Home Screenwriting Products Screenwriter Community Screenwriting Store
ScriptBuddy - Screenwriting Software for the Web

Screenwriter Community

Back to List of Published Screenplays
View/Leave Feedback

by Brian Bara (Prospero761@gmail.com)

Rated: R   Genre: Horror   User Review:

A film crew descends on the NJ Pine Barrens to make a low-budget horror movie about a legendary creature that supposedly lives in the woods. They are soon quite surprised to find themselves the victims of of the very monster they all thought was just a legend.

This screenplay is copyrighted to its author. All rights reserved. This screenplay may not be used or reproduced without the express written permission of the author.


A starless night. Thunder rumbles in the distance. From
inside we can hear a woman screaming.

The camera tracks through the woods, to the window and into
the cabin.
A one room cabin. A fireplace with a kettle; a rough-hewn
rocker; a table with two chairs; a bed. On it lays a WOMAN
in the throes of painful childbirth.

A MIDWIFE attends; a look of distaste on her face.
Hang on, Dearie. Itís almost done.
I can see its little 'ead pokiní
The Woman screams in agony.
                       MIDWIFE (cont'd)
Itís comin, itís cominí! Good
lord, please let this child be al-
right. Please, sweet Jesus, save
this child from its motherís sins.
There is a crash of thunder as the rain begins to fall
outside. Raindrops sizzle in the fireplace and on the
Now push, Dearie! Push!
The Woman screams in reply.
                       MIDWIFE (cont'd)
Just a little more... thatís it.
thatís good. Here... it... com...
Oh, dear Jesus in heaven! May God
have mercy on your soul, woman!


There is an inhuman screech as the baby is born and takes
its first breath.

The Midwife stands, horrified, frantically wiping the
red/black blood from her hands and forearms.
Iíll no more of this, Jane
shrouds! This is the work of the
devil, an' yer poor 'usband is
surely spinniní in his grave! Yer
damned, woman! Damned ta hell!
The Midwife runs out into the rain, screaming in horror.
A storm has begun to rage as the Midwife runs through the
trees. She is terrified, but running out of breath.

She stops to rest, holding her side and gasping for air.
Looking back to make sure she wasnít followed, she leans her
hand against a tree, which is immediately struck by

The Midwife jitters and convulses as smoke rises from her
upstanding hair and her dress begins to smolder and finally
bursts into flame.

Jump cut to CU on the Midwifeís charred, smoking face as it
strikes the ground.

Opening credits roll over INT. shots of the Woman in her
cabin, nurturing her always-covered baby. She suckles it;
she sings to it; she plays with it and talks to it; she
rocks and feeds it. The changes in seasons can be seen
through the cabinís windows as time progresses and the
bundle gradually increases in size. The sequence ends with
the Woman leaning over a crib, talking baby talk, as a
scaly, red, black-clawed hand reaches up for the rattle she
is holding.

The camera pulls out of the credits to reveal an editing
Two men, DAVID MORTON and TIM WHITE, have been watching all


we have just seen. David is 38, an idealistic filmmaker who
managed to max out his credit cards to produce the four
minutes or so of film they just watched. Tim is 37, Davidís
business partner and best friend.
David, I canít believe you sold
this movie on a prologue and open-
ing credits alone
Dewitt loved it. And he read the
entire script in one night.
And he agreed to use your cast?
Well, no. Not exactly... He went
for Joel, Maxine and Dana right
away. He had a little resistance
to Maya, but I convinced him that
ethnicity was good for a broader
audience base. And Mark, Caleb and
Andrew have all agreed to double
duty as crew, so he was happy to
save money there.
So who was the problem?
Who do you think?
PAULA GRIFFEN, early 30ís, in a desperate attempt to play
early 20ís, is having a screen test.
                       OFF SCREEN VOICE
Paula Griffen screen test. Take
The scene is clapped and Paula begins.
      (As 'Melanie')
I donít know why you brought me
to this horrible place, Anthony.
Itís dark, and itís wet, and there



                       PAULA (cont'd)
are bugs and God knows what the
hell else out here. Iím tired, Iím
cold, Iím hungry and I want to go
home. Now!
                       OFF SCREEN VOICE
      (Flat reading)
Melanie. Youíre hysterical.
      (As 'Melanie')
I am not hysterical, Anthony! What
I am, is mad as hell! You and your
idiot friend drag us all the way
out here to East Bum-Fucked New
Jersey, pretending to be looking
for some stupid monster, when itís
all just a scam to party and try
and get your girlfriends wasted
enough to actually consider giving
you hand jobs! Well, I got news
for you, Mr. Anthony Hickox, I am
having no part of your little
                       OFF SCREEN VOICE
      (As 'Melanie')
What was that? Oh my God, Anthony,
what the hell was that!?!
                       OFF SCREEN VOICE
Was that not okay? Should I try
something different?
The camera pulls back to reveal lights coming up in a
screening room, where David and MORGAN DEWITT, the producer,
have been watching Paulaís screen test.
Should we run it again, Mr.


I donít think I need to see it
again, but I gotta tell you; I
really donít know about this one.
Sheís older than I pictured the
character when I read the script.
Her acting isnít half-bad, though.
What has she done, lately?

Well, sheís done a lot of regional
theatre. Plenty of Shakespeare,
Ibsen, that sort of thing. A
couple of national touring com-
panies. Oh.. andÖ she was in
that... uh... TV show...
What TV show?
David mumbles unintelligibly.
                       DEWITT (cont'd)
What was that?
'The Chicken Coop'
Not that shiny, wet turd on NBC
about the psychic midget detect-
No, no. Iím not really familiar
with that show. This one was a
sit-com. About a woman who ran a
brothel in Nevada.
That stinking pile of manure? My
grand-mother could make a funnier
show, and sheís been dead for
thirty-five years!
Tim and I prefer to think of it as
'Miss Griffenís Lapse in judge-


Morton, I like you. And you have a
good script here. Everyone else
you have shown me has been top-
notch. Top-notch. You say this
Paula Griffen is the girl you
want, then Paula Griffen is the
girl you get. Go to New Jersey.
Make your movie. But Iím telling
you right now, if this thing
doesnít make me money, Iíll have
your balls cut off and made into a
silver-plated paperweight. You got
JOEL McALLEN, a young, handsome and athletic actor, is
packing a suitcase. His life partner, DANIEL HARRISON,
I donít know why you have to go
off to New Jersey, of all places.
Itís not like there arenít any
woods in California, for Christís
There arenít woods like these,
Daniel. The Pine Barrens are
pretty unique. When I was a kid,
we would drive through them to get
to the Jersey Shore. My dad would
try to scare us by telling us that
a demon lived in them and if we
didnít behave, the Jersey Devil
was gonna get us.
      (Smiling at the
And besides, itíll do me good to
go home for a bit. See my folks.
You know.
Iím coming with you.


Unless you donít want me to...
No, Baby, it isnít that. Itís
just... Well, Iím going to be
working and...
I know. And I promised David and
Tim that I wouldnít get in the way
at all.
What? David and Tim know this?
Actually, it was David's idea.
It was?
He said I was welcome to come and
spend a few days camping on loca-
tion with you guys.
Daniel, have you ever been camp-
No, but how hard can it be?
Are you kidding me? Your idea of
ďroughing itĒ is one hundred-
eighty count sheets and a bottle
of store brand water. This is the
real deal. Tents. Sleeping bags.
Outside. Bugs. Bad food...
So you have no faith in my abili-
ties to adapt?
Alright. Come along, then. Iím
thrilled to have you here, really,
but I donít want to hear a single
complaint about this trip. Not


                       JOEL (cont'd)
one. Promise?
I swear on my left nut.
They both laugh, then kiss as the scene fades to black.
A smartly decorated apartment living room. MAYA TENG sits on
the sofa, sorting through her purse. Maya is an exotic-
looking Amer-Asian woman in her late 20ís with intricately
braided hair and piercing green eyes. She is frantically
rooting through her purse. Her ROOMMATE, a young lady of
similar age, is watching out the window.
Cab's here.
Oh, fuck!
Now what?
I can't find my fucking cell
Maya, I swear to God, Iím going to
put that thing on a chain and wrap
it around your neck.
How the hell am I going to go on
location without my fucking cell
Well, Iíll look for it and send it
to you. Where are you staying? I
can Fed-Ex it overnight.
Thatís the whole fucking problem.
Except for one night in Philadel-
phia, we arenít staying anywhere.
We are actually fucking camping in



                       MAYA (cont'd)
the fucking New Jersey Pine
Barrens! No fucking electricity;
no fucking running water; no
fucking phones; NO FUCKING; for
three fucking weeks! Ah! Got it!
She holds the phone up triumphantly and stands to leave,
picking up her suitcase.
                       MAYA (cont'd)
Youíre a doll. Feed the plants and
water the fish, donít erase any of
my messages and find me a gor-
geous, rich, STRAIGHT man while
Iím gone. See you in about a
Good luck, Maya. You deserve it. I
think this is the one thatís going
to make you a star.
      (At door)
Honey, the last time a horror
movie made someone a star, it was
Linda Blair, and we all know what
happened to that poor bitchís
She is gone, leaving her Roommate shaking her head and
SUBTITLE: Philadelphia International Airport

baggage carousel. Dana carries a large makeup kit and a
suitcase. Mark has a duffel bag slung over his shoulder. Max
is desperately searching the bags as they go by.
Just lovely! In, I have no idea
how many years of flying, I have
never once lost my luggage. And
now, when Iím going to be spending
the next month about a billion
miles from the nearest Blooming-
daleís, my entire wardrobe for
this movie is on its way to Hawaii


                       MAX (cont'd)
without me!
Oh, stop being such a baby.
Thereís lots of luggage still com-
ing out.
There are still a couple of days
before we actually start shooting.
Iím sure if it comes down to it,
youíll have time to buy a few
things until your bags show up.
You donít understand. I agonized
over what to bring for three solid
weeks. I worked with a fashion
counselor, an image consultant and
a color chart person. I spent a
thousand dollars on consulting
fees, another two on clothes, and
now, thanks to the geniuses at the
airline, it was all a complete
waste of three grand that I
couldnít afford in the first
place! Besides, where the hell
would they deliver the bag, ďThe
Woods, Somewhere in New Jersey?Ē
You spent three THOUSAND dollars,
of your OWN money, on clothes
just for this shoot?
Good olí Visa Gold.
Hmmm. Makes you wonder who the
real geniuses are.
Max sees her bag on the carousel.
Oh! There it is! Thank you, Saint


She reaches down and pulls an enormously over-sized bag off
the carousel with a grunt as Mark & Dana shake their heads.

They start to leave the baggage claim area when a very
dirty, scary-looking PANHANDLER comes up to them.
Gimme a dollar!
They ignore him and keep walking.
                       PANHANDLER (cont'd)
I said, gimme a dollar!
Sorry. No change.
Whazzamattah, Mr. Hollywood?
Smallest you got is a fifty? Iíll
take a fifty, if datís all you
got. I ainít proud.
Mark stops and turns around to face the Panhandler. Dana and
Max stop a few steps on.
What did you call me?
Come on, Mark. Weíre going to be
Dana tries to pull Mark away, but he breaks free of her grip
and steps toward the Panhandler.
Oh, I know who you are, Mr. Holly-
wood. I know who you are and I
know where yer goiní. Yer goiní
straight ta hell before too long.
Straight ta hell! And de devil
himself is gonna take ya dere,
Hollywood. De devil himself! You
think yer too good to be nice ta
folks dat are just tryiní to stay
alive. But dat olí devil? Fuck, he
knows ya, too. He gonna fine yer
sorry ass in Ďem woods and take it
straight back ta hell, where it


Who are you? Is this some kind of
a joke? David put you up to this,
didnít he?
Mark! The man is crazy, alright?
Letís go.
Not so crazy as a bunch a Holly-
woods out in Ďem woods, makiní
movies bout things besí lefí a-
lone. Yous are gonna die out dere,
an when yous do, dat olí devil
himself is gonna take you all ta
hell. Straight... ta... hell!
Mark swings at the Panhandler, who deftly avoids the blow
and laughs.
                       PANHANDLER (cont'd)
Dat olí devil is gonna have him-
self a fine time takiní you,
Hollywood. A fine time, indeed.
The Panhandler turns and goes, laughing and muttering to
Welcome to the ďCity of Brotherly
Did you hear what that guy said?
Did you hear what he said about
He was just some nutcase, Mark.
Leave it alone. Come on. The oth-
ers are all waiting at the hotel.
You donít wanna be late for your
first day.


Yeah, Mark. It was just some
smelly, nasty drunk. He probably
says the same thing to everybody.
Let it go. Iím not going to be
late because youíre weirded out by
some crazy lunatic. Letís go!
They head toward the exit and vanish into the crowd.
Seated around the table are Joel, Max, Dana, Maya, & Mark.
Seated in chairs along the walls are CALEB, VINCE, STEVE and
Tim. At the head of the table sits David. They all hold
scripts and pencils to take notes.
Well, itís so nice to finally
have everyone together. I hope
youíve all had a chance to relax
and to meet one another. If not,
weíll take care of that at the
bar, following the read through. I
was hoping to get started by now,
but it seems weíre still missing
one of our little family members.
Tim, have you heard from Paula?
Sorry. I tried calling, but sheís
not answering her cell. Her room-
mate says she left on time,
Could you keep trying, please?
      (Opening cell
Sure, David.
Well, we can fill her in on what
happens when she gets here. I just
wanted to say that Iím very excit-
ed to finally be starting this
project after what seems like a
hundred years. This is going to be


                       DAVID (cont'd)
a tight shoot. Small cast; very
small crew. Three weeks for prin-
cipal location shooting, two more
of interiors back on the coast
and then three weeks of scoring,
redubbing and editing.
Caleb whistles
                       DAVID (cont'd)
I know. DeWitt wants this picture
for Halloween. I have to find the
time to cut a trailer, too. Itís
going to be a bitch. Thatís why I
asked all of you to be a part of
What? Misery loves company?
They all laugh.
Something like that, yeah. No,
thatís not it at all. I asked all
of you to be a part of it because
I know I can trust you all to give
me a good movie, on time and under
The door bangs open and they all look up as Paula enters,
screaming into her cell phone. She is very over-dressed and
carries a small dog under one arm. Ignoring the people in
the room, she continues her conversation as though alone.
The dog squirms and yips, obviously wanting release from her
death grip.
      (Into phone)
Look, Eddie, I donít give a ratís
ass about your sister in-lawís
lumpectomy! You swore you were
going to have it for me before I
left! Now what the hell am I
      (to group)
Be right with you, Preciouses.
      (Into phone)
Eddie. I am in Philadelphia for
one night and one night only. Then
itís off to the godforsaken swamps
of south central New Jersey! Get


                       PAULA (cont'd)
it here! Tonight!
She closes the phone with a snap and smiles broadly at the
others; a consummate actress, instantly changing character
for her new audience.
                       PAULA (cont'd)
Well, if thereís one thing Iíve
learned how to do, Darlings, itís
make an entrance! Sorry Iím late,
Loves. My luggage took forever and
then some disgusting, homeless
junkie started screaming something
about the devil taking me to hell.
And just try and get a cab in this
town. Itís worse than L.A. But Iím
here now. Did I miss much?
She sets the dog down and it immediately pees on the floor.
                       PAULA (cont'd)
Pickles! Bad girl!
Actually, Paula, we were just get-
ting started. Please, have a seat.
Paula sits as everyone else watches her maneuver around the
chairs to squeeze in right next to David while Tim places
napkins over the puddle, making faces.
                       DAVID (cont'd)
As I was saying, I know I can
count on everyone here to give me
a good movie. Now, Iíd like to
start the read-through of the
scipt. We can skip the prologue,
as thatís already shot.
      (Hiding annoyance)
Yes, Paula? What is it, now?
Before we start, do you think
we could order a little snack or
lunch or something? Poor Pickles
is positively starving. Arenít


                       PAULA (cont'd)
you, my pwecious widdle baby?
She picks the dog back up and makes kissing noises at it.
The dog continues to squirm unhappily.

Everyone else seated at the table is aghast at Paulaís
      (Aside to Joel)
Yeah, but poor Paula doesnít look
like sheís been hungry since nine-
      (Aside to Max)
I like you; youíre a bitch.
Actually, Paula, lunch should be
here shortly. Tim, could you check
and see if itís on its way up?
Sure, David.
Tim goes to the door, but just as reaches for the knob, it
flies open and the Panhandler from the airport bursts in,
Straight ta hell! Datís where yous
are all goiní! Straight ta hell!
Jesus Christ! I canít believe he
followed us here!
Thatís the creep from the airport!
Donít they have any fucking secur-
ity in this goddamned hotel?
The others all react in similar ways, scrambling to get away
from the Panhandler.


Ladies and gentlemen, Iíd like to
introduce you to a good friend of
mine, Andrew Barton, our makeup
effects designer.
ANDREW, laughing, begins to peel his makeup off.
Straight ta hell! Sorry Iím late.
Paulaís luggage took forever, and
then I couldnít get a cab. Seems
no cabbies in Philly will pick up
a homeless person.
      (Not amused at all)
Oh, very funny, David! Thatís just
Mark, you have no idea how hard it
was to keep a straight face back
at the airport.
You mean you knew about this? You
are so dead!
Now THAT'S what I call an en-
In addition to his makeup duties,
Andrew will also be playing Jim
Whales. And now that everybody
really is here, letís get started.

They all sit and open their scripts, ad-libbing conversation
as the scene fades to black.
Maya, Dana, Joel, Daniel and Mark are seated around a table,
each with a drink in front of them.


So, what did David promise all of
you for doing this movie?
A paycheck.
Really? that's all? He told me he
was going to make me a star.
And you fell for that fucking
Not really, but no one else was
He told me heíd pay me for the
lighting and get my face ďout
thereĒ for the acting. How about
you, Maya?
First, he tried to pull that star
shit on me. Then he said, ďI
swear, this is going to be the
biggest horror movie since ĎThe
Blair Witch.íĒ When I went off on
how fucking bad I thought ďBlair
WitchĒ was, he promised me points.
Personally, I donít think this
picture is going to make a fucking
dime, but what the hell? Like Joel
said, no one else was offering.
They all laugh.
And whatís the deal with Paula
Griffen? What do you think he
offered her?
I think it was the other way
around. Thereís no telling how far


                       DANA (cont'd)
a blow-job will take you in this
Ooooh! Two bitches! I really think
Iím going to like this shoot!
Oh yeah, bitchy women are always
fun to have around. Especially
They are when youíre one of Ďem,
Dana, Maya and Daniel all laugh, ad-libbing things "You go,
girl!" etc.
Okay. I am horribly outnumbered
right now and just a little less
than comfortable.
Oh, you have nothing to worry
about from me. A - you're
straight; B -
      (Takes Daniel's
I'm basically married and C - I
am, after all, a man. Women scare
me almost as much as they scare
you. Especially big dykes with
crew cuts, studded leather vests
and bull-dog tattoos on their
massive biceps.
Everyone laughs. Joel raises his glass.
                       JOEL (cont'd)
To women. And the men who are a-
fraid of them.


      (Returning the
Here, here!
      (Raising her glass)
To women. And the men that are
smart enough to be afraid of them!
They all raise their glasses.
David is busy organizing the loading of the vans. Tim is
making sure the cast is all there. Every one is present,
bags in hand, except Paula.
Did anyone see her this morning at
      (To Joel)
Never thought Iíd see that one
miss a meal.
      (To Tim)
Youíre sure you checked her room,
Of course I checked her room. I
checked the whole goddamned hotel!
What do you think I am, some kind
of putz? I donít know where the
fuck she is! If she screws this
picture up for us, I will...
Tim, relax. Thereís a huge blue
vein on your forehead that looks
like itís going to blow any min-
ute. Besides, I think this is our
girl, now.
A motorcycle roars up to the curb. Paula is riding behind
the handsome, but scruffy driver. She pulls off her helmet,


dismounts, French kisses the driver passionately, hands him
the helmet and sashays over to the rest of the group as the
bike pulls away into traffic.
Damn! She sure DOES know how to
make an entrance.
Letís hope thatís not all she can
Good morning, Lovies! Is every-
body ready?
Paula, where the hell have you
been? Iíve been going crazy look-
ing for you and youíre off with
some biker?
Ron is not ďsome biker,Ē Tim. Heís
a dear friend of mine. And Iím not
ate. The call was for seven, yes?
it is now...
      (Looks at watch)
...six fifty-eight.
Alright, alright. But it would
have been nice if you had at least
let me know you were going and
that youíd be back. Okay, letís
get moving, everybody. We have a
long drive and then quite a hike

Hike? You mean we have to WALK to
the location? Where the hell is
this place, anyway?
Paula, please. David explained all



                       TIM (cont'd)
this to you at the audition. This
is an independent film. That means
we have very little money. We have
only two Jeeps. With the equipment
loaded, thereís no room for pass-
engers. Everyone here is in good
enough shape to hike for a few
A few HOURS? You are fucking kid-
ding me, right?
      (Pulls her aside)
Look. I donít know who you think
you are or what kind of star thing
youíre trying to pull, but David
likes you and heís doing you an
enormous favor by allowing you
to be a part of this movie. Iím
telling you right now; if you
donít behave yourself, there are a
thousand talented, pretty, young
women in this town who would be
more than happy to suffer a little
discomfort to star in this movie.
How DARE you? I will not be spoken
to like that. Iíve got news for
you, Mister High-and-Mighty-Assis-
tant-Director. I am not some
snotty, seventeen year-old wannabe
with stars in her eyes and no god-
damn brain in her head!
No, you are most certainly not
that, Paula. What you ARE, how-
ever, is a bitchy, thirty-seven
year-old who THINKS sheís a star.
Real stars have class, Paula, some
thing you are sorely lacking...
Paula starts to speak again, but Tim stops her.
                       TIM (cont'd)
And donít think David isnít one
hundred percent behind me on this,
because he is. Now, I have no idea



                       TIM (cont'd)
what other tricks you have up your
sleeve, but I suggest you put them
all away until you get back to
L.A. You can throw your career in
the toilet, but Iíll be damned if
I let take the rest of us down
with you. Are we clear on this?
Paula fumes and says nothing.
                       TIM (cont'd)
Are we clear?
      (Gritting teeth)
Good. Letís go.
      (To others,
Okay, everybody, letís get going!
Last chance for a pee break until
God-only-knows when. Itís now or
never, folks! Letís move it!
They load into the vans and the convoy pulls out into
traffic, with the equipment-laden Jeeps in the lead.

X-Fade to:
Max tries to start a round of ďNinety-nine BottlesĒ and is
pelted with empty coffee cups and crumpled napkins for her

X-Fade to:
Paula lights a cigarette, but after a very dirty glare from
Tim, she tosses it out the window.

X-Fade to:


The convoy pulls onto the shoulder. The cast and crew get
out of the Jeeps and vans, stretching their legs.

Paula lights a cigarette and distances herself from the
group to walk the dog and smoke it in solitude.
Christ! Who knew New Jersey was
this damned big? How the hell long
have we been driving?
Itís only been an hour and a half.
Well, my body feels like itís been
ten. What the hell do they make
those van seats out of, rocks?
I didnít mind the drive, but it is
good to get out into the fresh
      (Breathing deeply)
Mmm. Smells just like I remember.
Youíve actually been here before?
Well, maybe not right here. I grew
up in the Philly suburbs and my
dad used to drive through the Pine
barrens when we went to the Jersey
Shore in the summer.
Cool. I guess you must have heard
all about the Jersey Devil, then.
When we were misbehaving, my dad
would tell us he was going to put
us out of the car and let the Jer-


                       JOEL (cont'd)
sey Devil take us. But there are a
lot of stories and urban legends
about the New Jersey Pine Barrens
other than the Jersey Devil.
Really? Like what?
Letís see. Thereís ďThe White
Stag;Ē ďThe Black Doctor;Ē ďThe
Atsion Ghost Village...Ē
What the hell is ďThe White Stag?Ē
I never heard you talk about that.
Heís supposed to be sort of the
opposite of the Jersey Devil.
How do you mean?
Well, part of the Jersey Devil
myth is that a sighting of the
Jersey Devil portends a disaster.
But seeing the White Stag is sup-
posed to mean something good is
going to happen. Sometimes, he
appears to people lost in the
barrens and guides them out.
Whatís the Jersey Devil supposed
to look like, Joel?
It depends. Some of the stories
say heís only four feet tall, with
batís wings, a horseís head, a
red-serpentine body and black
claws. Others say heís eight feet
tall with gigantic wings and a
snakeís head on a scaly, red,
human-shaped body.
Cool! Like this?


She produces a sketch of a hideous demonic creature.
This is the version David ap-
proved. The CGI guys are working
it up to add in when we finish
shooting. All the close ups will
be shot using the prosthetics I
brought with me.
OhhhÖ whoís lucky enough to wear
Alright boys and girls. We hoof it
from here. David and I both have
maps and compasses, so I really
donít think thereís any need to
worry about getting lost. The
camp site is maybe another hour
from here. Weíll stop for lunch
before we set up camp. Stick to-
gether, make sure youíve got on
plenty of insect repellent and
letís get rolling.
They load their packs onto their shoulders and enter the
woods as teh Jeepas make their way past them.
Shots of the group hiking, stopping for lunch, and hiking
some more. They finally arrive at their destination, where
the Jeeps await and several tents have been erected.
Everyone is seated around a fire, dinner dishes still being
scraped for the last morsels and crumbs.
Well, I hope everyone plans to get
a good nightís sleep. We start


                       DAVID (cont'd)
shooting at first light. That
means a four AM wakeup call for
cast and makeup and a five AM call
for lighting and cameras. I sug-
gest you donít stay up too late,
kiddies. Goodnight.
David sets his dish in the dishpan on the nearby picnic
table and makes his way to his tent. A light goes on inside
and we see his silhouette as he prepares for sleep.
What, is he kidding? Itís like
seven forty-five. I havenít been
to bed this early since I was
Truth be told, there really isnít
a whole hell of a lot you can do
out here in the boonies without
Davidís right. We have a very
tight schedule. If everyone
doesnít get enough sleep, weíll
waste time and there will be hell
to pay. I am going to bed. If you
had any sense, all of you would,
Tim leaves the fire and heads for his tent, a little further
This is way too early for me,
Mark opens up a cooler filled with alcohol.
Barís open. Whatíll ya have?
Oooh. Whatta ya got?
Oooh. Whatta ya want, baby?


I have an idea. Why donít we all
get drunk and tell ghost stories?
What are you, twelve? I suppose
you want us to hold flashlights
under our chins, too.
Come on. Whenís the last time you
heard a good old campfire spook
story? Weíre making a horror
movie, for cryiní out loud! In
fact, weíre making the ultimate
ďmonster-in-the-woodsĒ horror
movie. We might as well set the
Joel knows some REALLY scary
You do. Arenít you the one that
told me all about the Jersey De-
vil in the first place?
Wait a minute. You said your dad
used to scare you with Jersey De-
vil stories when you were a kid.
Come on.
Well, I do know some pretty good
Jersey Devil stories.
So tell us, already.


Mark has begun to pass around drinks, and nearly all of them
have one, except Paula. People are making themselves
comfortable, poking at the fire with sticks, leaning back on
logs, etc.
Okay. But Iíll tell you a differ-
ent Jersey Devil story. Not one of
my dadís. A story I know first
hand is, at least partially, true.
Around nineteen twenty-eight, when
there wasnít nearly as much devel-
opment in the area as there is
now, there was a family who made
their living digging clams and
crabbing in the bay.
      (To Mark)
Better make mine a double, honey.
This could turn into a long story.
Even though they were pretty poor
by todayís standards, the husband,
wife and son lived quite comfort-
ably in their isolated home.
1928. There is a picket fence, vegetable garden, rabbit and
chicken pens, a tool shed.

TEDDY, 11, is playing in the yard, digging elaborate
roadways with tin construction toys.
                       JOEL (V.O.)
One day, their son, Teddy, was
playing in the yard. Just beyond
the garden fence was the start of
the deep Pine Barrens. While he
was playing that day, Teddy caught
something out of the corner of his
Something flashes past in the woods, and Teddy looks up to
see what it might have been.


                       JOEL (V.O.)
Thinking he had seen a deer or
some other forest animal, Teddy
ignored it and went back to play-
ing. Thatís when he heard his
name, oh so softly, as though it
had floated on the wind.
We hear an EERIE VOICE call Teddy's name.
                       EERIE VOICE (O.S.)
Teddy! Teee-dee! Please come play
with me! I'm lonely...
                       JOEL (V.O.)
And though Teddyís parents had
warned him to never enter the
barrens alone, like any eleven
year-old, Teddyís curiosity got
the best of him and he wandered
off after the voice and into the
Teddy climbs the fence and heads off into the woods.
MOTHER and FATHER are frantically searching the house.
                       JOEL (V.O.)
That night, when Teddy didnít come
in for supper, his parents got
worried and began to imagine the
Papa, you donít think he...?
I pray that he didn't.
We have to go look for him, Papa.
Itís night, Mama. We canít search
after dark. You know that.
      (Almost hysterical)
Then Iíll go by myself!


She tries to leave, but he grabs her arms tightly.
Are you insane? I wonít lose both
of you! As soon as the sunís up,
Iíll drive into Leeds Point and
get the police to help us look.
Heíll be alright, Mama. He knows
better than to go into those
woods. He knows... better.
As Father fights to hold back his own tears, Mother
collapses into his arms, sobbing.
A search party with dogs is trooping through woods.
                       DANIEL (V.O.)
But of course, Teddy wasnít al-
A SEARCHER stumbles on something and calls out.
Over here! For the love of Christ,
over here!
They all rush toward him and gather around in a circle.

Father breaks through the crowd, takes a moment to look,
screams and then breaks down in tears. He gathers up a
bloody bundle in his arms and heads back the way they came,
crying all the way.
Some said it was a brown bear.
Others said it was some perverted
maniac. No one wanted to admit the
truth. The Jersey Devil had taken
little Teddy and torn him to
pieces. Too stunned and grief-
stricken to be parted from their
boy, Teddyís parents buried him
in their yard, behind the tool


Day melts into night and back into day over and over; the
seasons change as time passes.

A series of X-Faded shots illustrate the following speech:
                       JOEL (V.O.)
To make sure he was comfortable,
Teddyís mother set his bed and his
favorite toys inside the shed,
creating a little shrine. Every
month or so, Teddyís mother would
bring him a new gift, and soon the
gifts began to spill into the gar-
den. Eventually, Teddyís parents
died, and were buried in the ceme-
tery in Leeds Point. But, for some
reason, folks kept bringing pres-
ents to Tedís grave. They brought
Christmas trees and rocking
horses; they brought toys and
games and baseball cards; candles;
flowers; cereal box prizes and
decoder rings. They brought pi-
anos, drums and trumpets; banjos,
harmonicas and accordions. Balls;
bats; skates and bikes. TVs;
radios; chemistry sets; erector
sets; croquet and badminton sets.
They brought all sorts of crazy
things. But not once, in all that
time, did anyone ever take any-
Time has passed and the camera tracks through the yard which
has become a bizarre assortment of the above- mentioned and
more. The cottage is boarded-over and the shed is
collapsing, but the assortment of tributes is overwhelming.
There are several Christmas trees - fully decorated; Easter
crosses; many ride-on toys; desks; chairs; lamps; teddy
bears; dolls; street signs; traffic cones; an Easy-Bake
oven; a hundred Frisbees; a thousand baseball cards; an
assortment of lawn ornaments; bags of plastic army men,
cowboys and Indians, dinosaurs, farm, zoo and circus
animals. Things are nailed to the shed, to the fence and to
the trees. The order seems totally random, but this is not a
pile of junk. Rather, it is a reverently neat and orderly
shrine. Though some things are obviously newer or older than
others, all of it is well-weathered and heavily overgrown
with weeds and vines.


The collection throws strange shadows upon itself and the
woods behind it.
                       JOEL (V.O.)
Soon, Tedís grave was a well-known
monument, and it was rumored that
if anyone ever removed anything,
the Jersey Devil would come after
them and demand a sacrifice.
We hear rustling in the vegetation nearby and the sound of
young voices and laughter. Three young men, drinking from a
whisky bottle and passing a joint enter from the road.
                       JOEL (V.O.)
Fast forward. Itís December, nine-
teen sixty-eight. Three buddies,
on a last bender before reporting
for service in Nam, are out at
Tedís grave. Their girlfriends are
waiting for them in the car. One
of them, I think his name was
Carl, dared the others to take
something from Ted's grave.
                       YOUNG MAN #1
No way, man. You fuckin take some-
                       JOEL (V.O.)
So Carl did.
Camera follows CARL as he heads toward the shed doors,
opening his pocket knife and prying off a military medal of
some kind, which has become embedded in the wood.

Carl pockets the medal.
                       JOEL (V.O.)
After claiming his prize, he
turned to his friends and said...
Yo, pussies! I got me a good luck
charm to take to Nam!


                       JOEL (V.O.)
But Carlís buddies wanted nothing
to do with taking anything from
Tedís grave.
                       YOUNG MAN #2
Carl, you are fucking crazy! Good
luck charm, my ass! Youíre gonna
be dead before anything in this
fucking place brings you luck!
The three laugh and head back toward the road.
Carl is driving very fast while his GIRLFRIEND leans against
him. The other two couples are making out in the backseat.
                       JOEL (V.O.)
On the way home, Carlís girlfriend
felt the medal in his pocket and
pulled it out.
                       CARL'S GIRLFRIEND
      (Examining medal)
What's this?
Just a little good luck souvenir
to take with me when I gotta go up
against Charlie, baby.
                       CARL'S GIRLFRIEND
You didnít take this from Tedís
grave, did you?
                       YOUNG MAN #2
      (Leaning forward)
He sure as hell did. We told him
not to, but you know Carl; he
wants to do something, heís gonna
do it.
Young Man #2 goes back to making out with his girlfriend.


                       CARL'S GIRLFRIEND
Are you stupid? This is terrible.
Turn around and put it back, right
      (Taking medal back)
Why the hell should I?
                       CARL'S GIRLFRIEND
Itís disrespectful. Thatís some-
oneís grave, you ass. God, Carl!
Sometimes I wonder what Iím doing
with a lowlife like you!
I didnít hear you complaining last
night when we were...
                       JOEL (V.O.)
Just then, something huge ran out
of the woods and across the road.
                       CARL'S GIRLFRIEND
Look out!
Carl swerves hard to avoid hitting the unseen obstacle.

Carlís car is skidding into a spin. Out of control, it
smashes into a tree.

Carl is thrown through the windshield and lands in a bed of
leaves. The car bursts into flames. A door opens and one of
the backseat occupants gets out, burning and screaming,
before falling to the ground, dead.

Carl slowly rises up and shakes his head to clear it. Amazed
to have survived unscathed, he stands and shakes the medal
in his fist at the car.
Ha! You stupid motherfuckers! I
told you this was a good luck
charm! Who the hellís dead, now,


The camera tracks around Carl and we see an over-
the-shoulder shot of the burning wreck and body.
                       JOEL (V.O.)
What Carl didnít know was that
something was behind him. Some-
thing that had been waiting in the
woods for him. Something not very
nice at all.
Carl turns toward the camera and screams.

Something red and black flashes very quickly past him and
takes his face.

CU on the medal as it falls to the ground, splattered with
                       JOEL (V.O.)
The last thing Carl saw before he
was ripped to pieces was the face
of his killer... the face of the
Jersey Devil...
CU of Joelís grinning face as he finishes his story.
...a face no one has ever seen and
lived to tell about.
Thay all sit, quietly, looking at him, until Max laughs,
Oh, come on. Youíre trying to tell
us that storyís true and you know
first hand?
I said I knew PART of it was true,
first hand.
As if. What could you possibly
know is true about that story?


Tedís grave really does exist.
Iíve seen it with my own eyes. I
was in college. I had a friend who
took a couple of us out there one
night after a bit of partying. It
was kind of cool. Creepy, but
cool. Of course, I couldnít
find the place again if my life
depended on it.
Of course not! Bet thereís no such
Did you leave a gift?
Yeah, but Iíll be damned if I
remember what. Some piece of junk
we found in the trunk of the car.
Suddenly, there is an inhuman cry of pain from the woods.
Startled, they all turn towards the noise. Something is
crashing through the woods, headed right toward them. CU
shots on their faces as they react in fear and anticipation.

Another little cry and then they all scream and scatter as a
dark shape leaps into the campsite, smashes through the fire
and hits the side of one of the Jeeps before falling down,

Tim and David come running from their tents.
What the hell is going on out
here? I thought you were all going
to get some sleep!
Itís a deer. Poor thing. It was
scared and it ran right into the
Jeep. Broke its neck.
Caleb Crouches beside the deer and examines the body.
Except its throat was torn out


He shines a flashlight on it, illuminating the vicious
wounds. A few people gasp or react in other ways.
Okay. Just relax. It was probably
just a brown bear. There are some
around here, but as long as we
keep the garbage and food sealed
up and away from the tents, they
wonít bother us. Now get some
sleep. Weíll deal with the deer in
the morning.
David. What if it comes back for
the deer?
I hadnít thought of that. Alright.
Weíll keep watch. There are...
huh!How about that?
How about what?
Daniel makes us thirteen. I guess
thatís as lucky a number as this
movie is going to get. Anyway.
Itís eight oíclock. We have nine
hours until first call. Why donít
we take two hour shifts? Thatíll
give everyone at least seven hours
sleep. Caleb, will you and Steven
take the first shift?
And if it comes back?
I donít know. Wake us up.
And THEN what?
Look, keep the fire going. The
chances of anything coming within
a hundred feet of that fire, are
ridiculously low. Tim and I will
take the second two hours.


Daniel and I can go after you.
I can do three. Itíll give me a
chance to figure out where Iím
going to hang stuff and I wonít
have to rush, later.
Guess that leaves me with the
otehr ninety.
Good. Itís settled. Ladies, have a
good nightís sleep. And I promise,
nothing is going to happen.
      (Aside to Maya)
Bastards really will promise
anything, wonít they?
They all slowly make their way to their tents, some looking
back at the deer as they walk, others talking quietly.

Paula lights another cigarette and walks alone toward her
tent, muttering to herself. As she passes Markís cooler, she
looks around to see if anybody is watching and then snatches
the bottle of Stoli from inside and hurries off to her tent.

Caleb and Steve begin to rebuild and stoke the fire.
Steve, man. That was no fucking
How do you know?
You ever hear of a bear hunting
deer? They eat fish. And berries.
They donít hunt deer. They arenít
cheetahs, for Godís sake.
So maybe it was a bobcat.


I donít think so. Not so close to
a fire.
So what are you saying? A PERSON
did this?
I donít know what did it. But it
sure wasnít a fucking bear! And
whatever it was, itís still out
there, man. Itís still fucking out
Caleb looks back over his shoulder. The camera follows his
line of vision until it catches the deer, its throat
glistening and head pitched back at an odd angle as the shot
slowly fades to black.
Maya, as a very pregnant ďJane Shrouds,Ē walks through the
forest, her hair tangled and dirty, her clothes soiled and

A wicked and wild wind blows and she must fight to remain
upright. She is making her way through the woods, crying and
cursing. She arrives at a small cemetery and begins to
search among the graves.

Finding what she is looking for she falls to her knees
before a headstone which reads: "Thomas Shrouds. 1695 Ė 1734
Devoted Husband and Father. ĎMay flights of angels sing thee
to thy rest.í íí She begins to beat at the ground furiously.

      (As 'Jane Shrouds')
Damn you, Thomas Shrouds! Damn
your eternal soul for leaving me
with a thirteenth hungry mouth to
feed! I curse this child. I re-
nounce it! I render it up to
Satan, himself, before you and the
cruel God who took you away from
me. Do You hear me? I give this
child to the Father of Lies!


She falls to her knees in the dirt, and clutches her stomach
in agony.
                       MAYA (cont'd)
      (As 'Jane Shrouds')
Kick away, you little beast!
Youíll not out until itís time!
                       DAVID (O.S.)
Cut! Thatís good.
The camera angle changes to include the crew, cameras and
the rest of the cast, most of who are sitting in canvas camp
chairs, waiting to be called.
Letís take a half hour dinner. We
can get a few more night shots in
tonight and call it an early day.
As the others disperse for dinner, Maya approaches David.
David, it wasnít too much, was it?
What do you mean? Of course not. I
would tell you if it was.
I guess Iím just worried. Iíve
never done a horror movie. Iím
afraid it will sound silly, if I
get too big.
Youíre absolutely right. And as
soon as you start to sound silly,
Iíll let you know.
Tim approaches from behind Maya.
David, I think we need to talk for
a minute.


Iíll be right with you, Tim.
      (To Maya)
Now you go and get a sandwich and
stop worrying so much.
David smiles warmly at Maya. She nods, smiling, and heads
off to the campsite.
                       DAVID (cont'd)
Yes, Tim? What disaster are we
trying to avert now?
Same one as usual. This time, she
refuses to eat.
What? For Christís sake, why?
You want the diatribe verbatim?
No, the abridged version will do
Well, apparently, the catering
service didnít pack any Kosher
vegetarian foods.
That didnít seem to be a problem
yesterday, when she had a BACON
seemed to be an issue, before.
Trust me, I know. Sheís like a
little kid, testing her bound-
aries. Oh, yeah; I almost forgot.
Mark says she swiped a bottle of
Stoli out of his cooler last
Shit! Where is she?


Her tent. Says sheís not coming
out until we get some tofu, veggie
burgers and organic carrots.
Carrots, for cryiní out loud!
Sheís gonna get my organic foot up
her organic ass!
David storms off toward Paulaís tent.
Everyone except David, Paula and Tim are gathered around
three folding, aluminum tables.

Vince and Dana are handing out foil-wrapped sandwiches and
deli salads.

Steve is dozing in his chair.

A camp stove sits on one of the tables, on top of which is a
large stockpot half-filled with steaming soup, from which
Mark is serving himself. The others are all seated and
eating. The conversation is lively and the mood is good.
That was nice work, Maya. I donít
know that I could have played that
scene with a straight face.
Baby, you canít play ANY scene
Keep it up, funny-boy.
I have you to keep it up for me.
He kisses Joel as the others laugh.
You guys have no idea how you
lucky you two are.


Who, us?
Yeah, you. Do you have any idea
how hard it is to be single in
To be honest, no. We met about two
weeks after I moved out there.
Ugh! Now, I really, really hate
Thereís nothing wrong with being
single in L.A., Max. Personally, I
prefer it.
Of course you do. Youíre a man.
You only have three basic needs:
food, shelter and sex. And youíre
willing to forgo the first two, if
it means getting the third.
I distinctly detect the scent of a
male-bashing session in the air.
Oh, please. This from the gender
that calls women ďthe weaker sex.Ē
Try bleeding out of your dick for
a week every month and see how you
like it.
Thatís a load of feminist bull-
shit, Maya.
And COMPLETELY disgusting, as
Caleb, do you think you could
stand the pain of giving birth?


Probably not. But Iím not designed
to. No man is. So itís really an
unfair question.
This is starting to sound like one
of those feminist empowerment
meetings at the lesbian coffee
shop in West Hollywood.
      (Perking up)
Did someone say ďlesbian?Ē
They look at Steve, who shrugs, rises and heads for the
Okay. Hereís something I really
donít get. How come straight guys
are so turned on at the thought of
two women muff-diving, but
straight women donít get off on
two guys going at it?
You just havenít met the right
woman, Daniel.
Everybody laughs.

There is a scream from the direction of the tents. Everyone
looks toward the sound, frightened.
                       PAULA (O.S.)
You son of a bitch! How DARE you
come in here while Iím sleeping!
They all relax when they realize it was Paula, but are
increasingkly annoyed by her.
ďItĒ has been awakened.
And ďItĒ does not sound happy!


What a bitch! Iíd have canned her
ass back in Philly.
He lifts the lid off the stock pot just as a boiling bubble
of soup bursts upwards and onto his hand.
                       STEVE (cont'd)
      (Jumping back)
Jesus Christ!
As he jumps back, Steveís feet tangle around the table legs
and, reaching to steady himself, he pulls the entire pot and
camp stove down onto his face.

The others rush to his aid, ad-libbing distress and concern.

Caleb pulls the stove and pot off of Steve, revealing his
horribly burned face.
Ice water! In the cooler! NOW!!
Maya and Dana rush to the cooler as Daniel and Vince hold
the screaming and writhing Steve.
                       CALEB (cont'd)
      (To Max)
Max. Thereís a huge first aid kit
in the Jeep. Get it.
Max heads for the first aid kit as Maya and Dan return with
the cooler. Caleb begins to scoop water out of the cooler
onto Steve's face.
                       CALEB (cont'd)
      (To Mark)
Mark, get me something strong. The
scotch. He needs something for the
Mark takes the scotch out of the cooler and begins to
administer it to Steve. Max returns with the first aid and
begins to open bandages as Dana serches the kit for burn


                       CALEB (cont'd)
      (To Vince)
This is bad. We canít treat him
here. He needs to go to a hosp-
I know. Nearest one is about an
hour away. At least, thatís how
far it was since I saw a hospital
Whatever. Just get him in the Jeep
and go. Iíll go get David and Tim.
Dana and Mark help a bandaged and moaning Steve into the
Jeep. Vince gets in along side him, buckles them both in and
takes off.
Paula is sitting on the cot, holding the dog, which is
panting loudly and as unhappy as always to be held. David
I really donít care, Paula. I have
spent the last three years trying
to find a backer for this picture,
and now that I am actually on
location, I will be goddamned if I
am about to let some arrogant,
alcoholic coke-head ruin it for
me! You will do what is asked of
you, plain and simple. And if I
feel that you arenít doing what-
ever is asked of you, I will
personally drop you at the air-
port, on my to hire your replace-
ment. This is the end of our
first, and last, discussion on the
subject. If you have anything else
to say, now is the time.
Paula stares at the ground.
                       DAVID (con't)
I thought not. Your makeup call is
at five.
      (Starting to leave)


                       DAVID (cont'd)
Oh. I suggest you eat something
before you finish off that bottle
of Stoli.
Wait. I do have something to say.
Youíre right. I have been child-
ish. This hasnít been the best of
years for me, David, you know
that. And I really do appreciate
the job. Iím very sorry. I will
try to be better, I promise.
The dog has begun to squirm and she sets it down.
Thatís all Iím asking.
He opens the tent flap to leave and the dog runs out,
Oh, shit! Pickles! Pickles, come
back here!
Itís okay. She probably just has
to pee or something. Look,
David... I...
Go find your dog.
Paula goes after the dog, as Tim enters the tent.
Whereís she going?
After that yappy little dust rag
she calls a dog.
You get everything straightened
out with her?


I hope so.
Good, Ďcause weíve got bigger
NOW what?
Steve pulled the whole pot of
soup, and the stove, down on his
face. Heís been burned pretty
Jesus! Is he okay?
I donít know. I donít think so.
Which leads me to our second prob-
And that would be...?
Vince took one of the Jeeps to
take Steve to the hospital.
      (Looking up)
Why? Why does it have to be so
hard? I just want to make a little
horror movie. Is that so wrong? Am
I such a bad person?
      (To Tim)
Alright. So both our cameramen are
off location. We just wonít shoot
tonight. Weíll rearrange the
schedule a bit and everything will
be fine. Now stop worrying and go
eat something. Itís going to be
dark soon. Iíll make sure we have
enough wood for the fire. We donít
another visit from whatever the
hell it was that visited last


Tim looks at him, ready to protest, but David stops him
before he can speak.
                       DAVID (cont'd)
Tim, really. Itís going to be
okay. NOTHING is going to keep me
from getting this movie made.
It is dusk. Paula is wandering through the trees. We can
hear the dog barking in the distance.
Pickles! Pickles! Címere, girl!
Thatís a good girl! Whereís my
baby? Pickles!
She finds the dog as it is furiously digging away at the
ground beneath a fallen tree.
                       PAULA (cont'd)
Pickles! What the hell is wrong
with you, girl? Come here!
Pickles continues to dig.
                       PAULA (cont'd)
Pickles! Get over here right now,
you bad dog! What are you doing
over there? What have you got?
Pickles ignores her, still digging. Paula walks over and
picks the dog up. Looking at the spot where Pickles has been
digging, Paula sees something white and rounded in the dirt.

She bends down and begins to brush the loosened dirt aside
and then suddenly stops, screaming.

CU on a partially buried human skull beneath the tree.

Paula drops Pickles, who immediately goes back to digging at
the skull.

Still screaming, Paula runs off in terror.


In the distance, we can hear Paulaís screams. Everyone stops
and listens.

David raises his fist to the sky.
Youíre just pissing me off, now!
Was that Paula?
It sure as hell wasnít Mariah
fucking Carrey.
I think sheís screwing with us
Another scream is heard, though a little farther away.
That really doesnít sound like
sheís screwing around, Tim. I
think sheís really in trouble.
We should call for help.
Sure. Iíll just light the Bat
Signal and weíll see if anyone
shows up.
We all have cell phones, Tim.
I know that, Joel. Have you tried
getting a signal, lately?
They all produce cell phones and begin dialing. One by one,
we see a ďNo ServiceĒ message appear on each of them.


Shit! Piss! Motherfucker! Goddamn
it to hell!! Alright. As much as
it pains me, we have to go look
for her.
      (To Tim)
How many flashlights do we have?
Thereís one for each tent. And one
in each of the Jeeps.
Screw flashlights. I have some
portable halogens thatíll light
these woods up like a Bourbon
Street strip joint at Mardis Gras.
How many did you bring?
One for every other person. Mark,
go get your halogens. Dana, get
the flashlights, too. And grab a
coil of rope, just in case. Weíll
make a line. Stay within sight of
each otherís lights.
Paula has stopped screaming and, realizing that she is
hopelessly lost, has begun to cry softly as she continues to
stumble through the trees. Unable to accurately judge where
she is walking, her feet get tangled and she falls, hitting
her head on a tree trunk. As she slides to the ground, a
bracelet falls off her wrist, onto the ground.
The Jeep is racing along.

Steve, his face covered in bandages, like a mummy, moans
softly in the passenger seat. Vince is doing his best to
watch both the road and Steve.


Stevie, man... hang on.
Steve moans again and Vince looks at him. As he does, a huge
shadow crosses the road in front of the Jeep.

Catching it in the corner of his eye, Vince swerves to avoid
it, sending the Jeep into a 360 degree spin. The Jeep slides
off the road and slams into a tree.

After a moment, a groggy Vince gets out of the car. He
staggers a bit and then his head clears. He looks into the
Jeep to find that Steve is dead, his neck impaled by a
branch which has come through the vinyl window.

Vince turns to look at the road, trying to see whatever it
was that ran in front in front of him. There is nothing. He
walks away from the wrecked Jeep, heading back the way he
came, shuffling his feet and stumbling every so often.
The others are searching for Paula; walking a line through
the woods in the direction they believe they heard her
screaming. Every so often, they call her out her name.

There is a rustling in the brush and they all freeze. After
a moment, we hear Pickles barking and she comes running
toward them through the trees. She stops at Joelís feet,
yapping and wagging her tail happily.
Hey there, girl. Good girl.
      (To others)
I've got the dog.
      (To dog)
Whereís Mommy, Pickles? Go
find Mommy!
He sets her down, but she remains beside him.
                       JOEL (cont'd)
Go on. Go find Mommy. Whereís
The dog doesn't move.


                       JOEL (cont'd)
Oh, great. You hate her, too,
donít you? Alright. Come on.
He picks her back up and slides her inside his shirt.
                       JOEL (cont'd)
Just what I need. We better find
that bitch, because I am not
taking on a dog.
      (To dog)
You hear me, Pickles? No dogs.
Daniel and I just got new carpets!
From the woods comes one last scream, long, pained and blood
Jesus Christ! That sounds like
somethingís killing her! I donít
like this, David! I donít like
this one bit! I want to go. I want
to go now!
They all begin to move in toward Dana, the other women
agreeing with her
We canít just leave her out there.
She might be hurt or...
And if sheís dead, we canít do a
fucking thing for her! I say we go
back to the Jeep, and get the hell
out of here.
Alright. Weíll vote.
Vote?! You gotta be fucking
kidding me! Iím getting the hell
out of here. This is starting to
sound too much like Davidís fuck-
ing movie to me.
Wait. Youíre both right. Maya,
Dana, Max, and, uh..,. Daniel and
Joel should go. Here are the keys


                       DAVID (cont'd)
to the Jeep. The rest of us will
keep searching.
No, I want to stay and help find
Iím certainly not leaving without
Joel. What? Do you think because
weíre gay, we should get out with
the women?
Donít be ridiculous. I wanted a
couple of capable men with them. I
was being sexist, not homophobic.
Daniel glares at David.
                       DAVID (cont'd)
Fine. Caleb and Mark, please go
back to the Jeep with the women.
And take the dog with you.
No. I want to keep the dog with
me. Maybe sheíll react if she
picks up Paulaís scent.
Okay. Good idea. Mark, as soon as
you get where a cell phone will
work, call the State Police.
Search and rescues must go on in
this place all the time. Oh. I
expect every one of you back on
location Wednesday. This is a
minor setback. Come hell or high
water, this movie is getting made.
They all look at each other to acknowledge Davidís passion
edging into obsession.
                       DAVID (cont'd)
Well, let's get moving.


It is pitch black. We hear Paula softly moaning. Then the
sounds of her moving about. A click is followed by a feeble
spark. Another is followed by the ignition of a butane
lighter, which Paula raises above her head in order to see.

She wrinkles her nose in disgust at an awful smell. She is
in a low-ceilinged tunnel. Tangled pine roots form the roof
and heavily packed earth forms the walls. Wound about the
roots, are bits of jewelry and rotted clothing, shoes and
handbags, hats, umbrellas and any number of personal items
and accessories.

Looking in both directions, Paula can see no end or changes
in the dim light provided by the lighter. Sniffling, she
shrugs her shoulders and begins to crawl slowly forward,
holding the lighter in front of her as she goes.
Mark and Caleb lead Maya, Max and Dana back to the Jeep.
Just before they reach it, Mark and Caleb stop.
Oh my God. This just keeps getting
better and better!
The camera pans over to the Jeep, which has been completely
trashed. The tires are in shreds; the hood is up, hoses and
wires laying over the fenders like disemboweled intestines;
the windows shattered; the upholstery in shreds and deep
furrows scratched into the metal of the body.
Well thatís just fucking terrific!

Now what do we do?
We get the fire going again. And
we find anything we can use as
Caleb, man. What the hell has
claws big enough to do that?


Honestly, I donít want to know.
No. No, way. Someone is fucking
with our heads. David and Tim are
trying to scare us, like those
guys did on the ĒBlair WitchĒ set.
Trashing a Jeep is an awfully
expensive way to fuck with
peopleís heads, Maya. Letís just
all calm down. Calebís right. We
need to get that fire going
again. Max, will you go with him
to get some wood?
Iíd rather not, please. I donít
want to go back into those woods.
Iíll go with Caleb.
Are you sure?
No, not really. But if I have
something to do, maybe I can keep
my mind off all this until we find
out what the hell is going on.
Don't go too far.
Oh, you don't have to worry about
      (To Dana)
Come on, Dana.
Oh, you don't have to worry about
      (To Dana)
Come on, Dana.
Dana follows Caleb back into the woods.


Vince, bloodied, limping and in shock, makes his way along
the road. Tears roll down his cheeks.

Something moves in the brush on his left, and he freezes,
waiting to see what it is. The noise gets louder. A deer
leaps from the woods and bounds across the road.

Vince lets out a shriek and then laughs when he realizes
what it was.
It was a deer, asshole. Just a
There is more rustling in the brush.
                       VINCE (cont'd)
Just a deer. Just a deer. Just a
deer. Just... a...
There is a strange growl behind him. Vince turns and lets
out a scream as something red and black flashes past the
Finally able to stand fully, Paula emerges from the tunnel
into a large, circular cavern, about fifty feet across. In
the center of the cavern is a stagnant pond. The water is
black and seemingly depthless. She raises the lighter to see
how high the ceiling is.
      (looking up)
Oh my God!
The camera follows her gaze.

From rough hewn wood, a bizarre cathedral has been formed
inside the cavern. The structure is all strange angles and
odd geometrics, as though designed by Frank Lloyd Wright
while on peyote. Tucked in amongst the labyrinthine beams,
are dozens of human skeletons, arranged like stained glass
portraits of saints and martyrs.

The camera pans across the entire room, coming down on the
other side of the pond to reveal a long, low altar comprised
entirely of skulls and topped with a blood-stained wooden


slab. Behind the altar hangs an inverted cross. Crucified
upon it is a manís skeleton with a goatís skull.

From the tunnel behind her, Paula hears movement. Unsure
what to do, she dashes across the pond, which is only ankle
deep, and hides behind the altar, dousing the lighter.
Tim, David, Joel, Daniel and Andrew are continuing the
search, though the light from the halogens is getting dimmer
and dimmer as the batteries begin to fail.
We should go back, guys. When
these batteries finally go, we
wonít have enough light to get
us back to camp.
Andrewís right. Itís been two
hours since weíve heard anything.
Iím beat. Itíll be easier to look
during daylight.
David looks at them and then to Tim, who shrugs his
This is your show, David. Always
has been.
Alright. Letís go back. Maybe
theyíre on their way back with
help by now, anyway.
They turn to leave when Timís lamp catches something shining
on the ground. It is Paulaís bracelet. He reaches down to
pick it up, and the ground beneath him gives way, dropping
him into a deep pit. The others rush over, trying to get as
close to the edge as they dare.
Tim! TIM!!! Jesus Christ, Tim,
answer me!


They shine their lights down the hole, but it is too deep
for them to penetrate.
This sucks, Joel! I know I prom-
ised not to complain, but this
really sucks!
I couldnít agree more, baby.
      (To David)
This is getting pretty bad, David.
Itís getting pretty fucking
horrible, as a matter of fact.
This isnít the time to start
arguing with each other. This
isnít Davidís fault. This isnít
anybodyís fault. Now we have to
figure out how to get Tim out of
that hole without falling down
into it and killing ourselves.
Dana and Caleb are gathering firewood and each of them
carries a bundle under one arm.
This is a little more than I bar-
gained for, Caleb. What do you
really think is going on?
I donít know what to think. I
just want to get out of here. I
want to get on a plane, fly back
to L.A., flop on the couch in my
safe little apartment and watch
reruns of The Andy Griffith Show
on TV Land.
That sounds good to me. Except the
Andy Griffith part. I hate that
show. Hate TV, actually. Iíd
rather be in my studio, happily
sculpting some hideous beast for
some other crap-fest of a movie,


                       DANA (cont'd)
listening to some Chopin or may-
be some Mozart for atmosphere.
Really? Now I had you pegged as a
Mary Tyler Moore fan.
Dana laughs and bends down to pick up a nice dry branch.

Noticing her boot lace is untied; she sets her wood down and
ties it as she speaks.
Nope. I grew up without a TV in
the house Ė my parents didnít be-
lieve in it. Besides, what little
Iíve seen over the years has been
pretty awful, so I just never
She gathers her branches and stands
                       DANA (cont'd)
The TV was probably your baby-
sitter. I had art teachers, music
teachers, acting teachers and
dance teachers. From the time I
was six, I had one day a week to
She realizes that Caleb is gone.
                       DANA (cont'd)
Caleb? Caleb, where are you?
Caleb, this isnít funny. You hear
me, Caleb? Goddamnit, you answer
Caleb steps out from behind a tree, zipping his fly.
Sorry. Nature called.
Oh, thank God.
First time Iíve ever gotten THAT


                       CALEB (cont'd)
response to those words.
No. I thought you were gone. You
have no idea how scared I...
Calebís face suddenly becomes twisted in fear.
                       DANA (cont'd)
Ruh... ruh... ruh... RUN!!!!!!
Dana turns to see what he is looking at, as something flies
past in front of her.

CU on her face, looking quite astonished.

Medium shot as she stands for a moment, and then falls apart
into several pieces.

Caleb screams and runs wildly into the trees, dropping his
flashlight and disappearing into the dark.
Maya, Max and Mark are trying to find salvageable items in
the Jeep when they hear Calebís screams. They all look up
and towards the sound, then at each other.

Max is crying silently and Mark is furiously trying to wring
more light out his flashlightís batteries, shaking and
slapping it as it sputters in and out.

Maya steps out of the Jeep, looking in the direction of the
This is not happening. This is
NOT happening!
      (Shouting at trees)
Okay, this is really not fucking
funny anymore!


She walks deliberately up to the tree line and addresses the
                       MAYA (cont'd)
You hear me, motherfucker? I will
not be played with, you fucking
psycho son of a bitch! I... am
not... playing! So fuck you! You
hear me, asswipe? FUCK YOU!!!
She turns defiantly back towards the Jeep. She takes one
step when something huge and dark swoops down at her from
the trees, taking her head with it as it passes. Her body
falls to the ground, blood gushing from her neck.

Max and Mark scream. From above them comes a sound of
inhuman laughter.

They look up as Mayaís head lands on the hood of the Jeep
with a thud and they scream again.
Joel, Daniel and Andrew are standing around the hole,
lowering a rope. David stands off to one side, feeding the
Weíre almost at the end guys. See
We see into the hole, in which they have lowered a light on
the end of the rope to try and see the bottom, though it is
difficult to see much detail.
No, nothing. This really doesnít
make any sense. There arenít any
cave systems out here.
What do you mean?
The ground here is too sandy to
create holes like this. The sand
should just keep filling it in.
And it doesnít even look like sand


                       JOEL (cont'd)
or dirt.
David comes over for a closer look.
                       DANIEL (cont'd)
This hole was built. Look at those
walls. What do they look like
their made of to you, David?
Itís hard to tell. It looks like
concrete. Or roots, maybe.
No, not just roots, David. Look
The camera moves closer into the hole, revealing human bones
interlaced with the roots that cover the holeís walls.
Oh, Jesus. Jesus Christ in heaven!
We gotta get out of here, David.
Whateverís going on here, we are
not equipped to deal with it. Itís
dark, weíre tired, and weíre
scared. Letís go get the others
and get the hell out of this
You just want to leave Tim down
No, I donít. But we canít help
him, David. Weíre not a Search
and Rescue team. Weíre actors,
for fuckís sake! And I donít give
a shit how much money Morgan
De-Witt is going to lose. I really
donít even give a shit if your
movie gets made or not. This whole
thing has gotten way out of hand,
David. Itís time to get out before
anyone else gets hurt.


Paula crouches behind the altar. A light grows in the
tunnel. We can hear footsteps and the sound of something
being dragged. She peers between the skulls in the altar.

A man (THOMAS) appears in the tunnel mouth, holding a
lantern in one hand and dragging a large bundle in the
other. He is dressed in overalls, covered by a black,
plastic butcherís apron. He wears large, black gloves and
heavy, waterproof boots. We do not see his face, as Paulaís
view through the skull altar is fairly well obstructed.
Zat you?
      (Siffing the air)
Donít smell like you. I can hear
ya breathiní, though.
He drags the bundle through the puddle and, as if it weighs
no more than a few pounds, he plops it on top of the altar.

Paula stiffens, and tries to make herself smaller.

Thomas has started to whistle ďMoon DanceĒ as he works,
cutting open the bag. A manís arm flops down off the altar
in front of Paulaís face and she stifles a scream.

The man continues to whistle as removes the bag and tosses
it behind the altar.

Sweat runs down Paulaís face as she tries to keep from
screaming and revealing herself.
                       THOMAS (cont'd)
I think yer gonna like dis one.
I got him on de road. He looked
pretty bad, but no broken bones,
I thinkÖ
      (Whistles again)
I know yer dere. Donít worry, I
ainít lookiní for ya. Iím gonna
leave dis right here for ya and
go. The missus will be mad if my
dinner dries out. Bon Apetit!
He cackles madly and starts to go, whistling again.

Paula watches as he turns to leave. When the light finally
fades, she lights her lighter and stands to look at the


Vince, dead and naked, lies on it. His eyes are gone. Paula
shoves her fist in her mouth to keep from screaming.
Max and Mark are running through the woods, looking back at
an unseen pursuer. Mark trips and takes both of them down.
He scrambles to get up, but Max stays on the ground.
Max, letís go. Max, that thing
is coming. Get up and letís go!
Iím not moving.
Donít you get it? It doesnít
matter where we go, Mark. It
doesnít want it us here, but itís
not going to let us leave, either.
Max, you have got to stay focused
here. There is some kind of animal
out there that wants to kill us.
We have to...
An animal? You think it was some
kind of animal that laughed at us
when it killed Maya? A flying hy-
ena, maybe?
Max, calm down.
Oh, Iím calm, Mark. I just know
that thereís no way out of this.
We both know that.


So youíre just going to give up?
Just sit and wait for it to take
you? Well Iím not going to let
you. I donít want to die, Max. I
donít think you do, either. I
canít promise that weíll get out
of here alive. But I wonít give
up. And Iím not going to let you
give up, either.
You sound like Gene Hackman in
'The Poseidon Adventure.Ē
Youíre a lot prettier than Shelley
He holds his hand out to her and she takes it.
      (Helping her rise)
And youíre a lot lighter, too.
      (Very small voice)
Mark, Iím scared.
      (Almost a whisper)
I know. So am I
Caleb is running through the trees, stumbling in the brush.
Breathing hard, he stops to lean against a tree. He is
trying to control his panting. He squats down, listening.
      (To himself)
Okay, calm down. Youíre gonna get
yourself lost.
His breathing slowing down, he looks back the way he came to
try and get his bearings. He shivers and wraps his arms
around himself.


                       CALEB (cont'd)
      (To himself)
Ok, boy! You are NOT going into
shock. Hear me? Keep it together
Suddenly, there is laughter in the trees above him. He looks

POV changes to whatever is in the tree as it swoops down on
Caleb, who looks on in mute terror.
Joel, Andrew, Daniel and David are trying to find their way
back to the camp. The one remaining lamp is growing weaker
and weaker.
Shouldnít we be there by now?
I donít think so. Weíve been out
here quite a while.
What time is it?
      (Looks at watch)
Eleven thirty-four.
It canít be too much farther.
      (Consults compass)
Weíre still headed in the right
From deep in the woods comes an inhuman cry, then the sound
of what could be a man, crying and screaming. It stops
What the fuck was THAT?
A dog.


Oh, come on, David. If that was
a dog, Iíll sleep with Julia Ro-
It was a DOG, Joel. It was just
a dog! Now letís...
      (Something catches
       his eye)
What is THAT?
He points off into the trees ahead of him. The camera
follows his finger and we see two lights in the distance.
Is that... is that a HOUSE?
In the middle of the woods?
Maybe they like their solitude.
Who cares? They might have a
I donít know. This doesnít feel
right, guys.
What do you mean?
Doesnít it strike you as just a
little bit ďHansel and Gretel?Ē
I donít care if itís the fucking
Three Bearsí house and theyíre
throwing a party for the goddamned
Big Bad Wolf. Letís go.
David stands, staring off into the woods as the others start
for the lights. Andrew turns and calls to him.
David. David! We're going!


      (Wild eyed)
A dog...
Turning away from Vinceís corpse, Paula notices another
tunnel opening in the wall behind the altar. Grimacing, she
pulls at a femur on the wall and it comes away with a
crunching rip. Avoiding looking at the body, she rips a
strip of cloth from the bag that held it and wraps the cloth
around the bone to make a torch.
Ha! Take that, Sigourney Weaver!
Lighting the torch with her lighter, she enters the tunnel.
A simple clapboard house. The downstairs windows are lit
from within.

Andrew, David, Joel and Daniel approach the front door.
Andrew takes a breath and then knocks. He waits a moment and
knocks again.

He is about to try the knob when the door opens to reveal an
elderly woman (JANE), looking quite cross.
Did ya forget yer keys again?
      (Seeing them)
Oh. Who are you? What do ya want?
Weíre sorry to bother you this
late, Maíam. Our friend has been
hurt and we need to get some help.
Do you have a phone we could use?
A phone? What do you think this
is, the Hilton?
Which one of ya is hurt?


Heís not here. He fell into a
hole. We had to leave him.
A hole?
Yes, Maíam. A pretty deep one,
Well... none of yas look too dan-
gerous. Course, they never do.
What are ya boys doing out here,
Weíre making... well, we WERE
making a movie.
A movie? Out here?
Must be the most boring movie ever
made, then. It ainít one of them
NATURIST movies, is it?
Iím sorry. What kind of movie?
You know. One of them dirty stag
reels where everybody takes off
their clothes and plays badminton.
      (Fighting laughter)
Oh, no. No, Maíam. Not at all.
This isnít a movie like that at


I suppose ya can come in. Ya look
half scared to death. The barrens
ainít no place to go messiní a-
round if ya donít yer way. The
misteríll be home soon. Matter a
fact, I thought yas might be him,
when ya knocked. The misteríll
know what to do.
Mark and Max are making their way through the trees,
carefully, listening for any sounds. Max starts laughing.
What's so funny?
I was just thinking. Two days ago,
my biggest problem was a three
grand credit card debt.
Hopefully, by this time tomorrow,
itĎll be your biggest problem
Mark, do you really think that
thing is... you know...?
The Jersey Devil?


I donít know. Maybe. Maybe itís
what everyone calls the Jersey
Devil. Or maybe itís some
psycho-path whoís been living like
an animal out here for years.
Maybe itís an evil E.T. or some
government experiment gone wrong.
Maybe itís an irradiated flying
squirrel. It could be anything.
Whatever it is, itís all like a
bad comic book I wouldnít want to
Do you think the others are still
I donít know, but this thing canít
be everywhere at once. Iím sure
the others are fine. Weíll find
The ceiling is higher here. Paula holds the smoking torch
behind her head, so she doesnít breathe the fumes. She hears
something in the tunnel ahead and freezes, listening.

There is movement coming from in front of her, and she
waits, the torch raised as a weapon.

More sounds and then a cough. Slowly moving into the
torchlight, Tim makes his way down the tunnel towards her.
Tim? Tim, is that you?
      (Sheilding his
Paula? Christ, no wonder we
couldnít find you. How the hell
did you get down here?


Tim, we gotta get out of here.
There are all these bones and
skulls. And... Vince is down here,
Tim. Heís... heís dead.
Heís dead. Vince, the cameraman.
They... they took his eyes.
She finally allows herself a little breakdown and starts to
Took his eyes? What the hell are
you talking about?
I donít know. A man. I... I
didnít See his face. He said he
could hear me breathing, like he
thought I was an animal or some-
Youíre not making sense, Paula.
He lifted Vince like he was a sack
of potatoes and threw him on the
Alright, Paula. You are really
freaking me out. What altar?
Back there.
Tim moves to pass her and see for himself, but Paula grabs
his arm.


                       PAULA (cont'd)
No! No, donít. Itís horrible. And
whoever or whatever that man was
talking to, it might actually be
there, now. The man said ďBon
Apetit!Ē as he left. I think
whatever he was talking to is
going EAT Vince, Tim.
But Vince was taking Steve to the
hospital. Howíd he get down here?
Same way I did. Someone or
someTHING brought us down here.
What do you mean, ďsomeTHING?Ē
I followed Pickles into the woods.
She dug up some old skull and I
freaked out, I guess. I tried to
find my way back to camp, but I
was too far away and too dis-
oriented. I think I tripped and
fell. Iím not sure. When I woke
up, I was in a tunnel, like this
one. Then I found my way to that
horrible room... and then that
man...he... he picked up Vince
like a bag of laundry and tossed
him on the altar and...
What man?
I told you, I didnít see his face.
I just want to get the hell out of
here. I want to get the hell out
of here, right now. That man, or
whatever the fuck heís feeding,
will be coming back here and I
donít want to be here when he
does. I donít want to die, Tim.
Okay, okay. Relax. No one is going
to die. Letís go back to where I


                       TIM (cont'd)
fell in. When David and the others
come back, thatís where theyíll
They begin to move down the tunnel, back the way Tim just
Mark and Max continue through the trees.
Whatís that?
Those lights. Looks like it might
be a house.
Out here?
Why not? I imagine there are lots
of people who would rather live
far away from the rest of the
Yeah. Norman Bates, Jason Voorhees
and Hannibal Lecter, maybe.
Ooohh... you think theyíre all in
there together?
Very funny.
Whoever lives there might have a
phone. Or at least a safe place to
stay until morning.
I do believe you have a point.


Iíve been known to, occasionally.
Iím glad this is one of those
And Iím glad to see you still have
a sense of humor.
Itís about all I have left, thank
They begin to make their way toward the lights.
Jane is pouring hot water for tea, while Joel, Daniel, David
and Andrew sit around the dining table.
So, are you boys from California?
Not originally, no. Not all of us,
Well, where are you from?
I grew up in Pennsylvania. Right
across the river from Trenton.
Trenton? Those bastards! You know
what the state wants ta do?
No, Maíam.
That danged new governor wants ta
declare my property ďprotected.Ē


                       JANE (cont'd)
      (Laughing, wildly)
Canít get no more protected than
it is now!
I wouldnít worry about that,
right now. When the mister gets
home, weíll get everything sorted
Paula and Tim are making their way through the tunnel.
I think we might have passed it.
Are you sure?
No. Who can be sure in a place
like this? But I think weíve been
walking longer than it took me to
find you. It seems longer, anyway.
What should we do?
Letís keep going. There has to be
a way out, eventually.
But what if...
There is no ďwhat if,Ē Paula. What
we need to do is get out of here.
They continue forward a bit and then Paula stops, grabbing
Timís arm.
Whatís that?


What's what?
That sound. Donít you hear it? It
sounds like... I donít know...
like paper rustling or... some-
I donít hear anythi...
      (Cutting him off)
Shhh. Listen...
They stay still, listening. In the distance, we can hear a
flapping sound, as if from a thousand wings at once.
What IS that?
Itís ahead of us, whatever it is.
What do you want to do?
Iím not going back, Tim. I canít
go in that room again.
They continue towards the sound.
Mark and Max make their way toward the light. As they get
closer, it appears to be coming from a single window in a
small shed. As they get closer, they slow down.
You donít really think someone
lives there, do you?


Itís a hell of a place to put a
utility shed.
Maybe itís a still or something.
Come on, Max. This New Jersey,
not Arkansas.
Trust me, there are plenty of
hicks in New Jersey.
As they watch, Thomas emerges from the shed. We still do not
see the Manís face. the Man turns the light off inside and
locks the door.

Max is about to say something, when Mark grabs her arm and
presses his finger against her lips.

Thomas begins to walk through the woods.
Letís just see where he goes,
They begin to follow him, moving as stealthily as they can.
Joel, Daniel, David and Andrew sit uncomfortably on
Victorian furniture that has seen better days.

They look at each other uneasily. Andrew is fighting to stay
awake. Pickles is asleep in Joelís lap. A fire burns in the
fireplace and candles and oil lamps provide the only other

Jane is seated in a rocker, knitting. Somewhere a radio
plays Big Band music in the background.
Any idea when your husband might
be home, Maíam?


Nope. Heís out hunting. Could be
gone all night. Depends on how
good the pickins are.
      (Whispering to
Did she just say ďpickins?Ē
Hunting? I never heard of anybody
hunting at night. Isn't that
Well, the mister ainít exactly got
a license, ya see. He only hunts
for food. Nothin he brings down
goes to waste, though. Not like
those men who have antlers and
heads on their walls. All the meat
gets eaten, round here. Lotta
mouths ta feed.
You have a family, then?
I guess ya could say that, young
Jane sets down her knitting and leans closer to them.
                       JANE (cont'd)
I know what ya boys need. How
about a nice slice of home-made
peach pie? It should still be
warm. I just took it out before ya
boys arrived.
      (Whispering to
And who the hell bakes at eleven
oíclock at night?
Oh, nothing for me, thanks.


The others politely decline, as well.
      (Indicating Andrew)
Looks like we oughta get yer
friend there, ta bed.
Andrew is now fully asleep, his head leaning on Davidís
      (Shaking Andrew)
Andy! Andy, wake up!
Let him sleep, David. Itís been
a long night for all of us.
So, what were yas doing out in
the barrens at night, when yer
friend fell in the hole?
Looking for another one of our
group that got lost.
Did ya find him?
Her. And, no, we didnít.
The barrens ainít no place ta be
if ya donít know what yer doin.
Seems ta me, movie folks got no
business wanderin around in the
woods after dark.
Daniel is unsuccessfully trying to stifle a yawn.
Youíre probably right, Maíam.
Paula and Tim continue to follow the noise, which grows


increasingly louder as they approach.

Rounding a bend, they find themselves at a dead end. A
ladder in the wall leads up. Tim goes first.

After a minute of climbing, Tim comes to a landing and a
large, wooden door. As Paula climbs onto the landing, Tim
tries the door and finds it open.

Dim light pours out, but the sound of the flapping is
deafening. Paula shrugs her shoulders and indicates that
they should enter. They do, and find themselves in an
enormous cavern filled with millions of bats.

The ammonia from the thick guano on the floor is nearly
overpowering, and they pull their shirt tails over their
noses to try and keep it out.

At the far end of the room is an archway that leads to a
staircase. Slowly, so as not to disturb the bats, they make
their way toward the staircase, keeping to the wall.

Finally, they are on the stairs and on their way upwards
I didnít know there were that
many bats in the whole world.
I donít know anything anymore.
Letís just get the hell out of
They begin to climb the stairs.
Mark and Max have followed the Man to the clapboard house.

Thomas climbs the steps to the back porch and enters the

Mark motions to Max to follow him around to the front.
Same seating arrangement as before, except now, David is


pacing nervously. Joel sits watching David and Jane. Andrew
and Daniel are both fast asleep.

We hear the sound of a door opening in the rear of the
Thatíll be the mister. Hang on.
She rises and makes her way to the back of the house. Joel
tries to listen as we hear their muffled voices in the
background. They are apparently arguing, and their voices
grow louder and louder until we finally hear the man say:
                       THOMAS (O.S.)
I said no! Iím too tired! I just
Joel and David exchange furtive glances. Deciding they have
had enough, they start to wake Daniel and Andrew when there
is a knock at the door.

Jane rushes out to answer it.
Good Lord, have mercy. Now who
could THAT be?
She opens the door to find Max and Mark.
Excuse me, Maíam. We hate to
bother you this late...
Mark! Max! What are two doing
David! Oh, thank God! Whereís
everyone else?
Where are Dana, Maya and Caleb?
Mayaís dead, David. Something took
her head off, for Christís sake!
We... we havenít seen Caleb or


What do you mean, something took
her head off? Talk sense.
No, David. I saw it, too. It came
down out of the trees and took her
head. It was... it was...
Max begins to cry. Jane takes Max in her arms.
There, there, sweetheart. Itís
okay. Yer here now, with yer
Closing the door behind them and surreptitiously turning the
lock and taking the key, Jane ushers Mark and Max into the
parlor, sitting Max down on the sofa next to the sleeping
Andrew and Daniel.
                       JANE (cont'd)
You rest right there, darlin.
Iíll get ya some tea.
She leaves the room.
What is up with HER? And whereís
He fell in a hole.
The ground just kind of collapsed
under his feet.
And you just left him there?
The hole was too deep. We couldnít
even see him. We thought weíd do
better to get some help.


This is just getting more and more
bizarre. Any sign of Paula?
Not yet. Just Pickles, here. And
sheís not talking.
What about Caleb and Dana?
We went back to the camp. The Jeep
was trashed. Caleb and Dana went
to get firewood. Max, Maya and I
were going through what was left
of the Jeep when we heard a
scream. It sounded like Caleb.
Maya got angry and started
shouting at the trees. And then
something... something big flew
down at her and... and...
Mark is overcome by emotion and cannot continue.
Okay. Okay, I can deal with this.
Tomorrow Iíll drive into New York
and find replacements for them...
Joel angrily stands, dumping Pickles to the floor
Are you crazy? David, Steve has
been seriously burned, your
leading lady is missing, Maya is
DEAD, and all you care about is
your fucking MOVIE? I always
thought you were a ruthless son of
a bitch, but youíve just confirmed
it for me.
Three years, Joel. Three years,
Iíve done nothing but work on get-
ting this movie made. And now,
after one day of filming, itís all
going to hell. Well, Iím not going
to let that happen.
Fuck you, David.


Paula and Tim continue to climb.
Listen, Tim. About those things
I said, yesterday...
Donít go there, Paula. You can
apologize when weíre back in L.A.
I just feel terrible about how I
behaved, and I want to make sure
someone knows how I really feel
before... before itís... too late.
You know?
Stop talking like that. Weíre go-
ing to be fine. Weíll get out of
here, find the others and go home.
Youíll see. Everything will be...
Before he can finish, a large, dark shape swoops down on him
and he is gone, pulled back down the stairwell they have
just ascended.

Paula tries to scream, but is too stunned by what has just
happened and can only gasp in terror.
Joel and David are close to a physical fight. Mark and Max
do their best to keep them apart.
Stop it, both of you! Just stop
Hearing the commotion, the Man enters from the kitchen and
we see his face for the first time. He appears much younger
than Jane.


I wonít have fightin in my house.
Ya boys are guests here, and as
long as yer here youíll be civil
ta one another, understand?
Yes, sir. Iím sorry.
The missus tells me ya boys was
makin some kind of movie out here
and got lost?
More or less.
Sir, please. Some friends of
ours are missing. One of them
is dead. Is there any way to get
the authorities out here to help
Barrens ainít no place to be wan-
derin around at night, son. Ya
wonít be able to help yer friends
if yas get hurt or lost, too.
Paula, crying, sits on the stairs.
Tim! Tim, Iím sorry. Come back!
Realizing he is gone for good, she begins to climb the
stairs again, trying to keep a watch for anything that might
be swooping down on her.

Rounding a corner, she sees a bulkhead door a few steps
away. She reaches it, opens it and steps up into the shed.


The door has been locked from the outside. She looks around
for a tool of some kind, but the shed is empty. Using her
elbow, Paula breaks out the window and climbs through,
cutting her hands as she does.
Once outside, Paula looks about and then collapses down the
side of the building, sitting on the ground and crying.
Daniel and Andrew are still deep asleep. Joel and David sit
on opposite sides of the room, sulking and yawning. The
Woman is serving tea to Max and Mark.
This is very kind of you, Maíam.
Call me, Jane, dear.
Jane... Whatís in the shed out in
the woods?
What shed, dear?
We followed your husband from a
shed in the woods.
Iím sure youíre mistaken, dear.
Thereís no shed in the woods.
But we saw your husband come out
of a shed. He turned off a light
and bolted the door from the out-
Thatís true, Ma'a... Jane.


Guess weíll have to ask him, then.
Wonít we?
No! No, that isnít necessary.
Donít bother him. We must be mis-
Max looks at Mark quizzically, but he shakes his head,
I have some peach pie, if youíd
like. I just made two. Should be
cool enough to eat, now.
Yes, please. That would be great.
Jane leaves to get the pie.
      (To Mark)
What is wrong with you? You know
very well...
This isnít right.
      (To Joel)
Joel, you said Tim fell in a hole?
Well, not exactly. It was more
like the hole opened up underneath
Like maybe heíd sprung a trap?
I donít know. I guess it could
have been something like that.
David has begun to snore in the corner. Mark looks over at


Joel, how much tea did you have?
None, really. I only took a sip,
to be polite. I donít really care
for tea all that much.
And the others?
I donít know. I think they each
had at least a cup. Daniel drank
his and mine. Why?
      (To Max)
Max, donít drink that tea.
You donít think...?
Before Max can finish, the kitchen door bursts open and Jane
comes flying out, screaming in rage while wielding a large,
steel cleaver.

Max screams and leaps out of the chair.

Mark and Joel jump to their feet and assume defense

Jane moves closer, slashing the air with the cleaver.

Seeing her steaming mug of tea on the table, Max picks it up
and throws the tea in Jane's face.

Jane screams and drops the cleaver.

As Mark and Joel rush to subdue her, the blast of a shotgun
stops them in their tracks.

Thomas is standing behind them, having fired into the

Andrew, Daniel and David remain asleep.
Get away from her!


Are you crazy? She just attack-
ed us with...
I know what she done! I told
her not to do it, but she done,
it anyway. I was gonna let yous
all go. Dey been fed, plenty, to-
FED? What the hell are you talk-
ing about? Whoís been fed? You're
as crazy as she is.
Yeah, Iím crazy. Crazy fer stay-
in here all dese years an feedin
em bastards. An Iím gettin too old
now. Too old to keep it up. Some-
one donít feed em, dey get cranky.
Start huntin on dere own. I hate
ta think whatís gonna happen when
me an the missus is gone. Cause
den dere gonna go out an start
huntin again. Dough it sounds like
dey been doin dat tonight, any-
He points the shotgun at Max.
                       THOMAS (cont'd)
      (To Max)
You. Go git some cold water fer my
wife. And don't try nothin funny,
er one a yer friends here gets a
belly full.
Max nervously goes into the kitchen.
Mister, please. We didnít mean to
hurt your wife. We just...
Shut up! I gotta think!


Paula, still crying, picks herself up and begins to limp
around the shed.

She turns the corner and finds Caleb hanging by his ankles
on a steel rack. His back is to her, though she can hear him
moaning, softly.
Caleb? Oh my God, what did he do
to you?
She turns him around. His eyes are gone and blood flows from
the empty sockets. She unties his feet and does her best to
gently lay him gently on the ground.
                       PAULA (cont'd)
You poor, poor man. Caleb? Caleb,
can you hear me?
      (A hoarse whisper)
P... Paula?
Shhhh... donít speak. Rest.
No. I... I have to... t... tell...
Tell what?
His lips move, but she canít hear him. She leans in closely,
her eyes widening as Caleb whispers in her ear. He finishes,
and is gone. Paula lays his head down on the ground.
                       PAULA (con't)
Goodbye, Caleb.
Jane is lying on the sofa, with an ice pack over her eyes
. The Man is making Max tie Mark and Joel back-to-back.
I told ya to take em, Thomas.


PleaseÖ let us go. We wonít tell
anyoneÖ we swear.
      (Sitting up)
Shut up, ya little bitch! If I
could see, Iíd kill ya míself!
Stop it, Jane! Stop it!
Thomas, yíold fool! Donít ya think
if they had the chance, theyĎd
kill us right now?
You know thatís not true, donít
you, Thomas?
Did I say ya could call me that?
No, sir. And Iím sorry to be so
forward, sir. But if youíll...
Donít you listen to that boy, Tho-
mas! Heís got one of them Holly-
wood silver tongues!
Please, sir. You know this is
wrong. Let us go.
Sorry, young man. Donít really see

how I can. If I was ta let ya go,
yaíd go right to the police and
bring em back here. It ainít like


                       THOMAS (cont'd)
yer a bunch a drunken teenagers
tellin tales. Theyíd believe folks
like yous.
What do you want? Money? We have
money. We can give you as much as
you want. More than youíll need
for the rest of your life.
What the hell am I gonna do with
money? Do ya have any idea how
old I am, boy? I was old when yer
daddy was in diapers! I got no use
fer yer money!
Max boldly steps forward and unbuttons her blouse.
I know what you REALLY want...
Girl, I ainít been interested in
dat fer 50 years or more! Naw, all
I want is ta rest. Ta be done with
Thomas! Thomas, I will NOT let you
do this!
I tole ya, once an fer all, Jane,
shut... UP!!!
Paula stands before the padlocked door of another shed which
sits behind the back porch of the clapboard house. Looking
around, she grabs the axe from a nearby woodpile and begins
to hack away at the door.

She hears a shot from inside and turns to look at the house,
crouching down to make herself smaller.


The sofa is splattered with gore; Thomas is staring at
Janeís headless corpse.

Max, Joel and Mark are stunned.

Thomas drops the shotgun and walks over to the sofa.

Mark nods to Joel, indicating the abandoned shotgun on the
Damn it ta hell, Jane! Look what
ya went an made me do!
He picks up the corpse and begins to rock with it, sobbing.

Joel motions to Max who begins to undo the ropes tying him
and Mark together.
                       THOMAS (cont'd)
Oh God, take me! Take me and send
me ta hell, where I belong! Jane!
Jane, what am I gonna do without
Max has untied Joel and Mark. Joel slowly stands and picks
up the discarded shotgun, pointing it at Thomas.
Sir? Sir? Please...
Thomas ignores Joel, continuing to cry and rock Jane's body.
                       JOEL (con't)
Sir? Sir! THOMAS!
Thomas finally lays the corpse back down and turns to Joel.
                       JOEL (cont'd)
Now, if youíll kindly tell me what
the hell is going on?
      (Wiping his eyes
       and nose)
I suppose someone should know the


                       THOMAS (cont'd)
truth, after all dese years. I
guess ya heard a da Jersey Devil?
Well, Iím here ta tell ya, itís
real. Only dereís more den one.
Dere mus be about twenny er thirdy
of em, by now. De Shrouds women,
datís all dey kin make. If itís a
girl, itís fine. But if itís a
boy, itís one a dem tings. We feed
em, and deyÖ well, dey keep us
alive. I ainít exactly sure how.
All I know is, I been married ta
dis woman fer eighty-two years.
Eighty-two years a huntin folks
down soís we kin feed dem mon-
sters! And Iím so tired. So tired.

He begins to cry again.
Is there a way to kill them?
Ya canít kill em. Not any ways dat
I know.
Paula has broken in to find a long-unused generator and many
gallons of gasoline.

Pulling a wheelbarrow off the wall, she begins to load
gasoline cans into it. She sees something in the corner and
goes to look at it. Her eyes widen and she douses her
Mark and Max are trying to rouse the others. Joel continues
to hold the gun on the Man.
Thereís got to be some way to kill
those things.
I know Iím goin ta hell fer what
I done. Ainít no Ďscapin it, I


                       THOMAS (cont'd)
sípose. I should send de lot of
ya out ta de shed an down de
steps. You ainít known scairt till
you seen one of em eatin someone
you know.
Please, mister. Help us. Help us
stop them from killing more
Dey ainít scairt, dough. Dey jes
laugh at scairt people. Dat laugh
is somethin awful ta hear.
Think. Please... Thereís got to be
some way to kill those things.
No, canít say I know anyway ta
kill em. Never tried. Never dawned
on me ta try. After all dis timeÖ
Guess I was... afraid, too.
Paula has finished pouring gasoline all over the houseís
walls. Reaching in her pocket, she produces the lighter.
Die, you sick fuck!
She lights a line of gas on the ground. The camera follows
its quick movement to the house. There is a huge WHUMPH as
the gas on the walls ignites. Paula watches in delight.
They all hear and see the flames erupt through the windows.
Jesus Christ! Max, come on, help
me get them out of here.
They scramble to get out, only to find the door is locked.


Raising the shotgun, Joel shoots the lock and the door flies
open with the impact. Max rushes outside as Joel and Mark
grab Daniel and Andrew and begin dragging them to the door.
      (To Thomas)
Help us!!
Paula is watching the house burn, laughing.

Max comes rushing out of the house. Paula is stunned to se
her and runs to help her.
Max, what the hell were you doing
in there?
The others are still inside.
Others? What others?
Mark, Joel...
What about HIM?
David? Yeah. Daniel, too. Paula,
where have you been?
No, not David. HIM! The sick bas-
tard whoís been killing everybody!
Mark and Joel come through the door, dragging Daniel and
Andrew. Paula and Max help them get to a safe distance.
Paula...? Youíre alright.
Not exactly, but Iíll live.


We gotta go back for David!
Itís too late.
Joel turns to look as the porch roof collapses, blocking the
door from reentry.
                       PAULA (cont'd)
Iím sorry. If I had known all of
you were in there... I thought it
was just that psychopath...
Itís okay, Paula. Itís okay...
Mark, Joel, Max, and Paula watch as the house burns.

Early morning light filters through the trees. The house
lies in smoking ruins.

Daniel, Andrew and Paula are asleep in the grass.

Max watches as Joel and Mark carefully poke through the

Daniel wakes up and sees whatís left of the house.
Holy shit! What the hell happened?
Andrew and Paula wake up.
I, uh... I guess I kind of burned
the house down. I didnít know you
guys were in there, though, I
      (To Joel and Mark)
What are you guys doing?
Looking for David and the old man!


How the hell did I sleep through
all of this?
      (Helping him up)
You were drugged. She put it in
the tea.
What?!? The old lady? Why?
Itís a long story. Weíll fill you
in later.
While going through the rubble in the far corner, Mark
discovers a metal bulkhead in the ground.
Hey guys! Look here.
They gather around as Mark wraps his shirt around his hands
and pulls at the handle. The door doesnít budge.
                       MARK (cont'd)
Locked from the inside.
Not for long.
She produces a stick of dynamite from her jeans and lights
the fuse.
                       PAULA (cont'd)
Iíd suggest you all get as far
away as possible.
They all run as Paula backs up and then tosses the dynamite
at the bulkhead, running away as fast as she can.

The blast knocks her to the ground, but opens the bulkhead.
      (Helping Paula up)
Where they hell did you get THAT?


Same place I got the gasoline. I
have more, too.
She produces two more sticks from her back pocket.
I wouldnít carry that around in my
pocket. TNT is not the most stable
stuff in the world.
I know a thing or two about ex-
plosives. My father owned a mining
company. This stuff is pretty
fresh. It only gets less stable
when it gets older. I think the
old man had just gotten this.
Probably going to do some more
tunneling. Donít you worry about
me. I can handle myself.
Well, youíre just full of sur-
prises, arenít you?
The six gather around the hole where the bulkhead was and
look down into it.

A stone staircase, exactly like the one on the shed, leads
down in to the ground.
GuysÖ I'm not sure I can go back
down there.
Itís okay, Paula. No oneís going
anywhere, yet.
But, what about David?
What about him? Heís dead. No one
could have survived that fire.


We donít know that. We only found
the old womanís body. If they died
in the fire, we would have found
something. I think they went down
there. And if that old man has
David down there...
IF he does. We donít know that for
sure. All we know is that it was
locked from inside. That could
have been done last night, last
week, last year...
Mark, if they died in the fire, we
would have found something. We
found the old lady, didnít we?
Youíre assuming we found the old
lady, because what's left of the
corpse has no head...
Damn! Sounds like I missed quite a
David wouldnít let us give up on
Paula and I wonít let us give up
on him.
If it werenít for David, none of
us would be in the middle of this
horse shit right now. Five people
are dead. Besides, do you really
think that whatever the fuck is
living in those tunnels, is going
let David live? Christ, he only
cared about making his goddamned
movie, anyway.
If David is alive, and I do no-
thing to help him, I wonít be able
to live with myself... And even if
he is dead, we have to try to kill
those things before they kill any-
one else.


KILL THEM?!? Youíre as crazy as
the old man. Joel, if those things
are just some kind of natural
freaks, the product of inbreeding;
a genetic anomaly of some kind,
that would be one thing. But if
the old man was telling the truth,
then these... creatures are some-
thing no one here is equipped to
deal with. A couple sticks of dy-
namite and your foolhardy brava-
do arenít going to save the day.
Iím getting the hell out of here,
once and for all. If you want to
get yourself torn to shreds and
eaten, then be my guest. Anyone
who wants to come along with me is
welcome. You too, Joel.
What you call foolhardy bravado,
Mark, I call doing whatís right. I
canít force you or anyone else to
help me. All I can do is have
faith in God and in myself. And
hope that youíll help me do this
because you know itís the right
thing to do, too.
Daniel steps forward and takes Joel's hand.
I love you, Joel McAllen.
      (To the others)
Who else is coming?
Max walks over and takes Joelís other hand. Andrew then
takes hers.

Mark looks at Paula as if to say ďAre you coming?Ē

Paula takes a deep breath, and then resolutely takes
Andrewís hand.
Mark looks at them for a moment, and then sighs heavily.


I hope to Christ you at least have
a plan.
Actually, I do. Paula, thereís
more gas, right?
Ten or twenty gallons, at least.
Were there any bottles or jars in
that shed?
I think there were a few old can-
ning jars, yeah.
Go get them and fill them with
gas. And anything you think we can
use. Daniel, would you help her?
There was more dynamite, too.
If you really think itís safe,
then bring a few more sticks.
Paula and Daniel head for the toolshed as Joel removes his
shirt and hands it to Max.
                       JOEL (cont'd)
Max, start shredding this into
strips, say about two inches wide
and maybe ten long.
Max starts shredding the shirt.


                       JOEL (cont'd)
Andrew, you and Mark go see if
you can find anything else we can
use as a weapon. Tools, knives,
anything. Be careful picking up
metal though, itís likely to be
And what are you going to do?
Paula is pulling boxes down from a shelf and handing them to
Hey, look, we hit the jackpot!
Rope. And lanterns! Weíre going
to need that wheelbarrow over
Daniel takes the wheelbarrow from the wall and brings it
over to Paula and they begin to load it with supplies.
You know, I think I owe you an
An apology? Why?
Well, to be homest, I pretty much
hated you up until now. I mean,
well, you weren't exactly...
Miss Congeniality? I know. But
spending the night in hell kind
of changes your outlook
I can imagine.


No. You canít. Trust me. Come on,
let's get this stuff out of here.
They continue loading items into the wheelbarrow.
The six of them are roped together at six foot intervals;
Joel is in the lead, followed by Daniel, Paula, Max, Mark
and finally, Andrew. All carry lanterns. Paula wears the
dynamite in her belt. Daniel carries the shotgun. Knives
are worn in the othersí belts.

Looking at his and Andrewís full hands and then at the four
Molotov cocktails they have managed to make, Joel is
puzzled. Then he gets an idea.
Well, this may be the first and
last time I ever say this, but
ladies, would you please remove
your bras?
Remove our bras? What the hell
for, Joel?
Just do it. Youíll see. We need
Oh, alright.
Reaching under their t-shirts, Paula and Max remove their
bras and hand them to Joel.

Joel takes one and hangs it around his neck, placing two of
the cocktails in the cups. He hands the other bra to Andrew,
who does the same.
Only a gay man could find another
use for a bra!


You should see what he can do with
a jockstrap!
Joel shoots Daniel a look, but restrains himself.
      (To Joel)
Youíre sure about this?
No, but think about it. They
didnít attack our camp the first
night and they didnít attack us
last night while we stood in the
open. Why? The fire. I think fire
scares them because it can kill
If we donít get killed, first.
Last chance to bow out.
No one moves.
Okay then. Let's go.
Light pours in from above, but diminishes as they descend.

They pass several openings to other tunnels as they descend,
but Joel keeps leading them downwards.

They reach the bottom of the stairs and continue forward as
the tunnel ceiling gets lower and lower, until their heads
are brushing against the roots.
This looks like where I woke up.
It shouldn't be much farther.


Quietly, now. From what Paula
says, weíre likely to see some
pretty horrible things down here,
so be prepared.
They continue along for a bit, crouching now, and then Joel
stops to listen.

In the distance, we can hear Thomas whistling ďMoon Dance.Ē
Jesus, thatís him!
They continue and enter the ďcathedral.Ē
Thomas is at the altar, his back to them. A figure, whose
face is blocked by Thomas' body, lies on the altar. A bloody
skeleton, presumably Vinceís, lies on the floor beside it.
Hey! Hey, you little rat-bastards!
I brought yas some breakfast!
He laughs madly.
Just hold it right there!
Thomas slowly turns to look at them, grinning.
Yous people jest donít know when
to give up, do yas? Well, itís a
little late fer yer friend.
He steps away from the altar, and reveals Davidís eyeless
body. Thomas laughs again. He picks up the corpse, turning
the head to face them.
      (To David's corpse)
Look! Yer friends er here ta save


He cackles, insanely.
You fucking son of a bitch!
Ainít right, callin people names
like at. Ainít right at all. You
think I LIKE this, missy?
I just have one question...
      (Laughing again)
Just one?
Why have you taken their eyes?
Yíainít guessed? A smart gal like
yerself, an yíainít guessed it?
Let's suppose Iím not as smart as
you think I am.
Ha! None of yas is as smart as
yas think yíare! Ainít ya never
heard dat de eyes er the winder
ta da soul?
In the distance, there is a rustling of wings.
                       THOMAS (cont'd)
Oooh! Here dey come
The rustling grows closer and Daniel raises the shotgun.
Daniel, no!
Daniel fires, hitting Thomas in the abdomen. Thomas laughs
again and leaps across the water, grabbing Mark, who is
closest to him, by the throat.

Andrew and Max try to pull as far away from Mark as the rope
will allow them.


They all watch in horror as Thomas' now forked tongue snakes
out of his mouth and ruptures Markís eyes.

A bright, blue light pours from Markís eye sockets.

Thomas leans in and begins to draw the light into his mouth.
As he does, the wound in his belly heals as his face begins
to grow younger.

Joel pulls a stick of TNT from Paulaís belt and lights it.
Hey! Thomas!
Thomas turns to look at Joel, still sucking teh light from
Mark's eyes.
                       JOEL (cont'd)
Suck on this, asshole!
Joel shoves the lit dynamite into Thomas' mouth and pushes
him away from them.

Thomas falls back into the water, stunned.

Joel, Daniel, Paula, Max and Andrew duck as the dynamite
explodes, blowing Thomas to pieces all over the cavern.

After a moment, they all stand and look where Thomas used to
Well. He blowed up real good!
Max is attempting to lift Mark's body.
Mark! Mark!!
Heís gone, Max.
He knew. He didnít want to come,
because he knew.
Max begins to scream hysterically until Paula slaps her.


Max! Keep it together!
The rustling of wings has been joined by a horrible
screeching and has grown even louder. It is apparent that
the noise is coming from behind them.
Weíd better go. Cut, now!
They all produce knives from their belts and cut the rope,
releasing them from one another.
                       JOEL (cont'd)
Paula, which way?
Behind the altar. Just keep going
straight and then up.
They splash across the room and into the tunnel behind the
The group makes it way through the tunnel.
      (To Paula)
Now what?
Keep moving! I have an idea.
Behind them the screeching has crescendoed.
They do.

Joel is the first to arrive at the ladder. He
helps Max up and the others follow quickly behind.

There is a tremendous din behind them as the tunnel fills
with the screeching, flapping creatures.

Max reaches the landing with the wooden door.


Christ! Whatís that smell?
It smells like ammonia.
Bat shit. Cover you noses and
mouths. Keep right. Thereís an
archway that leads to a staircase.
She takes one of Andrew's cocktails and lights it as they
start to move through the door.
      (To Paula)
Iím not leaving you here!
Joel lights one of his own cocktails.
Something swoops down at them and Paula lobs her cocktail,
which explodes against the tunnel wall, briefly illuminating
one of the creatures.

It is red and scaly, looking like a cross between every
genus known to science. Leathery wings drape from bony,
black-clawed arms. Its face, seen briefly, is that of a
hound with cat eyes and a snakeís tongue. A thick black tail
ends in a scorpionís barb, while its muscular legs are
finished with taloned birdís feet.

The monster screeches and backs off, covering its face with
its batwing arms.
Get out of here, Joel!
Joel tosses his lit cocktail at another of the flapping
forms, setting it aflame.
Not without you!
There is another series of screeches as Joel grabs Paulaís
arm and drags her through the door and into the bat room.
The bats are going crazy, swooping and screeching


themselves, adding to the din.

They all cover their heads with arms. The noise is
deafening, and the only communication possible is through

Paula pushes them all towards the archway as Joel protests
and attempts to light his remaining cocktail. Paula shakes
her head vehemently and pushes Joelís hand down, pointing
toward the archway.

Joel looks at the others, who are making their way up the
stairs. He looks back at Paula.

She shakes her head and mouths the word ďGo.Ē

Behind her, the doorway has begun to fill with flapping
shadows. She mouths the word ďRun.Ē

Joel runs for the archway, and takes one last look at Paula,
who is moving to the center of the room.

A tear forming in his eye, Joel goes through the arch and
follows the others up the stairs.

Paula stands in the center of the room, bats flying all
around her.

As the creatures pour into the room, Paula begins to laugh.

She reaches into her pocket and then raises her closed fist
above her head, grinning.
Max, Andrew, Daniel and Joel scramble up the stairs,
dropping weapons as they go.
Paula stands center, her hands clasped in front of her face.
The creatures and the bats swirl about her. We see her lips
moving as she recites the 23rd Psalm.
Andrew bursts through the door, followed by Max, Daniel and


Slo-mo as Paula raises her fist again, exposing the butane

CU on her face as she screams.
CU on her hand as she spins the wheel on the lighter.

CU on the lighter sparking.

Full shot of the cave as Paula explodes in the center, the
fire spilling out into and consuming the chamber.
Fire races upward, engulfing the stairwell.
The shed explodes, showering the area with shrapnel as the
four take cover in the trees. The explosions continue in
slo-mo for a few moments.

There is silence for a moment. Then we hear a bird singing

Finally, the four stand, brushing themselves off.
Is everyone okay?
Baby, I donít think Iím ever going
to be okay again.
They make their way to the smoking hole where the shed once
stood and look down into it.
Do you think theyíre dead?


I donít see how anything could
have lived through a blast like
Poor Paula.
I know. I canít believe she sacri-
ficed herself for us. I guess you
never know what youíre capable of
until you face a situation like
There is a rustling in the bushes behind them, and they all
turn, staring in fear.

More rustling and then Pickles comes out of the trees,
barking happily at Joel. He picks her up and she begins to
lick to his face.
                       JOEL (cont'd)
I already told you, no dogs!
Pickles licks him again and barks.
                       JOEL (cont'd)
Oh, alright. Since you put it that
      (To Joel)
Honey, can we go home, now?
Baby, there is nothing I would
like better. Anybody care to guess
which direction we should go?
I don't believe it.
What now?


Daniel points toward the trees. The camera follows his
finger across the clearing to find a pure white stag staring
at them. The stag snorts and stamps its foreleg.
Well Iíll be damned!
Hey, if the Jersey Devil was real,
why not?
Exhausted, they all laugh and cry at the same time.
Shall we?
Yes, letís.
Their arms around one anotherís waists, they make their way
toward the stag as the scene fades to black.


Back to Top of Page
Leave Feedback
There is currently no feedback for this screenplay.

Back to Top of Page
Leave Feedback
You must be logged in to leave feedback.
Home    My Account    Products    Screenwriter Community    Screenwriter's Corner    Help
Forgot Your Password?    Privacy Policy    Copyright 2018, ScriptBuddy LLC.    Email help@scriptbuddy.com