Marie

                   
INT. ATTIC — DAY
                                       
A BRIGHTNESS IS REVEALED TO SHOW A RAY OF LIGHT. THE RAY OF LIGHT IS EXPANDED TO SHOW THAT IT'S A LEAK COMING FROM A BLACK PAINTED WINDOW. THE RAY OF LIGHT IS FOLLOWED TO SHOW A SMALL GIRL IS IN AN ATTIC ALONE AND SHIVERING BEHIND SOME BOXES. THE SIZE OF THE ATTIC IS SHOWN THAT IT IS TINY. SHE TIGHTENS HER MUSCLES AS SHE HEARS NOISES OF ANIMALS LOOSE IN THE ATTIC. WHEN THE NOISES STOP, SHE STARTS TO RELAX. SHE ADJUSTS TO LAY ON SOME STRAW IN THE PLACED IN THE MIDDLE OF THE ROOM. AS SHE BEGINS TO GET UP, SHE IS CAREFUL NOT TO MAKE A NOISE. SHE HEARS A NOISE COMING FROM THE ATTIC DOOR AND QUICKLY AND QUIETLY HEADS BACK BEHIND THE BOXES. A MAN ENTERS OPENING THE ATTIC DOOR QUIETLY AND LEAVES SOME FOOD SCRAPS AND RECLOSES THE DOOR. MARIE WAITS A SECOND THEN DASHES TO THE SCRAPS AND CHASES THE RATS AWAY.
                                                 
INT. ATTIC — NIGHT
                                       
THE MOON IS FULL AND BLUE AS EVER. MARIE IS SLEEPING OH THE STRAW BED. SHE IS SLEEPING WITH A SMILE AND THE REST OF HER BODY IS REVEALED TO SHOW SHE IS SLEEPING WITHOUT A PILLOW OR BLANKET CURLED IN A BALL. A MOUSE IS SEEN A FEW FEET INFRONT OF HER. THE MOUSE WALKS SLOWLY TOWARDS THE DOOR TO THE ATTIC. THE ATTIC DOOR OPENS AS THE MOUSE WALKS BY. THE JANITOR ENTERS THE ATTIC AND MOVES TOWARDS MARIE. HE WATCHES HER SLEEPING PEACEFULLY. HE TAKES THE SHIRT OFF OF HIS BACK AND USES THAT TO COVER HER UP. THERE IS A SOUND OF A THUMP THAT WAKES HER UP OC. THE JANITOR LEAVES As QUIETLY AS HE ENTERS. MARIE IS SMILING, SITTING UP IN HER STRAW BED CRADDLING A FURRY, CALICO CAT.
                                       
INT. SCHOOL — DAY
                                       
THE SUN IS BRIGHT, SHINING BRIGHTLY INTO THE SCHOOL ROOM. MARIE IS LOOKING OUT OF THE WINDOW. SHE CLOSES HER EYES, AND DAY DREAMS. THE SCHOOL DAY IS GOING ON ALL AROUND HER.  THE TEACHER IS LECTURING, KIDS ARE PASSING NOTES AS THE BELL RINGS TO LET SCHOOL OUT. MARIE OPENS HER EYES IN EXCITMENT. SHE RUNS OUT OF THE SCHOOL HAPPILY, HOLDING HER BOOKS IN HER HANDS.
                                       
EXT. PATH HOME — DAY
                                       
MARIE IS WALKING HOME FROM SCHOOL. KIDS ARE ALL WALKING IN DIFFERENT DIRECTIONS. SHE IS WALKING ALONE. SHE LOOKS DOWN THE ROAD SHE IS SUPPOSED TO GO DOWN AND DECIDES TO TAKE ANOTHER PATH.  SHE SPOTS A HOUSE WITH THE GATE OPEN.
                                       
EXT. BIG WHITE HOUSE — DAY
                                       
SHE LOOKS OVER AT THE OPEN GATE AND SLOWLY INCHES HER WAY INSIDE. SHE SEES CHESTNUTS ON THE GROUND AND HER FACE LIGHTS UP. SHE INNOCENTLY PICKS EACH CHESTNUT UP AND PLACES THEM IN HER POCKETS. SHE RUNS OUT OF ROOM AND PUTS THEM IN HER LUNCH BOX. WHEN THERE ISN'T ENOUGH ROOM SHE USES HER DRESS AS A BUCKET AND SCOOPS AS MUCH AS SHE CAN AND SHOVES THEM ANYWHERE THERE IS SPACE.
                                       
NAZI
(YELLING FROM ACROSS THE STREET)
YOU! JEW!
                                       
MARIE IS STARTLED AND JUMPS TO LOOK AROUND TO FIND THIS VOICE.  HER FACE IS PALE AND HER EYES ARE WIDE.  SHE DROPS HER CHESTNUTS AND DOESN'T SEEM TO CARE.  WHEN SHE FINDS THE SOURCE SHE NEVER TAKES HER EYES OFF OF THE NAZI.  THE NAZI KEEPING HIS COLD STARE AT HER MAKES HIS WAY ACROSS THE STREET AND INTO THE YARD.  HE GETS A COUPLE OF FEET AWAY AND PULLS HIS GUN OUT OF HIS HOLSTER AND POINTS IT IN HER FACE.  MARIE IS FROZEN AND DOESN'T EVEN BLINK.  A CROWD STARTS TO FORM.
                                       
STREET VENDOR #1
(YELLING)
SHE'S A CHILD!
                                       
OTHER STREET PATRONS ARE JOINING IN WAVING THEIR HANDS IN THE AIR TRYING TO DEVERT THE ATTENTION.
                                       
STREET VENDOR #2
(YELLING)
LEAVE HER ALONE!
                                       
THE NAZI KEEPS HIS FACE LOCKED AND PUTS THE GUN AWAY WITH OUT LOOKING AWAY FROM HER.  MARIE STANDS THERE STILL FROZEN.  THE CROWD GETS LOUDER AND THE NAZI BACKS AWAY.  MARIE DROPS ANOTHER CHESTNUT AND BENDS DOWN TO PICK IT UP SILL LOOKING UP AT THE NAZI.  SHE LOSES HER BALANCE AND FALLS OVER AND NEVER LOOKS AWAY FROM THE SOLDIER.  SHE SLOWLY RISES TO HER LITTLE FEET AND THE SOLDIER EXITS THE YARD SLAMMING THE FENCE DOOR.
                                       
NAZI
BACK TO YOUR BUSINESS I SAY!
                                       
THE CROWD DIES DOWN AND MARIE RECOVERS FROM HER SHOCK AND WALKS OUT OF THE YARD VISIBLY SHAKEN.  HER WALK MORPHS INTO A RUN.
                                       
INT. KITCHEN TABLE — EVENING
                                       
THE FAMILY EAT TOGETHER A SMALL PORTIONED MEAL. THERE IS ONE SINGLE CANDLE LIT ON THEIR SMALL RECTAGULAR TABLE. THE KITCHEN IS CRAMPED BUT NEATLY KEPT.  IDA IS TELL HER PARENTS ABOUT HER DAY AT SCHOOL.
                                       
IDA
(CONTINUING A CONVERSATION)
AND ALL OF MY FRIENDS LAUGHED, AND EVEN THE TEACHER LAUGHED!
                                       
MOTHER
THAT'S A VERY FUNNY STORY, IDA.
                                       
IDA SMILE'S AND EATS HER FOOD.
                                       
MOTHER
MARIE, HOW WAS YOUR SCHOOL DAY?
                                       
MARIE
I WAS YELLED AT TODAY.
                                       
FATHER
OH YEA? BY WHO?  WHO YELLED AT YOU?
                                       
MARIE
A MAN.  HE HAD A GUN.
                                       
THE ROOM IS QUIET BEYOND THE SOUND OF CLINKING CHINA AS THE FAMILY DROPS THEIR UTENSILS ON TO THEIR PLATES.  THE ENTIRE FAMILY LOOKS AT MARIE IN CONCERN.
                                       
MOTHER
MARIE! WHAT ARE YOU TALKING ABOUT?
                                       
FATHER
MARIE, DON'T LIE TO YOUR MOTHER LIKE THAT.  THAT'S NOT VERY NICE.
                                       
MARIE
IT'S TRUE!  I WAS PICKING CHESTNUTS!  HE FOLLOWED ME AND POINTED A GUN AT ME.
                                       
MOTHER
WHAT ELSE, MARIE, WAS THERE ANYTHING ELSE?
                                       
MARIE
HE CALLED ME SOMETHING.  HE CALLED ME A JEW.
                                       
THE ROOM IS DEAD QUIET.
                                       
FATHER
MARIE, WHAT DID THIS MAN LOOK LIKE?
                                       
MARIE
HE HAD A HAT, NOT LIKE PAPA'S.  HE HAD BOOTS AND HE HAD A RED CLOTH ON HIS ARM.
                                       
THE FATHER GETS UP AND EXITS THE ROOM.
                                       
MARIE
WHERE DID PAPA GO?
                                       
MOTHER
MARIE, LISTEN TO ME.  WHEN YOU GO TO SCHOOL TOMORROW YOU COME STRAIGHT HOME.  DO YOU UNDERSTAND ME?
                                       
MARIE NODS IN AGREEMENT.  IDA GETS UP FROM THE TABLE TAKING HER PLATE AND HER SISTERS.
                                       
IDA
C'MON, MARIE.  LET'S GET READY FOR BED.
                                       
IDA TAKES MARIE OUT OF THE ROOM HOLDING HER HAND.  THE MOTHER STAYS IN HER CHAIR UNMOVED AND LOOKS AT THE CANDLE.
                                       
INT. MARIE'S BEDROOM — NIGHTNIGHT
                                       
MARIE'S EYES ARE RESTED.  THE ONLY SOUNDS ARE COMING FROM THE WINDOW CURTAIN RUFFLING AGAINST ITSELF.
                                       
DROPPINGS OF PLASTER ARE FALLING ON MARIE'S FACE. (NOISE)
BOOM! MARIE IS STILL SLEEPING. (NOISE)
BOOM! BOOM! MARIE WAKES UP. HER EYES ARE WIDENED. SHE SLOWLY SITS UP IN HER BED AND ROLLS OVER TO SEE IDA, WHO ALSO WAS AWAKENED BY THE NOSE. IDA IS ALERT AND QUICKLY SITS UP IN HER BED. MARIE COVERS HER EARS WITH HER HANDS AND CLOSES HER EYES TIGHTLY. THE NOISE DOESN'T CEASE. IDA IS FRIGHTENED AND CRAWLS INTO BED WITH MARIE. SHE PULLS THE BLANKET OVER HER HEAD. MARIE TRIES TO COMFORT IDA, WHICH SHE REFUSES. THE NOISES ARE MORE FREQUENT AND LOUDER. IDA QUICKLY PULLS THE COVERS OFF OF HER FACE AND LOOKS AT THE CEILING. SHE WATCHES THE NOISE MOVE FROM THE KITCHEN AND GETS OUT OF BED AND FOLLOWS IT TO THE BEDROOM WINDOW. IDA IS HORRIFIED BY WHAT SHE SEES. THERE ARE SHADOWS RUNNING ACROSS HER FACE WHILE THE MOON LIGHT REVEALS THE SHAPES OF THE OBJECTS. IDA COVERS HER MOUTH AND FIGHTS HER EMOTIONS AS SHE SEES SOMETHING PARTICUALAR FALL OUT OF THE WINDOW. IDA WAITS AT THE WINDOW WATCHING RANDOM OBJECTS FALL FROM THE APARTMENT ABOVE. SHE WALKS BACKWARDS TO MARIE'S BED AND SITS UP BRINGING THE COVERS TO HER NECK LEAVING ONLY HER HEAD AND HER FINGER TIPS EXPOSED.
                                       
EXT. FULL MOON LIGHT — STOCK FOOTAGE
                                       
INT. MARIE'S BEDROOM — NIGHTNIGHT
                                       
MARIES FACE REVEALS THAT HER BED IS SHAKING.  MARIE WAKES UP.  SEH SITS UP AND TURNS AROUND AND LOOKS AT IDA.
                                       
MARIE
IDA?  WHAT'S THE MATTER?
                                       
IDA
MY STOMACH HURTS, I CAN'T GO BACK TO SLEEP.
                                       
MARIE
DO YOU WANT ME TO GET YOU A GLASS OF WATER?
                                       
IDA
I'LL  BE OK, GO BACK TO SLEEP.
                                       
MARIE ROLLS OVER AND HER EYES REMAIN OPEN.  THE BED CONTINUES ITS SHAKING AND MARIES EYES FINALLY CLOSE.  IDA'S EYES REMAIN OPEN.
                                       
INT. MARIE'S BEDROOM — MORNING
                                       
THE GIRLS ARE LAYING IN BED.  MARIE'S EYES OPEN AND SHE CRAWLS OUT OF BED.  MARIE TURNS AROUND TO IDA WHO IS WIDE AWAKE SITTING UPRIGHT.  MARIE LOOKS AT HER CURIOUSLY.
                                       
MARIE
IDA?  WHATS THE MATTER?  ARE YOU FEELING BETTER?
                                       
IDA HAS NO CHANGE IN EXPRESSION.  MARIE TOUCHES HER HAND.
                                       
MARIE
IDA?
                                       
MARIE RELEASES HER HAND AND RUNS OUT OF THE ROOM.  IDA SITS IN THE SAME POSITION.  A FEW SECONDS LATER MARIE COMES IN WITH MOTHERS HAND IN HERS.
                                       
MOTHER
IDA?  WHAT'S THE MATTER?
                                       
MARIE WALKS ON THE OTHER SIDE OF THE BED AND CRAWLS INTO BED WITH IDA.  MOTHER SITS ON THE BED AND PUTS HER HAND ON IDA'S HEAD.
                                       
MOTHER
YOU FEEL FINE, WHAT'S THE MATTER?
                                       
IDA
MY STOMACH HURTS.
                                       
MARIE EXAMINES IDA AND CRAWLS UNDER THE COVERS WITH HER.
                                       
MARIE
MY STOMACH HURTS, TOO, MOMMA.
                                       
MOTHER TAKES A DEEP BREATH AND SITS UP.
                                       
MOTHER
YOU TWO CAN STAY HOME TODAY.
                                       
MOTHER EXITS THE ROOM.
                                       
IDA
MARIE, YOU'RE STOMACH DOESN'T HURT, WHAT'S THE MATTER?
                                       
MARIE
I KNOW YOU DON'T FEEL GOOD.  I WANT TO BE HERE WITH YOU TODAY.  ARE YOU MAD?
                                       
IDA LOOKS AT MARIE AND SQUEEZES HER TIGHTLY.
                                       
IDA
DO YOU KNOW WHAT WOULD MAKE ME FEEL BETTER?
                                       
MARIE
WHAT!
                                       
IDA
IF YOU COLORED A PRETTY PICTURE FOR ME.
                                       
MARIE'S EYES LIGHT UP.  SHE JUMPS OUT OF BED AND RUSHES OUT OF THE ROOM.  IDA SMILES.  MARIE RUNS BACK IN.
                                       
MARIE
WHAT DO YOU WANT A PICTURE OF?
                                       
IDA
HMM.. HOW ABOUT A PICTURE OF A CASTLE AND YOU ARE THE PRINCESS!
                                       
MARIE
OK!
                                       
MARIE RUSHES OUT OF THE ROOM.  IDA LAYS BACK DOWN AND COVERS HER FACE WITH THE BLANKETS.
                                       
INT. FAMILY ROOM — DAY
                                       
MARIE SPREADS OUT ON HER LIVING ROOM FLOOR. SHE'S COLORING PICTURES OF RAINBOWS AND OTHER VARIOUS COLORFUL IMAGES. MARIE LOOKS UP AT THE CLOCK WHICH READS A LITTLE AFTER THREE O'CLOCK. HER FACE LITES UP. SHE QUICKLY PUTS HER COLORS AWAY ON THE TOP SHELF IN THE FAMILY ROOM AND DASHES TOWARDS THE SOFA KNELLING ON THE CUSHIONS. SHE USES HER HANDS TO PUSH AWAY THE CURTIANS BACK AND RESTS HER HEAD ON THE WINDOW SILL. THE CURTIANS FALL BACK AND ENCLOSE HER INTO THE WORLD OF THE WINDOW. SHE EAGERLY WATCHES FOR HER CLASSMATES TO COME HOME.
                                       
EXT. OUTSIDE APARTMENT BUILDING — DAY
                                       
AN EMPTY STREET WITH A COUPLE OF CARS PASSING BY.
                                       
INT. FAMILY ROOM — DAY
                                       
SHE WAITS AND WAITS, AND HER FACE SADDENS AS IT BEGINS TO GET DARK. MARIE LOOKS AT THE CLOCK WHICH READS FIVE THIRTY. SHE SLOWLY GRABS HER CRAYONS FROM THE SHELF AND BEGINS TO COLOR ANOTHER PICTURE. SHE SITS ALONE ON THE FLOOR UNCERTAIN OF WHAT TO DRAW NEXT.
                                       
INT. FAMILY ROOM — EVENING
                                       
MARIE COLORS ON THE FLOOR.  IDA LOOKS OUT THE CORNERS OF THE WINDOW AT THE STREETS.  FATHER IS LISTENING TO THE RADIO WHILE MOTHER IS SEWING AND OCCASIONALLY ATTENDING TO THE BABY.
                                       
IDA
ANY DAY NOW.  ANY DAY.  (PAUSES)
  OUR DAYS ARE NUMBERED HERE, WE WON'T LAST THAT LONG.
                                       
MOTHER LOOKS UP FROM HER SEWING DISSAPOINTLY AT IDA.
                                       
MOTHER
IDA!  STOP TALKING SUCH NONSENSE!  WHEN YOUR FATHER IS READY, WE WILL DO WHAT WE HAVE TO.
                                       
NOISES ARE HEARD ABOVE.  IDA SLOWLY LOOKS UP AND SHE BEGINS TO TREMBLE.  MARIE CONTINUES HER COLORING UNTIL HER CRAYONS BEGIN TO ROLL AWAY.  THE FATHER COVERS HIS FACE WITH HIS HANDS AND MOTHER GETS UP FROM HER SEAT.
                                       
MOTHER
I'LL GET DINNER FINISHED.
                                       
MOTHER EXITS THE ROOM.
                                       
INT. KITCHEN TABLE — NIGHT
                                       
IDA ENTERS THE KITCHEN IN TERROR. THE MOTHER AND FATHER ARE SITTING AT THE TABLE AND JUMP UP IMMEDIATELY AS SHE IS EXPLAINING TO HER FATHER WHAT HAPPENED.  MARIE EAVESDROPS IN THE HALL. MARIE SNEAKS IN SLOWLY, UNAWARE OF WHAT IS GOING ON BUT STILL LISTENING TO EVERY WORD.
                                       
IDA
(YELLING AT HER FATHER)
WE CAN'T STAY HERE! WHY WON'T YOU TAKE US OUT OF HERE?
                                       
IDA BEGINS TO CRY AND HER MOTHER GRABS AND HOLDS HER.  THE MOTHER STROKES IDA'S HAIR AND LOOKS UP ANGRILY AT THE FATHER.  THE FATHER TAKES A DEEP BREATH AND LOOKS AT THE FLOOR.
                                       
FATHER
IF WE LEAVE- (TAKES A DEEP BREATH)
WE WILL NOT MAKE IT FAR.
                                       
MOTHER
YOU DO NOT KNOW THIS! WE DON'T HAVE ANY CHOICE RIGHT NOW -(TAKES A BREATH)
WE NEED TO GET OUT OF THIS GRAVEYARD. HOW MUCH LONGER? HOW MUCH LONGER UNTIL OUR DOOR IS KICKED IN AND WE SEE LITTLE MARIE THROWN OUT OF THE WINDOW-
                                       
MARIE'S EYES WIDEN AS HER NAME IS MENTIONED.  SHE TAKES A FEW STEPS BACK BUT NEVER TAKES HER EYES OFF OF HER FAMILY AND THEIR CONVERSATION.
                                       
FATHER
DON'T YOU THINK I KNOW THIS?  I AM NOT GOING TO LET OUR FAMILY GO THROUGH WHAT I WENT THROUGH- IT'S CERTAIN DEATH.  I WILL FIND A WAY OUT OF THIS.
                                       
THE CONVERSATION IS PUT ON HOLD AS THE STOMPS OF THE SOLDIERS ARE HEARD SHAKING THE APARTMENT.  MARIE HEARS THIS AND RUNS TO HER OUT OF THE ROOM.  THE PARENTS AND IDA ARE AWARE THAT MARIE WAS LISTENING THE ENTIRE TIME.
                                       
INT. PARENTS ROOM — NIGHT
                                       
MARIE ENTERS THE BED ROOM FACE PACED.  SHE SLOWS DOWN AND CREEPS TOWARDS MARCEL, HER BROTHER SLEEPING.  MARIE CARESSES HIS FACE.
                                       
MARIE
(WHISPERS)
IT'S OK, IT'S OK.
                                       
MARIE LOOKS AT THE CEILING AS THE FOOT STEPS ARE LOUDER FOLLOWED BY A COUPLE OF SCREAMS.  HER EYES ARE WIDE AND SHE CONTINUES TO CARESS MARCEL'S SLEEPING FACE.
                                       
INT. BEDROOM — NIGHT
                                       
MARIES EYES OPEN TO HER FATHER WAKING UP IDA. SHE CANT HEAR THE CONVERSATION BUT KNOWS IT SOMETHING SERIOUS. IDA JUMPS UP IMMEDATELY AND STARTS PACKING. FATHER QUICKLY EXITS THE ROOM.
                                       
IDA
(WHISPER)
MARIE. (SLIGHTLY LOUDER)
MARIE?
                                       
MARIE
I'M UP, IDA. WHERE ARE WE GOING?
                                       
IDA
WE...ARE GOING ON AN ADVENTURE!  WOULDN'T THAT BE FUN?  NOW, WE MUST PACK EVERYTHING WE CAN FIT INTO A SMALL BAG AND WE WILL BEGIN OUR LONG JOURNEY!
                                       
MARIE IS EXCITED.  ADVENTURE IS CLEARLY HER ELEMENT AND IS TOO EXCITED TO PACK.  SHE STARTS TO PACK HORRIBLY, PACKING THE LAMP, PACKING THE PICTURES ON THE WALL.
                                       
IDA
OH MARIE! WHY DON'T YOU GET YOUR COLORS SO YOU CAN COLOR ON THE WAY!
                                       
MARIE
(EXCITED)
OK!
                                       
LITTLE MARIE RUNS OUT OF THE ROOM AND IDA GRABS QUICKLY UNPACKS THE UNUSUALS AND REFILLS THE BAG WITH MARIE'S CLOTHES.
                                       
THE CLOCK REVEALS THAT IT IS THREE FIFTY AM.
                                       
EXT. COMPLEX — NIGHT
                                       
MOM CARRIES  MARCEL WHO IS WRAPPED IN A COUPLE OF HOMEMADE BLANKETS OUT OF THE BUILDING.  IDA COMES OUT OF THE BUILDING HOLDING MARIE'S HAND AND A SUITCASE IN THE OTHER HAND.  MARIE IS CARRYING HER LITTLE SUITCASE AND HER FAVORITE DOLL HAS IT'S HEAD STICKING OUT.  THE FATHER MAKES HIS WAY OUTSIDE.  THEY BEGIN TO WAIT.
                                       
EXT. COMPLEX — EARLY MORNING
                                       
THE FAMILY CUDDLE ALONG THE ALLEY TO KEEP EACHOTHER WARM.  MARIE IS ASLEEP IN IDA'S LAP.  MOTHER IS SLEEPING CRADLING MARCEL.  FATHER IS TALKING TO IDA WHILE A CAR PULLS UP SLOWLY.  FATHER PUTS HIS HAND DOWN ON IDA.
                                       
FATHER
STAY HERE, I'LL BE RIGHT BACK.
                                       
FATHER WALKS UP TO THE CAR AND HAS A CONVERSATION THAT LASTS AWHILE.  IDA WATCHES FROM A DISTANCE.  FATHER COMES BACK TO THE FAMILY AND BEGINS RUMMAGING THROUGH A SUITCASE.
                                       
IDA
FATHER, WHAT ARE YOU LOOKING FOR? CAN I HELP?
                                       
MARIE BEGINS TO WAKE UP WHILE FATHER KEEPS LOOKING IN THE SUITCASES.
                                       
FATHER
JUST- TAKE CARE OF MARIE, PLEASE, IDA?  I HAVE TO TAKE CARE OF SOME BUSINESS.
                                       
IDA WATCHES HER FATHER PULL OUT A JEWELRY BOX.  SHE WATCHES HIM TAKE OUT SOME RINGS AND SHE GROWS ANGRY.
                                       
IDA
(WHISPERS)
FATHER! THAT'S MOTHER'S RING!
                                       
FATHER PUTS THE JEWELRY BOX BACK IN THE SUITCASE AND WALKS OVER TO THE CAR. HE HAS A CONVERSATION FOR AWHILE AS IDA WATCHES FROM THE CUDDLED FAMILY.  FATHER SPRINTS BACK TO THE FAMILY AND GRABS ALL OF THE BAGS.  THE TRUNK OF THE CAR OPENS AND FATHER LOADS THE BAGS INSIDE.
                                       
FATHER
IDA, WILL YOU WAKE YOUR FAMILY UP AND TELL THEM TO GET IN?  HURRY, NOW.  WE DON'T HAVE MUCH TIME.
                                       
IDA
(WHISPERS)
MOTHER, IT'S TIME TO GO, WAKE UP!  MARIE, IT'S TIME TO WAKE UP!  TIME FOR OUR ADVENTURE!
                                       
THE FAMILY PROCEEDS TO GET UP.  MARIE SITS UP AND HOLDS IDA'S HAND.  A CHESTNUT FALLS OUT OF HER POCKET AND SHE BENDS OVER TO PICK IT UP.  MOTHER GETS IN THE CAR FIRST WITH MARCEL.  IDA LEADS MARIE INSIDE FOLLOWING HERSELF.  THE FATHER CLOSES THE TRUNK OF THE CAR AND SITS IN THE FRONT SEAT AND CLOSES THE DOOR.  THE CAR DRIVES AWAY.
                                       
EXT. COUNTRY SIDE — NIGHT
                                       
THE CAR DRIVES AWAY ALONG THE STREETS.
                                       
INT. CAR — NIGHT
                                       
THE FAMILY ARE IN THE  BACK SEAT BUNDLED UP.  MARIE IS WIDE-EYED LOOKING AT THE TREES WHEN THEY LIGHT UP BY PASSING CARS.  MARCEL IS SLEEPING IN MOTHER'S ARMS.  FATHER IS IN FRONT MAKING SMALL TALK WITH THE DRIVER.  IDA LISTENS IN ON THEIR CONVERSATION.
                                       
IDA
SO WHERE ARE WE HEADED, FATHER?
                                       
FATHER
I DON'T KNOW, IDA.  WE CAN ONLY GO WHERE THEY ARENT.
                                       
THEY CAR PASSES A SIGN THAT SAYS "PARIS 5KM".  IDA WATCHES IT PASS.  THERE IS A MUDDY HAND PRINT ON THE SIGN COVERING UP THE "P".
                                       
IDA
FATHER, WHAT DOES THAT HAND PRINT MEAN?
                                       
DRIVER
WE CAN'T GO THAT WAY.  SOLDIERS ARE EVERYWHERE.
                                       
IDA SITS BACK IN THE SEAT.
                                       
EXT. COUNTRY ROAD — NIGHT
                                       
THE CAR TRAVELS DOWN THE ROAD UP AND DOWN HILLS FOLLOWING THE SIGNS.  IN THE DISTANCE, A SHINY OBJECT IS SEEN AND MARIE WAKES UP.
                                       
MARIE
IDA, WHAT IS THAT?  IN THE ROAD?  IDA?
                                       
IDA ADJUSTS HERSELF SO THAT SHE CAN SEE OUT THE WINDOW.
                                       
IDA
ITS A MAN.  (PAUSES)
  ITS A MAN,  ITS A SOLDIER!  FATHER, ITS A SOLDIER!
                                       
FATHER
SETTLE DOWN, IDA, WE WILL TAKE CARE OF THIS.
                                       
IDA CUDDLES UP WITH HER MOTHER AND GRABS MARIE AWAY FROM THE WINDOW.  MARCEL BEGINS TO CRY AND MOTHER ATTENDS TO HIM.
                                       
EXT. ROADBLOCK — NIGHT
                                       
IN THE DISTANCE THE CAR APPROACHES.  A MAN IS IN THE STREET TIEING HIS SHOE.  HE RISES AS HE SLOWLY WALKS BACK TO HIS BOOTH RUNNING HIS HAND ALONG THE LOWERED YELLOW BAR.
                                       
RB SOLDIER
(YELLS TO SLEEPING PARTNER)
A CAR IS APPROACHING!
                                       
THE RB SOLDIER PEERS INTO THE BOOTH AND SEES HIS PARTNER SLEEPING WITH HIS HAT COVERING HIS HEAD.
                                       
RB SOLDIER
DID YOU HEAR ME!
                                       
SLEEPING SOLDIER
TAKE CARE OF IT, IM ON BREAK.
                                       
THE SOLDIER WAVES OF HIS SLEEPING PARTNER AND ADJUSTS HIS UNIFORM AS THE CAR COMES TO ITS STOP.  THE SOLDIER STRUTS UP TO THE CAR, TAKES A LAP AROUND AND KNOCKS ON THE DRIVERS WINDOW.
                                       
INT. INSIDE THE CAR — NIGHT
                                       
THE FAMILY HOLDS EACH OTHER WHILE THEY TRY NOT TO SHAKE.
                                       
FATHER
LISTEN TO ME, YOU ALL NEED TO PRETEND TO SLEEP.  IDA, KEEP MARIE COVERED, ALL BUT HER FACE.
                                       
DRIVER
GIVE ME SOMETHING OF VALUE.
                                       
FATHER
I ONLY HAVE THESE RINGS.  IT IS ALL WE HAVE.
                                       
THE  DRIVER SNATCHES THE RINGS FROM FATHERS HANDS AND PLACES THEM IN HIS POCKET.
                                       
DRIVER
QUIET, ALL OF YOU.
                                       
THE KNOCKING ON THE WINDOW MAKES EVERYONE JUMP.
                                       
EXT. ROADBLOCK — NIGHT
                                       
THE REFLECTION ON THE CAR WINDOW SHOWS A YAWNING SOLDIER WHO IS YOUNG AND TIRED.  HE KNOCKS ONCE AGAIN.
                                       
RB OFFICER
OPEN.
                                       
THE WINDOW IS LOWERED AND  THE DRIVER HOLDS HIS HAND OUT WITH HIS FIST HIDING THE RINGS.
                                       
RB SOLDIER
WHERE ARE YOU GOING?
                                       
THE RB SOLDIER TAKES A LOOK INSIDE.  HE LOOKS AT THE SLEEPING FAMILY IN THE BACK.  MARIE IS WIDE AWAKE AND TRIES TO COVER HER FACE WITH  THE BLANKET.  THE SOLDIER REACHES HIS HAND IN THE BACK AND REMOVES A PORTION TO EXPOSE HER FACE.  THE SOLDIER AT IDA WHO IS VISIBLY SHAKEN.  HE TURNS TO MOTHER WHO IS HOLDING MARVEL WHO LOOK PEACEFUL.  THE SOLDIER TURNS HIS ATTENTION TO FATHER WHO HAS A SADDENED LOOK ON HIS FACE.  THE SOLDIER TURNS TO THE DRIVER WHO HAS HIS HAND OPEN WITH 3 GOLD RINGS IN HIS OPEN HAND.
                                       
RB SOLDIER
WHAT IS THIS?
                                       
DRIVER
I AM JUST THE DRIVER.  I AM TAKING THEM TO STAY WITH FAMILY, THEY DON'T HAVE ANYTHING.  THEY HAVE NOTHING.  THIS IS WHAT THEY HAVE.
                                       
THE SOLDIER TAKES THE RINGS. HE HOLDS THEM UP TO HIS LIGHT. HE LOOKS BACK AT THE BOOTH AND SEES NO MOVEMENT. HE LOOKS AT THE DRIVER WHO IS MASKING A LOOK OF PANIC. THE SOLDIER GETS UP CLOSE TO THE DRIVER. HE TURNS HIS HEAD TOWARDS MARIE AND TOUCHES HER HANDS.
                                       
RB SOLDIER
COVER HER UP, IT'S COLD TONIGHT. (STEPS BACK)
GET OUT OF HERE.
                                       
THE WINDOW ROLLS UP.
                                       
INT. THE CAR — NIGHT
                                       
EVERYONE HAS A SIGH OF RELIEF.  THEY DRIVER PULLS AWAY.
                                       
DRIVER
YOU WON'T BE THAT LUCK AGAIN.  WE GOT REALLY LUCKY.
                                       
MARIE OPENS HER HAND AND SEES THE REFLECTION OF PASSING CARS REVEAL THE RINGS.  SHE LOOKS AT HER FATHER AND TAPS HIM ON THE SOLDIER.
                                       
MARIE
PAPA. HERE.
                                       
HE TAKES THE RINGS AS DISCREET AS HE CAN WITHOUT SHOWING THE DRIVER.  MARIE SITS BACK IN HER SEAT AND LOOKS OUT THE WINDOW.