here a number

of times. Its good.

CERIMm.

She sips at her beer, grimaces slightly.

DANIELWhat are you in the mood for?

CERIFood.

DANIELCeri...are you sure youre okay?

She lowers the menu. She looks tired, but she smiles at him.

CERIIm sorry. Yes. What do yourecommend?

DANIELThe ploughmans lunch is excellent.

CERIOkay.

DANIELOf course, its just plainfarmers food, nothing fancy.

CERIYeah, because Im incrediblypicky when it comes to food.

DANIEL

I dont know what youre used to.


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CERIIve been eating with mygrandfather for the past threedays. You dont think I can eata, what, a farmhands lunch?

DANIELPloughmans lunch.

CERIOkay. So thats what, steak andeggs?

DANIELCheese, bread, and pickled onions.

CERIDeli food. I can deal with that.

DANIELNo, see, you get a plate with apiece of cheese, a loaf of crusty,dark bread, some butter, pickledonions. Its not a salad or asandwich.

CERIThats it?

DANIELIts traditional.

CERISos haggis. Tradition is nota good reason to try anything.Okay, so I will try it. But Illhold you personally responsibleif its a disaster.

DANIELI warned you...

CERIYou said it was "plain". Plain

is fine. Its "disaster" that Imworried about.

The publican comes over to their table

Documents

In the Dark Places