DAY 2:
INT. BATHROOM OF MOTOR HOME, MORNING.
FADE IN:
Begin with a close-up of a shaving mirror steamed over. The Man’s arm wipes across it revealing his reflection, disjointed because of the smear. He wipes it again and his image is clearer; more normal.
CUT TO:
A close-up as he picks up a cut throat razor.
CUT TO:
First camera position. As the Man is about to shave he calls out
MAN
Honey, I forgot, can you feed the dog.
CUT TO:
INT. KITCHEN OF MOTOR HOME.
WOMAN
Okay!
CUT TO:
INT. BATHROOM.
MAN
I asked them to do it but you know…
CUT TO:
INT. TEENAGERS BEDROOM
A shot of Boy and Girl still asleep.
CUT TO:
INT. KITCHEN.
WOMAN
(Opening can of dog food)
Let them sleep.
CUT TO:
INT. BATHROOM.
MAN
(Now shaving)
I want to get that thing back to where it belongs.
CUT TO:
INT. KITCHEN.
WOMAN
(Emptying can into a large clear hour-glass shaped dog bowl)
We have all day. I don’t understand this sudden nervousness with you. It’s not going to develop hands, creep up behind you and choke you to death...
CUT TO:
INT. BATHROOM.
MAN
I’m not nervous! There’s a reservation close by – Pine Ridge. They’d be pissed if they found out what the boy’s done.
CUT TO:
INT. KITCHEN.
WOMAN
What locals? I thought we were the only lunatics, sorry tourists, for miles around here.
(On her way out outside with the bowl)
Well if we meet Cochise we’ll just tell him we made a mistake and we’re going to put it back later on.
MAN
(Shouting from bathroom)
I told you before Cochise isn’t…oh never mind!
The Woman goes toward the door of the Motor home with a huge grin on her face having got a rise out of the Man.
EXT. MOTOR HOME.
The Woman calls the dog from the door opening of the Motor home. It does not show. She goes out of the Motor home and calls again. The sun hits the glass bowl and reflects in the Woman’s eyes in a golden orange glow. There is suddenly a rustling noise coming from the scrub over to her right. She, not overly concerned, picks up a large rock, replacing it on the ground, with the bowl. Unseen by her she has disturbed a scorpion which is now trapped in the glass bottom of the bowl, but unseen from above through the dog food.
CUT TO:
A close-up of the creature from underneath.
INT. BATHROOM.
The Man is beginning to shave underneath his throat.
EXT. MOTOR HOME.
Back outside there is another rustle from the scrub.
CUT TO:
A close-up of Woman’s face. Her expression shows a steely disposition rather than fear.
CUT TO:
INT. BATHROOM.
An extreme close-up of the cut throat razor travelling along the Man’s face; the morning sun is reflecting off its surface.
CUT TO:
INT. BEDROOM.
The Boy and Girl are still sleeping
CUT TO:
INT. BATHROOM.
A medium close-up of the Man who is about to take one last stroke with the razor. As he moves it upwards from his Adams apple to below the chin a streak of red blood draws the opposite way down his throat. He does not notice this.
CUT TO:
EXT. MOTOR HOME.
The Woman approaches the scrub. There is movement inside again and she stops juggling the rock between her hands, bracing herself in case some thing comes out of the scrub.
There is what appears to a half smile on her lips.
CUT TO:
INT. BATHROOM.
Cut back to the Man, who is wiping off the remnants of the shaving foam from his chin. There is no blood visible. He puts the razor down on the edge of the sink.
CUT TO:
A low angled shot from below looking up at the part of the razor blade jutting out over the sink. The steam from the hot water is rising behind it making it look as if the blade were smoking.
CUT TO:
EXT. MOTOR HOME.
Camera positioned head height in front of the Woman and between her and the scrub. The motor home is visible behind her and the man is seen coming out.
CUT TO:
A head height medium close-up shot of the Man, who is calling her from the doorway of the Motor home.
MAN
What are you doing?
CUT TO:
Camera shot as before. The Woman who looks behind her toward the Motor home
WOMAN
Out here…looking for the dog.
MAN
Okay. I’ll start breakfast.
As he goes back in she turns back toward the gorse.
CUT TO:
A POV shot of the woman looking down into the gorse. There is no movement.
CUT TO:
A close-up of the woman, head height and from the side.
CUT TO:
POV shot again. Nothing moves.
CUT TO:
Previous close-up, same camera position. She then wipes one hand across her face and realises that the stone is covered with red dust. She lifts the stone into view, examining it and then lowers her arm to drop the rock.
CUT TO:
A low angled-shot of her from the back of her knees downward with the scrub at the back of the shot. Her arm enters the screen from above and drops the rock, at the same time a black shape leaps out on top of her knocking her down.
CUT TO:
A low-angled shot of the mother side-on with the dog on top of her. She is rubbing it vigorously without any sign of shock or panic.
WOMAN
There you are boy!
CUT TO:
A shot from the Scorpion’s POV with the Woman and the dog walking toward the bowl, their figures distorted through the glass.
WOMAN
Go on boy get your breakfast.
The dog begins to eat as she walks back into the Motor home where the Man is visible from the kitchen area.
MAN
What’s that?
WOMAN
What?
MAN
Across your eye.
Woman looks in Motor home rear-view mirror to check the stain across her left upper cheek, eyelid and forehead.
WOMAN
Oh, it’s dust off a stone.
MAN
A stone? Are we under attack?
WOMAN
I thought there may have been a coyote or something in the scrub, so I picked up a dusty old stone – just in case?
MAN
(Laughs)
Now who’s nervous?
WOMAN
(Peeved slightly, at the suggestion)
Not at all. How’s breakfast going?
MAN
Fine considering I seem to be lacking a couple of assistants.
WOMAN
I know, I know; but you’ll cope won’t you?
CUT TO:
A shot above the dog as he is eating. The camera zooms in slowly and as we get nearer, the more food the dog eats the more the scorpion is visible underneath. The dog does not notice but carries on eating.
CUT TO:
An extreme close-up from the scorpion’s POV. The camera makes three darting movements toward the dog as he eats.
CUT TO:
An extreme close-up of scorpion making attacking movements with his sting mimicking the camera movement.
CUT TO:
A side-on medium long-shot of the dog finishing his food. He turns to go but suddenly notices the scorpion and looks curiously into the bowl. The sun is reflecting an orange glow around the bowl.
CUT TO:
A shot from the scorpion’s POV showing the dog’s eyes appearing to glow orange.
CUT TO:
The scorpion in extreme close-up who appears to back away.
CUT TO:
The dog who lies down with the bowl in the foreground.
He is staring into the bowl in an almost nonchalant fashion, his head leaning on his front legs.
FADE TO BLACK.
EXT. CLIFFS. NOON.
All four group members and dog are seen in long-shot, climbing up towards the cave location where the boy found the headdress, which he is holding now. There is the intimation of a breath of wind and the faint sound of distant hoof beats, none of which is noticed by the family. The sky behind the cliffs is blue and cloudless. They reach a flat ridge just below the cliff top where the cave is situated.
EXT. RIDGE BELOW CLIFF TOP.
MAN
(Stumbling)
God dammit how much further to this cave?
BOY
It’s just up here on the next ridge.
MAN
You’d better be sure because I’m not climbing another.
BOY
Does that mean I get to keep it?
MAN
No, it means I'll bury it here in the sand if I have to.
GIRL
It's okay, this is the one, I'm sure of it.
MAN
It’d better be.
WOMAN
I don’t know why you’re complaining. We’re only doing this because you insisted.
BOY
She’s right, what harm are we doing? It doesn’t even fit on the guy’s head anymore.
WOMAN
This is ridiculous. It’s not theft is it? The Indian’s been dead for over a hundred years.
MAN
Okay, okay. But I’ve nearly broken my ankle five times getting up here so let’s just get on with it and put it back…
They walk on until they reach a wide level ridge that leads off to the left and the other side of the cliff. Ahead of them is another face of the cliff and the path narrows in front of it. There is gorse growing in front of the face. The Boy and Girl lead on towards this spot.
WOMAN
Careful now, this looks dangerous.
GIRL
That’s what I told dickshit yesterday.
BOY
You colon clicker – it’s not that far up.
GIRL
Didn’t stop you grabbing me ‘round the waist and dragging me to the edge.
BOY
Shit yourself?
GIRL
I wasn’t scared Moron. What you did was stupid. I’m not invulnerable.
MAN
(Impatiently)
Where’s the cave?
BOY
Well that’s just it, that’s how we found it, I mean.
CUT TO:
EXT. CLIFF TOP, PREVIOUS DAY.
A close-up of the Boy laughing. He moves away from the camera to reveal he has the Girl clutched around the waist pulling her toward the cliff edge, screen right. He is urging her on she is resisting. All of a sudden he loses his balance, drops her to the floor and falls backward into the gorse.
BOY
Ouch, jeez this stuff is sharp!
GIRL
Serves you right, asshole.
Boy is trying to free his clothes which are snagged on the thorns.
GIRL
Wait, I’ll give you a hand.
She goes toward him as he looks back over his shoulder to try and free his shirt that has been snagged from behind.
BOY
(Spotting something)
Wait.
GIRL
What’s wrong?
BOY
There’s something back here.
GIRL
Wait- I’ll help you.
BOY
No, it’s okay…wait a minute.
Boy manages to turn himself around and raise himself to a crouch. He peers into the interior of the gorse.
INT. CAVE.
The camera pans slowly across the walls of the cave that are decorated with Native American drawings. A light appears and grows in intensity obliterating the drawings.
CUT TO:
A view from rear of cave of gorse masking the entrance to the cave itself. A hand is seen carving a way through, letting the outside light in. Then an arm comes through. It winds itself in through the gorse in a snake-like fashion.
BOY
(Emerging through the gorse)
There’s a hole behind here, but you wouldn’t know it.
(Boy moves into cave)
Hey, you’ll never guess what I just stumbled on.
GIRL
(From outside cave)
What is it?
BOY
A cave.
GIRL
Is it safe, I mean there are there any wild animals in there?
BOY
Only me; come on in. It looks like an old Indian burial cave.
GIRL
(Coming through the gorse)
How do you know that?
She enters the cave and walks up to the boy.
BOY
There’s a dead giveaway here.
CUT TO:
A shot of the front of the boy who moves away revealing a skeleton lying behind him on the floor of the cave. Zoom in toward the skull.
DISSOLVE
INT. CAVE.
We are back in the present. The entire group is in the cave. The dog is lying down on the other side of the gorse. The boy is still holding the headdress in his hand.
BOY
It was sitting on his head. He’s hardly gonna miss it.
MAN
Well it doesn’t look as if you’ve disturbed anything. Put it back then.
Son looks disappointed
WOMAN
(Mischievously)
Why, you’re not afraid are you?
MAN
For the last time this has nothing to do with evil spirits or superstition.
It’s a matter of respect.
GIRL
Aw c’mon, this isn’t Tutankamen. History’s full of empty graves. The whole of modern Europe is built on the Greek and Roman empires.
WOMAN
Disrespectful bastards!
MAN
That’s called progress.
Boy returns headdress to skeleton. As he does so a blood stain is trickling from the right side of his head. Neither the group, nor he, notices it.
They move to exit the cave, the Boy and Girl going first. As they go through the gorse bush the Woman turns towards the Man. He is looking at the cave paintings.
WOMAN
Interesting?
MAN
A little.
Intrigued the Woman turns and joins him. The Man points toward a particular section of the wall. It appears to depict a scene where the cavalry are slaughtering the Native Americans.
CUT TO:
A close-up of the Man’s finger as he highlights one particular figure. It is dressed in a cavalry suit but appears to have the head of a bear.
WOMAN
Familiar?
EXT. CAVE.
The Boy and Girl are sitting next to the dog. The dog suddenly gets up and pads toward the gorse. His hackles rise and he begins to snarl and then bark viciously.
INT. CAVE.
MAN
What’s going on now for God’s sake? Can’t I leave anybody alone for a minute out here?
EXT. CAVE.
WOMAN
(Exits gorse and fondles the dog in an effort to calm him)
What’s wrong boy?
GIRL
I dunno. Maybe he can sense something in there.
MAN
(Coming out through the gorse)
There’s nothing in there, not anymore, at least.
GIRL
Can we go now?
BOY
Might as well; the only good thing to come out of this stupid vacation and I had to give it back to skinny Joe in there.
They turn to go back down the cliff.
EXT. CAVE.
The group begin to descend down the cliff. The sky darkens behind them. A storm is brewing. A wind whips across the cliff top and a sound like a horse galloping is heard. As they descend the figure of the Native American is seen back up on the ridge. Lightning cracks in the sky above his head.
EXT. MOTOR HOME.
Extreme long shot of the desert area and the Motor home, screen left. The hills are alive with lightning and rain is lashing down. The group are seen rushing in from screen right toward the Motor home, jackets across their heads and with a torch light pointing toward the ground in front of the group. As the camera pans across following their progress a figure screen left comes into view. His back is toward the camera but it is obviously the Native American from the cliff.
INT. MOTOR HOME.
The group enter the kitchen area and start to throw off their wet clothes. The dog shakes his body covering everybody with rainwater. The Woman goes to put on a kettle. The Girl brings a towel to wrap around the dog and throws more on the kitchen table.
BOY
What the hell was that, Cochise’s revenge?
MAN
If I have…
BOY
Okay I’m just ribbing you.
They each begin to dry themselves off and one by one sit around the table. The Woman is busy making coffee.
GIRL
Red Cloud?
The Man’s eyes react but he does not answer.
GIRL
Well?
MAN
Well what?
GIRL
Red Cloud…he was a Sioux warrior wasn’t he.
MAN
Yes, I suppose so.
Girl smiles smugly.
WOMAN
I thought you were the authority around here?
MAN
Well, who is the authority on a hot cup of coffee?
WOMAN
It’s coming, unless you can boil water quicker than me.
CUT TO:
A medium close shot of table; the Man and the Girl are on either side and the window is center screen.
The Woman puts drinks down for both of them and then moves back out of shot. As she does so lightning illuminates the desert beyond the window.
GIRL
Why so taciturn old man?
MAN
I was thinking of some thing else, that’s all. Maybe we should all think of something else?
GIRL
Be pragmatic; say we drop the bomb. What would the next civilization make of the fragments left behind? Smashed TV sets, camcorders with maybe a few seconds of tape left showing a tourist porking a Hot dog in Times Square; incomplete snapshots of a world that doesn’t exist anymore. We’ll end up like all the other extinct cultures, becoming more mythical than factual. (pause) Hey, we may even become Gods.
Pause
It only takes a little common sense to realize that most of the major cities in the world are built on extinct civilisations. How many condominiums and apartment blocks are simply huge metaphorical gravestones for long gone nations?
CUT TO:
Boy who sits down next to the Girl.
BOY
That’s right, didn’t you see Poltergeist?
CUT TO:
Close-up of Girl.
GIRL
(Putting the torch underneath her chin and mimicking the spiritualist from the film)
Don’t go into the light.
CUT TO:
The table shot again. Another crack of lightning illuminates outside the window, but this time the figure of the Indian is seen outside looking at the Motor home but at a distance.
CUT TO:
Woman standing behind the Man.
WOMAN
I think someone’s beginning to get a little jumpy.
She grabs him by his sides as if to startle him.
MAN
You know I don’t scare. However if that’s how you’d like to interpret my concern for my family, so be it.
WOMAN
(Puts arms around him)
Can’t you stand a little teasing?
MAN
(Goes to reciprocate)
Only from you.
As he does the boy and girl also run in to cuddle him in a playful but deliberate intent in preventing them embracing.
BOY/GIRL
(In a deliberate childish fashion)
Oh thank you Daddy waddy.
CUT TO:
The table shot again. More lightning but this time the figure is gone.
FADE TO BLACK.
INT. PARENT’S BEDROOM. NIGHT.
The Man and Woman have just changed for bed. The Man is in bed dozing and the Woman about to climb in. There is a noise outside the door. It disturbs the Man.
MAN
Is that them just going to bed?
WOMAN
Relax, go back to sleep. They’re young. They don’t need to hibernate as long as you do.
MAN
Have they locked up?
WOMAN
The Girl will do it, don’t worry. Sleep.
MAN
(He pulls back the covers for her)
Nothing else?
WOMAN
(Ignores him)
Haven’t you anything to tell me?
MAN
(pause)
Last night?
(Woman looks at him impatiently)
No nothing.
WOMAN
I told you – all that faith in a stupid book. It was only written to cash in on gullible morons fascinated with dead civilisations.
MAN
Hardly dead!
WOMAN
Well, hardly significant then.
(pause)
MAN
You’re as disappointed as me, I know.
WOMAN
No, I’m angry.
MAN
Angry at me for trying or angry because there never was any magic in the first place?
WOMAN
The truth? The truth is I’m pissed for both reasons. But I’m also pissed because I never wanted this and I’m pissed because I want to go home for good and I’ll never do that.
MAN
It’s my sin.
WOMAN
Small consolation when it casts its shadow on us all.
(pause)
When you first suggested this trip I sympathized with you in a way because I felt that something in our lives might just change for the better; don’t get me wrong – I wasn’t relying on that mystic shit, it just seemed that maybe this time it would be all right. We’d manage to live good lives in Milwaukee. We didn’t need to cover our tracks. We gave to local charities and we were involved in the community.
MAN
It lasted a little bit longer than before that’s all.
WOMAN
How many religions are there in the world? Isn’t the bottom line in all of them forgiveness? Even for the most evil of crimes? Where’s yours –
ours?
(Turns over and goes to sleep. Man pauses looking over her in sympathy, kisses her head and does similar)
CUT TO:
INT. MOTOR HOME, KITCHEN.
A medium close-up of the open Motor home door moving gently
in a soft breeze.
CUT TO:
EXT. MOTOR HOME, NIGHT.
A medium long-shot of the scrub beside the Motor home. Slow zoom in. There is movement within, and the camera stops as if it were wary of what is within. After a few seconds the head of a coyote appears. It waits there, seemingly tentative, even unwilling, to leave the scrub.
CUT TO:
A side-on shot from low level as the coyote finally leaves the scrub. Almost immediately two more coyotes on either side come out as well. Slowly they move screen left to right.
CUT TO:
A long-shot of Motor home, center screen. Zoom in, imitating the coyote’s approach.
CUT TO:
A side-on long shot of coyotes approaching on left, Motor home on right.
CUT TO:
INT. MOTOR HOME.
A close-up of the right side of the dog’s head. After a few seconds the dog lifts its ear, its eyes open and it gets up on its two front legs. It begins to sniff the air.
CUT TO:
EXT. MOTOR HOME.
A long-shot of coyotes outside who stop in their tracks.
CUT TO:
INT. MOTOR HOME.
A medium close-up of the dog as it stands on all fours.
CUT TO:
A close-up of the dog as it snarls sensing the intruder’s presence.
CUT TO:
EXT. MOTOR HOME.
The coyotes stop and then take a backward step.
CUT TO:
INT. MOTOR HOME.
The dog climbs off his seat and onto the floor of the Motor home. He approaches the front door.
CUT TO:
EXT. MOTOR HOME.
The coyotes are now in turn beginning to snarl, as they sense the confrontation with the dog.
CUT TO:
INT. MOTOR HOME.
A medium long-shot of the wide open door of the Motor home, center screen, intimating that the dog has got out. The moon is shining brightly in the sky illuminating the landscape underneath. From beyond a rider is approaching in slow mo. The camera zooms out toward him and beyond the door. As he closes it becomes clear that he is an INDIAN WARRIOR charging out of the night.
He charges on toward the camera; his arm is raised and he is holding a tomahawk. As he gets to a close-up a high pitched howl pierces the silence.
CUT TO:
INT. PARENTS’S BEDROOM, MOTOR HOME.
A shot above Man’s bed as he immediately awakes from the above dream and rises in an arc toward the camera from a prone position. After a couple of seconds the dog is heard snarling and barking and then an excruciating yelp of pain pierces the night.
The Man rises pulling on his dressing gown. Behind him his wife rouses herself.
WOMAN
(Groggily)
What the hell’s the racket?
MAN
It’s a dog fight.
WOMAN
How the hell did he get out?
MAN
Who was supposed to lock the door?
WOMAN
Oh…
MAN
Exactly and she was going to make breakfast!
INT. KITCHEN, MOTOR HOME.
The Man enters, in a dressing gown, and begins to search for torch. He finds it and turns it on pointing it at the seat where the dog was sitting.
There is a noise behind him he wheels round and finds the Boy’s face in the torchlight. The Boy, in pyjamas, looks at the Man and then at the seat. The dog fight is continuing outside.
BOY
The dog?
MAN
Uh huh.
CUT TO:
EXT. MOTOR HOME.
The Man and Boy exit through the open kitchen door. As they do the noise of the fight has ceased.
CUT TO:
A long-shot of the two men center screen. They approach the camera (head height) and stop in medium long-shot. The Man is screen right and the Boy left with the door to the Motor home in between them at the back of the shot, from which the Woman and Girl, also in dressing gowns, appear. They approach from behind.
WOMAN
Any sign?
MAN
No sign, no sound.
GIRL
What’s happening?
MAN
I think the dog’s been in a fight.
GIRL
With what?
MAN
(Contemptuously)
Well it’s a big country around here; pick an animal.
The Girl looks down toward the ground aware the Man’s anger is directly aimed at her.
BOY
(Sympathetically)
Probably a coyote.
WOMAN
Okay, look, we’d better start searching for him.
BOY
I’ll get the other torch. We’ll
(Points at the Girl)
look over there.
MAN
No you won’t.
(To Woman)
Take them back inside I’ll scout around.
GIRL
(Goes to protest out of her guilty feelings)
But…
WOMAN
No, do as you’re asked; one voice is as good as four in this wilderness.
If the dog is out there he’ll come when he’s called.
Reluctantly the Boy and Girl return to the Motor home with the Woman.
CUT TO:
An extreme long shot as the Man moves off with the torch screen right and the others move screen left toward the Motor home at edge of screen left.
CUT TO:
A low angled long-shot from inside a patch of scrub. A torch light filters through the foliage as the Man approaches the camera position. He is calling the dog.
MAN
Here boy, come on, where are you?
He stops beside the scrub. The torch beam is pointing at the ground.
CUT TO:
A close-up of his face showing concern.
CUT TO:
A shot of a severed limb on the ground.
The Man stoops down to examine the limb more closely. All of a sudden a howl pierces the air. The Man looks up from his crouching position.
MAN
I should never have brought them here. I should have stayed away. What have I started?
He begins to walk back to the Motor home. He stops on the step up into the home holding the door in his right hand and motions to close the door then reopens it looking out at the landscape recalling the dream he had moments ago.
INT. CHILDREN'S BEDROOM. NIGHT.
Man puts his head in through the door. The Boy and the Girl are awake in their beds.
GIRL
Well.
MAN
No, no sign of him yet.
BOY
Great, fucking great, now the dog’s gone. This is turning into one terrific vacation.
MAN
Calm down, he’ll be back.
Pause.
MAN
Even if he doesn't he can take care of himself and we'll get a new pet in San Francisco; a new pet for our new life.
BOY
It won't be the same.
MAN
(Thinking)
And I'll buy you a proper headdress in Rapid City. Well, not proper, but cleaner.
BOY
Another replacement; what’s next, me?
Turns on his back. The Girl motions to the Man to go, intimating she will talk to him and calm him. The Man exits.
INT. PARENT'S BEDROOM
The Man is climbing back into bed. The light is on and the Woman is awake.
WOMAN
You really are cursed.
MAN
Well you have your own way now.
WOMAN
What do you mean?
MAN
We can go in the morning, can't we? That's what you've wanted.
WOMAN
We can't go now.
MAN
You're kidding me. You’ve hated every minute here and now you want to stay?
WOMAN
Not for my sake, for theirs.
(Pointing toward the other bedroom)
I still want to leave; after all I didn't want to come here in the first place, but not now. The boy's not talking to you; it'll only make things worse between you if we go without the dog.
MAN
And if he doesn't show?
WOMAN
Then we take it from there – the same as we’ve been doing all along.
FADE TO BLACK
