Two Winters Past

INT. PANTRY. NIGHT.

KAY sits on the floor of the pantry. Outside the door is the sounds of cleaning.

MIRANDA (OS): Would you believe that room locked on the inside when we moved in? I had to turn the door around. Who wants to be locked in a pantry? My husband, I’m sure. You can eat some of that food if you want. It’s been a long day, and he probably didn’t feed you much. Oh...

MIRANDA opens the door, knife in hand.

MIRANDA: I’ll untie your ropes.

KAY sees the knife and chokes on her scream. MIRANDA waits.

MIRANDA: You can either trust me now and get some food, or you can stay in here another hour with nothing. I have work to do.

KAY calms, stands, offers her hands to MIRANDA, who sews at the bindings.

MIRANDA: I’m surprised this knot didn’t come loose. I’m awful with knots. My son was a Boy Scout. He knew so many knots, and he could start a fire.

MIRANDA cuts through the rope and pushes KAY back inside. Door slams and locks.

DARKNESS.

Door squeezes open and a candle illuminates the pantry carried by MIRANDA. She smiles. 

KAY is asleep with several pull-tab cans opened and spilled on and around her. KAY wakes up. 

MIRANDA: Dozed off, huh? Sorry, that took a little longer than I expected. I got something special for you. Come with me.

KAY stands, stumbles into the kitchen. Candles illuminate. 

VIC is gone, as well as his blood.

MIRANDA: Go upstairs.

MIRANDA is giddy. She guides KAY up the stairs.

INT. BATHROOM. DAY. 

Candles light the scene. Steam rises off the full bath.

MIRANDA: You wouldn’t believe how long it took me to get the water hot. It’s got to be almost dawn!

KAY looks at the water, looks at MIRANDA. KAY is confused.

MIRANDA: Get in! Won’t stay hot too long. I had to reheat a lot of it already.

KAY stares at MIRANDA.

MIRANDA: Oh, right.

EXT. HALL. NIGHT. 

MIRANDA  enters from the bathroom leans her back against the wall. Door closes. Door handle jiggles.

MIRANDA: Doesn’t lock, hunny. I’m not sitting out here while you cut your wrists. Get in the water.

Silence inside a moment, then splashing.

MIRANDA: I’m coming in.

MIRANDA enters the bathroom. 

KAY is in the water, her filthy clothes in a neat pile beside the tub.

MIRANDA: There is nothing sharp in here. You can’t leave like that. Can’t leave at all. My son knows how to end this, but you’re important. You’re like in his dream. You came here, marked by a gun. He needs you to bring all this to an end.

KAY is scared.

KAY: I don’t know what you mean.

MIRANDA: Your blood. You have royal blood.

KAY: You’re crazy! Leave me alone!

MIRANDA: You can make my son a king!

KAY is screaming. MIRANDA backs out of the room and locks the door with a key from her pocket.

MIRANDA: No one can hear you, hunny.

DOWNSTAIRS there is a banging on the door.

BLYTHE (OS): Open up!

MIRANDA is shocked. 

MIRANDA: (harsh whisper) You shut up! We have company.

BLYTHE: Can you hear me? I’m coming in!

Window shatters downstairs. 

KAY is screaming. 

CLOSEUP: MIRANDA in rage.

LOOKING up on KAY cowering in the bathroom.We hear the sound of kicks and indecipherable shouts from Blythe. 

Bathroom door breaks open and BLYTHE enters, holding a new axe that drips blood. 

KAY rockets from the tub, shoulders past Blythe, nearly knocking him over. 

BLYTHE takes a moment to recover, watching after her. 

Front door slams a moment later. BLYTHE follows. 

INT. KITCHEN. NIGHT. 

By candle light, we see MIRANDA is dead, her forehead split open. 

BLYTHE looks out the window. He takes a blanket that is folded by the door. 

EXT. YARD. NIGHT. 

KAY is kneeling in the road, hands covering her head. BLYTHE walks to the end of the porch.

BLYTHE: That old woman is dead. Anyone else will be dead too if they touch you or me. At least tell me if you have anyone inside I should count friend. Otherwise, I’m going to put this blanket on  you and go kill anyone that's hiding. 

BLYTHE approaches slowly.

BLYTHE: You don’t have to stay here. You can run away. I’m your friend, and I’m going to give you a blanket.

KAY is whimpering.

BLYTHE: I put down my axe, I ain’t got no weapons, and I ain’t going to chase you if you run away. You got a knife or a rock hidden there, just keep it to yourself. I ain’t taking chances if you come at me first. I’ll break your damn neck, but only if you come at me. Let me give you this blanket and I’ll go back inside.

BLYTHE tosses the blanket over KAY and jumps back. 

KAY pulls the blanket tight. BLYTHE sees she does hold a knife. BLYTHE backs away with his hands up.

BLYTHE: You run away if anyone comes out but me. I came here alone. I got a motorcycle, we can get out of here.

BLYTHE retrieves his axe, goes back inside. 

Long shot over KAY’s shoulder, watching the house. Sky brightens as we watch. Birds chirp. Blythe returns. He comes off the porch.

BLYTHE: I’m John. What’s your name?  I only saw the old woman, is there anyone else? I know a place to find you some clothes.

KAY: Are you the son?

BLYTHE: Who?

KAY: She had a son. He was traveling.

BLYTHE: I came down 26 from Whitney Point. You live here? Do any other houses have people?

KAY: I came from Buffalo.

BLYTHE: You’re a long way from home.

KAY breaks down crying.

BLYTHE: Hey. Hey, relax. I’m going to help you up. You don’t have to tell me nothing. Come on, I got a place to go.

KAY: There is food in the house. Supplies. The son will be gone a long time. She wanted me to stay... for him!

BLYTHE: Not a good time to grow up. You sure you two were alone?

KAY calms herself.

KAY: It’s safe.

KAY and BLYTHE go in the house. 

INT. KITCHEN. DAWN. 

BLYTHE looks around while KAY stares at MIRANDA’s corpse. 

BLYTHE piles cans into a burlap sack.

BLYTHE: I can only carry so much, but Turner will want to come back here. Are your clothes upstairs? I can get them for you. You’re not a prisoner. If there is anyone else in the house, I will kill them too, unless they are friends. Tell me if you have friends.

BLYTHE follows KAY upstairs and stands outside the bathroom until she returns, dressed.

EXT. STREET. DAWN.

BLYTHE's motorcycle is parked in front of the house. 

BLYTHE and KAY enter from inside. They walk toward the motorcycle. 

BLYTHE: I saw bodies in the basement. If anyone else is watching, I want them to see. Stay close and keep on the road.

KAY: (stops) Where did you get a motorcycle?

BLYTHE: Rednecks up in Triangle figured out how to make them without electricity. Turner has been dying to get his hands on one for a year!

BLYTHE helps KAY onto the motorcycle, then gets on in front of her. 

BLYTHE: I’m going to a place called “The Castle.” You’re welcome to ride with me, or you’re welcome to go your own way. I don’t recommend that.

KAY: Is it safe?

BLYTHE: Turner ain’t killed me yet.

KAY: Take me there.

BLYTHE jump-starts the bike. 

Montage as they speed down a long country highway lined with fields. Moonlight reveals houses and a pumpkin patch. There is a log cabin store, and a gas station, and then civilization gives way. Road continues on, between the hills around a bend. Camera loses BLYTHE and KAY in the distance.

FADE OUT until only the full moon remains on the screen, So defined we can see the outlines of the craters.

Continuity error: Shot has been reversed, this is apparent in the craters on the face of the Moon.