Episode 1

Fade in

On HORSE'S HOOVES pounding over a muddy, dirt road.

Widen to see -

They belong to a team of horses pulling a wagon. At the

reins is JUDSON SHERMAN, early twenties. A ranch hand

around his same age rides next to him. By the way

they're dressed, and the style of the wagon, we're

somewhere in the late 1800's.

Judson's leading the team toward a two-story, English

styled farm house with a covered porch in the distance.

Maple and Hickory trees tower around it. Dull light

stabs out from several windows. Smoke plumes from the

fireplace. A large barn stands fifty yards away.

Lightening cracks across a violent, dark sky, as sunrise

is just starting to break through the horizon. Judson

pulls out a gold pocket watch. Reads: 5:15.

As he puts his watch away, he hears something. Cocks his

head -- there it is again -- A BABY WAILING -- but this

isn't a "I'm hungry or tired cry", this is swelling

eruptions of excruciating pain.

Judson cracks the reins hard -- the horses rear, then

bolt like they're shot out of a cannon, kicking up mud as

they thunder faster to the house.

The wails are almost more than Judson can take as he

drives the team right to the front door, and reins back

hard, hopping off the wagon before it comes to a halt,

then --

-- just as he gets to the front porch -- the wailing

STOPS. He doesn't. Moves to the front door. Whips it

open. A LARGE GREY CAT scrambles to get the hell out of

there. Almost trips him as he heads in.

INT. FARMHOUSE - FOYER - CONTINUOUS

Judson's attention is immediately drawn to a living room

on his right, where the shadows of flames from the

fireplace dance wickedly off the horrified look on his

face. He just stares into it -- almost unable to

comprehend what he's seeing. Wood crackles. As tears well, he slowly moves deeper into the room --

it's as if time has stood still for him.

INT. LIVING ROOM - CONTINUOUS

As he gets closer and closer to the fireplace, the orange

of the fire gets brighter on his face, the crackling

louder.

He stops before the hearth, then looks to his feet, where

a pair of long, narrow knitting needles lie on the wood

floor in a puddle of blood. He's emotionally devastated.

His peripheral vision picks up on something outside

moving quickly past a window.

Rage fills his face. He pivots. Dashes back out the

front door, where --

EXT. FARMHOUSE - FRONT PORCH - CONTINUOUS

-- Judson leaps off the porch and dashes by the ranch

hand who's reigning in the horses that seem spooked. He

picks up speed as he moves around the side of the house,

where he sees a woman in a long grey dress, bare feet and

lengthy jet black hair, dashing into the barn and closing

the door behind her.

Judson gets to the barn -- tries to open the door, but it

won't budge. He viciously pulls on the handle over and

over, testing the lock and hinges -- then finally throws

his shoulder into it, breaking it open.

INT. BARN - CONTINUOUS

Judson races in. Stops and listens. It's cave dark --

the dawn light only penetrating the first few feet of the

opening. Then --

-- just as he's about to move in deeper, the back-end of

a thick shovel swings out of the inky black and --

WHACK! Hits Judson in the face --

SMASH CUT TO

BLACK:

Fade up to --

SUPER - 1972

EXT. FARMHOUSE - HARRISVILLE RHODE ISLAND - DAY

A 1970's wood paneled station wagon, with New Jersey

plates, drives down a gravel driveway

.Here we are --

A hundred yards back, now much older, is the same two-

story farmhouse and barn. Trees have grown. It's been

well cared for.

The station wagon comes to a stop in front of the house.

Getting out is the driver, ROGER PERRON, a lean man in

his early thirties and his wife CAROLYN, who's simply

dressed with her hair pulled up -- also early thirties.

Hopping out of the back are their two girls, ANDREA (7)

and CINDY (15), and the family's black lab, Sadie.

Everyone is excited, except for Cindy -- a mixture of

raging hormones and adolescence. She takes in her

surroundings --

CINDY

Oh my God, this place looks so

boring -- we're like in the middle

of nowhere.

As Andrea enthusiastically runs ahead to the porch, Roger

turns to Carolyn --

ROGER

Do you hear that?

She listens, but --

CAROLYN

I don't hear anything.

A slow growing smile cracks across his face --

ROGER

Exactly.

Carolyn looks over to open space between the house and

the barn --

CAROLYN

I see where I'm putting my garden.

CUT TO:

EXT. FARMHOUSE - FRONT PORCH - RIGHT AFTER

Carolyn and the girls are next to Roger as he opens the

door. Andrea dashes in.

ANDREA

I get first dibs on the rooms.

Cindy looks to her dad as she enters --

CINDY

Do I get to pick my own room, or

do I have no choice in that too?Roger's eyes meet Carolyn's -- who seems amused.

CAROLYN

This is why some animals eat their

young.

She gives Roger a quick kiss as she enters. He playfully

slaps her on the butt.

Roger turns to see Sadie standing several feet back,

staring in through the open door. There's a deep

intensity behind her dark eyes -- her body rigid.

Roger's confused.

ROGER

C'mon, girl.

Sadie takes a reserved step backwards. Keeps staring.

ROGER (cont'd)

Sadie, c'mon --

The dog remains still -- has no intention of getting any

closer. Roger lets it go.

ROGER (cont'd)

Dumb dog.

DISSOLVE TO:

INT. PERRON HOUSE - FOYER - AFTERNOON

Roger stands in the foyer, which opens up to a hallway

that runs through the middle of the house. A staircase

rises up one side. There's a kitchen to his left and the

living room to his right. Boxes are everywhere. It's a

bee hive of activity. Two burly MOVERS carefully

maneuver a wooden gun case in through the front door.

ROGER

That goes in the living room.

They make the turn as another MOVER follows them in

carrying a heavy box. Roger reads something handwritten

across the top --

ROGER (cont'd)

Just put that down in the cellar.

It's the last door at the end of

the hall here.

The guy continues on past him.

DISSOLVE TO:

INT. PERRON KITCHEN - LATER THAT NIGHT

Carolyn stands at a counter next to a sink, unpacking

several knickknacks from a box. Surrounding glass

cabinets are all open, and already loaded with dishes.A large oak table and chairs are set up in a nook with a

hutch tucked tight against a wall opposite it.

Carolyn peels off packing paper from THREE WAX MONKEYS on

a wooden stand; hands over eyes, ears and mouth, with a

written caption underneath: "HEAR NO EVIL, SEE NO EVIL,

SPEAK NO EVIL. She sets it on a window ledge over the

sink.

Andrea comes in carrying a HAND-MADE bird-feeder and

chain that only a mother could love.

ANDREA

Can I hang up my bird feeder?

CAROLYN

Of course. I think I saw a hook

on the back porch.

Andrea moves to a back door.

CUT TO:

EXT. PERRON HOUSE - BACK PORCH - NIGHT - CONTINUOUS

Andrea comes outside. Bugs have already started to use

the porch light as a hub. A low mist hangs above the

ground like a bad dream.

She sees the hook her mom was talking about and carries

the feeder over to it.

As she gets up on her tiptoes to hang it --

-- A HISS OF A VOICE CALLS HER NAME...

VOICE

Andrea....

She slowly turns her head -- can't figure out where it's

coming from as she scans the darkness.

ANDREA

...Hello?

No answer. More confused than scared, she hangs up the

bird feeder. Then just as she's about to head inside,

she spots a large, mangy-looking GREY CAT passing by the

bottom step of the porch -- it looks oddly similar to the

one in the opening.

ANDREA (cont'd)

Oh, hello...

It continues walking. She heads down the steps to catch

up.

ANDREA (cont'd)

Where'd you come from? C'mereThe cat walks around the corner of the house.

CUT TO:

Andrea's pov - as she walks around the corner. There's

no cat. She looks around for a place it could have gone,

but there isn't one. Her expression says it all --

that's weird.

CUT TO:

INT. KITCHEN - BACK DOOR - RIGHT AFTER

Andrea comes back in just as Roger enters from the

hallway. In passing --

ANDREA

Were you calling me?

ROGER

No.

As she walks away --

ANDREA

I think there's a cat that lives

here...

Andrea continues out of the kitchen as Roger comes up

behind Carolyn, who's unpacking a small clock. Sets it

on the windowsill next to the monkeys.

He slides his arms around her and kisses her neck -- she

likes it.

CAROLYN

Careful -- this may turn into

something fun.

ROGER

...If only I had the energy.

(beat)

I was thinking about running into

town and grabbing a pizza at that

place we passed.

CAROLYN

That'd be great.

She turns and faces him. Loves this man dearly.

CAROLYN (cont'd)

Thank you for this.

(beat)

I know it was a lot for us to chew

off, but it's going to be great,

isn't it --

ROGER

Yeah -- it is.INT. PERRON HOUSE - MASTER BEDROOM - NIGHT

A matching bedroom set has been set up. Numerous boxes

are stacked and waiting to be unpacked as --

-- Carolyn pulls some clothes from a wardrobe box at the

foot of her bed and walks them into --

THE CLOSET

Just as she begins to hang them up -- the noise of

CREAKING WOOD draws her attention to the ceiling -- where

it sounds like someone's trying to walk quietly -- then

it stops.

She's a little unnerved -- walks back out into

THE BEDROOM

and crosses to a nearby window. Looks out to a tree, its

leaves rustling in the wind. She cranes her head to see

if any of the branches are touching the roof above the

closet. Can't tell.

Just as she's about to turn away, she notices Sadie down

in the yard near the front porch below, nervously pacing

back and forth.

ROGER O.C.

I don't know what her problem is.

I've tried ten times to get her to

come inside.

She turns, sees Roger setting a box down amongst the

others.

ROGER

Last box for tonight. I'm beat.

CAROLYN

We can't just leave her out there,

she might run away.

ROGER

I'll find something to tether her

to. Maybe a night outside will

help change her mind.

As Roger heads back out --

CAROLYN

You weren't just on the roof, were

you?

He turns around -- huh?

CAROLYN (cont'd)

I heard something, sounded like

footsteps.

ROGER

It's an old house honey, it's

going to make some noisesThe lights flicker for a moment --

ROGER (cont'd)

...Oh great.

CAROLYN

Maybe grab a flashlight too --

Roger heads out.

DISSOLVE TO:

INT. MASTER BEDROOM - LATER

Carolyn's eyes open -- she's awakened to what sounds like

the distant screams of hundreds of children -- but that

can't be right. She glances to Roger, who is sound

asleep. She slips out of bed to investigate.

CUT TO:

EXT. HOUSE - BACK PORCH - RIGHT AFTER

Carolyn comes out the back door. Listens -- it's much

louder. Her attention is drawn to the woods directly

behind the house where the screaming is coming from.

A HAND touches her shoulder -- she about jumps out of her

skin. She whirls. Roger is standing right behind her.

ROGER

Whoa -- sorry.

Carolyn slowly turns back around to face the woods.

CAROLYN

What is that?

ROGER

(amused)

Tree frogs -- about as big as

softballs. They're fucking.

She looks back at him over her shoulder --

CAROLYN

And you know this because?

ROGER

I used to catch them as a kid at

my Grand-dad's.

Carolyn looks back out into the night.

CAROLYN

Sounds like some pretty rough sex.

Roger playfully pulls her into an embrac