Wendigo Page #2

Synopsis: George is a high-strung professional photographer who is starting to unravel from the stress of his work with a Manhattan advertising agency. Needing some time away from the city, Jake, his wife Kim, and their son Miles head to upstate New York to take in the winter sights, though the drive up is hardly relaxing for any of them. George accidentally hits and severely injures a deer that ran onto the icy road; after George stops to inspect the damage, he's confronted by an angry local named Otis who flies into a rage, telling George that he and his fellow hunters had been tracking the deer for some time. An argument breaks out, which leaves George feeling deeply shaken. When George and Kim arrive at their cabin, they discover that it's next door to Otis' property, and they soon find that a dark and intimidating presence seems to have taken over the cottage. Since, when they stopped at a store en route to the cabin, a shopkeeper told Miles about the legend of the Wendigo, a beast from Ind
Director(s): Larry Fessenden
Production: Magnolia Pictures
  3 wins & 6 nominations.
 
IMDB:
5.0
Metacritic:
63
Rotten Tomatoes:
58%
R
Year:
2001
91 min
Website
240 Views


Nothing you've heard of. | Let's build a fire.

Cool!

Richard said there'd be some wood | in the shed out back.

Miles,

- let's go get us some wood. | - Yeah!

Come on, bud.

Okay, help me | find some kindling.

Do you know how | to use an ax?

- Huh? | - Mm-hmm.

Okay, first you've got | to get it balanced.

Get it right there | in the hole.

Holy moly!

Careful, Miles!

I-yi-yi.

They let me use this road | to pass through.

Dad?

- Is that him? | - Shh, shh.

He didn't get to keep the deer.

Go to your mom.

So he just drove across?

Just drove right by.

I don't understand why Richard | would let anyone

drive across the property.

Maybe Richard, | or maybe Annie,

wanted to seem neighborly | so they let him.

I don't know.

I think Annie and Richard | never come up here.

That's why they're | so generous with their keys.

It was Annie's thing anyway.

I knew Richard's interest | would fade.

He needs to be | in the center of it all.

Who wants to retire | to the country when you're young?

It's called an inner life, | George.

Just 'cause you don't approve | of my inner life

doesn't mean | I don't have one.

Ooh.

Besides, didn't he have | some weird incident up here,

and he just stopped | coming up for a while?

I don't remember that.

Maybe he just | told me about it.

What was it?

Some incident. | I guess I don't remember.

Probably had to do with that guy | driving across the property.

Annie would've told me | about something like that.

How you doing, Miles? | You liking the pasta?

Mmm, it's okay.

What's the matter?

Nothing.

Come on, what is it?

That man knows | where we live.

Miles, don't worry, | sweetie.

I know I got angry | with him

outside the car,

but he was very excited | because he was chasing that deer.

It's really okay to hunt if you're | getting in tune with nature.

Don't feed him | that sack of sh*t, Kim.

- That guy was demented. | - George.

Your father exaggerates, | you know that.

It's nothing | to worry about, Miles.

Your mom can be very fair | and even-headed,

which is cool, right?

Except you don't want | to be a softy, either.

You got to be wary | of people like that guy.

They can be bad news.

No, queen! | King! King, king!

- Okay, okay. | - Jack.

Oh, five!

Five, six, seven, six--

no, no, eight! | Wait, wait, wait.

- Nine, five, five, three... | - Jack, Jack.

- Victory! | - No, no. You!

- Dad cheated! | - I did not.

- We have to let your father win. | - Hey, hey, hey.

Hey, you. | Hey, you.

Okay, Miles, come on.

- To bed. | - To bed, to bed, to bed.

One more game, please?

- No, come on. Up you go. | - To bed, to bed.

What'd you draw?

Oh, nothing.

Okay.

- Okay? | - Okay.

No one there.

No one there? | Okay...

And no one there.

You're safe.

- Mom? | - Yeah?

Do you think that deer | had a little family?

Oh, Miles...

don't think | about that, sweetie.

That's just sad stuff | that happens sometimes.

But you know, in nature

things like that happen, | and all the animals,

they adjust. | There's a balance.

Think about that, okay?

- Dad--! | - Dad!

It's not funny.

Good night, kid.

Night, Dad.

- Leave it open. | - I will, I will.

- Leave the hall light on. | - Shh-- go to sleep.

Can you tell me a little more | about ''sack of sh*t''?

What?

Talking to Miles | like that at dinner?

Oh.

- It was a bit harsh, I guess. | - What's the matter, George?

I don't know, | I can't put my finger on it.

Is it the reshoot? | Are you pissed off you're here?

No, no, babe. | That's not it at all.

Huh-uh. | This is nice.

- What is it? | - I don't know.

Yeah...? | Hmm?

- Those f***ing guys. | - Out on the road?

- Yeah. | - What about them?

I just felt | the abyss between us--

me and that guy | with his shotgun.

That wasn't a shotgun, | but anyway...

And he had a pistol.

Did that threaten | your manhood?

Yeah, I guess it did, | Dr. McLaren.

Well, it's very | archetypical

for the civilized man

to feel threatened | by the man of the country.

That one guy, | he just seemed like--

how do you get through | to someone like that?

- George. | - Aaah.

- George? | - What?

We have ways of restoring | confidence in men with...

With emasculation problems?

Really? | Perhaps you should show me?

Exactly.

- Perhaps you could show me, doctor? | - Yeah.

Oh, yeah.

- This could take a while. | - Ooh, I hope so.

We'd like to start...

with a full checkup.

Hey, you.

Ho, ho, ho.

Wow, is this | to impress your clients?

No, my clients aren't | privy to this information.

Oh, really? 'cause I think | this one would cure them all.

Shhh.

- Is Miles in bed? | - He's fine.

Miles?

Are you there?

Mom?

I'm s cared.

Shh. | It's okay, honey.

Dad and I are right here.

Try to go back to sleep.

Anyway, Stefan's going | to stick to the prenup,

and he's not going | to budge.

He's got a right to be pissed. | She slept with his best friend,

who happens to be | his accountant too.

She's not going to ask for money, | she just wants out.

She's going to take him | for all he's worth.

You're sweet to be naive | on this one, but no.

All right, | maybe you're right.

It's pretty tacky.

If there's any justice, | she'll be hit by a bus.

Doesn't work that way, | George.

Here we go.

Outstanding.

Who wants to go into town | with me after breakfast?

- I do. | - Me, too.

I need curry if I'm | going to make that cass erole.

We must have curry.

Is very very important.

- Must have the curry. | - Dad.

I like the curry.

I cook the meanest curry | this side of Delhi.

Gotcha!

One,

two!

Think that guy | really pees in the reservoir?

Shush, George.

You're going to get Miles | all excited talking about pee pee.

We're going to go in this store, | you want to come?

No, I'm going to go | get the milk and curry.

What'd you say, | olive oil?

Something for Miles | to drink, too.

What should I get him?

Something he'd like, | George.

Okay, okay. | Cool it, baby.

Fruit juice or something.

All right. | I'll pull the car around.

- I'll meet you right here. | - Okay.

You like that?

It's okay, | you can talk to me.

- Mm-hmm. | - Do you know what it is?

Wendigo.

- Wendigo? | - Wendigo.

- What's a Wendigo? | - A Wendigo is a mighty,

powerful spirit.

What's it look like?

It can take on | many forms.

Part wind, part tree,

part man,

part beast.

Shapeshifting between them.

Shapeshifting?

Shapeshifting.

Can it fly?

It can fly at you like | a sudden storm, without warning,

from nowhere...

and de vour you--

consume you with its | ferocious appetite.

Appetite?

The Wendigo is hungry-- | always hungry.

And its hunger | is never satisfied.

The more it eats, | the bigger it gets.

And the bigger it gets,

the hungrier it gets.

And we are hopeless | in the face of it.

We are devoured.

Is the Wendigo bad?

Nothing between | the earth and sky is bad.

But there are spirits

that should be feared.

'Cause why?

Because there are spirits

that are angry.

Angry?

Do you believe me?

I guess.

Go ahead and take it.

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Larry Fessenden

Laurence T. Fessenden (born March 23, 1963) is an American actor, producer, writer, director, film editor, and cinematographer.. He is the founder of the New York based independent production shingle Glass Eye Pix. His writer/director credits include No Telling (written with Beck Underwood, 1991), Habit (1997), Wendigo (2001), and The Last Winter (written with Robert Leaver, 2006), which is in the permanent collection of the Metropolitan Museum Of Modern Art. He has also directed the television feature Beneath (2013), an episode of the NBC TV series Fear Itself (2008) entitled "Skin and Bones", and a segment of the anthology horror-comedy film The ABCs of Death 2 (2014). He is the writer, with Graham Reznick, of the BAFTA Award-winning Sony Playstation video game Until Dawn. He has acted in numerous films including Like Me (2017), In a Valley of Violence (2016), We Are Still Here (2015), Jug Face (2012), and Broken Flowers (2005). more…

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Submitted on August 05, 2018

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