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SIGNS

by

M. Night Shyamalan

FADE IN:

INT. WINDOW - MORNING

We are looking out a second story window of a house. The
backyard is large and green with a wooden jungle gym, worn
from use. A single tree throws shade onto a barbecue and a
picnic table.

The backyard is lined by crops. Corn. Golden and brown.
Six feet high.

Everything is perfect. Like a postcard. And then we HEAR A
CHILD SCREAM. IT'S FAR AWAY. WE DON'T KNOW WHERE IT'S
COMING FROM.

CUT TO:

INT. BEDROOM - MORNING

GRAHAM HESS wakes up from his sleep. He thought he heard
something. He listens. HE HEARS THE HEATER. THE
REFRIGERATOR DOWNSTAIRS HUMMING. THE OCCASIONAL BIRDS
OUTSIDE CHIRPING.

Graham climbs out of bed. He moves in his pajama pants and
white Barron's minor league baseball T-shirt towards the
bedroom door.

CUT TO:

INT. HALL LANDING - MORNING

Graham stands in the hall landing where three bedroom doors
meet. He moves to the door that has children's drawings
taped to it. He puts his ear close. Listens. Beat.

He relaxes. Graham leans down and picks up two balled up
sweat socks and a child's sweater from the hallway floor. He
puts it in the hallway hamper before heading back into his
bedroom.

CUT TO:

INT. BATHROOM - MORNING

A bathroom door is open. WE HEAR THE SINK RUNNING. WE HEAR
THE SOUNDS OF TEETH BEING BRUSHED.

Outside the bathroom on the bedroom wall is the sun faded
outline of where a large CATHOLIC CROSS used to hang. It's
ghostly stained forever on the blank wall.

A CHILD SCREAMS FROM FAR AWAY.

The water from the sink stops. Graham steps into the
doorway. Toothbrush and foam in his mouth. He becomes very
still.

CUT TO:

INT. CHILDREN'S BEDROOM - MORNING

The bedroom door bursts open. Graham steps into his
children's room. There are children's books everywhere.
Overflowing off shelves. Piled in corners.

Graham's eyes move to the small messy beds. They're both
empty.

CUT TO:

INT. GARAGE BEDROOM - MORNING

WE HEAR THE VOICES OF TWO CHILDREN NOW. THEIR SCREAMS FLOAT
INTO A DARKENED BEDROOM OVER THE GARAGE.

MERRILL HESS throws the bed sheets off himself as he swings
onto his feet in one quick motion. He is hyper-awake.
Merrill is in his late twenties. He is well build. His
muscles are tense as he stands in his red bikini briefs and
looks around bewildered.

CUT TO:

EXT. BACKYARD - MORNING

Graham bangs open the back screen door and runs into the
backyard. He spins as he looks around.

Merrill, now with a T-shirt and jeans, rumbles down the side
stairs adjacent to the garage building.

Merrill and Graham make eye contact as they approach each
other across the yard.

MERRILL
Where are they?

Graham looks around -- panic growing in his eyes.

CHILDREN
(yelling in the distance)
Daaaad!

Graham and Merrill in unison turn in the direction of the
YELLING. They look away from the house, across the yard and
into THE THICK WALL OF CROPS.

CUT TO:

EXT. CROPS - MORNING

The tall stalks of corn smack Graham and Merrill's faces as
they run through the crops.

A LITTLE GIRL appears in the crops thirty feet ahead of them
like an apparition. She is in her nightgown. She is four.

They reach her fast. She stands unaware of them in a daze.
Her hair is messed from sleep.

GRAHAM
Bo where's Morgan?

BO stands peacefully lost in her thoughts. Beat.

GRAHAM
Bo?

Bo finally looks at her father. Beat. She smiles softly.

BO
Are you in my dreams too?

Beat.

GRAHAM
This isn't a --

BOY (O.S.)
Dad!

Graham looks in the direction of THE BOY'S VOICE. He's
close. Graham picks up Bo and rushes through the crops.

He finds MORGAN standing with his hands in the pockets of his
pajama bottoms. DOGS ARE BARKING NEARBY.

GRAHAM
Morgan what's happening?

Graham puts Bo on the ground and moves right in front of
Morgan. The ten-year old boy looks deep in thought.

Graham takes hold of Morgan's chin and turns his face so he's
looking straight at him.

GRAHAM
Are... you... hurt?

Beat. Morgan's eyes reveal he's come to some answer.

MORGAN
I think God did it.

Beat. THE DOGS KEEP BARKING.

GRAHAM
Did what Morgan?

Morgan takes hold of his father's unshaven chin and turns his
face. Graham is forced to look to his right. Beat. Graham
sees something.

Graham Hess slowly rises to his feet. He starts moving
forward towards something.

He walks through a thin layer of crops and emerges in a
clearing. Two German Shepherds are running back and forth.
They are clearly agitated.

Graham looks around at the THOUSANDS OF CORN STALKS LYING
FLAT ON THE GROUND. THEY LAY IN A GIGANTIC CIRCLE, A HUNDRED
FEET WIDE.

Graham Hess looks around in a daze as he walks out into the
center. Merrill, Bo and Morgan follow him.

The dogs keep running and barking as WE PULL BACK AND REVEAL
THE FOUR MEMBERS OF THE HESS FAMILY STANDING IN THE MIDDLE OF
THIS PERFECT, GIGANTIC CIRCLE.

WE KEEP PULLING BACK TO EXPOSE THIS EERIE DESIGN -- FIVE
HUNDRED FEET WIDE -- SITTING IN THE MIDDLE OF AN ENDLESS,
UNTOUCHED CORN FIELD.

LEGEND:

"BUCKS COUNTY PENNSYLVANIA...
THIRTY MILES OUTSIDE PHILADELPHIA"

CUT TO:

EXT. BACKYARD - LUNCHTIME

Graham holds his hand over the barbecue to see if it's at the
right temperature. The other hand holds a cordless phone to
his ear.

GRAHAM
(into phone)
... Lee actually the reason I'm
calling is about Lionel.

Graham stokes the coals with a LONG BARBECUE FORK.

GRAHAM
(into phone)
Was he at home last night with you
or was he out and about with the
Wolfington brothers?

Graham moves around from behind the barbecue and heads
towards the house.

GRAHAM
(into phone)
Well, there was a little mischief
done to our crops last night.

Beat.

GRAHAM
(into phone)
I know he's a fine boy... No one's
saying otherwise.

Graham steps through the back screen door into his

KITCHEN.

Graham holds the phone a little closer and talks in a HUSHED
VOICE.

GRAHAM
(into phone)
Listen Lee, I don't even mind if it
was him. You could just talk to
him and that would be enough for
me... See it was kind of strange
finding the crops like that. The
kids were... confused by it. It
would take the strangeness away if
we knew it was Lionel and the
Wolfington brothers just messing
around...
(beat, listens)
The movies...
(beat)
Are you sure?
(beat)
Okay, then... Thank you for your
patience Lee.

Graham turns off the phone. He turns to put it on the
counter and realizes his children are seated on the kitchen
floor with one of their two German Shepherds. There is a
LARGE PUDDLE on the kitchen tiles.

MORGAN
Houdini peed. I think he's sick.

Graham looks at the majestic dog. It's shivering.

GRAHAM
Take him outside. I'll call Dr.
Reynolds.

Morgan and Bo lead their dog out with worried expressions on
their faces.

Graham grabs a handful of paper towels and places it on the
puddle of urine. The DOORBELL rings with Graham still on his
knees on the kitchen floor. He leans back so he can see down
the hall.

A balding police officer stands on the other side of the
screen door.

GRAHAM
That was quick Edgar. I only
called you boys about two hours
ago.

OFFICER EDGAR PASKI nods that he knows.

OFFICER PASKI
Mrs. Kindleman twisted her ankle as
she put it, "diving for her life"
when a bunch of school kids rode
down the sidewalk on skateboards.
She went down to Thorton's store
this morning and started spitting
on the new skateboards. Spitting!
By the time I got there, Mrs.
Kindleman had sprayed the whole
damn place... She must have had a
cold or something. It was enough
to turn a grown man's stomach.

Beat. Graham stares at Officer Paski.

OFFICER PASKI
So what happened to your crops?

CUT TO:

EXT. BACKYARD JUNGLE GYM - LUNCHTIME

Bo walks from the house with a large glass of water. She
moves to Houdini, who sits in the shade by the picnic table.

Morgan pokes the barbecue fork into two meat patties on the
grill. He places two pieces of cheese on the hamburgers,
before walking over to Houdini.

The two children sit down in the grass with the dog.

Bo is about to pour the glass of water into the dog bowl.
She stops. Takes a tiny sip of the water first.

She holds the glass out to Morgan.

BO
I think it's contaminated.

MORGAN
You don't even know what that word
means.

He drinks.

MORGAN
It's not contaminated. It's just
tap water. Pour it in his bowl.

BO
It tastes funny.

MORGAN
He licks his butt everyday. He's
not going to mind.

Bo shrugs and pours it into the bowl. Beat.

Houdini just sits staring at them. He is not shivering. He
doesn't drink. He is unnaturally still.

Bo pushes the bowl closer.

HOUDINI MOVES...

BO'S HAND PULLS BACK...

HOUDINI'S JAWS SNAP SHUT IN THE AIR WHERE HER HAND USED TO
BE. HE WAS JUST A FRACTION OF A SECOND LATER...

BEAT. The children turn white.

MORGAN
Houdini?

HOUDINI BEGINS TO GROWL. Bo stands up.

MORGAN
Bo don't run.

Houdini crouches down.

MORGAN
What's wrong boy?

THE DOG'S GROWL BECOMES DEEP, MENACING.

MORGAN
Stop it Houdini!

The German Shepherd trembles. His body tightens. He's about
to leap. Beat.

MORGAN
(soft)
Bo, run.

CUT TO:

EXT. CROPS - LUNCHTIME

Officer Edgar Paski stands facing Graham fifty feet away.
They are on opposite ends of the crop circle. Beat.

The crops all around them sway as the wind blows. Beat.
Officer Paski yells over the wind.

OFFICER PASKI
(yelling)
It's the strangest thing Father.

GRAHAM
(yelling)
Don't call me Father.

OFFICER PASKI
(yelling)
What's that?

GRAHAM
(yelling)
Don't call me Father. It's just
Graham now.

OFFICER PASKI
(yelling)
Sorry.

They stands in awkward silence fifty feet away from each
other. Beat.

GRAHAM
(yelling)
You said something was strange.
What's strange?

OFFICER PASKI
(yelling)
The footprints.

GRAHAM
(yelling)
What about them?

OFFICER PASKI
(yelling)
There are none.

CUT TO:

EXT. CORN CROPS - LUNCHTIME

Officer Paski's knee touches the ground. He points to a
single stalk of corn laying flat on it's side.

OFFICER PASKI
(soft)
Look at where it's bent over.

Graham stands next to him and leans in. The joint where the
stalk bends from the ground is a perfect "L".

GRAHAM
It's not broken.

OFFICER PASKI
What kind of machine can bend a
stalk of corn over without cracking
it?

Graham looks around at the hundreds of thousands of corn
stalks bent over each other in a perfect wave.

GRAHAM
(softy)
Can't be by hand... It's too
perfect.

Beat.

OFFICER PASKI
Doesn't sound much like Lionel
Prichard and the Wolfington
brothers. They can't take a piss
without wetting the front of their
pants.

Graham, nods in agreement. Officer Paski stands up.

OFFICER PASKI
Second thing this week I can't
explain.

GRAHAM
What was the first thing?

OFFICER PASKI
Some animals around the county
exhibiting uncharacteristic
behavior. Sometimes violent
behavior. Theo Henry had two of
his fingers bit off by his cow.

GRAHAM
Sounds like a virus.

OFFICER PASKI
No Father, they're edgy. On alert.
Like they act when they smell a
predator around... Peeing on
themselves and everything.

We see a thought catch in Graham's eyes. He turns back and
stares in the direction of the house. You can barely see the
roof over the crops. Beat.

GRAHAM
(preoccupied)
Edgar, please don't call me Father.

The two men stand as the wind blows lightly around them.
Officer Paski notices the still expression on Graham's face.

OFFICER PASKI
What's wrong?

Beat.

GRAHAM
I don't hear my children.

CUT TO:

EXT. BACKYARD - LUNCHTIME

Morgan watches the thin line of smoke rising from the charred
patties on the grill next to the overturned picnic table.

Morgan's attention moves as the crops part and his father and
Officer Paski enter the backyard. They stop cold when they
look in his direction. They begin a slow walk towards him.

Morgan Hess is seated under the jungle gym with Houdini on
his lap. Morgan is petting Houdini's fur gently. Bo is on
top of the jungle gym curled up in a ball.

As Graham and Officer Paski get closer, they see Morgan is
crying.

Then they see the dog is laying on it side and has a BARBECUE
FORK DEEP IN ITS NECK.

Beat.

They stare at Morgan as he slowly pulls an inhaler from his
pocket and brings it to his mouth. He inhales the asthma
spray. Beat. He lowers the inhaler so he can speak.

MORGAN
(soft)
He wanted to kill Bo.

Beat. Graham stares at his ten-year old son.

GRAHAM
Did he hurt you?

Beat. Morgan nods, "No." His tough exterior breaks as his
face starts to tremble. He starts crying. Graham picks him
up in his arms.

GRAHAM
(whispers in his ear)
I'm so sorry Morgan.

Graham reaches up for Bo. She has dirt and tears on her
face. Beat. She slowly climbs down. Graham carries both
his children as they cry in his arms.

He starts towards the house. Merrill walks out from the back
holding a bowl of food.

MERRILL
I used a little Tabasco in the
potato salad.

Merrill sees Houdini lying under the jungle gym.

BO
Houdini's sick.

GRAHAM
Please tie up Isabelle to the back
of the shed. Make sure the knot's
tight.

Merrill stands still with potato salad in his hands. He
nods.

The children watch over their father's shoulder as Merrill
runs to their other German Shepherd sitting quietly near the
house and leads her by her collar across the yard to the
shed.

Graham reaches the porch of his house and opens the screen
door.

The last thing the children see as they enter the house, is
the image of Officer Paski pulling the barbecue fork out of
their dead dog's neck.

CUT TO:

INT. BEDROOM - LATE EVENING

Graham lies in bed. He rests his cheek against the pillow as
he lies by himself.

GRAHAM
They're tough cookies, those two.
They think Houdini's playing with
you up there.
(beat)
At least it got them to sleep.

Graham stares off. Beat. He smiles a little.

GRAHAM
Okay Miss Puzzle Master. I got one
for you... What can make geometric
shapes the size of a football
field... and what would scare every
animal in this county?
(beat)
Have you figured it out yet?
(smiles)
You probably have...
(beat)
Give me a hint Colleen... Is it
bigger than a bread box?

DISSOLVE TO:

EXT. HOUSE - NIGHT

The large Hess farm house sits in the moonlight.

A MILLION CRICKETS AND BUGS FILL THE NIGHT AIR WITH SOUND.

THEY SUDDENLY STOP.

AN UNNATURAL SILENCE FILLS THE YARD.

CUT TO:

INT. BEDROOM - NIGHT

Graham opens his eyes slowly as he stirs from his sleep. His
daughter Bo stares at him from the edge of the bed. She is
five inches away from his face.

Graham gets startled.

GRAHAM
What's the matter?

BO
I saw a monster. Can I have a
glass of water?

Beat.

GRAHAM
What's wrong with the water next to
your bed?

BO
It tastes old.

Graham slowly gets up from the bed. He takes his daughter's
hand and starts out of the room.

GRAHAM
What's the rule about getting up in
the middle of the night?

BO
Only for pee or poop.

GRAHAM
Right.

Graham leads his four-year old daughter down the darkened
hall.

CUT TO:

INT. CHILDREN'S BEDROOM - NIGHT

Morgan's body is half off his bed. Graham gently lifts him
back onto the pillow and covers him up.

There are two glasses of water on Bo's bedside table. Graham
moves to Bo's bed. He sits on the edge of it. She stares
back at him as she holds her panda.

GRAHAM
(soft)
What are you thinking about?

BO
(soft)
Why do you talk to mom when you're
by yourself?

Beat.

GRAHAM
(soft)
It makes me feel better.

BO
(soft)
Does she ever answer back?

GRAHAM
(soft)
No.

BO
(soft)
She doesn't answer me either.

Beat. They both sit quietly for a moment.

Graham's eyes drift to the bedroom window. A LARGE
SILHOUETTED FIGURE STANDS ON THE ROOF IN THE DARKNESS AND
STARES AT HIM.

THE FIGURE MOVES. HIS SHADOW PASSES OVER THE CHILDREN'S
BEDROOM AS HE JUMPS FROM THE ROOF.

Graham stands. He looks to his daughter with startled eyes.

BO
(soft)
Get under a blanket. They can't
get you under the blankets.

CUT TO:

INT. FAMILY ROOM - NIGHT

GREY SNOW FILLS THE SCREEN. Merrill sleeps in front of the
family room television.

A hand gently shakes him. Merrill wakes and looks up at his
brother zipping up his overcoat.

CUT TO:

EXT. FRONT DOOR - NIGHT

Merrill quickly puts on his boots at the front door.

MERRILL
Okay, this guy is trying to scare
us. He's messed with our property,
he's coming around the house. It's
time for an ass whoopin'!

GRAHAM
This is not an intelligent way to
approach this.

Merrill opens the front door. It's pitch black outside.
Merrill turn to Graham and gestures with his fingers.

MERRILL
(whispering)
We both go outside and move around
the house in opposite directions.
We act crazy, insane with anger.
Make him crap in his pants and
force him around till we meet up on
the other side.

Merrill brings his fingers together at the end of a circle.

GRAHAM
(whispering)
Explain, act crazy?

MERRILL
(whispering)
Curse and stuff.

GRAHAM
(whispering)
I'm not going to curse.

MERRILL
(whispering)
You don't mean it. It's just for
show.

GRAHAM
(whispering)
It doesn't sound natural when I
curse.

MERRILL
(whispering)
Just make noises then.

GRAHAM
(whispering)
Explain noises.

MERRILL
(whispering)
Are you going to do this or what?

GRAHAM
(whispering)
No I'm not.

MERRILL
(whispering)
You want him coming in the house
next time?

Beat.

They HEAR MOVEMENT OUTSIDE. Merrill and Graham look out into
the darkness.

MERRILL
(hushed tone)
On the count of three.
(beat)
One... two... three.

Merrill and Graham go out the front door in opposite
directions.

CUT TO:

EXT. MERRILL'S SIDE OF HOUSE - NIGHT

Merrill is in a full sprint. He hugs the side of the
building as he runs.

MERRILL
We're gonna beat your ass bitch!

CUT TO:

EXT. GRAHAM'S SIDE OF HOUSE - NIGHT

Graham runs through the darkness around the first corner of
the house. He waves his arms.

GRAHAM
Ahhhh... I'm insane with anger.

Graham spots a LARGE FIGURE darting around the corner ahead
of him.

GRAHAM
I've lost my mind! It's time for
an ass whoopin'!

CUT TO:

EXT. MERRILL'S SIDE OF HOUSE - NIGHT

Merrill turns a corner full speed. THE LARGE FIGURE HAS COME
TO A STOP IN THE SHADOWS AHEAD OF HIM. HE SEEMS TO BLEND
INTO THE DARKNESS WHEN HE'S STILL.

MERRILL
I'm gonna tear your head off!

Merrill charges. WE JUST MAKE OUT MOVEMENT IN THE DARKNESS
AS THE FIGURE DISAPPEARS AROUND THE CORNER.

CUT TO:

EXT. SIDE OF HOUSE - NIGHT

Graham and Merrill come screaming around two corners and come
to a stop facing each other. Beat.

They look around, panting heavily.

GRAHAM
I cursed.

MERRILL
I heard.

Graham's eyes drift above them.

GRAHAM
He's on the roof.

They follow the roof around the corner. They find themselves
in the backyard.

Their eyes catch movement away from the house. They just
catch A GLIMPSE OF THE LARGE FIGURE as he disappears into the
crops. The swing on the swing set is still moving from being
hit.

They stare across the yard silently. ALL WE HEAR IS THEIR
HEAVY BREATHING.

MERRILL (V.O.)
It was very dark.

GRAHAM (V.O.)
Yes it was.

CUT TO:

EXT. PORCH - DAY

Officer Edgar Paski stands on the porch with his note pad
open. He faces Graham and Merrill.

OFFICER PASKI
You can't describe him at all?
Don't you think that's find of odd?

GRAHAM
It does seem kind of odd doesn't
it?

OFFICER PASKI
I don't know whether to look for a
midget or a --

GRAHAM
He definitely wasn't a midget.

OFFICER PASKI
Okay.
(beat)
So he was tall?

GRAHAM
(to Merrill)
I would say so.

MERRILL
Probably.

OFFICER PASKI
Over six feet?

Beat.

MERRILL
It was very dark.

GRAHAM
Yes, it was.

OFFICER PASKI
We've established that.
(beat)
Just tell me about his clothing
then.

Graham and Merrill stare at Edgar Paski.

OFFICER PASKI
Was he wearing a Scottish kilt or
jeans?

They keep staring. Edgar closes his pad.

OFFICER PASKI
Let me ask you two something.
Don't be embarrassed by the answer.
It is possible... Just possible
now, you might have been chasing
each other around? You said you
went in opposite directions.

GRAHAM
Edgar, it sounds as strange to me
saying it, as it is to you hearing
it. But we couldn't see him. He
stayed mostly in the shadows. All
we could make out was movement.
(beat)
But I'll tell you something with
absolute certainty. There was
someone watching our house last
night. He was looking in my
children's windows and I want you
to find him Edgar.
(beat)
I need you to take this seriously,
just incase, it is something
serious.

The three men stand in the doorway. Edgar opens his pad.

OFFICER PASKI
I apologize.

Morgan walks up to the front door. He holds up a baby
monitor.

MORGAN
Can I use Bo's old baby monitor as
a walkie-talkie?

GRAHAM
Yes.

MORGAN
It needs batteries.

GRAHAM
Edgar, come inside.

The three men follow Morgan into the house. They pass
through the family room where Bo stands at the television.

She is staring at the screen. ON THE SCREEN IS AERIAL
FOOTAGE FROM A HELICOPTER. THE FOOTAGE IS OF A LARGE FIELD
WITH ENORMOUS CIRCLES AND DIAMONDS CARVED INTO ITS CROPS.

Bo changes the channel. She finds a cartoon. She sits down
on the sofa.

Morgan and the men, can't see the screen, and move into the

KITCHEN.

OFFICER PASKI
How certain are you, that this was
a male?

MERRILL
I don't know any girls can run like
that.

Graham opens one of the cabinets and pulls down some
batteries. He hands them to Morgan.

MORGAN
These are D's; I need double A's.

GRAHAM
I have some upstairs.

Graham starts out of the kitchen.

OFFICER PASKI
I don't know Merrill. I've seen
some of those women on the
Olympics. They could out run me
easy.

They all move into the

FAMILY ROOM.

Bo watches cartoons. THE CARTOON MUSIC AND CARTOON PRAT
FALLS FILLS THE ROOM.

MERRILL
This guy got on the roof in like a
second.

GRAHAM
Bo, can you turn down the volume
until Officer Paski leaves?

Bo nods and moves to the television. The pack of men follow
Graham up the

STAIRS.

MERRILL
That roof is over ten feet high.

GRAHAM
He's telling you the truth, Edgar.
Whoever it was, is very strong and
can jump pretty high.

They arrive on the landing and follow Graham into his
bedroom. He moves into his

BATHROOM.

They all move in with him.

OFFICER PASKI
They got women's high jumping in
the Olympics. They got these
Scandinavian women who could jump
clean over me.

Graham takes the clock radio from the sink. Tries to open
the back.

GRAHAM
Shoot, it needs a screw driver. I
have double A's in here.

Graham waves the radio. The men and Morgan move out of the
bathroom.

GRAHAM
I know you're making a point Edgar.
I just don't know what it is.

They moves down the STAIRS.

OFFICER PASKI
Yesterday afternoon, an out of town
woman stopped by the diner and
started yelling and cussing cause
they didn't have her favorite
cigarettes at the vending machine.
Scared a couple of customers. No
one's seen her since... My point
is, we don't know anything about
the person you saw. We should just
keep all possibilities available.

They move through the FAMILY ROOM.

Bo's cartoon is replaced by a special report news icon.

BO
Dad, where's the remote?

Bo starts looking around the couch.

Graham stops before entering the kitchen. The group stops
with him. He looks at Bo searching the couch. He walks over
to the television.

There are three glasses of water on the TV set. He stands
next to the set. Doesn't see what's on the screen.

GRAHAM
Bo, you're too old to still be
doing this. The rule is, you take
a glass of water, you finish it.
(beat)
Now what's wrong with this one?

Bo stops looking through the sofa cushions and looks to her
father. Looks at the glass.

BO
There's dust in it.

GRAHAM
This one?

BO
A hair.

GRAHAM
This one?

BO
Morgan took a sip. It has his
amoebas in it.

Beat. Bo turns back to her search. Graham tucks the clock
radio under his arm and collects the three glasses. He heads
towards the kitchen.

MERRILL
Excluding the possibility that a
female Scandinavian Olympian was
running around outside our house
last night, what else is a
possibility?

OFFICER PASKI
I'm not done asking questions and I
don't appreciate the sarcasm.

They follow Graham and Morgan through the swinging door into
the KITCHEN.

Graham puts the glasses in the sink with a group of other
half-filled water glasses and opens the drawer to pull out a
screwdriver. He starts opening the clock radio.

OFFICER PASKI
Do you have anyone who might have a
grudge or something against you?
Maybe a church member, who might
not have liked the fact, that you
left the church?

Graham looks at Edgar.

GRAHAM
I don't think so.

OFFICER PASKI
Do you owe anybody money? You can
tell me off the record if you need
too.

GRAHAM
No.

MERRILL
No.

Morgan hands Graham the baby monitor and Graham starts
replacing the batteries.

OFFICER PASKI
Is anything missing?

GRAHAM
No.

Graham hands Morgan the monitor. He turns it ON. THERE IS A
STATIC CRACKLE WITH SPIKES OF SOUND.

MORGAN
It's still making the noises. It's
broken.

GRAHAM
It's old Morgan.

Morgan heads out of the kitchen.

MERRILL
Listen, I was out of line with that
whole female Scandinavian Olympian
thing.

Edgar nods.

MERRILL
It's just that, I'm pretty strong
and pretty fast. And I was running
as fast as I could. And this
guy...
(embarrassed smile)
He was just toying with us.

Beat. Merrill walks out of the kitchen. Graham watches
Edgar think it over.

CUT TO:

INT. FAMILY ROOM - DAY

Graham moves to a windowsill where more glasses of water sit.
He picks them up. Sees two more on the coffee table. He
gives up and puts the two glasses back on the windowsill.

OFFICER PASKI
Could everyone just take a seat on
the couch. I have some preliminary
thoughts.

Morgan sits with his monitor next to Bo, who quietly watches
the TV. Merrill and Graham squeeze in next to Morgan.

OFFICER PASKI
There are three possibilities here.
We'll call them one, two and three.
The level one scenario is that
there is a sane individual, who for
real reasons wants to do you harm.
I really don't believe that's what
we're looking at here. In my
opinion, whoever this is, they
don't want to do harm to you all.
That's kind of clear.
(beat)
The level two scenario is, this is
a mentally unstable person who's
fixated on you and your family.
This is a possibility, but a very
slim one.
(beat)
I assure you I will treat all three
possibilities carefully, but in all
likely hood we are looking at what
we'll call a level three scenario.
He's a watcher. Someone who this
is a game for. He's laying low.
Doesn't want to be seen. But he
wants to watch you. Study you
folks.

Officer Paski walks towards the windows. Graham, Merrill and
Morgan follow him with their eyes. Officer Paski walks next
to the television.

ON THE SCREEN WITH THE SOUND ALMOST MUTED, IS AN AERIAL SHOT
FROM A HELICOPTER. A DIFFERENT ONE THAN BEFORE. THE FOOTAGE
IS OF A VAST FIELD OF CROPS. THERE ARE TWO DIAMONDS FLANKING
TWO SIDE OF A TRIANGLE IN THE CENTER OF THE FIELD.

Officer Paski turns to them.

Graham, Merrill and Morgan stare at the screen.

OFFICER PASKI
Now I don't want you all to worry
about this no more. You're making
more of this than it is.
(beat)
You guys have had a tough couple of
days with the vandalism to the
crops and the death of your
shepherd.
(beat)
Maybe you guys should do something
fun? Let me worry about this
person. Let me find out who it is
and then -- What the hell are you
people looking at?

Edgar comes around to see the screen.

WE ARE ON A TV SCREEN. THE CROPS SWAY IN THE BREEZE.

A HANDFUL OF PEOPLE ARE WAVING FROM THE DIAMONDS ON THE
FIELD.

OFFICER PASKI
I'll be damned.

GRAHAM
Turn up the volume Bo.

Bo gets up.

BO
I can't find the remote.

She presses the up arrows on the TV controls.

TV ANCHOR
-- images were shot yesterday
afternoon by a thirty-four year old
local camera man in Kerala, a
southern city of India. It is the
eighteenth reported crop circle
found in that country in the last
seventy-two hours.

The television report cuts to Columbia University PROFESSOR.

PROFESSOR (TV)
Crop circles first emerged in the
late seventies with the renewed
interest in extraterrestrial life.
They died out by the early
eighties; dismissed as hoaxes.
This new resurgence is wholly
different. Elements of it are
unexplainable. The speed and the
quantity in which it has appeared
implies the coordination of
hundreds of individuals over many
countries...
(beat)
There is only a limited amount of
explanations. Either this is one
of the most elaborate hoaxes ever
created, or basically...
(beat)
It's for real.

Morgan takes the asthma inhaler from his pocket and breathes
in deeply.

MORGAN
(wonder)
Extraterrestrials.

OFFICER PASKI
What in God's name is going on?

Beat.

THE ROOM GOES SILENT as everyone watches the images on the
television screen.

CUT TO:

EXT. HESS DRIVEWAY - DAY

The two men walk down the driveway to Edgar's patrol car.

OFFICER PASKI
Don't ask me what I think. Cause I
can't think straight right now.
I'm going back to the station.
Have a cup of Marcia's coffee and
try to think clear. After that I
might make some calls.
(beat)
Hoaxes... People got way too much
time on their hands.

Edgar turns back to Graham.

OFFICER PASKI
But I'll tell you something, what I
said in their, still goes. You and
your family have been through a lot
in the last two days... Not to
mention what happened to you all
seven months ago.

GRAHAM
Six months.

Edgar stares at Graham.

GRAHAM
And three weeks.

OFFICER PASKI
It's left its mark still. The last
thing these children need to do, is
worry about some crazy things
happening in the world. Take them
into town. Get their minds -- your
mind, on everyday things. It's
good medicine.

GRAHAM
It's good advice...
(beat)
Say hi to Marcia for me.

OFFICER PASKI
You take care of yourself...
(beat)
Graham.

CUT TO:

EXT. STATION WAGON - AFTERNOON

WE MOVE THROUGH BACK ROADS OF BUCKS COUNTY. RURAL
PENNSYLVANIA IN ITS MOST BEAUTIFUL. TREE LINED STREETS.
WHITE PICKET FENCES. APPLE ORCHARDS.

The Hess family rides in their station wagon. Graham drives.
Merrill is shotgun. The children are in the back.

Morgan leans forward and TURNS ON THE RADIO.

RADIO VOICE
... signs intended to be seen from
the sky --

CLICK. Graham TURNS IT OFF.

GRAHAM
No radio either... Just for a
while.

Morgan nods and then plops back into the backseat.

CUT TO:

EXT. MAIN STREET - AFTERNOON

Downtown Bucks County. A group of small stores along a quiet
street.

The Hess station wagon pulls in front of a free parking
meter.

Graham steps out the driver's side and looks around. Merrill
puts change in the meter.

Morgan walks up to Graham with Bo.

MORGAN
Book money.

Morgan holds out his hand. Graham gives his son a look as he
reaches into his back pocket.

GRAHAM
Only one.

Morgan takes the money Graham gives him, then takes Bo's hand
and walks down the sidewalk.

Graham watches them turn into a store.

Merrill steps onto the sidewalk. Hands in his pockets as he
walks away.

Graham turns and calls after him.

GRAHAM
(calls out)
Meet back in fifteen minutes.

Merrill waves over his shoulder. He keeps walking.

Graham starts across the street to the pharmacy.

CUT TO:

INT. NATHAN'S BOOKSTORE - AFTERNOON

A mom and pop bookstore. Three isles wide. MR. AND MRS.
NATHAN, a couple in their early seventies, sit behind their
counter and watch a black and white TV. The PICTURE ON THE
TELEVISION IS OF A WHEAT FIELD. THREE ENORMOUS TRIANGLES
SURROUND A CIRCLE.

Morgan steps up to the counter.

MORGAN
Extraterrestrials?

MR. NATHAN
That's what they keep alluding to.
It's just a bunch of crock.
They're trying to sell sodas, plain
and simple. I've been watching
these reports since morning. I've
seen twelve soda commercials so
far. Twelve!

MORGAN
Do you have book on
extraterrestrials?

MR. NATHAN
Don't tell me you believe this
horse manure?

Morgan shrugs. Mrs. Nathan pushes her husband aside.

MRS. NATHAN
As a matter of fact, I think we
have one. Came by mistake in a
shipment. Decided to keep it for
city people.

Mrs. Nathan points over to the far corner.

MRS. NATHAN
Last row. Third book from the left
honey.

CUT TO:

INT. PHARMACY - AFTERNOON

Graham waits at a white counter. A gum chewing PHARMACIST in
her early twenties, who looks like she's in her teens,
glances through back shelves of medicines as she listens to
the radio.

RADIO HOST (V.O.)
Why is no one saying the obvious?
This is just a rash case of
copycats. Someone, somewhere, does
the first one. It's on TV, it's on
the internet. In less than an hour
a couple hundred people get the
same brilliant idea and here we
are... on the verge of mass
hysteria.

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