OVER BLACK

Caption: "WEDNESDAY: Day Seven"

FADE IN

EXT. ROAD - LEADING TOWARDS THE DOCKS - EARLY MORNING

Typical looking rainslicked road. In the not-too-far-distance is the docks, a ferry, and further out, the atlantic ocean. ZELDA'S CONVERTIBLE is moving along.

ANDREW (V.O.)
You guys know what you have to do.
Just get it done before 1:15 pm...
that's when you saw the tape, right
Logan?
(beat)
Samara's trying to scare us away,
but we wont let her get to us.

ZELDA (V.O.)
Something tells me you're gonna be
eating those words.

ANDREW (V.O.)
I'm trying to be serious, here.

ZELDA (V.O.)
Sorry.

Beat.

ANDREW (V.O.)
Logan's not the only person we're
trying to save. Samara's suffering,
too. And we have to let her know
that we want to help.

FADE TO

The convertible has now pulled up to the loading docks, and several dozen passengers are getting onto a FERRY. Andrew, Zelda, and Logan lean by the car, looking up at the huge boat. [I know that ferries and boats aren't the same thing]

ZELDA
I'm not gonna lie, here. I'm getting
pretty antsy.

ANDREW
Sexual-antsy or nervous-antsy?

She stares at him.

ANDREW
I... haven't got much sleep.

ZELDA
(tense)
I think I'm gonna chicken out.
I'm gonna chicken out!

ANDREW
No, you're not. Zelda, don't.

ZELDA
I am! Hear the shrill edge of hysteria
in my voice!

ANDREW
Logan, will you talk to her?

LOGAN
I'm really trying to save *my* voice for
all the screaming I'm probably gonna
do before I die.

ANDREW
Guys! Stop with the grim, okay?

He digs out a map and hands it to them.

ANDREW
I put little smiley-faces around the
location we're in and little stars around
the Morgan Ranch.

They both stare at him.

ANDREW
And -- my cell number's on the back.

ZELDA
Thanks.

LOGAN
Yeah.

Zelda and Logan start walking towards the docks. Unable to see them leave, Andrew suddenly calls out --

ANDREW
Guys?

They both turn around simutaneously.

ANDREW
Be careful.

They turn around again and keep walking. Andrew really contain himself--

ANDREW
Guys!

ZELDA/LOGAN
(annoyed)
What?

Andrew runs to them and consumes them both in a crushing bear hug. They're shocked at first, but eventually they wrap their free arms around him too.

Several moments.

LOGAN
(choked)
Okay, Andrew, oxygen's becoming
an issue.

Zelda makes a mufffled sound of agreement.

CUT TO

INT. FERRY - EXT. DECK - LATER

LOGAN stands at the rear of the ferry, looking down at the churning water spewing out below. He looks back up and watches the mainland get smaller and smaller.

ZELDA is standing off to the side, flipping through a sketchbook. She's impressed.

ZELDA
Did you really draw all these?

Logan looks at her, confused, then at his backpack, which has been opened. He ips it back up, slightly annoyed.

LOGAN
Yeah.

ZELDA
They're pretty good.

CLOSE UP: Zelda's looking at an abstract drawing of a gate, surrounded by bloody red images and flying objects.

ZELDA
What's this supposed to be?

LOGAN
It's open to interpetation.

He leans on the railing next to her. She keeps going through the sketchbook.

ZELDA
You never told me you liked to draw.

LOGAN
The subject never really came up
amidst all the... making out.

She smiles a tiny bit.

ZELDA
That's all it really was, huh?

LOGAN
(shrugging)
Neither of us wanted it to be anything
more.

ZELDA
Does that make us slutty?

LOGAN
Slutty and trashy, madame.

Zelda smiles a bit wider this time. Logan tries to match it, but his heart isn't in it. CLOSE UP - the sketch book. Zelda stops at a charcoal sketch of Samara's infamous well and the surrounding forest.

EXT. ROAD - A LITTLE LATER

Surrounded by thick forest, Zelda's convertible moving through the twisting roads.

INT. ZELDA'S CONVERTIBLE - MOVING SHOT - SAME

Andrew drives, his eyes trained onto the road in front of him. Something's really bothering him.

Slowly, but surely, he comes to a stop at the side of the empty road. Andrew turns the radio off, and then the engine. The last vestige of his resolve crumbles down.

Andrew puts his forehead against the driving wheel and begins to cry.