THE DRIFTING SNOW
by
Lanny Maude
FADE IN:
EXT. WOODS - DAY
A winter day in the Wisconsin woods in the late 19th century.
Everything looks so quiet, the blanket of snow virtually
untouched.
From behind some of the brush, a WOLF pokes out its nose. It is
white with startling blue eyes. It looks intelligent.
SERIES OF SHOTS - THE WOLF WANDERS THROUGH THE WOODS
A. It wanders between the low brush, leaving its tracks in the
snow.
B. It wanders down a road. The only indication that it's a
road is the slight depression in the snow.
C. A horse-drawn sleigh glides by, the wolf hiding but watching
carefully.
D. The wolf is back on the road, continuing its journey.
E. It cuts cross-country, heading for some unknown destination.
It comes across a pair of HUNTERS. The hunters are carefully
scanning the area.
The wolf quietly sneaks by the hunters and continues its trek.
A voice in the distance...
HUNTER #1 (O.S.)
There it is!
ON THE HUNTERS
Hunter #1 quickly raises his shotgun to his shoulder. The
shotgun BOOMS and--
ON THE WOLF
--the snow near the wolf flies into the air.
The wolf takes off running.
ON THE HUNTERS
HUNTER #2
Stop it! It's getting away!
The shotgun BOOMS again,--
ON THE WOLF
--misses the target again.
The wolf continues to run.
EXT. HOUSE - DAY
A two-story house nestled among the trees in the woods.
It's a cold day, but at least the snow has stopped falling.
ON ANDREW
Richard's servant, ANDREW, is splitting wood in the front yard.
He swings the axe into the end of a log. THWACK! Plumes of
vapor are produced by Andrew's heavy breathing.
ON THE BACK DOOR
The back door of the house opens and out steps RICHARD. He's a
big man in his fifties, dressed against the cold.
THWACK! The sound can be heard from the front of the house.
He looks up at the sky as he closes the back door then steps
into the snow. He walks a short distance from the house,
stopping at a headstone.
He slowly drops to his knees and proceeds to brush the snow
clear of the headstone. The headstone reads,
VICTORIA
Beloved Wife and Mother
1841-1887
Richard's fingers come to rest on the name.
THWACK!
INT. HOUSE, EDWARD'S BEDROOM - CONTINUOUS
This is a typical bedroom for a family that is wealthy. The
room is dim as it's lit only by the winter light coming through
the window.
MARGARET stands at the window, looking down at Richard. She's
in her late teens. She's also completely naked, holding one arm
across her breasts and one hand on the window frame.
MARGARET
He really misses her.
EDWARD (O.S.)
We all do...
EDWARD is sitting up in the bed. He's in his early twenties.
He's naked as well, but he has the sheet pulled up to his waist.
EDWARD
...but Father can't let her go.
MARGARET
He goes out there almost every day. He's
been doing it for years.
Edward gets off the bed and walks to the window where he wraps
his arms around Margaret from behind. She closes her eyes and
leans her head back against Edward.
He slides his hands up to cup her breasts. He kisses her neck.
She reaches up and behind so she can interlock her fingers
behind his neck.
She GASPS as he pinches her nipples.
EDWARD
(whispering)
I love the way you feel.
Margaret lets out a slight MOAN as Edward's fingers work.
MARGARET
I love the way you handle me.
She unclasps her fingers, drops her arms, and puts her hands on
the lower frame of the window. She arches her back so she can
rub her ass against his crotch.
He slides his hands down her sides until they come to a rest at
her waist.
She stretches out again, grabbing the top frame of the window
with both hands.
EXT. HOUSE, EDWARD'S BEDROOM WINDOW - CONTINUOUS
Margaret's breasts are smashed up against the cold glass.
ON RICHARD
A faint THWACK! In the background.
Richard is still kneeling in front of his late wife's headstone.
He lightly traces the words with his fingers.
ON ANDREW
The axe swings. THWACK! Andrew sets up, swings, THWACK!
INT. HOUSE, EDWARD'S BEDROOM - DAY
Margaret is on the bed underneath Edward. They are lost in
passion, MOANING and GROANING.
Their love-making reaches an orgasmic peak... then tapers off.
He rolls off of her.
MARGARET
(playfully)
Was that to your satisfaction, sir?
EDWARD
(plays along)
Yes, I enjoyed that...
He props himself up on one elbow so he can see her better. He
traces a circle around one of her nipples.
EDWARD
...But you better get back to work cleaning
my room.
Margaret reels back in mock indignation and hits him. He laughs
and pulls her on top of himself for a kiss.
He kisses her lightly, playfully on the lips.
He kisses her on the tip of her nose, following quickly with a
little nip. She giggles.
He kisses her very softly on both eyelids, lingering, not
rushing the moment.
He returns to her lips where she can no longer restrain herself.
She kisses him back with such passion it's almost startling.
As they kiss, she slides off until she's lying up against his
side.
Her hand works along under the sheet until she comes to his
semi-hard cock. She starts to rub.
MARGARET
Maybe I'll start by licking this clean.
EXT. HOUSE, EDWARD'S BEDROOM WINDOW - CONTINUOUS
The faint sound of Andrew's chopping carries in the still air.
THWACK!
THWACK!
INT. HOUSE, DINING ROOM - NIGHT
The room is lit entirely by candlelight.
Richard is seated at the head of the table. His sons JOHN and
Edward are seated to his right. His daughters MARY and
ELIZABETH are seated to his left. Victoria's chair at the other
end of the table is empty.
They are all engaged in insignificant dinner conversation.
Margaret enters the room wearing her usual maid's uniform and
starts removing some of the tableware.
As she leans between John and Edward, Edward quickly runs a hand
up and down one of her legs.
INT. HOUSE, EDWARD'S BEDROOM - NIGHT
Margaret is sitting astride Edward in bed.
She has undressed except for her undergarments. She is
unbuttoning his shirt.
Unknown to the couple on the bed, the door to Edward's bedroom
slowly, quietly opens a crack.
IN THE HALLWAY - CONTINUOUS
Richard carefully peeks in on his son and maid. His rage builds
until--
IN EDWARD'S BEDROOM - CONTINUOUS
The door flies open.
Richard points at Margaret who jumps off of Edward to grab her
dress to cover herself.
RICHARD
YOU!
Margaret gets her dress. Edward rises from the bed.
RICHARD
GET OUT OF MY HOUSE!
MARGARET
What?
RICHARD
OUT OF MY HOUSE!
MARGARET
(simultaneous)
But I have nowhere to go.
EDWARD
(simultaneous)
Father, you can't be serious.
RICHARD
I will not have you in my house corrupting
my sons!
EDWARD
Father, it's my fault! Don't do this!
Richard ignores his son.
RICHARD
You will go to your room, get your things
together, and leave!
Margaret runs out of the room crying.
EDWARD
Father, it's not her fault. I asked her to
my room.
Richard refuses to listen.
RICHARD
Shut up!
He leaves Edward's room and slams the door shut. Edward quickly
puts the rest of his clothes back on.
INT. HOUSE, ENTRY - NIGHT
Margaret is standing at the door. She has a bag in her hand and
she is in tears.
Richard is standing in front of her and his children and butler
are watching.
MARGARET
(crying)
But where will I go? It's dark and snowing.
My parents live more than five miles away.
RICHARD
You should have thought of that before
seducing my son, you whore.
He opens the front door.
RICHARD
Now get out!
He pushes Margaret out into the night.
The kids and butler all chime in with their arguments, but
Richard is a stubborn man.
Margaret just looks at him. She can't believe this is
happening.
Richard SLAMS the door in her face. He turns to face the crowd
behind him.
RICHARD
All of you go to your rooms!
EDWARD
But father--
RICHARD
YOU HEARD ME! GO!
The crowd disperses to go to their rooms.
Richard heads for the sitting room.
INT. HOUSE, SITTING ROOM - SAME
Richard enters and goes straight for the liquor. He's always
had a temper, but this is one of the most extreme things he's
ever done.
He pours himself a drink before sitting in his chair facing the
fireplace. He stares into the flames for a moment then starts
in on his drink.
EXT. HOUSE - CONTINUOUS
Margaret steps off of the porch and into the snow. It's dark
and it's snowing lightly.
She is crying softly to herself. She walks away from the house.
INT. HOUSE, SITTING ROOM - NIGHT
Richard gets up from his chair to pour himself another drink.
He is about to take a sip when he notices his reflection in a
mirror over the liquor cabinet. He just holds his glass close
to his mouth, looking at himself in the mirror.
Finally, he turns his back to the mirror and takes a drink.
EXT. WOODS - CONTINUOUS
Margaret is not properly dressed for a trek in the snow. The
weather quickly takes its toll.
She manages to make it to the base of a huge tree where she
huddles up next to the tree to protect herself from the snow.
She is shivering and crying.
She doesn't notice the white wolf that pokes its head out of the
brush.
The wolf looks around to see if there are any others in the
area. Satisfied that Margaret is alone, the wolf transforms
into man-shape.
He is tall and slender. He sports a bit more hair than the
average man and his hair is white. He has the same blue eyes as
the wolf. He is wearing no clothing, yet he is unaffected by
the cold.
He is in fact a VAMPIRE. He advances on Margaret.
When he speaks, his voice is soothing.
VAMPIRE
What's wrong, child?
Margaret looks up. If she is surprised to see a naked man in
the snow, she doesn't show it.
MARGARET
My master threw me out. I'll never make it
home.
VAMPIRE
You're freezing.
He kneels down fluidly next to Margaret.
VAMPIRE
Let me comfort you.
He holds and comforts Margaret for a little while before baring
his fangs and sinking them into Margaret's neck.
INT. HOUSE, SITTING ROOM - NIGHT
Richard is standing in front of the fireplace. He is holding a
half-full glass.
RICHARD
DAMMIT!
He throws his glass into the fireplace.
RICHARD
ANDREW!
Andrew enters the room immediately. He knows what his master is
like, so he was waiting outside the door.
ANDREW
Yes sir?
RICHARD
Go get the boys. We're going after her.
ANDREW
Yes sir.
He quickly leaves the room.
EXT. HOUSE - NIGHT
Richard, Edward, John, and Andrew are all on the front porch
dressed for cold weather exploration.
The drifting snow has covered Margaret's tracks.
Richard and John are carrying rifles. Edward and Andrew are
carrying lanterns.
Richard addresses his sons quickly.
RICHARD
You boys head south-west. Stay together.
Andrew and I will head west. Fire two quick
shots if you find her, three shots if you
run into trouble. Questions?
JOHN
(simultaneous)
No, sir.
EDWARD
(simultaneous)
No, sir.
RICHARD
Then go!
The four split up to try to find Margaret.
EXT. WOODS - NIGHT
John and Edward are searching. Edward holds the light high,
trying to see as much as he can.
He's agitated because of his emotional connection to Margaret.
EDWARD
MARGARET!
(waits listening)
MARGARET!
John points between a couple of trees.
JOHN
Let's try over that way.
The two head off between the trees.
EDWARD
MARGARET!
ON RICHARD AND ANDREW
It's almost a duplicate of the scene with John and Edward, but
Andrew's calls don't have the same intensity as Edward's did.
ANDREW
MARGARET!
(beat)
MARGARET!
Richard is constantly scanning. It's extremely difficult to
see. The dark and snow not only cut visibility, but distort it
as well.
Richard thinks he sees something.
RICHARD
What's that?
Andrew reacts. He lifts the lantern as high as possible and
moves next to Richard.
ANDREW
Where?
Richard points into the darkness.
RICHARD
There.
Movement in the distance.
ANDREW
Looks like a wolf.
RICHARD
Whatever it was, it's gone now. Keep
looking.
The pair continues their search.
ANDREW
MARGARET!
EXT. HOUSE - NIGHT
Mary and Elizabeth look through the window, waiting for someone
to return. They can see a light coming toward the house.
Richard and Andrew come up to the house. They are defeated.
The front door opens. Mary and Elizabeth emerge onto the porch.
MARY
(simultaneous)
What's happening?!
ELIZABETH
(simultaneous)
Did you find her?!
MARY
Where--
Richard puts his hand up to stop his daughters.
RICHARD
Go to your rooms.
MARY
(simultaneous)
Why did--
ELIZABETH
(simultaneous)
But what--
RICHARD
PLEASE!
(quietly)
Go to your rooms.
His daughters are obedient. They hesitate only a moment before
complying.
He sits on the porch, setting his rifle down. He lowers his
head into one of his hands.
Andrew stands by quietly like a good servant.
Off in the distance a light advances on the house. Andrew sees
it.
ANDREW
Sir.
Richard looks up and sees the light. Soon John and Edward are
visible. Edward's head and lantern are low.
Richard stands, anxious.
John and Edward come to the porch.
RICHARD
Son...
EDWARD
Get away from me!
He continues past the others, entering the house and closing the
door.
John and Andrew look to Richard for what's next.
RICHARD
We'll search again in the morning.
JOHN
Father, why did--
RICHARD
Let's just get some sleep. We'll continue
in the morning.
Richard picks up his rifle and the three enter the house.
EXT. WOODS - DAY
Margaret is frozen beneath the tree.
EDWARD (O.S.)
MARGARET!
He spots Margaret. He stops, not wanting to believe.
EDWARD
No.
(beat)
NO!
He breaks into a run, dropping to his knees when he gets to
Margaret. He touches her frozen features lightly with his
fingertips.
EDWARD
...no...
John catches up to him. John stops and stares. He doesn't know
what to say.
Edward gently puts his arms around Margaret and hugs her. Her
body is stiff with cold and death.
Richard and Andrew join them.
RICHARD
Edward...
Edward looks up at his father, the cause of all of this pain.
He lets go of Margaret and leaps toward John where he grabs the
rifle out of John's hands. He swings the rifle up and points it
directly at his father's face.
Silence. Literally, a frozen tableau.
EDWARD
I should kill you.
No one dares move.
Finally, Edward relaxes. He lowers the rifle and then lets it
drop from his hand into the snow. He returns to Margaret.
Richard turns to Andrew.
RICHARD
Bring a hand-cart.
ANDREW
Yes, sir.
Andrew hurries off.
Richard and John watch the sad scene in the snow. John
retrieves his forgotten rifle.
Edward is in his own world, mourning his loss.
INT. HOUSE, DINING ROOM - NIGHT
The family is once again at the dinner table. Edward, however,
is absent.
The diners eat in silence.
EXT. WOODS - DAY
The ground is still covered with snow, but it is no longer
snowing.
Edward is slowly walking through the woods. He comes to the
tree where Margaret was found.
He touches the tree, thinking of Margaret not as he last saw
her, but when they were happy. He lowers his head in sorrow.
INT. HOUSE, DINING ROOM - CONTINUOUS
Richard looks out through the French windows.
EXT. WOODS - DAY
The snow-covered tableau looks so quiet and peaceful.
DISSOLVE TO:
EXT. WOODS - DAY
The warm summer sun has long since melted the snow.
EXT. GRAVEYARD - DAY
Edward arrives at the graveyard carrying a bouquet of wild
flowers. He reverently walks to a grave with a small marker.
He kneels and places the flowers in front of the marker.
He kneels there in silence for a little while before leaving.
DISSOLVE TO:
EXT. GRAVEYARD - DAY
The graveyard is covered in snow. Margaret's small marker is
completely buried.
EXT. HOUSE - NIGHT
Richard's house. Unchanged after a year.
It's snowing and the snow is drifting.
INT. HOUSE, SITTING ROOM - CONTINUOUS
Richard is sitting by the fire, enjoying a drink. The CRACKLING
of the fire is soothing.
He takes a sip. The glass is almost empty. He sets it on the
table next to his chair and sits back.
His eyes drift closed briefly. After a moment, his eyes close
again. He fights them open.
That's enough. Time for bed. He stands and leaves.
IN THE DINING ROOM - CONTINUOUS
Richard enters and walks to the French windows. He notices the
curtains were left open so he reaches to draw them.
He pauses, looks out the window. There's something moving off
in the distance. He rubs his eyes before looking again.
There's a ghostly image dancing in the drifting snow. Richard
strains to focus.
EXT. WOODS - CONTINUOUS
Margaret is dancing in the snow. She's very pale, almost as
white as her flowing dress.
INT. HOUSE, DINING ROOM - CONTINUOUS
Richard recognizes her. He can't believe it.
RICHARD
(to himself)
It's her.
He stares a moment longer.
RICHARD
It's her!
He sprints toward to door.
EXT. HOUSE - CONTINUOUS
The front door bursts open. Richard pauses in the doorway,
looking at the image.
EXT. WOODS - CONTINUOUS
Margaret continues her dance.
EXT. HOUSE - CONTINUOUS
RICHARD
Margaret!
He runs after her even though he's not dressed for the cold.
She retreats as he advances.
Andrew had heard the commotion. He comes to the front door. He
doesn't see Margaret. All he sees is Richard running out into
the snow.
ANDREW
Sir! Stop!
EXT. WOODS - CONTINUOUS
Richard keeps chasing after something only he sees.
EXT. HOUSE - CONTINUOUS
Andrew disappears from the doorway. He returns shortly, putting
on a winter coat. He runs out after Richard.
ANDREW
Sir!
EXT. WOODS - CONTINUOUS
Margaret is weaving between the trees, moving deeper and deeper
into the woods.
Richard can't seem to catch up with her. He's breathing heavily
now.
Andrew attempts to catch up, but loses Richard in the drifting
snow.
Margaret suddenly stops, allowing Richard to get within range.
He is panting, out of breath.
RICHARD
Margaret...
She gives a little curtsy.
MARGARET
Good evening, sir.
RICHARD
How can this be? You're...
He can't continue. The guilt still weighs heavily on him.
MARGARET
I'm what, sir?
He replies quietly, as if telling a secret.
RICHARD
You're dead.
MARGARET
How can that be, sir? I'm standing right
here.
He pauses. His brain can't put it all together.
She slowly advances on him, holding out one hand.
MARGARET
Come... touch me... I'm right here.
She stops right in front of him. He slowly reaches out and
touches her hand.
Solid.
RICHARD
(confused)
I don't understand. We buried you last
summer.
MARGARET
Don't worry about that now, sir.
She steps in close and reaches up to cradle his face in her
hands.
MARGARET
No need to worry anymore.
She stretches up and kisses him on the lips, then looks into his
eyes.
MARGARET
Hold me. It's cold out here.
He slowly, almost mechanically, puts his arms around her. She
embraces him back.
After a moment, she brings one arm back around. She grabs hold
of his shirt and rips it open.
Margaret bares her fangs and sinks them into Richard's chest.
He just stands there, seemingly unaware of what's happening.
EXT. HOUSE - NIGHT
Andrew returns to the house to find Richard's children all
waiting at the door.
JOHN
What's happening, Andrew? Where's Father?
ANDREW
I'm not sure. I lost him.
Before anyone can get out the questions they want to ask, Andrew
continues.
ANDREW
Let's go inside. I'll tell you what I know.
INT. HOUSE, DINING ROOM - NIGHT
Richard's children and Andrew are seated at the dinner table.
MARY
Tell us what happened.
The other children all agree with Mary.
Andrew puts a hand up to stop the questions.
ANDREW
I'm not sure what happened. I heard your
father yell, but by the time I got to the
door, he was all the way to the tree line.
ELIZABETH
Why did he go out there?
ANDREW
I don't know. It seemed as if he was
chasing someone or something.
(beat)
The last thing I heard him say was...
(looks at Edward)
...Margaret...
Edward's heart is clenched by an unseen hand. He has not
forgiven Richard for Margaret's death.
EXT. HOUSE - NIGHT
The lights are burning in the house as plans are made.
DISSOLVE TO:
EXT. HOUSE - DAY
Silence. Peaceful, calm silence--
Suddenly broken by Andrew, John, and Edward crashing out of the
house wearing their warmest clothes, carrying rifles. They're
off to find Richard.
They go in three different directions.
EXT. WOODS - DAY
John searches for his father. He comes across a track in the
snow where something had been dragged.
He follows the track to see Richard propped up against the base
of a tree.
It's the same tree where Margaret was found, but that fact
escapes John at the moment.
JOHN
Father!
He runs to Richard, looks for signs of life. He hangs his head
when he finds Richard is dead.
He mourns briefly before standing and FIRING two shots into the
air.
INT. HOUSE, DINING ROOM - NIGHT
Richard's children are gathered around the table.
JOHN
One of the things I don't understand is the
track. He was dragged for over two hundred
yards to that tree. We followed the track
all of the way.
Edward knows what John is going to say.
EDWARD
Yes... and there were no footprints.
JOHN
Right. Whoever dragged him to the tree left
no footprints.
MARY
That's not possible.
JOHN
Possible or not, that's what happened.
EXT. HOUSE - DAY
Snow covers the ground. Victoria's headstone sits all alone,
soon to be joined by--
DISSOLVE TO:
EXT. HOUSE - DAY
Richard's headstone sitting next to Victoria's on a beautiful
summer day. There are flowers in front of both headstones.
DISSOLVE TO:
EXT. HOUSE - DAY
Both headstones are now poking up through the snow that blankets
everything.
INT. HOUSE, DINING ROOM - NIGHT
The children are relaxing at the table at the conclusion of
their meal.
Elizabeth glances to the French windows.
P.O.V. ELIZABETH
There are two faint shapes moving in the drifting snow out on
the west slope.
BACK TO SCENE
Elizabeth jumps up.
ELIZABETH
There's someone out there.
They all rise and move to the French windows where they see two
figures: one large, one small.
Edward suddenly cries out.
EDWARD
It's Margaret!
Edward bolts for the door, rips it open.
MARY
John! Stop him!
EXT. HOUSE - CONTINUOUS
Edward leaves the house running with John close behind. John is
a little older and a little faster.
John tackles Edward into the snow.
EDWARD
Let me go! It's Margaret!
JOHN
No it isn't. Margaret's dead.
EDWARD
But look...
John ignores him, picks him up out of the snow, and drags him
back to the house where the girls and Andrew are waiting.
Andrew rushes out to help John. Edward just continues looking
at Margaret dancing in the drifting snow.
ELIZABETH
Look... it is Margaret.
(beat)
And Father!
They all stand by the front door looking at the images.
JOHN
It's not really them. They must be ghosts.
That must be what happened to Father. He saw Margaret's ghost
and ran after, just like Edward.
EDWARD
Why are they here? Why don't they come any
closer?
ANDREW
Let's all go in the house. We'll discuss it
inside.
They all move into the house and close the door.
INT. HOUSE, DINING ROOM - CONTINUOUS
They file around the table and sit down.
MARY
What are we going to do?
JOHN
I don't know if there's anything we can do.
ELIZABETH
They don't seem to be getting any closer.
Edward gets up. Everyone watches as he goes to the French
windows. He stares out at the figures.
ANDREW
(whispering)
I think we should keep the curtains drawn on
the west windows.
The others at the table nod their agreement.
ON MARY
AUNT MARY (V.O.)
That was when we decided to keep the
curtains closed on the west windows.
EXT. HOUSE - CONTINUOUS
The figures move in the distance.
AUNT MARY (V.O.)
Not all the time, you see. Only on winter
nights. That's the only time we saw them.
EXT. WOODS - CONTINUOUS
Margaret dances and Richard tries to entice those in the house
to join them.
AUNT MARY (V.O.)
We didn't have to do it all winter, but we
did it anyway. They would actually only
come out when the snow was drifting.
FADE TO BLACK.
FADE IN:
INT. HOUSE, DINING ROOM - NIGHT
The room is lit by electricity now. John's son ERNEST and
Ernest's wife CLARISSA are sitting at the table which has been
set for dinner.
AUNT MARY (O.S.)
Who opened the curtains from the west
windows?
CLARISSA
(embarrassed)
I did, Aunt. I'm sorry. I forgot about
your not wanting them open.
Aunt Mary looks at the French windows. She makes an almost
imperceptible movement and LISA, her maid, comes out of the
shadows of the hall.
Lisa goes to the French windows and draws the curtains.
Aunt Mary slowly takes her place at the head of the table,
setting her cane against the side of the chair.
She fixes a gaze on Clarissa for a moment, then does the same to
Ernest. She moves her gaze to the empty chair at the foot of
the table.
AUNT MARY
I told both of you that the curtains over
the west windows are not to be opened after
sundown.
She looks back and forth between Ernest and Clarissa before
continuing.
AUNT MARY
You must have noticed that none of those
windows has been left uncovered at night.
She returns her gaze to the empty chair.
AUNT MARY
I took extra care to put you in rooms facing
east, and the sitting room is also in the
east.
ERNEST
I'm sure Clarissa didn't mean to go against
your wishes, Aunt Mary.
CLARISSA
No, of course not, Aunt.
Aunt Mary continues impassively.
AUNT MARY
I didn't think it wise to explain why I made
such a request. I'm not going to explain.
She looks at Ernest, still addressing both of them.
AUNT MARY
But I do want to say that there is a very
definite danger in opening the curtains.
She looks back over to Clarissa.
AUNT MARY
Ernest has heard that before, but you,
Clarissa, have not.
Clarissa shoots a startled glance at Ernest. Aunt Mary sees it.
AUNT MARY
It's all very well to believe that my mind's
wandering or that I'm getting eccentric, but
I shouldn't advise you to be satisfied with
that.
Edward's son HENRY bursts into the room and flies into the chair
at the foot of the table.
AUNT MARY
Late again, Henry.
HENRY
(mumbling)
Sorry...
He begins to eat. Aunt Mary SIGHS and begins to eat as well.
Ernest and Clarissa decide it's safe to eat now that Aunt Mary
isn't chastising them.
INT. HOUSE, DINING ROOM - LATER
Dinner is almost finished. Clarissa tries to lighten the mood
with some conversation.
CLARISSA
You aren't as isolated as I thought you
might be up here, Aunt Mary.
AUNT MARY
We aren't, my dear, what with telephones and
cars and all. Years ago it was quite a
different thing, I can tell you.
She smiles reminiscently and looks at Ernest.
AUNT MARY
When your grandfather was living, many's the
time he was snowbound with no way to let
anybody know.
CLARISSA
Down in Chicago when they speak of 'up
north' or the 'Wisconsin woods' it seems
very far away.
HENRY
Well it is far away. And, Aunt Mary, I hope
you've made some provisions in case we're
locked in here for a day or two. It looks
like snow outside, and the radio says a
blizzard's coming.
AUNT MARY
You're overly concerned, it seems to me. I
think you've been regretting this trip ever
since you set foot in my house.
She looks at the curtains covering the west windows.
AUNT MARY
If you're worrying about a snowstorm, I can
have Sam drive you to Wausau, and you can be
in Chicago tomorrow.
HENRY
Of course not.
Silence.
AUNT MARY
(gently)
Lisa...
Lisa once more appears out of the shadows to help Aunt Mary with
her chair.
AUNT MARY
I'm afraid I'm a bit worn out. Please
excuse me. I'll see you in the morning.
Without waiting for any replies, she and Lisa disappear down the
hallway.
Clarissa looks nervously at Ernest. Henry vocalizes her
feelings.
HENRY
(matter-of-factly)
I think she's losing her mind.
Clarissa is about to defend Aunt Mary even though she was
thinking the same thing, but he gets up and heads off for the
sitting room.
She fingers her spoon idly.
CLARISSA
I do think she is a little strange, Ernest.
ERNEST
(smiling)
No, I don't think so. I've an idea why she
keeps the windows covered.
CLARISSA
Why?
ERNEST
My grandfather died out there. He was
overcome by the cold one night, and froze on
the slope of the hill.
CLARISSA
That's terrible.
ERNEST
I don't know how it happened. I suppose she
doesn't like to be reminded of it.
CLARISSA
But where's the danger she spoke of, then?
ERNEST
Perhaps it lies in her. She might be
affected and affect us in turn.
He thinks about it a moment.
ERNEST
I suppose she does seem a little strange to
you, but she was like that as long as I can
remember; next time you come, you'll be used
to it.
Now it's Clarissa turn to think a moment.
CLARISSA
I don't think I like the house, Ernest.
ERNEST
Oh, nonsense, darling.
He starts to rise but she stops him.
CLARISSA
Listen, Ernest. I remember perfectly well
Aunt Mary's not wanting those curtains drawn
away, but I just felt I had to do it. I
didn't want to, but...
(unsteady)
Something made me do it.
ERNEST
Why, Clarissa... why didn't you tell me
before?
CLARISSA
(shrugging)
Aunt Mary might have thought I'd gone wool-
gathering.
ERNEST
Well, it nothing serious, but you've let it
bother you a little and that isn't good for
you.
He decides a course of action.
ERNEST
Forget it; think of something else.
(stands)
Let's listen to the radio.
Clarissa rises and they leave.
IN THE SITTING ROOM - CONTINUOUS
Henry is sitting down, listening to the radio. Ernest and
Clarissa enter. Henry looks up at them.
HENRY
I might have known we'd be marooned up here.
CLARISSA
But what about--
HENRY
We're going to be all right.
Henry stands and moves to the door.
HENRY
There's a wind coming up and it's beginning
to snow, and I know what that means.
He leaves the sitting room and--
INT. HOUSE, DINING ROOM - CONTINUOUS
He enters the dining room, pausing to look at the empty table.
He continues on to the French windows, from which he draws away
the curtains.
He peers into the darkness.
ERNEST (O.S.)
Aunt Mary doesn't like those windows
uncovered, Henry.
Henry half-turns to see Ernest standing in the doorway.
HENRY
Well, she may think it's dangerous, but I
can risk it.
Clarissa peeks out from behind Ernest.
CLARISSA
Why, there's someone out there!
Henry quickly turns back to the window, looks through the glass.
HENRY
No, that's the snow; it's coming down
heavily, and the wind's drifting it this way
and that.
He drops the curtains and moves away from the windows.
CLARISSA
(uncertain)
Why, I could have sworn I saw someone out
there.
HENRY
I suppose it does look that way from here.
He moves to the door, past Ernest and Clarissa.
IN THE SITTING ROOM - CONTINUOUS
Henry enters, followed closely by the others.
HENRY
I think you've let Aunt Mary's
eccentricities impress you too much.
He sits by the radio, tuning the dial through the STATIC.
Ernest decides to look on the shelves for a good book to read.
Clarissa sits for a moment, thinking, then leaves the room.
IN AUNT MARY'S BEDROOM - CONTINUOUS
Aunt Mary is sitting at her dressing table looking at herself in
the mirror. She's wearing her dressing robe.
There is a quiet TAPPING at her door.
AUNT MARY
Come in...
The door opens and Clarissa steps into the room. She looks at
Aunt Mary, frail and helpless.
AUNT MARY
Thought I was an ogre in disguise, didn't
you?
She softens and smiles.
AUNT MARY
I'm really not, you see. But I am a sort of
beast about the west windows, as you have
seen.
CLARISSA
I wanted to tell you something about those
windows, Aunt Mary--
She stops suddenly. Aunt Mary's expression turns to something
like fear.
AUNT MARY
(shortly)
What?
CLARISSA
I was looking out, just for a moment or so,
and I thought I saw someone out there.
AUNT MARY
Of course you didn't, Clarissa. Your
imagination, perhaps, or the drifting snow.
CLARISSA
My imagination? Maybe. But there was no
wind to drift the snow, although one has
come up since.
AUNT MARY
I've often been fooled that way, my dear.
Sometimes I've gone out in the morning to
look for footprints, but there weren't any
ever.
She looks at Clarissa, trying to judge the impact of her story.
AUNT MARY
We're pretty far away from civilization in a
snowstorm, despite our telephones and
radios. Our nearest neighbor is at the foot
of the long, sloping rise.
She's not sure if Clarissa realizes the distance.
AUNT MARY
It's over three miles away, and all wooded
land between. There's no highway nearer
than that.
CLARISSA
It was so clear, I could have sworn to it.
AUNT MARY
Do you want to go out in the morning and
look?
CLARISSA
Of course not.
AUNT MARY
(question and demand)
Then you didn't see anything?
CLARISSA
Oh, Aunt Mary, you're making an issue of it
now.
AUNT MARY
Did you or didn't you in your own mind see
anything, Clarissa?
CLARISSA
I guess I didn't, Aunt Mary.
AUNT MARY
Very well. And now do you think we might
talk about something more pleasant?
CLARISSA
Why, I'm sure... I'm sorry, Aunt. I didn't
know that Ernest's grandfather had died out
there.
AUNT MARY
He's told you that, has he? Well?
CLARISSA
Yes, he said that was why you didn't like
the slope after sunset, that you didn't like
to be reminded of his death.
Aunt Mary looks at Clarissa impassively.
AUNT MARY
Perhaps he'll never know how near right he
was.
CLARISSA
What do you mean, Aunt Mary?
AUNT MARY
Nothing for you to know, my dear.
(smiles)
And now I think you better go, Clarissa; I'm
tired.
Clarissa heads for the door, but is stopped by Aunt Mary.
AUNT MARY
How's the weather?
CLARISSA
It's snowing... hard, Henry says... and
blowing.
Aunt Mary is displeased to hear that. She momentarily forgets
that Clarissa is still there.
AUNT MARY
I don't like to hear that, not at all.
Suppose someone should look down that slope
tonight?
She looks up and is almost startled to see Clarissa.
AUNT MARY
But you don't know, Clarissa. Goodnight.
CLARISSA
Goodnight, Aunt Mary.
She leaves and closes the door.
IN THE HALL - CONTINUOUS
Clarissa stands there with her back against the door, trying to
figure out what Aunt Mary was talking about.
Ernest comes around the corner and sees her.
ERNEST
Oh, there you are. I wondered where you had
gone.
CLARISSA
I was talking a bit with Aunt Mary.
ERNEST
Henry's been at the west windows again. Now
he thinks there's someone out there.
CLARISSA
Does he really think so?
Ernest nods his response.
ERNEST
But the snow's drifting frightfully, and I
can imagine how that suggestion of yours
worked on his mind.
CLARISSA
I'm going to tell Aunt Mary.
ERNEST
Wait--
Too late. Clarissa is already TAPPING on the door.
She doesn't wait for a response, but opens the door and enters.
IN AUNT MARY'S BEDROOM - CONTINUOUS
Aunt Mary is still at her dressing table. She looks up at
Clarissa.
CLARISSA
Aunt Mary, I didn't want to disturb you
again, but Henry's been at the French
windows in the dinning room, and he says
he's seen someone out there.
The effect on Aunt Mary is magical.
AUNT MARY
(excited)
He's seen them!
She gets up, advances to Clarissa.
AUNT MARY
How long ago?
She grabs Clarissa by the arms.
AUNT MARY
Tell me, quickly. How long ago did he see
them?
Clarissa is silent with amazement. Finally...
CLARISSA
It was some time ago, Aunt Mary, after
supper.
Aunt Mary relaxes her grip.
AUNT MARY
Oh...
She returns to her dressing table, taking her cane from where
she left it.
CLARISSA
Then there is someone out there?
The two women stare at each other for a short time.
Aunt Mary's gaze drops. She nods gently.
AUNT MARY
(barely audible)
...yes...
CLARISSA
Then we had better take them in, Aunt Mary.
Aunt Mary looks at her for a moment before focusing on a point
on the wall behind her.
AUNT MARY
We can't take them in, Clarissa, because
they're not alive.
CLARISSA
You can't--
AUNT MARY
I'm afraid I'm not mad, my dear. I hoped at
first I might be, but I wasn't. I'm not
now. There was only one of them out there
at first... Margaret; Father is the other.
CLARISSA
What?
AUNT MARY
When I was young, my father did something
which he regretted all his days. He had a
very strong temper, and it maddened him.
She looks at her curtained window, lost in the recollection.
AUNT MARY
One night he found out that one of my
brothers... Henry's father, Edward... had
been very familiar with one of the servants,
a very pretty girl named Margaret.
She looks off in the distance, seeing only what's in her mind.
DISSOLVE TO:
LATER
AUNT MARY
Later, she returned with the snow... and she
brought Father. They stay until the last
snow, always trying to lure someone out
there.
She looks at Clarissa. Ernest suddenly pokes his head in the
door.
ERNEST
Come on, you two. There are people out on
the west slope, a girl and an old man, and
Henry's gone out to get them.
He disappears as quickly as he appeared. Aunt Mary and Clarissa
rush out of the room.
IN THE DINING ROOM - CONTINUOUS
The French windows are wide open. Aunt Mary and Clarissa pass
through the dinning room, straight out onto the terrace.
EXT. TERRACE - CONTINUOUS
Ernest is standing in the snow, calling to his cousin. He's
wearing his overcoat.
ERNEST
Henry!
The women join him in the snow. He looks at them.
ERNEST
Aunt Mary, you'll catch your death of cold.
AUNT MARY
I'm all right. Where's Sam. He can help
you look for Henry, but I'm afraid you won't
find him.
ERNEST
He can't be far; he just now went out.
AUNT MARY
He went before you saw where; he's far
enough gone.
SAM joins them on the terrace. He's wearing an overcoat and
muffler.
SAM
Have they come again, Ma'am?
AUNT MARY
(nodding)
You'll have to look for Henry. Ernest will
help you. And remember, don't separate.
And don't go far from the house.
Sam and Ernest strike out into the storm. Aunt Mary and
Clarissa return to the house.
INT. HOUSE, DINING ROOM - CONTINUOUS
They close the French windows then move to the table and sit.
AUNT MARY
Now there will be three of them out there.
She looks to the windows.
AUNT MARY
(excited)
There they are!
She flies to the French windows, opening them for the men.
Ernest and Sam enter dragging Henry between them.
ERNEST
The cold's hit him pretty hard.
They get Henry into a chair and wrap a blanket around him.
There are two small puncture marks on his neck.
ERNEST
I saw those people out there. We have to
find them.
AUNT MARY
No, Ernest. You can't go out there again.
There's no one there.
ERNEST
(opening the windows)
Coming, Sam?
SAM
What do you mean?
ERNEST
The others. We've got to get them.
SAM
Oh, them. They're dead.
ERNEST
Then I'll go out alone.
Henry suddenly comes to his feet. The others all watch him as
he slowly moves to the window. He looks out into the storm.
HENRY
Of course.
It's as of he's having a conversation with someone.
HENRY
Yes. Come and join us. Come sit by the
fire.
EXT. HOUSE - NIGHT
The storm continues as two ghostly figures advance on the house.
FADE TO BLACK.
The End
The Drifting Snow is © 1998 Lanny Maude