SLEEPY HOLLOW

"Come and See"

PI LOT

Wr i t t en by

Rober t o Or ci & Al ex Kur t zman & Phi l l i p I scove













Net wor k Revi sed Dr af t
1/ 18/ 13
K/ O Paper Pr oduct s


Al l r i ght s r eser ved. Copyr i ght 2013 Twent i et h Cent ur y Fox Fi l m
Cor por at i on. No por t i on of t hi s scr i pt may be per f or med,
publ i shed, r epr oduced, sol d, or di st r i but ed by any means or quot ed
or publ i shed i n any medi um, i ncl udi ng any web si t e, wi t hout pr i or
wr i t t en consent of Twent i et h Cent ur y Fox Fi l m Cor por at i on.
Di sposal of t hi s scr i pt copy does not al t er any of t he
r est r i ct i ons set f or t h above.


DARKNESS. Ever yt hi ng MUFFLED, l i ke we r e under wat er . Men
YELLI NG, HORSES, a THUD THUD. . . of t hunder ? A DATE appear s:

1776

Then a RUSH of SOUND, l i ke an appr oachi ng ROAR as BA- BOOM! A
MORTAR EXPLODES I N THE DAYTI ME SKY - - we r e i n A BATTLEFI ELD
TRENCH, br i mmi ng wi t h bl ue coat AMERI CAN SOLDI ERS - - TRACK
FAST down t he l i ne of FI RI NG TROOPS, BODI ES DROP ar ound us as
we come t o. . . A MAN. 30 s. For get ever yt hi ng you t hi nk you
know about ICHABOD CRANE. Handsome, but har d - - l i ke he s
been t o hel l and back. And maybe he has, but he doesn t know
hi s ki nshi p wi t h hel l i s onl y get t i ng st ar t ed. We can t
qui t e t el l t he r ank of hi s uni f or m, but he seems i n COMMAND:

CRANE
RELOAD! FAST AS YOU CAN!

Anot her EXPLOSI ON. A TERRI FI ED NI NETEEN YEAR OLD KI D f al l s
i n next t o Cr ane. RECOGNI TI ON:

YOUNG CONTI NENTAL SOLDI ER #1
Pr of essor ?
Cr ane gl ances over bet ween MUSKET BURSTS, doesn t know hi m- -
YOUNG CONTI NENTAL SOLDI ER #1 ( CONT D)
I - - I was your st udent .

ANOTHER SOLDI ER besi de t heml ooks up at Cr ane:

CONTI NENTAL SOLDI ER #2
You r e a t eacher , Capt ai n
Cr ane?
CRANE

. . . Was. Thi ngs changed.

Cr ane gr abs hi s r i f l e, r eadyi ng i t :

CRANE
( t o al l hi s men)
Now hol d t he l i ne and COVER ME!

And wi t h t hat , CRANE LEAPS OUT OF THE TRENCH and RUNS I NTO
THE MI DDLE OF THE BATTLEFI ELD!

YOUNG CONTI NENTAL SOLDI ER #1
What i s he doi ng! ! ?

The ot her sol di er shakes hi s head wi de- eyed - -
2.


As Cr ane r uns f ur t her i nt o har ms way, we RI SE UP t o r eveal
we r e near t he HUDSON RI VER BANKS, up whi ch a wave of RED
COATS i n t he di st ance char ge on f oot and hor se, a SECOND WAVE
depl oyi ng f r omt he FLEET OF BRI TI SH SHI PS of f - shor e and. . .
TWO ARMI ES COLLI DE.

Cr ane FI RES on t he enemy sol di er s near hi mas he char ges.
Makes i t cl ear : f or a pr of essor , he s one hel l uva BADASS.

Shot s spent , he dr ops t o hi s knees besi de a f al l en Redcoat .
Though he s dead, Cr ane does somet hi ng odd: he gr abs t he
sol di er s l i mp hand and PULLS BACK HI S SLEEVE, l ooki ng f or
somet hi ng - - a MARK?

Cr ane dr ops t he sol di er s wr i st when he f i nds not hi ng, moves
t o t he next casual t y. Agai n he checks t he wr i st f or mar ks but
f i nds none as bul l et s f l y ar ound hi m. Sensi ng movement i n t he
per i pher y, Cr ane l ooks up t o see:

SLOWMOTI ON, A MASSI VE RI DER ON A WHI TE STEED. Looks
di f f er ent t han t he enemy sol di er s - - A HESSI AN MERCENARY
WEARI NG A REDCOAT, hi s uni f or mor nat e, l oaded wi t h MEDALS ( we
FAVOR one: a Li on & Swor d i nsi gni a) .

He l ocks eyes wi t h Cr ane, KNOWS Cr ane i s l ooki ng f or hi m.
The Hessi an r eaches f or hi s weapon and we SEE A SYMBOL ON HI S
HAND! Cr ane st ands, knowi ng he has f ound hi s t ar get .

The Hessi an SPURS HI S MASSI VE HORSE FORWARD AND CHARGES
TOWARD CRANE, bl ade r eady t o st r i ke - -

- - Cr ane hol ds hi s gr ound, r el oadi ng hi s r i f l e as f ast as he
can as t he Hessi an s st al l i on appr oaches at FULL SPEED,
al most on t op of hi m- -

- - And wi t h a second l ef t , CRANE l ocks t he bar r el AND FI RES!
BULL' S- EYE! The shot t ear s t hr ough The Hor seman s t or so,
HURLS hi mf r omt he saddl e cr ashi ng i nt o t he mud.

Onl y now does Cr ane t hi nk t o t ake a br eat h unt i l t he Hessi an
r i ses t o hi s f eet i n a f l ash - - A CLEAR HOLE WHERE HI S HEART
SHOULD BE, AND YET HE S STI LL COMI NG AT CRANE - - HOLY SHI T!
I MPOSSI BLE! He pi cks up hi s axe and comes down on Cr ane.
Hi s axe SLASHES t hr ough Cr ane s chest , who dr ops t o hi s
knees, MORTALLY WOUNDED, now get t i ng a good l ook of t he
SYMBOL on t he Hessi an s hand. As The Hor seman SPI NS hi s axe
f or t he deat h bl ow, Cr ane manages i n a l ast sur ge of st r engt h
t o gr ab a FALLEN SWORD and SLASH!

WI DE: si l houet t ed t hr ough t he smoke, The Hor seman s head
ROLLS of f hi s shoul der s. The cor pse DROPS t o i t s knees,
PI TCHES FORWARD, t oppl i ng i nt o t he MUD besi de Cr ane and - -

Young Sol di er s #1 and #2 l ook at each ot her i n hor r or .
3.


SOLDI ER #2
Qui ckl y, get wor d t o t he Gener al !

Sol di er #1 t akes of f i n a dead spr i nt as we r i se i nt o:

A HI GH ANGLE: Looki ng down on t he t wo f al l en bodi es, si de- by-
si de. As we DESCEND, we see BLOOD pool i ng f r omt hembot h. . .
as t he t wo bl oodl i nes MERGE I NTO A SI NGLE POOL. . .

And we now cut SUPER WI DE, t aki ng i n t he enor mous bat t l e f r om
a hi gher vant age poi nt . . . When suddenl y our VI EWi s r eveal ed
t o be a myst er i ous POV as i t i s di sr upt ed by t he swi t chi ng of
a GLASS LENS. We ar e l ooki ng t hr ough a TELESCOPE. Someone
spyi ng on t he event bel ow. Focusi ng on t he decapi t at ed
Hessi an and f al l en Cr ane.

We r eveal t he FI GURE. HOODED. SI NI STER. And on hi s hand THE
VERY SAME MARK SEEN ON THE HORSEMAN. Somet hi ng ot her wor l dl y
about hi m. The f i gur e col l apses t he scope and moves out of
f r ame. . .

CLOSE I N ON CRANE S DYI NG EYES, as he l oses consci ousness and
- - SLAM TO BLACK:


INT. TENT - NIGHT

THE BLACKNESS SPLI TS r eveal i ng t he i nsi de of a CANDLE LI T
TENT as Sol di er #1 i s escor t ed i n by a bat t l e har dened
COLONEL who st ops our young conscr i pt a f ew paces back f r oma
COMMAND DESK. Behi nd i t st ands a MAN, hi s back t o us, bar el y
i n t he l i ght . Hi s head t ur ns sl i ght l y t o gi ve a gl i mmer of
an unmi st akabl e SI LHOUETTE - -
GENERAL GEORGE WASHI NGTON. . . but j ust i n case:
SOLDI ER #1
Gener al Washi ngt on? Si r . . . I have
a r epor t f r omt he f r ont .

HOLD. . . t hen, ETHEREAL LI GHT f l ut t er s i nt o f r ame,
r eveal i ng. . . ANGELS. We r e l ooki ng at a CEI LI NG FRESCO i n:


INT. CHURCH - SUNRISE

Cr ane i s l yi ng on a cot somewher e, i n BAD SHAPE. We r e i n a
CHURCH f i l l ed wi t h wounded sol di er s, SURGEONS i n bl oody
apr ons scr ambl e about wi t h NURSES, t r i agi ng men. One of t he
nur ses i s KATRINA CRANE, 30, st unni ngl y beaut i f ul - - she
l ooks up, SEES CRANE and RUSHES t o hi m- - bar el y abl e t o
br eat he as she r eal i zes t he t er r i bl e t r ut h: HE S DYI NG.
4.


KATRI NA
- - I chabod, nonono - -
( cal l s out )
Doct or ! Pl ease, hel p hi m!

A DOCTOR r ushes over , exami nes t he wound. . . t hen shakes hi s
head gr avel y. Kat r i na br eaks, TEARS f l owi ng. Cr ane f i ght s
t o anchor hi msel f t o t he wor l d a l i t t l e l onger , as t he doct or
r ushes of f t o t he next vi ct i m.

She pushes hai r back f r omhi s f ace wi t h t r embl i ng hands:
He manages t o wi pe a TEAR f r omher cheek:
CRANE
We al ways knew Fr eedomwas wor t h
dyi ng f or . . .

And t hough i t br eaks her hear t , Kat r i na nods. . .

CRANE ( CONT D)
What ever secr et you wi shed t o t el l
me. . . bet t er t el l me now. . .

ON KATRI NA. Hol di ng ont o somet hi ng so bi g t hat her e, now, i t
f eel s i mpossi bl e t o say. Looks at hi m, her hear t i n her
eyes. Debat i ng some CHOI CE. Fi nal l y, she l eans down and
KI SSES hi m, so gent l y. . . t hen WHAM: put s her hand ON HI S
WOUND - - he GASPS and agai n, SMASH TO BLACK:


INT. CAVE - DAY

These come i n FLASHES f r omCr ane s POV: I MAGES OVERCRANKED - -
candl el i ght - - a HAND di ps i nt o a j ar of WHI TE GREASE PAI NT - -
f i nger s dr aw SYMBOLS on hi s chest - - we r e SUSPENDED above a
MUD PI T by a STRETCH OF LI NEN l ashed ar ound wooden post s - -
t he wei r d CHANTI NG comes f r omHOODED FI GURES al l ar ound us as
our body s LOWERED, di sappear i ng i nt o t he THI CK MUD. The
WHI SPERI NG BUI LDS I N VOLUME unt i l i t r eaches a CRESCENDO and:

QUI ET. . . What j ust happened?


INT. CAVE - DAY - SOMETIME LATER

PUUUUUH! CRANE S EYES SNAP OPEN AS HE GASPS AI R, FI NDI NG
HI MSELF CAKED WI TH MUD. Tear i ng f r ee, he f i nds he s wear i ng
l i nen br eech pant s but no shi r t , t or so sl i ck wi t h goo.

We r e i n a VERY DI FFERENT SPACE.
5.


And hi s wound? HEALED AND SCARRED. He t umbl es out ont o HARD
GROUND, knocki ng over J ARS f i l l ed wi t h WEI RD I TEMS pl aced
r i t ual i st i cal l y ar ound t he mud gr ave. . . mur ky l i qui ds, a BI RD
FETUS. . . Wher e t he hel l i s he? How d he get her e?

He st ammer s up - - NO SHOES. We RI SE UP HI GH ABOVE HI M t o
f i nd. . . t he gr ave s i n t he CENTER of a CHALK- DRAWN PENTAGRAM.
He squi nt s at LI GHT BEAMS cut t i ng t hr ough r ot t ed WOOD PLANKS
boar ded over some ki nd of EXI T ahead. Begi ns weakl y t o
st agger up a set of STONES - - makeshi f t STEPS. Put s hi s
SHOULDER i nt o t he pl anks - - SLAMS unt i l t hey GI VE and:


EXT. FOREST - VARIOUS - DAY

CRUNCH: RUSTED NAI LS upr oot as t he pl anks PRY OPEN. Cr ane
EMERGES t o f i nd hi msel f on a smal l FOOTBRI DGE; a f or got t en
l andmar k deep i n t he f or est . He shi el ds hi s eyes - - hasn t
seen l i ght f or what f eel s l i ke year s.

JUMPCUT: CRANE S HANDS sweep i nt o a RI VER, he dr i nks
VORACI OUSLY. The wat er cl ear s away some MUD on hi s f ace - -

JUMPCUT: CRANE S BARE FEET wal k over di r t , t wi gs SNAPPI NG
under f oot . And t hen. . . t he t ext ur e of t he gr ound CHANGES. . .
Hi s f eet STOP. Because i t i sn t f or est f l oor anymor e. . .
I T S ASPHALT. Dumbst r uck, Cr ane l ooks down l i ke he s j ust
f ound hi msel f wal ki ng on t he moon. AND SUDDENLY SOMETHI NG
MASSI VE EXPLODES THROUGH THE FOG:

HOOOOOOOOOOOOOOOOOOOOONK! ! ! AN EI GHTEEN- WHEEL MACK TRUCK
RI PS PAST CRANE AS HE LURCHES BACK I N SHOCK! He s st umbl ed
i nt o t he MI DDLE OF A BLACKTOP HI GHWAY, a ver y MODERN hi ghway
- - and t hen SCREEEEECHHOOONK! ANOTHER CAR SWERVES TO AVOI D
HI M AND BARRELS OFF THE ROAD, CRASHES THROUGH THE GUARD RAI L
AND SLAMS HARD I NTO A TREE!

Then. . . SI LENCE. SMOKE pour s f r omt he hood. Cr ane s 18t h
cent ur y br ai n t r i es t o pr ocess t hi s i nsane t ur n of event s.
Ter r i f i ed, he comes ar ound t he car t o f i nd A WOMAN sl umped
agai nst t he ai r bag, hal f - consci ous. A VOI CE f r omt he GPS:

VOI CE
Thi s i s OnSt ar Emer gency Response,
we have your l ocat i on and we r e
sendi ng hel p - -

And Cr ane i s suddenl y conf r ont ed by t he exi st ence. . . OF
ONSTAR. He STUMBLES back - - TERRI FI ED - - CONFUSED - - past a
ROAD SI GN t hat r eads:
6.


WELCOME TO SLEEPY HOLLOW, POP. 210,060

AND WE SMASH TO:


EXT. SLEEPY HOLLOW TRAIN YARD - DAY

A BREATHLESS, HANDHELD FOOT CHASE: we r e i n a TRAI N YARD as a
GUY i n a HOODI E comes t ear i ng ar ound a cor ner , f ol l owed by
DETECTIVE ABBIE ARCHER - - ear l y 30 s, smar t , t ough, and
beaut i f ul - - but t her e s somet hi ng she car r i es, a hi st or y she
wi shes bel onged t o someone el se. We l l get t o t hat l at er :
f or now, she RUNS bet ween t r ai n car s as a POLI CE CRUI SER
t ear s i n, SI RENS scr eami ng - - cut s of f Hoodi e Guy - - he
vani shes behi nd a t r ai n - - cl ear s an openi ng when. . . . HE S
TACKLED BY ABBI E, t hey go down har d. She cl i mbs ont o t he
per p s back, di gs her knee i n, HANDCUFFS hi m:

HOODI E GUY
OWWW! GET OFF ME!

ABBI E
Sor r y, t hat s what happens when you
st eal f r omt he Kwi kee- Mar t : a woman
wi t h a gun si t s on you - -

She sear ches t he guy s pocket s, pul l s out . . . a bot t l e of
STRAWBERRY YOO- HOO:

ABBI E ( CONT D)
Ar e you ki ddi ng me?
And t ur ns hi mover r eveal i ng. . . a pi mpl y 17 YEAR OLD KI D:
ABBI E ( CONT D)
KYLE?


KYLE
. . . hi , Of f i cer Ar cher . . .

The cr ui ser SKI DS I N and out comes SHERIFF AUGUST GREY, 60 s,
ki nd but t ough. Level s hi s GUN but she si gnal s: its okay.
Haul s KYLE t o hi s f eet , SLAMS hi magai nst a t r ai n car :

KYLE ( CONT D)
I msor r y! My f r i ends dar ed me!

ABBI E
You need t o get some new f r i ends,
Kyl e. You used t o be t hat cut e ki d
who pi cked hi s nose i n chur ch. How
ol d r e you now?
7.


KYLE
S- sevent een - - My mom s gonna ki l l
me - -

Abbi e s eyes dar t t o Gr ey and an unspoken under st andi ng
passes bet ween t hem. Thi s moment , t hi s ki d, seems t o have a
r esonance t hat mi r r or s somet hi ng i n t hei r r el at i onshi p:

ABBI E
I don t know, Sher i f f , what do you
t hi nk? Sevent een, t hef t . . .

GREY
Hm. Tough cal l . He l l pr obabl y be
t r i ed l i ke an adul t - - t hat s st at e
pr i son.
Despai r i ng, Kyl e st ar t s t o CRY - -
ABBI E
. . . Kyl e. Kyl e. Look at me:
I know t hi s t own seems smal l , but
t r ust me - - you can be whoever you
wanna be. Ast r onaut ? Cowboy?
Pr esi dent ? I mof f er i ng you a
chance at r ebi r t h. We al l dr eamof
i t - - I know I do. Fact , i n a
week, I mout t a her e t oo. So i n
t he spi r i t of f r esh st ar t s. . . I m
l et t i ng you go.
( of f Kyl e' s SHOCK)
Run, Dummy!

Wi t h a gr at ef ul gr i n, he RUNS OFF. Abbi e l ooks t o Gr ey,
smi l es:

GREY
Sur e you r eal l y wanna l eave al l
t hi s exci t ement ?

ABBI E
Tol d you, Quant i co t akes 240 peopl e
a year , onl y 20 get pi cked f or
Pr of i l e Management . I t s t he FBI s
onl y f eeder pr ogr am.

GREY
I mnot aski ng i f you r e qual i f i ed.
As t hey r each t he door , he st ops over t he hood of t he car :
GREY ( CONT D)
I maski ng i f you r e r unni ng away.
8.


She l ooks of f , t he TOWN OF SLEEPY HOLLOWi n t he val l ey bel ow:

ABBI E
I mt hi r t y- t wo year s ol d. I f I
don t l eave now. . . I never wi l l .

GREY
I f you r e hopi ng t o f i nd answer s
out t her e you won t f i nd her e. . .
Honey, t hat s not gonna happen.
Tr ust me. You l l j ust keep on
r unni ng.

Somet hi ng CHANGES i n her f ace. What ever he s r ef er r i ng t o,
i t s her deepest mar k, one he knows bet t er t han anyone. Then
- - TSSHT: t hey r e i nt er r upt ed by a VOI CE on hi s wal ki e - -

DI SPATCHER VOI CE
Char l i e 101 t o COM.

GREY
( answer s)
Go ahead Char l i e 101.

DI SPATCHER VOI CE Got a
cal l f r omt he Fox Hi l l St abl es,
hor ses ar e spooked by somet hi ng.
Pr obabl y coyot es agai n.

GREY
Al r i ght . . . we l l be r i ght over .
( as t hey get i n)
Thi s i s why I got i nt o pol i ce wor k.

ABBI E
Maybe I shoul d dr i ve. You dr i ve
l i ke you r e pushi ng a damn
st r ol l er .

He GRI NS and GUNS t he engi ne, t hey LEAVE FRAME and we BOOM
DOWN over t he val l ey peak, I NTO THE TOWN OF SLEEPY HOLLOW:


EXT. TOWN OF SLEEPY HOLLOW - MAIN STREET - DUSK

Bi g enough t o be cal l ed a ci t y, smal l enough t o st i l l be
cal l ed i nt i mat e. We come t o MAI N STREET, ont o whi ch CRANE
appear s, wal ki ng al ong, shi r t l ess and shoel ess. Peopl e see
hi mand move asi de. The nor mal f l ow of l i f e her e i s
ABNORMAL, DI SORI ENTI NG, and FRI GHTENI NG t o hi m- - as he t akes
i n st r ange si ght s and sounds, hi s or i ent at i on of t he PRESENT
i s I NVADED by spor adi c f l ashes of SLEEPY HOLLOW S PAST:
9.


A gr oup of KI DS exi t a St ar bucks on CELL PHONES, hop on
skat eboar ds and - - FLASH: the Starbucks suddenly becomes an
18TH CENTURY BLACK SMITHS SHOP, four horses tied beside it --

HONK! Back t o PRESENT, Cr ane WHI PS AROUND t o see TRAFFI C
cr ossi ng t he TAPPAN- ZEE BRI DGE, a LI GHTHOUSE i n BG as - -
FLASH: SAME VIEW in the 1700s: the Hudsons alive with
SAILING VESSELS but NO BRIDGE YET --

THE SOUND OF ROTOR BLADES dr aws Cr ane s at t ent i on up t o a
NEWS CHOPPER over head. He st ops, st unned. The sound of
CHURCH BELLS shi f t s hi s f ocus t o somet hi ng ELSE r ef l ect ed
behi nd hi mand we RACK TO. . .

A CHURCH. The si gn out f r ont : GOD WELCOMES ALL.


INT. CHURCH - DUSK

He ent er s. Empt y. Moves down t he ai sl e, sensing something
about this place. A beat . . . t hen hi s l ook goes UP: ON THE
CEI LI NG I S THE SAME ANGEL FRESCO FROM THE WAR. Thi s i s wher e
he was br ought dur i ng t r i age!

A VOI CE
Si r ? Can I hel - -

STARTLED, I chabod WHI RLS r at t l esnake- f ast , hand LASHI NG OUT
i n sel f - def ense pi nni ng A MAN t o t he wal l by t he t hr oat - -
I t s a REVEREND: ALFRED KNAPP, 60 s, HEAVY SCOTTI SH ACCENT:

REV. KNAPP
Ther e s - - money - - i n t he t i t hi ng
box - - i t s - - al l t her e i s - -

ON CRANE, adr enal i ne pumpi ng, CLARI TY l ands: a r ever end s
col l ar i s somet hi ng he r ecogni zes. I nst ant l y l et s go - -

CRANE
For - - f or gi ve me, Fat her . . .

But now Knapp l ooks at Cr ane s f ace - - seems t o RECOGNI ZE i t ?

REV. KNAPP
Wai t . . . I can hel p you- -

But Cr ane s al r eady OUT t he door . Of f t he st r i cken r ever end:


INT. FOX HILL STABLES - NIGHT

The cr ui ser pul l s up. Abbi e and Gr ey get out , hear t he HORSES
br ayi ng i n t he st abl e bar n. Abbi e l ooks t o t he MAI N HOUSE.
PI TCH DARK. St r ange. Gr ey f l i cks on hi s FLASHLI GHT:
10.


GREY
Go see i f J i mmy s home.

She nods and t hey SEPARATE: Abbi e t o t he house, Gr ey t o t he
st abl es. WI TH ABBI E, AS SHE APPROACHES THE DARK BACK PORCH.
Put s a hand on her pi st ol gr i p and cal l s i n:

ABBI E
Mr . Ogl evi e? I t s Det ect i ve
Ar cher . . .

Not hi ng. Now she NOTI CES an ol d PI CKUP TRUCK par ked besi de
t he house, t he dr i ver s si de door has been l ef t WI DE OPEN. . .


INT. STABLE BARN - INTERCUTTING:

Gr ey ent er s t o t he sound of FEAR: hor ses ar e VI OLENTLY
KI CKI NG agai nst t hei r conf i ned spaces. Hangi ng TOOLS above
CLANK and CLACK - - i t s LOUD and SCARY i n her e - -


EXT. MAIN HOUSE - PICK-UP TRUCK - CONTINUOUS

Abbi e s FLASHLI GHT sweeps t he empt y pi ckup. She st eps back
and CLUNK, her f oot hi t s somet hi ng METAL: a SHOTGUN l ef t
f al l en i n t he mud. Shi t . She dr aws her gun, keys her RADI O:

ABBI E ( I NTO WALKI E)
We got a weapon on t he gr ound - -


INT. STABLE BARN - CONTINUOUS

Gr ey t r i es t o hear t hat over hi s wal ki e, but i t s MUFFLED by
t he THRASHI NG HORSES - - keys back:

GREY ( I NTO WALKI E)
Abbi e, say agai n, over - -
Her voi ce cut s I N and OUT over t he wal ki e - -
ABBI E
I - - weap- - somet hi n- - wr on- -

Suddenl y Gr ey REACTS t o a NOI SE: someone s i nsi de t he bar n - -
t hr ough t he SLATTED STALL, Gr ey sees a FI GURE by a WHI TE
HORSE - - STEALI NG I T - - WHI SPERS URGENTLY i nt o t he wal ki e:

GREY ( I NTO WALKI E)
St andby, 484, suspect s i n t he
bar n. . . st eal i ng a hor se. . .
11.


EXT. FOX HILL STABLES - CONTINUOUS

Abbi e HEARS t hat . . . and t hen, ROCKS t o a sudden HALT as her
f l ashl i ght beamcat ches a TERRI FYI NG SI GHT: t he BODY of t he
STABLE OWNER l i mpl y ar ched over a bar bed- wi r e f ence. She
appr oaches what shoul d be hi s HEAD, but sees somet hi ng THAT
WE DO NOT - - STAMMERS, AGHAST:

ABBI E
. . . oh my God. . .
( i nt o wal ki e)
Gr ey, I f ound Ogl evi e - -


INT. STABLE BARN - CONTINUOUS

ABBI E ( OVER WALKI E)
- - someone cut of f hi s head!

As Gr ey REACTS, so does t he MYSTERI OUS FI GURE t hr ough t he
sl at s, hear i ng her voi ce ECHO - - Gr ey l evel s hi s weapon:

GREY
Thi s i s t he sher i f f ! St ep out t a
t he st al l wher e I can see you, now!

As t he MYSTERI OUS FI GURE emer ges f r ombehi nd t he wal l , we go
CLOSE ON GREY - - seei ng what WE DO NOT SEE, hi s eyes BULGE:

GREY ( CONT D)
Jesus God...

MOVI NG ANGLE: AN OVER- THE- SHOULDER SHOT OF THE MYSTERI OUS
FI GURE BECOMES AN OVER- THE- NECK SHOT BECAUSE. . . HE S HEADLESS
( and f r omnow on, t hat s exact l y what we l l cal l hi m) - - but
we DON T see hi mi n f ul l , NOT YET, as Gr ey FI RES at Headl ess
t o no avai l - - a doubl e si ded AXE spi ns upr i ght I NTO FRAME:


EXT. STABLE BARN - CONTINUOUS

As Abbi e r ushes up t o t he bar n doubl e door s - - SHHHHHTI NG!
The axe bl ade comes PI ERCI NG THROUGH f r omt he ot her si de,
I NCHES FROM HER FACE. As she FLI NCHES back, we HEAR t he
unmi st akabl e sound of a HEAD THUMPI NG t o t he gr ound i nsi de - -

ON ABBI E - - SHOCK - - HORROR - - t he bl ade DI SAPPEARS as i t s
YANKED out of t he door , RETRI EVED - - t hen WHAM: t he door s FLY
open as a HUGE WHI TE STALLI ON EXPLODES FROM THE BARN,
knocki ng her BACK - - her gun ski ps acr oss t he mud - -

Headl ess st eer s t he hor se back ar ound, AXE st i l l i n hand.
St ops and st ar es down at her . . . and f r omABBI E S POV, WE
BEHOLD HEADLESS FOR THE FI RST TI ME I N FULL, TERRI FYI NG GLORY.
12.


Same mi l i t ar y uni f or mhe wor e i n 1776, now decr epi t and
t at t er ed. Li ke he was bur i ed i n i t . That LI ON/ SWORD MEDAL
pr omi nent on hi s chest . He assesses i f Abbi e s a t hr eat ,
qui ckl y det er mi nes not , SPI NS t he axe and SHEATHES i t i n a
back scabbar d, and gal l ops i nt o t he mi st . Gone.

MI ND I MPLODI NG, Abbi e r aces t o GREY S BODY. Dr ops t o her
knees, br eaki ng down, snappi ng out her wal ki e:

ABBI E
OFFI CER DOWN. . . OH GOD. . . OFFI CER
DOWN. . . FOX HI LL STABLES. . .


INT. OFFICER DUNNS POLICE CRUISER - NIGHT

OFFICER ANDY DUNN, l i keabl e, 30 s, i s hear i ng t hi s over hi s
r adi o i n SHOCK - - i nst ant l y hi t s t he SI REN and pul l s a
SCREECHI NG U- TURN i n t he mi ddl e of mai n st r eet - -

ANGLE, THROUGH WI NDSHI ELD: as t he cr ui ser swer ves ar ound,
CRANE I S SUDDENLY REVEALED I N THE HEADLI GHTS! Looki ng ever y
bi t a suspect as he emer ges f r oman ALLEY - - Dunn SLAMS t he
br akes as Cr ane st ar t s t o BACK AWAY, pani cked - - Dunn l eaps
f r omt he car , gun up:

DUNN
POLI CE! GET DOWN ON YOUR KNEES,
I NTERLACE YOUR FI NGERS AND PUT EM
ON TOP OF YOUR HEAD!

Cr ane s smar t enough t o know he has NO CHOI CE. So he does,
as Dunn PUSHES hi mt o t he cement , ROUGHLY CUFFS HI M - -


INT. SLEEPY HOLLOW POLICE PRECINCT - NIGHT

St i l l ness. A gl ass of wat er on a desk. . . and t hen ABBI E S
TREMBLI NG HAND pi cks i t up, she gul ps i t . Onl y begi nni ng t o
know t he gr i ef she l l come t o f eel . She s seat ed, sur r ounded
by f el l ow COPS. Acr oss f r omher i s Dunn wi t h a ki nd smi l e:

DUNN
Abbi e. . . I need you t o t r y and
f ocus. J ust f or a mi nut e, t hen
we l l get you home. You saw t he
man who ki l l ed Gr ey and Ogl evi e?

She bl i nks, wi shi ng her t r aumat i zed mi nd wer e pl ayi ng t r i cks.

DUNN ( CONT D)
We mi ght ve caught hi m. Pi cked hi m
up f l eei ng on f oot a mi l e f r omt he
f ar m. He s i n t he ot her r oom.
( MORE)
13.

DUNN ( CONT D)
We need t o know i f i t s t he guy,
can you do t hat ?

Of f Abbi e, wi de- eyed - -


INT. HOLDING CELLS - NIGHT

KA- CLI NK: a door opens and CRANE, i n a cel l , l ooks up at us
t hr ough bar s. Abbi e and t he cops ent er an out er ar ea.
ANTI CI PATI ON. She meet s eyes wi t h Cr ane. A STRANGER. Beat :

ABBI E
I t i sn t hi m.

Voi ce EMOTI ONAL. Har d f or t hemt o t el l i f she s l osi ng i t . . .

DUNN
You r e sur e. Take a cl oser l ook. . .

ABBI E
Andy. I msur e.

DUNN
What d he l ook l i ke? Can you
descr i be hi s f ace? We l l get a
sket ch ar t i st .
Uh. . . Abbi e j ust l ooks at al l t he cops l ooki ng at her :
ABBI E
I di dn t r eal l y. . . get a good l ook.

DUNN
Then how d you know t hi s i sn t hi m?

What s she gonna say: a headless horseman killed Grey? And
f or r easons we l l under st and, she doesn t want t o bel i eve i t .

ABBI E
. . . I j ust know. The man I saw was
wear i ng some ki nd of . . . ol d
mi l i t ar y uni f or m. Al l r ed. Ther e
wer e medal s - -

DUNN
- - Medal s? What ki nd?

ABBI E
Mi l i t ar y. Cr osses and. . . a
l i on wi t h a swor d. . .
CRANE
( i nt er r upt i ng)
- - Di d he car r y a br oad- axe?

Hi s voi ce SNAPS t hemar ound. What ? Abbi e and Cr ane LOCK
EYES. She moves cl oser t o hi mbehi nd t he bar s, f aces CLOSE:
14.


ABBI E
How di d you know t hat ?

Cr ane s mi nd t umbl es, t r yi ng t o make SENSE of t hi s. . .

CRANE
I t . . . can t be. . .

ABBI E
What can t be? You know who he i s?

CRANE
( a beat , t hen)
The medal you descr i bed i s t he
House- or der of t he Gol den Li on.
A Hessi an badge of honor awar ded
f or mul t i pl e ki l l s. But . . .

ABBI E
Hey: who i s he? Wher e s he f r om?
When s t he l ast t i me you saw hi m?

He l ooks up at her . LONG beat . And f i nal l y. . .

CRANE
When I cut of f hi s head.

ON ABBI E. Hol y. Shi t . They l ook at each ot her , BOTH t r yi ng
t o under st and t he i nsani t y of what s happeni ng. . .

ABBI E
Who ar e you?

AND WE SMASH TO:

CREDI TS - - J ohnny Cash s THE MAN COMES AROUND

CASH
( spoken)
And I hear d, as i t wer e, t he noi se
of t hunder . One of t he f our beast s
sayi ng come and see. And I saw.
And behol d. . . a whi t e hor se.
( musi c up; si ngi ng)
Theres a man goin round takin
names, and he decides who to free
and who to blame. Everybody wont
be treated all the same. Therell
be a golden ladder reaching down.
When the man comes around...

END ACT ONE
15.


ACT TWO


INT. HOLLOW PRECINCT - PROCESSING AREA - MORNING

FLASH! CLOSE ON CRANE as a PHOTO i s t aken of hi m: he bl i nks,
di sor i ent ed. He s never seen a CAMERA. He s FI NGERPRI NTED,
handed NEWCLOTHES. Looks at t he st r ange t hr eads.


INT. PRECINCT - GREYS OFFICE - DAWN

Abbi e ent er s, hasn t sl ept , her head SWI MMI NG LI KE MAD. Si t s
at Gr ey s DESK, seei ng FRAMED PHOTOS. One of Gr ey and Abbi e;
she s younger , a new cadet . Abbi e st ar es, f i ght s ever yt hi ng
t o j ust keep i t t oget her . . . a KNOCK and she l ooks up, wi pes
her eyes: DUNN i n t he door way, compassi onat e:

DUNN
I know what he meant t o you. To
al l of us, but . . . especi al l y you.

She st ar es, t or n. Want s t o t el l hi mt he t r ut h. Qui et l y. . .

ABBI E
I n hi gh school , when. . . ever yt hi ng
happened. Wi t h me and my si st er .
You wer e t he onl y one who bel i eved
me.

DUNN
( beat , conf used by t he non-
sequi t ur )
I st i l l do. Why r e you t hi nki ng
about t hat now?

ABBI E
What i f . . . I amcr azy?

DUNN
. . . Hey: you r e not . And you r e
not your si st er . You woul dn t ve
made i t al l t he way t o The Academy
i f you wer e.

She nods a l i t t l e, so l ost . He moves CLOSER. . . and maybe we
sense hi s f eel i ngs f or her r un deeper t han f r i endshi p:

DUNN ( CONT D)
Look, I mnot t el l i ng you t o i gnor e
al l t hi s. How coul d you? I mj ust
sayi ng, as a f r i end who knows wher e
you came f r om. . . you can t l et i t
st op you f r omwher e you r e headed.
16.


ON ABBI E. Suddenl y her dr i ve t o l eave f eel s a l ot l ess sur e:

CRANE ( V. O. , PRELAP)
I ve done not hi ng wr ong - -


INT. INTERROGATION ROOM - MORNING

Cr ane si t s i n hi s new cl ot hes, CUFFED t o t he t abl e, pi ssed, a
man used t o f i ght i ng aut hor i t y - - as OFFI CER TEDDY PRI CE,
30 s, pr eps a compl et el y al i en LAPTOP POLYGRAPH MACHI NE:

CRANE
I need t o get wor d t o my wi f e - -

PRI CE
Fi r st I need t o ask you some
quest i ons. Thi s i s a pol ygr aph
machi ne. I t knows i f you r e l yi ng
or t el l i ng t he t r ut h.

CRANE
The machi ne knows? What t he hel l ki nd
of pl ace i s t hi s? Ar e you an el ect ed
magi st r at e? I s t hi s an
Admi r al t y Cour t ? By what r i ght ar e
you hol di ng me agai nst my wi l l ?
And what i s t hat ?

He s l ooki ng at t he CCTV CAMERA i n t he cei l i ng cor ner , of f
whi ch we MATCH TO THE BULLPEN OUTSIDE: Of f i cer s wat ch t he
CCTV moni t or s, i ncl udi ng ABBI E, l aser - l ocked on hi s ever y
t wi t ch, t r yi ng t o r ead hi m:

PRI CE
We r e hol di ng you by aut hor i t y of
t he New Yor k St at e Di st r i ct
At t or ney on account of you bei ng a
mur der suspect i n t he deat h of
Sher i f f August Gr ey - -

CRANE
I had not hi ng t o do wi t h t hat man s
deat h, wer en t you l i st eni ng? My
head s st i l l i nt act , t he ki l l er
shoul dn t be di f f i cul t t o spot - -

PRI CE
Si r , I can t f or ce you t o t ake t he
t est , you have a r i ght t o decl i ne.
But i f you pass, you have a bet t er
chance of wal ki ng out t a her e.

Cr ane st ar es. Wei ghs opt i ons, of whi ch he has none. PRELAP:
17.


MAN S VOI CE
I mLi eut enant Lui s Mendez,
West chest er Sher i f f s depar t ment . . .

And we begi n CROSS- CUTTI NG back and f or t h i n t i me ( so don t
be conf used when we see Abbi e i n t wo l ocat i ons at once) :


INT. HOLLOW PRECINCT - THE PEN - MORNING - INTERCUTTING:

Of f i cer s i n r ows, Abbi e i ncl uded; at a podi um, LT. LUIS
MENDEZ, as ser i ous as hi s r eason f or bei ng her e:

MENDEZ
. . . I ve been t r ansf er r ed her e t o
coor di nat e t he i nvest i gat i on i nt o
l ast ni ght s doubl e homi ci de. I
know you al l wor ked wi t h Sher i f f
Gr ey. . . my condol ences. Gi ven t he
br ut al and unusual nat ur e of t hi s
cr i me, t he pr ess won t be abl e t o
r esi st t al ki ng about cul t s and
devi l wor shi pper s. I don t want
any of you engagi ng i n t hat ki nd of
specul at i on. I won t t ol er at e any
nut t y conspi r acy t heor i es. . .

CRANE ( V. O. , PRELAP)
My name i s I chabod Cr ane. . .
BACK TO CRANE, wi r es st r apped t o hi s ar ms, mi d- pol ygr aph:
CRANE ( CONT D)
I was a pr of essor of hi st or y; now I
ser ve i n t he Pat r i ot Mi l i t i a wi t h a
r ank of Capt ai n under t he command
of Gener al Washi ngt on.

PRI CE
( i ncr edul ous)
Gener al . . . Geor ge Washi ngt on.

CRANE
( br i ght ens a l i t t l e)
Do you know hi m?

PRI CE
( uhuh)
You bel i eve you r e a sol di er i n t he
Revol ut i onar y War . . .
18.


I NT. I NTERROGATI ON ROOM/ BULLPEN

Of f i cer s shake t hei r heads at Cr ane s out l andi sh cl ai ms. . .

CRANE
What s your magi cal machi ne t el l i ng
you?

Pr i ce checks t he l apt op: NO SPI KE. Thi s i s wei r d.

PRI CE
Wher e exact l y do you t hi nk you ar e
now?

CRANE
Dr eami ng? I n hel l ? I ve seen no
Redcoat s, no di spat ches. . . have t he
Br i t i sh r et r eat ed?

PRI CE ( checks: no
spi ke)
Tel l me about t hi s. . . Hor seman.
BACK TO MENDEZ IN THE PEN:
MENDEZ
Al t hough we have a suspect i n
cust ody, we r e not t aki ng chances:
i f t hat bast ar d s st i l l out t her e,
we l l use ever y r esour ce we have t o
st op hi mbef or e he ki l l s agai n. . .

BACK TO CRANE:

PRI CE
And you f r eel y admi t t o cut t i ng of f
hi s head, yes or no?

CRANE
I don t know what et i quet t e of war
you subscr i be t o, but when you r e
at t acked by a si x f oot Hessi an
whose sol e ai mi s t o cl eave you i n
t wo. . . I consi der my r esponse
appr opr i at e.

PRI CE
( j ot s a not e, dr y)
Then what happened?

CRANE
I was br ought t o a chur ch. I was
dyi ng. . . or so I t hought . That s
al l I know. . .
( MORE)
19.

CRANE ( CONT' D)
now I want t o see my wi f e. She s a
ci vi l i an nur se i n t he 37t h
Regi ment , I need t o f i nd her .

ON ABBI E. React i ng. Hi s l ongi ng, al ong wi t h ever yt hi ng el se
he s sayi ng, seems pai nf ul l y r eal . Pr i ce pl acat es:

PRI CE
( pat r oni zi ng)
I under st and. How d you end up
her e?

CRANE
I coul d answer i f I knew wher e t he
hel l her e i s. Now I have
quest i ons, sever al t housand
quest i ons, but I l l spar e you t he
i ndi gni t y of st r appi ng you t o t hi s
damn machi ne! WHERE AM I ?!

Pr i ce st ar es. At Cr ane, at t he spi ke, whi ch hasn t moved.

PRI CE
The quest i on i sn t wher e. . . i t s
when. Good news i s, you won t he
war . Bad news i s. . . t hat was
al most t wo hundr ed and f i f t y year s
ago.

ON CRANE. Fal l i ng down t he r abbi t hol e, t r yi ng t o accept t he
I MPOSSI BLE. Pr i ce pul l s out . . . A DOLLAR BI LL. Sl i des i t
acr oss t he t abl e t o Cr ane, who pi cks i t up, seei ng GEORGE
WASHI NGTON S FACE t her e. Di sbel i ef . Wor ds t hat DON T
COMPUTE: THE UNITED STATES OF AMERICA. Looks up at Pr i ce,
who st ar es back skept i cal l y:

PRI CE ( CONT D)
Wel come t o t he 21st cent ur y, Mr .
Cr ane.


EXT. INTERROGATION ROOM/ BULLPEN - MORNING

Pr i ce exi t s t o a wai t i ng Mendez. Abbi e on t he per i pher y,
l ooki ng f or her moment t o i nt er vene:

PRI CE
Not one spi ke. He s ei t her
del usi onal or has some ki nd of
amnesi a - - coul d be set t i ng t he
t abl e f or an i nsani t y def ense.
20.


MENDEZ
Hol d hi mf or 72 hour s at t he psych
uni t , I want a f ul l e- val .

I n a RUSH, Mendez begi ns t o wal k away, Abbi e qui ckl y FOLLOWS
hi mdown t he cor r i dor - -

ABBI E
Si r ? Si r ? I mAbbi e Ar cher , I
was Sher i f f Gr ey s par t ner .
He r egi st er s t hat , but cont i nues on i nt o THE BULLPEN:
MENDEZ
Yes, I mver y sor r y f or your l oss.

ABBI E
Thank you, Si r , but i f I coul d ask:
bef or e we send t hat man t o t he
psych uni t , may I have a chance t o
i nt er r ogat e hi mmysel f ?

MENDEZ
Absol ut el y not - -

ABBI E
Si r , pr el i mf or ensi cs f ound no
t r ace evi dence connect i ng hi mt o
t he f ar m, and he descr i bed t he
appear ance of t he man I saw i n
per f ect det ai l . He coul d be
hel pf ul .

MENDEZ
- - or he coul d be t he ki l l er , we
bot h know t he pol ygr aph s t r i ckabl e
and he j ust admi t t ed t o beheadi ng
someone. He needs pr of essi onal
at t ent i on, whi ch you r e not
qual i f i ed t o gi ve af t er t he t r auma
you ve j ust suf f er ed, f or whi ch, as
I sai d, I amver y sor r y. But t he
answer s no. Go home and get some
sl eep.

He moves on. I nst ant l y she cal cul at es opt i ons - - smar t as
hel l - - shi f t s gear s i nt o appeasi ng and pur sues t act f ul l y:

ABBI E
May I at l east be t he one t o
t r anspor t hi m, Si r ? My
quest i ons l l be l i mi t ed t o t he 20
mi nut es i t t akes t o get t her e.
What can t hat hur t ?
( MORE)
21.

ABBI E ( CONT' D)
( t hen, t he ki cker )
I f not hi ng el se, maybe i t l l hel p
gi ve me some cl osur e. . . pl ease.
He pauses, l ooks at her , debat i ng - - an AI DE appr oaches:
AI DE
Si r , t he Command Cent er s r eady - -

MENDEZ
( nods; t hen, t o Abbi e)
You wanna be t hi s guy s chauf f eur ?
Be my guest .

And of f he GOES, as we PUSH I N ON ABBI E, wi t h anot her agenda
i n mi nd - - br i dl i ng l i ke a hor se at t he st ar t i ng gat e - -


INT. INTERROGATION ROOM - MORNING
Cr ane si t s, pr ocessi ng hi s new r eal i t y. As Abbi e ent er s:
ABBI E
Mr . Cr ane, I mDet ect i ve Abbi e
Ar cher .
He st ar es, t r i es t o l i f t hi s cuf f ed hands, conf r ont at i onal :
CRANE
How do I r emove t hese damn
manacl es?

ABBI E
Wel l , you coul d br eak your t humb
and t r y pul l i ng your hand t hr ough,
but t her e s about 25 cops out t her e
who d shoot you.
The l ook bet ween t hemHOLDS. He adds i t up:
CRANE
You want my hel p. Whi ch suggest s
you have no opt i ons.

ABBI E
I mnot gonna say I bel i eve you. . .
but I mt he cl osest t hi ng t o i t
you r e gonna come acr oss.
He j ust st ar es at her . I nt o her :
CRANE
I can t say I bel i eve you ei t her ,
Ms. Ar cher .
22.


ABBI E
Det ect i ve. I haven t t ol d you
anyt hi ng.

CRANE
You ve t ol d me ever yt hi ng.
Ever yt hi ng you ar en t t el l i ng your
col l eagues.

Abbi e s eyes f l i ck anxi ousl y t o t he CCTV CAMERA. IN THE PEN
we f i nd DUNN wat chi ng, concer ned: what s t hat mean?

ABBI E
( t o Cr ane, chal l engi ng)
And what exact l y woul d t hat be?

CRANE
What you al r eady know: t he ki l l er
was a headl ess hor seman.

ABBI E
That . I sn t . Possi bl e.

CRANE
Oh, r eal l y? That s wonder f ul news.
Thank you f or t he cl ar i f i cat i on - -
and her e I t hought I d act ual l y
awoken i n t he f ut ur e! That my wi f e
hasn t been dead near l y t wo hundr ed
and f i f t y year s. I mgl ad t o know
ever yt hi ng I mhear i ng, seei ng, and
t ouchi ng i s i mpossi bl e. . . because
t hat woul d mean i t s not act ual l y
happeni ng. So amI f r ee t o l eave?

ABBI E
No: I have or der s t o t ake you t o a
ment al i nst i t ut i on.

CRANE
( a beat , f uck)
Excel l ent . Thi s day cont i nues t o
bear gi f t s. Wi l l we be shar i ng a
cel l . . . Det ect i ve?

ABBI E
Al r i ght , up, t i me t o go - -

But t ons pushed she undoes hi s cuf f s f r omt he STEEL LOOP on
t he t abl e, f r eei ng one of hi s hands - -

ABBI E ( CONT D)
Hands behi nd your back.
23.


She t ur ns hi mar ound, CI NCHES hi s wr i st s back t oget her , as:

CRANE
I t can t be mer e coi nci dence The
Hessi an and I ar r i ved i n t hi s pl ace
at t he same t i me - - you r e cl ear l y
t oo br i ght t o bel i eve ot her wi se.

But she PUSHES hi mout t he door - -


EXT. ABOVE THE FORESTS OF SLEEPY HOLLOW - DAY

SOARI NG over t he maj est i c Hudson, we f i nd a POLI CE CRUI SER:


EXT. HIGHWAY/ INT. POLICE CRUISER - DAY

Abbi e dr i ves; Cr ane s mi nd r aces, pr ocessi ng hi s f i r st car
r i de: POLI CE CHATTER on t he r adi o, GPS, scener y r aci ng by.
Hands cuf f ed, he keeps t oggl i ng t he door l ock but t on. Up.
Down. Abbi e gl ances over , mi l dl y i r r i t at ed but most l y
f asci nat ed by t he consi st ency of hi s act . Now he t r i es t he
wi ndow. Up. Down. Fi nal l y, she hi t s t he CHI LD LOCK.
Thwar t ed, he l ooks over . TENSI ON bet ween t hem. . .

ABBI E
So you wer e asl eep f or about 250
year s. Ci vi l War di dn t wake you?
Noi sy nei ghbor s t o t he sout h?
( he j ust st ar es)
You get up t o pee? I don t know
about you, but I mget t i n up t o
pee ever y 75, 80 year s, t hat s j ust
me.

CRANE
( beat , deadpan)
Ar e you done? Or does i t not
concer n you t hat most of what you
say i s uni nt el l i gi bl e gi bber i sh t o
me? Li ke wat chi ng a chi cken cl uck.
And when di d women st ar t wear i ng
pant s?

ABBI E
Hey, i t s a f r ee count r y t hanks t o
you - - women wear pant s, men wear
dr esses, i t s a whol e new day i n
Amer i ca, so l i ve i t up.
( beat ; of f hi s st ar e)
You r e j ust . . . not gonna br eak
char act er , huh?
24.


He t ur ns away. Col d shoul der . She si ghs:

ABBI E ( CONT D)
Okay. Let s say I di d bel i eve you.
You sai d you woke up i n a cave?
Show me.

He t ur ns back. Eyes nar r ow. An OPENI NG her e. . .


EXT. HIGHWAY ROAD/ INT. ABBIES CRUISER - DAY

THE WELCOME TO SLEEPY HOLLOW SI GN. Abbi e s cr ui ser pul l s
up. Besi de t he si gn i s a SMALL DI RT ROAD l eadi ng deeper i nt o
t he f or est . He NODS: there. As she t ur ns of f t he mai n r oad,
Cr ane senses t hi s was, i n f act , her pl an al l al ong:

CRANE
You r e vi ol at i ng or der s.

ABBI E
The conveni ent par t f or me i s i f
you t el l anyone, no one l l bel i eve
you.

He l ooks ahead, sor t of SMI RKS. Sor t of . She dr i ves on:


EXT. FOREST - CONTINUOUS
They get out . Eer i e woods. She pul l s out her KEYS - -
ABBI E
Gi mme your hands.
He does. As she unl ocks hi s wr i st s, hi s eyes go t o her gun:
CRANE
I t ake i t t he weapon on your bel t
i s a di st ant cousi n t o t he
r evol ver . And i f I wer e t o at t empt
escape, you d f i r e on me.

ABBI E
Wow, you l ear n qui ck. Whi ch way?

He l ooks ar ound - - or i ent s - - poi nt s t owar d t he br i dge.
Abbi e opens t he t r unk, f i l l ed wi t h POLI CE GEAR. Gr abs a
camer a, pul l s out her i Phone, hi t s t al k, st ar t s wal ki ng:

ABBI E ( CONT D)
Si r i , open di ct at i on app.
25.


SI RI ( V. O. )
Okay, Abbi e, what woul d you l i ke t o
cal l t he f i l e?

ABBI E
Case number 2013- 1.

Of f Cr ane s l ook:

ABBI E ( CONT D)
I t s a phone. You can t al k t o
peopl e, even i f t hey r e f ar away.

CRANE
And. . . wher e i s Si r i ?

ABBI E
No, no, i t s not a r eal per son - -

CRANE
That s what t hey say about sl aves - -

ABBI E
Not anymor e, sl aver y was abol i shed
a hundr ed and f i f t y year s ago.

CRANE ( r eact s, a
SMI LE)
I mpl eased t o hear i t .

She moves on. Conf used as hel l , he f ol l ows:


EXT. FOOTBRIDGE / CAVE ENTRANCE - DAY

BOOTS st ep acr oss r i cket y pl anks i nt o:


INT. CAVE - MOMENTS LATER

THUD! Abbi e s boot s DROP DOWN i nt o t he cave. Her MAG- LI GHT
sweeps t he wal l s, she hands anot her t o Cr ane:

ABBI E
Fol l ow my f oot st eps so our shoe
pr i nt s don t cont ami nat e t he scene.

- - he f ol l ows as t hei r beams move acr oss STRANGE WALL SYMBOLS
FLASH! She SNAPS a pi ct ur e, i t DI SORI ENTS Cr ane. Abbi e
DI CTATES, appr oaches t he MUD PI T he woke f r om, t he j ar s:
26.


ABBI E ( CONT D)
Ent er i ng f r omt he nor t h end,
t her e s a chal ked whi t e ci r cl e wi t h
a pent agr am- - some ki nd of pi t
f i l l ed wi t h cl ay. . . suggest s some
ki nda r i t ual . . . Mendez i s not gonna
want t o hear t hi s. . .

She moves t o t he WALL wher e somet hi ng cat ches her eye:

A STONE PANEL cover ed by a l ayer of COBWEBS. She cl ear s t he
webs t o see t he panel i s act ual l y composed of a r at her
beaut i f ul mosai c of RECTANGULAR STONE TI LES of var i ous si zes
and or i ent at i ons.

Cr ane t ur ns hi s l i ght on Abbi e, sees what she s seei ng - - A
f l ash of r ecogni t i on cr osses Cr ane s f ace - - HE ALMOST
SMI LES. That i s unt i l Abbi e r eaches out t o t ouch t he panel - -

CRANE
Det ect i ve, NO! !

But i t i s t oo l at e as Abbi e al r eady has her f i nger on a t i l e
whi ch sl i des a bi t under her t ouch, ACTI VATI NG A MECHANI SM
BEHI ND THE WALL - -

- - Cr ane bol t s t owar d Abbi e, pul l i ng her back as, f r omabove,
a MASSI VE STONE PENDULUM SWI VELS t hr ough f r ame, SMASHI NG
AGAI NST THE SI DE WALL wher e Abbi e st ood onl y a moment ago - -

- - Cr ane and Abbi e l and on t he f l oor i n a heap, Abbi e f al l i ng
pr act i cal l y i n Cr ane s l ap. They wat ch i n awe as t he
pendul umbegi ns t o r et r act mechani cal l y, back i nt o i t s l et hal
hi di ng pl ace.

Cr ane hel ps Abbi e back t o her f eet .

ABBI E
How di d you know t hat was goi ng t o
happen?

CRANE
I di dn t , exact l y.

ABBI E
Then how di d you - -


Cr ane appr oaches t he panel :




CRANE
- - Bet t er t han t el l i ng you,
why don t I show you?
27.


CRANE ( CONT D)
I t s a Fr eemason l ock. . . But you
have t o move t he t i l es i n t he r i ght
or der t o r el ease t he key. Li ke a
puzzl e.

ABBI E
Fr eemasons - - you mean l i ke secr et
soci et i es and ani mal sacr i f i ces?

Cr ane moves t he t i l es, sl i di ng t hemacr oss hi dden t r acks
behi nd t he st one, cl ear i ng t he way f or a SI NGLE TI LE SHAPED
DI FFERENTLY THAN THE REST t o f al l i nt o Cr ane s hand. He t hen
pushes t he i r r egul ar l y shaped t i l e i nt o a KEYHOLE.

Hear LOUD SOUNDS of mechani sms t ur ni ng and movi ng behi nd t he
wal l as a sect i on of t he f l oor DROPS DOWN MECHANI CALLY
r eveal i ng a HI DDEN STAI RWAY!


INT. SECRET MASON LIBRARY - CONTINUOUS

The r oomi s a Ter r y Gi l l i amdr eamscape, r i nged by SPI RAL
STEPS. As Abbi e and Cr ane move t hr ough, i n AWE, we see t he
wal l s ar e not so much wal l s, but r at her STONE SHELVES
packed wi t h dust y BOOKS, LEDGERS, SCROLLS, MAPS of al l sor t s.

She moves cl oser t o t he shel ves, seei ng each sect i on s
or gani zed by YEAR. . . He begi ns scanni ng books. She t r aces
t he many bookcases back t o t he VERY FI RST SECTI ON, dat ed 33
B. C. Over whel med:

ABBI E
Some of t hese go al l t he way back
bef or e Chr i st , t her e s got t a be a
hundr ed t housand books her e. . .
( beat )
My God. . . what i s t hi s pl ace?

CRANE
I t s a Fr eemason ar chi ve.

ABBI E
( i ncr edul ous)
How do you know t hat ? How di d you
know how t o open t hat l ock?

CRANE
Because I was one of t hem. I
di dn t t el l your l i e machi ne
ever yt hi ng.

Cr ane moves as he scans t he t i t l es on t he shel ves.
28.


CRANE ( CONT D)
The Fr eemasons st ar t ed as a gui l d
of cr af t smen - - masons. Bui l der s
and engi neer s. But i t gr ew i nt o
somet hi ng much bi gger dur i ng t he
war - - a soci et y of l ear ned men who
want ed t o accumul at e al l t he
knowl edge of t he wor l d. I ncl udi ng
t he f or bi dden secr et s: t he bl ack
ar t s, wi t chcr af t , t he occul t . . . al l
i n ser vi ce of pr ot ect i ng t he wor l d.

ABBI E
Cl ear l y not i mpor t ant enough t o
shar e wi t h t he wor l d. Al l t hi s has
been kept secr et .

CRANE
Yes. Because knowl edge i s a
power f ul t hi ng and can be mi sused
i n t he wr ong hands. The Masons
secr et s wer e wor t h pr ot ect i ng, even
f r omt hei r own. Not unt i l achi evi ng
t he hi ghest l evel s of t he
or gani zat i on, coul d you l ear n al l
t her e i s t o know.

ABBI E
And how f ar di d you get ?

CRANE
Not f ar enough, I maf r ai d.
Gener al Washi ngt on i nduct ed me i n
j ust bef or e t he war st ar t ed. But
some of hi s most t r ust ed men had
been l i f el ong Masons - - men you ve
pr obabl y never hear d of . Benj ami n
Fr ankl i n, Paul Rever e, J ohn
Hancock, Samuel Adams.

ABBI E
( sar cast i c)
Those names r i ng a bel l .

CRANE
The Gener al gave me speci f i c
or der s: t o hunt f or a man wi t h a
symbol on hi s hand. The same man
we ar e hunt i ng now. I di dn t know
why.

ABBI E
What sor t of symbol ?
29.


And now Cr ane STOPS, f i ndi ng what he was l ooki ng f or on a
spi ne of one of t he books: THE SYMBOL OF THE HORSEMAN.

CRANE
( pul l i ng t he book)
Her e. . . Thi s i s i t .

He DROPS i t on a dust y t abl e. Abbi e l ooks up at hi m, WI DE-
EYED.

ABBI E
Thi s i s cr azy.

AND WE UPCUT TO A MATCH I GNI TI NG AN OLD OI L LAMP. The book
i s OPENED. Cr ane READS, Abbi e besi de hi m, t he wor ds
accompani ed by HAND- DRAWN I LLUSTRATI ONS:

CRANE
I watched as the Lamb opened the
first of the seven seals. Then I
heard one of the four living
creatures say in a voice like
thunder, "Come and see!"

Thi s makes Abbi e bl i nk f or r easons we l l f i nd out shor t l y.

CRANE ( CONT D)
( st i l l r eadi ng)
I looked, and there before me was
a white horse! Its rider held a
bow, and he was given a crown, and
he rode out as a conqueror bent on
conquest.

ABBI E
That s Revel at i ons, ' i sn t i t .
The Bi bl e.

CRANE
. . . Bef or e I cut of f hi s head. . . I
shot hi m. A shot t hat woul d ve
ki l l ed any man. But he got r i ght
back up. As t hough not hi ng had
happened.

ABBI E
What ar e you sayi ng?

CRANE
We may be chasi ng one of t he Four
Hor semen of t he Apocal ypse.

Cr ane and Abbi e shar e an i ncr edul ous l ook, nei t her want i ng t o
bel i eve what i s r i ght i n f r ont of t hem.
30.


EXT. FOREST OF SLEEPY HOLLOW - DUSK TO NIGHT

WHI TE HOOVES RI P ACROSS THE UNDERBRUSH, POUNDI NG HELL- FOR-
LEATHER THROUGH THE FOREST. CLOSE ON THE HORSE S EYES: RED
AS HELL. The st eed, we now see, i s RI DERLESS. As we CUT TO:

A BODY OF WATER. The FULL MOON r ef l ect ed i n gl assy wat er . . .
i t RI PPLES AWAY as BUBBLES sur f ace. Somet hi ng s RI SI NG up
f r ombel ow. The hor se emer ges t hr ough t he f og and STOPS at
t he muddy banks. Wai t i ng. As. . . SHOULDERS EMERGE FI RST FROM
THE WATER, WI THOUT A HEAD. HEADLESS r i ses f r omt he dept hs.
The st eed REARS and SCREECHES and we SMASH TO BLACK.

END ACT TWO
31.


ACT THREE


INT. SLEEPY HOLLOW CHURCH - NIGHT

SLAM TO: Knapp s CLOSI NG UP t he chur ch, when suddenl y - - t he
vot i ve candl es BLOWOUT. He t ur ns, seei ng somet hi ng STRANGE
out t he st ai ned- gl ass. . . moves CLOSER f or a bet t er l ook. . .

I T S THE WHI TE HORSE. St andi ng al one out si de t he chur ch,
hooves cl awi ng at t he r oad. And i n t hat same POV, WE GET A
SUDDEN AND BI G FRI GHT AS HEADLESS APPEARS RI GHT AT THE WI NDOW
- - he needed t o l ur e t he pr i est cl ose enough t o - CRASH! - -
st ab hi s hand THROUGH and GRAB Knapp by hi s cl oak! BUT THE
HORSEMAN S ARM I MMEDI ATELY STARTS TO SMOKE, a subt l e t r ace of
f i r e - - he s cr ossed t he t hr eshol d i nt o God s house. Knapp
BREAKS FREE as Headl ess r et r act s hi s SMOLDERI NG ARM:

REV. KNAPP
Thi s i s God s house, Demon! You
cannot ent er her e! ! !

And suddenl y The Hor seman has DI SAPPEARED f r omvi ew. Knapp
hear s FOOTFALLS out si de - - HEAVY BOOTS movi ng ar ound t he si de
of t he chur ch, COMI NG UP t he f r ont st eps. I n a shocki ng
di spl ay of f or ce, Knapp WAVES HI S HAND and WHOOSH: a CHAI N
f r omt he l i ght f i xt ur es on t he cei l i ng SNAPS FREE - - spi r al s
acr oss t he r oomand WRAPS THROUGH THE MAI N DOOR HANDLES,
LOCKI NG THEM TI GHT. HE S A WARLOCK! ! !

SI LENCE. . . maybe t hat WORKED. . . t hen BOOM! THE HORSEMAN S
AXE SHATTERS THROUGH THE DOOR AND CHAI NS AND THEY RE FLUNG
OPEN! Knapp, t er r i f i ed but DEFI ANT, SPI TS hi s wor ds:

REV. KNAPP ( CONT D)
I l l never t el l you wher e i t i s!
You wi l l never wi n t hi s war !

Headl ess consi der s, t hen. . . STRI DES RI GHT I NTO THE CHURCH,
HI S BODY I NSTANTLY I GNI TI NG I N FLAME! Fi r e GROWI NG wi t h each
bol d st ep, but Headl ess doesn t gi ve a f uck. Knapp st umbl es
back i n hor r or , PI NNED agai nst a col umn. . . and we GO TO:

KNAPP S POV: The bur ni ng demon SWI NGS HI S AXE RI GHT AT US!
THUNK! I T DI SAPPEARS BELOWFRAME. . . and t hen. . . CAMERA TI LTS
HORI ZONTALLY AND FALLS TO THE FLOOR WI TH A THUD! OUR
DI SMEMBERED POV begi ns t o FADE as we DI E wat chi ng a pai r of
BURNI NG BOOTS EXI T THE CHURCH. . . t hen, BLACK:


INT. SECRET MASON LIBRARY - NIGHT

Abbi e snaps phot os of t ext s and dr awi ngs. Bot h she and Cr ane
j ump when her r adi o bl ar es:
32.


OFFI CER DUNN ( V. O. )
Abbi e, you got your ear s on?
Abbi e keys her wal ki e:
ABBI E
I mher e. What s up?


INT./EXT. SLEEPY HOLLOW CHURCH - NIGHT

FLASH! A cr i me scene phot ogr apher snaps pi ct ur es of KNAPP S
CORPSE. Abbi e and Cr ane pul l up.

ABBI E
I need you t o wai t her e.

A MOMENT bet ween t hem. Gr owi ng CONNECTI ON. She get s out .
He wat ches her go as she f al l s i n- st ep wi t h Mendez:

ABBI E ( CONT D)
Si r , i f I coul d have a wor d - -
MENDEZ
- - not now - -

- - because up ahead, her e comes DUNN and a cadr e of cops;
Abbi e hol ds her t ongue as t hey i nt er sect t o wal k t he scene:

OFFI CER DUNN
Looks l i ke someone t r i ed t o make
ent r y t hr ough t he wi ndow, t hen came
ar ound and shat t er ed t he door - -

As t hey head t owar d t he CHURCH, we go back t o. . . CRANE IN THE
CAR. Looki ng out at ANCI ENT GRAVESTONES besi de t he chur ch. He
debat es, knows he s been t ol d t o st ay put , but hi s cur i osi t y
i s pi qued - - st ay/ go/ st ay/ go?


INT. CHURCH - CONTINUOUS

Mendez and co. ent er : Dunn i ndi cat es a pat t er n of CHARRED
FOOTPRI NTS l eadi ng f r omt he ent r y t o t he r ear exi t . Abbi e
t r ai l s behi nd, l ooks at t he pr i nt s, t hen f or ensi cs zi ppi ng up
Knapp i n a body bag, t hen t he BROKEN CHAI NS on t he gr ound. . .

OFFI CER DUNN
Ar son f ound bur n mar ks i n t he f l oor
i n t he shape of f oot pr i nt s, si ze
11, t he i nt r uder scor ched t he t i l e
and wood wher ever he st epped.

MENDEZ
You sayi ng t he ki l l er was on f i r e?
33.


ABBI E
Excuse me. . .
( ever yone t ur ns: t he
chai ns)
. . . what r e t hose?

OFFI CER DUNN
Par t of t he l i ght i ng syst em. Looks
l i ke someone t or e t hemdown - -

ABBI E
That cei l i ng s got t a be t hi r t y f eet
of f t he gr ound - - no way someone
coul d get up t her e.

MENDEZ
You of f er i ng a t heor y, Det ect i ve?

ABBI E
Thi s wasn t r andom- - he came her e
f or Knapp.

As t hat LANDS, Abbi e doesn t r eal i ze t hat out t he door BEHI ND
HER. . . CRANE APPEARS, wal ki ng acr oss t he gr aveyar d:

MENDEZ
I never aut hor i zed hi s r el ease!
What t he hel l i s he doi ng her e?

She t ur ns. Ohhhhhh shi t . Uh. . .

ABBI E
Cr ane was i n my cust ody when
t hi s happened, whi ch means
he s not t he ki l l er - -
MENDEZ

You di dn t answer my
quest i on.

Dunn, concer ned f or her , gest ur es t o t he r est of t he t eam:
everyone walk away. They do, l eavi ng Abbi e and Mendez:

ABBI E
Si r , we have t hr ee DOA s and no
vi abl e l eads. Someone s on a
ki l l i ng spr ee and t hat man s our
best chance of cat chi ng hi m- -

MENDEZ
That man needs a st r ai ght j acket ,
and you vi ol at ed a di r ect or der by
br i ngi ng hi mher e - -
34.


ABBI E
Maybe he i s cr azy - - or maybe, as
you know, wi t nesses of a vi ol ent
cr i me somet i mes ent er a
di ssoci at i ve st at e t hat br eaks t hem
f r omr eal i t y as an emot i onal
r esponse t o t r auma. Ei t her way?
He saw somet hi ng, somet hi ng t hat
mi ght hel p us - -

MENDEZ
What r e you suggest i ng, t hat we
gi ve t he Foundi ng Fat her a Gl ock
and send hi mi nt o t he f i el d wi t h a
pat on t he back and a t humbs up?

ABBI E
I msuggest i ng he mi ght r ecogni ze
det ai l s we woul dn t even know t o
l ook f or .
Mendez consi der s. Tense. I t coul d go ei t her way. Then:
MENDEZ
For get t he asyl um, j ust t ake hi m
back t o hi s cel l i mmedi at el y, or
you ar e suspended unt i l f ur t her
not i ce. End of di scussi on.

Wi t h t hat , he goes, l eavi ng her t her e. Dunn appr oaches. . . .

DUNN
You r e hangi ng your sel f wi t h t hi s
guy, Abbi e, i t s a bi g mi st ake.
What t he hel l r e you doi ng?

And she exi t s, l eavi ng Dunn t o wat ch her go, concer ned. . .

AT AN ORNATE HEADSTONE: Cr ane al r eady t her e, eyes f i xed.

ABBI E
I t ol d you t o st ay i n t he car - -

CRANE
( wi t hout l ooki ng up)
Yet as you know, I mi nsane, and
t her ef or e i mper vi ous t o si mpl e
commands.

She f ol l ows hi s gaze t o t he NAME and I NSCRI PTI ON. . . and what
she sees STUNS her : Here lieth the duft of MATRON KATRINA
CRANE, BURNT AS A WITCH...

To hi msel f , hi s head swi r l i ng. . .
35.


CRANE ( CONT D)
A wi t ch. . . ?

Abbi e SWEEPS f ol i age of f t he bot t omof t he namepl at e t o
r eveal - - ...SURVIVED BY HER BELOVED SON THOMAS CRANE.

ABBI E
. . . her son, Thomas Cr ane,
1779. . .

He j ust st ar es at t he name, st unned, EMOTI ONAL.

CRANE
. . . she was. . . wi t h chi l d. . .
( eyes wel l ; t he f i r st t i me
he s sai d i t out l oud)
. . . Thomas. . .
FLASHCUT: Crane, dying, in the church with Katrina:
CRANE (CONTD)
Whatever secret you wished to tell
me when I returned from the
front... please, tell me now...

Abbi e s voi ce br i ngs hi mback t o PRESENT:

ABBI E
. . . Cr ane? Ar e you okay?

Cr ane nods st oi cal l y. Abbi e wat ches hi msuf f er , unsur e i f
she can consol e hi mwi t hout f ul l y bel i evi ng hi m.

ABBI E ( CONT D)
C mon, we shoul d bot h get a f ew
hour s of sl eep.

CRANE
Sl eep? I ve been asl eep f or t wo
cent ur i es. A l ot of good i t s done
me. What mor e do you need t o
bel i eve me?

ABBI E
I t doesn t mat t er what I bel i eve.
How t he hel l amI supposed t o
expl ai n i t ? I ve i dent i f i ed t he
ki l l er , and he j ust happens t o be
t he Fi r st Hor seman of t he
Apocal ypse - - t r ust me, i t s al l i n
t hi s dust y book we f ound i n a cave
l i br ar y. . .
36.


CRANE
You wi t nessed your par t ner s mur der
wi t h your own eyes - -

ABBI E
Even i f I t hought what I saw was
possi bl e, I wi l l be. . . al one.
Agai n. Ar gui ng a case I don t
under st and, based on somet hi ng I
t hought I saw, wi t h evi dence t hat
makes no sense - -

CRANE
- - what do you mean, agai n?
ABBI E
( f uck, sai d t oo much)
. . . Not hi ng, not hi ng - -

She st ar t s movi ng t owar d t he car agai n - - he REALI ZES:

CRANE
Somet hi ng happened t o you,
di dn t i t . . . somet hi ng t hat s
made you doubt your
per cept i ons.
ABBI E
( shaki ng her head)

- - don t - -

CRANE
We have mor e i n common t han you
t hi nk: I come f r oma wor l d wher e we
t ook our cues by l ooki ng someone i n
t he eye. I suspect i t s what makes
you a ski l l ed i nvest i gat or , but
t hi s act of cont r ol l i ng t he
unexpl ai nabl e i s a desper at e one
r oot ed i n f ear . Per haps t hat s why
you r e l eavi ng t hi s pl ace - -

ABBI E
Hey: I don t need t o be
psychoanal yzed or - - what ever your
ver si on of i t i s - - br ai n l eeched - -
by a man who t hi nks t hat onl y
yest er day he was f i ght i ng f or
Geor ge Washi ngt on i n t he
Revol ut i onar y War .

He s hi t a NERVE. She ar r i ves at t he car , opens t he door .

ABBI E ( CONT D)
I msor r y but I need mor e.

And he get s i n. . .
37.


INT. COUNTY JAIL - NIGHT

A magnet i cal l y l ocked DOOR i s opened, t hr ough whi ch Cr ane i s
l ed by a GUARD i nt o a smal l , bar r ed cel l . Abbi e behi nd hi m,
a gr owi ng sense t hat she doesn t want t o l eave hi mher e:

ABBI E
( t o t he guar d)
Gi ve us a mi nut e, woul d you?
( as t he guar d EXI TS)
I got you your own cel l . I t s t he
best I coul d do.

CRANE
( l ooki ng ar ound)
Wel l . I t s a measur abl e st ep up
f r oma cave.

ABBI E
( beat , gui l t mount i ng)
Look. . . I msor r y I got mad. I
don t know how t o get my head
ar ound any of t hi s. And I get t hat
no mat t er what happened t o you,
t hi s must al l be. . . a scar y pl ace.

Thei r l ook HOLDS. He si t s on t he cot , exhal es. The f i r st
moment he s had t o pause. . . and f eel t he wei ght of i t al l . . .

CRANE
Yest er day I was f i ght i ng f or t he
f r eedomof a nat i on t hat di dn t
exi st yet . I had a wi f e and. . .
I di dn t know she was accused of
bei ng a wi t ch.
( beat ; har der )
And my son. . . I don t know i f he
gr ew t o manhood. . . or what he di d
wi t h hi s l i f e. . .

And f or t he f i r st t i me, she s l et t i ng her sel f f eel t he pai n
he s f eel i ng. Wi t h Gr ey s l oss, she s needi ng t o connect .
Tur ns t o go, t ur ns back. . . WE SLOWLY MOVE I N ON HER. . .

ABBI E
You asked what happened t o me.
( beat )
Back i n hi gh school , me and my
si st er , J enny. . . we wer e, uh. . .
( beat , t hi s i s har d)
Wal ki ng home one ni ght . I n t he
f or est . And. . . we saw somet hi ng. . .
38.


FLASHCUT: images -- in the dark forest -- TERRIFYING FLASH
FRAMES intercut with Abbies story, so fast we can barely
decipher them -- the ground seems to be OPENING UP -- what
comes out is more IMPRESSIONISTIC than literal -- DEMONIC
FEATURES -- EYES? -- CLAWS? --

ABBI E ( V. O. ) ( CONT D)
I coul dn t see i t cl ear l y. I t was
mor e l i ke. . . a f eel i ng. And I
hear d a voi ce say. . .

We HEAR A GUTTURAL RUMBLE - - t he scar i est voi ce i magi nabl e
says COOOOMEEEE. . . AAAAAANNNNDDD. . . SEEEEEEEEEEE. . . . .
BACK TO ABBIE IN THE CELL, haunt ed. Cr ane l i st ens, r apt :
ABBI E ( CONT D)
Ever yone sai d we wer e cr azy. Af t er
awhi l e J enny st ar t ed bel i evi ng i t .

Beat . Qui et l y:

CRANE
Wher e i s she now?

ABBI E
I n and out of i nst i t ut i ons.
He nods. Under st ands:
CRANE
She s. . . bat t l i ng demons.
( Abbi e nods)
. . . And you?

ABBI E
I t was pr et t y bad f or awhi l e. Di d
a l ot of st upi d t hi ngs. Dr ugs. Me
and t hi s guy I was seei ng end up
br eaki ng i nt o a phar macy. Cop car
pul l s up, guy bol t s - - j ust gone - -
and t hi s sher i f f st eps out of t he
cr ui ser . . . and I mt hi nki ng: t hat s
i t , I mgoi ng t o j ai l . My l i f e s
over . And he put s me i n t he car . . .
( beat )
But i nst ead of t aki ng me t o j ai l . . .
he t akes me t o a di ner . . . and he
orders apple pie. And says:

FLASHCUT: A piece of STEAMING APPLE PIE A-LA-MODE is set down
in front of SHERIFF GREY, 12 years younger, sitting across
from a YOUNGER, STRUNG-OUT ABBIE, at McCABES:
39.


GREY (RIGHT TO CAMERA)
You know what I love about apple
pie a-la-mode? Where the hot,
crispy crust comes together with
the smooth, frozen ice cream.
(beat)
You know what I hate? Five minutes
later when the ice cream melts and
its just a warm soupy mess.
( r eadi es hi s f or k)
When that happens? Were leaving.
So you got five minutes to decide
if youre gonna change your life...
or if Im taking you to jail.

And takes a BITE of pie, savoring it. We PUSH IN ON YOUNG
ABBIE (SLOW MOTION), profoundly affected, as Grey eats...

ABBIE (V.O.)
... so I changed. Right there.
Because Sheriff August Grey
believed in me. I got more
fathering in that five minutes than
I got my whole life...

BACK TO ABBIE AT PRESENT, t ear s i n her eyes.

ABBI E
And now he s gone.
( beat )
But at t hat same moment . . . you
came. And ever yone sai d you wer e
cr azy.
( t hen)
And I guess I j ust . . . knew. What
t hat f eel s l i ke.

The l ook bet ween t hemHOLDS. I t t akes a br oken soul t o
r ecogni ze a f el l ow t r avel er . The guar d RETURNS:

GUARD
I t s l i ght s out .

She nods, okay. Hat i ng t hi s.

CRANE
Wi l l I see you agai n, Det ect i ve?

ABBI E
. . . I hope so. And you can cal l me
Abbi e.
40.


CRANE
I msor r y about your par t ner . . .
Abbi e.

An emot i onal l ook, t hen she goes. The l i ght s GO OUT, bat hi ng
hi mi n moongl ow f r oma smal l wi ndow. A l onel y i mage. . .


INT. COUNTY JAIL CELL - LATER

Cr ane sl eeps RESTLESSLY, eyes f l ut t er open ont o t he heavenl y
MOSAI C of t he chur ch CEI LI NG as i t comes i n and out of f ocus.
I s he dr eami ng? I s t hi s a memor y? Somet hi ng el se?

Kat r i na ent er s t he f r ame above hi m. Ther e s somet hi ng
ETHEREAL about her . She al most FLOATS. Conf usi on r ol l s
acr oss Cr ane s f ace as he sees how wor r i ed hi s wi f e i s. . .

KATRI NA
I t s al l my f aul t .

CRANE
What happened? What s wr ong, my
l ove?

KATRI NA
. . . The Hor seman. . .

CRANE
- - I t hought I d ki l l ed hi m. I cut
of f hi s head.

KATRI NA
You can t l et hi mf i nd i t ,
I chabod. I f he becomes whol e agai n
i t begi ns.

CRANE
What begi ns?

KATRI NA
The End. . .

Cr ane si t s up, r eachi ng f or hi s wi f e. . . and now i t s l i ke
he s woken f r oma dr eam- - he f i nds hi msel f al one i n a
dar kened cel l .

END ACT THREE
41.


ACT FOUR


INT. ABBIES HOUSE - BEDROOM - NIGHT

Abbi e st ar es at her cl ock - - 2:36 AM.

I MAGES spi t f r oma pr i nt er : t he PI CTURES Abbi e shot . HI GH
AND WI DE - - t he symbol s FROM THE CAVE FLOOR and t he ARCHI VE,
Abbi e st andi ng over t hem, t r yi ng t o under st and. . .

JUMPCUT: COMPUTER SCREEN: Abbi e r uns a SEARCH - - l i nks
scr ol l : FREEMASONS - - HI STORY OF - - and t hat connect s us t o
I LLUMI NATI . DI VI NATI ON. OCCULTI SM. The I MAGES t hat
accompany t hat : PENTAGRAMS, THE VI TRUVI AN MAN, SKULLS, and of
cour se, THE FOUR HORSEMEN OF THE APOCALYPSE. On Abbi e,
TAKI NG COPI OUS NOTES t hough i t s al l cr eepy as hel l . . .

She f i nal l y comes acr oss sever al por t r ai t s and pai nt i ngs of
GEORGE WASHINGTON - - i ncl udi ng t he f amous one of hi mcr ossi ng
t he Del awar e. . . t hat s when i t cat ches her eye. . . but i t
can t be. . . she enl ar ges t he i mage - - We don t know what
she s seei ng yet as she sear ches, pul l s up a pi ct ur e of
Rever end Knapp f r omt he onl i ne r epor t s of hi s deat h and
over l ays i t on t he por t r ai t and i t mat ches!

ITS REVEREND KNAPP CROSSING THE DELAWARE WITH WASHINGTON!


INT. COUNTY JAIL CELL - MORNING

Cr ane s eyes SNAP OPEN wi t h a st ar t j ust as CLANG! The cel l
door OPENS and i n comes a Guar d. . . f ol l owed by ABBI E, wi t h
GRAVE URGENCY - - he si t s up, di sor i ent ed - -

CRANE
What ar e you. . . doi ng her e?

ABBI E
I t hi nk I bel i eve you. But I need
your hel p f i r st .

Of f Cr ane as he nods, gr at ef ul . . .

CRANE
What a di f f er ence a day makes.


EXT. SLEEPY HOLLOW ROADS - DAY

WHOOSH: Abbi e s cr ui ser RUSHES t hr ough t he ver dant val l ey:
42.


EXT. OLD COLONIAL CAMPUS - LATE AFTERNOON

The cr ui ser pul l s up t o an ol d Dut ch Ver nacul ar bui l di ng wi t h
adj acent New Engl and edi f i ces. ON CRANE, as he RECOGNI ZES:

CRANE
Thi s i s Uni on Col l ege. I was a
pr of essor her e. . .

ABBI E
Wel l now i t s Tar r yt own Museum.
They have a r epl i ca of t he pai nt i ng
I saw onl i ne, whi ch I di dn t t r ust
not t o be phot o- shopped.

CRANE
Phot o- shopped?

ABBI E
Never mi nd. I j ust have t o see t hi s
t hi ng wi t h my own eyes. . .
( beat )
. . . and your s.


INT. TARRYTOWN MUSEUM - LATE AFTERNOON

Abbi e and Cr ane MOVE t hr ough t he col oni al museumpast a t hi r d
gr ade CLASS ON A FI ELD TRI P. Thei r t eacher l eads t hemon t he
gui ded t our - -

SCHOOL TEACHER
- - and when hi s f at her asked hi m,
Geor ge, di d you chop down t hat
cher r y t r ee? Washi ngt on r epl i ed,
Fat her , I cannot t el l a l i e. And
he admi t t ed t o choppi ng down hi s
f at her s t r ee.

Over hear i ng t hi s, Cr ane can t cont ai n hi msel f as he moves
past t hem- -

CRANE
For gi ve me, ma am, but t her e i s no
cr edence i n t hat . . .

Abbi e shakes her head, as t hey r ound t he cor ner ar r i vi ng at a
PORTRAI T OF GEORGE WASHI NGTON AND REVEREND KNAPP cr ossi ng t he
Del awar e. . .

ABBI E
Her e. Look at t hi s one. . .

Cr ane l eans i n f or a cl oser l ook.
43.


CRANE
Thi s i s a por t r ai t of Gener al
Washi ngt on cr ossi ng t he Del awar e.

ABBI E
And I guess i t s my t ur n t o sound
cr azy. Look at t he man st andi ng
next t o Washi ngt on. . . he s i n
sever al por t r ai t s wi t h hi m. I t hi nk
t hat s Rever end Knapp - - t he man
The Hor seman ki l l ed l ast ni ght .

CRANE
Because he t hought t hat t he
Rever end knew wher e i t was.

ABBI E
Wher e what was?

CRANE
Hi s head.


Hi s head?
ABBI E
CRANE
He s l ooki ng f or i t . And i f he
f i nds i t , r umor i s we may be i n f or
some of t he unpl easant ness we r ead
about .

ABBI E
Wher e ar e you get t i ng t hi s?

CRANE
The Gener al t ol d me my mi ssi on was
mor e i mpor t ant t han t he war i t sel f .
I wasn t mer el y or der ed t o f el l a
man i n bat t l e, I was or der ed t o
r et ur n wi t h hi s head.

ABBI E
Washi ngt on di dn t want hi s head f or
br aggi ng r i ght s. Washi ngt on meant
t o keep i t hi dden t o st op t he
Apocal ypse.

CRANE
He must ve f ound qui t e a hi di ng
pl ace.
44.


ABBI E
( gest ur es t o t he ot her
pai nt i ngs)
C mon. . .

They move t hr ough t he Geor ge Washi ngt on exhi bi t t o ot her
pai nt i ngs.

ABBI E ( CONT D)
( convi ct i on gr owi ng)
Look, t her e he i s agai n, r i ght next
t o Washi ngt on.

And sur e enough, t he next pai nt i ng por t r ays someone who l ooks
j ust l i ke Knapp next t o Washi ngt on.

They cont i nue on, f i ndi ng Knapp i n a handf ul of pai nt i ngs by
Washi ngt on s si de.

Movi ng past anot her pai nt i ng, Cr ane st ops, not i ci ng
somet hi ng:

CRANE
Wai t . Look her e - -

ON THE PAI NTI NG

I t depi ct s Washi ngt on and t he man who l ooks l i ke Knapp
st andi ng i n f r ont of a col oni al house.

CRANE ( CONT D)
- - hi s r i ght hand. . .

CLOSE - - I n Knapp s r i ght hand: A BI BLE WI TH THE SI GN OF THE
HORSEMEN.

CRANE ( CONT D)
Thi s i s a por t r ai t of t he El i j ah
Mi l l er House. The Gener al used i t
as a command cent er dur i ng t he
Bat t l e of Whi t e Pl ai ns.

ABBI E
Yes, but unl i ke you, Washi ngt on
di ed, t wo cent ur i es ago. I f not t he
Rever end, who woul d he have
ent r ust ed t o keep such a power f ul
t hi ng saf e?

CRANE
The Gener al woul d ve ent r ust ed no
one. That s t he ki nd of secr et a
man l i ke hi mwoul d t ake t o t he
gr ave.
45.


ABBI E
Maybe he di d.

Thi s gi ves Abbi e pause. . . as she not i ces somet hi ng el se i n
t he pai nt i ng.

ABBI E ( CONT D)
I l l be damned. . .

She r eaches i nt o her pocket and pul l s t he NOTEBOOK f i l l ed
wi t h her not es. Fl i ppi ng t hr ough:

ABBI E ( CONT D)
Di d you say t he El i j ah Mi l l er
House ?

Cr ane nods - - she f i nal l y f i nds t he page she was l ooki ng f or .

ABBI E ( CONT D)
Washi ngt on was bur i ed at Mount
Ver non, but hi s body was moved
on. . .
( r eadi ng her not es)
. . . Oct ober 10, 1837.
( gest ur es: t he pai nt i ng)
Look at t he addr ess on t he por ch of
t he house - -

CLOSE ON THE PAI NTI NG - - I ndeed i t l ooks l i ke an addr ess. . .
onl y t he number s ar e 101037!

CRANE
( noddi ng)
Tent h day of t he t ent h mont h. That
can t be a coi nci dence.

ABBI E
Hi s body wasn t moved t o anot her
cr ypt i n Mt . Ver non - -
( gest ur es t o t he pai nt i ng)
- - i t was moved her e.

CRANE
Agr eed. That was a cover . Ver y
much how he l i ked t o oper at e. He
must ve l ef t i nst r uct i ons f or
Knapp.

ABBI E
And i f you r e r i ght , what we r e
l ooki ng f or i s bur i ed wi t h hi m.

Our duo f or mi ng bef or e our eyes - -
46.


EXT. APARTMENT BUILDING - NIGHT

A For d F- 150 pul l s I NTO LENS, t hr ough t he wi ndshi el d i s ANDY
DUNN, j ust of f hi s shi f t , t i r ed, on t he phone wi t h Abbi e:

ABBI E ( V. O. ) Look,
I j ust need you t o t r ust me
and cal l an al l uni t s t o
140 Vi r gi ni a Road, t he
El i j ah Mi l l er House wi t h ai r
suppor t - -
DUNN


- - whoa whoa: and you know
t he ki l l er s on hi s way t her e
now. . . how? Fr omt hat whack
j ob?


INT. ABBIES CRUISER - SUNSET - INTERCUTTING:
Abbi e behi nd t he wheel , dr i vi ng FAST - - Cr ane shot gun - -
ABBI E
I l l expl ai n ever yt hi ng l at er ,
okay? I f I go t hr ough Mendez,
he l l ask f or pr oof I can t gi ve
yet . The depar t ment s spr ead t hi n
as i t i s - -

- - Dunn get s out , heads i nt o hi s apar t ment bui l di ng - -

DUNN
- - no ki ddi ng, I j ust wor ked
a 36 hour shi f t - -
ABBI E
- - I mt el l i ng you, t hat s
wher e he s goi ng. We r e
gonna mi ss hi m- -

The sound of an ENGI NE r i ses and we SLAM TO:


INT. DUNNS APARTMENT BUILDING - CORRIDOR - NIGHT
Dunn movi ng down a hal l , pul l i ng out hi s keys - -
DUNN
- - and i f you r e wr ong? I t s on
bot h of us.

ABBI E
Andy. . . you al ways t r ust ed me.
Pl ease don t st op now. Ther e s no
t i me.
A moment of HEAVY CHOI CE. Fi nal l y:
DUNN
Al r i ght , I l l cal l i t i n. . . I l l
meet you t her e.
47.



Thank you.
ABBI E

They hang up, but we STAY WI TH DUNN as he r eaches t he door t o
hi s apar t ment . STOPS. Because he sees. . . t he l ock s been
HACKED OPEN. Shi t . He pul l s hi s gun and ENTERS. . .


INT. DUNNS APARTMENT - NIGHT

Tense. Dar k. The f i r st t hi ng Dunn sees i s a LOCKED STEEL
CABI NET br oken open, wher e he keeps hi s spar e POLI CE STUFF.
Fi nds a gun r ack wi t h a SHOTGUN mi ssi ng. Appr oaches t he
LI VI NG ROOM, but nobody seems t o be t her e. He t ur ns, gun
r ai sed, about t o head i nt o t he next r oomwhen, BEHI ND HI M. . .

HEADLESS RI SES UP f r oma hi gh- backed chai r : onl y now do we
r eal i ze HE WAS SI TTI NG THERE ALL ALONG, t he chai r obscur i ng
hi mf r omvi ew. Al er t , knowi ng someone s behi nd hi mnow, Dunn
sl owl y t ur ns t o see. . .

Headl ess has hel ped hi msel f t o al l t he moder n gear : a pol i ce
bel t and gun, and t he SHOTGUN hel d i n hi s hand. And we
assume THI S I S WHERE POOR DUNN MEETS HI S END. . .
Except t hat Dunn DOESN T l ook scar ed. I nst ead, he says:
DUNN
I know wher e i t i s.

A beat : Headl ess swi ngs t he shot gun up and - SHUUNCK -
hol st er s i t i nt o hi s back scabbar d. READY. As we r eal i ze. . .
THESE TWO ARE WORKI NG TOGETHER. And - - BLACK.

END ACT FOUR
48.


ACT FIVE


EXT. AERI AL VI EW- NI GHT

SOARI NG over a dar k f or est bel ow, we pi ck up t he headl i ght s
of Abbi e s cr ui ser r aci ng up a desol at e r oad t hat wi nds i t s
way t owar ds a LARGE ABANDONED HOUSE t ucked deep i n t he t r ees.


INT. ABBIES CRUISER - NIGHT - CONTINUOUS

As Abbi e par ks. . . anot her pai r of HEADLI GHTS FLASH acr oss t he
f or est . Abbi e keys her r adi o:

ABBI E
Andy, t hat you?

DUNN ( V. O. OVER RADI O)
I t s me, Abbi e. Backup s on i t s
way, but my damn car s st uck and I
j acked my ar mpr et t y bad t r yi ng t o
move i t . You got a med ki t ?

She l ooks out at t he mi st y gr ounds. Not i deal .

ABBI E
. . . okay, st and by.
( unbuckl es bel t , t o Cr ane)
St ay her e, and I mean i t t hi s t i me.
I n about t hr ee mi nut es an ar med
SWAT t eam s gonna be swar mi ng t hi s
pl ace l ooki ng f or somet hi ng t o
shoot , you r e my r esponsi bi l i t y - -

CRANE
- - you r e goi ng out t her e wi t h a
Headl ess Hor seman on t he pr owl and
I mt he di st ur bed one? I mcomi ng.
She l ooks at hi m. Si ghs, i ndi cat es t he GLOVE COMPARTMENT:
ABBI E
Al r i ght . Ther e s a gun i n t hat
compar t ment . You l l need i t .

He r eaches out t o open t he gl ove box, but i t s LOCKED. I n
t hat i nst ant , she SNAPS A CUFF ont o hi s wr i st - - bef or e he
can REACT, she SNAPS t he ot her end t o t he st eer i ng wheel - -

ABBI E ( CONT D)
Sor r y. I need you i n one pi ece.

As she get s out , he STRUGGLES agai nst t he cuf f s, FURI OUS:
49.


CRANE
Thi s i s- - unaccept abl e!

ABBI E
We can t al k about i t l at er .

CRANE
Rel ease me!

ABBI E
( t osses a WALKI E on t he
seat )
Pr ess t he but t on her e t o t al k i f
you need me.

She CLOSES t he door . Pops t he t r unk, gr abs a med- ki t and a
SHOTGUN. He STRUGGLES wi t h hi s cuf f s as he wat ches her wal k
of f , di sappear i ng i nt o t he FOG. . .


EXT. ABANDONED ELIJAH MILLER HOUSE - YARD - CONTINUOUS

Abbi e appr oaches Dunn s cr ui ser t hr ough t he f og, f l ashl i ght
hel d agai nst her l evel l ed shot gun. He s NOWHERE t o be f ound:

ABBI E
Andy?

Si l ence. What s happeni ng? She pans t he shot gun/ f l ashl i ght
ar ound t he dar k f or est - - NOTHI NG. Tense as hel l - -


INT. ABBIES CRUISER - CONTINUOUS

Cr ane si t s i n t he cr ui ser , wei ghi ng somet hi ng i n hi s mi nd.
Fi nal l y gr abs t he wal ki e:

CRANE
Abbi e! - -


EXT. ABANDONED ELIJAH MILLER HOUSE - YARD - CONTINUOUS

Abbi e, shot gun st i l l l evel , hear s Cr ane s VOI CE, keys back:

ABBI E
St andby, Cr ane - -
( beat )
- - saw who?
CRANE
Ther e s somet hi ng I di dn t
t el l you. I t hi nk I saw
Kat r i na - -

SUDDENLY - - A FI GURE BEHI ND ABBI E - - BEFORE SHE CAN TURN,
WHACK: t he BUTT OF A GUN cr acks her skul l - - she DROPS out of
f r ame, r eveal i ng. . . DUNN!
50.


INT. ABBIES CRUISER - CONTINUOUS

CRANE
. . . Abbi e?

No r esponse. Cr ane knows somet hi ng i s way of f - - st ar t s
st r uggl i ng wi t h hi s cuf f s, t r yi ng t o get out . . . REMEMBERI NG
somet hi ng she sai d. Last r esor t : he t akes hol d of hi s t humb
and, one, t wo, CRACKS I T BACK, BREAKI NG I T AT THE BASE - -
WI NCES I N AGONY - - st ar t s t o sl i p hi s hand t hr ough t he cuf f s -
- UNBEARABLE - - f i nal l y manages t o PULL HI S HAND FREE,
l eavi ng t he cuf f s dangl i ng f r omt he st eer i ng wheel - - BOLTS
out t he door :


INT. ABANDONED ELIJAH MILLER HOUSE - NIGHT

Cr ane ent er s, al er t , adr enal i ne spi ki ng. Weat her ed, gr eyi ng
f ur ni t ur e. The i nt er i or f r oma f or got t en 18t h cent ur y er a.

WOMAN S VOI CE
I chabod. . .


CRANE
Abbi e? Wher e ar e you?

But i t s Cr ane s WI FE who STANDS THERE - - she s cl ear l y not a
dr eamor an i l l usi on. I mpossi bl y, she i s r i ght i n f r ont of
hi m. Cr ane s hear t SOARS:

CRANE ( CONT D)
. . . Kat r i na. . . ar e you r eal l y her e?

Kat r i na shakes her head, wi shi ng i t wer e so. . .

KATRI NA
No, my l ove. . . not i n t he way I
woul d wi sh. Onl y my spi r i t r emai ns
now. But i t won t r emai n much
l onger .

Her sl i ght l y unear t hl y voi ce i s near l y al l t hat gi ves i t
away. Cr ane r eal i zes he s t al ki ng t o an APPARI TI ON, and
despi t e a moment of hope, t hey wi l l never be t oget her agai n.
Cr ane s hear t br eaks.

CRANE
But why was my l i f e spar ed t hr ough
t i me and not your s?

KATRI NA
When you beheaded The Horseman,
your blood merged on the
battlefield, binding you together.
51.


FLASH: Our opening battle, CRANES WOUNDED BODY lies beside
the HEADLESS HESSIAN, their POOLS OF BLOOD merging...

KATRINA (V.O.) (CONTD)
His blood is the only thing that
saved you from death. And it was
also his undoing...

She moves t o hi m. Faces cl ose. Her hear t i n her eyes. . .

KATRI NA ( CONT D)
The Masons asked my covens help to
put a spell on you... to keep you
between life and death...

AND NOWHERE S WHERE ALL OF CRANE S MEMORI ES ADD UP:

FLASH: In the church, Katrina puts her hand ON HIS WOUND --
he GASPS and now we see what comes next: she WHISPERS STRANGE
WICCAN LANGUAGE --

KATRINA (CONTD)
Knowing the spell would also keep
The Horseman from riding again for
as long as you were asleep.

FLASH: In the cave, Cranes lowered into the mud, surrounded
by the chanting hooded figures... as Crane DISAPPEARS, one of
the hooded figures looks up -- KATRINA. A tear leaks. And
we MATCH off her young face to --

KATRINA (CONTD)
They buried his body in a watery
grave...

FLASH: DAY: on a cobblestone bridge, A CASKET is pushed off
the back of a WAGON, CRASHING and SINKING into the Hudson:
PRESENT: KATRI NA S FACE, as he f i nal l y under st ands:
CRANE
You put me i n t hat cave.

KATRINA
Acting on General Washingtons
orders. He took possession of The
Horsemans head and hid it here...

She gest ur es, wr acked wi t h TERRI BLE GUI LT. . .
52.


EXT./INT. ABANDONED ELIJAH MILLER HOUSE - SAME

POV, BLURRY, UPSI DE DOWN - - Abbi e comi ng back t o
consci ousness as she s bei ng CARRI ED somewher e by DUNN. . .

ABBI E
. . . And- - dy. . . . What r e you. . .

THUD! She s dr opped i n hi s TRUNK - - HARD. Tr i es t o move but
she s t oo weak. He l ooks down at her , qui et l y dement ed:

DUNN
I t r i ed t o get you t o l eave, I
t r i i i ed, but YOU. DI DN T. LI STEN.
You j ust . . . had t o be you. Don t
you under st and what s about t o
happen her e? What s comi ng?

And now we begi n t o CROSSCUT:

ON CRANE, t he puzzl e t aki ng shape:

KATRINA
I searched the world for a way to
sever your bloodlines... so I could
wake you, without awakening him...
but I failed.

CRANE
Then you di dn t br i ng me back?

KATRINA
Its The Horseman who was
resurrected...

FLASH: NIGHT: against the full moon, HEADLESS suddenly
explodes from beneath the waters surface:

KATRINA (CONT'D)
...and you along with him.

ON KATRI NA. Real f ear :

KATRI NA ( CONT D)
Even if you defeat The Horseman
tonight, this is only the
beginning...
CUT TO DUNN, l ooki ng down at Abbi e i n t he t r unk:
DUNN
Come and see. And I l ooked, and
behol d a pal e hor se: and hi s name
t hat sat on i t was Deat h. . .
53.


ON ABBI E, hear i ng t he wor ds Come And See. Her wor st f ear s:

DUNN ( CONT D)
That s why I al ways bel i eved you - -
I hear d t he voi ce t oo. We wer e
chosen t o be i t s ser vant s, Abbi e - -
t o pr epar e t he way. A war i s
comi ng. . .

CUT BACK TO KATRINA AND CRANE:

KATRINA
Im sorry, Ichabod... but youve
traded one war for another. Except
this time, its soldiers are hidden
among the faces of this town.
Knapp isnt the only soldier in
this war who remains from long ago.
There are many on the other side.
Sleepy Hollow takes its name from
the hallowed ground on which it
lies, a long-dormant sanctum of
good and evil... and its been
rudely awakened.

BACK TO DUNN, as t he CRY OF AN I NCOMI NG HORSE echoes t hr ough
t he f or est . He gr i ns:

DUNN
Once he s whol e agai n, he l l j oi n
t he ot her s. Ther e l l be no t ur ni ng
back - - event s wi l l unf ol d t hat
none of you can st op. . .

He r eaches up and SHUTS her i n t he t r unk, but . . . CLACK:
oddl y, i t doesn' t cl ose al l t he way. Li f t s t he t r unk t o see
what ' s bl ocki ng i t : A TI RE I RON hel d upr i ght by Abbi e! She
CLOBBERS hi mi n t he head, hi s GUN f al l i ng f r ee. Dazed, she
t umbl es out , bl ood cover i ng her ear and neck. Dunn on t he
gr ound, bar el y st i r r i ng. She swi pes hi s gun and cuf f s, makes
her way t o t he dr i ver door . . . weak, di zzy. . . gr abs t he RADI O:

ABBI E
Met r o, Of f i cer needs hel p, r equest
SWAT t eamand ai r suppor t , 140
Vi r gi ni a Road. . . use ext r eme
caut i on. . .

BACK TO KATRINA AND CRANE:

ON CRANE, t aki ng i n t he wei ght of t hat - - t he mant l e of epi c
r esponsi bi l i t y - -
54.


CRANE
And what of our f ami l y? What
happened t o Thomas? What happened
t o our son?!

Her eyes WELL. Thi s may be t he ver y wor st par t of al l . . .

KATRINA
Ichabod... I think our son is the
one who resurrected The Horseman.

Bef or e we can under st and what t hat MEANS, t he POUNDI NG HOOVES
BUI LDI NG - - Kat r i na TURNS - -

KATRI NA ( CONT D)
He s her e.


Abbi e. . .
CRANE


EXT. ABANDONED ELIJAH MILLER HOUSE - CONTINUOUS

SLAM: Abbi e shoves a hal f - consci ous Dunn i n t he backseat of
hi s cr ui ser , LOCKS t he door , CAGI NG HI M. Then - - t he sound
of HOOFBEATS snaps her ar ound - - she sees THE HORSEMAN RI DI NG
t owar d t he vaul t . As she r eadi es her gun, a SUDDEN THUD and
GLASS CRACK whi ps her back - - DUNN has SMASHED hi s bl oody
head agai nst t he wi ndow causi ng i t t o SPI DERWEB, l i ke a
ment al pat i ent i n a cel l - - GRI NNI NG at her :

DUNN
You can t ki l l hi m. . . he i s deat h.


EXT. ABANDONED ELIJAH MILLER HOUSE - CONTINUOUS

The HORSEMAN S BOOTS DROP f r omt he saddl e and mar ch up t o t he
house - -


INT. ABANDONED ELIJAH MILLER HOUSE - CONTINUOUS

A WAVE OF KATRI NA S HAND and BOOM BOOM! Al l t he SHUTTERS
SLAM SHUT ar ound t heml i ke a domi no hor r or show. A LARGE
CABI NET SCRAPES acr oss t o BLOCK THE DOOR!

KATRINA
We must hurry.

Anot her t ar get ed gest ur e of her hand and a HEAVY TRUNK on t he
f l oor SLI DES AWAY, f ol l owed by FLOORBOARDS t hat now RI P OPEN,
cont r ol l ed by her wi l l .
55.


And t her e, bel ow t he house s f oundat i on, l i es a SHALLOWGRAVE
wi t h a si ngl e STONE COFFI N. And et ched upon i t :

HERE LIES GEORGE WASHINGTON, THE FIRST PRESIDENT OF THESE
UNITED STATES.

He mar vel s at her power , but onl y now r eal i zes t he t ol l t hat
usi ng i t i s t aki ng upon her . A near l y i mper cept i bl e r i ppl e
t hr ough her spect er , as a pal eness over comes her :

KATRINA (CONTD)
Its up to you now. I must go--

CRANE
NO! !


KATRINA
SUNRISE WILL DESTROY HIM! HELL
TRY TO RETURN TO THE WATER BEFORE
DAYBREAK, HE CANT HIDE FROM IT!
(then, desperate)
Please... keep it safe, My Love...
Im sorry...

And she VANI SHES I NTO THI N AI R. . .

CRANE
KATRI NA! !

The house begi ns t o shudder f r omt he f or ce of The Hor seman
t r yi ng t o unbl ock t he ent r ance. Cr ane knows he has t o keep
goi ng, t ur ns t owar d t he mar bl e cof f i n and THROWS HI S FULL
WEI GHT I NTO PUSHI NG THE HEAVY STONE LI D OFF - -

KABOOM! - - A SHOTGUN BLAST r i ps open a l ar ge hol e i n t he
BLOCKED DOOR. THE HEADLESS HORSEMAN HAS ARRI VED.


EXT. ABANDONED ELIJAH MILLER HOUSE - CONTINUOUS
Abbi e SPI NS at t he SOUND of t he bl ast , keys her wal ki e:
ABBI E
Cr ane?! Cr ane, do you r ead me?

Not hi ng. Wounded, she makes a r un f or her squad car - -


INT. ABANDONED ELIJAH MILLER HOUSE - CONTINUOUS

Cr ane manages t o push t he l i d of f , dust swi r l i ng, l i ght l y
obscur i ng what s i nsi de:
56.


GEORGE WASHI NGTON S BODY, i n hi s MI LI TARY UNI FORM, hands i n
r epose on hi s chest , and r est i ng on t op of t hem:

THE HORSEMAN S SKULL!

Tor n, Cr ane sees DAWN BREAK bet ween t he shut t er s as - - BOOM!
The cabi net CRASHES OVER, r eveal i ng HEADLESS - - Cr ane spot s
an AXE next t o t he wood- st acked f i r epl ace. SWI PES t he OI L
LANTERN - - HURLS i t at t he door and i t EXPLODES! Buyi ng hi m
t i me t o GRAB t he axe as Headl ess ent er s t he r oomwi t h t he
shot gun and - - CLANG! Cr ane s axe cl ashes wi t h t he shot gun
bar r el as i t FI RES WI LDLY. . . SKULL f al l i ng at t hei r f eet as
t he enemi es begi n a REMATCH.


EXT. ABANDONED ELIJAH MILLER HOUSE - CONTINUOUS

Abbi e, i n pai n, ar r i ves at her car t o see t he ot her WALKI E on
Cr ane s empt y seat . Tur ns t o t he house. . . oh no. A POLI CE
CHOPPER r oar s i n over head, SEARCHLI GHT sweepi ng acr oss a
swar mof POLI CE CRUI SERS and SWAT r aci ng i n. She WAVES down
a pol i ce car as ot her s ZOOM past - -

ABBI E
I VE GOT A CI VI LI AN I NSI DE, TELL
THEM TO HOLD THEI R APPROACH! DO
NOT FI RE!


INT/EXT. ABANDONED ELIJAH MILLER HOUSE - SAME

The CHOPPER SEARCHLI GHT bl eeds t hr ough t he wi ndow shut t er s,
backl i ght i ng t he VI CI OUS FI GHT as Cr ane PUSHES Headl ess i nt o
t he wal l , dr oppi ng hi mi n a heap and sendi ng t he shot gun
ski ddi ng acr oss t he f l oor . Headl ess, ADVANCES t owar d t he
shot gun, cocks i t exper t l y, and FI RES, j ust mi ssi ng Cr ane as
he SWOOPS out t he door DI SAPPEARI NG i nt o t he OPEN GROUNDS,
skul l i n hand.


EXT. ABANDONED ELIJAH MILLER HOUSE - PRE-DAWN

Cr ane comes RUNNI NG out of t he house as, suddenl y, DOZENS OF
GUN- MOUNT LI GHTS conver ge on hi m, one of whi ch i s Abbi e s:

ABBI E
DON T SHOOT, HE S OKAY! HE S OURS!
Cr ane, amped and out of br eat h, del i ver s a cal l t o act i on:
CRANE
We ve got t o sl ow hi mdown!
CHARGE! !
57.


A f ai l ed beat f ol l ows. . . t hen Abbi e t r ansl at es:

ABBI E
FI RE! !

And t he pol i ce l i ne UNLEASHES HELL on t he house:


INT./ EXT. ABANDONED ELIJAH MILLER HOUSE - CONTINUOUS

Wi ndows SHATTER, shut t er s SPLI NTER OPEN, wal l s ERUPT - -
Headl ess i s pepper ed wi t h bul l et s, but onl y mi l dl y det er r ed
as he r ecover s hi s shot gun, t akes ai m, FI RI NG back:

Pol i ce t ake cover behi nd vehi cl es - - met al and gl ass expl ode!
Headl ess RELOADS f r omhi s AMMO BELT when a back door BANGS
OPEN - - t hr ee SWAT TROOPS OPEN UP, shr eddi ng Headl ess back - -

Headl ess t ur ns. I r r i t at ed. Then, WHOOSH, he FLI PS t he shot gun
l i ke a BAT and comes at t hemSWI NGI NG. Har d. Br ut al . Qui ckl y
di spat chi ng t he t hr ee t r oops. Looks at t hei r f al l en machi ne
r i f l es. Pi cks one up. LI KES i t .
Pi cks up t he OTHER ONE. Two- f i st i ng t hem. When suddenl y - -
Hi s ar mbegi ns t o SMOKE. A f ai nt hi nt of SUNLI GHT has f ound
hi m. He WHI RLS, SEES t wo t hi ngs out si de: DAWN! And: CRANE has
t he skul l . Headl ess hol ds a l ook on Cr ane, debat i ng bet ween
hi mand t he hor i zon s gl ow. . . f uck! Tur ns and RACES out t he
back, usi ng t he t wi n aut o r i f l es t o CUT A SWATH t hr ough
pol i ce - - hi s HORSE ar r i ves and he MOUNTS UP:


EXT. ABANDONED ELIJAH MILLER HOUSE - FRONT - CONTINUOUS

BAM! THE HEADLESS HORSEMAN COMES FLYI NG OUT OF THE HOUSE,
QUI CKLY DI SAPPEARI NG I NTO THE MI ST BEFORE ANYONE HAS A CHANCE
TO SEE HI M I N FULL- - Cr ane SHOUTS t o Abbi e:

CRANE
We must keep hi mf r omr eachi ng t he
wat er s. We need t o r i de! Now.


EXT. AERIAL VIEW - EDGE OF FOREST ROAD - MOMENTS LATER

HEADLESS r i des l i ke hel l , dawn t hr eat eni ng t o over t ake t he
dar kness. As t he hor se s HOOVES t hunder past us, ABBI E' S
POLI CE CAR SKI DS I NTO FRAME i n vi ol ent pur sui t . HEADLESS
makes i t cl ear of t he f or est - - ar r i ves at t he RI VERBANK,
uni f or mSMOLDERI NG under t he r i si ng sun. BAI LS of f t he hor se,
hi t t i ng gr avel i n f ul l t umbl e. We f eel hi s PANI C as he
st agger s I NTO t he r i ver and WHI P BACK TO THE SHORE WHERE:
SCREEEECH - - Abbi e' s pat r ol car ski ds i n, nose t o t he wat er - -
58.


INT/EXT. ABBIE'S CRUISER

A l ast gl i mpse of Headl ess as he di sappear s bel ow t he
sur f ace. . . Cr ane HI TS t he dash, ENRAGED - - l eaps out :

CRANE
Open t he r ear hat ch - -

ABBI E
The t r unk?


CRANE
YES, t he t r unk!

HARD CUT TO: THUNK! Abbi e POPS i t , Cr ane di gs ur gent l y
t hr ough gear f or NYLON ROPE. Hands one end t o Abbi e - -

CRANE ( CONT D)
Ti e t hi s - -
( her BUMPER HI TCH)
- - t o t hat .

Bef or e she can ask a quest i on, SPLASH: he DI VES i nt o t he
Hudson, t he r ope coi l i ng out behi nd hi m. GONE. St unned,
Abbi e qui ckl y r eal i zes hi s pl ay her e - - she TI ES her end t o
t he hi t ch - - hops i n, THROWS t he gear i n REVERSE, engi ne
REVVI NG - - t ur ns and l ooks back:

PUSH I N ON THE WATER. . . not hi ng. . . Abbi e s WORRI ED, t hi s i s
t aki ng TOO LONG. . . t hen: PUUUUHHHH! Cr ane SURFACES shout i ng:

CRANE ( CONT D)
NOW! ! ! ! ! ! ! !

She PI NS t he pedal and t he cr ui ser SURGES BACKWARD, t he r ope
goes TAUT - - wheel s CHURN i n t he mud but wi n t he f i ght . . . and
we now SEE what ' s t i ed t o t he ot her end as AN ANCI ENT COFFI N
dr ags out of t he l ake!

Abbi e st ops t he car , f l i es out , j oi ni ng Cr ane as he r ushes
f r omt he wat er and TEARS open t he cof f i n t o r eveal . . .
HEADLESS CONVULSI NG I NSI DE AS HE S HI T BY FULL SUN! Tr i es t o
LEAP OUT, hi s body SMOKI NG MADLY, but Cr ane SLAMS hi mback
down, PI NNI NG hi munt i l . . . HEADLESS GOES UP I N FLAMES! Cr ane
r ecoi l s as The Hor seman BURNS and MELTS i nt o a bl ackened
SKELETON bef or e f i nal l y gi vi ng up i n a deat h r i ct us. . .

And i t al l ENDS. Abbi e and Cr ane COLLAPSE, exhaust ed. Out
of br eat h. They MEET EYES, havi ng j ust r un t hi s i mpossi bl e
gaunt l et t oget her . Despi t e i t al l , he manages a weak smi l e:

CRANE ( CONT D)
Di d you see t he l ook on hi s f ace?
I t hi nk we sur pr i sed hi m.
59.


And Abbi e GRI NS. . .



ABBI E
We r e gonna have t o have a r eal
l ong t al k about st ayi ng i n t he car .

As POLI CE VEHI CLES r ush i n behi nd t hem, we RI SE UP above t he
scene. . . over whi ch, MENDEZ S VOI CE:

MENDEZ ( V. O. )
I went over t he r epor t you f i l ed
af t er Gr ey s deat h. To say t her e
ar e egr egi ous gaps woul d be an
under st at ement . . .


EXT. FOREST BY THE HUDSON RIVER - MORNING

Af t er mat h: SLOW- MOTI ON, Abbi e and Cr ane ar e bei ng t r eat ed by
EMT s, wr appi ng hi s br oken t humb. She sees DUNN, i n t he back
of t he pol i ce car , as i t s dr i ven away. He l ooks at her
t hr ough t he spi der webbed gl ass and does t he CREEPI EST THI NG:
r eaches up and poi nt s t o hi s EYE. As i n Come And See. . .

ANOTHER ANGLE: MENDEZ, on t he scene, wat ches a For ensi cs Team
car r y t he open cof f i n f i l l ed wi t h t he HORSEMAN S BONES r i ght
past hi m, t owar d an SUV mar ked S. I . D ( Sci ent i f i c
I nvest i gat i on Di vi si on) :

MENDEZ ( V. O. )
. . . and now I mst ar i ng at a
char r ed headl ess cor pse i n a casket
you j ust pul l ed out of t he Hudson
Ri ver . Not one damn t hi ng about
any of t hi s makes sense. So my
quest i on t o you, Det ect i ve, i s
t hi s:
And now we CATCH UP TO MENDEZ AND ABBI E, mi d- moment :
MENDEZ
What ar en t you t el l i ng me?

Abbi e l ooks at hi m, pl ayi ng t he ci pher : t oo smar t t o get
t r apped i nt o an answer t hat mi ght be used agai nst her . So:

ABBI E
I t doesn t mat t er , Si r . The t r ut h
has a way of comi ng out . . .
( t hen, meani ngf ul l y)
. . . whet her we accept i t or not .

He consi der s her . Wi t h newf ound r espect .
60.


MENDEZ
Wel l t hen, t hi s i s i nt er est i ng
t i mi ng. . . I mt ol d you r e l eavi ng
f or Quant i co next week.

PUSH I N ON ABBI E. I n t hi s moment , af t er an i ncr edi bl e f i r st
st ep on a l ong r oad t o come, her pur pose i s f i nal l y CLEAR. . .

ABBI E
. . . not anymor e.

MENDEZ
( beat ; t hen, a nod)
Good.

Last l ook, and Mendez WALKS OFF. Abbi e wat ches hi mgo, t hen
j oi ns Cr ane wi t h t he EMT s.

ABBI E
We have t o f i nd a good hi di ng pl ace
f or t hat l i t t l e souveni r of your s.

Cr ane gi ves her a coy and knowi ng l ook. She smi l es. Bot h
t ur n t o see t he r i si ng sun over The Hudson. So much
unr esol ved, so many quest i ons. . .

ABBI E ( CONT D)
Dunn sai d a war i s comi ng.

CRANE
( beat , a nod)
A war wi t h many f aces. Far wor se
t han hi s, I f ear .
( beat )
And my son. . . may be r esponsi bl e
f or st ar t i ng i t .
( al l t he f eel i ng r i ses t o
hi s t hr oat )
I have t o f i nd hi m. No mat t er how
l ong i t t akes.
( beat )
Maybe. . . t hat s t he r eason I am
her e now.
She l ooks at hi m. I n i t t oget her :
ABBI E
Maybe i t s t he r eason we bot h ar e.
And t hose wor ds br eak t hr ough. He smi l es:
CRANE
Thank you, Abbi e.
61.



For what ?
ABBI E


CRANE
( a beat )
Bel i evi ng.

The l ook bet ween t hemHOLDS. I nt i mat e connect i on, pr omi si ng
mor e t o come. And t hi s i s wher e we l eave our her oes,
st andi ng t oget her by t he wat er , wat chi ng t he sunr i se. . . and
j ust when we t hi nk our pi l ot s OVER. . .

We CUT TO t he For ensi cs Techs l oadi ng, usi ng a r ope t o pul l
The Hor seman s cof f i n i nt o t he back of t he S. I . D. vehi cl e. . .


EXT. ROAD - MORNING

WE CRANE UP and away f r omt he scene, musi c SWELLI NG as we hi t
an aer i al WI DE SHOT, a gl or i ousl y t r adi t i onal endi ng when,
suddenl y - -

The SOUND of an ANGRY HORSE S SCREAM over t akes our sound
t r ack, f ol l owed shor t l y by SCREEECH as we SLAM TO:


EXT. FOREST ROAD - MORNING

THE FORENSI C VEHI CLE CARRYI NG THE COFFI N, TI RES SKI DDI NG TO A
DEAD STOP on pavement as our CAMERA sai l s past t he FORENSI C
VEHI CLE t o wi t ness THE HORSEMAN S PALE HORSE gal l opi ng r i ght
t owar d i t at f ul l cant er :

I NSI DE THE VEHI CLE: The DRI VER br aces hi msel f as t he hor se
TRAMPLES UP and over t he car , HOOVES shat t er i ng t he
wi ndshi el d! The man snaps ar ound i n t er r or t o see t he hor se
l andi ng behi nd t he vehi cl e - -

RACK FOCUS FROM THE DRI VER TO HI S SI DE WI NDOW- - bar el y a
spl i t - second t o gl i mpse a f ast appr oachi ng HOODED FI GURE ( t he
same cl oaked f i gur e we saw i n 1776 over l ooki ng t he
bat t l ef i el d) - - SMASH! The wi ndow EXPLODES as t he i nt r uder
CLAMPS i t s I NHUMAN HAND ar ound t he dr i ver s f ace - - TWI ST-
CRACK, and he s DEAD.

ANOTHER ANGLE: t he back door PULLS OPEN t o r eveal t he WET
COFFI N i n back. The cl oaked f i gur e SNATCHES t he COI LED ROPE
st i l l t i ed t o t he cof f i n s edge, MOUNTS t he pal e hor se, KI CKS
OFF - - and t he cof f i n s YANKED f r omt he back of t he SUV:

CAMERA st ays i n back of t he empt y vehi cl e as t he myst er i ous
r i der DRAGS t he cof f i n away, down t he hi ghway, past SWERVI NG
CARS, di sappear i ng i nt o t he mi st whi l e we HEAR t he scr at chy
SOUND TRACK of J OHNNY CASH S VOI CE once agai n:
62.


CASH
And I heard a voice in the midst of
the four beasts...


EXT. HILLTOP OVERLOOKING SLEEPY HOLLOW - MORNING

Wher e t he hor se- pul l ed cof f i n comes t o r est . . . at t he f eet ,
or r at her , hooves, of THREE MOUNTED HORSEMEN.

CASH ( CONT D)
...and I looked and behold a pale
horse, and its name that sat on
him, was Death...

Wi t h a conspi r at or i al bow, t he cl oaked f i gur e st al ks of f i nt o
t he bl ackness of t he woods.

CASH ( CONT D)
...and Hell followed with him.

MUSI C KI CKS I N HARD and CREDI TS ROLL.

END OF PILOT