Beyond the Forest
Written By Evan Gillespie
October 24, 2006

Fade IN:

We Begin with a close-up of a terrified young man's face.  He looks to be in his mid 20s.  Sweat seems to pour from his entire face.  He tries to hold his composure, which only draws more attention to his shaking head.
Narrator (V.O.)
I used to think it was bullshit.  When people say your life flashes before your eyes when you're about to die.  But it's true...my life did flash before my eyes, but being as I'm only 23 and haven't really done anything worthwhile in my life, the flashback has already come and gone and now here I stand, trembling and terrified...or horrified, whichever is the stronger expression of fear.  I try to look for a sense of reason.  He wouldn't really do it...he couldn't.
Suddenly, a gunshot rings out as the man's brains are splattered on the wall behind him.  The camera stays focused on the bloody wall as the man slides down and out of the picture, suggesting the demise of the narrator.
NARRATOR (V.O.)
Apparently he can.
The camera pans to the left, revealing the terrified, sweating face of another young man in his mid 20s.  There is blood and tiny bits of brain matter dripping down the side of his face.
NARRATOR (V.O.)
This is the point when I renounce all my evil deeds; I accept every god and convert to every religion at once...just to be sure.  Out of all the things I never wanted to have on my face, I never thought to add brain matter.
Gunman (O.S.)
Where is it?
NARRATOR (V.O.)
How can someone be expected to think clearly under these conditions?
Blood splattered man
I don't know.
The young man has an intense look on his face, his eyes slightly narrowed as if he could will the man with the gun to believe him.  After a moment the young man's face relaxes ever so slightly, the faintest look of hope in his eyes.  Another gunshot rings out.  The young man's head jerks back as a bullet tears through his skull as well.
NARRATOR (V.O.)
Shit...this means I'm next.  I felt so brave while they were still with me.
The camera does another slow pan to the left stopping on the blood soaked face of the Narrator.  His name is Matthew.  He has the blank look of someone who has had such a sensory overload, they have temporarily lost the ability to express human emotion.
GUNMAN (O.S.)
So...whe...
Matthew 
(quickly)
The woods.  It's in the woods.
GUNMAN (O.S.)
Ok.  Let's go.
The camera pulls back.  The gunman is actually a police officer, the name of his uniform reads Walls.  Matthew leans against the side of an abandoned building.  His wrists are behind his back in handcuffs.  The two dead men, later known to be Nick and Joel, lay slumped over each other like a gruesome collage.  Matthew looks around.  Woods surround the building making it seem as if it also sprung from the ground, blossomed into a habitable structure then wilted and died.  
The officer grabs Matthew by the front of his shirt and leads him over to his squad car.  The officer opens the rear passenger door and motions for him to get in.  Matthew pauses before getting in.
MATTHEW
(sarcastically)
Shotgun?
The officer grabs Matt by the throat and throws him into the back of the car.  He slams the door shut then gets into the drivers seat.  He cranks the car then slowly drives away.
FADE TO:
Seven days earlieR
EXT. woods - sunset
The camera looks out into a thick forest as the sun sets.  As the sun disappears and day turns to night, the forest takes on an ominous and haunting feel, as if now were the perfect time for wrong-doing.  The camera begins to makes its way casually through the forest.  The distant sound of shovels hitting earth begin to be heard.  As we progress further into the forest, the shoveling sounds begin to intensify.  The camera makes a sudden sharp right turn.  Two men stand, digging a large grave.  They are sweaty and covered in dirt.  In the pail light they appear as zombies on a devil's errand.  There are two large mounds of dirt on either side of the grave, indicating a lengthy depth.  The man on the left, Nick, stabs his shovel into the pile of dirt and motions for the other, Joel, to stop.
Nick
That's enough, we have to hurry.
The two men look off to the left by a large overturned tree stump.  The camera turns to match their gaze.  A pair of slender white legs can be seen sticking out from behind it.  The camera drifts up into the sky as the men make their way over to the woman's body.  As we gaze into the starry night sky all that can be heard is the gentle dragging of a body over to where the grave is.  After a few moments the camera drifts back down.  Nick and Joel are couched on either side of the grave, hands placed along the sides of the large dirt piles, ready to push them back into the hole.  Right before they do, the faintest whisper of a voice can be heard.
Sarah
(strained)
...Wait...
Nick and Joel pause, looking at each other.  They slowly army crawl up the sides of the dirt piles cautiously peering over the edge down into the grave.
OVERHEAD VIEW OF THE GRAVE
Down in the depths of the grave lies the body of a beautiful young pregnant woman in a white dress.  The moonlight reflects off of her dress making her look like some supernatural apparition.  She has one hand on her swollen stomach and the other half stretched towards the starry night sky.  The two men lean down closer straining to hear the woman, their heads disappearing into the hole.
SARAH
(faintly)
Tell him I love him.
NiCK
We will.
The camera cuts back to a straight on shot of the two men.  They crawl back down the mounds of dirt, place their hands back on the sides, then push them over back into the hole.  They casually grab their shovels and begin to transfer the rest of the dirt into the grave.
FADE TO:
The night before
INT.  mENTAL INSTITUTE - nIGHT
The night is cold and black.  The inside of the institution actually has a warm feel to it.  This however, is occasionally interrupted by certain patients screaming uncontrollably.  Sarah sits in a common room-like area of the institute.  It's an area where patients can spend some of their free time relaxing, watching TV and playing games or just talking with other patients and even visitors.  There is a set of large doors on either side of the room.  They are the only ways in and out of this area.  Tonight Sarah sits by a window looking deep in thought, like someone remembering a fond childhood memory.  Outside in the distance, the dark outline of treetops can be seen.  Sarah sighs and gently leans her head against the glass.  Off screen a man clears his throat.  Sarah opens her eyes and turns to see who it is.  The Police officer stands rigid, a bouquet of flowers in his hand, and a devilish grin on his face.
SARAH
David what are you doing here?  Where did you get that?
David looks down at the flowers in his hand, then back at Sarah.
David
(defensively)
I got them from a friend, he said I could have them, he knew I was coming to see you, he...
SARAH
David, you know what I mean.  What have you done?  They'll know your here by now.
DAVID
(taking a hostile tone)
Then I'll make this quick.  Sometimes it takes someone time to realize how much they love someone.
SARAH
David I...
DAVID
Let me finish!  I've known I love you and I know you love me.  It might take you some time to fully realize but you will.  I know it.  I should be the one, not him!  He doesn't care about you like I do.  He doesn't.
David takes a step closer to Sarah.  She looks at him coldly, as if she could stare him away, but he doesn't back down.  He just stares back, holding the flowers down by his side.
DAVID
Now you're going to go to your room and get some things together.  We're leaving.  I'll take you to the woods myself.  Just like you wanted.
As Sarah stares on silently, David puts his other hand over the glock on his belt.  He unsnaps the holster.
DAVID
Don't make me beg...
David looks around at the other patients, as if daring them to say a word, to crack a smile, to let out the slightest whimper of a laugh.  Sarah looks around at the scared faces.
SARAH
Ok David, let's go to my room so I can get some things, just calm down.  Let's go now ok?
David takes his hand off his gun and drops the flowers to the floor.  His spirits seem to rise greatly.
DAVID
Ok let's go.
David reaches out his hand for Sarah to take.  She cautiously stands up and takes his hand.  David pulls her slightly as he leads the way out of the common area into a side hallway.  As soon as they enter the hallway, he turns and produces a set of keys from his pocket and quickly locks the doors and bends the key jamming it into the lock before picking up his pace and resuming down the hallway.  
Back in the Common room, moments after the two leave, Nick and Joel burst through the other set of doors into the room.  Following behind them are several orderlies and security guards.
NiCK
(yelling at the other patients)
Where are they?
Back in the hallway, the institution has taken on a much more ominous feel to it.  The hallway is very dark and winds around like David and Sarah were two rats trapped in a maze.  They finally come to a stop right outside a door on the side of the hallway. There is a sign on the door in large playful lettering that reads "Sarah's Room". Sarah turns to David.
SARAH
Please just give me a minute.  I have to change and packs some things.  I'll hurry I promise.  I won't keep you waiting.  
Sarah leans in and kisses David on the cheek.  The camera cuts to behind David's back as we see Sarah cringing and looking utterly disgusted.  After the worlds quickest peck on the cheek, Sarah disappears into her room and shuts the door.  David looks very uneasy as he stands alone out in the dark hallway.  Offscreen, a loud banging noise can be heard as the guards try to break the heavy set of doors down.  David places his hand back on his gun.
DAVID
Hurry Sarah!
David puts his ear to the door.  There is no sound coming from the room.  He tries to turn the doorknob but it's locked.  He has a genuine look of fear as he looks over his shoulder down the hallway towards the common room.  He turns back to face the door.
DAVID
(screaming)
Sarah, you better fucking hurry!  They'll be here any minute!
David takes a few steps back then kicks hard by the lock on the door.  The frame cracks then bows in slightly.  David takes another step back, a fierce determination in his eyes.  As he readies for his next kick there is a loud crashing sound as the guards break down the double doors of the common room.  David continues through with his kick smashing Sarah's door in.  He runs into the room to find it completely empty.  He draws his gun looking wildly around the room for any sign of Sarah.  Her closet door is wide open and there is no bathroom contained inside, only a bed and a few pieces of furniture.  It only takes a second for David to realize there is nowhere she could be hiding.
DAVID
(screaming furiously)
How could you leave without me?!
David bolts from the room just in time to see the guards running directly towards him.  The camera stays focused on David as he raises his gun and fires several shots before turning and running down the other end of the hallway towards a lit exit sign.
FADE TO:
7 DAYS EARLIER
EXT.  wOODS - nIGHT
Underneath the canopy of thick treetops, the underworld of the forest is plunged into utter darkness.  Shining like a beacon of hope and safety, a roaring campfires burns brightly.  There is a ring of bare earth around the fire pit,   where the heat from countless fires has burned the roots of any plant hoping to grow.  By the fire, our narrator sits, with a bottle of bourbon in his hand.  
NiCK (V.O.)
I always liked the blurry part of a fire.  Right at the top where it's so hot and everything on the other side looks distorted.  Like a whole other world lies just beyond the flame.
Nick takes a sip from the bottle.
NICK (V.O.)
I used to think people that drank alone were pathetic.
Nick takes another sip.
Nick (V.O.)
Well, I just don't know.  I don't know what their life is like but, they probably are, but not me. I'm just drinking to kill the time until I can be something great...
Nick smiles slightly.
NiCK (V.O.)
I hope all this back tracking hasn't confused you, but you need to understand. After this night, something inside me changed. I shed this skin like a snake and let it burn in the flames.  Despite what some people think, we'll never fade away.
Nick takes another sip, then stares thoughtfully into the flame. As the camera looks through the fire, a faint flicker of light of can be seen on the other side.  The light shines then fades, in and out without pattern.  The light finally catches Nick's eye.  He leans slightly to the left and peers out into the darkness of the woods.  His eyes have that glassy, comfortable look to them like he has had just the right amount to drink. 
NiCK (V.O.)
Have you ever been in a moment when you've had just the right amount to drink?  Your body is so relaxed, your mind is at ease, it's like your buzz is an entity in it's own.  Like some flowing current you could get caught up in.  Sadly, this state is easily and usually broken just when you come to realize how damn good it is that you feel.
Nick lazily leans his head back to stare at the stars.  He catches a quick glimpse of the constellation Orion.  As he drops his head back down, sanding directly across from him on the other side of the fire is a beautiful, slender girl in a shimmering white dress.  The moonlight catches her dress just right to make it glow.
NiCK (V.O.)
As I stare into her eyes, I wait for my feeling of one-ness with the world to disappear but it doesn't. I'm so drawn into her I would give her my soul if she asked for it, but she doesn't.  She draws closer to me.
Nick finally stands up, never breaking eye contact with Sarah.  They face each other on opposite sides of the fire.
NICK
I'm Nick...You look familiar.  What are you doing out here?
Sarah walks over to Nick, standing very close to him.  She looks at him like they are the only two people alive in the world.  She smiles softly, then leans in and kisses Matt on the lips.  As she pulls back Matt has the shocked look of someone who has just won the lottery.  Sarah grins and blushes, looking down at the ground.  Matt leans in to kiss her again, but before he can she tackles him to the ground, kissing him and running her hands over his chest and through his hair.
FADE TO:
70 minutes later
Matt and Sarah lay by the fire under a blanket.  Matt stares lazily up at the stars, a slight smile on his face.  Sarah lays nuzzled by his side, her lips resting against the side of his neck.
SARAH
I need to tell you something very important.  It's going to be very hard to believe...
Matt gets a puzzled look on his face.
CUT TO:
7 DAYS EARLIER
INT. mental institute - dAY
Sarah sits at a table facing Nick and Joel.  They are all dressed the typical mental patient gown.  They are inside some type of common room.  There are other patients sitting at other tables and on couches around them.  The various patients all have differing looks of craziness to them.  Nick and Joel stare at Sarah with dumbfounded looks on their faces, hanging on to her every word.
SARAH
...It's going to be very hard to believe. Have you ever been alone in the woods and you just got a feeling that you couldn't quite put into words, like some familiar presence, like you weren't really alone at all?
Joel
The woods are scary at night!
NiCK
Shut up Joel!
SARAH
No, it's ok.  Sometimes the woods can be intimidating at night, but a lot of it is all in your head.  People are scared of what they don't understand and it's been a long time since someone fully understood the essence of the woods.  Not just the woods, but the Earth itself.  You've heard the term Mother Nature right?
JOEL
Yeah!
SaRAH
Well that is a word we use to describe the essence of the planet.  It's soul.
NiCK
The planet has a soul?
SaRAH
Of course it does, every living thing has a soul.  Plants are living organisms, so why shouldn't they have a soul also?
NARRATOR (V.O.)
I know what you're thinking...this girl is freakin' nuts...well, this is a conversation between mental patients..what do you expect, an intelligent political analysis?
SARAH
Every now and they the Earth will reach out to us more directly then subtle feelings.  Nature's essence will focus itself into a single manifestation...a human form.  It takes a very long time, and the form is difficult to hold.  She must return to the Earth every so often to keep her strength up.  There is an ancient story that has been passed down through many Native American cultures that describes the Earth manifesting into a woman that will conceive a child with a man.  That child will bridge the gap between the souls of man and the soul of the Earth.  It will be a new beginning for every living creature.
NARRATOR (V.O.)
Trying listening to that after sex.
JOEL
Do you think someone like that could really exist?
SARAH
I do.
JoEL
(bubbling with childish excitement)
I knew it! Me too!
SARAH
And what about you Nick?  Do you think someone like that might exist?
NiCK
(looking down blushing)
Yeah, I do too.
SARAH
Well then, I have more to tell you.  And I'm also going to need your help.
FADE TO:
NARRATOR (V.O.)
No ending is complete without a beginning.  Let's take one more look back.  What's been the trend, about seven days?  Yeah, that sounds about right.  You do want to meet my mother don't you?
About 7 days earlier
INT.  mENTAL INSTITUTE - dAY
Matt walks down a stretch of hallway leading toward the common room.  The sun shines brightly through windows along the hall.  Matt walks past the door to Sarah's room without pausing.  As he passes, the doorknob turns and Sarah slowly sticks her head out into the hallway.  She watches Matt disappear down the hall.  She smiles and quickly disappears back into her room.
Matt enters the common room to see a short and slender woman sitting at a table by a window.  She looks to be in her 40s, but has aged well.  She has a very kind and fragile look to her.  Matt sits in a chair from across the woman.  He smiles warmly at her and she does the same to him, but there seems to be a mutual sadness shared between the two.
MATTHEW
Hey mom, how are you?
MATTHEW's mother
(still smiling)
I'm fine, it's great to see you.  I've missed you very much.
MATTHEW
So does that mean you're ready to come home yet?
MATTHEW'S MOTHER
Almost.
MATTHEW
(soundly slightly bitter)
You say that every week mom.  It's ok to have dreams and an imagination, but sometimes maybe it's better to keep certain things to yourself, you know?
MATTHEW'S MOTHER
I've always been one to voice my opinion, you know that, even if that means other people might not like what they hear.  I have always believed in you Matthew, maybe you should try believing in me once in a while.
MATTHEW
That's not fair.
MATTHEW'S MOTHER
Why not?  I've never called you a liar.
MATTHEW
I was upset, you have to admit if you were me you might be a little skeptical.
MaTTHEW'S MOTHEr
(turning to look out the window)
I've met someone.
MATTHEW
Really, one of these guys?
Matt points out the window. Nick and Joel can be seen playing out on the front lawn, sword fighting with sticks.  Joel has a bed sheet around his neck like a cape and isn't wearing any pants.  Nick has taken extra clothes and stuffed them up his shirt and down his pants to make it look like he has really big muscles.  Matt's mother chuckles softly.
MATTHEW'S MOTHER
No, it's a young girl.
MATTHEW
(looking confused)
Ummm, what?
MATTHEW'S MOTHER
Matthew, please, not like that.  She's a patient here.  She's a very interesting girl.  You know, she and I agree on a lot of things.  She's really cute.
MATTHEW
Mom, please.  I admit I have bad luck meeting girls, but I'm not quite ready to try my luck with a mental patient.
MATTHEW'S MOTHER
Shame on you, Matthew, being so quick to judge! I raised you better than that.
MATTHEW
Mom, I'm sorry, I don't want to fight with you.
MATTHEW'S MOTHER
I know you don't.  That's why I'm still going to give you this.
Matt's mother pulls a folded piece of paper from her pocket.  It looks ancient and worn, on the verge of turning back into the dust it appeared to be made from.  Matt stares at it more like it were a piece of used toilet paper.
MATTHEW
(sighing)
Mom, where did you get that?  What did I tell you about accepting things from these people.  You don't know where they've been.
MATTHEW'S MOTHER
I got it from her.  She wanted me to give this to you.  She said you would need it.  
Matt carefully opens up the paper.  At the top it reads "returning to the forest".  Matt quickly folds the paper back and puts it in his pocket.
MATTHEW
Thanks mom, so where is this mystery woman, I want to meet her.
MATTHEW'S MOTHER
You'll meet her eventually.
Matt stares out the window at Nick and Joel.  Joel is still in his underwear, but is now sword fighting a tree.  Nick is walking around picking up random objects then pretending they weigh incredible amounts as he lift and curls them.  Matt laughs to himself.
MATTHEW
If you say so.  I gota' run though.  I have to be at work in a little bit,  but I'll be back to see you soon.  I love you. Bye mom.
Matt stands up and leans over to kiss his mom on the cheek.  
MATTHEW'S MOTHER
I love you too.
She smiles and turns back to the window to watch Nick and Joel play.  Matt pauses for a moment, watching his mom.  He has a sad sort of smile on his face as he turns and leaves.  As he goes, the camera starts to drift off towards the other corner of the room, behind Matt's mother.  A man sits on the floor in the corner behind a sofa chair looking over to where Matt's mother is sitting.  The man is David, but he is dressed in a mental patient robe like everyone else.  He has been eavesdropping on Matt's conversation with his mother, and by the look on David's face, he is very pleased with himself.  He looks down at his own arm.  There are several self inflicted cuts, some fresher than others.  He pulls a small razor out of his pocket and cuts a fresh line into his skin.  As he cuts he closes his eyes and breathes in deep through his nose, as if savoring every second of the feeling.  When he finishes he quickly stands up and leaves the room.  Matthews mother watches him go.
FADE TO:
Later that night
InT.  david's bedroom - nIGHT
David's room is plain and bare, void of any colors, pictures even furniture.  He has a twin mattress covered in plain white sheets resting on top of an old boxspring.  There is a small reading light giving the room it's only illumination. David sits on his bed looking down at the lines cut into his arm.  He begins to cut a fresh line, but stops suddenly when he hears footsteps walking past his closed door.  The camera cuts to outside the door.  A security guard casually walks down the hall, occasionally glancing outside through the many windows.  David's door slowly cracks open and he pokes his head out into the hallway, watching the guard with eager eyes.  He still holds the small blade in his hand.
NARRATOR (V.O.)
Now I don't know exactly how security works in all mental institutions but in this place, they don't treat the patients like prisoners, but they do make sure everyone is accounted for, and that nobody leaves the premises.  In the many years of being open, there had never been any real incidences to occur, any travesties or horrors to speak of to later generations for years to come.  That is until David left his mark.
David looks perversely excited as he slowly creeps out into the hall.  He carefully picks his steps as he silently stalks the guard down the hall.  As he grows closer, his eyes grow wide, like a child about to receive a present.  Within moments he's within reaching distance of the guard.  David quickly throws an arm around the guards neck, cupping his hand firmly over the mans mouth.  At the same time he takes the blade and places the tip at the base of the mans neck.  The camera cuts to a frontal view of the guard as David drags the blade down the mans back, running along the side of his spine.  The man's scream catches in his throat, David's hand absorbing the remaining sounds.  The expression on the guards face is more than enough to express his pain.  
There is a door close to the two men on the left.  David drags the guard over to the door, and leaves the blade in the man's back as he tries the knob. The door swings inward cracking open around a foot.  From the doorway, an old man can be seen sleeping quietly in his bed under a blanket.  David, still holding the man's mouth, shuffles over to the bed.  He raises the blade high in the air then brings it down in the middle of the old mans chest. David throws the guard on top of the old man, then spins quickly shutting the door.  From outside in the hall, we hear muffled screams for a moment until all goes silent.  The camera slowly starts to pan to the bottom of the door.  Blood begins to flow from under the door into the hallway.  After a few more moments the doorknob slowly turns and David emerges into the hallway, covered in blood.  He looks around, eyes still wide.  He looks toward the exit and takes off running, leaving bloody footprints as he goes.
CUT TO:
EXT wooods - nIGHT
David runs wildly through the woods still covered in blood.  He runs like a man just set free after years of captivity. Up ahead, the woods comes to an end and a long stretch of road is visible.  Off in the distance a set of headlights approaches.  David stops and narrows his eyes watching the light approach. 
The camera cuts to the interior of the oncoming car.  The man inside is a police officer and the car he drives is his squad car.  The camera focuses on the mans name printed across his uniform.  It reads "Walls".  Officer walls stares out ahead on the empty stretch of road, when suddenly a bloody figure emerges from the woods and steps out in from of his car.  Walls slams on the brakes.  David jumps on the hood of the car, avoiding the main impact.  He hits the windshield and rolls off the car into a ditch running along the side of the road.  The accident appears much more severe to the officer due to all of the blood on his windshield and hood.
Walls
Oh shit!  Oh Christ, what was that? Shit! Please, no, no, no!
Walls steps out of his car and examines the bloody hood.
WALLS
Oh my God, what the hell was...
Walls grows quiet as his attention is drawn to a huddled mass lying in the ditch.  A small current of water runs through the ditch washing over David.  A bloody stream runs out beneath him.  His back is turned to the officer.  The camera cuts to a frontal view of David.  His eyes are wide open and he stares down into the water, his face void of any expression.  Walls begins to reach for his gun, but pauses, changing his mind and reaching instead for his flashlight.  With his other hand, he begins to reach for his walkie-talkie, but pauses again as he shines the light onto David's motionless body.
WaLLS
(whispering)
Oh God.
Walls cautiously begins to walk over to where David lies.
WALLS
(in a hushed tone)
Sir.  Sir can you hear me?
Walls crouches down next to David's body.  He slowly shines the light up and down him.  He has a puzzled look on his face, noticing the excessive amounts of blood on David's clothes.
WALLS
What happened to you?
Suddenly and without warning, David spins, grabbing the heavy flashlight from the officer then grabbing him by the hair with his free hand.  David clubs Walls upside the head with the light, then tugs his hair, jerking his head down into the dark, bloody water.  Walls immediately tries to struggle, only to receive several more blows to the head with the flashlight.  The water grows darker as blood gushes from Wall's head.  David keeps Walls' face pressed down under the water, and after a few minutes more of thrashing, Walls goes limp.  
David rolls Walls' body over onto the embankment and begins to unbutton his shirt.
FADE TO:
Present
INT. cop car - nighT
NARRATOR (V.O.)
Well here we are, what is that, about 28 days later?  I'm not positive, I'll let you do the math.  I'm sure you still have some questions, like, how did that sick twisted bastard find me anyway?
Out front, the car can be seen starting to turn around.
NARRATOR (V.O.)
It turns out David, like killing, is also very good at listening in on other peoples conversations.  That's how he got my first and last name, then all he had to do was run a search for me on poor officer Walls' police computer in his car.  As for Nick and Joel, they simply had the misfortune of being at my house when David showed up.
The car pulls back up to the side of the run down building.  The side still covered in Nick and Joel's blood.
NARRATOR (V.O.)
Apparently, the details them helping Sarah included coming to see me and to convince me of Sarah's story.  As to how they found out where I live, I'm pretty sure my mother had a hand in that.  
David parks the car and gets out.  He opens the back passenger door and pulls Matt out forcefully with one hand on his arm and the other gripping his hair.  He marches Matt around to the front of the building.  The front door looks old and worn, yet incredibly solid, as if the wood has petrified over time, making it unbreakable by regular means.
DAVID
I'll let you live long enough for me to kill your child, then you'll die too.
MATTHEW
What are you talking about?!  There's no way humanly possible for Sarah to be pregnant with my kid.  That takes months you crazy fucker!
David throws Matt against the door.  There is a loud thud as Matt smacks into the door, then slides down onto his knees, his head propped against the wall.
DAVID
You still don't believe.  They buried her, you know that don't you.  They buried her alive.  You better believe,  otherwise she's already dead.
Matt slumps over onto his side, facing David.
MATTHEW
You're insane, you know that don't you?  You're the killer.  You're fucking crazy!
David gets a look of rage in his face.  He lunges forward towards Matt, kicking him hard in the stomach.  Matt yells out in pain, struggling to catch his breath.
DAVID
You'll see.  When I hold your dead child in my arms, you'll know.  It should have been me!  It will be me!
David pulls Matt to his feet then presses his face into the side of the door.  He reaches into his pocket and produces a very large ancient looking key.  He slides it into an equally ancient lock.  There is a large thud as the deadbolt slides over, unlocking the door.  When the door opens, Matt chokes and gags, as the stench of a dead body catches his nose.  He begins to back up, until David shoves him forward into the building.  Matt's hands are still cuffed behind his back, so he has nothing to break his fall as he lands on his chest and face.  He rolls over to see the dead, decaying body of officer walls.  He gags again and rolls the other way.  The inside of the house is uniquely built.  The windows run horizontally along the top of the walls, only several inches high, just enough to allow the pale moonlight to shine inside, but offering no escape.  It looks similar to windows found in a basement.
NARRATOR (V.O.)
This place looks perfect for stashing dead bodies.  It sickens me to think how many people he's actually brought here.  I might just be another notch in his belt so to speak.  Even though I should be thinking of all the ways I don't want to die, now all I can think about is Sarah.
Matt's thoughts are interrupted as David grabs him by the feet and drags him into a room off to the side of the building.  The room at one point in time had been a bedroom, but now all that remained was a filthy stained mattress with a broken bed frame.  Dark stains cover the mattress and even the surrounding walls.  Matt lies helpless and in handcuffs, staring at the rotting ceiling.  He closes his eyes, waiting for a gunshot or maybe the feeling of a sharp object to penetrate his throat or chest but nothing happens.  Suddenly the bedroom door slams as David runs out of the house.  Outside, David re-locks the heavy door and jumps into the car, driving off towards the grave site.
NARRATOR (V.O.)
Just as suddenly as David left, my thoughts change from Sarah, to the old piece of paper in the back of my pocket.  The one my mother gave me.
CUT TO:
Closeup - the gravesite
The camera zooms in on the freshly packed dirt.  Suddenly, in a spot no larger than a human fist, slowly rises up in the middle of the grave, then sinks back down.  It appears something is trying to push its way through the soil.
CUT TO:
EXT Dirt roads - forest - nigHT
David races down a series of dirt roads, winding through the woods.  The further he goes, the denser the forest gets.  Eventually he is forced to stop, as the final traces of a road disappear.  He gets out of his car and begins running on foot, gun drawn.
CUT TO:
Int Abandoned building - nIGHT
Matthew maneuvers his cuffed hands from behind his back around the bottoms of his feet, so that they are now in front of him.  He stands up and takes out the paper from his pocket, carefully unfolding it.  The paper reads "returning to the forest" at the top and is covered in symbols and diagrams.  There are notes scribbled all over, some in English and some in another language as if the note had been translated on different occasions by different cultures.
NARRATOR (V.O.)
If there were ever a time to believe in the unbelievable, I think now would be that time.  It's better than sitting here, not believing in anything, waiting for the end.
The camera pulls back out of the room, stopping outside the closed door.  Matt can faintly be heard muttering to himself.
CUT TO:
The grAVESITE
Two fingers slowly poke through the soil and begin to wiggle in the cool night air.  The fingers go out of focus as the camera instead focuses on the background.  In the distance a small figure can be seen running through he woods.  The camera focuses back on the grave as an arm begins to emerge.
CUT TO:
INT.  aBANDONED BUILDING
The camera stays focused on the closed bedroom door.  There is an absolute silence coming from the other side.  After a moment the camera cuts back to inside the room, just as Matt is getting up from off the floor.  He has a look of wonder and amazement on his face as he stares at the inside of the closed door.  He drops the piece of paper to the ground and takes a shaky step towards the door.  His breathing begins to quicken the closer he gets.  He reaches painfully slow for the doorknob, hands still cuffed together.  Both hands are resting on the knob.  He takes a deep breath and opens the door.  He breathes out a breathe of complete bewilderment, the sight almost bringing tears to his eyes.  The camera cuts behind Matthew.  Through the doorway dense forest can be seen.  The moon shines brightly.
MATTHEW
(stammering)
I don't believe it.
Matt's trance is broken when suddenly David runs past the doorway, gun in hand.  Apparently David was unable to see him.  Without further hesitation, Matt steps through the door and emerges in the middle of the woods.  He turns around only to find the doorway is gone.  He looks back to see David still making his way a short distance ahead.  Matt takes off running after him.
Matt can hear David yelling out Sarah's name.  Up ahead of David, Matt can see a faint shining dress.
The camera cuts to David.  He stands on one side of the grave, pointing the gun forward.  There is a hole around 2 feet wide near the top of the grave. On the other side stands Sarah, covered in dirt and holding a bundle in her arms.  She looks down smiling softly.
DAVID
(in tears)
I can't let you do this.  It should be me, it has to be me!
Sarah looks up at David with a piercing stare.
SARAH
(with a disgusted tone)
You will never touch this child.  
Sarah looks over David's shoulder and smiles, seeing Matt charging straight for him.  David notices her gaze and turns quickly to see Matt, only a few feet away.  David has a look of absolute disbelief and fear at the sight of Matthew.  His brain can't even begin to understand how this is possible.  He raises the gun and fires off a shot, barely missing Matt's head.  By now Matt is an arms length away.  David raises the gun in an attempt to hit him over the head with it.  Matt drops low and tackles David hard onto the surface of the grave.  As they land, the loose, hollowed out soil gives way.  It looks as if the earth swallows them whole as they disappear underground.  Three shots ring out, the fire from the gun barrel lights up the top of the hole.  A muffled cry can be heard from the grave.  David slowly begins to emerge from the ground.  His eyes are wide and he awkwardly paws at the soil trying to pull himself out.  When he about halfway out, two more shots ring out from below ground.  David freezes for a moment before spitting up a large amount of blood.  His eyes roll back in his head as he falls backwards back into the hole.  Moments later, Matthew emerges from the grave, covered in dirt, but unhurt.  He has David's keys in his hands and begins to take off the handcuffs. Matt looks at Sarah, then at the bundle in her arms.
MATTHEW
Sarah, my head is swimming.  I don't understand.  What's going on.  How were you underground for so long?  Is that...really a baby.
SARAH
(smiling)
Come see for yourself Matthew.  It is your daughter after all.  All you need to know is that you're finally where you belong now.  After tonight, everything changes.
Sarah holds out a hand towards Matt.
FADE TO:
EXT.  wOODS - nIGHT
The camera makes it's way through the thick forest.  It comes to a clearing.  There is a large pond in the middle, like some secret oasis. The moon shines brightly, reflecting off of the water.  Childish laughter can be heard from the far side of the pond.
NARRATOR (V.O.)
At this point you're probably thinking "what the hell" just like I am.  For the more thoughtful, you may be thinking "Matthew, why did you let Joel and Nick die, you could have saved their lives.  Well as it turns out, I did.  Things aren't always as they appear...
The camera pans to the other side of the pond.  Nick and Joel are in the water, laughing and splashing each other, wearing no clothes.  The camera cuts back to the side of the abandoned building, focused on the blood-stained wall.  The camera pans down to where the two bodies should be.  Nick and Joel's clothes are still there, but they are now stuffed with ferns and grass and twigs.  An abundance of insects crawl out from the tops of the shirts.
NARRATOR (V.O.)
There's more magic in the woods than you know.
The camera cuts back to the gravesite.  Matthew holds the little bundle in his arms, he has tears in his eyes.  Sarah has her arms wrapped around them both.  She embraces him for a moment then takes one of Matt's hands and motions for him to follow her.
MATTHEW
Where are we going?  We have to go back.
SaRAH
I already told you we are finally home.  It's time to trust me now.  There's still so much to show you.
Matt nods solemnly, squeezing Sarah's hand tightly.  They turn and begin to make their way deeper into the woods.  Their silhouettes begin to fade.
NARRATOR (V.O.)
I don't know what's going to happen next.  All I know is that this is the most alive I have ever felt.  I can't seem to keep my emotions under control, but maybe that's the point.  To let go and take a dive into the unknown, to go where no ones ever been, to lead the way.  Don't despair, we'll meet again, I promise.  You can find us just beyond the forest...
FADE TO BLACK.
End