DESPERATION

Screenplay
by
Stephen King

Based on the Novel by

Stephen King

Revisions by
Miqk Garris
I

2nd Revised Fourth Draft

4 August 2004
"Copyright 2004, Touchstone Television Productions, LLC. All
rights reserved. This material is the exclusive property of
Touchstone Television Productions, LLC and is intended solely for ·
~the use of its personnel. Distribution to unauthorized persons or
~eproductions, in whole or in part, without the written consent of
Touchstone Television Productions, LLC is strictly prohibited."

PAS
 ACT ONE

FADE IN:

EXT. THE NEVADA DESERT - DAY 1

A billion miles of HARDPAN, TUMBLEWEEDS, and BUTTES. A few
SWEEPING BIRDS cross the simmering BLUE SKY, but that's all.
A low, steady, humming, thrumming MUSIC scrapes on our
NERVES. This is how the desert SINGS to itself.
The CAMERA PANS DOWN from the tranquil yet unnerving sky and
settles on a ROAD SIGN cluster, rusting and punctured with
BULLET HOLES: on top, the ROUTE 50 BADGE, below it the SPEED
LIMIT: 55.
The CAMERA continues its journey down the post to discover,
in xcu, a DEAD CAT, its glassy GREEN EYES wide open, its
fangy mouth frozen in a hideous snarl. It is splayed out
like a victim of a kitty crucifixion, a passion of the cat;
perhaps, tied to the sign with a piece of ROPE.
The speed limit is 55-- a joke out here in the big nowhere.
,.--......_ The road itself is in the b.g., and suddenly a blue Altima
goes blipping past.

INT. THE ALTIMA - DAY 2

PETER JACKSON, mid-thirties, a working man in good physical

shape, hair just starting to recede, is driving. His wife
Mary, a woman who finds it hard to relax, has craned her neck
to see the gruesome sight they just passed. ·
MARY
Oh, Jesus l ·
PETER
What?
MARY-
Didn't you see that? There was a dead
cat hanging on that sign we just
passed!
PETER
Really? Cooll
And with a GRIN, he hits the BRAKE. She gives him a hearty
WHACK on the SHOULDER to help him get his priorities
straight.

PAS
 2.

MARY
Don't you even think of going back
there.
PETER
What color was it?
MARY
Tiger-stripe. What difference does it
make?
PETER
I thought maybe it was black, you know, **
Satanists out here in the desert. **
Marielle said the Nevada desert was
filled with oddballs, didn't she?
MARY
God, I don't know who could kill a
living creature like that.
PETER
(doing his best Rod
Serling)
You're travelling through another
dimension, a dimension not only of
sight and sound, but of mind •••
MARY
Very funny.
She gives him another little WHACK, but Peter doesn't notice.
He's looking in the REARVIEW, where we can see a bright
TWINKLE of LIGHT. It's a CAR, and coming up FAST.
Mary is looking around at the desert, uneasily.
MARY
I'll be glad when we get to Salt Lake
City, at least. Too much sand out
here. I'm starting to miss
civilization-~ what? What is it?
PETER
A car. Really moving, too.
MARY
(looking back)
Get over. Give him the road. It's a
cop.

PAS
 3.

EXT. HIGHWAY 50 - DAY 3

The Alti.ma PULLS OVER until the right-hand WHEELS are spuming
DUST on the SHOULDER. The COP CAR comes up FAST behind them,
flashers off, but doing at least ninety. It swings around to
PASS.

RESUME INT. ALTIMA WITH PETER AND MARY 4

The POLICE CAR isn't State Police; it's WHITE with some sort
of TOWN DECAL on the side. We can't read it, as it's caked
over with Nevada dust. As it BLASTS past them:
MARY
Why's he going so fast with his
flashers off?
PETER
Who's there to run them for out here?
MARY
Well •.• there's us.
They exchange a GLANCE, then look back through the
WINDSHIELD. Ahead of them, the POLICE CAR'S TAILLIGHTS go on
and it slows way down.
Peter starts to CATCH UP, and SLOWS DOWN himself.
MARY
What's he doing?
PETER
I don't know •••

EXT. HIGHWAY 50 - DAY 5

The COP SWERVES into the westbound lane. No danger there,

since the highway is deserted, and there's at least three
miles of visibility. But it's a bit weird.
The Altima, meanwhile, is getting closer and closer to the
cop. Soon they'll be travelling side-by-side.

RESUME INT. ALTIMA 6

MARY
What does he want?

PAS
 4.

PETER
I'd guess he wants to be behind us
again.
MARY
Why didn't he just pull over and let us
pass, if that's what he wants?
Peter is getting a little nervous and irritated. They are
starting to annoy one another. It's been a long drive.
PETER
I don't know ••.
He SPEEDS UP, closing in on the cruiser at a faster pace. He
PASSES the POLICE CAR on the right.
Peter looks through his window through the police cruiser,
which is dusty and splattered with DRIED MUD. Seen though
all that dirt, the COP is only a VAGUE HULK behind the wheel.
Still, Peter SMILES and RAISES his HAND.
The SHADOW of the COP doesn't return the wave, although he
..-..., appears to be looking back at them, ominously silhouetted.
Once the CRUISER is behind them again, it immediately SWERVES
back into the proper lane-- the eastbound-- and picks up
speed until it's almost tailgating.
Mary looks back.over her seat, growing steadily more nervous
out here on the loneliest highway in America.
The CRUISER'S FLASHERS come on.
Through the rear window of the Altima and the cruiser's
dusty, sun-glary windshield, we can SEE the-COP making PULL-
OVER gestures.
Mary, a little edgy on her best days, is getting a little
scared. Peter watches in the rearview MIRROR, getting
nervous himself, and pulls over onto the SHOULDER, slowing.
MARY
Why's he stopping us? Peter, why--
PETER
(irritable)
Speeding, I guess. These assholes have
a quota, and they keep the posted limit
at 55 so they can make it.

PAS
 5.

MARY
Don't pull over ..•
PETER
Mary, there's nothing else I can do.

EXT. HIGHWAY 50 - DAY 7

They pull over, the cruiser right behind them. The door of
the cop car OPENS •••

RESUME INT. ALTIMA 8

Peter watches in his outside rearview. Above the words

CAUTION OBJECTS MAY BE CLOSER THAN THEY APPEAR, the COP
strides up. He's a BIG man, bordering on HUGE, wearing
SUNGLASSES and a STETSON. His KHAKI UNIFORM is a little too
small. The GUN holstered on his HIP is a CANNON.
MARY
Holy God, it's Sasquatch!
.-.... He gets BIGGER and BIGGER in the MIRROR until he's just a
KHAKI BLUR. Then he's STANDING by Peter's window, and all we
can see is his TORSO and his GUNBELT.
Mary pushes against her door in an effort to put as much
distance as possible between herself and this sudden
threatening presence.
I
The COP slowly LOWERS until his FACE peers through the GLASS
at Peter. Around his SUNGLASSES, his FAIR SKIN is SUN-
REDDENED, even CRACKED in places. There's a BLISTER at the
corner of his mouth. His hair is a pale sandy blond.
He and Peter stare at each other for a moment, and then he
makes slow, deliberate CRANKING gestures with his HUGE HAND.
Peter rolls down his WINDOW, more nervous than ever.
PETER
Guess I was going a little fast,
Officer--
The COP {COLLIE ENTRAGIAN) takes off his SHADES, revealing
sharp EYES which have a kind of surf ace HUMOR. The corners
are CRACKED, even OOZING a PINPOINT of BLOOD or two. Maybe
this guy doesn't get along with the sun too well • .

PAS
 6.

COLLIE
Had the hammer down a little, huh?
(a friendly smile)
Sir, can I see your registration?
He's looking all around the car, checking out Mary, checking
out the stuff in the back seat, the ROAD LITTER, even the
Crowded House CD on the dash and the open ashtray, which
contains only GUM WRAPPERS and some Li'l Debbie· detritus.
PETER
(pulls his wallet)
No problem. The car's not mine,
though; it's my sister's. We're
driving it back to New York for her.
She goes to college in Oregon. Rand
College? Ever heard of it?
The cop doesn't reply to the familiar nervous babble: Blue
Light Fever. Peter is having trouble finding his license,
hunting through his wallet with growing nervousness.
PETER
Mare? Get me the registration? It
should be in the glove compartment.
She leans forward, giving the cop another nervous look, and
rummages through the GLOVE COMPARTMENT. She finds MAPS, more
CDs, some CHIPS ••• but no registration yet. Peter keeps
hunting for his license as the cop waits patiently.
PETER
I don't believe this. I can't find my
license. Officer, I'm sorry, but--
(with great relief) ·
Wait a minute, here it is.
He pulls out his New York license from behind a stack of
stored BUSINESS CARDS and hands it to the cop.
MARY
And here's the. registration!
Her lap full of junk from the glovebox, she passes the pink-
slip to Peter with the same obvious relief. Peter hands it
to the cop as Mary shoves stuff back into the glove
compartment, but the cop is still studying Peter's DRIVER'S
LICENSE.
COLLIE
I see you're an organ donor. Do you
think that's wise?

PAS
 7.

PETER
Well, I •••
Collie takes the REGISTRATION. He looks from the LICENSE to
the REGISTRATION and back again. And again. It goes on far
too long. The perplexed Jacksons are getting NERVOUS all
over again.
PETER
Is there a problem, Officer?
COLLIE
Your name is Jackson. The one on the
pink slip is Deirdre Finney. Is that
your sister?
PETER
That's right. She's been divorced for
a year, but she kept her husband's
name.
MARY
.. Deirdre's a bit of a flake •
COLLIE
Bit of a flake, huh? Tak! Would you
step out of the car, Mr. Jackson?
PETER
What for?
Collie is at full height again, and Peter is talking to his
BELT BUCKLE. Mary, frightened, doesn't want Peter to get
out. She gives her husband a worried look. Peter pats her
HAND, and she gives it a quick, panicky SQUEEZE.

EXT. HIGHWAY 50 - DAY 9

As Peter gets out, Collie walks to the rear of the car.

COLLIE
Come around to the back, Mr. Jackson.
He does. From inside, Mary watches nervously. At the back
of the car, Collie points at something. Peter reacts with
irritation and some relief. So this is all it is.
PETER
Oh, hell!

PAS
 8.

MARY
(anxious, getting out)
Peter? What is it?

ANGLE REAR OF THE ALTIMA 10

Above a BUMPER STICKER reading TAKE BACK THE NIGHT, there

is ..• nothing. The LICENSE PLATE is GONE.
PETER 11
Our damn license plate fell off!
COLLIE
I doubt it. Did you stop in Fallon?
MARY
We got gas at the Conoco and used the
facilities. Why?
COLLIE
Some light-fingered kids hang out
there. Reckon your license plate is
hanging in their clubhouse right now.
MARY
You know this and it still goes on?
COLLIE
Fallon is not my place. Their ways are
not my ways. Gosh, no!
Peter and Mary exchange another GLANCE: still puzzled, but
now amused as well. The scary cop is turning out to be a big
old teddy bear.
PETER
What should I do, Officer?
COLLIE
Put the front plate on the back. That
should get you across the country. Got
a toolkit? Oh ••• these are yours.
He hands Peter's LICENSE and REGISTRATION back with a smile.
For a moment, everything's normal again.
PETER
Thank you, Officer.
MARY
I think I saw a toolkit in the trunk.

PAS
 9.

Peter goes back and turns off the engine, then returns with
the keys. There's a YELLOW SMILEY FACE on the KEYRING FOB.
Peter smiles at Collie, who is staring out into the desert,
as if hypnotized, then to Mary. He POPS OPEN the TRUNK as
the WIND GUSTS, shrouding them in SAND and GRIT.
The TRUNK is loaded with SUITCASES and GARMENT BAGS.
MARY
There it is, behind my makeup case.
Peter hefts the makeup case out of the way, revealing the
SPARE TIRE, one of those little doughnuts you blow up and use
once. The TOOLKIT pokes out from behind it.
Peter lifts out the spare, and our view is blocked. We HEAR
Mary's GASP and Collie's mild VOICE.
COLLIE
Oh, hey, what's this?
At the bottom of the spare tire well is a gallon-size BAGGIE.
On it is a YELLOW SMILEY FACE STICKER matching the one on the
·,,.-._· keyring. The Baggie is filled with what can only be POT.
Peter and Mary stare at it in horror. Collie grabs the bag,
which is SEALED with STRAPPING TAPE.
MARY
Your goddamn sister! Officer, I know
how this looks .••
COLLIE
Shhhh •••

He produces a POCKET KNIFE and PUNCTURES the Baggie. Be

SNIFFS it, eyes half-closed, expression dreamy: a wine-taster
who's just uncorked an exquisite bottle.
MARY
(nervousness ramping)
We checked her stuff, but we're not
customs officers. That's not our dope!
COLLIE
Give me your keys.
Protest would do little, Peter decides, staring up at. the
gargantuan cop. He hands them over.
COLLIE
Get in the car, folks.

PAS
 10.

MARY
But--
COLLIE
(exploding)
Are you deaf? Get in the car!
No more friendly Officer Teddy Bear. Mary REACTS, giving
Peter a look of mingled FEAR and MISERY. Peter puts his ARM
around her and gives her a quick, comforting SQUEEZE.
PETER
We'll get this all sorted out in--
They pass the driver's door of the cruiser now, revealing the
GOLD TOWN SEAL, showing a MINER and a HORSEMAN shaking hands.
In scrolly letters: DESPERATION, NEVADA 1849.
PETER
--in Desperation •••
He looks around at the cop, wanting him to chip in with his
own reassurance: yes, folks, jqst a misunderstanding, we'll
-. sort it all out in town. The cop only opens the rear door.
COLLIE
Get in, folks. Takl
Mary gives Peter a troubled, frightened LOOK. His reassuring
smile in return is less successful this time.

EXT. HIGHWAY 50 - HIGH AND WIDE - DAY 12

From the eye of God, the two cars on the side of the road
look tiny and isolated. We see the Jacksons get in the back
of the CRUISER. Collie closes the door and climbs in front.
The CRUISER PULLS AWAY, leaving the Altima at the side of the
road in the occasional (but increasing) SWIRLS of DUST.

INT. COLLIE'S POLICE CAR/EXT. HIGHWAY 50 - DAY 13

The FRONT SEAT'S all the way back; Peter and Mary are cramped
in tight. It's a mess back here: STYROFOAM CUPS, SNACK-FOOD
WRAPPERS, piles of ANTI-DRUG PAMPHLETS. A heavy MESH
separates them from the front seat.
Collie's NECK is a PILLAR in front of Mary. On the
dashboard: a little PLASTIC BEAR on a SPRING, nodding back
and forth. She looks at it, fascinated, then touches the
hole in the door where the DOORHANDLE used to be.

PAS
 11.

She tries the WINDOW-CRANK, but it won't turn. She looks at

Peter with terrified, welling EYES.
Up ahead on the SHOULDER of the highway is a medium-sized RV,
sitting on FOUR FLAT TIRES. The DOOR stands OPEN, banging
back and forth in the wind.
A DOLL lies in the DUST, and there's something creepy and
Mary Celeste-like about this abandoned vehicle.
Collie doesn't even glance at it as they blow by.
The CRUISER ROARS toward a ROAD that T's off from the highway
on the right. Barely slowing, Collie SWINGS WIDE. TERROR
fills Mary's eyes when she sees he means to take the turn at
60 miles an hour.
MARY
Slow down! You'll flip us!

EXT. INTERSECTION ROUTE 50 AND FEEDER ROAD - DAY 14

The POLICE CAR SWINGS onto the FEEDER ROAD, teetering on the
,,..-..,, edge of a rollover for a moment, then settles and ROARS down
the TWO-LANE BLACKTOP and away from the highway.

RESUME POLICE CRUISER 15

PETER
What's wrong with you? Are you crazy?
Mary tries to shush him, then curls her fingers through the
wire mesh behind Collie's neck.
MARY
Officer, you saw the registration. You
know that isn't our car and not our
dope, either. Do you think we're so
stupid that--
COLLIE
Shut up, Jewbaby.
The words are cold and venomous. Mary looks up, shocked, as
if she's been slapped. No one has told her to shut up since
high school ••• and Jewbaby? What the fuck does that mean?
MARY
What did you just call me?

PAS
 12.

COLLIE
I'm arresting you for possession of
marijuana with intent to sell.
PETER
You can't be serious.
COLLIE
You have the right to remain silent.
If you do not choose to remain silent,
anything you say can be used against
you in a court of law. You have the
right to an attorney. I'm going to
kill you. If you cannot afford an
attorney, one will be provided for you.
Do you understand your rights as I have
explained them to you?
Except for his reddening skin, Collie could be a ROBOT.
Peter and Mary look at each other with mounting horror. What
did he just say?
COLLIE
Do you understand your rights?
PETER
(whispering to Mary)
Act normally ••• I don't think he knows
what he just--
Collie suddenly whirls back to them ••• while shooting down
the road at 70 MPH. His EYES BULGE from their peeling
SOCKETS; a trickle of BLOOD runs down his cracking LIPS to
his CHIN. It is the face of a LUNATIC.
COLLIE
Do you understand your rights? Do you
or not? Answer me, you smartass New
York kikesl Do you or not? Do you or
not?

EXT. THE CRUISER - DAY 16 **

It VEERS wildly from side to side, somehow staying on the
road. Ahead, we can see a little nestle of BUILDINGS and a
huge man-made MOUNTAIN on the horizon: the CHINA PIT COPPER
MINE.

PAS
 13.

RESUME CRUISER INTERIOR 17 .

PETER
Yes, we understand! Just watch the
road!
COLLIE
(calm again)
Don't worry about me. I've got eyes in
the back of my head. You'd do well to
remember that.
He faces forward again. The TOWN is CLOSER now. Mary is
CRYING; Peter, as scared as she is, puts his arm around her.
MARY
P-P-Peter •••
He follows her sick, frightened GAZE.

EXT. DESPERATION OUTSKIRTS - THEIR P.O.V. - DAY 18

.-. A weathered SIGN greets them, standing close to a rusting

TRAILER PARK: DESPERATION'S CHURCH & CIVIC ORGANIZATIONS
WELCOME YOU J

"CHURCH & CIVIC ORGANIZATIONS" has been SPRAY-PAINTED out,

replaced by the words "DEAD DOGS": DESPERATION'S DEAD DOGS
WELCOME YOU!

And there is a desiccated DEAD DOG hanging from the SIGN by a **

frayed ROPE. A couple of BUZZARDS pick at the CARCASS~ but
FLY AWAY as the CRUISER approaches.
Beyond the trailer park is a big, rusty QUONSET HUT, and a
PARKING LOT with some PICKUP TRUCKS and FOUR-WHEEL DRIVES in
it.

RESUME CRUISER INTERIOR - 19

They pass the QUONSET HUT; the SIGN out front reads:
DESPERATION MINING CORP.
COLLIE
(Mr. Happy Tour Guide)
That up there on the horizon's the
China Pit.

PAS
'·.
 14.

We SEE it through the WINDSHIELD: a steep-sided brown

formation with a ROAD switching back and forth from the FLOOR
of the DESERT to the flat TOP of the PIT-SLOPE.
COLLIE
Have to go all the way to Peru to find
a bigger one. They just started
working her again. They got some kind
of technology that makes even the
tailings valuable. Science, huh?
Gosh! I think we're gonna be a
boomtown again, just like in the old
days.
The CRUISER ROLLS PAST and into:

EXT. DOWNTOWN DESPERATION - DAY 20

It's more GHOST-TOWN than BOOMTOWN. They roll past the

CONOCO STATION and the DESERT ROSE CAFE and into the heart of
the town itself. Up ahead a ROAD crosses Main Street, making
the town's only intersection. A YELLOW BLINKER hangs over ·
it. ~

The decaying old CHINESE THEATER is clearly not in use. A

single R hangs on the MARQUEE.
There's a BEAUTY SHOP, the OWLS CLUB CASINO AND CAFE (ENJOY
OUR SLOTSPITALITY!), the GROCERY CO-OP, the HARDWARE STORE,
and BUD'S SUDS.
Up ahead on the left is Desperation's MUNICIPAL BUILDING.·

ANGLE - INSIDE CRUISER 21

Mary nudges Peter and points to:

EXT. DESPERATION - UP MAIN STREET - DAY 22

About a block up, THREE BIKES are set up in the street on
their seats, in a neat UPSIDE-DOWN ROW, wheels turning in the
strengthening WIND.

RESUME MARY AND PETER IN THE BACK SEAT 23

She asks with her eyes what's going on. Peter shrugs; he
doesn't know, either.

PAS
 15.

EXT. DESPERATION MUNICIPAL BUILDING - PARKING LOT - DAY 24

The CRUISER approaches as a TUMBLEWEED rolls across the road
on a gust of wind. The COP CAR pulls up between another
cruiser and a Ford Estate Wagon marked FIRE CHIEF.
Collie climbs out, holding his HAT on against the WIND. He
opens the BACK DOOR; slowly, squinting against the dust and
killing sun, Mary and-Peter get out.
For a moment, Collie just stands there, looking blankly off
into the distance, ignoring them. The only SOUNDS are the
WIND and the rusty REEK-REEK-REEK of the LEPRECHAUN
WEATHERVANE on top of Bud's Suds.
Mary is more scared than ever.
MARY
Don't kill us. We'll do whatever you
say ..• just please don't kill us.
COLLIE
Shut your quacking Jew mouth. .
Peter is furious in spite of himself-- that liberal knee-jerk
thing seems to work even in this situation.
PETER
We're not Jews! We're ••• well ••• we're
Presbyterians!
Collie grabs each by an arm, then turns to Peter. He speaks
in a warm, confidential tone.
COLLIE
You look like Jews to me. The Jews **
killed Princess Di, you know. _Wasn't
she beautiful?
MARY
Officer--
COLLIE
Shut up, Jewbaby. Walk.

EXT. FRONT OF MUNICIPAL BUILDING - DAY 25

The GLASS of the DOUBLE DOORS is POLARIZED, making it

impossible to see inside. There's a list of the office-
holders inside, plus their hours. A NOTICE: MSHA FRIDAYS AT
1 PM.

PAS
 16.

Collie escorts the Jacksons to the foot of the steps. Peter

looks at the deserted sidewalks uneasily.
PETER
Where is everybody?
COLLIE
Disneyland. Come on, walk. Hayfoot-
strawfoot.
He walks them up three STEPS, holding Peter's ELBOW in one
hand and Mary's in the other. At the top:
COLLIE
You're Peter ••• you're Mary ••• so
where's Paul? How can you sing "Puff
the Magic Dragon" without Paul? Wait a
minute ••• Peter Jackson? I loved LORD
OF THE RINGS!
Peter gapes at him, terrified.
COLLIE
Oh, you're useless. Mary, you at least
look healthy. Get in there,
girlfriend.
He YANKS open a DOOR and SHOVES her inside.

INT. MUNICIPAL BUILDING - FOYER - DAY 26

Mary goes reeling across the foyer, slapping at a BULLETIN

BOARD in an unsuccessful effort to stay on her feet. To the
right is a frosted GLASS DOOR marked TOWN SERVICES. Straight
ahead is a shadowy FLIGHT of STAIRS, with POLICE DEPT.
written ori the wall, and an ARROW pointing UP.
Mary loses her balance and FALLS to her KNEES ••• face to face
with a DEAD LITTLE GIRLJ
The GIRL lies with her head at the foot of the stairs and her
feet a few steps up. Her EYES stare sightlessly, and Mary
SCREAMS.

ANGLE - THE DOORWAY - WITH COLLIE AND PETER 27

They stare in-- Peter in sheer horror, Collie with a kind of
"Ain't I stupid" SMILE.

PAS
 17.

COLLIE
GoshJ Forgot all about her! You can
never remember everything, though, can
you?
Peter heads in to Mary, but Collie YANKS him back and slings
and ARM around Peter's SHOULDERS. Pulls him CLOSE, as you
would a chum.
COLLIE
I don't care if you're a Jew, a Hindu,
or Mr. Magoo.
SOUND: a GUN being drawn. Peter LOOKS DOWN at:

ANGLE - COLLIE'S HUGE HANDGUN - PETER'S P.o.v. 28

The MUZZLE SLAMS into Peter's GUT just above the navel.

RESUME COLLIE AND PETER 29

COLLIE
In Desperation we don't care about
those things much.
Collie PULLS the TRIGGER THREE T.IMES. The REPORTS are
DEAFENING. BLOOD spatters the DOORWAY and the foyer TILES.
Peter FREEZES for several seconds, then raises his HANDS.
They are covered with BLOOD. He TURNS to where Mary SPRAWLS
at the foot of the stairs, shows her his BLOODY BANDS •.. and
then FALLS.
Mary SHRIEKS, long and loud over the following: **
EXT. BEAUTIFUL SUBURBAN NEIGHBORHOOD - DAY 30 **

SLOW MOTION DREAM SEQUENCE: **

The CAMERA booms down out of the trees, and the lush Ohio **
neighborhood is deceptively calm and beautiful in the summer
sun. BIRDS TWITTER. SPRINKLERS TWIRL on well-kept LAWNS. A
suburban paradise. Dreamlike.
But we know something horrible is coming.
SOUND of APPROACHING BOYS and the CLATTER of their BICYCLES.

PAS
 18.

DAVID (O.S.)
I'm on your ass, Snail Boy!
BRIAN (O.S.)
Your mama, Tinkerbell!
The KIDS burst over the HILL and into the AIR, pedaling full **
out toward the CAMERA, fair-haired 11-year-olds wearing BIKE
HELMETS.
As their wheels come crashing to the asphalt, we hit FULL **
SPEED in 24 fps. **
In the lead is BRIAN ROSS; gaining on him from behind is
DAVID CARVER. Both wear BACKPACKS, and they're headed to
school.
Brian BANKS his ten-speed into the street. As he does, an
old RAMBLER SEDAN, battered and somehow sinister, SCREAMS
around the corner, TIRES SMOKING.
The DRIVER gets it under some sort of marginal control and
HITS the GAS. The old car LURCHES down the street, a rabid
Detroit MONGREL.
David has followed his pal into the street, but SCREECHES out
of control, just in time to avoid calamity. He wipes out in
the GUTTER, shaken but unhurt. Death has passed him by
today, and he LOOKS UP, wide-eyed and scared.
DAVID
Brian! Look out!

ANGLE - WITH BRIAN

Brian looks back, but it '-s too late. The old Rambler HITS
him and sends him FLYING through the air. The CAR SLAMS into
a PHONE POLE, and the Driver is thrown out through the
WINDSHIELD and onto a LAWN amidst the spray of the
SPRINKLERS.
He STANDS up inunediately, BLEEDING from the NOSE and FOREHEAD
but otherwise okay .•. as DRUNKS so often are after doing
their whimsical, hateful damage.
Brian flies across the yard and CRASHES face-first into the
ALUMINUM SIDING of the GARAGE. BLOOD flies up and SPATTERS
and Brian falls out of the FRAME.

PAS
 19.

ANGLE - WITH DAVID CARVER

Running, but the feet-in-molasses, horrified running of a
terrible dream. He SPRINTS across the street, and the Drunk
Driver comes weaving out of the SPRINKLER SPRAY and grabs
ineffectually at his shoulder.
DRUNK DRIVER
He came right out in front of me •••
A CROWD is gathering to look, but David ignores them. He
sprints across the lawn to his friend, fighting the **
frustrating molasses of a SLOW MOTION SHOT. **
We can SEE Brian'S LEGS and SNEAKERED FEET sticking out of
the BUSHES, but his head and torso are hidden. On the WHITE
SIDING of the GARAGE, a huge GOUT of BLOOD.
It sure looks like it's forming a WORD. And it sure looks
like TAK.
DAVID
Brian! Brian, are you okay?

He GRABS Brian by the ARM and BELT and PULLS. Brian's HANDS
and FEET are TWITCHING, so we know he isn't DEAD. But his
GRUNTS and GASPS are HORRIBLE.
DAVID
Bri? Are you--
He HAULS Brian out of the SHRUBS and falls silent in horror.
Brian is TWITCHING and JERKING mindlessly, and the
fluorescent HELMET suddenly FALLS off his HEAD in two pieces,
like a broken EGGSHELL.
Brian's BLEEDING profusely from the HEAD. He continues to
TWITCH like a FROG in a galvanism-experiment.
DAVID
Help me! Somebody help me, I think
he's dying!

The CROWD in the DREAM converge from behind and hover wide-
eyed like GARGOYLES, as the Drunk Driver staggers over and
looks down at the two BOYS with bleary bewilderment.
Brian makes a GURGLING SOUND deep in his throat, then SLUMPS
in David's arms, unconscious.

PAS
 20.

The CAMERA MOVES IN on David, who doesn't know what to do.

His best friend is DYING in his arms. So he closes his eyes
and begins to PRAY.
DAVID
God, please, please don't let Brian
die. If you save him, I'll do
something for you. Anything you want,
I promise. Only don't let him die.
Please don't let him die.
David ROCKS his unconscious best friend back and forth in his
arms. It would take a miracle ...
We HEAR the SCREAM of an AMBULANCE SIREN in the distance **
growing CLOSER. **
They are framed by the hideous BLOOD WORD on the wall behind
them, when BANG! BANG! BANG!
Three quick EXPLOSIONS rip the silence, and the IMAGE PULLS
AWAY into the BLACK VOID of unconsciousness.

TIGHT ANGLE - DAVID CARVER 31

As he suddenly WAKES. Now 12 years old, his face is DIRTY,
his T-shirt crusted with grit. He has roused from one
nightmare into another every bit as horrible. But this is
one he's living in real ti.me. His is a deep, intelligent
young face, sweet and guileless.

WIDER ANGLE
David is BEHIND BARS. He stands and GRIPS them, his EYES
WIDE with way too much worry for a 12-year-old.

INT. POLICE STATION JAIL - SECOND FLOOR - DAY 32

He's in a JAIL CELL in Desperation. This is Collie
Entragian's LAIR. The WALLS are proudly lined with FRAMED **
PHOTOS of HISTORIC DESPERATION in its heyday. **
There's a DESK in the middle with a big, old-fashioned wooden
CHAIR on CASTERS in the KNEEHOLE. Surrounding the desk on
three sides are JAIL CELLS.
The biggest one-- the DRUNK TANK-- is behind the desk. To
the left, RALPH and ELLIE CARVER, in their forties (and also
David's PARENTS) in a smaller CELL.·

PAS
 21.

Ellie is a full-time mother, and her face is taut with terror

and grief (it's her daughter lying at the foot of the
stairs). She stands at the bars as her husband comes to her
as the GUNSHOTS echo through the building. She is high-
strung under the best of conditions. And this is the worst.
One of Ralph's EYES is PUFFED SHUT, his MOUTH SWOLLEN, and
there's a drying CRUST of BLOOD under his NOSE. Somebody
beat the shit out of him. It's a contrast to his bright Izod
vacation wear. He's a desk jockey, a little soft, definitely
not the outdoor type.
David is in a cell on the other side of the room. He's in
JEANS and a CLEVELAND INDIANS T-SHIRT.

An OLD MAN of about 70, TOM BILLINGSLEY, sits on the bunk of

the cell next to David's. He LOOKS UP briefly at the -SOUNDS
of Mary's SCREAMS from below, then drops his head again.
It's a look that tells us he thinks they're all as good as
dead.
The OFFICE WALLS are papered with NOTICES, FORMS, and WANTED
POSTERS •
..-.._ There's a DOUBLE-BARRELLED SHOTGUN and a litter of GREEN
SHELLS on the desk.
The Carvers stand tensely at the bars of their cells as
FOOTFALLS CLIMB the STAIRS. SCUFFLING SOUNDS, too.
MARY (O.S.)
No ••• let me go ••. Peter .•. Peter!

The DOOR is THROWN OPEN, revealing Collie and Mary, who is

dishevelled, horrified, in shock. Collie is smiling, not
even breathing hard, though he must have carried her
upstairs.
He THROWS Mary into the room, and she crosses it with weird,
balletic grace, hitting the desk, then doubling over it.
David is quickest to see the opportunity.
DAVID
The shotgun! Get the shotgun!
ELLIE
Shoot him! Shoot him!
Old Tom gets off his bunk and comes to the bars of the cell.
His EYES, dull a moment before, now BLAZE with HOPE.

PAS
 22.

TOM
Get it! For Christ's sake, woman!

Mary snatches up the SHOTGUN and WHIRLS.

COLLIE
Don't do that!
He RUNS at her. She BACKS around the DESK, plants her
shoulders against the BARS of the drunk-tank, and raises the
GUN, thumbing back the TRIGGERS.
As she PULLS them, Collie DROPS to his KNEES, hiding below
the desk. The ROAR of the SHOTGUN is HUGE. It BLOWS most of
the PAPERS off the desk and sends them into the air.
BUCKSHOT whacks PATTERS across the PLASTER WALLS.
SILENCE. Everything is FROZEN. Then:
Collie POPS UP. Though his BAT has been SHREDDED by the
BLAST, he's GRINNING like a kid playing hide and seek.
COLLIE
"-' Drop it, Maryl Drop it!
Instead, she SWINGS it at him. Collie DODGES back, then
spreads his ARMS and GRABS either side of the desk. As he
does, the SEAMS of his SHIRT RIP OPEN.
He SHOVES the DESK forward. Mary would be safe in the
KNEEHOLE, if not for the CHAIR, which rolls with the desk.
The CHAIR hits Mary, driving her back into the BARS. The
IN/OUT BASKET tumbles off the desk; so does a COFFEE MUG
marked EFFA BEE EYE. The SHOTGUN SHELLS go flying, too.

ANGLE - WITH DAVID AND TOM

One of the SHOTGUN SHELLS rolls right toward David's cell.
He REACHES for it as Collie pulls the desk back to RAM Mary
again.
Collie doesn't see David, but Tom sure does; for a moment, as
David snatches up the fat, green SHELL and JAMS it into his
POCKET, their EYES meet.

RESUME GROUP
Mary SWINGS the GUN at Collie again, WHACKING him on the
SHOULDER, but doing no real harm. He SLAMS the DESK forward;

PAS
 23.

the CHAIR BELTS her in the GUT, doubles her over against the
drunk tank BARS, and forces a RETCHING SOUND out of her.
COLLIE
(laughing)
If you don't want to see your liver
come squirting out of your nose, I'd
drop it, Maryl
Mary raises the gun again, but has lost her will to resist.
When Collie MIMES running the desk and chair into her again,
she tosses the gun aside. It skitters into the corner.
Collie steps around the desk and looks the panting,
dishevelled Mary up and down. She looks back up at him with
bitter hate. ·
MARY
Kill me if you're going to.
Collie just LAUGHS.
He takes a MAG-CARD from his shirt pocket and SWIPES it down
~the SLOT on· the DRUNK TANK DOOR. The CELL DOOR snaps OPEN
with-a BUZZ. Still LAUGHING, Collie pushes it back on its
.-. track.
COLLIE
Why would I kill you when things are
just getting interesting?
He nudges her into the CELL with an odd gentleness. Then he
yanks the door SHUT.
MARY
(to Ralph and Ellie)
He killed my husband.
ELLIE
He killed our little girl.
COLLIE
And three billion Red Chinese don't
give a shit.
Collie puts the gun back on the desk, then heads quickly
across the room, picking up SHOTGUN SHELLS, heading toward
the CELL where David and Tom have been locked.
He picks up one last SHELL and stuffs them into his pockets.
He looks up, first at Tom.
COLLIE
How they hangin', old timer?

PAS
 24.

Tom retreats silently to his bunk and sits on it, his head
lowered, unable to look back at Collie.
Collie turns to David, prying at him with his eyes. David
looks back with as much self-possession as he can manage, one
hand plunged deep into his pants pocket, grasping his SHOTGUN
SHELL tightly.
Little by little, collie's slightly gonzo smile deserts him,
replaced by SUSPICION.
COLLIE
Who are you, boy?
DAVID
David Carver. I live at 248 Poplar
Street, in Wentworth, Ohio.
Behind them, Ralph and Ellie are tense, afraid the Cop will
do to their son what he's already done to his kid sister.
RALPH
~ Don't hurt him! I'm warning you.
Collie ignores him. He shoves his face right up against the
BARS, so that he and David are only inches apart. Collie's
cunning, wolfish eyes shine like searchlights.
COLLIE
Yes ••• but who made thee? Canst thou
say who made thee? TakJ
DAVID
I guess my folks did. {beat) And God.
COLLIE
There's no God out here, little Dave.
ELLIE
Leave him alone! Haven't you done
enough to our family?
COLLIE
{takes no notice of her)
Even bald-headed hopping Satan don't
step his split feet much west of
Tonopah. This is Desperation. Out
here there's only can tah and can tak.
You better remember it.
Collie looks around, from David to Tom to Mary to Ralph and
Ellie. Finally back to David again.

PAS
 25.

COLLIE
You're mine.
He grabs the SHOTGUN and strides OUT of the room, slamming
the door behind him. A BEAT of SILENCE.
David stands at the bars of his cell, then turns to his bunk
and KNEELS before it. He closes his eyes and clasps his ·
hands, and begins to whisper.
ELLIE
David, what's wrong?
David takes no notice.
ELLIE
(with increasing alarm)
What's wrong with him? He's fainted--
RALPH
He didn't faint. There's nothing wrong
with him.
ELLIE
What do you mean? Are you blind?
MARY
I think your son is praying.
And the CAMERA PUSHES IN on his CLOSED EYES, CLASPED HANDS,
and MOVING LIPS.

PAS
 26.

ACT TWO 33

EXT. ELY, NEVADA - MAIN STREET - AFTERNOON

MUSIC UNDER: The Knack's "Baby Talks Dirty".
A RYDER TRUCK-- a mid-sized panel job-- comes ROLLING toward
CAMERA and the end of town. Beyond that: more DESERT. The
MUSIC BUILDS, fills the soundtrack.

INT./EXT. RYDER TRUCK - DAY 34

STEVE AMES is driving, the CD PLAYER cranked to the max. The
cab is cluttered with fast food detritus, and there's a
MOBILE PHONE in a cradle below the dashboard.
Steve, in his 30s, is a good-looking survivor of the
rock'n'roll touring wars: lots of retro hippie hair and a
natural, no-bullshit seventies vibe about him. A lot of
miles on his face, but kindness in his eyes and an unlit
CIGAR in his teeth. ~

STEVE
{singing with the music)
You know my baby she be too cool, my
little lady hated hi-yi-yi school .••
Up ahead through the windshield, we see a long, lanky GIRL on
the side of the ROAD with a KNAPSACK between her feet and her
THUMB out.

She's a baby-faced beaut: JEANS with paisley bell-bottoms,

circa 1969, a psychedelic sleeveless, ribbed TANK TOP with
BOB DYLAN on it. Her HAIR is dyed a CHERRY RED, and cut in a
Louise Brooks BOB. She can't be over 21. Let's call her
CYNTHIA.
Steve GRINS; he likes attitude. He POPS out the CD and pulls
over. The Girl opens the PASSENGER DOOR, but hesitates. She
looks up at Steve with these great big Orphan Annie EYES.
CYNTHIA
Are you a nice person?
STEVE
Well, yeah, I like to think so .•• but
if I was Ted Bundy, do you think I'd
tell you?

PAS
 27.

CYNTHIA
I'd know. I've got a psychic streak.
It ain't wide, but it's there.
A SIXTEEN-WHEELER roars by, HONKING. Cynthia FLIPS the BIRD
at the departing truck.
CYNTHIA
Up yours, asshole!
Steve LAUGHS; can't help liking her attitude.
STEVE
What's your name?
CYNTHIA
Cynthia Smith.
STEVE
Smith, huh? A likely story.
CYNTHIA
·No, it really is! Honest! Who are
you? "
STEVE
Steve Ames. Haul your psychic streak
on up here, Cynthia Smith-- let's make
some miles.
CYNTHIA
Yeah, I guess you'll do.
STEVE
Well, thank you, Cookie.
CYNTHIA
Don't call me cookie, and I won't call
you cake.
That makes him laugh all over again. She struggles her PACK
into the cab, and he gives her a hand. She gives him a
grateful smile as she climbs in and slams the door.

EXT. HIGHWAY 50 - AFTERNOON 35

The TRUCK pulls back onto the highway and heads west.

PAS
 28.

INT./EXT. TRUCK - AFTERNOON 36

Cynthia's getting settled, making a little nest ••• and

checking out Steve. Not worried about him a bit.
CYNTHIA
You gonna smoke that or gum it to
death?
Steve takes the CIGAR out of his mouth, looks at it, and
tucks it behind his ear.
STEVE
I quit, but it never hurts to stay in
practice.
Now he checks her out-- first her face, then, unavoidably,
her chest.
CYNTHIA
Whatcha lookin' at, huh?
STEVE
The T-shirt.
CYNTHIA
Yeah, right. It's okay. We're all
animals, right?
STEVE
No, really. I worked with Dylan back
in '95, when he dj_d Unpiugged.

CYNTHIA
No way!
STEVE
Way. I was doing amps and guitar tech
in those days.
CYNTHIA
Are you a roadie? This truck looks too
small to carry a band's equipment.
STEVE
This is the weirdest gig I've had in a
lifetime of weird gigs. I'm working
for a writer. He's driving cross-
country, doing these speaking things.
Reads stories, answers questions after.
He does one every couple days or so.
(MORE)

PAS
 29.

STEVE (cont'd)
When he gets to the West Coast, he's
gonna write a book about it.
CYNTHIA
Is he famous?
STEVE
You ever heard of John Edward
Marinville?
(she shakes her head)
He's pretty famous with book people.
CYNTHIA
I stick pretty much with Dean Koontz.
Is he cool?
STEVE
Yeah, once you get past the ego, which
is about the size of Tibet. He gets a
little cranky, but I kind of like
him ••• of course, after you've spent a
year on the road with Blink 182, you're
prepared to like pretty much anybody.
CYNTHIA
People drive cross-country every day.
Why's he writing a book about it?
STEVE
I guess it's some kind of, you know,
mid-life thing. He's sixty, he's
famous, he's on this big old Harley
Soft ail--
CYNTHIA
Is his bike red and cream?
(Steve nods)
I think I saw him this morning! And
he's got lots of hair? You know, like
rock'n'roll hair?
STEVE
Yeah. He knows it, too.
CYNTHIA
He's got to be what, fifty, seventy-
five miles ahead of you?
STEVE
About that. I catch up when he's got a
gig, check the sound systems for him,
keep the names straight, stuff like
that. And I'll eat with him if he
needs somebody to talk to.
(MORE)

PAS
 30.

STEVE (cont'd)
Not with, to. And with the truck, we
can ramp up the bike if his back locks
up. He's having the time of his life.

CYNTHIA
Be likes to play the lone wolf, huh?

STEVE
{laughing again)
Yep, that's the boss. Lone Wolf
McQuade.

EXT. HIGHWAY 50 - THE DESERTED R.V. - AFTERNOON 37

This is the one Collie passed with Peter and Mary in the back
of his car. The DOOR FLAPS lazily, ominously back and forth
in the growing BREEZE. The DOLL still lies face down in the
GRIT.
SOUND: an approaching MOTORCYCLE-- that distinctive HARLEY
SOUND.
In the distance, a BIKE is approaching. About a mile east of
the R.V., it pulls to the side of the road. ~

EXT. HIGHWAY 50 - WITH JOHNNY MARINVILLE - AFTERNOON 38

JOHNNY MARINVILLE, small of physical stature, but pugnacious
with something to prove, 60-ish, but hiding it under his
greying MANE of rock'n'roll HAIR, tremendously self-
confident, sits astride his HARLEY for a moment before
killing the engine.

He CLIMBS OFF with a WINCE, clutch£ng that BAD BACK with both
hands. He takes off his HELMET and sticks it on the BACK-
REST, over his tied-down PACK.
His face is road-dusty and seamed with age; he's tired, but
every inch the literary lion. Showily and expensively
outfitted for the road: fancy MOTORCYCLE JACKET, creaky
LEATHER CHAPS, SNAKESKIN BOOTS.
He TWISTS from side to side, audibly CRACKING his BACK.
After touching his BIKE with true affection, he walks out
into the desert.

About 20 yards in, he stops and UNZIPS. Then ••• NOTHING. He

just stands there in the sighing WIND.
JOHNNY
Come on, come on .•• let's go •..

PAS
 31.

More SILENCE. Then, at last, the SOUND of PISSING. Sublime

RELIEF on Johnny's face as he speaks into the Big Empty.

JOHNNY
Water in the desert, praise Jesus,
thank you, Lord!
He pisses happily away, his eyes half-closed in delirious·
relief, then finishes with several of the isolated SQUIRTS
characteristic of an enlarged prostate.
He ZIPS UP and turns to head back to his bike, and the smile
drops off his face.

ANGLE - JOHNNY'S P.o.v. - THE HARLEY

Collie's dirty white CRUISER is parked behind it. Collie
stands at the rear of the bike, CITATION PAD in hand. He
looks up at Johnny.
COLLIE
Want to come up here, sir? I think we
need to have a talk.

ANGLE - INCLUDE JOHNNY 39

He heads back to the road and climbs the shallow shoulder,

stumbling a little in his new BOOTS, and Collie helps him
back to the PAVEMENT.
Johnny's attitude on top is Mr. Good Citizen. I want to be
treated like everyone else, even though I'm famous and
talented.
But beneath that is a rampaging EGO; this guy is used to
being the center of attention and having his own way. That
he's LIKABLE is just a coincidence.
JOHNNY
Afternoon, Officer.
Collie looks briefly at Johnny's face, then his EYES slide
down Johnny's BODY. Johnny looks down to see a DARK SPOT on
his JEANS, just below the belt of his CHAPS.
JOHNNY
A wise man once told me that no matter
how much you squirm and dance, the last
two drops end up in your pants.

PAS
 32.

COLLIE
Sir, are you aware that parking a
vehicle on a state road is against the
law? And that relieving yourself in
public is also against the law?
JOHNNY
I hardly think there are any crowds
gathering to watch me--
COLLIE
Sir?
Collie's sharp tone stops Johnny. Maybe he should take it
easy. This isn't New York, and even famous authors know that
country cops can be mean ••• and unpredictable.
JOHNNY
If you need to write me a ticket,
Officer, I'll take it with a smile.
And an apology, if it will improve your
day.
COLLIE "
I'm not going to write you up, sir.
Just a warning will do this time; but--
He trails off, his expression changing. Johnny knows what's
coming; he's seen this before, but never out in the DESERT.
JOHNNY
Officer? Something wrong?
COLLIE
Holy shit. Ho-lee shit!
He runs his fingers through his hair. Looks at Johnny.
Looks away. Shakes his head and slaps his leg. Collie's now
got RED PATCHES on his skin that will soon become OPEN SORES,
and his LIPS and the corners of his EYES have continued to
CRACK.
COLLIE
You're John Edward Marinville! Aren't
you? Damn!
JOHNNY
Busted. You got me. Nice to meet you.
He puts out his hand and Collie SHAKES it enthusiastically.

PAS
 33.

COLLIE
I'm shaking hands with the guy who
wrote Delight! With the guy who wrote
Song of the Hammer! This is.. . wow!
(looks at the Harley)
What're you doing out here? And on
such an unsafe mode of transportation?
They don't call them murder-cycles for
nothing, you know, and I'm a wolf. Are
you working on anything new, sir?
Johnny's SMILE FALTERS slightly. Did this guy just say he
was a wolf? Surely not.
JOHNNY
A book of essays. I thought riding a
cycle across America would be a way of
staying in touch with the common man.
Getting back to my roots.
COLLIE
That's amazing! Sir, if I could have
your autograph, that would just make my
day. Hell, it would make my whole
year!
Johnny puffs up, takes out a NOTEPAD and OPENS it. He
produces a PEN and looks up at Collie, eyebrows raised, a
smile on his lips, ready to take dictation.
COLLIE
Oh, uh, please make it out "To Collie
Entragian, your number one fan."
(as Johnny writes)
I understand you saw some pretty hairy
stuff_ when you were in the Nam.
JOHNNY
I was just a correspondent, Officer,
one more ink-stained wretch. But I
guess I'd have to say my experience in
Vietnam defined me •••
He gives Collie a looks that says "I could tell you a thing
or two, if the time and place was right."
COLLIE
Nobody ever wrote about 'Nam the way
you did~ I heard you saved a bunch of
soldiers when one of those suicide
gooks blew up a restaurant •••

PAS
 34.

Johnny shrugs modestly, but there's no doubt that this.guy

believes his own press. Greatly self-possessed, let's say.
JOHNNY
It was gut-check time for a lot of
folks, including me. We all did what
we could.
COLLIE
Some people don't do anything. Some
ate the bread of forgetfulness and
drank the wine of cowardice. Tak!
What kind of a desert cop is this?
JOHNNY
(puzzled)
Yes, well--
COLLIE
Oh, hey! You don't want to ride around
like that, Mr. Marinville; if that gets
tangled in your back wheel, you're
toast.
Collie points at one of the Harley's SADDLEBAGS. It's
unbuckled, and half a PONCHO is hanging out.
JOHNNY
That can't be •. I always check the
buckles before I ride. It's the last
thing I do.
COLLIE
They say the memory's the first thing
to go.
JOHNNY
What's that supposed to mean?
SOUND: a YIPPING CRY. Close.
Johnny WHIRLS around, and a COYOTE is sitting there, close
enough to TOUCH. It STARES at him with YELLOW EYES.
Johnny JUMPS away toward the cop, who looks at Johnny with
mild contempt. Collie morphs from Officer Jekyll to Officer
Hyde before our very eyes.
JOHNNY
It's a wolf! Shoot it!

PAS
 35.

- COLLIE
It's a coyote. They're not dangerous.
Ordinarily •.•
He STEPS toward the COYOTE and CLAPS his HANDS, hard.
COLLIE
Tak! Tak ah lah! Tak ah wan!

The COYOTE HOWLS once, then TURNS and LOPES away into the
DESERT. Johnny watches it go, then turns back to Collie, his
expression one of frank AMAZEMENT.
JOHNNY
What did you say to it? Was it some
kind of Indian dialect?

COLLIE
Oh, much older than that. Now, since
you can't take care of yourself, you
big baby--
Collie opens the SADDLEBAG to tuck the poncho back in. Then
he SEES something and STOPS.
COLLIE
Oh, hey. Gosh.
He lifts out a GALLON BAGGIE of MARIJUANA. There's a SMILEY
FACE on the front that we recognize. Collie SMILES.
COLLIE
Houston, we have a problem.
JOHNNY
That's not mine and you know it! You
put it there while I was- out there
taking a leak.
COLLIE
Oh, yeah, blame the cops. Just like in
your New York lefty books, right? Tak!
JOHNNY
Why do you keep saying that? What does
Tak mean?

COLLIE
(stepping toward him)
I didn't say Tak. You said Tak.
(singing)
You say tomato, I say tomah-to, you say
potato, I say potah-to •••

PAS
 36.

JOHNNY
(really starting to be
afraid)
What's the matter with you?
COLLIE
Tomato •.•
He SLUGS Johnny in the gut. Johnny DOUBLE OVER; losing his
breath.
COLLIE
Tomah-to •••
Collie LACES both HANDS together and brings them UP under
Johnny's CHIN. Johnny crashes to the ROAD, HURT and in
TERROR. He tries to CRAWL away; Collie FOLLOWS, SINGING:
COLLIE
Potato, potah-to •.•
(each word brings a kick)
Let's call the whole thing off •••
On "off" he KICKS Johnny square in the FACE. BLOOD leaks
from Johnny's MOUTH and NOSE. His SCREAMS are MUFFLED. **
JOHNNY
Stop! For God's sake, stop! You broke
my nose! You broke my teeth!
COLLIE
That's not all I'll break!
Collie KICKS him again. Johnny SCREAMS and DOUBLES UP as
Collie looks down on him, not even breathing hard.
SOUNDS: HOWLS arise. WOLF HOWLS and yipping COYOTE HOWLS all
mixed together.
Collie PAUSES, cocking his head. He GRINS.
COLLIE
My children of the desert! The can
toi! What music they make!
Laughing, his good humor restored, he turns to Johnny.
COLLIE
Get up. On your feet, Lord Jim.
JOHNNY
I can't.

PAS
 37.

Collie YANKS Johnny to his FEET and Johnny SCREAMS. **

COLLIE
Upsa-daisy, you phony piece of crap.
You've been re-defined.
Johnny tries to pull away, but Collie pulls him back, and
HARD.

JOHNNY
Stop, I think you broke my ribs--
COLLIE
Shut up. You're in my house now,
you're in the house of the wolf and the
sc'\.rpion, and you better not forget it.
He HAULS Johnny toward the CRUISER, with Johnny's fancy BOOTS
hardly touching the ground, then STOPS.
COLLIE
This time you really wet your pants.
Johnny looks down and sees a large, dark PATCH on the CROTCH
of his JEANS. Be REACTS with dazed SHAME. Collie GRABS his
HAIR and suddenly SLAMS Johnny's HE~..D hard against the top of
the car.
BLOOD runs from his cut forehead, and Johnny SCREAMS again. **
COLLIE
You're a sorry excuse for a writer, and
you're a sorry excuse for a man. Your
whole life is a lie. I just want to
kill you right here.
He opens the back door of the CRUISER and RAMS Johnny inside.
Collie SLAMS the DOOR and walks back toward Johnny's
MOTORCYCLE.
Johnny watches through the crusty windshield, his EYES wide
with TERROR, his hotshot attitude fatally punctured.

PAS
 38.

ACT THREE 40

FADE IN:

EXT. HIGHWAY 50 - THE NEVADA DESERT - AFTERNOON

INT./EXT. COLLIE'S CRUISER - AFTERNOON

Johnny stares out the sand-caked WINDOW, his face bleeding **
and swelling. His terror is total. **
He GRABS for .the DOORHANDLE and SEES the EMPTY HOLE. He
tries the WINDOW-CRANK, but it won't turn.
He watches Collie through the mesh as the cop climbs onto his
Harley and STARTS it up. Collie drives it out into the
DESERT, to where Johnny took his leak.

EXT. THE DESERT - WITH COLLIE - DAY 41

......-., He STOPS and just STEPS OFF the Harley. It FALLS OVER, still
ROARING. Collie KICKS DIRT and SAND over it, and covers
quite a bit before the engine dies.

RESUME JOHNNY IN THE CRUISER 42

Johnny is clutching his chest, watching with numb disbelief

as Collie covers the cycle. His look of total panic fades as
he TOUCHES something in the POCKET of his MOTORCYCLE JACKET.
He pulls out a MOBILE PHONE.
Johnny takes a deep breath and makes a superhuman effort to
get his shit together. He flips the PHONE OPEN with
trembling hands.
He looks at Collie-- still giving his Harley a Mafia burial--
and hits the POWER button. The MESSAGE in the WINDOW is NO
SVCE. Johnny looks at this with sick dismay.

Frantic, he SLAMS the PRONE against his PALM, but the message
doesn't change. He's in despair, then sees he hasn't pulled
up the ANTENNA! He yanks it up, then tips the phone toward
the window.
TWO FLICKERY RECEPTION BARS appear in the MESSAGE WINDOW.

~s
 39.

-
JOHNNY
Yessss!
He starts PUNCHING the NAME/MENU button; NAMES flicker up,
but not the one he needs. He keeps going, increasingly
frantic, looking up out the window every now and then. His
FACE is BLOOD-STREAKED and crazily intense.

ANGLE - COLLIE - JOHNNY'S P.O.V. - INTERCUT WITH JOHNNY 43

Collie starts walking away from the Harley, which is now just
a HUMP of GRIT and SAND. A few GLEAMS of CHROME still wink
through, though.
JOHNNY
(frantic)
No, with all this wind, you better
cover it up more. Please.
As if hearing him, Collie walks back to the buried Harley and
begins kicking SAND over it again.
Johnny's stuttering FINGER brings up the name STEVE, and 44
-- pushes the SEND BUTTON. A RINGING SOUND, then:
ROBO-OPERATOR
Thank you for using Sky West. Your
call is now being routed! Have a great
day!
Johnny, not having a great day, peers out the window through
his BLOOD-CLOTTED HAIR. The PHONE is jammed to his EAR.

EXT. HIGHWAY 50 - WITH THE RYDER VAN - DAY 45

CYNTHIA (O.S.)
I was in a literary commune. In
Chicago?

INT./EXT. VAN - DAY 46

Steve and Cynthia have gotten cozy. Cynthia's FEET are up on

the DASH; she's eating TRAIL MIX and sharing it with Steve,
who glances at her from time to time with a GRIN.
STEVE
That's a new one on me.

PAS
 40.

CYNTHIA
When you have a bunch of people sitting
around in a roach motel smoking crystal
meth, they're addicts. But if they've
all been to college, they're a literary
commune. Still, for a while it wasn't
bad. But then I realized I was gettin'
to be sort of a mercy-lay, so I split.
She's trying to be matter-of-fact, but it still hurts. Steve
sees that, and tries to think of something comforting to say
that won't sound schmaltzy to her.
Suddenly, the MOBILE PHONE shrilly CHIRPS from its CRADLE.
They both JUMP and look at it.
STEVE
Don't say anything, okay? He'd
probably be cool, but his agent made a
big deal about not picking up
hitchhikers•
S~e mimes a ZIPPED LIP, and Steve answers the PHONE.
STEVE
Hey, Boss, that you?
(STATIC from phone)
Boss? Johnny? Is that--
JOHNNY (OVER PHONE)
(faint, broken by static)
Steve •••. rubble ••• bad trouble ...
STEVE
I hear you, Boss-- what's wrong?
JOHNNY (O.P.)
west ••• Ely ••• RV a mile or so up
the road from me •.• Some town cop •••
he ...

Then it just goes DEAD •. SIGNAL LOST flashes on the screen.

STEVE
Boss! Boss!

He DRIFTS across the CENTER LINE. Cynthia grabs the WHEEL

and steers them back into the lane.

INT. POLICE CAR/EXT. HIGHWAY - WITH JOHNNY - DAY 47

He's lost Steve, knows it, but can't bear to acknowledge it.

PAS
 41.

JOHNNY
Steve! Steve! Steve!
He SLAMS the PHONE against his PALM, but the message remains
in the window: NO SVCE.
Outside, we can see Collie returning. Johnny doesn't; he's
temporarily forgotten all about him. At almost the last
moment, he LOOKS UP and sees the cop.
He FLIPS the PHONE CLOSED, tries to stuff it into his pocket,
but it DROPS into the JUNK on the FLOOR. A RACE of TENSION.
He frantically BENDS, SLAMS his FOREHEAD on the back of the
SEAT, and starts the wound there BLEEDING again.
He scrambles through the litter for the phone, and comes up
with a little girl's PINK BARRETTE.
He looks at it, then drops it and finds his PHONE. He
urgently tries to JAM it into his POCKET, but it won't get
in.
~

Collie is getting CLOSER.

Johnny JAMS the ~.NTENNA down and stuffs the phone back in his
pocket just as Collie opens the door and COLLAPSES into the
DRIVER'S SEAT. The seat SLAMS back into Johnny's KNEES and
he YELLS.
JOHNNY
Stop it! You're killing me!
Collie gives him a suspicious look, almost as if he can smell
the phone in Johnny's pocket. Then he STARTS the ENGINE and
PULLS OUT onto the ROAD with a SCREAM of TIRES.
JOHNNY
Where are you taking me?
COLLIE
To the old calabozo, my friend-- where
anything you bray will be abused
against you in a court of caw.
He starts to hitch in breath in a pre-sneeze. When he lets
it out in an AH-CHOO! EXPLOSION, a FINE MIST of BLOOD blows
out of his mouth and STIPPLES the WINDSHIELD.
He faces Johnny, still driving fast; Johnny CRINGES back
against the seat, horrified and fascinated by what he sees:
Collie's EYES, NOSE and MOUTH are leaking BLOOD. . **

PAS
 42.

COLLIE
Aren't you even going to say
gesundheit?
Johnny's face says it all-- what kind of monster is this?

RESUME RYDER TRUCK WITH STEVE AND CYNTHIA 48

STEVE
Damn it! I lost him!
He jams the mobile phone back into its cradle and SPEEDS UP.
CYNTHIA
He's in trouble, isn't he?
STEVE
Be said something about the cops.

CYNTHIA
Bad.
" STEVE
It ain't good. Big ego, big temper. I
just hope he hasn't killed anybody.
Listen, Cynthia ••• there might be
blood.
CYNTHIA
I'm a woman; I can deal with blood.
He NODS and speeds up even more.

EXT. DESERT ROADS - COLLIE'S CRUISER - DAY 49

It takes the TURN off Highway 50 and onto the TWO-LANE

BLACKTOP which leads into DESPERATION. The CHINA PIT looms
on the horizon.

INT./EXT. CRUISER - COLLIE AND JOHNNY - DAY 50

COLLIE
Look, John!
Johnny's jaw drops. Ragged, hungry, vicious-looking MIXED- **
BREED FERAL DOGS line the ROAD in a kind of honor-guard. He **
slides across to the other side, and the CANINE MONSTERS line
that side of the road as well.

PAS
 43.

JOHNNY
What in the name of God is going on
here?
Collie just CHUCKLES to himself. The CRUISER ROARS up the
two-lane blacktop between two seemingly endless rows of
emaciated, nasty DOGS. We can SEE the WIND picking up even
more, and again we have that sense of the desert HUMMING.

INT. DESPERATION SHERIFF'S OFFICE AND JAIL - DAY 51

David lies on his BUNK, staring up at the ceiling. Mary lies
on hers, an arm across her face. Ralph is lying down,
defeated. Tom SITS, and Ellie stands at the bars of the CELL
she shares with her husband, looking across at David.
ELLIE
What's up with the praying, David? **
She's cracking, filling her voice with dislike and incipient
anger, bitterness.· David ignores her growing desperation.
~

DAVID
I've been doing it since Brian's
accident. Everyone thought he'd die.
ELLIE
But he lived, didn't he? Your sister
died. I'd say that's a pretty lousy
bargain!
RALPH
Honey, leave him alone.
ELLIE
I want to know about this!

RALPH
He's praying, that's all. He's not
hurting anybody.
ELLIE
(starting to cry)
Yeah, praying is good. Praying is
great. Without it the Crusades never
would have gotten off the ground. The
Iron Maiden never would have been
invented.
(back to David)
Do you do this all the time, son, or is **
this special?

PAS
 44.

David sits up and looks at her. He answers her candidly,

without shame. There's no prissy self-righteousness about
it, either. He's being completely open and honest.
DAVID
I ask for help in the morning and give
thanks at night. In the middle I just
take a few minutes and try to •.• get
open. Sort of like a football receiver
or something. It's hard to explain.
Ralph comes to his wife and touches her shoulder, but she
shrugs it off. Her daughter died, and her son is still on
speaking terms with the God who let it happen.
ELLIE
Brian got you going on this?
DAVID
Brian's accident. You remember the
doctors saying his recovery was almost
miraculous? I saw him, Mom, and it
wasn 't almost.
ELLIE
God could work a miracle on vour friend
but not on your baby sister?- He
couldn't save her from that cop? What
kind of God is that?
She's crying hard now, and won't let Ralph comfort her. She
looks angrily at her son through her tears. David looks back
at her, hurt and unhappy but calm.

DAVID
I don't know what kind of God he is.
ELLIE
And did he give you any message? Any
word from the Big G on how we're
supposed to get out of here? Or do we
just roll over and die?
Ralph puts his hand on her shoulder.
RALPH
Leave him alone, El--
She shoves him away so hard he almost falls down.

PAS
 45.

ELLIE
I want to know how you can get on your
knees and pray to the God who killed
your sister.
David lowers his head·and doesn't reply .•• but silent TEARS
brim in his eyes.
MARY
(from her bunk)
Lady, he's your son, and I don't mean
to interfere, but why don't you take it
easy on the boy? I know you lost your
little girl; I lost my husband. It's
been a very tough day on everyone.
ELLIE
A tough day? It offends me. It
sickens me. I--
TOM
Sshhh! Listen! **
They all listen, tense. In the distance; we can HEAR the **
.-. SOUND of an APPROACHING ENGINE •
RALPH
Maybe it's help.
TOM
It's Collie. I recognize the engine.
They go quiet as they HEAR the approach of the CRUISER and **
its crunch on the sandy roadway. It STOPS outside, and we **
HEAR first one CAR DOOR OPEN, then the other. **
Ralph, Ellie, Mary, David, and Tom still move close to the **
bars of their cells, waiting for what happens next. They
WHISPER to one another. **
TOM
His name's Collier Entragian. Been on **
the town force for about 12 years. I'm **
the vet round these parts-- took care
of Collie's dogs. Nice fella.
MARY
Oh, yeah, he's a real sweetheart.
TOM
'Til this, I mean. (beat) Tell you
something, though. (beat) He's
bigger.

PAS
 46.

ELLIE
What do you mean, he's bigger?
TOM
Bigger. Taller. Few inches, at least. **
RALPH
That's impossible.
TOM
I know.
We HEAR the DOOR downstairs BANG OPEN and Collie's prisoners **
go quiet in terror. SCUFFLING. Heavy FOOTSTEPS as Collie **
escorts Johnny up the STAIRS.
The DOOR is THROWN OPEN and Johnny FLIES across the room--
BATTERED FACE, CLOTTED HAIR, DAZED EXPRESSION.
Standing in the DOORWAY is a grinning, decomposing GORGON in **
a police uniform.
COLLIE
Look at us, would you? Just one big
happy family! Tak!

PAS
 47.

ACT FOUR

FADE IN:

EXT. HIGHWAY 50 - LATE DAY 52

The westering SUN glares on the WINDSHIELD of the RYDER VAN

as it approaches. Cynthia LEANS out the window almost to her
waist, her shirt flapping, her cherry hair flying.
CYNTHIA
I don't even know what I'm looking for!
STEVE
His bike, skid marks, anything out of
the-- whoa. Wait a minute.
The VAN swerves over to the shoulder.
CYNTHIA
What?
Steve points through the windshield .
. --..
ANGLE - THEIR P.o.v.
The CARVERS' RV, about a half-mile ahead.

RESUME STEVE AND CYNTHIA

STEVE
He said something about an RV.
He starts up the road again toward the RV, but slowly.
Cynthia, meanwhile, is back out the window to her waist.

EXT. THE DESERT - CYNTHIA'S P.O.V. - LATE DAY

Something WINKS in the SUN, half a mile EAST of their
position.

RESUME STEVE AND CYNTHIA

CYNTHIA
Hey!

STEVE
What is it?

PAS
 48.

CYNTHIA
Just a reflection, I guess. Go slow.

EXT. HIGHWAY 50 - THE CARVERS' RV - LATE DAY 53

The Ryder pulls up behind the RV. Steve and Cynthia GET OUT
and approach to DOOR, which still bangs back and forth in the
WIND. Steve PEERS inside. Cynthia spots the DOLL, which is
now mostly covered with sand.
STEVE
Hello? Anybody home?
CYNTHIA
Look.
(Steve looks)
This is some little girl's favorite.
See how the dress is patched? So why
did it get left in the sand?
STEVE
And how come all this thing's tires are

- flat? Not just one or two, but all of

them.
They look at each other, really scared.

EXT. DESPERATION - UP MAIN STREET - DAY 54

Another of the BICYCLES falls over in the strengthening WIND.
CORPSES grin as their flesh contracts and desiccates in the
heat.

INT. "JAIL AND SHERIFF 'S OFFICE - DAY 55

Johnny's been jugged with Mary, so from left to right, around

the three sides, are RALPH and ELLIE in one CELL, MARY and
JOHNNY in the DRUNK TANK, TOM in one CELL, and DAVID in one.
Collie SITS in the CHAIR he bludgeoned Mary with. His
PHYSICAL DEGENERATION has continued; BLOOD leaks profusely
through his decaying SKIN.
He fiddles with the MAG-CARD which unlocks the cells, and
points at each of his PRISONERS in turn.
COLLIE
Eenie-Meenie-Minie-Mo. Catch a tourist
by the toe.
(MORE)

PAS
 49.
COLLIE (cont'd)
Don't you scream, don't you shout, the
time has come to take ••• you .•• out!
He POINTS at Ellie. He rises and approaches her cell.
DAVID
Leave them alone!
Collie ignores him; he SWIPES the MAG-CARD through the slot
and the CELL DOOR bumps OPEN. Ralph and Ellie BACK AWAY,
Ralph putting an arm around his wife's WAIST.
RALPH
Haven't you done enough to our family?
COLLIE
In a word ••• no.
He draws his GUN and points it at Ralph.
COLLIE
You come out right now, hon, or this no-
chin pencil-neck pecker-checker gets it
right between the eyes.
Ellie steps out; Ralph tries to hold her back.
COLLIE
And the boy goes next.
Agonized, Ralph drops his hand and lets his wife go. What
can he do? Ellie speaks as if hypnotized.
ELLIE
I'll be all right.
COLLIE
That's right, hon. Fine as
fiddlesticks.
Collie SLAMS the DOOR SHUT and leads Ellie toward the off ice
door. She sees her terrified son watching and moves closer
to the slaughterhouse-of Collie's FACE, WHISPERING so David
won't hear.
ELLIE
If you want ••• that ••• take me where my
son won't have to see.
COLLIE
{stage-whispers)
Don't worry. I don't want that .•.
especially not from ••• you.

PAS
 so.

He pulls her toward the door to the stairs.

DAVID
Mom, no! Don't! Leave her alone, you
bastard! Leave my mother alone!
ELLIE
Don't worry, honey ••. I'll be back.
DAVID
No! Make him stop! Daddy, make him
stop!
Ralph looks up, impotent; he can't do a damned thing. Tears
leak from his purpling EYES. He backs to the bunk of his
cell and covers his face with his hands.
DAVID
If you hurt her, you'll be sorry.
COLLIE
Maybe ••• but I doubt it. (beat) You're
a little prayboy, aren't you? Yes, yes
you are. A little prayboy in a
baseball shirt. Do all the praying you
want, but don't expect it to·do you any
good. Your God isn't here, any more
than he was with Jesus when he was
dying on the cross with flies in his
eyes. Tak!
Ellie SCREAMS and tries to pull away from Collie, who holds
her fast.

A WOLF (or savage-looking WOLF MIX) comes to the head of the

STAIRS and stands looking up at Collie. Collie points to the
OFFICE.
COLLIE
Tak! Ah lah! Him en tow.
The WOLF goes to the middle of the floor and sits, panting.
COLLIE
You stick a hand or foot outside your
cell, and this guy'll have it off
before you know it's gone.
DAVID
Leave her alone. I'm warning you.

PAS
 51.

COLLIE 55
Son, I'll put a stick through your
mother and spin her until she catches
fire, if I so desire, and you'll not
stop me. And then I'll be back for
you.
Collie-- so scared-- pokes out a blood-soaked TONGUE and
LICKS up the side of Ellie's CHEEK. She CRINGES in
REVULSION. Grinning, Collie hauls her out the door and slams
it SHUT.

EXT. HIGHWAY 50 - THE DESERTED R.V. AND THE VAN - LATE DAY56
The WIND HOWLS. Steve's VAN is parked behind the RV.

INT. RV - LATE DAY 57

WIND rocks the RV. Steve flips down the driver's side SUN
VISOR. The REGISTRATION, made out to RALPH CARVER of
Went~orth, Ohio, is under a PLASTIC WINDOW.

There's a BIBLE wedged in the center console. Some BASEBALL

CARDS fall out of it. Steve puts them back in, sees they're
all signed "To David".
STEVE
There was a boy as well as a girl.
David Carver.
Cynthia walks up; in one hand she has a JEWELRY CADDY, in the
other, the DOLL.
STEVE
What have you got?
CYNTHIA
Jewelry. Earrings and a ring. Not
Tiffany, but not cheap. Not the kind
of stuff you'd leave behind unless you
were in a hurry.
Steve spots something else on the console: a MONEY CLIP in
the shape of a DOLLAR SIGN. Some BILLS folded in it: about
forty bucks.
CYNTHIA
It's time for the cops, isn't it?

PAS
 ) 52.

STEVE
I'm pretty sure the boss said he was
about a mile from this RV. So before
we go yelling for the cops .•.

EXT. HIGHWAY 50 - LA'I'E DAY 58

Steve walks slowly along the edge of the highway, iooking for
any sign of his boss. The WIND BOWLS and kicks SAND in his
face. The VAN rumbles slowly past, Cynthia at the wheel.
CYNTHIA
You're crazy!
Steve ignores her, searching •.. and he SPOTS something.
Cynthia LOOKS UP; something has caught her eye, too.

EXT. DESERT - CYNTHIA'S P.O.V. - LATE DAY

A FLASH of SUN, GLITTERING on something bright and SHINY.

RESUME HIGHWAY
In the background, the VAN pulls over to the shoulder of the
westbound lane, facing east. Cynthia climbs out.
In the foreground, Steve has found Johnny's PAD and PEN, and
pulls them out of the SAND and brushes them off.
STEVE
Cynthia!

He turns to see her making her way into the desert, as well
as the REFLECTION that caught her eye; _he JOGS after her.

EXT. DESERT - LATE DAY

He catches up to her, and she is looking down at something,
her face grave. Steve follows her gaze and sees:
Johnny's MOTORCYCLE HANDLEBAR. poking up out of the sand,
gleaming in the lowering sun.

Steve and Cynthia look at each other, big-eyed. Steve drops

to his knees and starts DIGGING. Cynthia joins in, and
uncovers Johnny's HELMET.

PAS
 53.

She pauses for a tense moment, afraid of what might be in it.

Steve pulls it out and pours the sand out of it.
SOUND: a COYOTE HOWL .•. then a SECOND ••• and a THIRD ••.
They're getting freaked out.

EXT. OUTSIDE WALL OF CHINA PIT MINE - LATE DAY 59

Collie's CRUISER speeds along the well-kept dirt road up to

the top, leaving a rooster-tail of dust behind it as it
passes abandoned ROAD and MINING EQUIPMENT.
The SHADOWS LENGTHEN as the SUN is REDDENING, almost SUNSET.

INT. THE CRUISER - WITH COLLIE AND ELLIE - LATE DAY 60

Ellie is in the back, and she's terrified out of her mind.

ELLIE
Why are you taking me here?
..-... Collie makes no reply. The cruiser reaches the top and
STOPS.

EXT. CRUISER AND CHINA PIT MINE - LATE DAY 61

The CAMERA PULLS UP high and wide to REVEAL the vast CHINA
PIT. It drops about 1,000 feet in benched LAYERS. At the
bottom, barely visible, are a couple of CORRUGATED TIN
SHACKS, one large and one small, plus more MINING EQUIPMENT.
Scattered up the sides are BLAST-HOLES. One near the bottom
is much bigger than the rest. It is, in fact, -the newly
uncovered MOUTH of the CHINA SHAFT.
It's a magnificent SHOT, the cruiser dwarfed to toy-size on
the lip of the PIT. China is DESERTED and swarms with
SHADOWS. DUST from the rising STORM blows in skeins. The
SUN is a BALL of FURNACE-FIRE on the HORIZON.

RESUME POLICE CAR 62

COLLIE
It's beautiful, isn't it? Can tah in
can tak. Ah lah!
His FACE is DESTROYED, hardly even a face anymore.

PAS
~. ·.
 54.

ELLIE
Oh, God, please don't kill me.
COLLIE
Sshhh. Just ••• sshhh.
He puts the car in gear and starts down the road leading into
the PIT.

EXT. SHOULDER OF HIGHWAY 50 - RYDER VAN - LATE DAY 63

Steve and Cynthia inside; Steve is on the MOBILE PHONE, but

there's no signal at all.
Steve throws the phone on the dashboard.
STEVE
Now what?
CYNTHIA
(looking at a map)
There's a town not too far east of
here ..• Desperation. They got some
cute names out here, don't they?
STEVE
I don't care about the name. All I
care is that they have at least one
working phone. And maybe one working
cop.
CYNTHIA
Wouldn't that be nice?
The VAN pulls out onto Route 50 in the BLOWING SAND.

INT. DAVID'S JAIL CELL - LATE. DAY 64

David is on his knees, praying, deep in another reality. He
HEARS a strange, rhythmic, CHUFFING sound, and RAISES his
HEAD and OPENS his EYES.
The JAIL around him is entirely EMPTY. Everyone is GONE from
their cells.
Well, not exactly empty: he STANDS as he listens to the odd,
rhythmic SOUND, and a SHADOW starts to reach across the
floor, between the bars, and over his body. A little VOICE
begins a sing-song CHANT •.

PAS
 55.

PIE (O.S.)
Mother Mary, what's the story, save my
soul from Purgatory.
His little sister, PIE CARVER, JUMPS ROPE BACKWARDS and in
SLOW MOTION into the center of the floor, smiling at him.
She's in school clothes: plaid jumpe~, pink blouse, black
shoes, her HAIR in long, flying BRAIDS.

In the corner behind her, BRIAN'S BIKE, mangled and bloody,

is upside-down, its bent FRONT WHEEL squeaking painfully.
DAVID
Pie •••
On the BRICK WALL, written in JAGGED RED LETTERS: REDRUM.
Below it, in the same letters, DOG.
DAVID
Murder •.• God. That's what it really
says. Murder God.
On the opposite wall in JAGGED PINK CHALK: TAK IS GOD. Pie
stops jumping rope and looks gravely at David.
DAVID
(tearing up)
Pie, I'm sorry he killed you.
PIE
Never mind. I have something for you.
She reaches into her pocket and holds out a box of IRISH
SPRING SOAP.
COLLIE (O.S.}
Tak ah lah! Mi him en tow! Tak!

INT. DAVID'S CELL - LATE DAY 65

Collie's VOICE jolts him, and his EYES shoot OPEN in alarm.
Ee TURNS and Collie is RIGHT THERE, his FACE running with
BLOOD, his TEETH SNAPPING.
COLLIE
Tak! Murder your God! Tak!

INCLUDE DAVID
He dozed off praying; his EYES snap OPEN.

PAS
 56.

WIDER ANGLE 66 **
No one there, of course: no Pie, no Collie. David STANDS.
Across the room, Ralph lies face-down on his bunk. Mary
sits, head bent. Johnny is trying to look through the
frosted, barred windows without success.
PIE (V.O.)
David.
He REACTS, turns.
At the rear of the CELL, there's a TOILET and rusty
WASHBASIN. Beside it, a BAR of IRISH SPRING SOAP in a tin
tray. It seems to GLOW BRIGHTER than the rest of the
darkening cell.
David looks almost as if he's in a trance. He crosses to the
basin and stands there for a moment. He turns on the FAUCET,
pauses, and takes off his SHIRT.
He SITS on his BUNK and takes off his SNEAKS.
MARY
David? Are you okay?
DAVID
Could you, um, please turn around?
This.is a little embarrassing.
Mary looks at him with ala.rm. He's caught Johnny's
attention, too •.• and Tom's.

MARY
Whatever you've got in mind, David, I
don't think it can be a good idea.
DAVID
It's the only idea.
JOHNNY
Who says so, son?
DAVID
My sister. (beat) God.
He sees Mary isn't going to turn around. With a blush, he
takes off his jeans a makes a pile of his clothes.
MARY
You want to stop this before your son
does something he regrets!

PAS
 57.

Ralph can't answer. He's a man who has been run over by
events, too shocked to keep up.
JOHNNY
Son ••• David. You don't need to do it.
~he cop's bleeding out. He can't last
much longer.
DAVID
It won't take him long to kill my mom
if he decides to.
He slides his CLOTHES through the BARS, which look too close
for even a slim boy to wriggle through. The mangy WOLF gets
to its feet, staring at David and GROWLING.
Ralph gets to his feet and looks at David with growing ALARM.
RALPH
David! I don't know what you're
planning, but I forbid it!
DAVID
Sorry, Dad.
David goes to the BASIN, grabs the SOAP, and sticks his HANDS
under the TAP. There's only COLD, but that doesn't stop him.
JOHNNY
Don't do it. You'll get stuck.
TOM
Even if you get through, that thing'll
eat you from the feet up.
David pays no attention. His eyes are closed as he soaps
himself, covering his head and body with a thick, green
LATHER. His COMPLEXION takes on a GHOSTLY GREEN IRISH SPRING
GLOW.
We can barely hear him whisper to himself:
DAVID
Lord, close its mouth the way You
closed the mouths of the lions when
Daniel was cast into their den.
Please, Lord. Amen.
RALPH
David, no! Stop it! Stop itJ
David goes to the BARS and measures the GAP between them with
his eyes. It's about 5 INCHES.

PAS
 58.

The WOLF is on its feet, GROWLING. The other PRISONERS are

all at the bars of their cells, staring at David, horrified
as he prepares to make his escape.
MARY
Make him stop! Can't you make him
stop?
David takes a deep breath and a silent final prayer, then
thrusts his feet and legs through the gap in the bars.
The Wolf starts toward David's LEGS: dinner is served.
MARY·
Get away from him, you ugly bastard!
She pulls a handful of CHANGE, KEYS, a LIPSTICK out of her
POCKET and HURLS it across the room. The Wolf WHIRLS,
distracted by the CLATTERING SOUND.
TOM
Hi-yi-yi-yi-yi! Hey, hi-yi-yi-yi-yi!

The Wolf turns to Ralph, who jumps up and down behind his
cell door, frantic with terror-- and then turns back to
David.
David SLIDES his hips and belly out, then exhales all his
breath so he can squeeze through the gap.
The Wolf is about to latch onto David's FOOT when Johnny
yanks free the BELT of his MOTORCYCLE JACKET. He SLAPS it
down on the Wolf's hindquarters. It YIPS, whirls, grabs the
belt, and SNATCHES it out of Johnny's hands.
David, meanwhile, has gotten everything out but his HEAD.
He's STUCK there, the BARS pushing cruelly at his TEMPLES.
Like a baby that can't quite be born.
TOM
He's stuck at the head. Oh, Christ.
RALPH
Push, son! Push!!!

David tries, but he's really hung up. The Wolf turns to him.
Johnny CASTS his MOTORCYCLE JACKET out through the bars,
holding tight to one arm.
JOHNNY
Come on, Rover. Bring it on.

PAS
 59.

The Wolf GRABS the JACKET and tries to RIP it free. Johnny
is yanked into the BARS, which starts his FACE BLEEDING
again. He almost loses the jacket, but Mary grabs hold, too.
They play the Wolf like a fish.
Stuff from Johnny's POCKETS-- including his MOBILE PHONE--
sprays all over the office. The jacket starts to RIP. .
RALPH
Now, David, now!
Johnny PULLS with all his might. The Wolf SKIDS across the
floor and BONI<S against the bars of the drunk-tank. Mary
SCREAMS and pulls back as it snaps at her jeans, but Johnny
HOLDS ON.
JOHNNY
How'd that feel, sweetheart? God, I'd
love to be around to see you crapping
zippers by the light of the moon.
MARY
Hurry up, David, hurry upJ
d'

....-. David TWISTS his NECK and PUSHES with all his might. His
head actually SQUEEZES at the TEMPLES. For a moment, the
issue is in doubt ••• but then he POPS THROUGH. An authentic
MIRACLE before our eyes.
David sweeps his clothes into his arms, gets to his feet,
then STAGGERS and almost falls.
Dazed, BLEEDING from the EARS, David looks up at Johnny, who
still plays the Wolf like a prize marlin. The JACKET is
RIPPED almost all the way through.
JOHNNY
Get out, David! Now!
David totters toward the door.
MARY
Call the police! The state police!
You understand?
As David OPENS the DOOR to the stairway, the JACKET tears in
two, spilling the Wolf back in a sprawl.
JOHNNY
Do you know how much that thing cost?
The Wolf spies David and CHARGES!

PAS
 60.

Mary SCREAMS, and David manages to MAKE it through and shut

the door just before the Wolf can dash through it. It
strikes the wood and rebounds.

INT. THE STAIRWELL - WITH DAVID - SUNSET 67

It's dark, gloomy, and he's afraid, terrified. Who wouldn't

be? He's 12 years old, nearly naked. Holding his CLOTHES to
his soap-caked CHEST, he CLOSES his EYES and WHISPERS.
DAVID
Please take care of my mom and help me
do what I'm supposed to.
And he heads down the throat of the stairway •••

PAS
 61.

ACT FIVE

EXT. DESPERATION CORP. HEADQUARTERS - SUNSET 68

The PARKING LOT contains the same PICKUPS and 4-WHEEL DRIVES
we saw earlier. To the right is the RUSTY QUONSET HUT. In
the background, the SUN sits on the saw-toothed western HILLS
like a big, red tomato.
Dust flies in ever-thickening veils. There is a steady TINK-
TINK-TINK SOUND: a LANYARD CLIP hitting against the FLAGPOLE.
Steve's RYDER TRUCK PULLS IN and parks near the OFFICE DOOR.
STEVE
Wait.
He opens the GLOVE COMPARTMENT and paws through it, finds a
couple of bandannas. They tie the bandannas over their
mouths and noses and exit the truck.
Steve and Cynthia arrive at the door to the Quonset, clothes
and bandannas rippling in the rough"' WIND. Cynthia taps the
sign on the door, amused. It reads: IF WE'RE OPEN, WE'RE
OPEN. IF WE' RE CLOSED, Y'ALL COME BACK.

Steve rolls his eyes and tries the door. It's UNLOCKED, and
he ushers her in with an exaggerated BOW.

INT. OFFICE OF THE DESPERATION MINING CORP. - SUNSET 69

The decor is combination Kmart and double-wide trailer, but

Steve and Cynthia are just glad to be out of the wind.
In the waiting area are a battered COUCH and CHAIRS, a COFFEE
TABLE with lots of old MAGAZINES (Popular Mechanics, Modern
Mining, Guns and Ammo). on the walls, lots of views of the
CHINA PIT.
A HALLWAY runs the length of the Quonset. Office doors,
industrial strength carpet. A big OPEN SPACE at the far END,
lit with FLUORESCENTS. Echoing COUNTRY MUSIC, broken by
BURSTS of RADIO STATIC, plays from down there.
To their left is a cluttered SECRETARY'S DESK. They pull
down their bandannas.
CYNTHIA
Hello? Anybody home?

PAS
 62.

Steve circles the desk. A FRAMED PICTURE shows a handsome

black man, his wife, and two cute little African-American
cowpokes. He spots the CUSHION on the CHAIR and picks it up
to show Cynthia: crocheted on it is PARK YER ASS.
CYNTHIA
Tasteful. Operators are standing by.
(calls out}
Hello, is anybody there?
Steve picks up the PHONE. Listens. Puts it down.
STEVE
Dead. Must be the--
BANG! Something suddenly HITS the building!
Cynthia RUNS for the door, but Steve GRABS her.
STEVE
There were trash cans lined up against
the wall. The wind just knocked one
over, that's all.
CYNTHIA
I don't care.
We need to get out of
here. This place is empty, and it
gives me the creeps.
STEVE
All.those trucks out there ••.
CYNTHIA
Where is everybody?
They stand there, LISTENING to the Quonset CREAKING in the
WIND like the hull of a submarine under pressure. It's
getting creepier.
STEVE
We still ought to--
CYNTHIA
I know. Just tell me we're gonna be
laughing at each other and feeling
stupid in a few seconds, okay?
STEVE
In a few seconds--
CYNTHIA
Good enough. Let's see what we see.

PAS
 63.

They start down the dark, intimidating HALLWAY, holding

hands, Steve leading. Another SOUND:
CYNTHIA
Did you hear that? Sounds like a kid
blowing bubbles through a straw •••
STEVE
(as Dudley Do-Right)
Do not worry, Little Nell, for I shall
protect you!
CYNTHIA
Dork.
He reaches out and lays his hand on the KNOB of the first
door they come to, then carefully opens the door.

INT. OFFICE - STEVE AND CYNTHIA'S P.O.V. - SUNSET 70

An EXECUTIVE'S OFFICE. Real wood panelling, expensive

carpet. Some impressive PICTURES of the CHINA PIT on the
walls. On the far side of the room: an AQUARIUM. ~IGERS and
GOLDFISH swim lazily back and forth.

INCLUDE STEVE AND CYNTHIA

An expression of horror creeps over Cynthia's face.

STEVE
Just an aquarium •••
CYNTHIA
No, look.

ANGLE - FROM BEHIND THE GLASS AQUARIUM

Fish swim in f .g. as Steve and Cynthia slowly approach; this
time she's leading the-way.
STEVE
What?
The CAMERA SETTLES on it just as she shows him.
CYNTHIA
Next to the castle. It's a hand.
A HUMAN HAND lies in the sand. A BLACKIE swims between two
of the fingers.

PAS
 64.

ANGLE ON STEVE AND CYNTHIA

CYNTHIA
Jesus, what happened here?

INT. MUNICIPAL BUILDING - FOOT OF THE STAIRS - TWILIGHT 71

David is dressed now, and moves his sister's BODY against the
WALL and covers it with a COP'S ATHLETIC LEAGUE JACKET from
the COAT-TREE. He KNEELS over her and turns back the coat to
reveal her cheek and one of her braids.
David strokes her BRAID, and kisses her CHEEK.
DAVID
I love you, Pie •.•
He covers her and goes to the DOUBLE DOORS and looks outside.

EXT. MAIN STREET - DAVID'S P.o.v. - TWILIGHT 72·

Blowing DUST and TUMBLEWEEDS make it eerie. But eerier

still: a gaggle of BUZZARDS and CROWS and ratty-looking WILD
DOGS and COYOTES are gathering across the street.

RESUME DAVID 73
He gapes at the impossible sight. It can't be, but it is.
He turns, heads to the door marked TOWN SERVICES, and ENTERS.

INT. TOWN SERVICES OFFICE - TWILIGHT 74

He GROPES in the DARKNESS for the LIGHT SWITCH and finds it.
Old-fashioned HANGING GLOBES go ON.
There's a long counter with TELLERS' WINDOWS; this was a bank
in the boomtown days. -- One WINDOW is marked TAX CLERK,
another FEDERAL LAND USE, etc. Written on the WALL behind
them in jagged RED LETTERS that could be PAINT or BLOOD:
IN THESE SILENCES SOMETHING MAY RISE.

Scared but determined, David crosses the room. In the b.g.

Is a wall lined with a HALF DOZEN COATHOOKS. A DEAD BODY
HANGS on each of them. Some have been SHOT, some have had

--·
their THROATS CUT, and they STARE at David with GLAZED EYES.

PAS
 65.

At first he doesn't see them; then the WIND throws something

against the WALL and he TURNS to see his AUDIENCE of CORPSES.
Fear becomes FROZEN TERROR. He SCREAMS, but NOTHING COMES
OUT.
Little by little, he takes control of himself. Closes his
eyes. Prays.
DAVID
Please help me not to freak •••
He opens his eyes. The CORPSES stare back at him. He takes
a deep breath; he can take it now ..• if just barely. He
moves cautiously on, taking a peek every now and then at the
BODIES to make sure they're not climbing down off their HOOKS
to get him.
To his left are TWO DOORS with FROSTED GLASS PANELS: FIRE
CHIEF and LAW ENFORCEMENT. He walks toward the second,
passing the TOWN SAFE: an ornate, gilded, scrolled safe out
of an old Western movie. MONEY and PAPERS are scattered in
front of it.
David OPENS the LAW ENFORCEMENT OFFICE.

INT. LAW ENFORCEMENT OFFICE - TWILIGHT 75

Again, he FEELS for the LIGHT-SWITCH and flips it ON. Again,

his FACE FREEZES WITH HORROR, and he has to struggle not to
run.
A MAN in a KHAKI UNIFORM sits DEAD in his OFFICE CHAIR, he
HEAD thrown back as if waiting for a shave in a BARBER'S
CHAIR. TWO BALLPOINT PENS jut from his EYES.
Steadying himself, David carefully approaches the CORPSE,
every step a.superhuman effort.
There is a PHONE on the DESK, and David picks it up. He BOPS
the CUTOFF BUTTON.
DEAD. He drops it back in the CRADLE, as he notices the
REVOLVER on the DEAD COP'S hip. Gingerly, fighting his
terror, David unsnaps the holster and struggles with the GUN.
The chair overbalances and the COP'S CORPSE tumbles sprawling
on the floor. The corpse BELCHES and David SCREAMS.
He girds his courage before the grotesque corpse before him
and KNEELS beside the body. He wrestles the REVOLvER free,
rolls the cylinder, and sees it's LOADED. Scared but
determined, he snaps it back into place and stands up.

PAS
 66.

INT. QUONSET HUT - LAB AND ASSAY OFFICE DOORWAY - TWILIGHT76

Steve and Cynthia stand in the doorway at the far end of the
Quonset hut. The MUSIC is much LOUDER now, punctuated by
bursts of STATIC.
Their stunned, horrified FACES are lit with BRIGHT WHITE
LIGHT. When Cynthia finally turns to Steve, tears trickle
from her eyes. She grips his HAND.
STEVE
Whatever happened here, it's over.

INT. LAB AND ASSAY OFFICE - TWILIGHT 77

TUBE FLUORESCENTS overhead. Aisles of WORKBENCHES and
COMPUTER STATIONS . WOODEN TABLES with ROCK SAMPLES, and
DANDUX LAUNDRY BASKETS containing more samples.
At the far end of the room is a GARAGE DOOR with an ATV
parked facing out •
.--, On the wall is a SIGN: YOU MUST WEAR A HARDHAT MSHA
REGULATIONS NO EXCUSES. All the HARDHATS are on the floor.
Hung from the hooks like cuts of beef are a DOZEN BODIES. A
few more have been heaped in the corner. Like those in the
Town Office, some have been SHOT, some SLICED, and a few
lucky winners have even been GUTTED.
Steve approaches them as if hypnotized. Halfway down the
center aisle, he STOPS. Screen-saver programs dance on the
computer faces.
·STEVE
The blood'~ dry. It's gone brown--
CYNTHIA
I don't care! I want to get out of
here!
STEVE
Okay. • • yeah, we--
As he turns to her, something catches his eye: a crumbly
STONE STATUE of a WOLF. It looks incredibly MALEVOLENT.
Protruding from its snarling MOUTH is a SNAKE. Beside it a
note: Hey, Jim! What the hell is this? Any idea? Barbie.
As Steve reaches for it, hypnotized by its ugliness and
power, and perhaps something more, Cynthia grabs his arm.

PAS
 67.

CYNTHIA
What's the matter with you? You think
this is Anthropology 101? I-- whoa.
What is it?
Now that she's really seen it, she's hypnotized, too. She
reaches out and TOUCHES it ••• and SIGHS. A SEXY SIGH. She
looks up at Steve ••• smiles ••• and moves closer to him.
Even the MUSIC on the RADIO is getting sexier. The IMAGES
are SLOWING way down.
Steve reaches out and places his finger on the STONE WOLF
next to hers. He slides his other hand to her HIP and pulls
her to him. This happens gradually, but very, very
sensually. Steve's EYES are HAZY.
He turns to her and she looks at him through the same purple
haze with ready-for-anything EYES.
STEVE
What?
CYNTHIA
I don't know. Whatever •••
She offers up her neck like LUCY WESTENRA in DRACULA. Steve
bends his face to her pulsing, vulnerable neck. Their HEARTS
are beating heavily in sync, and their FLESH SHEENED with a
newly forming layer of PERSPIRATION .•• when suddenly:
All of the COMPUTER SCREENS FLASH AND BLOW OUT! The RADIO
emits a BLAST of STATIC and DIES, and a SHUDDER shakes the
building. TWO of the rock-filled BASKETS go rolling down the
aisles.
Steve and Cynthia STEP BACK, ·startled, and when their fingers
lose contact with the CAN TAH, Steve realizes he's cupping
one cheek of Cynthia's ass. He lets go, the SPELL BROKEN,
and they both come back home.
C-YNTHIA
Jesus Christ, I think I just-- (beat)
STEVE
What?
CYNTHIA
(blushing)
Never mind. Look at its tongue. It's
a snake.

PAS
 68.

STEVE
Did ••• did that thing do all this?
CYNTHIA
I don't know and I don't care. I just
want to get out of here. Come on.
Steve reaches for the STONE WOLF, meaning to take it with
them. Cynthia grabs his hand before he can touch it.
CYNTHIA
No way!
A beat between them before he leads her to the HALLWAY,
leaving the CAN TAB behind. The HANGING CORPSES watch them
go.

INSERT - THE STONE WOLF

Snarling at us and poking out its filthy SNAKE TONGUE.

INT. JAIL - NIGHT 78

Ralph stands at the BARS of his CELL, still nervous and
tense, but everyone else is seated.
The Wolf, lying down and chewing on the littered remains of
Johnny's JACKET, HEARS the ASCENDING FOOTSTEPS on the STAIRS
before the others. It gets to its FEET, growling, and FACES
the DOOR.
Mary goes to the bars of the drunk-tank and Johnny stands up
beside her. He's hopeful, but Ralph is terrified.
The STEPS stop outside the DOOR. The-Coyote keeps GROWLING.
RALPH
David! Son, if that's you, don't come
in! That thing's right in front of the
door!
DAVID ( 0. S • )
How close?
JOHNNY
Probably about 5 feet. And pointed
right at the sound of your voice.
DAVID (O.S.)
I've got a gun. I'm going to shoot it.

PAS
 69.

RALPH
David, no! Don't even think about it!

INT. THE LANDING OUTSIDE THE DOOR - NIGHT 79

David KNEELS, takes the GUN in BOTH HANDS, and POINTS it.
DAVID
I think you all better get under your
bunks.
JOHNNY (O.S.)
Have you ever fired a gun before, kid?
DAVID
Not a real one.

RESUME JAIL BO
JOHNNY
Jesus wept.
He gets under one of the bunks. Tom has already done the
same.
RALPH
You don't even know if that gun's
loaded! Or if it has a safety!

RESUME LANDING Bl
A safety! Never thought of that! Now he does, and it's ON.
He FLICKS it the other way, and verifies that the HAMMER
moves when he SQUEEZES the TRIGGER a little. _
DAVID
I have to. I tried the phones; they're
dead.

**

·-,

PAS
 70.

RESUME JAIL 82
The Wolf has gone down on its haunches to leap. It GROWLS
louder. Ralph is terrified for his son. Mary gets under her
bunk.
MARY
Count to five, David. So we'll know.
RALPH
You're going to get my son killed!
JOHNNY
What do you think's going to happen to
us if Big Daddy comes back?
DAVID (O.S.)
one .•• get down, Dad. Please.
TOM
Be ready to shoot up! Do you hear me?
He's gonna jump, you understand?
DAVID {O.S.)
I understand. Is my·oad under cover?
Resigned, but terrified for his boy, Ralph sags. He knows
they have no choice. He slides under his bunk. David is the
last member of the family he has left.
RALPH
I'm okay. Be careful, David!

TOM
And shoot up! Remember it's gonna
jump.

DAVID
Okay. TWo ••• three •••

INT. LANDING AND SHERIFF'S OFFICE - NIGHT 83

DAVID
Four ••. five.
He THROWS the DOOR OPEN. Beyond it we see the OFFICE, the
desk, and the CHARGING WOLF! It LEAPS at David, snarling,
filling the screen.

PAS
 71.

David FIRES TWICE. BLOOD is FLUNG from the critter's hide as

it FALLS on David, knocking him onto the stairs with a GRuNT
and a CRY.
The prisoners are out from under their bunks in a flash, but 84**
Ralph is first, pressed up against the bars of his cell door,
his face twisted in anguish for his son.
RALPH
David! Davidl
TOM
You okay, son?
RALPH
(weeping)
Please, David-- answer me!
But the HULK of the WOLF and the BODY beneath it are still .••

PAS
 72.

ACT SIX

INT. LANDING AND JAIL - NIGHT 85

The PRISONERS are all at the BARS of their CELLS, horrified.

The pile of BOY and WOLF at the top of the STAIRS is STILL,
save for the twitching WOLF in its DEATH THROES as it pumps
dying BLOOD out onto David, who is HIDDEN beneath it, except
for an arm and a leg.
RALPH
David! David!

The Wolf starts to MOVE!

Under the shaggy FUR and BLOOD, David mightily SHOVES the **
Wolf's CORPSE aside and sits up, dazed and blood-spattered .••
but alive. He gets shakily to his feet and comes through the
door.
He SHIVERS, barely able to maintain.
DAVID
I got it.
(begins to cry)
It ••• twitched •.. it was horrible •••
RALPH
(barely able to keep
control)
You did a good job, son.

JOHNNY
An amazing job. What about a key?
(David shakes his head)
Try the desk.

David, still shaken and shaking, goes to the desk and tries
the drawers. Locked. He points the GUN at it, anticipating
the BANG with a child~s GRIMACE. The others cover their
ears.
BANG! He blows the LOCK out, opens the drawer, and holds up
a MAG-CARD.
JOHNNY
He shoots, he scores!
David crosses to his father's cell and swipes the card.
NOTHING.

PAS
 73.

RALPH
Other way, David.
He turns it, and this time the door OPENS. His father pushes
out, wraps David in his arms and covers him in KISSES.
RALPH
I was so afraid for you, son •..
DAVID
(crying)
Seeing Pie was the hardest. I covered
her up with a jacket, and I kissed h-h-
h--
David LOSES IT, putting his face against Ralph's SHOULDER and
crying like a small child. Ralph strokes his back.
RALPH
You did the best you could, David. I
know that, and I bet Pie does, too.
David's EYES are glossy, starting to brim. **
DAVID **
I •.• I'm scared for Mom •.• **
Ralph looks at him for a beat, then breaks his gaze and looks **
at the FLOOR. **
JOHNNY
Listen, I don't want to rush you, but
the sooner we're out of here--
Ralph puts David down and crosses the room, unlocking the
other cells.
JOHNNY
Are there more guns, David?
DAVID
I don't know. Listen, it's not just
Pie. I think he killed everybody.
TOM
I know where there's some guns.
MARY
Where can we go in this storm?
TOM
Maybe I know that, too, ma'am.

PAS
 74.

EXT. MAIN STREET - WITH THE RYDER TRUCK - NIGHT 86

On the outskirts of beautiful downtown Desperation. SAND

FLIES in stinging sheets~ the storm is fully engaged. Eerie,.
dark, desolate, foreboding. Steve carefully maneuvers
through.
CYNTHIA
Where is everybody?
STEVE
Look, lights. And where there's
lights, there's phones.
The VAN rolls into the center of town, beneath the flashing
yellow BLINKER, and pulls up in front of WORRELL'S DESERT
MARKET. As it does, at the very limit of the truck's
HEADLIGHTS, a COYOTE runs across the street.
Cynthia CLUTCHES his ARM.
CYNTHIA
What was that?
STEVE
Wait here in the truck.
CYNTHIA
Yeah, right. ·Eat me, said the cake to
Alice.
And she opens her door.

They climb out of the truck and are ROCKED by the force of
the STORM. Steve has to put an arm around her just to keep
her standing. The pull their bandannas up into place.
CYNTHIA
What's that?
In the street, illuminated by the WHITE FLUORESCENT LIGHT
from the MARKET, are long SKID MARKS and a SPLASH of BLOOD.
Steve shakes his head, then turns her in the direction of the
MARKET. They head that way.

EXT. WORRELL'S MARKET - NIGHT 87

Steve peers in. It's your typical sells-everything country

market. There are FOUR ROWS, TWO CASH REGISTERS at the right
in front, and a MEAT COUNTER in the back.

PAS
 75.

Everything's LIT UP, and it all looks okay .•. but like the
Carvers' RV looked okay. Deserted, in other words. Spooky.
He OPENS the DOOR and a BELL TINKLES overhead. They take a
couple of DEEP BREATHS and he leads her in.

INT. WORRELL'S MARKET - NIGHT 88

CYNTHIA
(pulls down her bandanna)
Hot in here. The air conditioning's
off. And it smells funny.
(raises her voice)
Hello? Anybody here?
Steve grabs her arm, instinctively wanting to quiet her. She
gives him an impatient look and shakes him off.
CYNTHIA
If we don't want to find anybody, then
why'd we come in?
She steps into Aisle 2 and walks a little way up. Now Steve
is the one who must follow or be left alone.
CYNTHIA
Hey, you guys ! Anybody home?
Steve tries to grab her again, but she shakes him. Walks up
the aisle. Beyond is the MEAT COUNTER, backed by WINDOWS so
you can watch the butcher at work. But not now.
CYNTHIA
Hey! Hey, Steve, there's someone
there!
She hurries to the top of the aisle. Behind the meat counter
glass, a WOMAN in BLOOD-STAINED BUTCHERS' WHITES sits on a
STOOL with her head dropped and her HAIR hanging in her face.
SOUND: FAINT RATTLING.
CYNTHIA
Hey! Hey, ma'am!
STEVE
She's dead.
CYNTHIA
She's not! I can see her head moving!
Yes. The woman on the stool is raising her HEAD as if in
response to Cynthia's VOICE.

PAS
 76.

Her HAIR falls back, revealing her CUT THROAT. Oozing out of
her WHITE COAT and pushing up her head with its own SCALY
HEAD is a HUGE RATTLESNAKE.
It reminds us of the CAN TAH in the mining office that raised **
their temperature earlier: the little stone statue of the **
WOLF with the SNAKE coming out of its mouth. **
SOUND: RATTLING, louder. Not from behind the glass.

Cynthia SCREAMS. Steve grabs her. We hear more and louder

RATTLING. They both look down at:

ANGLE ON MEAT CASE

SIX RATTLERS are CRAWLING all over the cut MEAT.

RESUME STEVE AND CYNTHIA

The SNAKE behind the GLASS is crawling on the dead woman's
FACE, flicking its tongue at her glazed EYES. Cynthia has
had enough. She breaks Steve's grip and BOLTS.
-. Cynthia!
~

STEVE
Wait!
Cynthia RUNS and TRIPS and GOES SPRAWLING. She turns to see
what she fell over and comes face to face with a DEAD MAN.
There are TIRE-TREADS on his shirt.
She SHRIEKS and Steve rushes for her. **
A PHONE dangles over her head, DEAD as the corpse beneath **
her. **
As she SCRAMBLES to her feet, Steve grabs the phone, hears **
it's dead, throws it angrily aside. **
He grabs Cynthia tight, and she tries to run them out the **
checkout aisle. Steve stops her. **
STEVE
Wait! **
**
He draws back, looks down--· **

ANGLE ON FLOOR - THEIR P.o.v. **

The CHECKOUT GIRL is lying there. There's a BULLET-HOLE in
her HEAD. DADDY LONG-LEGS SPIDERS and a TARANTULA or two
scurry all over her. **

PAS
 77.

RESUME STEVE AND CYNTHIA

Cynthia gets hysterical. She rips free of Steve and pelts
for the door. He follows. **
STEVE
Cynthia! Cynthia, wait!

EXT. WORRELL'S MARKET - NIGHT 89

Cynthia BURSTS OUT. A fuzzy, feathery SHAPE FLIES at her,
WINGS WHIRRING.
She SCREAMS and FLAILS at it-- it's a BUZZARD. She GRABS it
by the NECK and TWISTS as Steve comes out of the store behind
her. The BUZZARD drops to· the concrete step, DEAD.
Steve puts his hand on her shoulder. She freaks at his touch
and bolts for the truck.
HANDS suddenly reach out from the dark and GRAB her!
~

She SCREAMS again, FLAILING at the DARK FIGURE.

VOICE
Stop it! Stop it, girl! Stop--
STEVE
Boss, is that you?
The Figure looks up, and yes-- it's Johnny. Cynthia relaxes
a little.

CYNTHIA
The guy with the rock'n'roll hair. You
scared the crap out of me.
Others emerge from the dark now: Ralph and David, Mary, and
Tom Billingsley. They are armed with GUNS they found in the
Law Enforcement Office.
Steve grabs Johnny.
STEVE
Man, we thought you were dead! we
found your Harley buried in the sand,
and ••• boss, what happened to your
face?

PAS
 78.

RALPH
The same thing that happened to mine.
The cop happened.
CYNTHIA
The market ••• it's full of ••• things.
DAVID
It's not just the market.
JOHNNY
Never mind that ••• we've got some
wheels, let's get out of here.
We HEAR a HIGH-POWERED MOTOR approaching.
MARY
What's that?
TOM
It's Collie. He's comin' back. We
have to get off the street. And we
have to get this truck off ~the street,
too.
STEVE
Run for the highway?
TOM
Son, we'd never make it.
Steve looks into the old vet's eyes and believes what .he sees
there. He turns to the RYDER TRUCK, looking toward the SOUND
of the APPROACHING CRUISER as he ROLLS UP the BACK DOOR.
STEVE
Come on. Hurry up.
(to Tom)
.You know where we're going?
(Tom nods)
Then you're up front with me.

EXT. MAIN STREET - LONG ANGLE - NIGHT 90

In the far distance, we see the Ryder U-TURNING so that the

HEADLIGHTS shine in our eyes.
In the f.g. is the MARQUEE of the CHINESE THEATER. The VAN
rumbles toward us through the STORM, then turns left, into
the ALLEY between the CHINESE and the abandoned DEPARTMENT
.-.\ STORE next to it •

PAS
 79.

INT. CAB OF THE RYDER TRUCK - NIGHT 91

Steve is behind the wheel; Tom's in the middle, David in

Cynthia's lap in the SHOTGUN SEAT. David peers into the
outside REARVIEW MIRROR as they RUMBLE down the alley.
DAVID
I think we beat him. If it was him.
TOM
Oh, it was him.
STEVE
Tell me, David. Do you think
Cleveland's ever gonna win the Series?
David stares at him, amazed ••• then smiles a smile that
lights up the screen.
DAVID
You found our camper.
(Steve smiles at him)
Just as long as I get to see them p1ay
again •••
CYNTHIA
(to Tom)
Do you know a way into this place?
TOM
Oh yes, ma' am. That I do. ·

EXT. REAR OF THE CHINESE THEATER - NIGHT 92

A weedy, trash-littered square of WASTE GROUND just big
enough for the Ryder to pull in and park.

EXT. FRONT OF MUNICIPAL BUILDING - LOW ANGLE - NIGHT 93

The CRUISER approaches like a hungry shark, pulling up so
close to CAMERA we can see the PEBBLES caught in the TIRE-
TREADS.
The CAMERA SLIDES right past as the DRIVER'S DOOR OPENS. The
FEET that emerged aren't in Collie's BOOTS, but in SNEAKERS,
the TOES cut out to accommodate feet now too big for the
sneaks. The TOENAILS are PAINTED RED.
We FOLLOW the FEET and JEANS that are SPLIT up the side for
LEGS which are also·too big to fit.

PAS
 BO.

TAK goes up the STEPS to the DOUBLE DOORS.

INT. LOOKING DOWN THE MUNICIPAL BUILDING STAIRCASE - NIGHT94 **

In the foreground is the DEAD WOLF, lying on the STAIRS,
illuminated by the door to the jail, which stands OPEN. At
the bottom of the stairs, TAK is just a BIG SILHOUETTE.
It breaks off, seeing its slain guard, and hurries up the
stairs.

INT. JAIL AND SHERIFF'S OFFICE - NIGHT 95

TAK ENTERS the JAIL and the LIGHT, revealing that it now
occupies the BODY of ELLEN CARVER!
David's mother is at least a foot taller and much broader in
the shoulders. All her CLOTHES are SPLIT OPEN; she looks
like Allison Hayes in ATTACK OF THE 50-FOOT WOMAN. Her FACE
is BLANK; her EYES flicker a BALEFUL RED.
Tak stands with the WOLF in her ARMS, looking at the chewed
motorcycle jacket, the open cells ••• at one cell in
particular. She lays the Wolf on the desk, and goes into the
cell where David was kept.
She PICKS UP the BAR of SOAP, and looks at the LOWER BARS and
sees more SOAP. drying there.
TAK
That damned little prayboy .••
She walks to the middle of the room and takes SOMETHING from
her POCKET: a STONE CAN TAH depicting a SPIDER with a COYOTE
gr~wing from its HEAD like a tumor. She holds it out toward
~he OPEN DOOR leading to the stairway.

TAK
Tak ah wan! Tak ah lah!
RECLUSE SPIDERS flood into the room from the dark STAIRWELL **
and every shadowy corridor. Halfway across the room they **
stop, TREMBLING.
TAK
Mi him, en tow! En tow!
The SPIDERS climb the WALL, which is covered with framed **
photos of Desperation, circling aimlessly, making a series of **
SHIFTING, KALEIDOSCOPIC SHAPES.

PAS
 81.

TAK
Ras mi! An tet! Where are they? Show
me!
The SPIDERS look like they are moving with a REASON. They **
start to GATHER around a particular PHOTO on the wall. **
They begin to MASS around a photo of the 1940 grand opening **
of the CHINESE THEATER. Tak, in its Ellen body, SMILES. She **
holds out her HANDS ••• then slowly rolls them CLOSED.
DISSOLVE THROUGH from the SPIDER-CLUSTERED IMAGE of the **
CHINESE to the real thing:

EXT. CHINESE THEATER - NIGHT 96

Establishing. Dark and quiet, save for the WIND.

INT. CHINESE THEATER - BACKSTAGE - NIGHT 97

Tom is in the lead, followed by Johnny, Mary, then Ralph,
witn his arm around David's shoulders. Steve and Cynthia
follow, holding hands. The path is NARROW and DUSTY. A
HANGING DRAW-CURTAIN CABLE brushes Cynthia's HAIR; she
SHRIEKS and FLAILS at it.
STEVE
It's just a cable. You're okay.
CYNTHIA
I hate narrow places! Almost· as much
as ••• you know, snakes.
TOM
It'll be better in a second.
They reach ·the stage manager's area at STAGE RIGHT. There's
a STOOL, some CUPBOARDS on the walls, and a POWER-BOX.
TOM
Gather 'round. Want you to get the
full effect.
They gather around the stage entrance as Tom FLIPS the POWER-
SWITCH.

PAS
 82.

INT. CHINESE THEATER - NIGHT

ALL the LIGHTS GO ON at once. STAGE FLOODS light the vast,
white, ripped and decomposing SCREEN. Pastel WALL FLAMBEAUX
light the decades-out-of-use, decaying AUDITORIUM.
On the auditorium WALLS are MURALS depicting the MINERS: on
the left wall, they're going into the SHAFT with their PICKS
and SHOVELS; on the right, they're coming out.
WHITES and CHINESE work happily side-by-side: what a lie. At
the rear of the auditorium is a sagging, dangerous-looking
BALCONY. Most of the SEATS are rats' nests.
On the STAGE, before the old movie screen, is a LIVING ROOM
without walls: CHAIRS, SOFA, a big TV with a VCR, a COFFEE
TABLE, a DRINKS CABINET, and an OAK BAR.
The SURVIVORS walk out onstage together, a proud Tom in the
lead. Their SHADOWS trail up the SCREEN, grown to legendary
size.
The screen is dingy and mended with DUCT TAPE. Outside, the
WIND HOWLS and SAND SIFTS against the building. "
MARY
Wow, this is amazing.
TOM
Theater's been closed more'n 20 years
now. A few of us got tired of all the
hooraw down at the owls' Club and
bought it.
He opens the DRINKS CABINET, revealing plenty of BOOZE.
CYNTHIA
Steve, watch!
She makes a huge SHADOW CROW on the screen.
Mary turns to look at Tom reaches an eager (and not quite
steady) HAND toward a bottle. Johnny grabs his wrist.
JOHNNY
Now now, old timer. Maybe later.
STEVE
Yeah? Check this out.

PAS
 83.

He makes an ELEPHANT, wagging TRUNK and all. David, despi~e

the horrors of the day; leaks a child's SMILE from under the
crushing weight on his shoulders. An emotional Ralph pulls
him close. Behind them, Johnny and Tom are pretty much
ignored.
TOM
Who the hell are you to tell me I can't
have a drink of my own liquor?
JOHNNY
Someone who knows what you are; someone
who's been there. While that crazy cop
is still out there someplace, this is
off-limits.
TOM
Fine.
Johnny CLOSES the CABINET. Tom gives him a dirty look, then
turns to watch the others make shadow animals.
JOHNNY
What about the lights? Will the cop
,-.. see them? '
TOM
Theater's boarded up, Your Majesty.
Lights don't show. We're as safe here
as anywhere, I reckon.

INT. JAIL - NIGHT 98

CLOSE on a CAN TAB: a COUGAR with a RAT in its mouth. In the

b. g. , TAK drones away in the LANGUAGE of the UNFORMED: Mi him
en tow, en tet, en kelt, etc.
CAMERA PULLS BACK to reveal.ELLEN at the desk. The can tah
is on the BLOTTER. She concentrates on it furiously,
CHANTING. On the wall, SPIDERS run back and forth.

EXT. MAIN STREET, IN THE STORM - NIGHT ' 99

A COUGAR pads along the SIDEWALK in the raging WIND and SAND,
ears flattened, eyes gleaming. It turns into the alley
behind the Chinese. It has a PURPOSE •..

PAS
 85.
TOM (cont'd)
First I knew, Collie Entragian was
draggin' me out of bed and snappin' his
damned handcuffs on me. He pulled me
all the way through the house and
acrost the yard and into his car. **
Locked me in the back of the cruiser
and hauled my ass off to jail.
The others listen, hypnotized, as the WIND HOWLS and MOANS. **
TOM
He was talkin' all kinds of crazy stuff
in some other language. They weren't
all dead then ••• the folks in town, I
mean. He got half a dozen on the way
back from my place. Shot them down on
the sidewalks ••• ran them over ••• the
waitress from the Desert Rose was
screaming, looking back over her
shoulder and she tripped ••. the thump
when he went over her, and him
.laughing, that little bear on the
dashboard nodding back and forth and
him laughing •••
MARY
Some people must have escaped--
TOM
(shakes his head)
He's not human. I know that sounds
crazy but--
JOHNNY
I know what you mean. He's like the
Wolfman meets Dr. Doolittle.
TOM
They reopened the mine. The old China
Pit. Whatever's happening here •• : I
think it came out of there.
JOHNNY **
What are you, the town historian? **
He'd never thought of it like that.
**
TOM **
Well, I guess you might say so, in an **
unofficial way. I like history. **
'Specially local history. 'Til now, **
anyways.
**

PAS
 86.

David returns from the back of the stage. He's got a small
BROWN BAG and a BOX of CRACKERS. **
DAVID
I found some stuff to eat.
STEVE
(eyeing the bag)
Well, that should certainly take care
of hunger in America.
DAVID
It's sardines. Not great, I guess--
MARY
At this point, I'd be happy with
woodchuck pate. Pass it around, David.
DAVID
Um .•. would anybody mind if I said a
prayer first? Sort of like grace?
STEVE
Go for it, Dave.

He sets down the bag and crackers and closes his eyes. The
others do the same, with varying degrees of belief. Johnny
peers into the bag.

INSERT - THE BAG - JOHNNY'S P.O.V.

There are 4 or 5 cans of sardines inside.

RESUME STAGE

DAVID
God bless this food we're about to eat.
JOHNNY
What there is of it.
(David peeks at him)
Sorry, Dave.
DAVID
Bless our fellowship, take care of us,
and deliver us from evil. (beat)
Especially my mom. Please let her be
okay. Please. (beat) Amen.
During this, Johnny watches David carefully, and the earlier
mockery goes out of his face.

PAS
 84.

ACT SEVEN

INT. CHINESE THEATER - AUDITORIUM - NIGHT 100

All but David have taken seats on the stage. David's in the
STAGE MANAGER'S AREA, rummaging through the CUPBOARDS. A
HUSH has fallen over the auditorium. They speak softly ...
RALPH
The cop will find us sooner or later.
You know he will.
JOHNNY
You saw him. Time isn't on his side.
STEVE **
Where is everybody else? **
TOM
Dead. He killed them.
JOHNNY
Some of them, I'm sure. But where are
the rest--
TOM
You ain't hearing me. Anything that
got in his road, he killed it.
JOHNNY
That's nuts. He can't have killed
everyone.

MARY
How come he didn't kill you?
TOM
I don't know. He come for me a couple
days ago. I'd been out on a ranch job
and I slept a little bit late. Slept
in my clothes, actually.
He pauses, looks down at his wrinkled duds through bloodshot
eyes. He turns to the DRINKS CABINET with a mixture of
longing and loathing.
TOM
Maybe I'd had a little too much to
drink, too. Anyway, he come in, right
into my bedroom.
(MORE)

PAS
 87.

The boy has something, some power, that Johnny FEELS quite
strongly, and he's moved by David's simple prayer.
From this point, Johnny watches David, assessing him, trying
to believe what he's seeing, which is an actual manifestation
of GOD: the Power of the White.
Ralph wipes his eyes with the side of his hand so David won't
see.
JOHNNY
Amen. Thank you, David.
DAVID
Sure.
JOHNNY
You really believe it, don't you?
DAVID
Don't you? **
Johnny doesn't answer, so David takes a CAN of SARDINES out
of the bag for himself, hands the bag to Mary, who takes a
can.· She passes it to Steve, who takes one, then to Tom.
DAVID ** .
There's plenty for everyone. Honest.
Cynthia gives him a funny, questioning look. Tom, meanwhile,
takes a CAN for himself and offers one to the girl.
TOM
'Pears he's right, ma'am.

Cynthia takes the CAN. Tom passes the bag to Ralph, who ·
takes a can (with the same questioning look at his son) and
then passes the bag to Johnny; who looks into the bag.

INSERT - THE BAG - JOHNNY'S P.o.v.

There are still 4 or 5-. cans of sardines in the bag.

RESUME STAGE
Johnny gives David a long look. The wheels are turning.

EXT. BEHIND THE CHINESE THEATER - NIGHT 101 **

The COUGAR approaches the RYDER TRUCK and SMELLS along the
TIRES.

PAS
 88.

It pads ominously to the back of the theater, where there's a

RUSTY OLD FIRE ESCAPE. Flanking it are TWO BATHROOM WINDOWS,
one BANGING BACK and FORTH in the WIND.
TAK (V .o.)
Mi him en ras .•• Wait ••• Wait for my
word •••
The cougar sits below the unlatched window, looking up
intently, the tip of its TAIL lashing back and forth. The
SAND and WIND are a bit less now; the STORM is starting to
DIE.

RESUME STAGE - NIGHT 102

The SURVIVORS are gathered in a circle, eating sardines on
crackers. Tom passes a BOTTLE of WATER, and it goes from
hand to hand, filling glasses.
Cynthia eats another sardine, then drinks the oil from the
can, listening as Ralph, his eyes glassy, tells his tale.
RALPH
We were headed to Tahoe when all the
tires went flat. He pulled up behind
us, gave us some story about a crazy
guy in the desert who was disabling
vehicles and shooting folks ••• Then **
he •.• then he looked at Pie ••• the way **
he smiled at her... **

He chokes off. He can't go on, his eyes fill with unspilled **

tears and the haunted memory. **
STEVE **
Your daughter dropped her doll.
Ralph just looks up at him, destroyed, and nods.
RALPH
Ellen couldn't stop her from crying,
but David made her feel better. He
always could.
He strokes his son's hair, aims a heartbreaking smile at him.
There is a moment of uncomfortable SILENCE, underlined by the
MOAN of the WIND.
MARY
So how do we got out of this? Do we
wait for the storm to die down, or
what?

PAS
 89.

STEVE
Waiting's a bad idea.
JOHNNY
Why do you say that?
STEVE
Because somebody should have gotten
away and nobody did. Something's loose
here, and if we hang around, I think
it's apt to eat us alive.
DAVID
I'm not going anywhere until I find out
what happened to my mom.
RALPH
David--
He tries to put his arm around David, but David shrugs it
off.
DAVID
No!
CYNTHIA
It won't do your mom any good for you
and the rest of us to die trying to
find her.
RALPH
That's true, son--
DAVID
It's a crock of shit, that's what it
is!
Ralph is stunned. Johnny stares at David with ever-growing
interest. Outside the WIND HOWLS; SAND scours the building.
David stands up and looks around at them. All flinch from
his gaze except Johnny, who maintains that look of interest.
DAVID
None of you care about my mother. Not
even you, Dad.
RALPH
You know that's not true! **

STEVE
David--

PAS
 90.

DAVID
(pulling away)
If we leave, it'll be too late to save
her! I know that just like I knew how
to use the soap to get out of. the cell.
JOHNNY
(testing him)
Maybe if you pray--
DAVID
I can't! Right now I'm too pissed!
JOHNNY
At God?
DAVID
At Ronald McDonald.
There is a HUSH, and he looks out at the MURALS on the
AUDITORIUM WALLS: all those happy workers trawling the mines.
DAVID
Is that really how it was, Mr.
Billingsley? All those white miners
and Chinese miners working together?
JOHNNY
(laughs)
Oh, I bet •••
TOM
I don't know .•. pretty much, I guess.
JOHNNY
Oh, come on, old-timer; they don't call
it the Chinese-American Pit, do they?
Why don't you tell us about it?
TOM
You think you know it all, why don't
you tell it,. Mr. High and Mighty? **
You're the big storyteller. **
JOHNNY
Oh, I'll tell you all about Viet Nam if **
you tell us about Desperation. Come **
on. Get it off your chest. **
Tom looks at him through a distrustful squint. **

PAS
 91.

TOM
Every town's got a history. Every
town's got its secrets.
JOHNNY
Come on, tell us. We're all
interested.
They are. They all look up at him, waiting.
TOM
You'll all think I'm crazy •••
JOHNNY
After what we've seen? Who's gonna
think Tom's crazy, raise your hand •••
Of course, nobody does. Tom takes a deep breath and a seat.
TOM
About a month ago, an ANFO crew
uncovered the old Rattlesnake Shaft
wh{le they were shooting blast-holes.
They dug Rattlesnake a good 150 years **
ago. It caved in not three months **
later, and the miners-- all but two of **
the Chinese-- were buried alive, along
with ••. with whatever they ••• dug up **
when they started working the mine **
again last month. Whatever they woke **
up.
He looks from their faces to the murals on the walls. He **
knows they think he's a crazy old drunk, so he speaks his **
mind. **
TOM
I think it's a waisin. An earth-demon.
And now that the shaft's open again .•.
All those animals we're seein'? I
think they're its eyes and ears .••
Magic. The supernatural. It falls on .them like the decaying
theater curtain. They would never have believed before, but
now .•• after what they've all seen •.• they are receptive.
CYNTHIA
These Chinese miners: were they slaves?

PAS
 92.

TOM
Good gosh, no! The Chinese were
treated badly in California, but here
in Nevada they were damn near part of
the community. They were working to
support their families back home, and
to buy land of their own. Nobody
forced them down into the mine ••.
STEVE
What about the two survivors? How did
they get out?
TOM
(vague ••• and lying)
They just beat the cave-in. Pure luck.
They left town, I guess.
JOHNNY
And nobody tried to pin the cave-in on
them?·
TOM
"
Why would they try to do that?
JOHNNY
In my experience, the best scapegoats
are the ones who can't speak English.
TOM'
It's all ancient history now. But
they've been finding some damned
strange stuff down in that hole in the
last couple of weeks. Carvings and
such.
Steve and Cynthia exchange a LOOK. Johnny sees it.
TOM
I think something came out of that
mine. Something that never died .•.
something that never will. I know how
that sounds, but you asked.
(he stands)
I have to take a leak. Be right back.
As he exits stage right, Ralph tosses him a RIFLE.
TOM
Thanks.

PAS
 93.

Johnny watches with a certain bemused sadness as Tom leaves,

pausing to grab a FLASHLIGHT from the Stage Manager's table.
As the LIGHT bobs away into the dark:
MARY
If you think he's got a bottle stashed
in the boys' room, why didn't you stop
him?
JOHNNY
Because I think he needs a shot to
steady him. And I think one's all
he'll take. For now.
DAVID
Did you used to drink, Mr. Marinville?
JOHNNY
No, David. I used to drown. It was a **
way to put out the dreams after the **
war. (beat) This God of yours **
performed a miracle on your friend,
right?
DAVID
Yes.
JOHNNY
Did you ever ask yourself why God would
need to hurt a child in order to say
hello?
DAVID
I asked Reverend Martin about that.
When I asked him how to keep my
promise.
JOHNNY
What promise was that?
DAVID
That if God-saved Brian, I'd do
something he wanted. Anything he
wanted, really.
David looks nervously at his father. Ralph stares at him
with the fascination most fathers feel when their sons'
secret lives are revealed.
JOHNNY
And this is it. The something. You
believe it's for the best? That God is
good, and this is for the best?

PAS
 94.
- ,,-._

DAVID
I don't know anymore. It's so much
harder now.
(his eyes fill with tears)
Reverend Martin says faith isn't just
believing in God but believing God is
sane. I think I understood that •.. but
he killed my sister •.• he took my
mom •••
Johnny drops to one knee in front of David.
JOHNNY
We have to get.out of here, David.
That's what I have faith in. We have
to.

PAS
 95.

ACT EIGHT

INT. BACKSTAGE BATHROOM - NIGHT 103

The TILES are falling off the walls. The WINDOW is
unlatched, and it BANGS in the WIND.
Tom ENTERS and goes eagerly to one of the SINKS. There's an
old, dirty CLOTH in there. He sets the RIFLE aside and lifts
the cloth. There's a BOTTLE of BOOZE underneath.
He takes it out, glances around, and unscrews the cap.
The BATHROOM WINDOW suddenly SHATTERS INWARD!
The COUGAR LEAPS inside, SNARLING. Tom turns toward it,
shocked into a SCREAM. He GRABS at the RIFLE and just misses
it as the Cougar HITS him and drives him BACK. The
FLASHLIGHT STROBES.

INT. CHINESE THEATER - AUDITORIUM - NIGHT 104

STEVE
What was that?
MARY
Oh my God, the old manl
They snatch up guns and run toward stage right, David last.
As David reaches the side:
PIE (0. S.)
David.

ANOTHER ANGLE
David's little sister stands there down the CENTER AISLE,
dressed as in David's earlier VISION: PLAID JUMPER, PINK
BLOUSE, WHITE ANXLE SOCKS, BLACK SHOES. Her HAIR is in
BRAIDS.
She turns and starts up the aisle to the front of the
auditorium, passing beneath the sagging balcony. After a
moment's indecision, David FOLLOWS her, jumping from the
stage and running up the AISLE.
DAVID
Pie! Wait up!

PAS
 96.

INT. CHINESE THEATRE - BATHROOM - NIGHT 105

The Cougar is on its· hind legs, forcing Tom back against one
of the tiled walls. Its CLAWS are out, and Tom's SHIRT is in
BLOODY TATTERS. Tom tries to DUCK, but the cougar POUNCES
and BITES into Tom's NECK!
The DOOR BURSTS OPEN.
Steve charges in, followed by Cynthia. She has a .45
REVOLVER, not very good for work like this. Steve raises his
RIFLE, then lowers it, as Mary and Ralph crowd in behind him.
The COUGAR continues to SAVAGE Tom, who FLAILS and CRIES OUT
in PAIN.
CYNTHIA
Shoot it, Steve! Blow its head off!
STEVE
I don't want to hit the old man!
CYNTHIA
Then blow its ass off! It's killing
hi.ml

Steve FIRES. BLOOD FLIES up from the Cougar's FLANK. It

WHIRLS, YOWLING, and LAUNCHES itself at Steve, who has just
time enough to get his ARMS up before the Cougar HITS him
like a battering ram.
Steve STAGGERS. He and the Cougar WHIRL around as if
dancing. Mary and Ralph raise their WEAPONS, but neither has
a clear shot. The Cougar darts its head at Steve's NECK;
Steve is barely able to hold it back.

INT. CHINESE THEATRE - UPSTAIRS CORRIDOR - NIGHT 106

David walks slowly along a THREADBARE CARPET. Lining the

walls are DAGUERREOTYPES of MINING SCENES. He seems to be in
a TRANCE.
He passes the BALCONY, blocked by a sign which reads UNSAFE
STAY OFF. STEPS lead up to the PROJECTION BOOTH. Pie stands
at the foot of these stairs.
David STOPS at a PICTURE showing a LABOR TRAIN. There are a
DOZEN FLATCARS, each crammed with Chinese WORKMEN. Armed
REGULATORS guard them.
SOUND: a GUNSHOT. David ignores it.

PAS
 97.

PIE
John Ford said when you have a choice
between truth and legend, print the
legend. Come on; there's not much
time.
She steps up to the DOOR marked PROJECTION. It OPENS before
her, and David FOLLOWS.

RESUME BATHROOM 107

Lit only by Tom's fallen FLASHLIGHT and filled with drifting
GUNSMOKE, the room looks hellish. Steve staggers across the
floor, the Cougar up on its HIND LEGS and pushing him
backward. Its CLAWS are SUNK into his SHOULDERS as cacophony
rages.
STEVE
Somebody shoot this damned thing!
Johnny ENTERS; the Cougar turns its HEAD towards him and:

"
ANGLE - JOHNNY'S P.o.v. 108
As it turns, it is not a COUGAR staring at him, but rather a
YOUNG VIETNAMESE FACE, SCREAMING in Vietnamese. It is a
RAGING, horrific visage, with glaring YELLOW EYES: eyes just
like COLLIE'S at his worst. Just like the WOLF'S, the
COUGAR'S .••

INCLUDE JOHNNY 109

He stands transfixed in horror for a moment, then SHAKES his
HEAD to clear it. He GRABS Cynthia's .45, and strides right
up to Ste~e, a historic FEAR and FURY filling his FACE. The
Cougar is just a cougar again.
JOHNNY
Steve. Push-his head.
Steve does. Johnny SHOVES the .45 into its EAR and PULLS the
TRIGGER. COUGAR BLOOD and BRAINS spray the TILE WALL.

ANGLE - JOHNNY'S P.o.v. 110

Everything CHANGES: the WASHROOM has become one from another
time and place. There's a STICKER in the URINAL: ALL THE WAY
WITH LBJ• .

PAS
 98.

There are SHELL HOLES in the wall, the SOUND of SOUTHEAST

ASIAN CHATTER in his ears, ASIAN LETTERING on the walls.
A big GREEN, RUSTED TOOLBOX sits on the floor below. COUGAR
BLOOD stipples the urinal. As it FLUSHES-- BLOOSH! DARI<
BLOOD flows down over the LBJ sticker.

RESUME CHINESE THEATER BATHROOM 111

The Cougar collapses, but Johnny hardly notices. He's

staring into the URINALS-- THREE of them, filthy but
otherwise ordinary.
Steve STAGGERS into his arms, returning him to the present,
as Cynthia comes charging in and embraces Steve.
STEVE
Thanks, Boss.
MARY
(to Johnny)
That was· very brave.
JOHNNY
(his bravado returning)
It was incredibly brave.
She gives him a sour look, then goes to Tom, who is lying in
a SPREADING POOL of BLOOD. The others join her.
Ralph looks around, worried.
RALPH
Where's David? Where's my boy?
Startled, Johnny walks to the door.
JOHNNY
David? David, where are you?
Ralph pushes past Johnny and into the hallway, horrified.
RALPH
Christ, not him, too .•.
(calling)
David! David, answer mel
Johnny FOLLOWS him. Steve and Cynthia start to do the same,
and then Cynthia looks back at Mary, still kneeling by Tom.
Mary gets up, finds the RAG that was hiding Tom's bottle, and
wets it with cold water. As she folds it into a compress:

PAS
 99.

MARY
I'll stay with him. You go find David.
Steve and Cynthia take a BEAT, then leave as Mary washes
Tom's wounds. The old vet is barely conscious.

INT. CHINESE THEATER - STAGE - NIGHT 112

Ralph is already in the center, where the "living room" is.
Johnny joins him. Ralph is bordering on panic; he SHOUTS
with his HANDS cupped around his mouth.
RALPH
David! David, where are you?

No answer. Steve and Cynthia appear at STAGE RIGHT. Steve

grabs a FLASHLIGHT from the Stage Manager's DESK, and they
join the other two on stage.
RALPH
What if the cop's got him?

INT. CHINESE THEATER - PROJECTION BOOTH - NIGHT 113

There are old MOVIE POSTERS on the walls, but the PROJECTORS
are broken-down, decaying like the rest of the old movie
house. There's an old HAND-CRANK EDITING BENCH behind them,
and Pie stands in front of it.
RALPH (O.S.)
David!
Ignoring his father's cries, David crosses to Pie.
DAVID -
Why are you here?
PIE
For the same reason everyone's here: to
love God and serve God.
DAVID
What am I supposed to do?
PIE
Look, David. See •••
David looks at the EDITING BENCH; there's a JUTTING CUP, like
the one you see on stereopticons, for his EYES. He lowers
his FACE into it, while beside him, Pie SHIMMERS AWAY. He
CRANKS the HANDLE and the little SCREEN LIGHTS UP.

PAS
 100.

THE SILENT MOVIE - DAVID'S P.O.V. 114

The FOOTAGE is jumpy, scratched and blotchy, BLACK-AND-WHITE, **
shot with an ANCIENT CAMERA. There is MUSIC: silent movie **
PIANO. All TITLE-CARDS are full-screen and HAND-LETTERED,
like in the old silents.
A. TITLE CARD: TAKI Or, The Unformed Heart!.
B. PHOTOGRAPHS of OLD TRAIN CARS jammed with CHINESE **
LABORERS imported to work the mines. These are actual photos **
of the real thing, 150 years old. **
c. In a CLOSE-UP SHOT, the Chinese workers come to life, **
haggard and sweaty, indentured servants. **
D. EXT. CHINA PIT MINE - DAY: SHOTGUN-TOTING REGULATORS in **
STRAW HATS from the DESPERATION MINING CORP herd up the
masses of bewildered CHINESE WORKERS and march them down the **
DIRT ROADS and into the belly of the vast, imposing CHINA **
PIT. **
Among them are CHA'AN and SHIH, young BROTHERS. Cha'an tries
,-.._ to ask a question, and gets a SHOTGUN BUTT in the head for
his trouble, and is HURLED back into line where Shih grabs
him. Leaning on his brother, BLEEDING and dazed, Cha'an
hobbles on. One Regulator turns to a colleague.
E. TITLE CARD: "We Don't Take No Guff from these Chinky
Boys!"

F. EXT. SHAFT - MINE ADIT.: CHINESE MINERS are being herded

in by twos, like prisoners, by TWO. BOSSES in BLACK. COATS and
STRING TIES. Each wears a LEATHER FOREHEAD BAND. Some hold
KEROSENE LAMPS, some CANDLE STUBS. Over the adit, a SIGN:
RATTLESNAKE NO. 2.
G. TITLE CARD: "Two Hundred Feet Deep and MIGHTY LOOSE
GROUND! what If She Caves?"
H. ANGLE ON BOSS: He-LAUGHS.
I. TITLE CARD: "Calm Down, Partner, It Ain't Like They're
White!"
J. INT. RATTLESNAKE MINE: Naked except for WAIST-CLOUTS and
their 'SCENERS, the MINERS dig in the loose earth. RATTLES
of STONES sift down from overhead BAULKS, and the miners look
up nervously, their EYES WHITE and HUGE in their sweaty
faces. You wouldn't want to work here: death waits in every **
crevice. **

PAS
 101.

The LIGHT is FLICKERY and UNCERTAIN. Written on the WALLS in

CANDLE-SMOKE are CHINESE CHARACTERS: postcards from hell.
A MINER FALLS, exhausted. A WHITE FOREMAN KICKS him to his
feet. Cha'an and Shih are loading an ORE CART. Beyond them
is the SHAFT FACE, where a half-dozen MINERS are working.
Suddenly, one of them puts a PICK right through the FACE.
RUBBLE FLIES, and the Miner peers into the HOLE as other
miners gather. **
Pushing aside the Miners, the Foreman shoves his FACE into
the HOLE, as Cha'an and Shih watch from a distance.
K. CU FOREMANiS DIRT-STREAKED, AMAZED FACE.
L. INT. THE PIRIN MOH - FOREMAN'S P.O.V.
An UNDERGROUND CAVERN. The cliff-like WALLS lined with
TWISTED CAN TAH FACES-- ANIMALS with other ANIMALS poking
from their MOUTHS. It is a spooky and otherworldly cavern. **
At the rear is a weird, Lovecraftian EDIFICE: the PIRIN MOH. **
In front is the INI, a CUPPED HOLE in the FLOOR. It's LINED
with HOOKS of PROTRUDING STONE. Littered around it are
LITTLE STONE STATUES like the one Steve and Cynthia found.
M. TITLE CARD: They Have Stumbled Upon the Home of .•• TAKI
N. INT. THE SHAFT FACE: the Foreman urges the Miners back to
work with CUFFS and SLAPS. .
o. TITLE CARD: "Hop.To It, You Yellow Monkeys! There May Be
Treasure In There!"
P. RESUME SHAFT FACE: Cha'an and Shih sense something wrong, **
and begin to RETREAT, unnoticed.

Q. INT. PIRIN MOH: MYSTERIOUS LIGHT begins to SHINE out of **

the ini, and SMOKE begins to issue from it. It steals across
the CHAMBER like it has a mind of its own, toward the HOLE **
the miners have made. -.
R. INT. NEAR SHAFT FACE: Shih and Cha'an stand at a
distance, horrified, as the SMOKE drifts through the HOLE
like a GHOSTLY SNAKE.

When it TOUCHES the MINERS, they go CRAZY in a sudden flurry **

of violence, TURNING first on the FOREMEN, SLAUGHTERING them **
with their PICKS ••• and then on EACH OTHER!
Some frantically squirm through the HOLE into the PIRIN MOH **
CHAMBER, and we can SEE them eagerly picking up the CAN TAHS.

PAS
 102.

Two MINERS outside the HOLE spot Shih and Cha'an. They
POINT, their EYES GLOWING weirdly, and JABBER to each other.
S. INT. RATTLESNAKE SHAFT: Cha'an and Shih FLEE, followed by
a HOWLING MOB of MADMEN. Cha'an HEAVES. an ORE CART, and ORE
flies everywhere, momentarily halting the MOB. The CART
slams into a SUPPORT POST, knocking it loose •.• and the ROOF
starts to COME DOWN.
T. EXT. MOUTH OF THE SHAFT: DUST billows out in a HUGE
CLOUD. Cha'an and Shih STAGGER OUT, coughing and gagging.
They look fearfully back; the CAVE-IN has BLOCKED the ADIT.
As they start away, they're grabbed by the REGULATORS and
CLUBBED to the GROUND.

U. EXT. THE LIP OF THE CHINA PIT MINE - DAY: A GALLOWS has **
been set up, surrounded by A CROWD of TOWNSFOLK. Cha'an and
Shih, badly beaten, stand on TWIN TRAPS, hands tied behind
them.
One one side, hand on a WOODEN LEVER, is the HANGMAN. The
SHERIFF mounts the GALLOWS STAIRS and addresses the CROWD.
v. TITLE CARD: "These Are the S1ants Who Sabotaged the Minet
Now They Must Pay the Price!"
W. RESUME GALLOWS: The SHERIFF hoods Cha'an, but when he
approaches Shih, the boy's EYES REDDEN. He GRINS: the GRIN
of TAKJ
He starts to GROW, his BODY SHIFTING, his SHIRT.SPLITTING
OPEN, BONES pressing out from under the skin as if try~ng to **
ESCAPE. His TONGUE comes out, a deformed monstrosity. Maybe **
it's changing into a COYOTE, maybe a SPIDER, maybe into the
very HEART of the UNFORMED.

The CROWD DRAWS BACK, horrified. Frightened himself, the

Sheriff draws the HOOD over Shih's head, hiding the-weird
transformation, but the EYES begin to GLOW THROUGH the
CANVAS, BURNING i t l

X. TITLE CARD: "Can De Lachl Tak a Wan! Tak ah Lahl I Do

Not Diel And ••• I Repay!"

Y. RESUME GALLOWS: The Sheriff makes a hasty gesture to the

HANGMAN, who PULLS his LEVER. The HOODED FIGURES (Shih, s
hood is smoking, the RED LIGHT of his EYES BURNING THROUGH)
DROP as the PLINKY-PLINK PIANO hits a final DISCORDANT JANGLE
of NOTES.

PAS
 103.

INT. PROJECTION BOOTH - NIGHT 115

David is peering into the VIEWER and TURNING the CRANK,

totally absorbed.

INT. CHINESE THEATRE - CORRIDOR - NIGHT 116

RALPH ( 0. S • )
David! David, where are you?
He ENTERS, GUN in hand, looking frightened out of his wits.
He CHARGES past.

INT. CHINESE THEATRE - UPSTAIRS HALLWAY - NIGHT 117

CYNTHIA
He's in .there.
She runs for the PROJECTION ROOM DOOR and the others follow.

EXT. CHINESE THEATER - NIGHT 118

The MOON sails out from behind the unravelling CLOUDS,

revealing the boarded-up BUILDING and SANDY STREET. The
STORM has pretty well blown itself out. Collie's CRUISER
points nose-out of the alley next to the theater.

INT. CHINESE THEATER - BATHROOM - NIGHT 119

TOM
Scared •••

Mary grips his HAND. He squeezes back ••• and then his hand
goes limp in hers. His EYES go FIXED and GLASSY, which can
mean only one thing.
She looks at him a moment longer, hoping it's not true, but
it is. She brushes hair from his brow, then leans in to
close his STARING EYES.
Then •.• a tiny, pain-filled VOICE:
ELLIE (O.S.)
Please ••• please ••• help me •••
Mary STANDS and turns to the BROKEN WINDOW.

PAS
 104.

ELLIE (O.S.)
Please .•. is anyone there? I'm hurt •••

EXT. REAR OF THE CHINESE THEATER - NIGHT 120

Mary pokes her head out the window. A WOMAN stands there,
swaying on her feet. Her head is bowed, and she clutches her
stomach.
MARY
Ellie? Is that you?
TAK
Who else would it be? Tak!

As soon as she sees the GRINNING FACE, Mary knows she's made
a mistake. But before she can pull away, ELLIE/TAK yanks her
out. Mary stumbles to her feet and puts up her FISTS.
When Ellen comes at her, GIBBERING in the LANGUAGE of the
UNDEAD, Mary launches a POWERHOUSE RIGHT. It CONNECTS. • . and
TEARS OFF HALF of ELLIE'S FACE, revealing TEETH, JAW, and
HANGING MUSCLE! Mary SHRIEKS, horrified by what she's done.

TAK
The trouble with these bodies is how
fast they wear out. · But you should
last awhile •••
She HITS Mary 'hard on the CHIN and Mary goes down, out like a
light. Tak picks her up, and carries her to the cruiser.

ANGLE - CU DAVID **
He is lying down, his eyes closed. Go WIDE to REVEAL where **
we are: **

INT. CHINESE THEATER - STAGE - NIGHT 121 **

David is on the COUCH. Cynthia sits beside him, dabbing his **
cheeks with cold water. Steve stands beside her with more
water, and Ralph hovers anxiously, the group gathered **
protectively around the boy. **
CYNTHIA
Come on, David •.• come on back, now ••.
Johnny hurries in from stage right.

PAS
 105.

JOHNNY
Mary's gone.
They are all looking up at Johnny now; even Cynthia doesn't
notice David sitting up.
STEVE
You think it was the cop?
JOHNNY
Of course it was. I just don't know
why he didn't trash the rest of us.
DAVID
He's afraid of us.
They all turn to him, surprised.
DAVID
And there is no he. It's the thing
from the mine. Collie Entragian's
dead. So's my mother.
RALPH
David ••• honey; we can't give up hope.
DAVID
I have a lot to tell you, and I don't
want to do it in here.
STEVE
I. know what you mean-- it's creepy--
but he-- it's-- out there someplace.
Whatever you call it, it's out there.
DAVID
No. It's in the Pit.

EXT. BEHIND THE CHINESE THEATER - NIGHT 122

The RYDER TRUCK'S BACK.DOOR has been ROLLED UP, and an oblong
of LIGHT shines out into the lot. It sits in the quiet DARK.
DAVID (O.S.)
It took the head of the assay crew that
uncovered the Rattlesnake Shaft. His
name was Cary Ripton. That's how it
started.

PAS
 106.

INT. BACK OF RYDER TRUCK - NIGHT 123

They're all gathered inside, drinking warm SODAS, amongst the

GEAR for Johnny's road trip: clothes, toolkit, bike ramp,
etc. Johnny holds his spare HELMET on his lap. It's the
type with a FULL-FACE. SHIELD.
David is at the center of the group, holding them spellbound.
DAVID
He followed a trail of those little
stone animals-- the can tahs-- to Tak's
place. That's its name. Tak. There's
a hole that goes ••• I think it goes
into another dimension or something.
Tak got into Ripton, and from him it
jumped to the cop. (beat) It wears out
bodies fast.
JOHNNY
God showed you this in that editing
machine?
,.-...._ David looks up at him and nods, a little defiantly. Johnny
shakes his head.
JOHNNY
Well, dog my cats.
RALPH
Mister, I guess you're a famous writer
and used to being the center of
attention and all, but that doesn't
give you the right to make fun of my
boy.
DAVID
He's just afraid, Dad. That's all.
JOHNNY
Damn right I!m afraid. I'm terrified.
But there's a certain hopeful geography
about this situation: according to you,
Tak the Magnificent is south of here.
The highway is north of here. And the
truck is right here. Our course is
clear: fire up the big yellow truck and
get the hell out of Dodge!
Johnny gets angrier as he speaks, goaded by David's solemn,
unwavering EYES, which seem to say, "You know better, so why
are you dancing?"

PAS
 107.

DAVID
Mary's alive. Tak's got her stored,
like a spider stores flies to eat later
on. She's in the pit.

Uh oh ...

PAS
'·
 108.

ACT NINE

EXT. THE CHINA PIT MINE - NIGHT 124

It's PEACEFUL yet OMINOUS in the MOONLIGHT, a steep, massive

CRATER WALL with a ROAD switching back and forth to the
BOTTOM. There is an on-site MINING OFFICE down there.

INT. MINING OFFICE - NIGHT 125

TOTAL BLACKNESS. SOUNDS: CLICKING, SHIFTING, DRAGGING; the

abortive RATTLES of SNAKES; the MOAN of a WOMAN. A CRASH as
a CHAIR falls over. We can't see Mary, but we can hear her:
MARY
Ow! Damn it! Is anybody here?
The only response is a stealthy WHISK and SCUTTER, and those
brief, flurrying RATTLES.

,, MARY
Oh, Jesus. Oh, God, please--
SUDDEN LOUD SQUEAKING: a RAT, maybe. Mary SCREAMS. Sounds
of more THINGS FALLING as she tries to RUN ••• then a THUD as
she runs into something and GRUNTS before she SHUFFLES
forward.
SOUNDS: a SLITHER and a RATTLE .•• and she SCREAMS again:
MARY
Get off me! Get off meJ
We hear her fighting panic, getting her BREATH. She FUMBLES
for something. A SQUEAK of HINGES, the METALLIC STUFF
dropping to the floor.
CLICK! A FLASHLIGHT COMES ON, shining on her face from
below. She's hyperventilating, but starting to calm when:
A TARANTULA drops onto her HAND~ She SHOUTS and BATS it off,
dropping the LIGHT at the same time. It GOES OUT and we are
PLUNGED back into PITCH DARKNESS ••• and those STEALTHY
SOUNDS ••.
We hear her SCRAMBLING, starting to lose control again; she
finds the light and SLAPS it against her palm. It suddenly
GOES ON, shining directly into the CAMERA. Above it, Mary's
FACE is a mask of GROWING HORROR.

PAS
 109.

ANGLE - MARY'S (AND FLASHLIGHT'S) P.O.V. 126

In the CORNER is a WRITHING BALL of RATTLESNAKES. The LIGHT

TRAVELS and the CAMERA FOLLOWS. We see a WASHER and DRYER
with a SIGN over them: NO PERSONAL LAUNDRY J THIS MEANS U !
Between them: the BODY of CARY RIPTON, glassy-eyed and DEAD.
His LAP is full of SPIDERS and SCORPIONS.
The CAMERA follows the LIGHT further along the CORRUGATED
METAL WALL to the far CORNER. Propped here, his HEAD a
bloody, almost faceless MASK, is COLLIE ENTRAGIAN. A SPIDER
crawls from his mouth.

INCLUDE MARY 127

She straightens, horrified, looks around, and finds the door.
She hurries to it, stepping over SNAKES, SCORPIONS, and
SPIDERS to get there.
It's locked. She yanks with all her might, but it won't
open. She falls against it, her lips trembling, looks down
to SEE a RATTLESNAKE slithering across her SNEAKERS. Mary
BOLTS •.. but where is there to go?
The LID of the DRYER bumps up and another RATTLER begins to
SLIDE OUT. Mary stands in the middle of the HUT, surrounded
by VENOMOUS CREATURES. In the LIGHT from the FLASH, she
seems on the brink of insanity.

EXT. BEHIND THE CHINESE THEATER - THE RYDER TRUCK - NIGHT12B

They're all gathered within, discussion in high gear.
JOHNNY
Don't you see how crazy that is? You
don't seriously think that we're going
to just ride up to that open-pit mine
and save the.lady fair, do you? We
have to get out of here!
DAVID
You wanted to know about God? I'll
tell you what I know: He works through
people. And right now He's trying to
work through us.
STEVE
I think we ought to try.

PAS
 110.

JOHNNY
Well, who the hell asked you?
Steve is surprised and hurt by Johnny's roughness.
DAVID
(passionate)
Listen! It has to be all of us! Tak's
not just a man or a woman, no matter
what it looks like. It's the can tak,
the big god, the heart of the unformed!
Only all of us can stand against it.
Can't you feel that?
JOHNNY
(lying through his teeth)
I can't feel anything. (beat) You
learn a lot of crap watching movies,
you know that kid?
DAVID
Tak's like you-- it wants us to leave.
JOHNNf
Then why don't we give it what it
wants?
CYNTHIA
Well, there's Mary •.•
JOHNNY
(whirls on her)
I didn't bring her here, and I didn't
take her up to the pit, if that's where
she is, so don't go all guilt-trippy on
me, all right? You folks might want to
fly Trans-God Airways with the boy, but
I think I'll pass.
(to David)
And not even God can stop me.
DAVID
No. He gives us free will.
JOHNNY
Yeah. Good old free will. God bless
God.
David pleads with his eyes, and Johnny's smile falters as he
feels the force inside David. But no. He smiles again and
shakes his head. Looks around at the others.

PAS
 111.

JOHNNY
I think I'm going to find a car with
some keys in it and resume my
interrupted journey. Have a nice day,
okay? Send me a postcard when it's
time for the reunion.
He goes to the rear of the truck, and is about to jump down
when Steve grabs his arm.
STEVE
I just lost all my respect for you.
JOHNNY
Gee, I've lost the respect of a man who
once carried out Steven Tyler's
barfbags. Shucks.
He pulls free and jumps down into the weedy lot. David comes
to Steve's side to watch him go.
. JOHNNY
Tell me something, David. If Tak wants
us to leave, why did it °bring us here
in the first place?
DAVID
It didn't. It thinks it did, but it
didn't. This is God's will, not Tak's.
And if you leave now you'll smell Tak
on your skin for the rest of your life.
Johnny thinks about it, and for a moment it seems he may
change his mind .•• but his face hardens with resolve again.
JOHNNY
Then I guess I'll have to go heavy on
the after-shave. And hey, if any of
you make it to San Jose, I'm staying at
the Seacliff. Drinks are on me.
S.TEVE
You quit drinking.

JOHNNY
No, I was mistaken about that.
And he walks away, his back to them. And his EYES are wet.
JOHNNY
Why did I have to run into that goddamn
kid?

PAS
 112.

DAVID
Johnny? Mr. Marinville?
He turns and looks back.
DAVID
We were put on earth to love God and
serve Him. ••• and what else were you
doing tonight, anyway?
JOHNNY
It's not working!
Well, something is. Johnny starts walking again, but he
looks terribly upset and unsure. This man is having a
fundamental crisis of the mind, the heart, and the spirit.
JOHNNY
(muttering)
Damn it, kid, just shut up!

EXT. THE CHINA PIT MINE - NIGHT 129.

,,-..__ The bottom of the pit is a vast, flat plain. Lots of HEAVY
MACHINERY. COLLIE'S CRUISER is in the extreme f.g., the
DRIVER'S DOOR open and the DOME-LIGHT illuminating the BLOOD-
SOAKED INTERIOR ••• and the little BEAR on its SPRING.
On one side is a small TIN EXPLOSIVES SHED with a locked
door, plastered with SIGNS: DANGER, NO UNAUTHORIZED ENTRY,
HIGH EXPLOSIVES.
Beyond is the ON-SITE MINING OFFICE where Mary is locked. We
can SEE her FLASHLIGHT winking behind the dirt-bleared
WINDOW.
MARY (O.S.)
Bite mel Why don't you bite me?

INT. MINING OFFICE - NIGHT 130

Mary stands in front of the WASHER with her FLASHLIGHT
trained on her open PALM. In it: a BLACK WIDOW SPIDER.
SNAKES crawl all over her shoes, one twining around her
ankle. Her face runs with sweat, her eyes bulging, but she's
sane.
MARY
You can't, can you?

PAS
 113.

She makes a FIST, and YELLOW SPIDER-GUTS burst between her_

fingers. She opens her hand, looks at the GOOP, and wipes it
on her JEANS. She looks around at all the CREEPY-CRAWLIES
with a TWITCHY SMILE.
MARY
You can't hurt me, can you? Because
I'm supposed to be next.
A RATTLER crawls on the WASHER. Mary SNATCHES it up and
holds it to her face .•• so close the SNAKE'S FANGS show, and
its flickering TONGUE tickles the end of her nose. Mary
TOSSES the SNAKE aside, laughing ••• and then stops, SENSING
something.
PIE (O.S.)
Try the dryer, Mary.
Mary WHIRLS. In the shadowy corner is an INDISTINCT SHAPE: a
LITTLE GIRL, perhaps? But when Mary trains her FLASHLIGHT on
it, there's nothing there but a POSTER showing a MINER
pointing like Uncle Sam: GO AHEAD, BAN MINING! LET THE
BASTARDS FREEZE IN THE DARK!

The wheels are turning in Mary's head. Her imagination? She

turns to the DRYER, then TUGS at it with all her strength.

EXT. MAIN STREET - IN FRONT OF THE CHINESE THEATER - NIGHT 131

Johnny emerges from the alley onto the street. It's now
ridged with SAND DUNES and littered with TUMBLEWEEDS.
Everything GLOWS a SPECTRAL SILVER in the MOONLIGHT-. He
steps out into the street right in front of the CHINESE.
Suddenly, the MARQUEE LIGHTS UP. Johnny stops, amazed. The
theater has been restored to its original GRANDEUR. On the
MARQUEE: NOW SHOWING VIE'!' CONG LOOKOU'I' STAR.RING JOHN EDWARD
NARINVILLE.

Johnny, haunted and transfixed, steps beneath the marquee.

The LOBBY DOORS are OPEN, clean and shining. The CURRENT
ATTRACTION POSTER shows a YOUNGER JOHNNY, wearing FATIGUES,
PRESS CREDENTIALS and a NIKON strung around his NECK.
He's RUNNING like hell and looking back over his shoulder,
terrified. Behind him, all of Vietnam seems to be going up
in flames.
SOUND: MOVIE SOUNDTRACK, starting up inside: PEOPLE LAUGHING
.. and TALKING; BARROOM SOUNDS. MUSIC: "In the Midnight Hour" •

PAS
 114.

Johnny CLOSES his EYES, trying to will it all away. He OPENS

them, but it's all still there.
COLLIE (O.S.)
I heard you saved a bunch of _soldiers
when one of those suicide gooks blew up
a restaurant •••
Johnny SPINS. A TUMBLEWEED blows in his face, giving us a
JUMP, but no one's there. He STARES into the lowing wind.
Looking hypnotized, he turns and slowly ENTERS the THEATER,
aglow in the blazing COLORED NEON.

INT. CHINESE THEATER - AUDITORIUM - NIGHT 132

He ENTERS the auditorium and stops at the head of the AISLE.

COLORS play across his face; they swim in his wide eyes.

INT. CHINESE THEATER - SCREEN - NIGHT

A WAR MOVIE fills the screen in Johnny's P.o.v. behind the~
,,-..... SILHOUETTE of Tom's LIVING ROOM FURNITURE.

EXT. VIET CONG LOOKOUT - ESTABLISHING - DAY 133

A SAIGON BAR. Lots of Vietnamese civilians pass, on foot,

bicycles, motor scooters and taxis.

INT. BAR - DAY 134

A YOUNG JOHNNY MARINVlLLE holds court at a table, his PRESS

CREDENTIALS hanging from his neck. Even then, the center of
attention, at hi~ most pompous and unlikable, but PEOPLE
around him listen, fascinated by the FAMOUS WAR
CORRESPONDENT.
He says something that.makes everyone LAUGH, then drains his
drink and heads for the WASHROOM. A GRUNT at the JUKEBOX is
selecting a tune .•• but it's a ruse. He has a John
Marinville BOOK in his hand, and summons all his courage and
holds it out as Johnny passes.
MUSIC on the JUKE changes from Wilson Pickett to the Young
Rascals ' "GOOD LOVIN' " •
Johnny smiles, opens the book and scribbles his name as the
GRUNT looks on worshipfully.

PAS
 115.

ANGLE - JOHNNY IN THE AISLE OF THE CHINESE, WATCHING 135

Fresh TEARS trickle down his cheeks. He remembers it all.
Resume the WAR MOVIE.

INT. CORRIDOR LEADING TO MEN'S ROOM/MEN'S ROOM - DAY 136

Follow Johnny to the door; it's crowded, claustrophobic. He
opens the DOOR and SEES a YOUNG VIETNAMESE (we saw him
earlier in Johnny's VISION) kneeling on the floor, fiddling
with a battered GREEN TOOLBOX.
Written on it in RED is a single CHINESE CHARACTER. There
are THREE URINALS. The BOY is kneeling by the CENTER ONE.
The one on his left has the LBJ sticker inside it and
GRAFFITI (PISS ALL DAY ON LBJ) over it.
The BOY opens the TOOLBOX.
Johnny doesn't get it. When he SPEAKS, his VOICE has a
distant underwater quality-- a voice from a dream.
JOHNNY
What the hell are you doing?
The Boy grins up at Johnny and TILTS the TOOLBOX to show him.
Inside is a BOMB: PLASTIQUE wired to a cheap ALARM CLOCK •
. The Boy's EYES are a sickly YELLOW.
He is TAK.

YOUNG VIETNAMESE
Evlyt'ing bro sky-high! You got fi',
maybe ten second, big boy. Then, boomJ
Johnny is frozen in place_, terrified.
The Boy lifts the ticking bomb out of the toolbox and holds
it up. As he does, his face RIPPLES and becomes INHUMAN.
His EYES GLOW RED. It~s COLLIE, but we also see the thing
that was SHIH just before he was hung.
YOUNG VIETNAMESE
Tak! Tak ah lah!

Push in tight on the face of the BOMB-CLOCK. Instead of

Westclox, it says TAKCLOX. The second hand races toward 12.
Johnny's face congests with panic like a heart attack, and ·he
TURNS and FLEES.

PAS
 116.

ANGLE - JOHNNY'S VISION 137

Crouched around the Tak-ing BOMB in a vile circle are COLLIE,

ELLEN, the YOUNG VIETNAMESE, and SHIH, all GRINNING. In the
face of each, we see the face of TAK.

WITH JOHNNY 138

Johnny doesn't even bother to warn anyone; he just RUNS like

a self-serving coward. On his way to the DOOR he COLLIDES
with the GRUNT, almost knocking him to the floor. Instead of
being angry, the Grunt watches him worshipfully, holding the
precious signed BOOK to his CHEST.
Johnny BURSTS through the DOOR, running like Hell.

EXT. SAIGON STREET - WITH JOHNNY - DAY 139

He runs at the CAMERA in SLOW MOTION as in a dream. He

PASSES COLLIE, who sits astride a MOTOR SCOOTER with
DESPERATION, NEVADA 1849 and the TOWN SEAL on it.

·coLLIE
Ran like a rabbit! And never warned a
soul! Brave boy! Tak ah lah! Tak ah
wan!

Johnny ignores him and keeps running. Behind him the VIET
CONG LOOKOUT suddenly EXPLODES in BRILLIANT ORANGE FLAME,
obliterating the BAR as, in f.g., Johnny runs for his
miserable life.
The SCREEN FLASHES WHITE, then goes DARK. It's the same
TATTERED SCREEN as before.

INT. CHINESE THEATER

..
- AUDITORIUM - NIGHT 140

Weeping, Johnny TURNS •.•• and David is standing there, looking

at him with questioning eyes. Ready yet, Johnny?
JOHNNY
It was him. It. Tak. In Saigon. But
that was 30 years agol Why? I don't--
DAVID
So you'd know when you saw it. When
you saw it the next time.

PAS
 117.

JOHNNY
We can still leave, David. Drive to
Highway SO, turn west, never look back.
Free will, remember?
DAVID
Yeah. Good old free will.
Johnny covers his face with his hands. After a beat, David
reaches up and gently takes one of them. Johnny lowers the
other.
JOHNNY
87 people died in that bar. I never
tried to save a one of them, either--
all I saved was my own sorry ass. And
here? How many in this town?
DAVID
Sometimes God is cruel.
JOHNNY
Then what good is Ee?

- David just looks up at Johnny. He knows. He knows he can

redeem himself after all these years of being haunted.

JOHNNY
He wants us to love Him and serve Him,
right?
- (David nods)
.Come here.
David steps forward, and Johnny HUGS him. David hugs back,
hard.
JOHNNY
You're crazy. I like that in a person.
David snorts laughter. Johnny lets him go.
JOHNNY
Mary? Is that where we start?
David nods.
JOHNNY
Then let's go get her.
DAVID
That 's not all.

PAS
 118.

JOHNNY
I know.
They look at each other in perfect understanding and head up
the aisle, now dingy and tattered again •••

-
.

PAS
 119.

ACT TEN

EXT. CHINA PIT MINE - NIGHT 141

High and wide. It's vast and eerie in the Nevada moonlight.
The MINING OFFICE a Tinker Toy in its belly.

EXT. REAR OF MINING OFFICE - NIGHT 142

MOONLIGHT reveals the PLASTIC EXHAUST PIPE sticking out of a
RUSTY TIN PLATE. We HEAR Mary GRUNT with effort, and the
PIPE is yanked back inside. The TIN PLATE starts to bend
outward.

INT. MINING OFFICE - NIGHT 143

Mary has hauled Ripton's BODY out of the way. The WASHER and
DRYER have been shoved away from the wall. Mary is on her
knees, pushing at the PLATE, her hair plastered to her
sweaty, dirty FACE.
Her JAW is BRUISED from where Ellen slugged her. Her BANDS
are BLEEDING. Unheeded, SNAKES, SCORPIONS, and SPIDERS crawl
over her legs. She FLICKS a SPIDER away from her face.
MARY
Get off!
The plate suddenly GIVES WAY. Mary's ARMS fly out and her
HEAD BONKS the wall. She hardly notices. She lies. flat
(crushing spiders and scorpions under her) and begins to
WRIGGLE OUT. The fit is AGONIZINGLY TIGHT.

-
EXT. REAR OF MINING OFFICE - HOLE IN THE WALL - NIGHT 144
Mary wriggles out like something being born, greasy with
SWEAT and BLOOD, panting, clawing. She HANGS UP at her
SHOULDERS, then again ~n the WAISTBAND of her JEANS. With a
final PANICKY LUNGE, she FREES herself and TUMBLES OUT.

WIDER ANGLE
She lands in a PILE of a DOZEN DECOMPOSING CORPSES! Glazed
EYES STARE, CUT THROATS GLARE. A BUZZARD which has been
having an evening snack FLAPS OFF with a strand of CARTILAGE
in its BEAK.

PAS
 120.

Mary SCR.~LES and her HAND PLUNGES INTO a DEAD MINER'S

CHEST! There is a HISS of GAS. Gasping, whooping, uttering
hoarse screams, Mary CRAWLS OUT of the DEADPILE. Wet THUMPS
and SMACKINGS as her HANDS slip in and out of the GOO.

She crawls free of the corpses, dragging her BLOODY HANDS

through the SAND, cleaning them as best she can. She
STAGGERS to her FEET and looks around.
She SEES the COP CAR with its DOOR hangin open; the
EXPLOSIVES SHED; the MINING EQUIPMENT. en she looks up and
sees a GAPING HOLE near the PIT-ROAD-- t STUMP of
RATTLESNAKE #2, uncovered by BLASTING.

ANGLE - RATTLESNAKE SHAFT - MARY'S P.o.v. 145

A FIGURE comes to the OPENING and stares at Mary in
DISBELIEF. It's what remains of Ellen. he entire LOWER
HALF of her FACE is GONE; her CLOTHES DRENCHED in BLOOD.
TAK/ELLEN glares at Mary, shaking its hea "no"; wordless
without a lower jaw.
~ It RUSHES down the SLOPE, slipping, slidi g, falling, picking
itself back up again.

EXT. BOTTOM OF THE CHINA PIT - NIGHT 146

Mary sees her only chance is Collie's SER. She RUNS for
it; so does Tak. Mary arrives first eers in at:
The KEYS hanging in the ignition.
She swings into the cruiser and SLAMS the DOOR just as
Tak/Ellen arrives. It HITS the side of t e cruiser, staggers
back, then GRABS for the DOORHANDLE. Once again it's a race,
but Mary beats Tak to the button which LOCKS ALL the DOORS.
Tak is WHAMMING Ellen's BLOODY HANDS on the WINDOW while Mary
tries to start the car. IT CRANKS, but DOESN'T START.
Ellen bends out of view, then comes up with a ROCK. She
BASHES the SIDE WINDOW, spiderwebbing the GLASS. Mary
SCREAMS; the ENGINE GRINDS and GRINDS.
Ellen hefts the ROCK again but this time THROWS it. It
smashes through the GLASS and lands in Mary's LAP. Mary
SCREAMS with PAIN, and as Ellen reaches through to wring
Mary' s neck •••.

PAS
 121.

we can see TAK'S RED EYES and the SMOKE issuing from the
mangled remains of her FACE.
At last the ENGINE FIRES. Shrieking, Mary drops it into gear
and MATS the GAS PEDAL. The CRUISER ROARS forward just
before Tak can reach Mary. One of Ellen's ARMS is RIPPED OFF
and lands in Mary's LAP!
Ellen SPINS AWAY from the CRUISER, shrieking, then grabs onto
the BUMPER with her remaining ARM.

ANGLE - THE CRUISER - WITH MARY

She looks into the REARVIEW and sees ELLEN'S MANGLED REMAINS
appearing above the TRUNK. Mary SPINS the WHEEL.

ANGLE - FLOOR OF THE PIT - THE CRUISER

The REAR DECK hits a DRILLING MACHINE. The collision spills
Ellen free and she goes rolling across the sand to lie still.

,..-, ANGLE - THE CRUISER - WITH MARY

Mary SHRIEKS in triumph, then realizes there is a SEVERED ARM

in her lap. She THROWS it out the window ••• and sees a
PAYLOADER looming dead ahead. She SWERVES, barely avoiding
it.
That snaps her back to a semblance of reality. She brushes
her hair out of her eyes and looks in the REARVIEW MIRROR.
ELLEN'S BODY lies unmoving in the sand, DWINDLING.
Ahead of Mary is the ROAD leading up the inner slope of the
pit and out of this nightmare. She takes it, driving fast •••
and then spies the bouncing little PLASTIC BEAR, nodding back
and forth on its spring.
She tears it free and throws it out the window.

ANGLE - FLOOR OF THE PIT

Ellen rolls on her back, DYING. The GLOW in her EYES is
FADING. A SHADOW crosses her FACE. There's a RUSTY CRY.
A BUZZARD roosts on the DRILLING MACHINE, looking hungrily
down at what it thinks is a dying woman.
Tak lifts Ellen's remaining ARM and calls out.

PAS
 122.

TAK
Mi him/ Can de lach, mi him, min en
tow. Tak!

The BUZZARD flaps down to alight on Ellen's CHEST. TAK curls

Ellen's ARM around it, and we SEE the SMOKE begin to FLOW
between them.

Tak is CHANGING BODIES one last time.

EXT. RIM OF THE CHINA PIT - NIGHT 147

The CRUISER surges over the RIM of the PIT. Mary STOPS on
the far side, staring at:

EXT. DESPERATION - IN THE DISTANCE - NIGHT 148

In BRIGHT MOONLIGHT we can easily see the BLINKER in the

middle of town, the ROAD, and the APPROACHING HEADLIGHTS of
the RYDER VAN.

INCLUDE MARY

MARY
Thank God •••

She starts down the outer rim to meet them.

EXT./INT. THE RYDER TRUCK/ROAD - NIGHT 149

The van passes us, moving fast. CAMERA PANS to follow,
revealing HEADLIGHTS coming the other way.

Steve is driving. Cynthia is next to him. Ralph is in the

shotgun seat, with David in his LAP.

CYNTHIA
Oh, God, it's the cop! It's the cop!

INT. REAR OF THE RYDER TRUCK - NIGHT 150

Johnny is thrown forward as Steve slams on the brakes. He

scrambles to his feet and runs to the open rear door.

EXT. ROAD - NIGHT 151

Steve jumps out, his RIFLE in his hands. The CRUISER

approaches in a GLARE of HEADLIGHTS.

PAS
•·.
 123.

Steve raises the rifle just as Johnny comes around from the
back of the truck and David spills out of the passenger door.
As the CRUISER stops almost nose-to-nose with the van:

DAVID
It's Mary!
Uncertain, Steve lowers the rifle a little, then raises it as
the DRIVER'S DOOR of the CRUISER OPENS. Mary gets out and
STUMBLES toward them. She's got the eyes of a train-wreck
survivor.
Ralph and David, hurrying toward her, are in time to grab her
before she collapses, and the others gather round.
MARY
It almost got me. It was so close ••.
It was in Ellen. I'm sorry David, but--
DAVID
I knew. I knew •••
MARY
But it's dead. It's lying back there
-., dead.
JOHNNY
No. Ellen's dead ••. but not Tak.
They all look at him as he steps forward beside David.
JOHNNY
Its human host might be dead, but it's
still in the mine, right David? The--
DAVID
The pirin mob. And the ini. That's
where it really is. The well of the
worlds.
CYNTHIA
This well •••. can we block it somehow?
DAVID
I don't know •••
JOHNNY
We can close the shaft back up again,
and that's what we're going to do.
Mary, you stay here. You've been
through enough.

PAS
 124.

MARY
Forget it. Let's go.
She starts toward the truck. Johnny looks at David.
JOHNNY
Want to ride in back with the old
folks, Junior?
David follows him; Johnny puts an arm around his shoulders.

EXT. RYDER TRUCK - FROM RIM OF THE PIT - NIGHT 152

We see its HEADLIGHTS swing around the CRUISER and head
toward us.

INT. REAR OF THE RYDER TRUCK - NIGHT 153

MARY
(still on edge)
What does this Tak want?
DAVID
It doesn't matter.
MARY
It doesn't matter?
DAVID
No. All that matters is what God
wants.
He turns to Johnny, who leans back and closes his eyes. He
might even be praying.

EXT. RATTLESNAKE SHAFT - NIGHT 154

Two SMALL RED LIGHTS gleam inside. we HEAR a VULTURE'S RUSTY
CROAK. TAK is in there, waiting for thein.
The CAMERA pans away and looks up the road. LIGHTS FLARE
over the RIM of the PIT, and the RYDER,TRUCK starts down.

EXT. EXPLOSIVES SHED - NIGHT 155

The HEADLIGHTS of the van approach it, and the truck stops
beside it. The SURVIVORS get out and at first turn toward
the black maw of the RATTLESNAKE MINE.

PAS
 125.
-.
JOHNNY
There?
DAVID
Yeah.
Steve tries the LOCK on the shed door and shakes his head.
He raises his rifle and the others draw back.
JOHNNY
Wait a minute.
He trots to the truck and returns with his FULL-FACE HELMET.
JOHNNY
Alas poor Urine, I knew him well.
He puts the HELMET on Steve's head. Steve, looking like a
futuristic welder, aims the GUN at the LOCK and FIRES. The
LOCK falls away. He removes the helmet and hands it to
Johnny as Ralph opens the SHED DOOR.
Johnny tucks fl the helmet under his arm and they all go in.

INT. EXPLOSIVES SHED - NIGHT 156

Cynthia flicks the LIGHT-SWITCH. It doesn't work, but

there's enough moonlight shining in to see by. There are
STUDS against the FAR WALL hung with HARDHATS and coils of
DET-CORD.
There are 3 MAIN BINS-- the one marked BLASTING CAPS is
empty. The one marked DYNAMITE contains a DEAD MAN with his
EYES GOUGED OUT. The last is labelled ANFO, and is full of
plump DRAWSTRING BAGS.
JOHNNY
That's the stuff Tim Mcveigh used.
MARY
At the trial they said it's hard to set
off.
JOHNNY
Love will find a way. Two bags each.
Tie the drawstrings together.
RALPH
Who .made you the boss of this shooting
match?

PAS
 126.

JOHNNY
You want the job?
RALPH
No, I just--
JOHNNY
Why don't we just say I got hit by a
God bomb, okay?
David jumps at that, and Johnny smiles at him. It's the
first time David has looked really disconcerted, and maybe
Johnny just likes to know he still has the power to do that.
DAVID
How did you know that word?
JOHNNY
How do you think I know, David?
David looks at him uneasily; Johnny looks back, eyes dancing.
CYNTHIA
Never mind" God, I'll settle for bombs.
.

She goes to the .ANFO bin, picks up a couple bags marked

BLASTING AGENT, and ties the drawstrings together.

EXT. EXPLOSIVES SHED - NIGHT 157

From the Rattlesnake #2 shaft. Ralph, David, Mary and.

Cynthia come out, and we HEAR the CRY of the BUZZARD again.
Each of them has TWO BAGS of ANFO hung around the neck.

INT. EXPLOSIVES SHED - NIGHT 158

Only Johnny and Steve are left inside. Both have ANFO .bags
hung around their necks. The others are waiting for them
outside. As Steve starts out, Johnny GRABS him and SPINS him
around.
JOHNNY
Listen to me, and don't say a word. I
think David already suspects that I've
had more than one God-bomb tonight, and
I don't want him getting any more antsy
than he already is. Very soon now,
/ you're going to have to grab that kid.
When you do, get your best hold,
because he's going to fight like hell.
And don't let go.

PAS
 127 •
.-.

DAVID (O.S.)
Everything okay?
JOHNNY
Be right out!
(back to Steve, fierce)
Will your girlfriend help you?
STEVE
Probably, but she's not--
JOHNNY
Good. Let's go.
He starts to usher the bewildered Steve out, then stops,
looking at an assortment of TOOLS hung on PEGS by the door.
He takes a HAMMER and slips it into the belt of his chaps.
He's still got the FULL-FACE HELMET, too.

EXT. CHINA PIT MINE - NIGHT 159

David looks at Johnny with su~picion. Johnny gives him an

-.
.
innocent look •
MARY
What's the plan?
DAVID
We do what God tells us. That's the
plan.
They CROSS toward the slope and the shaft, weaving between
the huge MINING MACHINES, David in the lead.
At the foot of the slope, David stops them.
DAVID
We ought to pray.
He holds out his hands. His father takes one, and Johnny the
other. Hesitantly, the other survivors join hands in a
CIRCLE. David starts them.
DAVID
Our father who are in heaven •••
Steve and then the others join in. Johnny, his face
inscrutable, is the last to join the prayer .••

PAS
 128.
-..

SURVIVORS
hallowed be thy name. Thy kingdom
come, thy will be done on earth as it
is in heaven.

EXT. FROM THE MOUTH OF RATTLESNAKE #2 - NIGHT 160

The BUZZARD walks to the edge of the mine and looks down at
the CIRCLE of SURVIVORS with TAK'S burning little EYES.
SURVIVORS
Give us this day our daily bread, and
forgive us our trespasses as we forgive
those who trespass against us as we
forgive those who trespass against us.

ANGLE - WITH SURVIVORS 161

We pan their faces, seeing them as a whole unit which has

been elevated to something greater than the sum of its parts.
SURVIVORS
Lead us not into temptation, but
deliver us from evil, for thine is the
kingdom, "the power, and the glory.
Amen.
DAVID
I 7 m supposed to go on from here by
myself. · The rest of you~-
RALPH
David, no!
JOHNNY
That's a load of crap, Dave.
DAVID
(stung)
What do you-mean?
JOHNNY
Exactly what I say. And don't start
with that God-told-me-to stuff, because
right now God isn't telling you
anything. Is he?
David's nervous LOOK, quickly breaking eye contact, says all
that's necessary. Johnny holds his hand out to the slope.

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 129.

JOHNNY
You can go first, though; how's that?
David looks up at him, then starts up. Johnny's behind him,
then Ralph, then Steve. The WOMEN bring up the rear.

EXT. ON THE SLOPE - WITH THE SURVIVORS - NIGHT 162

They toil upward towards camera, Johnny working hardest. As

he and David reach us, Johnny SLIPS. He grabs David to keep
from falling, and they both go to their KNEES. Ralph
steadies Johnny, who is badly out of breath.
JOHNNY
I'm okay. Just got a lot of bourbon
and cigarettes sitting on my chest.
David and Ralph help Johnny up. In the momentary confusion,
Johnny's hand slips smoothly into David's PANTS POCKET.
Ralph puts .an ARM around David's shoulders and they start up
together. Johnny signals to Steve with his eyes; Steve moves
up beside Johnny. Cynthia and Mary are clos~ behind.
CYNTHIA
Want me to take those bags?
JOHNNY
I'm okay. We're almost there.
DAVID
(suspicious)
What do you know?
JOHNNY
Only that I want to be out of this
hellhole before dawn.
He tosses David the FLASHLIGHT.

EXT. THE MINE OPENING - NIGHT 163

David appears, then his father, silhouetted by the mouth of
the cave. David shines his light into the CAMERA.
The BEAM picks out a SHIFTING DARK SHAPE, a RED EYE .••
Steve, Johnny and Cynthia loom behind David and Ralph, Mary a
short distance behind.

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'··
 130.

DAVID
There's something in there!
SOUND: a FLUTTERING EXPLOSION of WINGS.
Ralph PUSHES David down, then shields him with his own body.
DAVID
Dad, no!
Too late. The BUZZARD, uttering a PIERCING ATTACK CRY, hits
Ralph, one talon digging into his throat and the other into
an EYESOCKET. BLOOD SPURTS.
CYNTHIA
Shoot it! It's gonna tear his head
off!
Steve tries, but the shot's impossible. The Buzzard flaps
around Ralph's head in a frenzied BLUR, while Ralph, dying,
continues to protect his screaming son.
DAVID
Make it stop hurting my daddy! Oh,
............ God, please make it stop hurting my
daddy!
Mary shoves forward. Shrieking, the Buzzard turns its GLARE
on her. Mary SEIZES it by the NECK.
MARY
Happy Thanksgiving.
She WRINGS ITS NECK. There is a sharp CRACK as i t breaks.
The RED LIGHT goes out of its EYES and falls to the floor,
still twitching.
David staggers to his feet. He looks at the Buzzard, at the
slumped body of.his father, then at Johnny.
DAVID
He can't ••• -God can't take all of them.
JOHNNY
He can. He's God. And God is cruel.
DAVID
Then he's no better than Tak.
He turns to the DARKNESS of the sloping shaft and begins
RUNNING between the RUSTY ORE-CART TRACKS.

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 131.

JOHNNY
Steve!
Steve TACKLES David, who struggles to get away. Cynthia
Joins Steve, helping hold the boy down. Johnny picks up the
FLASHLIGHT, then squats by the weeping, struggling boy.
DAVID
He can't take them all and leave me!
He can't take them all and leave me!
Johnny puts his hand over David's MOUTH, silencing him.
JOHNNY
Do you know how cruel your God can be,
David? How fantastically cruel?
(no reply from David)
Sometimes he makes us live. I love
you, kid. You're a piece of work.
He kisses the boy on the cheek; simply, gently.
JOHNNY
(to Steve)
Get him out. Get all of them out.
There's going to be one hell of a bang.
STEVE
Boss--
JOHNNY
No time.
He gets to his feet and heads down the shaft, ANFO BAGS
swinging against his CHEST. The FLASHLIGHT picks out CHINESE
CHARACTERS, writing on the walls in SMOKE ••• the rusty HEAD
of a PICK •.• the rotted ~emains of a KEROSENER STRAP.
Steve and Cynthia help David up, careful in case he should
bolt. Johnny stops and looks back at David with great
compassion.
JOHNNY
Go to your friend Brian. Make him your
brother. Then start telling yourself
there was an accident out in the
desert, a bad accident, and only you
survived.
DAVID
But that's not what happened!

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 132.

JOHNNY
That's exactly what happened. Get the
hell out of here, David. All of you.
Johnny jogs out of sight around the first curve. The others
watch him, almost frozen. Steve gets them moving.
STEVE
Come on. Let's go. Hurry.
He picks David up and carries him. The boy, all but
flattened by grief and shock, offers no resistance.

INT. THE MINESHAFT - NIGHT 164

It's CLAUSTROPHOBIC, and eerily disorienting, increasingly
WEIRD. The SMOKE-WRITINGS on the WALLS take on a
Lovecraftian character; we see SHAPES and SNARLING FACES as
well as the Chinese alphabet •••
On the FLOOR, SKELETONS begin to be interspersed with the
RUBBLE of CUPS and PICKS and KEROSENERS. In the light of the
FLASH, the skulls seem to SCREAM.
There are litters of crumbling STONE MONSTROSITIES: the CAN
TAHS.
Johnny jogs around a pile of SKELETONS and BUMPS an ancient
BAULK. RUBBLE sifts down. Johnny, afraid, still pushes on.
As he comes around a CURVE, he STOPS, shining his LIGHT at:

INT. END OF SHAFT - JOHNNY'S P.o.v. - NIGHT

There's a slanted WALL of RUBBLE- sprinkled with CAN TAHS. In
the center, a RAGGED RIFT big enough for a man to slip
through. RED LIGHT pulses from it, like TAK'S EYES.

RESUME JOHNNY
He gathers all his courage and starts toward the hole which
gives on the PIRIN MOH CHAMBER.

EXT. CHINA PIT MINE - WITH SURVIVORS - NIGHT 165

The band is down to Steve, Cynthia, Mary and David. They get
to the BOTTOM of the SLOPE and run for the TRUCK. When they
get there, all four cram into the CAB. Steve starts the
engine and the HEADLIGHTS come on.

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 133.

INT. PIRIN MOH CHAMBER - WITH JOHNNY - NIGHT 166

Johnny struggles through the FISSURE, then looks around in

terror and amazement. It's much more horrifying than through
the nickelodeon: the CHAMBER is HUGE, the WALLS sculpted
MURALS of SCREAMING FACES, both HUMAN and INHUMAN.
From the INI (the cupped stone hole at the base of the floor
of the PIRIN MOH), STRONG RED LIGHT pulses.
Johnny starts toward it, and REDDISH SMOKE begins to ISSUE
from it. It takes the SHAPE of FACES, a horrific, shifting
VISAGE: first of TAK, then of COLLIE, and of ELLEN, CHANTING:
TAK/COLLIE/ELLEN
Tak ah lahl Tak ah wan-- mi him en
tow/ RasJ Cav de munJ TakJ
Finally, as it nears Johnny, it forms into THREE PRONGS.
Johnny STANDS, HYPNOTIZED, then beginning to understand.
Johnny breaks from his TRANCE, and at the very last moment he
YANKS the FULL-FACE HELMET down over his head. The SMOKE
,,--...._ encounters the PLEXIGLASS FACE SHIELD and spreads harmlessly
across it.
Johnny REACHES OUT, GRASPS the SMOKE, and TWISTS it. There's
an unearthly SCREAMING SCREECH as it TEARS APART. What's in
Johnny's hands FADES OUT. The REST retreats toward the CUP
of the INI.
Johnny reaches the EDGE of the INI and looks down at:

INT. INI - NIGHT 167

It looks like the inside of a giant stone teacup, the SIDES

lined with HOOKS of QUARTZ. At the BOTTOM is a small HOLE an
inch across. From it pulses a BRILLIANT RED LIGHT.
JOHNNY
You down there, Tak? Is that you?
Because I've come for you--
TAK (O.S.)
(voice of Young
Vietnamese}
Then come on! Big blave Amel'ican
writah! Tak ah lahJ
SMOKE LEAPS up from the HOLE and CURLS over Johnny's
SHOULDERS like hands, and YANKS him in.

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 134.

Johnny TUMBLES down the barbed, jagged walls of the ini, his
clothes and body RIPPED and RENT by the QUARTZ HOOKS. His
HEAD hammers against the STONE WALL, but bounces off,
protected by the HELMET.
But it can't protect the ~est of him. He is cut and sliced
all the way down, holding on to the ANFO BAGS around his neck
as he tumbles.
When he finally hits bottom, his CLOTHES are RED with BLOOD.
The SMOKE runs all over him, entering his CUTS and WOUNDS and
making him SCREAM and WRITHE.
Tak continues to chant: Tak ah lah, cav de mun, can de lach;
its whole limited vocabulary.
Johnny YANKS the ANFO from around his neck and pulls the bags
apart. He takes one BAG and impales it on a QUARTZ HOOK,
then holds it over the little HOLE at the bottom of the ini,
and begins to POUR a STREAM of WHITE ANFO PELLETS inside,
drowning that RED EYE.
TAK
Stop! I command you to stop! Tak
commands bhat you stop! The heart of
the unformed commands that you stop!
JOHNNY
John Ashcroft commands that you stop!
Adam Sandler demands that you stop!
William Hung demands that you stop! **
He casts aside the first BAG, now empty, opens the second bag
and POURS it down that narrow gullet.

EXT. ROAD LEADING OUT OF THE CHINA PIT - NIGHT 16B

The RYDER TRUCK ROARS up the SLOPE, headlights glaring.

INT. CAB OF THE RYDER -TRUCK - NIGHT 169

Steve's hunched over the wheel like a stock-car racer on the

last mile. Cynthia beside him. Mary has David on her lap.
CYNTHIA
Even if he can get to it, how can he
set that stuff off?
A sudden LOOK of SURPRISE on David's face.

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 135.

EXT. SLOPE BELOW THE RATTLESNAKE SHAFT, REPLAY 170

David is helping Johnny up; Johnny's HAND slides into the

POCKET of David's jeans.

RESUME RYDER TRUCK CAB 171

David touches his POCKET, and a RELUCTANT SMILE touches his

face as he feels NOTHING inside.
DAVID
I think he knows a way •••

INT. BOTTOM OF THE INI - WITH JOHNNY - NIGHT 172

His strength is ebbing; he's LYING in a SPREADING LAKE of

BLOOD. He casts the empty ANFO BAG aside. The tiny BORE at
the bottom of the INI is filled with WHITE ANFO TABLETS. RED
LIGHT seeps through them.
TAK

-· Ican give you anything if you stop!

Anything!
JOHNNY
Hey, I got my nuts toasted by Nonnan
Mailer in the New York Times Book
Review .•• what else could a man want?
He rolls painfully to one side, fumbles in his pocket, and
pulls out the SHOTGUN SHELL he took from David.
Johnny KISSES it, then SLAMS it into the ANFO-stuffed BORE at
the bottom of the ini. It's a perfect fit.
TAK
You can't, os pa! You can't! You
untalented bastard!
Johnny PULLS the HAMMER from his BELT. At the word
"untalented", his eyes flare.
JOHNNY
Oh, my friend. You really said the
wrong thing there. Because I hate
critics!
Johnny brings the HAMMER down and the SCREEN WHITES OUT.

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 136.

EXT. MOUTH OF THE RATTLESNAKE SHAFT - NIGHT 173

There's a HUGE RUMBLING ROAR and the everything SHAKES like a
10. 1 EARTHQUAKE.

Rattlesnake Shaft ERUPTS in a MASSIVE EXPLOSION of giant

FIREBALLS. It COLLAPSES spectacularly, claiming Johnny
forever within its secret tomb.

EXT. ROAD LEADING OUT OF THE CHINA PIT - NIGHT 174

The entire PIT LIGHTS UP; throwing the Ryder truck into
brilliant relief. Loose SCREE around it starts to cascade in
the background; BOULDERS go bouncing past the truck.

INT. CAB OF THE RYDER TRUCK - WITH SURVIVORS - NIGHT 175

Steve is bent over the wheel like a maniac as the world all
around them SHAKES and QUAKES in the unholy hell that is the
China Pit.

- Steve frantically drives, checking in the RE.ARVIEW MIRRORS as

STONES rain down and against them and ORANGE FIRELIGHT fills
the night sky.
STEVE
(pounding the wheel)
Run, you bitch! Run for me now!

EXT. RIM OF THE CHINA PIT - NIGHT. 176

The HEADLIGHTS surge over the top, and the TRUCK follows. As
it runs across the rim, the EDGE starts to give way behind
it.

EXT. CHINA PIT MINE - NIGHT 177

The CHINA PIT VIBRATES spectacularly, belching FIRE and
BRIMSTONE, ROCK and DIRT avalanching down its walls. The ON-
SITE OFFICE, EXPLOSIVES SHED, and MINING MACHINERY vibrating
violently.
There's a FINAL BALEFUL FLASH from the collapsed shaft, and
then it's BURIED under SIX THOUSAND TONS of SHALE and
PORPHYRY.

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 137.

EXT. BEAUTIFUL DOWNTOWN DESPERATION/INT. TRUCK CAB - DAWN178

The RYDER TRUCK barrels down Main Street, which is littered **
with DIRT and SAND and DETRITUS. DEAD ANIMALS lie **
everywhere.
CYNTHIA
Jesus, what happened?
Mary looks in the REARVIEW MIRROR. Horror and alarm fill her
face.
MARY
Stop the truck!
The TRUCK STOPS under the blinker, which is now dead, as is
all around it: scores of DEAD COYOTES, BUZZARDS, SCORPIONS,
and a curving pigtail of DEAD RATS.
The Survivors get out of the truck. Steve and Cynthia are
puzzled, Mary horrified. David hardly reacts at all. Shock
and grief have knocked him flat.
MARY
(points back south)
Look.

EXT. CHINA PIT MINE - THEIR P.o.v. - DAWN 179

SMOKE from the cave-in still billows from the massive open
maw of the pit. It's taking a clear SHAPE as it rises: a
SMOKE-WOLF with a SMOKE-LIZARD protruding from its MOUTH. A
CAN TAB in the sky.

RESUME SURVIVORS 180

MARY
It won't die, will it? It'll just keep
coming for us •••
DAVID
Look. It's going away already .•• see?

RESUME P.o.v. 181

The CLOUD-WOLF is being pulled apart by the WIND.

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 138.

INCLUDE SURVIVORS 182

Mary hugs David, but he doesn't hug back. over his head, she
shoots Steve and Cynthia an anxious look. Cynthia ruffles
David's hair with concerned love.
STEVE
Let's get out of here.
They get back into the truck and start out of town.

EXT. CHINA PIT MINE - LONG SHOT - DAWN 183

That CLOUD coming out of the pit is dissipating, but the

shape is still there.
WHISPERING VOICE
Tak ••. Tak ah lah ..• Tak ah wan •.• Tak.

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 139.

ACT ELEVEN 184

EXT. HIGHWAY 50 - HELICOPTER SHOT - MORNING

We RUSH above miles and miles of the open desert of Highway
50; it's like flying in dreams. Below, the GLEAMING FLASH of
CHROME marking Johnny's· half-buried BIKE. ZOOP! There's the
Carvers' RV. ZOOP! The RYDER TRUCK. Just beyond, DEIRDRE'S
Altima.

INT. CAB OF THE RYDER TRUCK - MORNING 185

MARY
Stop, pull over.
STEVE
What is it?
MARY
There's a little overnight case in the
back seat, if no one's stolen it. ·
Steve pulls over. Mary gives David a troubled look, then1B6
gets out and goes to her car. She reaches for the door
handle and FREEZES when she sees something in the back seat.
MARY
David? I think you'd better come here.
He gets out, and Steve and Cynthia follow. They gather
around Mary, looking into the back seat.

ANGLE - THEIR P.o.v. - ALTIMA BACK SEAT

Lying on top of Mary's overnight case is a FOLDER marked
WENTWORTH SCHOOL DEPARTMENT. In the bottom corner is THESE
PHOTO MEMORIES BELONG TO and then, written: DAVID CARVER.

RESUME SURVIVORS
MARY
Any idea how your school pictures got
into the back seat of my car, David?
David shakes his head. He stares at the FOLDER, hypnotized.
Steve opens the back door and takes the folder out. ·

PAS
 140.

STEVE
This is the boss's handwriting.

CYNTHIA
Are you sure?

STEVE
After spending a month looking over his
shoulder while he wrote "best wishes"
and "good luck" and "could you come up
to my room later?" in people's books,
·yeah, I'm sure.
He starts to open the folder, then hands it to David instead.
David pauses, gathering his courage, then opens the folder.
There is a single PHOTO inside, with MY SCHOOL MEMORIES
embossed in the upper right corner.

INSERT - THE PICTURE 187

Johnny and Pie stand on the SIDEWALK of that suburban
~ Wentworth street where Brian Ross was almost killed. Johnny
wears a SUIT and TIE, his hair neatly combed.
Pie wears her jumper, pink blouse, white socks, black shoes.
She holds one JUMPROPE BANDLE; Johnny holds the other. He
has his arm around her, and both are SMILING, happy.
In the middle b.g.: 3 upturned BIKES in the street. At Pie
and Johnny's feet is a HOPSCOTCH GRID. Chalked over it, a
message: I John 4:8.

RESUME SURVIVORS 188

Mary turns to David, whose eyes are filling with tears.
MARY
The Bible reference-- do you know it?
DAVID
Sure. "God is love."
CYNTHIA
What do you think, David? Is he love?
A beat before he looks up at her through the tears.
DAVID
Yeah. I guess so.

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 141.

He takes the picture from Mary and looks at it with the eyes
of someone who's just been reawakened to the world •.• for
better of worse. Then be looks at each of them in turn with
his sorrowful eyes. But there is the trace of a melancholy
smile, too.
MUSIC: low but RAMPING: "GOOD LOVIN'" by the Young Rascals.
DAVID
I guess God's sort of ••• everything.
That's what makes him God.
They take that in for a moment as the new morning sunlight
brightens around them, then they climb back into the Ryder
truck.

EXT. HELICOPTER ANGLE - HIGHWAY 50 - MORNING 189

As they head west, away from Desperation and the China Pit,
the MUSIC comes up LOUD, triumphant in its daffy happiness:
You got the. fever, I got the cure. We follow the truck west,
watc~i~g it dwindle to a YELLOW SPOT, and then we:

FADE TO BLACK.

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