Wendigo Page #4

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
249 Views


Okay, okay. | What happened?

Okay.

How do you feel | about that?

Right.

You were intimidated, but...

What did you tell him?

Sorry, Andy,

but that's good.

It's right, because | you don't have the money.

So-- wait a minute, Andy, | I think they have call waiting here.

Hello?

Hey, Richard, | thanks for getting back to us.

Listen--

Oh, yeah? | You getting a tan down there?

Listen, we called because--

Sh*t.

I'm sorry, | can you wait a minute?

I have someone | on the other line.

Hold on.

Andy? Hi. | I have to take this.

But listen-- you did well.

You asserted yourself. | Try to experience that on your own.

After you've thought about it, | we'll talk on Wednesday.

Okay? It's important to keep | some boundaries between us.

You're trying to get | to be more independent, right?

Andy?

Okay, bye bye.

Richard. | Richard, are you there?

Hello? | Hel--

Sh*t.

''Whose woods these are | I think I know.

His house is in | the village though;

He will not see me | stopping here

To watch his woods | fill up with snow...

The woods are lovely, | dark and deep.

But I have promises | to keep,

And miles to go | before I sleep,

And miles to go | before I sleep.''

- Miles! | - That's right.

The poet's name | was Robert Frost.

He was writing | about the cold.

- What do you think about that? | - Oh, Dad.

Now Frost could take a simple image | and make it seem deep.

That's his rap.

Hey, what's the matter?

- Dad? | - Yeah?

- What's a Wendigo? | - A Wendigo?

I don't know. I never heard of that. | What's a Wendigo?

I don't know.

Where'd you hear | about it?

- This man. | - What man?

- In the thrift store. | - In town?

He told me the Wendigo | is this man

who's part animal, | always hungry,

and he eats people.

The Wendigo only goes | after bad guys, Miles.

You're safe. | You're a good kid.

- Hey, Miles? | - Yeah?

A lot of people | make up stories

to make sense | of the world.

It's a big world | after all,

and nobody really understands | how it all works.

Maybe for that guy | it's comforting to think

that the Wendigo is responsible

for all the bad stuff | out there.

That's okay. | That's what myths are.

They help us | talk about stuff.

Like Mr. Freeze | and Dr. Evil.

Dr. Evil.

There are good myths guys too, | like Superman and Yoda.

- Hmm. | - It's important to know

that they're just myths, | just stories.

You'll end up being | very disappointed

when things don't come true | that you're wishing.

Like when you didn't get | your big show in Soho?

Soho? | You little monster.

You are a dead man.

Oh, Dad.

You-- | I've had enough of you.

You little-- | you're a dead man.

- No! | - You're a dead man.

Truce! Truce.

Truce!

Truce? | Truce?

Yeah.

- Okay. | - Dad.

Come here, buddy.

Hey. | Come on, let's sit.

It's good you feel bad about | that deer we hit, you know?

But things like that happen.

And you have to go through | a period of mourning.

Like where you're sad, | and then you put it behind you.$(where czy when)

You get it?

Where even | the worst thing

can be seen | in another way.

'Cause you got to be flexible | to make it in this old world.

Hmmm.

You sure you're not just stalling | 'cause that hill looks steep?

No way!

Okay, buddy, | let's get that ride

so we can go home | and bother your mother.

Yeah!

Come on, buddy!

Dad?

Dad?

Dad?

Dad?

Miles?

Miles?

Can you hear me?

Miles?

Miles?

Are you okay?

Can you hear me?

Can you get up, | sweetie?

Here. | Careful, careful.

Honey, | you hit your head.

You're okay. | You're okay?

Huh? | Where's your father?

Where? Huh?

Where?

I don't understand, | Miles.

What happened?

- Daddy fell off the sled. | - How did he fall off the sled?

I don't know.

Hold my hand tight.

- Oh my God. | - He was here, mom.

He was here. | He wouldn't move.

Oh, God.

It's okay. | It's okay.

It's okay.

Come on. | Come on.

Come on.

Oh, God.

Hold on.

Oh, my God.

Miles...

did you hear anything when dad | fell off the sled?

- I don't remember. | - It's okay, sweetie.

Come on, | hold my hand tight.

Come on-- wait, wait.

We've got a whole deer | to cut up!

Where are you going?

- Hey! | - Oh.

Can I help you | with something?

I'm-- I'm trying | to find my husband.

Husband?!

- There's been an accident. | - What kind of accident?

- Have you seen my husband? | - What's he look like?

What was the name | of the guy who left?

He pulled out in his truck | just before I got here?

Otis?

Brandon, put those | on the bench.

It was you that was out | in the road last night, right?

You're staying at | the Stooky place this weekend?

Anyway, I'm sorry. | I saw a light on,

I-I needed to check.

- Come on, Miles. | - Just a minute.

Did you have some kind of accident?

- You want a tow or something? | - What happened?

No, I-I'm--

I'm sorry, | I-I was wrong. I--

I-I'm sorry. | I have to run.

Come on, sweetie, come on. | Hold on.

- Jesus Christ. | - Just let her go.

- Dad, where do you want these? | - Put them in the freezer.

- Spooky, man. | - Yeah.

- What was that about? | - They're just excitable city people.

Hey, man, what'd you do | with the beer?

We drank | all the last stuff I bought.

- What do you want to do with these? | - Put them in the freezer.

Unless you want | to eat them tonight.

Okay, Miles,

sweetie, you're gonna | have to walk.

Daddy's probably | gone home.

George!

George!

Oh, my God!

Miles, | he did go home!

Come on. George!

George!

- George! | - Dad!

George. | Oh, my God.

Kim-- Kim.

What--

Oh, my God! | Miles, get a blanket.

Daddy's going to be all right. | We just want to keep him warm.

And a scotch-- | Aargh!

- What happened? | - This is bad.

Who would believe it-- | I'd swear I've been shot.

Those f***ing guys!

- They shot me! | - Can we get you inside?

No, baby, no, no, no. | We've got to get to Danbury.

There's a hospital there. | We-- just get in the car.

- I'll call an ambulance. | - No, baby, no, no, no.

I got to know | we're on our way.

George, are you sure? | I don't know.

Let's do it! | Let's do it, Kimmy!

Oh God, oh!

Kim!

Miles!

Miles, help me!

Okay, push me, | push my back.

- Let me do it, let me do it! | - Can you get up?

- Let me do it! | - Okay. Okay.

Oh God, George... | Oh God.

Hand me the blanket, | sweetie.

Okay... Let's go, | let's go.

Hey, you okay?

- You okay, Miles? | - Yeah, Dad.

Yeah, you see me | fall off that sled?

- Yeah. | - How about that, huh?

I ran into a tree | looking for you.

Aww, good for you. | Atta boy.

Shh, shh, | stop talking.

Get the door.

It can fly at you | like a sudden storm,

without warning, | from nowhere...

and devour you--

consume you with | his ferocious appetite.

The Wendigo is hungry, | always hungry.

Its hunger | is never satisfied.

Do you want this?

I don't believe it.

Miles, seatbelt.

I fell back off the sled.

I didn't know what had happened | for the longest time.

I couldn't even feel the pain.

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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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