Sleepy Hollow 1x01 - Come and See

5/25/2018 Sleepy Hollow 1x01 - Come and See

1/63

SLEEPY HOLLOW

"Come and See"

PI LOT

Wr i t t en by

Rober t o Or ci & Al ex Kur t zman & Phi l l i p I scove

Network Revi sed Dr af t 1/ 18/ 13

K/ O Paper Product s

Al l r i ght s r eser ved. Copyri ght 2013 Twent i et h Cent ur y Fox Fi l mCor por at i on. No por t i on of t hi s scr i pt may be per f or med,publ i shed, r epr oduced, sol d, or di st r i but ed by any means or quot edor publ i shed i n any medi um, i ncl udi ng any web si t e, wi t hout pr i orwr i t t en consent of Twent i et h Cent ur y Fox Fi l m Cor por at i on.Di sposal of t hi s scr i pt copy does not al t er any of t her est r i cti ons set f or t h above.


2/63

DARKNESS. Everyt hi ng MUFFLED, l i ke we r e under wat er. MenYELLI NG, HORSES, a THUD THUD. . . of t hunder? A DATE appears:

1776Then a RUSH of SOUND, l i ke an approachi ng ROAR as BA- BOOM! AMORTAR EXPLODES I N THE DAYTI ME SKY - - we r e i n A BATTLEFI ELDTRENCH, br i mmi ng wi t h bl ue coat AMERI CAN SOLDI ERS - - TRACKFAST down t he l i ne of FI RI NG TROOPS, BODI ES DROP ar ound us aswe come t o. . . A MAN. 30 s. For get ever ythi ng you t hi nk youknow about ICHABOD CRANE. Handsome, but har d - - l i ke he sbeen to hel l and back. And maybe he has, but he doesn t knowhi s ki nshi p wi t h hel l i s onl y get t i ng st ar t ed. We can tqui t e t el l t he rank of hi s uni f orm, but he seems i n COMMAND:

CRANERELOAD! FAST AS YOU CAN!

Anot her EXPLOSI ON. A TERRI FI ED NI NETEEN YEAR OLD KI D f al l si n next t o Cr ane. RECOGNI TI ON:

YOUNG CONTI NENTAL SOLDI ER #1Pr of essor ?

Cr ane gl ances over bet ween MUSKET BURSTS, doesn t know hi m - -

YOUNG CONTI NENTAL SOLDI ER #1 ( CONT D)I - - I was your st udent .

ANOTHER SOLDI ER besi de them l ooks up at Cr ane:CONTI NENTAL SOLDI ER #2

You r e a t eacher, Capt ai nCr ane?

CRANE

. . . Was. Thi ngs changed.

Cr ane gr abs hi s r i f l e, r eadyi ng i t :

CRANE( t o al l hi s men)

Now hol d t he l i ne and COVER ME!

And wi t h t hat , CRANE LEAPS OUT OF THE TRENCH and RUNS I NTO

THE MI DDLE OF THE BATTLEFI ELD!

YOUNG CONTI NENTAL SOLDI ER #1What i s he doi ng! ! ?

The ot her sol di er shakes hi s head wi de- eyed - -


3/63

2.

As Cr ane runs f ur t her i nt o harms way, we RI SE UP t o revealwe r e near t he HUDSON RI VER BANKS, up whi ch a wave of REDCOATS i n t he di st ance charge on f oot and hor se, a SECOND WAVEdepl oyi ng f r om t he FLEET OF BRI TI SH SHI PS of f - shor e and. . .TWO ARMI ES COLLI DE.

Cr ane FI RES on t he enemy sol di ers near hi m as he charges.Makes i t cl ear : f or a pr of essor , he s one hel l uva BADASS.

Shot s spent , he dr ops t o hi s knees besi de a f al l en Redcoat .Though he s dead, Cr ane does somet hi ng odd: he grabs t hesol di er s l i mp hand and PULLS BACK HI S SLEEVE, l ooki ng f orsomet hi ng - - a MARK?

Cr ane dr ops t he sol di er s wr i st when he f i nds not hi ng, movest o t he next casual t y. Agai n he checks t he wr i st f or mar ks butf i nds none as bul l et s f l y ar ound hi m. Sensi ng movement i n t heper i pher y, Cr ane l ooks up t o see:

SLOWMOTI ON, A MASSI VE RI DER ON A WHI TE STEED. Looksdi f f erent t han t he enemy sol di ers - - A HESSI AN MERCENARYWEARI NG A REDCOAT, hi s uni f orm ornat e, l oaded wi t h MEDALS ( weFAVOR one: a Li on & Sword i nsi gni a) .

He l ocks eyes wi t h Cr ane, KNOWS Cr ane i s l ooki ng f or hi m. The Hessi an r eaches f or hi s weapon and we SEE A SYMBOL ON HI SHAND! Cr ane st ands, knowi ng he has f ound hi s t arget .

The Hessi an SPURS HI S MASSI VE HORSE FORWARD AND CHARGESTOWARD CRANE, bl ade r eady t o st r i ke - -

- - Cr ane hol ds hi s gr ound, r el oadi ng hi s r i f l e as f ast as hecan as t he Hessi an s st al l i on appr oaches at FULL SPEED,al most on t op of hi m - -

- - And wi t h a second l ef t , CRANE l ocks t he barr el AND FI RES!BULL' S- EYE! The shot t ears t hr ough The Horseman s t orso,HURLS hi m f r om t he saddl e cr ashi ng i nt o t he mud.

Onl y now does Cr ane thi nk t o t ake a br eat h unt i l t he Hessi anr i ses t o hi s f eet i n a f l ash - - A CLEAR HOLE WHERE HI S HEARTSHOULD BE, AND YET HE S STI LL COMI NG AT CRANE - - HOLY SHI T!I MPOSSI BLE! He pi cks up hi s axe and comes down on Cr ane.Hi s axe SLASHES thr ough Cr ane s chest , who dr ops t o hi s

knees, MORTALLY WOUNDED, now get t i ng a good l ook of t heSYMBOL on t he Hessi an s hand. As The Horseman SPI NS hi s axef or t he death bl ow, Cr ane manages i n a l ast sur ge of st r engt ht o gr ab a FALLEN SWORD and SLASH!

WI DE: si l houett ed t hrough t he smoke, The Horseman s headROLLS of f hi s shoul ders. The corpse DROPS t o i t s knees,PI TCHES FORWARD, t oppl i ng i nto t he MUD besi de Cr ane and - -

Young Sol di ers #1 and #2 l ook at each ot her i n hor r or .


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3.

SOLDI ER #2Qui ckl y, get word t o the Gener al !

Sol di er #1 t akes of f i n a dead spr i nt as we r i se i nt o:

A HI GH ANGLE: Looki ng down on t he t wo f al l en bodi es, si de- by-

si de. As we DESCEND, we see BLOOD pool i ng f r omt hem both. . .as t he t wo bl oodl i nes MERGE I NTO A SI NGLE POOL. . .

And we now cut SUPER WI DE, t aki ng i n the enormous bat t l e f r oma hi gher vant age poi nt . . . When suddenl y our VI EWi s r eveal edt o be a myst er i ous POV as i t i s di sr upt ed by t he swi t chi ng ofa GLASS LENS. We are l ooki ng t hrough a TELESCOPE. Someonespyi ng on t he event bel ow. Focusi ng on t he decapi t atedHessi an and f al l en Cr ane.

We r eveal t he FI GURE. HOODED. SI NI STER. And on hi s hand THEVERY SAME MARK SEEN ON THE HORSEMAN. Somet hi ng ot her wor l dl yabout hi m. The f i gur e col l apses the scope and moves out of

f r ame. . .

CLOSE I N ON CRANE S DYI NG EYES, as he l oses consci ousness and- - SLAM TO BLACK:

INT. TENT - NIGHT

THE BLACKNESS SPLI TS r eveal i ng t he i nsi de of a CANDLE LI TTENT as Sol di er #1 i s escor t ed i n by a bat t l e har denedCOLONEL who st ops our young conscr i pt a f ew paces back f r om aCOMMAND DESK. Behi nd i t st ands a MAN, hi s back t o us, bar el yi n t he l i ght . Hi s head t ur ns sl i ght l y t o gi ve a gl i mmer ofan unmi st akabl e SI LHOUETTE - -

GENERAL GEORGE WASHI NGTON. . . but j ust i n case:

SOLDI ER #1Gener al Washi ngt on? Si r . . . I havea r epor t f r om t he f r ont .

HOLD. . . t hen, ETHEREAL LI GHT f l ut t er s i nt o f r ame,r eveal i ng. . . ANGELS. We r e l ooki ng at a CEI LI NG FRESCO i n:

INT. CHURCH - SUNRISECr ane i s l yi ng on a cot somewhere, i n BAD SHAPE. We r e i n aCHURCH f i l l ed wi t h wounded sol di ers, SURGEONS i n bl oodyapr ons scr ambl e about wi t h NURSES, t r i agi ng men. One of t henur ses i s KATRINA CRANE, 30, st unni ngl y beaut i f ul - - shel ooks up, SEES CRANE and RUSHES to hi m - - barel y abl e t obr eat he as she r eal i zes t he t er r i bl e t r ut h: HE S DYI NG.


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4.

KATRI NA- - I chabod, nonono - -

( cal l s out )Doct or ! Pl ease, hel p hi m!

A DOCTOR r ushes over , exami nes t he wound. . . t hen shakes hi s

head gr avel y. Kat r i na br eaks, TEARS f l owi ng. Cr ane f i ght st o anchor hi msel f t o t he wor l d a l i t t l e l onger , as t he doctorr ushes of f t o the next vi ct i m.

She pushes hai r back f r om hi s f ace wi t h t r embl i ng hands:

He manages t o wi pe a TEAR f r omher cheek:

CRANEWe al ways knew Fr eedomwas wor t hdyi ng f or . . .

And t hough i t br eaks her hear t , Kat r i na nods. . .

CRANE ( CONT D) What ever secret you wi shed t o t el lme. . . bet t er t el l me now. . .

ON KATRI NA. Hol di ng ont o somethi ng so bi g t hat her e, now, i tf eel s i mpossi bl e t o say. Looks at hi m, her hear t i n hereyes. Debat i ng some CHOI CE. Fi nal l y, she l eans down andKI SSES hi m, so gent l y. . . t hen WHAM: put s her hand ON HI SWOUND - - he GASPS and agai n, SMASH TO BLACK:

INT. CAVE - DAY

These come i n FLASHES f r omCr ane s POV: I MAGES OVERCRANKED - -candl el i ght - - a HAND di ps i nt o a j ar of WHI TE GREASE PAI NT - -f i ngers draw SYMBOLS on hi s chest - - we r e SUSPENDED above aMUD PI T by a STRETCH OF LI NEN l ashed around wooden post s - -t he wei r d CHANTI NG comes f r omHOODED FI GURES al l ar ound us asour body s LOWERED, di sappeari ng i nto t he THI CK MUD. TheWHI SPERI NG BUI LDS I N VOLUME unt i l i t r eaches a CRESCENDO and:

QUI ET. . . What j ust happened?

INT. CAVE - DAY - SOMETIME LATERPUUUUUH! CRANE S EYES SNAP OPEN AS HE GASPS AI R, FI NDI NGHI MSELF CAKED WI TH MUD. Tear i ng f r ee, he f i nds he s wear i ngl i nen br eech pant s but no shi r t , t or so sl i ck wi t h goo.

We r e i n a VERY DI FFERENT SPACE.


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5.

And hi s wound? HEALED AND SCARRED. He t umbl es out ont o HARDGROUND, knocki ng over J ARS f i l l ed wi t h WEI RD I TEMS pl acedr i t ual i st i cal l y ar ound t he mud gr ave. . . mur ky l i qui ds, a BI RDFETUS. . . Wher e t he hel l i s he? How d he get her e?

He st ammers up - - NO SHOES. We RI SE UP HI GH ABOVE HI M t o

f i nd. . . t he gr ave s i n t he CENTER of a CHALK- DRAWN PENTAGRAM.He squi nt s at LI GHT BEAMS cut t i ng t hrough rot t ed WOOD PLANKSboarded over some ki nd of EXI T ahead. Begi ns weakl y t ost agger up a set of STONES - - makeshi f t STEPS. Put s hi sSHOULDER i nto the pl anks - - SLAMS unt i l t hey GI VE and:

EXT. FOREST - VARIOUS - DAY

CRUNCH: RUSTED NAI LS uproot as t he pl anks PRY OPEN. Cr aneEMERGES to f i nd hi msel f on a smal l FOOTBRI DGE; a f orgot t enl andmar k deep i n t he f or est . He shi el ds hi s eyes - - hasn tseen l i ght f or what f eel s l i ke year s.

JUMPCUT: CRANE S HANDS sweep i nto a RI VER, he dr i nksVORACI OUSLY. The wat er cl ears away some MUD on hi s f ace - -

JUMPCUT: CRANE S BARE FEET wal k over di r t , t wi gs SNAPPI NGunder f oot . And t hen. . . t he t extur e of t he gr ound CHANGES. . .

Hi s f eet STOP. Because i t i sn t f or est f l oor anymor e. . .

I T S ASPHALT. Dumbst r uck, Cr ane l ooks down l i ke he s j ustf ound hi msel f wal ki ng on the moon. AND SUDDENLY SOMETHI NGMASSI VE EXPLODES THROUGH THE FOG:

HOOOOOOOOOOOOOOOOOOOOONK! ! ! AN EI GHTEEN-WHEEL MACK TRUCKRI PS PAST CRANE AS HE LURCHES BACK I N SHOCK! He s st umbl edi nt o t he MI DDLE OF A BLACKTOP HI GHWAY, a ver y MODERN hi ghway- - and t hen SCREEEEECHHOOONK! ANOTHER CAR SWERVES TO AVOI DHI M AND BARRELS OFF THE ROAD, CRASHES THROUGH THE GUARD RAI LAND SLAMS HARD I NTO A TREE!

Then. . . SI LENCE. SMOKE pours f r om t he hood. Cr ane s 18t hcent ur y br ai n t r i es t o pr ocess t hi s i nsane t ur n of event s.Ter r i f i ed, he comes around t he car t o f i nd A WOMAN sl umpedagai nst t he ai r bag, hal f - consci ous. A VOI CE f r om t he GPS:

VOI CEThi s i s OnSt ar Emergency Response,we have your l ocat i on and we r esendi ng hel p - -

And Cr ane i s suddenl y conf r ont ed by t he exi st ence. . . OFONSTAR. He STUMBLES back - - TERRI FI ED - - CONFUSED - - past aROAD SI GN t hat r eads:


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6.

WELCOME TO SLEEPY HOLLOW, POP. 210,060

AND WE SMASHTO:

EXT. SLEEPY HOLLOW TRAIN YARD - DAY

A BREATHLESS, HANDHELD FOOT CHASE: we r e i n a TRAI N YARD as aGUY i n a HOODI E comes t ear i ng around a cor ner , f ol l owed byDETECTIVE ABBIE ARCHER - - ear l y 30 s, smar t , t ough, andbeaut i f ul - - but t her e s somet hi ng she car r i es, a hi st or y shewi shes bel onged t o someone el se. We l l get t o t hat l at er :f or now, she RUNS bet ween t r ai n cars as a POLI CE CRUI SERt ear s i n, SI RENS screami ng - - cut s of f Hoodi e Guy - - hevani shes behi nd a t r ai n - - cl ear s an openi ng when. . . . HE STACKLED BY ABBI E, t hey go down har d. She cl i mbs ont o t heper p s back, di gs her knee i n, HANDCUFFS hi m:

HOODI E GUY

OWWW! GET OFF ME!

ABBI ESorr y, t hat s what happens when youst eal f r om t he Kwi kee-Mart : a womanwi t h a gun si t s on you - -

She sear ches t he guy s pocket s, pul l s out . . . a bot t l e ofSTRAWBERRY YOO- HOO:

ABBI E ( CONT D)Ar e you ki ddi ng me?

And tur ns hi m over r eveal i ng. . . a pi mpl y 17 YEAR OLD KI D:

ABBI E ( CONT D)KYLE?

KYLE. . . hi , Of f i cer Archer . . .

The cr ui ser SKI DS I N and out comes SHERIFF AUGUST GREY, 60 s ,ki nd but t ough. Level s hi s GUN but she si gnal s: its okay.Haul s KYLE t o hi s f eet , SLAMS hi m agai nst a t r ai n car :

KYLE ( CONT D) I m sorr y! My f r i ends dar ed me!

ABBI EYou need t o get some new f r i ends,Kyl e. You used t o be that cut e ki dwho pi cked hi s nose i n chur ch. Howol d r e you now?


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7.

KYLES- sevent een - - My mom s gonna ki l lme - -

Abbi e s eyes dart t o Gr ey and an unspoken under st andi ngpasses between t hem. Thi s moment , t hi s ki d, seems t o have a

r esonance t hat mi r r or s somet hi ng i n t hei r r el at i onshi p:

ABBI EI don t know, Sher i f f , what do yout hi nk? Sevent een, t hef t . . .

GREYHm. Tough cal l . He l l pr obabl y bet r i ed l i ke an adul t - - t hat s stat epr i son.

Despai r i ng, Kyl e st ar t s t o CRY - -

ABBI E. . . Kyl e. Kyl e. Look at me: I know t hi s t own seems smal l , butt r ust me - - you can be whoever youwanna be. Ast r onaut? Cowboy?Pr esi dent ? I m of f er i ng you achance at r ebi r t h. We al l dr eam ofi t - - I know I do. Fact , i n aweek, I m out t a her e t oo. So i nthe spi r i t of f resh star t s . . . I ml et t i ng you go.

( of f Kyl e' s SHOCK)Run, Dummy!

Wi t h a gr at ef ul gr i n, he RUNS OFF. Abbi e l ooks to Gr ey,smi l es:

GREYSur e you r eal l y wanna l eave al lt hi s exci t ement ?

ABBI ETol d you, Quant i co t akes 240 peopl ea year , onl y 20 get pi cked f orPr of i l e Management . I t s t he FBI s

onl y f eeder pr ogr am.GREY

I mnot aski ng i f you re qual i f i ed.

As t hey reach the door, he st ops over t he hood of t he car :

GREY ( CONT D)I m aski ng i f you r e runni ng away.


9/63

8.

She l ooks of f , t he TOWN OF SLEEPY HOLLOWi n t he val l ey bel ow:

ABBI EI mt hi r t y- two years ol d. I f I don t l eave now. . . I never wi l l .

GREYI f you r e hopi ng t o f i nd answer sout t her e you won t f i nd her e. . .Honey, t hat s not gonna happen.Trust me. You l l j ust keep onr unni ng.

Somethi ng CHANGES i n her f ace. Whatever he s ref err i ng t o,i t s her deepest mark, one he knows bet t er t han anyone. Then- - TSSHT: t hey r e i nt er r upt ed by a VOI CE on hi s wal ki e - -

DI SPATCHER VOI CEChar l i e 101 to COM.

GREY( answer s)

Go ahead Char l i e 101.

DI SPATCHER VOI CE Got acal l f rom t he Fox Hi l l St abl es,hor ses are spooked by somethi ng. Pr obabl y coyot es agai n.

GREYAl r i ght . . . we l l be r i ght over.

( as t hey get i n)Thi s i s why I got i nto pol i ce work.

ABBI EMaybe I shoul d dr i ve. You dr i vel i ke you r e pushi ng a damnst r ol l er .

He GRI NS and GUNS t he engi ne, t hey LEAVE FRAME and we BOOMDOWN over t he val l ey peak, I NTO THE TOWN OF SLEEPY HOLLOW:

EXT. TOWN OF SLEEPY HOLLOW - MAIN STREET - DUSK

Bi g enough t o be cal l ed a ci t y, smal l enough t o st i l l becal l ed i nt i mat e. We come t o MAI N STREET, ont o whi ch CRANEappear s, wal ki ng al ong, shi r t l ess and shoel ess. Peopl e seehi m and move asi de. The nor mal f l ow of l i f e her e i sABNORMAL, DI SORI ENTI NG, and FRI GHTENI NG t o hi m - - as he takesi n st r ange si ght s and sounds, hi s or i ent at i on of t he PRESENTi s I NVADED by sporadi c f l ashes of SLEEPY HOLLOW S PAST:


10/63

9.

A group of KI DS exi t a Starbucks on CELL PHONES, hop onskat eboar ds and - - FLASH: the Starbucks suddenly becomes an18TH CENTURY BLACK SMITHS SHOP, four horses tied beside it --

HONK! Back t o PRESENT, Cr ane WHI PS AROUND t o see TRAFFI Ccr ossi ng t he TAPPAN- ZEE BRI DGE, a LI GHTHOUSE i n BG as - -

FLASH: SAME VIEW in the 1700s: the Hudsons alive withSAILING VESSELS but NO BRIDGE YET --

THE SOUND OF ROTOR BLADES draws Cr ane s at t ent i on up t o aNEWS CHOPPER overhead. He st ops, st unned. The sound ofCHURCH BELLS shi f t s hi s f ocus t o somethi ng ELSE ref l ectedbehi nd hi m and we RACK TO. . .

A CHURCH. The si gn out f r ont : GOD WELCOMES ALL.

INT. CHURCH - DUSK

He ent ers. Empt y. Moves down t he ai sl e, sensing somethingabout this place. A beat . . . t hen hi s l ook goes UP: ON THECEI LI NG I S THE SAME ANGEL FRESCO FROM THE WAR. Thi s i s wherehe was br ought dur i ng t r i age!

A VOI CESi r? Can I hel - -

STARTLED, I chabod WHI RLS rat t l esnake- f ast , hand LASHI NG OUTi n sel f - def ense pi nni ng A MAN t o t he wal l by t he thr oat - -I t s a REVEREND: ALFRED KNAPP, 60 s, HEAVY SCOTTI SH ACCENT:

REV. KNAPPThere s - - money - - i n t he t i t hi ngbox - - i t s - - al l t here i s - -

ON CRANE, adr enal i ne pumpi ng, CLARI TY l ands: a r everend scol l ar i s somet hi ng he r ecogni zes. I nst ant l y l et s go - -

CRANEFor - - f or gi ve me, Fat her . . .

But now Knapp l ooks at Cr ane s f ace - - seems t o RECOGNI ZE i t ?

REV. KNAPP

Wai t . . . I can hel p you- -But Cr ane s al r eady OUT t he door . Of f t he st r i cken r ever end:

INT. FOX HILL STABLES - NIGHT

The cr ui ser pul l s up. Abbi e and Gr ey get out , hear t he HORSESbr ayi ng i n t he st abl e barn. Abbi e l ooks t o t he MAI N HOUSE. PI TCH DARK. St r ange. Gr ey f l i cks on hi s FLASHLI GHT:


11/63

10.

GREYGo see i f J i mmy s home.

She nods and t hey SEPARATE: Abbi e to t he house, Gr ey to t hest abl es. WI TH ABBI E, AS SHE APPROACHES THE DARK BACK PORCH.Put s a hand on her pi st ol gr i p and cal l s i n:

ABBI EMr . Ogl evi e? I t s Det ecti veAr cher . . .

Not hi ng. Now she NOTI CES an ol d PI CKUP TRUCK par ked besi det he house, t he dr i ver s si de door has been l ef t WI DE OPEN. . .

INT. STABLE BARN - INTERCUTTING:

Gr ey ent ers t o t he sound of FEAR: horses ar e VI OLENTLYKI CKI NG agai nst t hei r conf i ned spaces. Hangi ng TOOLS above

CLANK and CLACK - - i t s LOUD and SCARY i n here - -

EXT. MAIN HOUSE - PICK-UP TRUCK - CONTINUOUS

Abbi e s FLASHLI GHT sweeps t he empty pi ckup. She st eps backand CLUNK, her f oot hi t s somethi ng METAL: a SHOTGUN l ef tf al l en i n t he mud. Shi t . She dr aws her gun, keys her RADI O:

ABBI E ( I NTO WALKI E) We got a weapon on t he ground - -

INT. STABLE BARN - CONTINUOUS

Gr ey t r i es t o hear t hat over hi s wal ki e, but i t s MUFFLED byt he THRASHI NG HORSES - - keys back:

GREY ( I NTO WALKI E)Abbi e, say agai n, over - -

Her voi ce cut s I N and OUT over t he wal ki e - -

ABBI EI - - weap- - somet hi n- - wr on- -

Suddenl y Gr ey REACTS t o a NOI SE: someone s i nsi de the barn - -t hrough t he SLATTED STALL, Gr ey sees a FI GURE by a WHI TEHORSE - - STEALI NG I T - - WHI SPERS URGENTLY i nto t he wal ki e:

GREY ( I NTO WALKI E)St andby, 484, suspect s i n t hebarn. . . steal i ng a hor se. . .


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EXT. FOX HILL STABLES - CONTINUOUS

Abbi e HEARS that . . . and then, ROCKS to a sudden HALT as herf l ashl i ght beamcatches a TERRI FYI NG SI GHT: t he BODY of t heSTABLE OWNER l i mpl y arched over a bar bed- wi r e f ence. Sheapproaches what shoul d be hi s HEAD, but sees somethi ng THAT

WE DO NOT - - STAMMERS, AGHAST:

ABBI E. . . oh my God. . .

( i nt o wal ki e)Gr ey, I f ound Ogl evi e - -

INT. STABLE BARN - CONTINUOUS

ABBI E ( OVER WALKI E) - - someone cut of f hi s head!

As Gr ey REACTS, so does t he MYSTERI OUS FI GURE t hrough t hesl at s, hear i ng her voi ce ECHO - - Gr ey l evel s hi s weapon:

GREYThi s i s t he sher i f f ! Step out t at he st al l wher e I can see you, now!

As t he MYSTERI OUS FI GURE emerges f r ombehi nd t he wal l , we goCLOSE ON GREY - - seei ng what WE DO NOT SEE, hi s eyes BULGE:

GREY ( CONT D) Jesus God...

MOVI NG ANGLE: AN OVER- THE- SHOULDER SHOT OF THE MYSTERI OUSFI GURE BECOMES AN OVER- THE- NECK SHOT BECAUSE. . . HE S HEADLESS( and f r om now on, t hat s exact l y what we l l cal l hi m) - - butwe DON T see hi m i n f ul l , NOT YET, as Gr ey FI RES at Headl esst o no avai l - - a doubl e si ded AXE spi ns upr i ght I NTO FRAME:

EXT. STABLE BARN - CONTINUOUS

As Abbi e rushes up t o t he bar n doubl e door s - - SHHHHHTI NG!The axe bl ade comes PI ERCI NG THROUGH f r omt he ot her si de,I NCHES FROM HER FACE. As she FLI NCHES back, we HEAR t he

unmi st akabl e sound of a HEAD THUMPI NG t o t he ground i nsi de - -ON ABBI E - - SHOCK - - HORROR - - t he bl ade DI SAPPEARS as i t sYANKED out of t he door , RETRI EVED - - t hen WHAM: t he doors FLYopen as a HUGE WHI TE STALLI ON EXPLODES FROM THE BARN,knocki ng her BACK - - her gun ski ps across t he mud - -

Headl ess st eer s t he hor se back ar ound, AXE st i l l i n hand.St ops and st ares down at her . . . and f r omABBI E S POV, WEBEHOLD HEADLESS FOR THE FI RST TI ME I N FULL, TERRI FYI NG GLORY.


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12.

Same mi l i t ary uni f ormhe wore i n 1776, now decrepi t andt att ered. Li ke he was bur i ed i n i t . That LI ON/ SWORD MEDALpr omi nent on hi s chest . He assesses i f Abbi e s a t hr eat ,qui ckl y det ermi nes not , SPI NS the axe and SHEATHES i t i n aback scabbar d, and gal l ops i nt o t he mi st . Gone.

MI ND I MPLODI NG, Abbi e r aces t o GREY S BODY. Dr ops t o herknees, br eaki ng down, snappi ng out her wal ki e:

ABBI EOFFI CER DOWN. . . OH GOD. . . OFFI CERDOWN. . . FOX HI LL STABLES. . .

INT. OFFICER DUNNS POLICE CRUISER - NIGHT

OFFICER ANDY DUNN, l i keabl e, 30 s, i s hear i ng t hi s over hi sr adi o i n SHOCK - - i nst ant l y hi t s t he SI REN and pul l s aSCREECHI NG U- TURN i n t he mi ddl e of mai n st r eet - -

ANGLE, THROUGH WI NDSHI ELD: as t he cr ui ser swerves around,CRANE I S SUDDENLY REVEALED I N THE HEADLI GHTS! Looki ng ever ybi t a suspect as he emerges f r oman ALLEY - - Dunn SLAMS t hebrakes as Cr ane st art s t o BACK AWAY, pani cked - - Dunn l eapsf r om t he car , gun up:

DUNNPOLI CE! GET DOWN ON YOUR KNEES,I NTERLACE YOUR FI NGERS AND PUT EMON TOP OF YOUR HEAD!

Cr ane s smar t enough t o know he has NO CHOI CE. So he does,as Dunn PUSHES hi m t o t he cement , ROUGHLY CUFFS HI M - -

INT. SLEEPY HOLLOW POLICE PRECINCT - NIGHT

St i l l ness. A gl ass of wat er on a desk. . . and t hen ABBI E STREMBLI NG HAND pi cks i t up, she gul ps i t . Onl y begi nni ng t oknow t he gr i ef she l l come t o f eel . She s seat ed, sur r oundedby f el l ow COPS. Across f r omher i s Dunn wi t h a ki nd smi l e:

DUNNAbbi e. . . I need you t o t r y and

f ocus. J ust f or a mi nut e, t henwe l l get you home. You saw t heman who ki l l ed Gr ey and Ogl evi e?

She bl i nks, wi shi ng her t r aumat i zed mi nd wer e pl ayi ng t r i cks.

DUNN ( CONT D) We mi ght ve caught hi m. Pi cked hi mup f l eei ng on f oot a mi l e f r om t hef ar m. He s i n t he ot her r oom.

( MORE)


14/63

13.

DUNN ( CONT D) We need t o know i f i t s t he guy,can you do t hat?

Of f Abbi e, wi de- eyed - -

INT. HOLDING CELLS - NIGHT

KA- CLI NK: a door opens and CRANE, i n a cel l , l ooks up at ust hr ough bars. Abbi e and t he cops ent er an out er area.ANTI CI PATI ON. She meet s eyes wi t h Cr ane. A STRANGER. Beat :

ABBI EI t i sn t hi m.

Voi ce EMOTI ONAL. Har d f or t hem t o t el l i f she s l osi ng i t . . .

DUNNYou r e sure. Take a cl oser l ook. . .

ABBI EAndy. I m sur e.

DUNNWhat d he l ook l i ke?Can youdescr i be hi s f ace? We l l get asket ch ar t i st.

Uh. . . Abbi e j ust l ooks at al l t he cops l ooki ng at her :

ABBI EI di dn t r eal l y. . . get a good l ook.

DUNNThen how d you know t hi s i sn t hi m?

What s she gonna say: a headless horseman killed Grey? Andf or r easons we l l under st and, she doesn t want t o bel i eve i t .

ABBI E. . . I j ust know. The man I saw waswear i ng some ki nd of . . . ol dmi l i t ar y uni f or m. Al l red. Ther ewere medal s - -

DUNN- - Medal s? What ki nd?

ABBI EMi l i t ar y. Cr osses and. . . al i on wi t h a swor d. . .

CRANE( i nt er r upt i ng)

- - Di d he car r y a br oad- axe?

Hi s voi ce SNAPS t hem around. What ? Abbi e and Cr ane LOCKEYES. She moves cl oser t o hi m behi nd t he bar s, f aces CLOSE:


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14.

ABBI EHow di d you know t hat?

Cr ane s mi nd tumbl es, t r yi ng to make SENSE of t hi s. . .

CRANE

I t . . . can t be. . .

ABBI EWhat can t be? You know who he i s?

CRANE( a beat , t hen)

The medal you descr i bed i s t heHouse- or der of t he Gol den Li on. A Hessi an badge of honor awardedf or mul t i pl e ki l l s. But . . .

ABBI E

Hey: who i s he? Wher e s he f r om?When s t he l ast t i me you saw hi m?

He l ooks up at her . LONG beat . And f i nal l y. . .

CRANEWhen I cut of f hi s head.

ON ABBI E. Hol y. Shi t . They l ook at each ot her , BOTH t r yi ngt o under st and t he i nsani t y of what s happeni ng. . .

ABBI EWho ar e you?

AND WE SMASH TO:

CREDI TS - - J ohnny Cash s THE MAN COMES AROUND

CASH( spoken)

And I hear d, as i t wer e, t he noi seof t hunder . One of t he f our beast ssayi ng come and see. And I saw.And behol d. . . a whi t e hor se.

( musi c up; si ngi ng)

Theres a man goin round takinnames, and he decides who to freeand who to blame. Everybody wontbe treated all the same. Therellbe a golden ladder reaching down.When the man comes around...

END ACT ONE


16/63

15.

ACT TWO

INT. HOLLOW PRECINCT - PROCESSING AREA - MORNING

FLASH! CLOSE ON CRANE as a PHOTO i s t aken of hi m: he bl i nks,

di sor i ent ed. He s never seen a CAMERA. He s FI NGERPRI NTED,handed NEW CLOTHES. Looks at t he st r ange t hreads.

INT. PRECINCT - GREYS OFFICE - DAWN

Abbi e ent er s, hasn t sl ept , her head SWI MMI NG LI KE MAD. Si t sat Gr ey s DESK, seei ng FRAMED PHOTOS. One of Gr ey and Abbi e;she s younger , a new cadet . Abbi e st ar es, f i ght s ever ythi ngt o j ust keep i t t oget her . . . a KNOCK and she l ooks up, wi pesher eyes: DUNN i n t he door way, compassi onate:

DUNN

I know what he meant t o you. Toal l of us, but . . . especi al l y you.

She st ar es, t or n. Want s t o t el l hi m t he t r ut h. Qui et l y. . .

ABBI EI n hi gh school , when. . . ever yt hi nghappened. Wi t h me and my si st er .You were t he onl y one who bel i evedme.

DUNN( beat , conf used by t he non-sequi t ur )

I st i l l do. Why r e you t hi nki ngabout t hat now?

ABBI EWhat i f . . . I am crazy?

DUNN. . . Hey: you r e not . And you r enot your si st er . You woul dn t vemade i t al l t he way t o The Academyi f you wer e.

She nods a l i t t l e, so l ost . He moves CLOSER. . . and maybe wesense hi s f eel i ngs f or her r un deeper t han f r i endshi p:

DUNN ( CONT D) Look, I m not t el l i ng you t o i gnor eal l t hi s. How coul d you? I m j ustsayi ng, as a f r i end who knows wher eyou came f r om. . . you can t l et i tst op you f r omwhere you r e headed.


17/63

16.

ON ABBI E. Suddenl y her dr i ve t o l eave f eel s a l ot l ess sur e:

CRANE ( V. O. , PRELAP)I ve done nothi ng wr ong - -

INT. INTERROGATION ROOM - MORNING

Cr ane si t s i n hi s new cl ot hes, CUFFED t o t he tabl e, pi ssed, aman used t o f i ght i ng aut hor i t y - - as OFFI CER TEDDY PRI CE,30 s, preps a compl et el y al i en LAPTOP POLYGRAPH MACHI NE:

CRANEI need t o get word t o my wi f e - -

PRI CEFi r st I need to ask you somequest i ons. Thi s i s a pol ygr aphmachi ne. I t knows i f you r e l yi ng

or t el l i ng t he t rut h.

CRANEThe machi ne knows?What t he hel l ki ndof pl ace i s t hi s? Ar e you an el ect edmagi st r at e? I s t hi s anAdmi r al t y Cour t ? By what r i ght areyou hol di ng me agai nst my wi l l ?And what i s t hat ?

He s l ooki ng at t he CCTV CAMERA i n the cei l i ng cor ner , of fwhi ch weMATCH TO THE BULLPEN OUTSIDE: Of f i cer s wat ch t heCCTV moni t or s, i ncl udi ng ABBI E, l aser - l ocked on hi s ever yt wi t ch, t r yi ng t o read hi m:

PRI CEWe r e hol di ng you by aut hori t y oft he New Yor k St at e Di st r i ctAt t orney on account of you bei ng amur der suspect i n the death ofSher i f f August Gr ey - -

CRANEI had not hi ng t o do wi t h t hat man sdeat h, wer en t you l i st eni ng? My

head s st i l l i ntact , the ki l l ershoul dn t be di f f i cul t t o spot - -

PRI CESi r , I can t f or ce you t o t ake t het est , you have a r i ght t o decl i ne.But i f you pass, you have a bet t erchance of wal ki ng out t a her e.

Cr ane st ares. Wei ghs opt i ons, of whi ch he has none. PRELAP:


18/63

17.

MAN S VOI CEI m Li eut enant Lui s Mendez,West chest er Sher i f f s depar t ment . . .

And we begi n CROSS- CUTTI NG back and f or t h i n t i me ( so don tbe conf used when we see Abbi e i n t wo l ocat i ons at once) :

INT. HOLLOW PRECINCT - THE PEN - MORNING - INTERCUTTING:

Of f i cer s i n r ows, Abbi e i ncl uded; at a podi um, LT. LUISMENDEZ, as ser i ous as hi s r eason f or bei ng her e:

MENDEZ. . . I ve been t r ansf er r ed her e t ocoor di nat e t he i nvest i gat i on i nt ol ast ni ght s doubl e homi ci de. Iknow you al l worked wi t h Sher i f fGr ey. . . my condol ences. Gi ven t he

br ut al and unusual nat ur e of t hi scr i me, t he pr ess won t be abl e tor esi st t al ki ng about cul t s anddevi l wor shi pper s. I don t wantany of you engagi ng i n that ki nd ofspecul at i on. I won t t ol er at e anynut t y conspi r acy t heor i es. . .

CRANE ( V. O. , PRELAP)My name i s I chabod Cr ane. . .

BACK TO CRANE, wi r es st r apped t o hi s arms, mi d- pol ygr aph:

CRANE ( CONT D)I was a pr of essor of hi st or y; now I ser ve i n t he Pat r i ot Mi l i t i a wi t h ar ank of Capt ai n under t he commandof General Washi ngt on.

PRI CE( i ncredul ous)

General . . . George Washi ngt on.

CRANE( br i ght ens a l i t t l e)

Do you know hi m?PRI CE

( uhuh) You bel i eve you r e a sol di er i n t heRevol ut i onar y War . . .


19/63

18.

I NT. I NTERROGATI ON ROOM/ BULLPEN

Of f i cer s shake t hei r heads at Cr ane s out l andi sh cl ai ms. . .

CRANEWhat s your magi cal machi ne tel l i ng

you?

Pr i ce checks t he l apt op: NO SPI KE. Thi s i s wei r d.

PRI CEWher e exact l y do you thi nk you arenow?

CRANEDr eami ng? I n hel l ? I ve seen noRedcoat s, no di spat ches. . . have theBr i t i sh ret r eat ed?

PRI CE ( checks: nospi ke)

Tel l me about t hi s. . . Horseman.

BACK TO MENDEZ IN THE PEN:

MENDEZAl t hough we have a suspect i ncust ody, we r e not t aki ng chances:i f t hat bastard s st i l l out t here,we l l use ever y resour ce we have tostop hi m bef ore he ki l l s agai n. . .

BACK TO CRANE:

PRI CEAnd you f r eel y admi t t o cut t i ng of fhi s head, yes or no?

CRANEI don t know what et i quet t e of waryou subscr i be to, but when you r eat t acked by a si x f oot Hessi anwhose sol e ai m i s t o cl eave you i nt wo. . . I consi der my response

appr opr i at e.PRI CE

( j ot s a not e, dr y)Then what happened?

CRANEI was br ought t o a chur ch. I wasdyi ng. . . or so I t hought . That sal l I know. . .

( MORE)


20/63

19.

CRANE ( CONT' D) now I want t o see my wi f e. She s aci vi l i an nur se i n t he 37t hRegi ment , I need t o f i nd her .

ON ABBI E. React i ng. Hi s l ongi ng, al ong wi t h ever ythi ng el sehe s sayi ng, seems pai nf ul l y r eal . Pr i ce pl acat es:

PRI CE( pat r oni zi ng)

I under st and. How d you end uphere?

CRANEI coul d answer i f I knew wher e thehel l her e i s. Now I havequest i ons, sever al t housandquest i ons, but I l l spar e you t hei ndi gni t y of st r appi ng you t o thi sdamn machi ne! WHERE AM I ?!

Pr i ce st ar es. At Cr ane, at t he spi ke, whi ch hasn t moved.

PRI CEThe quest i on i sn t wher e. . . i t swhen. Good news i s, you won t hewar . Bad news i s. . . t hat wasal most t wo hundr ed and f i f t y yearsago.

ON CRANE. Fal l i ng down t he r abbi t hol e, t r yi ng t o accept t heI MPOSSI BLE. Pr i ce pul l s out . . . A DOLLAR BI LL. Sl i des i tacross t he tabl e to Cr ane, who pi cks i t up, seei ng GEORGEWASHI NGTON S FACE t her e. Di sbel i ef . Words t hat DON TCOMPUTE: THE UNITED STATES OF AMERICA. Looks up at Pr i ce,who star es back skept i cal l y:

PRI CE ( CONT D) Wel come to t he 21st cent ur y, Mr .Cr ane.

EXT. INTERROGATION ROOM/ BULLPEN - MORNING

Pr i ce exi t s to a wai t i ng Mendez. Abbi e on t he per i pher y,

l ooki ng f or her moment t o i nt er vene:PRI CE

Not one spi ke. He s ei t herdel usi onal or has some ki nd ofamnesi a - - coul d be set t i ng t het abl e f or an i nsani t y def ense.


21/63

20.

MENDEZHol d hi m f or 72 hour s at t he psychuni t , I want a f ul l e- val .

I n a RUSH, Mendez begi ns t o wal k away, Abbi e qui ckl y FOLLOWShi m down t he cor r i dor - -

ABBI ESi r? Si r ? I mAbbi e Archer, I was Sher i f f Gr ey s par t ner .

He r egi st er s t hat , but cont i nues on i nt o THE BULLPEN:

MENDEZYes, I m very sor r y f or your l oss.

ABBI EThank you, Si r , but i f I coul d ask: bef ore we send t hat man t o t he

psych uni t , may I have a chance toi nt er r ogat e hi m mysel f ?

MENDEZAbsol ut el y not - -

ABBI ESi r , pr el i mf or ensi cs f ound not r ace evi dence connect i ng hi m t ot he f arm, and he descr i bed t heappear ance of t he man I saw i nper f ect det ai l . He coul d behel pf ul .

MENDEZ- - or he coul d be t he ki l l er , webot h know t he pol ygr aph s t r i ckabl eand he j ust admi t t ed to beheadi ngsomeone. He needs prof essi onalat t ent i on, whi ch you r e notqual i f i ed t o gi ve af t er t he t r aumayou ve j ust suf f er ed, f or whi ch, asI sai d, I am ver y sor r y. But t heanswer s no. Go home and get somesl eep.

He moves on. I nst ant l y she cal cul at es opt i ons - - smart ashel l - - shi f t s gear s i nt o appeasi ng and pur sues t actf ul l y:

ABBI EMay I at l east be the one tot r anspor t hi m, Si r ? Myquest i ons l l be l i mi t ed t o t he 20mi nut es i t t akes t o get t her e.What can t hat hur t ?

( MORE)


22/63

21.

ABBI E ( CONT' D)( t hen, t he ki cker )

I f not hi ng el se, maybe i t l l hel pgi ve me some cl osur e. . . pl ease.

He pauses, l ooks at her , debat i ng - - an AI DE appr oaches:

AI DESi r , t he Command Cent er s r eady - -

MENDEZ( nods; t hen, t o Abbi e)

You wanna be t hi s guy s chauf f eur ?Be my guest .

And of f he GOES, as we PUSH I N ON ABBI E, wi t h anot her agendai n mi nd - - br i dl i ng l i ke a hor se at t he st ar t i ng gat e - -

INT. INTERROGATION ROOM - MORNING

Cr ane si t s, pr ocessi ng hi s new r eal i t y. As Abbi e ent er s:

ABBI EMr . Cr ane, I m Det ect i ve Abbi eAr cher .

He st ar es, t r i es t o l i f t hi s cuf f ed hands, conf r ont at i onal :

CRANEHow do I r emove t hese damnmanacl es?

ABBI EWel l , you coul d br eak your t humband t r y pul l i ng your hand t hr ough,but t her e s about 25 cops out t her ewho d shoot you.

The l ook bet ween t hem HOLDS. He adds i t up:

CRANEYou want my hel p. Whi ch suggest syou have no opt i ons.

ABBI EI m not gonna say I bel i eve you. . .but I m t he cl osest t hi ng t o i tyou r e gonna come across.

He j ust st ar es at her . I nt o her :

CRANEI can t say I bel i eve you ei t her , Ms. Ar cher.


23/63

22.

ABBI EDet ect i ve. I haven t t ol d youanyt hi ng.

CRANEYou ve t ol d me ever yt hi ng.

Ever yt hi ng you ar en t t el l i ng yourcol l eagues.

Abbi e s eyes f l i ck anxi ousl y t o t he CCTV CAMERA. IN THE PENwe f i nd DUNN wat chi ng, concerned: what s t hat mean?

ABBI E( t o Cr ane, chal l engi ng)

And what exact l y woul d that be?

CRANEWhat you al r eady know: t he ki l l erwas a headl ess hor seman.

ABBI EThat . I sn t . Possi bl e.

CRANEOh, r eal l y? That s wonder f ul news.Thank you f or t he cl ar i f i cat i on - -and her e I t hought I d act ual l yawoken i n t he f ut ur e! That my wi f ehasn t been dead near l y t wo hundr edand f i f t y year s. I m gl ad t o knowever yt hi ng I m hear i ng, seei ng, andt ouchi ng i s i mpossi bl e. . . becauset hat woul d mean i t s not act ual l yhappeni ng. So am I f r ee t o l eave?

ABBI ENo: I have order s t o take you t o ament al i nsti t ut i on.

CRANE( a beat , f uck)

Excel l ent . Thi s day cont i nues t obear gi f t s. Wi l l we be shar i ng acel l . . . Det ect i ve?

ABBI EAl r i ght , up, t i me t o go - -

But t ons pushed she undoes hi s cuf f s f r omt he STEEL LOOP ont he t abl e, f r eei ng one of hi s hands - -

ABBI E ( CONT D)Hands behi nd your back.


24/63

23.

She tur ns hi m ar ound, CI NCHES hi s wr i st s back t oget her , as:

CRANEI t can t be mer e coi nci dence TheHessi an and I ar r i ved i n thi s pl aceat t he same t i me - - you r e cl ear l y

t oo br i ght t o bel i eve ot her wi se.

But she PUSHES hi m out t he door - -

EXT. ABOVE THE FORESTS OF SLEEPY HOLLOW - DAY

SOARI NG over t he maj est i c Hudson, we f i nd a POLI CE CRUI SER:

EXT. HIGHWAY/ INT. POLICE CRUISER - DAY

Abbi e dr i ves; Cr ane s mi nd races, pr ocessi ng hi s f i r st car

r i de: POLI CE CHATTER on t he radi o, GPS, scener y raci ng by.Hands cuf f ed, he keeps t oggl i ng t he door l ock but t on. Up.Down. Abbi e gl ances over , mi l dl y i r r i t at ed but most l yf asci nat ed by t he consi st ency of hi s act . Now he t r i es t hewi ndow. Up. Down. Fi nal l y, she hi t s t he CHI LD LOCK.Thwar t ed, he l ooks over . TENSI ON bet ween t hem. . .

ABBI ESo you were asl eep f or about 250year s. Ci vi l War di dn t wake you?Noi sy nei ghbors t o the sout h?

( he j ust st ar es) You get up t o pee? I don t knowabout you, but I m get t i n up t opee ever y 75, 80 year s, t hat s j ustme.

CRANE( beat , deadpan)

Ar e you done? Or does i t notconcer n you t hat most of what yousay i s uni nt el l i gi bl e gi bber i sh t ome? Li ke wat chi ng a chi cken cl uck.And when di d women st ar t wear i ngpant s?

ABBI EHey, i t s a f r ee count r y thanks t oyou - - women wear pants, men weardr esses, i t s a whol e new day i nAmer i ca, so l i ve i t up.

( beat ; of f hi s star e)You r e j ust . . . not gonna breakchar act er , huh?


25/63

24.

He t ur ns away. Col d shoul der . She si ghs:

ABBI E ( CONT D) Okay. Let s say I di d bel i eve you.You sai d you woke up i n a cave?Show me.

He t ur ns back. Eyes narr ow. An OPENI NG her e. . .

EXT. HIGHWAY ROAD/ INT. ABBIES CRUISER - DAY

THE WELCOME TO SLEEPY HOLLOW SI GN. Abbi e s cr ui ser pul l sup. Besi de t he si gn i s a SMALL DI RT ROAD l eadi ng deeper i nt ot he f orest . He NODS: there. As she t ur ns of f t he mai n r oad,Cr ane senses t hi s was, i n f act , her pl an al l al ong:

CRANEYou r e vi ol at i ng order s.

ABBI EThe conveni ent par t f or me i s i fyou t el l anyone, no one l l bel i eveyou.

He l ooks ahead, sort of SMI RKS. Sor t of . She dr i ves on:

EXT. FOREST - CONTINUOUS

They get out . Eer i e woods. She pul l s out her KEYS - -

ABBI EGi mme your hands.

He does. As she unl ocks hi s wr i st s, hi s eyes go t o her gun:

CRANEI t ake i t t he weapon on your bel t i s a di st ant cousi n t o t her evol ver . And i f I wer e t o at t emptescape, you d f i r e on me.

ABBI E

Wow, you l ear n qui ck. Whi ch way?He l ooks ar ound - - or i ent s - - poi nt s t owar d t he br i dge.Abbi e opens the t r unk, f i l l ed wi t h POLI CE GEAR. Gr abs acamer a, pul l s out her i Phone, hi t s t al k, st ar t s wal ki ng:

ABBI E ( CONT D)Si r i , open di ctati on app.


26/63

25.

SI RI ( V. O. ) Okay, Abbi e, what woul d you l i ke tocal l the f i l e?

ABBI ECase number 2013- 1.

Of f Cr ane s l ook:

ABBI E ( CONT D) I t s a phone. You can t al k t opeopl e, even i f t hey r e f ar away.

CRANEAnd. . . wher e i s Si r i ?

ABBI ENo, no, i t s not a r eal per son - -

CRANEThat s what t hey say about sl aves - -

ABBI ENot anymore, sl aver y was abol i sheda hundr ed and f i f t y year s ago.

CRANE ( r eact s, aSMI LE)

I m pl eased t o hear i t .

She moves on. Conf used as hel l , he f ol l ows:

EXT. FOOTBRIDGE / CAVE ENTRANCE - DAY

BOOTS step acr oss r i cket y pl anks i nt o:

INT. CAVE - MOMENTS LATER

THUD! Abbi e s boot s DROP DOWN i nto t he cave. Her MAG- LI GHTsweeps t he wal l s, she hands another t o Crane:

ABBI E

Fol l ow my f oot st eps so our shoepr i nt s don t cont ami nat e t he scene.

- - he f ol l ows as t hei r beams move acr oss STRANGE WALL SYMBOLSFLASH! She SNAPS a pi ct ure, i t DI SORI ENTS Cr ane. Abbi eDI CTATES, appr oaches t he MUD PI T he woke f r om, t he j ars:


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26.

ABBI E ( CONT D)Ent er i ng f r omt he nor t h end,t her e s a chal ked whi t e ci r cl e wi t ha pent agr am- - some ki nd of pi tf i l l ed wi t h cl ay. . . suggest s someki nda r i t ual . . . Mendez i s not gonna

want t o hear t hi s. . .

She moves t o t he WALL where somethi ng cat ches her eye:

A STONE PANEL covered by a l ayer of COBWEBS. She cl ears t hewebs t o see the panel i s act ual l y composed of a r at herbeaut i f ul mosai c of RECTANGULAR STONE TI LES of var i ous s i zesand or i ent at i ons.

Cr ane tur ns hi s l i ght on Abbi e, sees what she s seei ng - - Af l ash of r ecogni t i on crosses Cr ane s f ace - - HE ALMOSTSMI LES. That i s unt i l Abbi e r eaches out t o t ouch t he panel - -

CRANEDet ect i ve, NO! !

But i t i s t oo l at e as Abbi e al r eady has her f i nger on a t i l ewhi ch sl i des a bi t under her t ouch, ACTI VATI NG A MECHANI SMBEHI ND THE WALL - -

- - Cr ane bol t s t owar d Abbi e, pul l i ng her back as, f r omabove,a MASSI VE STONE PENDULUM SWI VELS t hr ough f r ame, SMASHI NGAGAI NST THE SI DE WALL where Abbi e st ood onl y a moment ago - -

- - Cr ane and Abbi e l and on t he f l oor i n a heap, Abbi e f al l i ngpr act i cal l y i n Cr ane s l ap. They wat ch i n awe as thependul umbegi ns t o ret r act mechani cal l y, back i nt o i t s l et halhi di ng pl ace.

Cr ane hel ps Abbi e back to her f eet .

ABBI EHow di d you know t hat was goi ng t ohappen?

CRANEI di dn t , exact l y.

ABBI EThen how di d you - -

Cr ane appr oaches t he panel :

CRANE- - Bet t er t han t el l i ng you,why don t I show you?


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27.

CRANE ( CONT D) I t s a Fr eemason l ock. . . But youhave to move the t i l es i n t he ri ghtor der t o r el ease t he key. Li ke apuzzl e.

ABBI EFreemasons - - you mean l i ke secretsoci et i es and ani mal sacri f i ces?

Cr ane moves t he t i l es, sl i di ng t hem across hi dden t r acksbehi nd the st one, cl ear i ng the way f or a SI NGLE TI LE SHAPEDDI FFERENTLY THAN THE REST t o f al l i nt o Cr ane s hand. He t henpushes t he i r r egul ar l y shaped t i l e i nt o a KEYHOLE.

Hear LOUD SOUNDS of mechani sms t urni ng and movi ng behi nd t hewal l as a sect i on of t he f l oor DROPS DOWN MECHANI CALLYr eveal i ng a HI DDEN STAI RWAY!

INT. SECRET MASON LIBRARY - CONTINUOUS

The r oomi s a Ter r y Gi l l i amdreamscape, r i nged by SPI RALSTEPS. As Abbi e and Cr ane move t hrough, i n AWE, we see the wal l s are not so much wal l s, but r ather STONE SHELVESpacked wi t h dust y BOOKS, LEDGERS, SCROLLS, MAPS of al l sor t s.

She moves cl oser t o the shel ves, seei ng each sect i on sorgani zed by YEAR. . . He begi ns scanni ng books. She t r acest he many bookcases back t o t he VERY FI RST SECTI ON, dated 33B. C. Overwhel med:

ABBI ESome of t hese go al l t he way backbef or e Chr i st , t her e s got t a be ahundr ed t housand books her e. . .

( beat ) My God. . . what i s t hi s pl ace?

CRANEI t s a Freemason ar chi ve.

ABBI E( i ncredul ous)

How do you know t hat ? How di d youknow how t o open t hat l ock?

CRANEBecause I was one of t hem. Idi dn t t el l your l i e machi neever yt hi ng.

Cr ane moves as he scans t he t i t l es on the shel ves.


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CRANE ( CONT D) The Fr eemasons st ar t ed as a gui l dof cr af t smen - - masons. Bui l der sand engi neer s. But i t gr ew i nt osomethi ng much bi gger dur i ng t hewar - - a soci et y of l ear ned men who

want ed t o accumul ate al l t heknowl edge of t he wor l d. I ncl udi ngt he f or bi dden secret s: t he bl ackart s, wi t chcraf t , the occul t . . . al li n ser vi ce of pr ot ect i ng t he wor l d.

ABBI ECl earl y not i mport ant enough toshar e wi t h t he wor l d. Al l t hi s hasbeen kept secret .

CRANEYes. Because knowl edge i s a

powerf ul t hi ng and can be mi susedi n t he wr ong hands. The Masonssecret s wer e wort h pr otect i ng, evenf r om t hei r own. Not unt i l achi evi ngt he hi ghest l evel s of t heor gani zat i on, coul d you l ear n al lt her e i s t o know.

ABBI EAnd how f ar di d you get?

CRANENot f ar enough, I m af rai d.General Washi ngt on i nduct ed me i nj ust bef ore t he war st ar t ed. Butsome of hi s most t r ust ed men hadbeen l i f el ong Masons - - men you vepr obabl y never hear d of . Benj ami nFr ankl i n, Paul Rever e, J ohnHancock, Samuel Adams.

ABBI E( sar casti c)

Those names r i ng a bel l .

CRANEThe General gave me speci f i cor der s: t o hunt f or a man wi t h asymbol on hi s hand. The same manwe are hunt i ng now. I di dn t knowwhy.

ABBI EWhat sor t of symbol ?


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29.

And now Cr ane STOPS, f i ndi ng what he was l ooki ng f or on aspi ne of one of t he books: THE SYMBOL OF THE HORSEMAN.

CRANE( pul l i ng t he book)

Here. . . Thi s i s i t .

He DROPS i t on a dust y t abl e. Abbi e l ooks up at hi m, WI DE-EYED.

ABBI EThi s i s cr azy.

AND WE UPCUT TO A MATCH I GNI TI NG AN OLD OI L LAMP. The booki s OPENED. Cr ane READS, Abbi e besi de hi m, t he wordsaccompani ed by HAND- DRAWN I LLUSTRATI ONS:

CRANE I watched as the Lamb opened the

first of the seven seals. Then Iheard one of the four livingcreatures say in a voice likethunder, "Come and see!"

Thi s makes Abbi e bl i nk f or r easons we l l f i nd out shor t l y.

CRANE ( CONT D)(st i l l readi ng)

I looked, and there before me wasa white horse! Its rider held abow, and he was given a crown, andhe rode out as a conqueror bent on

conquest.

ABBI EThat s Revel at i ons, ' i sn t i t .The Bi bl e.

CRANE. . . Bef ore I cut of f hi s head. . . Ishot hi m. A shot t hat woul d veki l l ed any man. But he got r i ghtback up. As t hough nothi ng hadhappened.

ABBI EWhat are you sayi ng?

CRANEWe may be chasi ng one of t he Four Horsemen of t he Apocal ypse.

Cr ane and Abbi e shar e an i ncredul ous l ook, nei t her want i ng t obel i eve what i s r i ght i n f r ont of t hem.


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30.

EXT. FOREST OF SLEEPY HOLLOW - DUSK TO NIGHT

WHI TE HOOVES RI P ACROSS THE UNDERBRUSH, POUNDI NG HELL- FOR-LEATHER THROUGH THE FOREST. CLOSE ON THE HORSE S EYES: REDAS HELL. The st eed, we now see, i s RI DERLESS. As we CUT TO:

A BODY OF WATER. The FULL MOON r ef l ect ed i n gl assy water . . .i t RI PPLES AWAY as BUBBLES sur f ace. Somethi ng s RI SI NG upf r ombel ow. The horse emerges through t he f og and STOPS att he muddy banks. Wai t i ng. As. . . SHOULDERS EMERGE FI RST FROMTHE WATER, WI THOUT A HEAD. HEADLESS r i ses f r omt he depths.The st eed REARS and SCREECHES and we SMASH TO BLACK.

END ACT TWO


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31.

ACT THREE

INT. SLEEPY HOLLOW CHURCH - NIGHT

SLAM TO: Knapp s CLOSI NG UP t he chur ch, when suddenl y - - t he

vot i ve candl es BLOW OUT. He tur ns, seei ng somethi ng STRANGEout t he st ai ned- gl ass. . . moves CLOSER f or a bet t er l ook. . .

I T S THE WHI TE HORSE. St andi ng al one out si de t he chur ch,hooves cl awi ng at t he r oad. And i n t hat same POV, WE GET ASUDDEN AND BI G FRI GHT AS HEADLESS APPEARS RI GHT AT THE WI NDOW- - he needed t o l ur e the pr i est cl ose enough t o - CRASH! - -st ab hi s hand THROUGH and GRAB Knapp by hi s cl oak! BUT THEHORSEMAN S ARM I MMEDI ATELY STARTS TO SMOKE, a subt l e t r ace off i r e - - he s crossed the t hr eshol d i nt o God s house. KnappBREAKS FREE as Headl ess r et r act s hi s SMOLDERI NG ARM:

REV. KNAPP

Thi s i s God s house, Demon! Youcannot ent er her e! ! !

And suddenl y The Horseman has DI SAPPEARED f r omvi ew. Knapphears FOOTFALLS out si de - - HEAVY BOOTS movi ng around the si deof t he chur ch, COMI NG UP t he f r ont st eps. I n a shocki ngdi spl ay of f or ce, Knapp WAVES HI S HAND and WHOOSH: a CHAI Nf r om t he l i ght f i xt ur es on t he cei l i ng SNAPS FREE - - spi r al sacr oss t he r oom and WRAPS THROUGH THE MAI N DOOR HANDLES,LOCKI NG THEM TI GHT. HE S A WARLOCK!! !

SI LENCE. . . maybe t hat WORKED. . . t hen BOOM! THE HORSEMAN SAXE SHATTERS THROUGH THE DOOR AND CHAI NS AND THEY RE FLUNGOPEN! Knapp, t er r i f i ed but DEFI ANT, SPI TS hi s words:

REV. KNAPP ( CONT D)I l l never t el l you where i t i s!You wi l l never wi n t hi s war !

Headl ess consi der s, t hen. . . STRI DES RI GHT I NTO THE CHURCH,HI S BODY I NSTANTLY I GNI TI NG I N FLAME! Fi r e GROWI NG wi t h eachbol d st ep, but Headl ess doesn t gi ve a f uck. Knapp st umbl esback i n horr or, PI NNED agai nst a col umn. . . and we GO TO:

KNAPP S POV: The bur ni ng demon SWI NGS HI S AXE RI GHT AT US!

THUNK! I T DI SAPPEARS BELOWFRAME. . . and t hen. . . CAMERA TI LTSHORI ZONTALLY AND FALLS TO THE FLOOR WI TH A THUD! OURDI SMEMBERED POV begi ns t o FADE as we DI E wat chi ng a pai r ofBURNI NG BOOTS EXI T THE CHURCH. . . t hen, BLACK:

INT. SECRET MASON LIBRARY - NIGHT

Abbi e snaps photos of t ext s and dr awi ngs. Both she and Cr anej ump when her r adi o bl ares:


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OFFI CER DUNN ( V. O. )Abbi e, you got your ears on?

Abbi e keys her wal ki e:

ABBI E

I m her e. What s up?

INT./EXT. SLEEPY HOLLOW CHURCH - NIGHT

FLASH! A cr i me scene phot ogr apher snaps pi ct ures of KNAPP SCORPSE. Abbi e and Cr ane pul l up.

ABBI EI need you t o wai t her e.

A MOMENT bet ween t hem. Gr owi ng CONNECTI ON. She get s out .He watches her go as she f al l s i n- st ep wi t h Mendez:

ABBI E ( CONT D) Si r , i f I coul d have a wor d - -

MENDEZ- - not now - -

- - because up ahead, her e comes DUNN and a cadre of cops;Abbi e hol ds her t ongue as t hey i nt er sect t o wal k t he scene:

OFFI CER DUNNLooks l i ke someone t r i ed t o makeent r y t hrough t he wi ndow, t hen camear ound and shatt er ed t he door - -

As t hey head t oward the CHURCH, we go back t o. . . CRANE IN THECAR. Looki ng out at ANCI ENT GRAVESTONES besi de the chur ch. Hedebat es, knows he s been t ol d t o st ay put , but hi s cur i osi t yi s pi qued - - st ay/ go/ st ay/ go?

INT. CHURCH - CONTINUOUS

Mendez and co. ent er: Dunn i ndi cat es a pat t ern of CHARREDFOOTPRI NTS l eadi ng f r om t he ent r y t o t he r ear exi t . Abbi et r ai l s behi nd, l ooks at t he pr i nt s, t hen f or ensi cs zi ppi ng upKnapp i n a body bag, t hen t he BROKEN CHAI NS on t he gr ound. . .

OFFI CER DUNNAr son f ound bur n marks i n the f l oori n t he shape of f oot pr i nt s, si ze11, t he i nt r uder scor ched t he t i l eand wood wher ever he st epped.

MENDEZYou sayi ng t he ki l l er was on f i r e?


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33.

ABBI EExcuse me. . .

( ever yone t ur ns: t hechai ns)

. . . what r e t hose?

OFFI CER DUNNPar t of t he l i ght i ng syst em. Looksl i ke someone t ore t hem down - -

ABBI EThat cei l i ng s got t a be t hi r t y f eetof f t he ground - - no way someonecoul d get up t her e.

MENDEZYou of f er i ng a t heory, Detect i ve?

ABBI E

Thi s wasn t r andom- - he came her ef or Knapp.

As t hat LANDS, Abbi e doesn t r eal i ze t hat out t he door BEHI NDHER. . . CRANE APPEARS, wal ki ng across t he gr aveyard:

MENDEZI never aut hor i zed hi s r el ease!What t he hel l i s he doi ng her e?

She t ur ns. Ohhhhhh shi t . Uh. . .

ABBI ECr ane was i n my cust ody whent hi s happened, whi ch meanshe s not t he ki l l er - -

MENDEZ

You di dn t answer myquest i on.

Dunn, concer ned f or her , gestur es t o the rest of t he t eam: everyone walk away. They do, l eavi ng Abbi e and Mendez:

ABBI ESi r , we have t hree DOA s and novi abl e l eads. Someone s on aki l l i ng spr ee and that man s ourbest chance of cat chi ng hi m - -

MENDEZThat man needs a st r ai ght j acket ,and you vi ol ated a di r ect or der bybr i ngi ng hi m her e - -


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ABBI EMaybe he i s cr azy - - or maybe, asyou know, wi t nesses of a vi ol entcr i me somet i mes ent er adi ssoci at i ve st at e t hat br eaks themf r om r eal i t y as an emot i onal

r esponse t o t r auma. Ei t her way?He saw somethi ng, somethi ng t hatmi ght hel p us - -

MENDEZWhat r e you suggest i ng, t hat wegi ve t he Foundi ng Fat her a Gl ockand send hi m i nt o t he f i el d wi t h apat on t he back and a t humbs up?

ABBI EI m suggest i ng he mi ght r ecogni zedetai l s we woul dn t even know t o

l ook f or .

Mendez consi der s. Tense. I t coul d go ei t her way. Then:

MENDEZFor get t he asyl um, j ust t ake hi mback t o hi s cel l i mmedi at el y, oryou ar e suspended unt i l f ur t hernot i ce. End of di scussi on.

Wi t h t hat , he goes, l eavi ng her t her e. Dunn appr oaches. . . .

DUNNYou r e hangi ng your sel f wi t h t hi sguy, Abbi e, i t s a bi g mi st ake.What t he hel l r e you doi ng?

And she exi t s, l eavi ng Dunn t o wat ch her go, concer ned. . .

AT AN ORNATE HEADSTONE: Cr ane al r eady t her e, eyes f i xed.

ABBI EI t ol d you t o st ay i n t he car - -

CRANE

( wi t hout l ooki ng up) Yet as you know, I m i nsane, andt her ef or e i mper vi ous t o si mpl ecommands.

She f ol l ows hi s gaze to t he NAME and I NSCRI PTI ON. . . and whatshe sees STUNS her : Here lieth the duft of MATRON KATRINACRANE, BURNT AS A WITCH...

To hi msel f , hi s head swi r l i ng. . .


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35.

CRANE ( CONT D)A wi t ch. . . ?

Abbi e SWEEPS f ol i age of f t he bott omof t he namepl at e t or eveal - - ...SURVIVED BY HER BELOVED SON THOMAS CRANE.

ABBI E. . . her son, Thomas Cr ane, 1779. . .

He j ust st ar es at t he name, st unned, EMOTI ONAL.

CRANE. . . she was. . . wi th chi l d. . .

( eyes wel l ; t he f i r st t i mehe s sai d i t out l oud)

. . . Thomas. . .

FLASHCUT: Crane, dying, in the church with Katrina:

CRANE (CONTD)Whatever secret you wished to tellme when I returned from thefront... please, tell me now...

Abbi e s voi ce br i ngs hi m back t o PRESENT:

ABBI E. . . Cr ane? Ar e you okay?

Cr ane nods stoi cal l y. Abbi e wat ches hi m suf f er , unsur e i fshe can consol e hi m wi t hout f ul l y bel i evi ng hi m.

ABBI E ( CONT D) C mon, we shoul d both get a f ewhour s of sl eep.

CRANESl eep? I ve been asl eep f or t wocent ur i es. A l ot of good i t s doneme. What mor e do you need t obel i eve me?

ABBI E

I t doesn t mat t er what I bel i eve.How t he hel l am I supposed t oexpl ai n i t ? I ve i dent i f i ed t heki l l er , and he j ust happens t o bet he Fi r st Horseman of t heApocal ypse - - t r ust me, i t s al l i nt hi s dust y book we f ound i n a cavel i br ar y. . .


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CRANEYou wi t nessed your par t ner s murderwi t h your own eyes - -

ABBI EEven i f I t hought what I saw was

possi bl e, I wi l l be. . . al one.Agai n. Ar gui ng a case I don tunderst and, based on somethi ng It hought I saw, wi t h evi dence t hatmakes no sense - -

CRANE- - what do you mean, agai n?

ABBI E( f uck, sai d t oo much)

. . . Not hi ng, not hi ng - -

She st art s movi ng t oward t he car agai n - - he REALI ZES:

CRANE

Somet hi ng happened t o you,di dn t i t . . . somet hi ng t hat smade you doubt yourper cept i ons.

ABBI E

( shaki ng her head)

- - don t - -

CRANEWe have mor e i n common t han yout hi nk: I come f r oma worl d wher e wet ook our cues by l ooki ng someone i nt he eye. I suspect i t s what makesyou a ski l l ed i nvest i gat or , butt hi s act of cont r ol l i ng t heunexpl ai nabl e i s a desper ate oner oot ed i n f ear . Per haps t hat s whyyou r e l eavi ng t hi s pl ace - -

ABBI EHey: I don t need t o bepsychoanal yzed or- - whatever yourversi on of i t i s - - br ai n l eeched - -by a man who thi nks t hat onl yyest er day he was f i ght i ng f orGeor ge Washi ngt on i n t heRevol ut i onary War.

He s hi t a NERVE. She ar r i ves at t he car , opens t he door .ABBI E ( CONT D)

I m sor r y but I need mor e.

And he get s i n. . .


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37.

INT. COUNTY JAIL - NIGHT

A magnet i cal l y l ocked DOOR i s opened, t hrough whi ch Cr ane i sl ed by a GUARD i nt o a smal l , barr ed cel l . Abbi e behi nd hi m,a gr owi ng sense t hat she doesn t want t o l eave hi m her e:

ABBI E( t o the guar d) Gi ve us a mi nut e, woul d you?

( as t he guard EXI TS)I got you your own cel l . I t s thebest I coul d do.

CRANE( l ooki ng ar ound)

Wel l . I t s a measur abl e st ep upf r om a cave.

ABBI E

( beat , gui l t mount i ng)Look. . . I m sor r y I got mad. Idon t know how t o get my headar ound any of t hi s. And I get t hatno mat t er what happened t o you,t hi s must al l be. . . a scar y pl ace.

Thei r l ook HOLDS. He si t s on t he cot , exhal es. The f i r stmoment he s had t o pause. . . and f eel t he wei ght of i t al l . . .

CRANEYest erday I was f i ght i ng f or t hef r eedomof a nat i on t hat di dn texi st yet . I had a wi f e and. . .I di dn t know she was accused ofbei ng a wi t ch.

( beat ; har der ) And my son. . . I don t know i f hegr ew t o manhood. . . or what he di dwi th hi s l i f e. . .

And f or t he f i r st t i me, she s l et t i ng her sel f f eel t he pai nhe s f eel i ng. Wi t h Gr ey s l oss, she s needi ng t o connect .Tur ns t o go, t urns back. . . WE SLOWLY MOVE I N ON HER. . .

ABBI EYou asked what happened t o me.( beat )

Back i n hi gh school , me and mysi st er , J enny. . . we wer e, uh. . .

( beat , t hi s i s har d) Wal ki ng home one ni ght . I n t hef or est . And. . . we saw somet hi ng. . .


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FLASHCUT: images -- in the dark forest -- TERRIFYING FLASHFRAMES intercut with Abbies story, so fast we can barelydecipher them -- the ground seems to be OPENING UP -- whatcomes out is more IMPRESSIONISTIC than literal -- DEMONICFEATURES -- EYES? -- CLAWS? --

ABBI E ( V. O. ) ( CONT D) I coul dn t see i t cl ear l y. I t wasmor e l i ke. . . a f eel i ng. And Ihear d a voi ce say. . .

We HEAR A GUTTURAL RUMBLE - - t he scar i est voi ce i magi nabl esays COOOOMEEEE. . . AAAAAANNNNDDD. . . SEEEEEEEEEEE. . . . .

BACK TO ABBIE IN THE CELL, haunt ed. Cr ane l i st ens, r apt :

ABBI E ( CONT D)Ever yone sai d we were cr azy. Af t er awhi l e J enny st ar t ed bel i evi ng i t .

Beat . Qui et l y:

CRANEWhere i s she now?

ABBI EI n and out of i nst i t ut i ons.

He nods. Underst ands:

CRANEShe s. . . bat t l i ng demons.

( Abbi e nods) . . . And you?

ABBI EI t was pr et t y bad f or awhi l e. Di da l ot of st upi d t hi ngs. Dr ugs. Meand t hi s guy I was seei ng end upbr eaki ng i nt o a pharmacy. Cop carpul l s up, guy bol t s - - j ust gone - -and t hi s sher i f f st eps out of t hecrui ser. . . and I mt hi nki ng: t hat si t , I mgoi ng to j ai l . My l i f e s

over . And he put s me i n t he car . . .( beat ) But i nstead of t aki ng me t o j ai l . . .he takes me to a di ner . . . and heorders apple pie. And says:

FLASHCUT: A piece of STEAMING APPLE PIE A-LA-MODE is set downin front of SHERIFF GREY, 12 years younger, sitting acrossfrom a YOUNGER, STRUNG-OUT ABBIE, at McCABES:


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GREY (RIGHT TO CAMERA)You know what I love about applepie a-la-mode? Where the hot,crispy crust comes together withthe smooth, frozen ice cream.

(beat)

You know what I hate? Five minuteslater when the ice cream melts andits just a warm soupy mess.

( r eadi es hi s f or k) When that happens? Were leaving.So you got five minutes to decideif youre gonna change your life...or if Im taking you to jail.

And takes a BITE of pie, savoring it. We PUSH IN ON YOUNGABBIE (SLOW MOTION), profoundly affected, as Grey eats...

ABBIE (V.O.)

... so I changed. Right there.Because Sheriff August Greybelieved in me. I got morefathering in that five minutes thanI got my whole life...

BACK TO ABBIE AT PRESENT, t ear s i n her eyes.

ABBI EAnd now he s gone.

( beat )But at t hat same moment . . . youcame. And everyone sai d you werecrazy.

( t hen) And I guess I j ust . . . knew. Whatthat f eel s l i ke.

The l ook bet ween t hem HOLDS. I t t akes a broken soul t or ecogni ze a f el l ow t r avel er . The guar d RETURNS:

GUARDI t s l i ghts out .

She nods, okay. Hat i ng t hi s.

CRANEWi l l I see you agai n, Det ect i ve?

ABBI E. . . I hope so. And you can cal l meAbbi e.


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CRANEI m sor r y about your par t ner . . .Abbi e.

An emot i onal l ook, t hen she goes. The l i ght s GO OUT, bathi nghi m i n moongl ow f r om a smal l wi ndow. A l onel y i mage. . .

INT. COUNTY JAIL CELL - LATER

Cr ane sl eeps RESTLESSLY, eyes f l ut t er open ont o t he heavenl yMOSAI C of t he chur ch CEI LI NG as i t comes i n and out of f ocus.I s he dreami ng? I s t hi s a memory? Somethi ng el se?

Katr i na ent er s the f r ame above hi m. There s somethi ngETHEREAL about her. She al most FLOATS. Conf usi on r ol l sacross Cr ane s f ace as he sees how wor r i ed hi s wi f e i s. . .

KATRI NA

I t s al l my f aul t .

CRANEWhat happened? What s wr ong, myl ove?

KATRI NA. . . The Hor seman. . .

CRANE- - I t hought I d ki l l ed hi m. I cutof f hi s head.

KATRI NAYou can t l et hi m f i nd i t ,I chabod. I f he becomes whol e agai ni t begi ns.

CRANEWhat begi ns?

KATRI NAThe End. . .

Cr ane si t s up, r eachi ng f or hi s wi f e. . . and now i t s l i ke

he s woken f r om a dr eam - - he f i nds hi msel f al one i n adar kened cel l .

END ACT THREE


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41.

ACT FOUR

INT. ABBIES HOUSE - BEDROOM - NIGHT

Abbi e st ar es at her cl ock - - 2:36 AM.

I MAGES spi t f r om a pr i nt er : t he PI CTURES Abbi e shot . HI GHAND WI DE - - t he symbol s FROM THE CAVE FLOOR and t he ARCHI VE,Abbi e st andi ng over t hem, t r yi ng t o under st and. . .

JUMPCUT: COMPUTER SCREEN: Abbi e r uns a SEARCH - - l i nksscr ol l : FREEMASONS - - HI STORY OF - - and that connect s us t oI LLUMI NATI . DI VI NATI ON. OCCULTI SM. The I MAGES t hataccompany t hat : PENTAGRAMS, THE VI TRUVI AN MAN, SKULLS, and ofcour se, THE FOUR HORSEMEN OF THE APOCALYPSE. On Abbi e,TAKI NG COPI OUS NOTES t hough i t s al l cr eepy as hel l . . .

She f i nal l y comes acr oss sever al por t r ai t s and pai nt i ngs of

GEORGE WASHINGTON - - i ncl udi ng t he f amous one of hi m crossi ngt he Del awar e. . . t hat s when i t cat ches her eye. . . but i tcan t be. . . she enl ar ges t he i mage - - We don t know whatshe s seei ng yet as she sear ches, pul l s up a pi ct ur e ofRever end Knapp f r omt he onl i ne r epor t s of hi s deat h andover l ays i t on the por t r ai t and i t mat ches!

ITS REVEREND KNAPP CROSSING THE DELAWARE WITH WASHINGTON!

INT. COUNTY JAIL CELL - MORNING

Cr ane s eyes SNAP OPEN wi t h a st ar t j ust as CLANG! The cel ldoor OPENS and i n comes a Guard. . . f ol l owed by ABBI E, wi t hGRAVE URGENCY - - he si t s up, di sor i ent ed - -

CRANEWhat ar e you. . . doi ng her e?

ABBI EI t hi nk I bel i eve you. But I needyour hel p f i rst .

Of f Cr ane as he nods, gr at ef ul . . .

CRANEWhat a di f f erence a day makes.

EXT. SLEEPY HOLLOW ROADS - DAY

WHOOSH: Abbi e s cr ui ser RUSHES through t he ver dant val l ey:


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42.

EXT. OLD COLONIAL CAMPUS - LATE AFTERNOON

The cr ui ser pul l s up t o an ol d Dutch Vernacul ar bui l di ng wi t hadj acent New Engl and edi f i ces. ON CRANE, as he RECOGNI ZES:

CRANE

Thi s i s Uni on Col l ege. I was apr of essor her e. . .

ABBI EWel l now i t s Tarr yt own Museum. They have a r epl i ca of t he pai nt i ngI saw onl i ne, whi ch I di dn t t r ustnot t o be photo- shopped.

CRANEPhoto- shopped?

ABBI E

Never mi nd. I j ust have t o see t hi st hi ng wi t h my own eyes. . .

( beat ) . . . and your s.

INT. TARRYTOWN MUSEUM - LATE AFTERNOON

Abbi e and Cr ane MOVE through t he col oni al museum past a thi r dgr ade CLASS ON A FI ELD TRI P. Thei r t eacher l eads t hemon t hegui ded t our - -

SCHOOL TEACHER- - and when hi s f ather asked hi m, Geor ge, di d you chop down thatcher r y t r ee? Washi ngt on r epl i ed, Fat her, I cannot t el l a l i e. Andhe admi t t ed t o choppi ng down hi sf at her s tr ee.

Over heari ng t hi s, Cr ane can t cont ai n hi msel f as he movespast t hem - -

CRANEFor gi ve me, ma am, but t her e i s no

credence i n t hat . . .Abbi e shakes her head, as t hey round t he cor ner arr i vi ng at aPORTRAI T OF GEORGE WASHI NGTON AND REVEREND KNAPP cr ossi ng t heDel awar e. . .

ABBI EHer e. Look at thi s one. . .

Cr ane l eans i n f or a cl oser l ook.


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43.

CRANEThi s i s a por t r ai t of General Washi ngt on cr ossi ng t he Del aware.

ABBI EAnd I guess i t s my t ur n t o sound

cr azy. Look at t he man st andi ngnext t o Washi ngt on. . . he s i nsever al por t r ai t s wi t h hi m. I t hi nkt hat s Reverend Knapp - - t he manThe Horseman ki l l ed l ast ni ght .

CRANEBecause he thought t hat t heReverend knew where i t was.

ABBI EWher e what was?

CRANEHi s head.

Hi s head?ABBI E

CRANEHe s l ooki ng f or i t . And i f hef i nds i t , r umor i s we may be i n f orsome of t he unpl easant ness we r eadabout .

ABBI EWher e ar e you get t i ng thi s?

CRANEThe General t ol d me my mi ssi on wasmor e i mpor t ant t han t he war i t sel f .I wasn t mer el y or der ed t o f el l aman i n batt l e, I was order ed t or et ur n wi t h hi s head.

ABBI EWashi ngt on di dn t want hi s head f orbr aggi ng r i ght s. Washi ngt on meant

t o keep i t hi dden t o st op t heApocal ypse.

CRANEHe must ve f ound qui t e a hi di ngpl ace.


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44.

ABBI E( gest ur es t o t he ot herpai nt i ngs)

C mon. . .

They move t hrough t he George Washi ngt on exhi bi t t o ot her

pai nt i ngs.

ABBI E ( CONT D)( convi ct i on gr owi ng)

Look, t her e he i s agai n, r i ght nextt o Washi ngton.

And sure enough, t he next pai nt i ng por t r ays someone who l ooksj ust l i ke Knapp next t o Washi ngt on.

They cont i nue on, f i ndi ng Knapp i n a handf ul of pai nt i ngs byWashi ngt on s si de.

Movi ng past anot her pai nt i ng, Cr ane st ops, not i ci ngsomethi ng:

CRANEWai t . Look her e - -

ON THE PAI NTI NG

I t depi ct s Washi ngt on and the man who l ooks l i ke Knappst andi ng i n f r ont of a col oni al house.

CRANE ( CONT D) - - hi s r i ght hand. . .

CLOSE - - I n Knapp s r i ght hand: A BI BLE WI TH THE SI GN OF THEHORSEMEN.

CRANE ( CONT D) Thi s i s a por t r ai t of t he El i j ahMi l l er House. The Gener al used i tas a command cent er dur i ng t heBat t l e of Whi t e Pl ai ns.

ABBI EYes, but unl i ke you, Washi ngt on

di ed, t wo cent ur i es ago. I f not t heReverend, who woul d he haveent r ust ed t o keep such a powerf ult hi ng saf e?

CRANEThe General woul d ve ent r ust ed noone. That s t he ki nd of secret aman l i ke hi m woul d t ake t o thegr ave.


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45.

ABBI EMaybe he di d.

Thi s gi ves Abbi e pause. . . as she not i ces somethi ng el se i nt he pai nt i ng.

ABBI E ( CONT D)I l l be damned. . .

She reaches i nt o her pocket and pul l s t he NOTEBOOK f i l l edwi t h her not es. Fl i ppi ng t hr ough:

ABBI E ( CONT D) Di d you say the El i j ah Mi l l er House ?

Cr ane nods - - she f i nal l y f i nds t he page she was l ooki ng f or .

ABBI E ( CONT D)

Washi ngt on was bur i ed at MountVernon, but hi s body was movedon. . .

( r eadi ng her not es) . . . Oct ober 10, 1837.

( gest ur es: t he pai nt i ng)Look at t he addr ess on t he porch oft he house - -

CLOSE ON THE PAI NTI NG - - I ndeed i t l ooks l i ke an addr ess. . .onl y t he number s ar e 101037!

CRANE( noddi ng)

Tenth day of t he t ent h mont h. Thatcan t be a coi nci dence.

ABBI EHi s body wasn t moved to anot hercrypt i n Mt . Ver non - -

( gest ur es t o the pai nt i ng) - - i t was moved her e.

CRANEAgr eed. That was a cover. Very

much how he l i ked t o operat e. Hemust ve l ef t i nst r uct i ons f orKnapp.

ABBI EAnd i f you r e r i ght , what we r el ooki ng f or i s bur i ed wi t h hi m.

Our duo f ormi ng bef ore our eyes - -


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46.

EXT. APARTMENT BUILDING - NIGHT

A For d F- 150 pul l s I NTO LENS, t hr ough t he wi ndshi el d i s ANDYDUNN, j ust of f hi s shi f t , t i r ed, on t he phone wi t h Abbi e:

ABBI E ( V. O. ) Look,

I j ust need you t o t r ust meand cal l an al l uni t s to140 Vi r gi ni a Road, t heEl i j ah Mi l l er House wi t h ai rsuppor t - -

DUNN

- - whoa whoa: and you knowt he ki l l er s on hi s way t her enow. . . how? Fromt hat whackj ob?

INT. ABBIES CRUISER - SUNSET - INTERCUTTING:

Abbi e behi nd t he wheel , dr i vi ng FAST - - Cr ane shot gun - -

ABBI E

I l l expl ai n ever yt hi ng l at er , okay? I f I go t hr ough Mendez,he l l ask f or pr oof I can t gi veyet . The depart ment s spread t hi nas i t i s - -

- - Dunn get s out , heads i nt o hi s apar t ment bui l di ng - -

DUNN- - no ki ddi ng, I j ust wor keda 36 hour shi f t - -

ABBI E- - I mt el l i ng you, that swher e he s goi ng. We r egonna mi ss hi m - -

The sound of an ENGI NE r i ses and we SLAM TO:

INT. DUNNS APARTMENT BUILDING - CORRIDOR - NIGHT

Dunn movi ng down a hal l , pul l i ng out hi s keys - -

DUNN- - and i f you r e wr ong? I t s onboth of us.

ABBI E

Andy. . . you al ways t r ust ed me.Pl ease don t st op now. Ther e s not i me.

A moment of HEAVY CHOI CE. Fi nal l y:

DUNNAl r i ght , I l l cal l i t i n. . . I l l meet you ther e.


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47.

Thank you.ABBI E

They hang up, but we STAY WI TH DUNN as he r eaches t he door t ohi s apar t ment . STOPS. Because he sees. . . t he l ock s beenHACKED OPEN. Shi t . He pul l s hi s gun and ENTERS. . .

INT. DUNNS APARTMENT - NIGHT

Tense. Dark. The f i r st t hi ng Dunn sees i s a LOCKED STEELCABI NET broken open, wher e he keeps hi s spare POLI CE STUFF.Fi nds a gun r ack wi t h a SHOTGUN mi ssi ng. Appr oaches t heLI VI NG ROOM, but nobody seems t o be t her e. He t ur ns, gunr ai sed, about t o head i nt o the next r oom when, BEHI ND HI M. . .

HEADLESS RI SES UP f r oma hi gh- backed chai r : onl y now do wer eal i ze HE WAS SI TTI NG THERE ALL ALONG, t he chai r obscur i nghi m f r om vi ew. Al er t , knowi ng someone s behi nd hi m now, Dunn

sl owl y t ur ns t o see. . .

Headl ess has hel ped hi msel f t o al l t he moder n gear: a pol i cebel t and gun, and t he SHOTGUN hel d i n hi s hand. And weassume THI S I S WHERE POOR DUNN MEETS HI S END. . .

Except t hat Dunn DOESN T l ook scar ed. I nst ead, he says:

DUNNI know wher e i t i s.

A beat : Headl ess swi ngs t he shot gun up and - SHUUNCK -hol st er s i t i nt o hi s back scabbar d. READY. As we r eal i ze. . .THESE TWO ARE WORKI NG TOGETHER. And - - BLACK.

END ACT FOUR


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48.

ACT FIVE

EXT. AERI AL VI EW - NI GHT

SOARI NG over a dark f orest bel ow, we pi ck up t he headl i ght s

of Abbi e s crui ser r aci ng up a desol at e r oad t hat wi nds i t sway t owar ds a LARGE ABANDONED HOUSE t ucked deep i n t he t r ees.

INT. ABBIES CRUISER - NIGHT - CONTINUOUS

As Abbi e parks. . . another pai r of HEADLI GHTS FLASH across t hef or est . Abbi e keys her r adi o:

ABBI EAndy, t hat you?

DUNN ( V. O. OVER RADI O)

I t s me, Abbi e. Backup s on i t sway, but my damn car s st uck and Ij acked my arm pret t y bad t r yi ng t omove i t . You got a med ki t ?

She l ooks out at t he mi st y gr ounds. Not i deal .

ABBI E. . . okay, st and by.

( unbuckl es bel t , t o Cr ane) St ay her e, and I mean i t t hi s t i me.I n about t hr ee mi nutes an armedSWAT t eam s gonna be swar mi ng t hi spl ace l ooki ng f or somet hi ng t oshoot , you r e my r esponsi bi l i t y - -

CRANE- - you r e goi ng out t her e wi t h aHeadl ess Horseman on t he pr owl andI m t he di st ur bed one? I mcomi ng.

She l ooks at hi m. Si ghs, i ndi cat es t he GLOVE COMPARTMENT:

ABBI EAl r i ght . Ther e s a gun i n t hat

compar t ment . You l l need i t . He r eaches out t o open t he gl ove box, but i t s LOCKED. I nt hat i nst ant , she SNAPS A CUFF ont o hi s wr i st - - bef or e hecan REACT, she SNAPS t he other end t o t he st eer i ng wheel - -

ABBI E ( CONT D) Sor r y. I need you i n one pi ece.

As she gets out , he STRUGGLES agai nst t he cuf f s, FURI OUS:


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49.

CRANEThi s i s- - unacceptabl e!

ABBI EWe can t al k about i t l at er .

CRANERel ease me!

ABBI E( t osses a WALKI E on theseat )

Pr ess t he but t on her e t o t al k i fyou need me.

She CLOSES t he door . Pops the t r unk, grabs a med- ki t and aSHOTGUN. He STRUGGLES wi t h hi s cuf f s as he wat ches her wal kof f , di sappear i ng i nt o the FOG. . .

EXT. ABANDONED ELIJAH MILLER HOUSE - YARD - CONTINUOUS

Abbi e appr oaches Dunn s crui ser t hr ough the f og, f l ashl i ghthel d agai nst her l evel l ed shot gun. He s NOWHERE t o be f ound:

ABBI EAndy?

Si l ence. What s happeni ng? She pans t he shot gun/ f l ashl i ghtar ound t he dar k f or est - - NOTHI NG. Tense as hel l - -

INT. ABBIES CRUISER - CONTINUOUS

Cr ane si t s i n the cr ui ser , wei ghi ng somet hi ng i n hi s mi nd.Fi nal l y gr abs t he wal ki e:

CRANEAbbi e! - -

EXT. ABANDONED ELIJAH MILLER HOUSE - YARD - CONTINUOUS

Abbi e, shot gun st i l l l evel , hear s Cr ane s VOI CE, keys back:

ABBI ESt andby, Cr ane - -

( beat ) - - saw who?

CRANEThere s somethi ng I di dn tt el l you. I t hi nk I sawKat r i na - -

SUDDENLY - - A FI GURE BEHI ND ABBI E - - BEFORE SHE CAN TURN,WHACK: t he BUTT OF A GUN cr acks her skul l - - she DROPS out off r ame, r eveal i ng. . . DUNN!


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50.

INT. ABBIES CRUISER - CONTINUOUS

CRANE. . . Abbi e?

No r esponse. Cr ane knows somet hi ng i s way of f - - st art s

st r uggl i ng wi t h hi s cuf f s, t r yi ng t o get out . . . REMEMBERI NGsomet hi ng she sai d. Last r esort : he t akes hol d of hi s t humband, one, t wo, CRACKS I T BACK, BREAKI NG I T AT THE BASE - -WI NCES I N AGONY - - st ar t s t o sl i p hi s hand thr ough the cuf f s -- UNBEARABLE - - f i nal l y manages t o PULL HI S HAND FREE,l eavi ng t he cuf f s dangl i ng f r om t he steer i ng wheel - - BOLTSout t he door:

INT. ABANDONED ELIJAH MILLER HOUSE - NIGHT

Cr ane ent er s, al er t , adr enal i ne spi ki ng. Weat her ed, gr eyi ngf ur ni t ur e. The i nt er i or f r om a f or got t en 18t h cent ur y er a.

WOMAN S VOI CEI chabod. . .

CRANEAbbi e? Wher e ar e you?

But i t s Cr ane s WI FE who STANDS THERE - - she s cl ear l y not adr eam or an i l l usi on. I mpossi bl y, she i s r i ght i n f r ont ofhi m. Cr ane s heart SOARS:

CRANE ( CONT D) . . . Kat r i na. . . are you real l y her e?

Kat r i na shakes her head, wi shi ng i t wer e so. . .

KATRI NANo, my l ove. . . not i n t he way Iwoul d wi sh. Onl y my spi r i t r emai nsnow. But i t won t r emai n muchl onger .

Her sl i ght l y unear t hl y voi ce i s near l y al l t hat gi ves i taway. Cr ane real i zes he s t al ki ng t o an APPARI TI ON, anddespi t e a moment of hope, t hey wi l l never be t oget her agai n.

Cr ane s hear t br eaks.CRANE

But why was my l i f e spared t hrought i me and not yours?

KATRI NAWhen you beheaded The Horseman,your blood merged on thebattlefield, binding you together.


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51.

FLASH: Our opening battle, CRANES WOUNDED BODY lies besidethe HEADLESS HESSIAN, their POOLS OF BLOOD merging...

KATRINA (V.O.) (CONTD)His blood is the only thing thatsaved you from death. And it was

also his undoing...

She moves t o hi m. Faces cl ose. Her heart i n her eyes. . .

KATRI NA ( CONT D) The Masons asked my covens help toput a spell on you... to keep youbetween life and death...

AND NOWHERE S WHERE ALL OF CRANE S MEMORI ES ADD UP:

FLASH: In the church, Katrina puts her hand ON HIS WOUND --he GASPS and now we see what comes next: she WHISPERS STRANGE

WICCAN LANGUAGE --

KATRINA (CONTD)Knowing the spell would also keepThe Horseman from riding again foras long as you were asleep.

FLASH: In the cave, Cranes lowered into the mud, surroundedby the chanting hooded figures... as Crane DISAPPEARS, one ofthe hooded figures looks up -- KATRINA. A tear leaks. Andwe MATCH off her young face to --

KATRINA (CONTD)They buried his body in a waterygrave...

FLASH: DAY: on a cobblestone bridge, A CASKET is pushed offthe back of a WAGON, CRASHING and SINKING into the Hudson:

PRESENT: KATRI NA S FACE, as he f i nal l y under st ands:

CRANEYou put me i n t hat cave.

KATRINA

Acting on General Washingtonsorders. He took possession of TheHorsemans head and hid it here...

She gest ur es, wr acked wi t h TERRI BLE GUI LT. . .


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52.

EXT./INT. ABANDONED ELIJAH MILLER HOUSE - SAME

POV, BLURRY, UPSI DE DOWN - - Abbi e comi ng back t oconsci ousness as she s bei ng CARRI ED somewher e by DUNN. . .

ABBI E

. . . And- - dy. . . . What re you. . .

THUD! She s dropped i n hi s TRUNK - - HARD. Tr i es t o move butshe s t oo weak. He l ooks down at her, qui et l y dement ed:

DUNNI t r i ed t o get you t o l eave, It r i i i ed, but YOU. DI DN T. LI STEN.You j ust . . . had t o be you. Don tyou under st and what s about t ohappen here? What s comi ng?

And now we begi n t o CROSSCUT:

ON CRANE, t he puzzl e t aki ng shape:

KATRINAI searched the world for a way tosever your bloodlines... so I couldwake you, without awakening him...but I failed.

CRANEThen you di dn t br i ng me back?

KATRINAIts The Horseman who wasresurrected...

FLASH:NIGHT:againstthefullmoon,HEADLESS suddenly

explodes from beneath the waters surface:

KATRINA (CONT'D)...and you along with him.

ON KATRI NA. Real f ear :

KATRI NA ( CONT D)

Even if you defeat The Horsemantonight, this is only thebeginning...

CUT TO DUNN, l ooki ng down at Abbi e i n the t r unk:

DUNN Come and see. And I l ooked, andbehol d a pal e horse: and hi s namet hat sat on i t was Deat h. . .


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53.

ON ABBI E, hear i ng t he words Come And See. Her worst f ear s:

DUNN ( CONT D) That s why I al ways bel i eved you - -I heard t he voi ce t oo. We werechosen t o be i t s ser vant s, Abbi e - -

t o pr epare t he way. A war i scomi ng. . .

CUT BACK TO KATRINA AND CRANE:

KATRINAIm sorry, Ichabod... but youvetraded one war for another. Exceptthis time, its soldiers are hiddenamong the faces of this town.Knapp isnt the only soldier inthis war who remains from long ago.There are many on the other side.

Sleepy Hollow takes its name fromthe hallowed ground on which itlies, a long-dormant sanctum ofgood and evil... and its beenrudely awakened.

BACK TO DUNN, as t he CRY OF AN I NCOMI NG HORSE echoes t hrought he f or est . He gr i ns:

DUNNOnce he s whol e agai n, he l l j oi nt he ot her s. Ther e l l be no tur ni ngback - - event s wi l l unf ol d t hatnone of you can st op. . .

He reaches up and SHUTS her i n the t r unk, but . . . CLACK:oddl y, i t doesn' t cl ose al l t he way. Li f t s the t r unk t o seewhat ' s bl ocki ng i t : A TI RE I RON hel d upr i ght by Abbi e! SheCLOBBERS hi m i n t he head, hi s GUN f al l i ng f r ee. Dazed, shet umbl es out , bl ood coveri ng her ear and neck. Dunn on t hegr ound, bar el y st i r r i ng. She swi pes hi s gun and cuf f s, makesher way t o the dr i ver door . . . weak, di zzy. . . gr abs t he RADI O:

ABBI EMet r o, Of f i cer needs hel p, r equest

SWAT t eamand ai r support , 140Vi r gi ni a Road. . . use ext r emecaut i on. . .

BACK TO KATRINA AND CRANE:

ON CRANE, t aki ng i n t he wei ght of t hat - - t he mant l e of epi cresponsi bi l i t y - -


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CRANEAnd what of our f ami l y? Whathappened t o Thomas? What happenedt o our son?!

Her eyes WELL. Thi s may be t he ver y wor st par t of al l . . .

KATRINAIchabod...I think our son is theone who resurrected The Horseman.

Bef or e we can underst and what t hat MEANS, t he POUNDI NG HOOVESBUI LDI NG - - Kat r i na TURNS - -

KATRI NA ( CONT D) He s her e.

Abbi e. . .CRANE

EXT. ABANDONED ELIJAH MILLER HOUSE - CONTINUOUS

SLAM: Abbi e shoves a hal f - consci ous Dunn i n the backseat ofhi s cr ui ser , LOCKS t he door , CAGI NG HI M. Then - - t he soundof HOOFBEATS snaps her ar ound - - she sees THE HORSEMAN RI DI NGt oward t he vaul t . As she r eadi es her gun, a SUDDEN THUD andGLASS CRACK whi ps her back - - DUNN has SMASHED hi s bl oodyhead agai nst t he wi ndow causi ng i t t o SPI DERWEB, l i ke ament al pat i ent i n a cel l - - GRI NNI NG at her :

DUNNYou can t ki l l hi m. . . he i s death.


The HORSEMAN S BOOTS DROP f r omt he saddl e and march up t o t hehouse - -

INT. ABANDONED ELIJAH MILLER HOUSE - CONTINUOUS

A WAVE OF KATRI NA S HAND and BOOM BOOM! Al l t he SHUTTERS

SLAM SHUT around t hem l i ke a domi no hor r or show. A LARGECABI NET SCRAPES acr oss t o BLOCK THE DOOR!

KATRINAWe must hurry.

Anot her t arget ed gest ure of her hand and a HEAVY TRUNK on t hef l oor SLI DES AWAY, f ol l owed by FLOORBOARDS t hat now RI P OPEN,cont r ol l ed by her wi l l .


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55.

And t her e, bel ow t he house s f oundat i on, l i es a SHALLOW GRAVEwi t h a si ngl e STONE COFFI N. And etched upon i t :

HERE LIES GEORGE WASHINGTON, THE FIRST PRESIDENT OF THESEUNITED STATES.

He mar vel s at her power , but onl y now r eal i zes t he tol l t hatusi ng i t i s t aki ng upon her . A near l y i mper cept i bl e r i ppl et hr ough her spect er, as a pal eness overcomes her :

KATRINA (CONTD)Its up to you now. I must go--

CRANENO! !

KATRINASUNRISE WILL DESTROY HIM! HELLTRY TO RETURN TO THE WATER BEFORE

DAYBREAK, HE CANT HIDE FROM IT!(then, desperate)

Please... keep it safe, My Love...Im sorry...

And she VANI SHES I NTO THI N AI R. . .

CRANEKATRI NA! !

The house begi ns t o shudder f r omt he f orce of The Horsemant r yi ng t o unbl ock t he entr ance. Cr ane knows he has to keepgoi ng, t urns t oward the marbl e cof f i n and THROWS HI S FULLWEI GHT I NTO PUSHI NG THE HEAVY STONE LI D OFF - -

KABOOM! - - A SHOTGUN BLAST r i ps open a l arge hol e i n t heBLOCKED DOOR. THE HEADLESS HORSEMAN HAS ARRI VED.


Abbi

Documents

Sleepy Hollow 1x01 - Come and See