GRAVE FEARS
FADE IN:
EXT. FOREST -- NIGHT (GLORIA'S DREAM)
A trio of silhouetted CHILDREN run frantically through the dark, their CRIES ECHOING. Looming behind them in the distance is a lodge. One of the children trips and falls flat on the ground.
INT. BUS -- NIGHT (BACK TO SCENE)
A skinny woman is curled up in the last pair of seats. This is GLORIA who jolts awake from the dream, almost spilling her pint of whiskey. For someone in their early twenties, she's aged horribly. All the inside lights are off and a light snow is falling outside.
JAKE, the driver of the bus, is the only other person on board. He has the haunted stare of a middle-aged failure.
EXT. MOUNTAINS -- NIGHT
Snow covers the dark, remote landscape. The bus is halfway up the windy road leading to the top of the mountain. Suddenly, a truck comes up from behind and passes the bus. The truck SPEEDS along until a LIT-UP building can be seen in the distance.
EXT. THE POINT -- NIGHT
An old motel with a restaurant in the front. One truck is parked in front.
ANGLE ON ROOM TWENTY-ONE
INT. MOTEL ROOM -- DAY
A simple old-fashioned room. A young woman sits on the bed, leaning against the backboard. This is MARISSA, a slightly overweight twenty-year old with soulful eyes, attired in hippie regalia. Candy bar wrappers are strewn around the bed. She's writing in the diary on her lap.
MARISSA (V.O.)
Two weeks here and still no sign. Is this just some grand delusion or will I finally find them?
Marissa pauses, unable to think. Suddenly, she's psychically jolted for a few seconds. She's amazed and intrigued, holding her hands to her heart. After quickly throwing on her jacket, she ventures outside.
EXT. MOTEL ROOM -- NIGHT
Marissa looks around the empty snow-covered parking lot. She walks around to the back of the motel. Her eyes fill with tears as she stares out into the darkness.
CUT TO:
EXT. RESTAURANT PARKING LOT -- NIGHT
The colorful neon sign reads:
THE POINT - FOOD AND LODGING.
The truck that had passed the bus drives by the gas pumps and toward the back of the motel.
BEHIND MOTEL
The truck stops behind the last motel room where Marissa had been. An angry MAN in his twenties jumps out of the driver's seat and opens up the back of his truck. He yanks some baggage out onto the snow.
MAN
C'mon!
KEITH, a severely bruised man in his early twenties, slowly makes a painful exit. The Man yanks him out onto the ground. Keith recoils, terrified.
MAN (CONT'D)
(menacingly)
One more time. Where are you going?
Keith's punchy and slow to answer. The man kicks him.
KEITH
Far away...
MAN
Right.
The man kicks him again before SPEEDING off in the truck. Keith is sprawled out on the snow.
ANGLE ON MARISSA
She's backed against the shadowy side of the building, staring at Keith.
Keith staggers to stand up. As he tries to wipe the blood off his face, he spots Marissa.
KEITH
I swear, you couldn't find a better taxi service.
Marissa slowly smiles.
KEITH (CONT'D)
The drop off was a bit abrupt, but I sensed he was in a hurry.
Marissa LAUGHS.
MARISSA
(steps forward)
Are you okay?
KEITH
Well, I'm here.
An awkward SILENCE. Keith shows a rare display of embarrassment.
MARISSA
(smirking)
So...you got into a disagreement?
KEITH
(laughs)
Just a little one.
Marissa motions for him to elaborate.
KEITH (CONT'D)
Okay. I'm a comic. I was working in a club in Old Town and doin' this bit about hypocrisy. The punch line involved the Mafia. And the owner of the club, who was there, IS in the Mafia.
MARISSA
Whoa.
KEITH
I thought I was going to die.
Keith turns away from her.
MARISSA
Can I help you?
Keith's touched by her sincerity and nods to her.
KEITH
Could I get a wet towel? I don't want to go in there lookin' like this.
MARISSA
Sure.
Marissa runs to her room. Keith touches around the cuts on his face.
She runs back out and hands him a towel and some band aids.
KEITH
Thanks. You're an angel.
Keith turns away from her and painfully cleans his face. As he refolds the blood stained towel she offers to take it. Some of his blood gets on her palms as he hands it back to her.
KEITH (CONT'D)
Well! Now it's time for my luxurious bus trip. I mean, where else in the world would you rather be?
MARISSA
(beaming)
Bye.
Keith limps off toward the Point's Restaurant with his baggage.
INT. MOTEL ROOM -- NIGHT
Marissa enters her room with a dazed smile. After CLOSING the door, she leans against it, deep in thought. She eyes her baggage and hurries over to start packing.
INT. POINT RESTAURANT -- NIGHT
Rustic, old-fashioned decor. There doesn't seem to be any customers at the booths.
COUNTER
SYLVIA, the owner of the Point, steals a glance at Keith's disheveled appearance, as he looks for change. She's a big-hearted, hard-working beauty in her early thirties. Keith hands her some crumpled bills for a bus ticket.
KEITH
Thanks.
SYLVIA
(a long beat)
Are you in some kind of trouble?
KEITH
Not anymore.
An awkward SILENCE is broken by Jake's entrance. While Jake CLOSES the door, he slyly sizes up Keith. Sylvia shoots Jake an irritated look before storming off into the kitchen. Keith watches Jake shrug it off. When Jake catches Keith's glance, he stares back with an icy look.
Keith SHUFFLES over to the farthest booth in the back. After slumping down onto the booth, he's surprised to notice a man in a shadowy booth across from him. This is KANE TAYLOR, a shaky and severely troubled man in his sixties. He glares at Keith for a moment.
KANE
(growls)
You look the way I kinda feel.
KEITH
How nice of you to say so.
Kane's trembling intensifies as he looks away. Keith's concerned, but hesitant to speak. He LIGHTS a smoke.
KEITH (CONT'D)
Hey. Are you okay?
Kane doesn't respond.
KEITH (CONT'D)
Should I get the waitress?
Kane looks at Keith and nods negatively. He draws up the courage to speak and leans toward Keith.
KANE
(almost whispering)
I'm going to die tonight.
Keith's stunned. SILENCE for a moment.
KEITH
Are you sick?
No response.
KEITH (CONT'D)
(draws closer)
Is someone...someone after you?
KANE
You could say.
(a long pause)
And I do deserve to die.
KITCHEN STOCKROOM
Sylvia's in the corner, BLOWING her nose, teary-eyed. Jake's by the door, uncomfortable with the SILENCE. A calendar on the wall reads "JANUARY 1977."
SYLVIA
You got so close and then you backed off. Why, Jake? You know we'd be good together. Hell, we'd be great together.
(waits for response)
Well?
JAKE
I can't...give you what you need.
SYLVIA
And you know what I need?
JAKE
I know myself.
SYLVIA
I don't know about that.
(a beat)
Just because you ran out on one family doesn't mean you'll do it to me and Bobby.
Jake's offended. Marissa rushes in, slowly grasping that she's interrupted them.
MARISSA
Sorry. I just wanted to get a ticket for the bus.
SYLVIA
(surprised)
Now?
Sylvia's concerned and motions for them to exit.
KITCHEN
Sylvia leads Marissa to a private spot in the corner.
SYLVIA (CONT'D)
What's up, hon?
MARISSA
(sheepishly)
I don't know.
(a beat)
I just have to be on that bus.
SYLVIA
Hon, it might storm. What's the rush?
MARISSA
I got another sign.
SYLVIA
Honey...
MARISSA
I know it was real. Nothing's going to change my mind.
Sylvia shakes her head disapprovingly and then reaches out to hug her. They embrace like a mother and daughter.
INT. BUS -- NIGHT
Gloria's staring off into the dark. She has a stationery pad on her lap and a pen in hand.
INT. HOUSE -- NIGHT (FLASHBACK)
A bedroom in FLAMES. Gloria's passed out on a couch, still holding onto a pint of whiskey. She wakes up COUGHING and stumbles out of the room.
EXT. HOUSE -- NIGHT
The small country house is engulfed in FIRE, somewhat illuminating its isolated area. Gloria's CRYING as she runs into the dark woods.
GLORIA (V.O.)
(as scene unfolds)
Dear Flora. Now you know what kind of loser I am. It's unforgivable what I've done to the only person who believed in me. I know I'm a chicken-shit to run, but I could never face you again. And by tomorrow I won't ever have to face anyone again. No one'll care when I'm dead. Why should they?
INT. BUS -- NIGHT (BACK TO SCENE)
Gloria stops writing just in time to keep a grip on her emotions.
INT. POINT RESTAURANT -- NIGHT
Marissa enters and places her baggage by the door. She walks over to Keith's booth smiling. Kane is gone.
MARISSA
Hi.
KEITH
Hey, there. Man, you just missed the trippiest dude.
MARISSA
What happened?
KEITH
There was this spooky old man in that booth. He said someone was going to kill him tonight.
MARISSA
What?!
KEITH
I'm serious. He just left. And get this. He said he deserved to die because he killed a family.
MARISSA
Oh, my God.
(a beat)
Hey, I wonder...
Marissa looks out the window that faces the front parking lot. She spots a lone truck at the side of the lot.
MARISSA (CONT'D)
Maybe we can help...
KEITH
Right.
MARISSA
(walking off)
Gotta try.
Marissa OPENS the restaurant's front door to exit.
KEITH
Hey, c'mon. Don't.
Keith gets up and painfully scrambles toward the door. He stops by the glass and watches her make her way toward the truck.
EXT. POINT'S PARKING LOT -- NIGHT
Kane's truck is covered in snow. His silhouette can be seen in the driver's seat. Marissa's wary as she walks in front of the truck and stands by the driver's side. Kane stares at her menacingly before rolling down his window. It's apparent that he's upset.
KANE
What do you want?
MARISSA
I, uh...wanted to warn you about the road.
KANE
It doesn't matter.
MARISSA
Well...good luck.
Marissa extends her hand for a shake. Kane warily reaches out to shake her hand.
MARISSA (CONT'D)
If there's something I...
Suddenly, Marissa gets a psychic jolt and backs off from him. Kane looks at her strangely and rolls up his window. He hurriedly STARTS up his truck and SPEEDS off. She walks back to the restaurant stunned.
INT. POINT'S STOCKROOM -- NIGHT
There's an awkward SILENCE between Jake and Sylvia.
JAKE
I gotta get going.
Sylvia walks over to a cabinet and takes out a walkie-talkie. She attempts to hand it to him.
SYLVIA
Here. I'll keep mine on 'till the morning.
JAKE
It's just another drive.
SYLVIA
Is it?
(a beat)
You'd rather drive in a storm to avoid staying here.
Jake reluctantly takes the walkie-talkie.
POINT RESTAURANT
Marissa's at the booth closest to the front counter. Keith's standing close, concerned that she's upset.
KEITH
Well...what did he say?
Jake enters and notices their interaction.
KEITH (CONT'D)
He must've said something. I mean, you're...upset.
Jake walks closer.
MARISSA
I think he did...kill someone. Don't ask me why. I just know.
Sylvia enters the restaurant and sees Marissa's troubled state. She sits down next to her in the booth and takes Marissa's hand.
SYLVIA
What's wrong?
KEITH
A customer was spookin' her.
SYLVIA
The old man?
Keith nods.
SYLVIA (CONT'D)
(to Marissa)
Hon, the old guy's a grump. Don't let him get to you.
Marissa's still a little upset.
KEITH
(to Marissa)
Even if he is a murderer, it has nothing to do with you.
SYLVIA
Murderer?
MARISSA
(slowly)
It does have something to do with me.
(a beat)
I just don't like what I think it is.
The others are confused and concerned. Sylvia nods to the men to leave.
JAKE
(walks off)
The bus leaves in ten minutes.
Sylvia sadly watches Jake exit. Keith returns to his booth.
SYLVIA
Honey...stay another night. Okay? On the house.
MARISSA
(nods no)
Thanks, anyway.
Marissa reaches over and hugs Sylvia tightly. Sylvia's worried as she rubs Marissa's back.
MARISSA (CONT'D)
I'm going to miss these hugs.
Marissa lets go of Sylvia and gets up from the table. As she goes to retrieve her baggage, Sylvia grabs a business card from the counter.
SYLVIA
I want you to phone me in the morning. Call me collect, okay?
MARISSA
(takes card)
Sure.
Marissa faces her, happy and emotional.
MARISSA (CONT'D)
Don't worry. He'll return for you.
Sylvia looks at her quizzically. They share a smile.
EXT. POINT RESTAURANT -- NIGHT
A light snow FALLS. Jake flicks his smoke and enters the bus deep in thought.
INT. BUS -- NIGHT
Jake spots Gloria's huddled figure in the back.
JAKE
Ten minutes.
Gloria slightly shrugs one shoulder. He walks toward her and RAISES his voice.
JAKE (CONT'D)
We're leaving in TEN MINUTES.
Gloria quickly pushes herself up and angrily faces him with a tear-streaked face.
GLORIA
I heard you the first time!
JAKE
Most folks would respond...
GLORIA
(snaps)
I did!
JAKE
No, you didn't!
Keith appears outside by the open bus door, listening.
JAKE (CONT'D)
You were slumped over like a corpse.
GLORIA
How very perceptive.
(sarcastically)
Thanks for your concern.
Gloria turns off her LIGHT and reverts to her huddled position. Jake's angry as he heads back to sit in the driver's seat. Keith painfully steps up into the bus. Jake takes Keith's ticket without looking at him. He STARTS up the bus as Keith limps to a seat in the middle of the bus. Keith rests his sore leg on the arm rest across the aisle and throws his baggage on the seats behind him.
Marissa awkwardly rushes into the bus, struggling with her baggage.
MARISSA
Whew!
Marissa and Jake share a LAUGH at her frantic entrance.
JAKE
Here.
Jake takes her bags and places them in the compartment above the seats.
MARISSA
Thanks.
Marissa's disappointed that Keith's preparing to sleep. She hands Jake her ticket.
MARISSA (CONT'D)
Well, how about a little company up here?
JAKE
Sure.
Jake CLOSES the door and DRIVES off. Marissa sits down, closes her eyes, and EXHALES with a smile. Jake looks over at Marissa, who's happily self-absorbed.
JAKE (CONT'D)
Hey, Smiley.
Marissa LAUGHS at herself.
MARISSA
I'm just really, really happy. Great things are coming my way.
JAKE
Hmm. Money? Boyfriend? Both?
MARISSA
Nope.
JAKE
Now you've got me intrigued.
MARISSA
I think I'll be seeing my family soon.
JAKE
Good.
MARISSA
Even though it's been a long time, the threads are still there.
JAKE
The threads?
MARISSA
You know, how we're connected. Even though loved ones are out of your life, there's still a connection.
Jake shrugs.
MARISSA (CONT'D)
You don't believe it?
JAKE
I'd like to.
MARISSA
Then why don't you?
JAKE
When things end, it's never the same.
MARISSA
But what if things haven't really ended? What if they've just changed?
JAKE
What if you've made mistakes?
MARISSA
If you love it enough you've got to have faith and try it again.
JAKE
Some mistakes are unforgivable.
(a beat)
Well, I'm happy for you.
MARISSA
Thanks.
(a beat)
Yeah, it's been so long.
JAKE
I know how that goes.
MARISSA
Does your family live far away?
JAKE
Too far.
MARISSA
I'm sorry to hear that.
He shrugs it off. She watches him nervously LIGHT up a smoke.
MARISSA (CONT'D)
(perks up)
I'm Marissa.
Marissa holds out her hand. While keeping an eye on the road, Jake extends his hand to hers.
JAKE
Glad to meet you. I'm...
ANGLE ON THEIR HANDS CLASPING
Marissa gets a psychic jolt and quickly withdraws her hand. Jake looks over and sees that she's trembling.
JAKE (CONT'D)
You okay?
Marissa quickly nods a nervous smile and then turns to the window, slightly alarmed. Jake's puzzled by her behavior.
INT. THE POINT'S OFFICE -- NIGHT
Sylvia's eyeing the CB as if expecting a call. She LIGHTS a smoke and sits down.
EXT. MOUNTAIN -- NIGHT
A dark and STORMY sky. The bus is still ascending.
INT. BUS -- NIGHT
Jake's driving, deep in thought. Marissa's turned toward the window, writing in her diary. She peeks at Jake, before putting away her diary.
MARISSA
Uh, bathroom's okay to use?
JAKE
Yeah.
Jake watches her in the rear-view mirror, suspiciously.
Marissa walks toward the back. Keith's asleep, his legs still stretched across the aisle. She carefully steps over them. As she enters the small rest room, Gloria can be heard WHIMPERING in her sleep.
Jake's thumb is lightly TAPPING on the CB button.
INT. THE POINT'S OFFICE -- NIGHT
JAKE (O.S.)
Pine Top. This is Trojan Horse. Do you copy?
Sylvia springs to life and rushes over to grab the mike.
SYLVIA
(into mike)
Trojan Horse, it's Pine Top. Over.
JAKE (O.S.)
Just checkin' in. So far, so good. Over.
INT. BUS -- NIGHT
Jake's hesitant and looks around before he talks into the mike.
JAKE
Sylvia...I wish it could've worked out.
INT. THE POINT'S OFFICE -- NIGHT
Sylvia's eyes glisten as she SPEAKS into the mike.
SYLVIA
It still could if you wanted it to. Over.
INT. BUS REST ROOM -- NIGHT
Marissa's sitting on the toilet listening intently to Gloria MUMBLING in her sleep.
GLORIA (O.S.)
Momma...Momma...
INT. THE POINT'S OFFICE -- NIGHT
JAKE (O.S.)
I don't know...
SYLVIA
(into mike)
Well, I'm here if you need me. Over.
JAKE (O.S.)
Thanks. Over and out.
Sylvia slumps down on a chair, emotionally spent.
EXT. MOUNTAIN -- NIGHT
The bus is nearing the summit.
INT. BUS -- NIGHT
As Marissa quietly opens the rest room door, Gloria's still WHIMPERING. She carefully steps closer to get a better look at her. Gloria's wearing a pained expression. Marissa sees Gloria's fallen letter on the floor. She picks it up and reads it, nodding negatively.
EXT. MOUNTAIN ROAD -- NIGHT
The bus takes a wide turn.
INT. BUS -- NIGHT
Marissa falls forward, bumping into Gloria and then landing in the aisle. Gloria wakes up startled, and sees her letter in the aisle by Marissa.
GLORIA
(enraged)
What the fuck you doin'?!
MARISSA
I'm, uh. I was just...
GLORIA
(standing)
You're stealin' my shit!
Marissa quickly stands up and backs off.
MARISSA
No, no. It was in the aisle. I, uh...
GLORIA
You fucking liar. What else did you take?!
MARISSA
Nothing!
JAKE
What's goin' on back there?
GLORIA
She ripped me off.
MARISSA
(getting emotional)
No, I didn't.
GLORIA
(screams)
Bullshit!
KEITH (O.S.)
Shut up!
JAKE
Cool it and sit down!
GLORIA
(to Marissa)
Empty your pockets.
Gloria pushes Marissa who trips and falls onto Keith's legs.
KEITH
Fuck!
Keith springs into the aisle with a menacing look. Marissa backs off, cowering in a seat, WEEPING.
KEITH (CONT'D)
(to Gloria)
You better fucking watch it!
JAKE
Stop it, Goddamit!
GLORIA
(to Keith)
Fuck off.
Keith lunges at her and they start fighting. He quickly gets her into a head-lock.
KEITH
You better cool out, Bitch.
Keith pushes her back into her seat.
Jake's ready to blow up.
Gloria quickly pulls out a small pistol out of her purse and aims it at Keith.
GLORIA
Hey, fuck face.
Keith flashes a sinister smile and motions for her to shoot him.
KEITH
C'mon.
Jake quickly turns around and sees Gloria's pistol.
ANGLE ON JAKE'S FOOT
slowly stepping on the brakes.
EXT. BUS -- NIGHT
The bus jerks and throws everyone off balance. Keith lunges for Gloria. As they fight, she struggles to point the gun at him. Finally, a bullet is FIRED.
ANGLE ON
THE FRONT WINDSHIELD SHATTERS
Jake's startled and loses control of the bus momentarily.
The bus jerks and throws everyone off balance again.
EXT. BUS -- NIGHT
The bus loses it around a curve in the road and its backside slides a little over the edge.
INT. BUS -- NIGHT
Gloria falls against the back window and DROPS the gun.
GLORIA
Fuck!
JAKE
Don't anybody move!
The bus is seesawing up and down a little. Jake slowly turns around and looks back at the others.
Keith is hunched down in the middle of the bus. Gloria is still pressed against the back window and Marissa is almost hidden behind a seat.
JAKE (CONT'D)
(to Keith)
You. Crawl up here real slow.
Keith slowly and nervously crawls to Jake.
JAKE (CONT'D)
(to Gloria)
All right, you next. Go slow.
Gloria slinks to the ground and slowly crawls down the aisle. She passes Marissa, who's huddled on the floor with a terrified look.
GLORIA
This is all your Goddamn fault!
GLORIA'S POV
Gloria spies the gun on the floor a few rows ahead of her.
As she's crawling closer, suddenly the bus seesaws again. The gun SLIDES toward the back. When she clumsily tries to reach for it and misses, she loses her balance and falls to the right.
JAKE
What are you doing?!
VARIOUS SHOTS
of their terrified faces as they feel and HEAR the weight of the bus shift.
EXT. BUS -- NIGHT
The bus FALLS onto the driver's side and SLIDES slowly down the mountainside. Within seconds its descent is stopped when it SLAMS between a tree and a tree trunk.
The weight of the bus slowly TEARS the tree trunk out of the ground.
INT. BUS -- NIGHT
The inside lights are off. Marissa can't be seen, but can be heard CRYING (O.S.)
VARIOUS SHOTS
of Jake, Gloria and Keith at their respective spots where they're still hanging on, terrified.
Marissa's frightened, curled up on the floor, clutching a nearby seat railing. She starts to nod in denial. Within a moment she sees something in the back of the bus.
MARISSA'S POV
There's a manifestation of FLICKERING LIGHTS starting to form a hazy image.
Marissa slowly stands up with a radiant expression, now oblivious to their plight. She starts to climb toward the manifestation in the back of the bus.
JAKE
Hey! Sit down!
The bus starts moving again. The other three are alarmed.
Marissa reaches out toward the apparition.
KEITH
Sit down!
Suddenly, Marissa's alarmed.
MARISSA'S POV
The manifestation is gone.
Marissa's upset and starts to climb toward the back again.
GLORIA
You crazy Bitch! Get over here!
KEITH
Fuck it. I'm just gonna grab her...
JAKE
No! Wait a...
EXT. BUS -- NIGHT
The tree root finally RIPS out and the bus starts to SLIDE down the mountainside.
INT. BUS -- NIGHT
JAKE
Get under a seat and hold on!
Marissa's terrified.
EXT. BUS -- NIGHT
MOVING
with the bus on its descent. It's HITTING large rocks and CRASHING past trees.
INT. BUS -- NIGHT
VARIOUS SHOTS
of Keith, Jake and Gloria's terrified reactions to the BUMPY ride.
EXT. BUS -- NIGHT
The bus now picks up SPEED.
ANGLE ON FLATLAND
ahead in the distance. An old lodge is near the bottom of the mountain.
The bus comes down the mountainside, SLIDES across the snow and CRASHES into the lodge.
INT. BUS -- NIGHT
Marissa's body CRASHES into a seat and falls out of sight.
EXT. BUS -- NIGHT
ANGLE ON BACK OF BUS
smashed into the side of the lodge. It's an old, ominous looking three-story structure with boarded-up windows. It appears that its isolated area offers no visible access for escape.
INT. BUS -- NIGHT
Everyone, except Marissa, rises up, shaken and sore from the crash.
Marissa's leg sticks up from below a row of seats.
Jake quickly rushes over to her. Her unconscious body is in a crumpled position.
JAKE
Shit!
Jake stands up, facing them menacingly.
JAKE (CONT'D)
You stupid bastards.
Keith glares at him.
GLORIA
Hey, shut up. You don't know what happened.
JAKE
(steps toward her)
You think I'm deaf?! I seriously doubt she was ripping you off.
GLORIA
She was taking my stuff.
KEITH
(to Gloria)
You're full of shit.
(to Jake)
The bus took a turn and the girl accidentally fell on her.
GLORIA
(to Jake)
Listen, she had my stuff and he attacked me. I was only protecting myself.
KEITH
(steps toward her)
I was protecting her from you. You know what I think?
GLORIA
I don't give a shit what you think.
KEITH
Well, I'm gonna tell you anyway. You're just a speed freak biker whore who's about ready—
JAKE
(overlapping)
That's enough.
KEITH
--to blow her brains out and--
JAKE
I said that's enough!
Gloria's angry and too emotional to speak.
JAKE (CONT'D)
(to Gloria)
Where's that gun?
GLORIA
I don't know. I dropped it.
JAKE
Empty your pockets. Slowly.
GLORIA
Ah, fuck, man.
Gloria shows that her pockets are empty and opens her parka to show there's no pistol hidden.
JAKE
(to Keith)
Now you.
Keith's annoyed by the order. He arrogantly shows Jake he's not holding the pistol.
JAKE (CONT'D)
Okay, both of you out.
Gloria and Keith resent the order. She grabs her purse.
JAKE (CONT'D)
Leave it.
GLORIA
What the hell are we suppose to do?
Jake's SNARLING as he points to the emergency exit door in the back of the bus.
JAKE
You're out of here until I find that gun! You savvy?!
Gloria and Keith are fuming. Jake stares them down until Keith stalks off toward the exit door. After a few attempts, Keith kicks the dislodged door open and jumps out. While Gloria exits, Jake lays Marissa in a better position. A few moments later, he finds that the CB is broken.
EXT. BUS -- NIGHT
Gloria's still by the bus, staring quizzically at the lodge.
ANGLE ON LODGE
a decayed, forbidding sight.
Keith eyes the lodge fearfully, shivering.
JAKE (O.S.)
Okay. You can get your stuff.
Gloria and Keith turn around to see Jake waving her pistol before putting it into his coat pocket. They reenter the bus after Jake climbs on top of it. He struggles to open the exterior storage door. Once he does, he pulls out a crowbar and throws it onto the snowy ground.
INT. BAR ROOM -- NIGHT
Jake climbs back inside and waits for them to exit. His brooding presence annoys them as they exit with their baggage.
In the back of the bus lies Marissa's body seemingly forgotten.
EXT. LODGE PORCH -- NIGHT
Jake PRIES the last board off of the front door. Gloria's at the side of the porch, having a SMOKE, looking around inquisitively. Jake SLAMS the side of his body against the door with no success. He motions to Keith in an condescending manner for some help. They SMASH it open after a few hard SLAMS with their bodies.
INT. LODGE -- NIGHT
It's a dark and gloomy sight. Cobwebs are everywhere. It's been stripped of fixtures and furnishings. A staircase leads upstairs into a pitch-black hall and the entry leads into a living room. Jake shines his LIGHT around while Keith eyes the entry as if it were strangely familiar. Jake walks slowly into the living room.
LIVING ROOM
Bare and shadowy. Its back wall and fireplace have been damaged by the crash.
Jake shivers and exits, closing the doors behind him.
ENTRY
Keith's staring at the staircase.
JAKE
C'mon.
Jake starts up the staircase and Keith follows. With every footstep there's a SQUEAK.
KEITH
Nice place for a honeymoon, huh?
SECOND FLOOR HALLWAY
Keith follows Jake as he shines his LIGHT in the first two rooms. Jake enters a room in the middle of the hall.
BEDROOM
It's a large, bare room with a small fireplace. An old trashed mattress is nearby.
JAKE
Let's bring her up here.
Jake exits. Keith nods negatively and then follows.
CUT TO:
EXT. BUS -- NIGHT
The emergency exit door in the back of the bus is open. Keith and Jake are carrying Marissa on a small stretcher out of the bus.
INT. LODGE -- NIGHT
Gloria's shining Jake's FLASHLIGHT around the entry, deep in thought.
KEITH (O.S.)
Move it!
Gloria gets out of the way as the two men bring the stretcher in. Keith shoots her a nasty look and she gives him one in return. The two men carry the stretcher up the staircase very carefully.
JAKE
(to Gloria)
Get that light over here!
Gloria SHINES the light in front of them as she follows. The steps SQUEAK as they ascend the staircase.
As Gloria walks up the steps, something in the distance catches her attention.
Her foot steps through a rotted board and she twists her leg.
Gloria DROPS the flashlight and falls down
GLORIA
Fuck!
Keith LAUGHS at her.
GLORIA (CONT'D)
Asshole!
KEITH
(prissy)
It's not nice to swear.
Jake and Keith set the stretcher down at the top of the staircase.
GLORIA
You're a fu--
SECOND FLOOR HALLWAY
JAKE
Stop it, the both of you.
(to Keith)
Let's get her in the room.
They wait for Gloria to get it together. Jake motions for her to shine the LIGHT into the second room.
BEDROOM
Gloria walks in first, LIGHTING the way for them. While the men are carrying the mattress, Keith SNIFFS the air. As soon as they let the stretcher down, they back off, repulsed by Marissa's incontinence.
GLORIA
Oh, God. Don’t tell me she crapped on herself. Shit, now this place is gonna stink.
JAKE
Someone's gotta clean her.
GLORIA
Don't look at me.
KEITH
I sure as hell ain't.
JAKE
One of you has to. I'm gonna radio for help.
GLORIA
Hey, the Bitch tried to rip me off.
JAKE
(to Keith)
Well, I guess that leaves you.
Gloria SNICKERS.
KEITH
Wait a fuckin' minute. Who put you in charge?
JAKE
Do I need to explain the situation to you?
Keith LIGHTS up a smoke and shakes his head.
JAKE (CONT'D)
Believe me. She's gonna pay for this.
GLORIA
What the hell's that supposed to mean?
Keith flashes a sarcastic smile at her.
JAKE
You know damn well what I mean.
GLORIA
You best not fuck with me. I know certain people, man...
JAKE
Right. People who'd understand guns in buses and letting the sick lie in their shit, right?
She clams up angrily.
JAKE (CONT'D)
(to Keith)
Now see if you can find something to start a fire with. I'll bring back some things you can use to clean her.
Keith shakes his head as he walks out of the room. Jake motions for Gloria to hand over the flashlight. She looks away and hands it to Jake as he quickly exits. Gloria flicks on her lighter and casts a hateful look at Marissa.
ENTRY
Jake is almost to the front door when he hears the SOUND of a door SQUEAKING. He walks back to investigate and OPENS the kitchen door.
KITCHEN
Jake walks into the dark and eerie room, shining his LIGHT around. It's fairly small, with cobwebs covering the walls and the dilapidated cabinets. He OPENS a few cabinets and sees that they're empty. In the far corner, the cellar door is slowly moving back and forth, SQUEAKING. Jake pushes it open and starts down the steps.
CELLAR
Another SQUEAKY staircase. Jake shines his LIGHT around as he walks down. He picks up an old broom to clear his way through the cobwebs. Once he reaches the bottom, he sees that the cellar is huge, extending fifty feet in both directions. Small open compartments line one side while a very long workbench lines the other wall. He smiles when he sees a pile of firewood nearby. He walks down one side noticing how dirty and empty it is. Suddenly, there comes a strange NOISE from the other direction. He turns around and starts walking toward it. There's nothing, but an eerie SILENCE as he makes his way.
JAKE'S POV
He shines his LIGHT around and looks everywhere for the cause of the sound.
Jake suddenly gets a pain in his head and winces. He has a quick flashback.
INT. BAR ROOM -- NIGHT (FLASHBACK)
A silhouetted COUPLE dances in the dark to an old SONG that ECHOES.
INT. CELLAR -- NIGHT (BACK TO SCENE)
Jake drops his LIGHT and applies pressure to his temples with his fingers. He opens his eyes and looks around, bewildered. After he picks up his LIGHT, he walks back up the staircase. He looks behind himself twice during his climb. Suddenly, the kitchen door SWINGS open. He jumps back against the wall and the staircase SHAKES a little. Keith peers out and sees Jake.
JAKE
(relaxes)
Jesus...
KEITH
Any wood down there?
JAKE
Yeah.
Jake brushes past him and exits.
CUT TO:
INT. LODGE BEDROOM -- NIGHT
A small FIRE is going in the fireplace. Marissa's baggage has been placed by her. Keith lifts an old bucket filled with snow and puts it gently onto the logs. Jake puts a small pile of towels by Keith. Keith sees how dusty they are.
KEITH
(motions to the towels)
Should I check for moths?
JAKE
(turns around)
You wanna use your own clothes to wipe her?
Keith nods negatively at Marissa. He's fuming as he's wiping soot off his hands. Jake pulls a small bag of beef jerky out of his coat and throws it by Keith, surprising him. Jake exits.
LIVING ROOM
Gloria wanders about with her LIGHTER. She hears the SOUND of Jake's exit as she approaches the damaged fireplace. Gloria lifts her LIGHTER to illuminate the wall by the fireplace. There's a nail and a discolored outline from a picture frame that hung there. She stares at the spot.
BEDROOM
The smell coming from Marissa's body repulses Keith.
When Keith pulls down her skirt, he sees she's wearing a money belt.
Keith's eyes widen. He walks quietly to the door and looks down the hall. After quickly tip-toeing back, he gently takes the belt off of her.
After emptying the belt into his lap, Keith sees that it's a few thousand in large bills.
KEITH
(sotto)
Shit.
He hears the SOUND of FOOTSTEPS approaching. Quickly he hides the money under his shirt and pretends to be attending to Marissa. Gloria passes by in the hall.
SECOND FLOOR HALLWAY
Gloria comes out of the last room down the hall with her LIGHTER held high. She spots the start of a small staircase at the end of the hall and walks up to it.
The dark, cobwebbed staircase stirs up in her mixed sense of fear and fascination. She starts to climb up the steps.
BEDROOM
Keith's peering down the hall at Gloria. He comes back in and looks desperately around the room.
STAIRCASE
Gloria reluctantly OPENS the door to an attic at the top of the staircase. She extends her arm with the LIGHTER and strains to see what's inside.
ATTIC
Gloria steps onto the extremely SQUEAKY floor. The attic is thick with dust and cobwebs, and its walls are rotting. Shadowy stacks of boxes and objects congest the room. She spots a blanket covering a box and walks over to it. When she pulls on it, it KNOCKS over some objects, causing a domino effect. The last thing to fall is an old moving box in the corner.
The top of the box opens and part of an old white dress with red dots spills out.
Gloria stares at the dress, mystified.
BEDROOM
Keith's in the small closet, reaching into a hole in the plaster wall above the shelf. Once satisfied with the security of the space, he pulls the money out from under his shirt.
ATTIC
Gloria starts to walk toward the box.
ANGLE ON FLOOR
There are cracks and rot in the floor that she's not aware of.
Suddenly, the floor starts to CAVE IN when she's a few feet away from the box. She hurriedly scrambles back to the door.
BEDROOM
Keith looks up and listens to the sound of WRECKAGE above him. Suddenly, a large beam comes CRASHING through the ceiling. It knocks him right to the floor, pinning his body there. The rest of the money falls to the ground. Marissa's body is unharmed by the debris from the ceiling. Keith MOANS in pain as he stretches to reach the scattered money.
STAIRCASE
Gloria bolts down the steps.
BEDROOM
Gloria runs in just as Keith's about to grab some bills. After quickly sizing up the situation, she smirks at Keith. She swaggers over and kicks the bills farther out of his reach.
GLORIA
(sardonically whispers)
Let's have a little talk.
CUT TO:
INT. BUS -- NIGHT
Jake's sitting in the dark, shivering as he has his second smoke. He reluctantly lifts up Sylvia's walkie-talkie.
JAKE
This is Jake calling The Point. Do you copy?
(a beat)
This is Jake calling The Point. Do you copy?
SYLVIA (O.S.)
This is Sylvia, Jake. How's it going?
JAKE
We crashed. Marissa's hurt pretty bad.
INT. THE POINT -- NIGHT
In the dark of Sylvia's bedroom, she's sitting on the side of her bed, upset.
SYLVIA
What happened?
JAKE (O.S.)
The other passengers were fighting and a gun went off. I lost control and the bus went down the side of Vulture's Pass. We're in an abandoned lodge near the bottom of the Pass.
SYLVIA
How bad is she?
JAKE (O.S.)
Can't tell. She's unconscious. Just...just get some help out here.
SYLVIA
Okay. I'll radio back as soon as I can. Are you okay?
JAKE (O.S.)
Yeah.
(a beat)
Thanks.
SYLVIA
Sure. Over and out.
Sylvia becomes more upset as she nervously DIALS her phone.
INT. BUS -- NIGHT
Jake takes a chug off of his pint of whisky before stashing it by the driver's seat.
EXT. BUS -- NIGHT
As Jake walks toward the lodge holding the walkie-talkie, he spots the side of a garage in the back. He ventures toward it. The garage is fair-sized and set apart from the lodge. The window and side door are boarded up. Suddenly, Jake's eyes widen.
ANGLE ON
fresh tire tracks in the snow leading up to the garage door.
Jake walks toward the garage.
INT. LODGE BEDROOM -- NIGHT
The money's gone and Keith's still pinned under the beam, fuming. Gloria quietly rushes in from the hall and up to Keith. She angles her body to lift the beam.
GLORIA
Don't try nothin' or you'll lose your half.
Gloria uses all her might to lift the beam up as Keith crawls out from underneath it. Once he's free, she lets go and lets it SLAM onto the floor. The room SHAKES for a moment revealing its fragility. Dust and plaster fall from the hole in the ceiling. They're still for a moment. Keith faces Gloria and points his finger at her, SNARLING.
KEITH
(whispering)
The next chance we get, we're splitting that up. Remember, I know how much is there.
GLORIA
(wicked smile)
Of course.
EXT. LODGE -- NIGHT
Jake's prying boards off the garage's side door. Once he's done with that, he KICKS the door open. A powerful stench emanates from the darkness inside. Jake covers his nose and turns on the flashlight to see inside.
JAKE
(stunned)
Jesus Christ...
INT. LODGE -- NIGHT
Keith finishes dressing Marissa while Gloria lays on her back deep in thought. He grabs the soiled items with a nauseated look and exits.
HALLWAY
Jake rushes up the staircase as Keith throws the bundle into a room.
JAKE
Hey. You gotta see this.
Gloria enters the hall and follows their exit.
EXT. GARAGE -- NIGHT
Jake leads the way toward the side door. He stops at the open doorway and shines his LIGHT in. Gloria and Keith are repulsed by the stench and cover their noses.
GLORIA
Shit! Something's foul in there.
They look inside.
KEITH
All right!
ANGLE ON INTERIOR GARAGE
The flashlight SHINES on a large, fairly new truck.
INT. GARAGE -- NIGHT
Gloria rushes in.
JAKE (O.S.)
Wait a minute!
She FLICKS on her lighter as she approaches the cab.
ANGLE ON CAB
In the driver's seat is a decomposed CORPSE with part of its face gone.
Gloria SCREAMS and runs to the garage doorway. Jake walks inside and SHINES his LIGHT inside the cab for Keith to see. Keith's horrified and backs off.
ANGLE ON CAB
It's the corpse of Kane Taylor. The gun he shot himself with is lying nearby. Dried blood and body matter are all over the inside of the cab.
Jake's SHINING his flashlight around the truck, checking it out intently.
KEITH
Jesus Christ...That's the guy from the restaurant. He's the one who got that girl upset.
(a beat)
Goddamn...
Keith shakes his head and walks away, dumbfounded. He pushes by Gloria in the doorway.
EXT. GARAGE -- NIGHT
Keith stops a few feet away from the garage door. He looks out into the dark, sad and confused.
INT. GARAGE -- NIGHT
Jake covers his nose with a hanky and slowly OPENS the driver's door. He carefully reaches in and turns the key, eyeing the gauges. After pulling the key ring out, he SLAMS the door.
GLORIA
So...what's the story here?
Jake exits without answering.
EXT. GARAGE -- NIGHT
Jake's relieved to breath fresh air as he walks toward the lodge. Gloria and Keith follow him.
GLORIA
(to Jake)
When are we going?
JAKE
(still walking)
As soon as help comes.
Jake enters the lodge.
INT. LODGE -- NIGHT
Gloria stops by the doorway after the two men enter. Jake heads for the staircase.
GLORIA
What about the truck? We should leave now, you know.
JAKE
(still walking)
The rangers are looking for this lodge, not a lost truck.
GLORIA
Shit! I'll drive it.
JAKE
(stops to face her)
No you won't.
GLORIA
You've got no right to...
JAKE
Shut your trap! I've got every Goddamn right a citizen's arrest allows me.
GLORIA
Oh, Christ...
JAKE
So, you're staying put.
Gloria stares at Jake.
GLORIA
You'll pay for this.
JAKE
Right.
GLORIA
Yeah, that's right. Who's the negligent driver who allowed this prick to attack me?
After Gloria motions to Keith, he surprises her with a SLAP across the face. They suddenly start fighting and Jake pulls them apart.
JAKE
(to Gloria)
You know what? I changed my mind.
Jake throws her the keys and heads up the staircase.
JAKE (CONT'D)
Don't talk your passenger's ears off.
Keith burst out LAUGHING. Jake tries to keep a straight face as he approaches the top of the staircase.
GLORIA
(hurt)
Assholes!
Gloria throws the keys and storms out of the room.
BEDROOM
When Jake enters, he's halted by the sight of the damaged ceiling.
KEITH
(entering room)
The attic's like an eggshell.
Jake nods his head negatively as he approaches the fireplace. After Keith sits down nearby, he eyes Jake's pensive stance.
JAKE
(staring into fire)
That guy in the truck. I saw him a few times before.
(pauses)
The workers at The Point referred to him as the Creep.
KEITH
I'd say he won that title hands down.
(a beat)
Makes me wonder who was after him.
JAKE
(to Keith)
Yeah.
Jake turns away and reflects for a moment.
JAKE (CONT'D)
Last time I saw him was a couple of weeks ago. Seemed like there was never any other customers when he was there. Always alone in a booth in the back with the shades on. Just a cold order and never a tip.
(pauses)
This time the waitress didn't bring back his change. He's by the register snarling, "Where's my change?!"
(faces Keith)
Eight cents.
(a beat)
(MORE)
JAKE (CONT'D)
Those cold eyes were just piercing through the shades at her. Like it was some grave injustice.
KEITH
Well, he finally took off the shades, huh?
Jake nods as Keith stretches out his body to face the fireplace.
Jake kneels down by Marissa, staring at her, disheartened. He spots the tip of the diary sticking out of her baggage. After pulling it out, he opens to the last passage. Jake's puzzled by what he's reading.
MARISSA (V.O.)
"...and when I shook hands with the driver, that power returned again. I felt his sadness and saw the blur of his hell. Should I tell him that I think his last chance is here?"
Jake closes the diary and faces the wall hiding his troubled expression. Keith's watching Jake.
KEITH
You want me to get the walkie-talkie?
Jake breaks out of his gloom and quickly looks around.
JAKE
Oh...uh. No, I'll get it. I left it outside.
Jake quickly exits the room without facing Keith.
KITCHEN
Gloria's SMOKING a roach by the cellar doorway. After hearing Jake's FOOTSTEPS on the staircase, she puts the roach out and EXHALES into the cellar.
GLORIA'S POV
She quietly opens the kitchen door a crack to peek.
Gloria watches Jake's exit with an icy look. The front door SLAMS shut. Within a moment, the cellar door SQUEAKS (O.S.) a little. She spins around, fearfully eyeing the darkness of the cellar.
EXT. GARAGE -- NIGHT
As Jake approaches the garage, he hears the SOUND of Sylvia's VOICE from the walkie-talkie.
SYLVIA (O.S.)
Jake, are you there? Come in.
(a beat)