"THE CABIN IN THE WOODS" (2012)

~h•Cabin ID TheWood•

by

JosaWhedon

and

Drew Goddard

'·.\.

Steve HADLBYand RichardSITTERSONareworkadaywhite collar joesgettingcoffee andvendingsnacks asthey chat. Hadleyis blandlyhandsome,Sittersonborderingon nerdy, butthey havea sweetrapport.

SI!l'TBUO.N At all?

Hoistingfilesand, inSitteraon'scase, asmall white cooler-- thekind thatmight carryorgans-- they exit into:

It'san anonymousconcretemaze. A few otherworkers pass by as themen talk.

Wendy LIN,a nervouswoman ina labcoat,joinsthem.

u -.·...·;··.··.·.\.·.· can't trust.• • whatdo youa.allpeople \.-i~

from Stockholm?

Hadleypointsat him, 'ohno youdidn't'making a big

(

1• I

Theyturn a cornerand finda row ofgolf cartsat the endof a long,featurelesshall. Theboys hopin.

He peeleout, Sittersontryingnot to spillhis coffee. We staywith them•••

Very suddenlythereis a horriblyloudmusical stingand a smashcut to titles:

TU CABIMIB TD WOODS

The horriblesoundgives way tojauntyrock. We seea streetwith a good,boho studentvibe,not unsanFranciscolike.Ara inon a nicethree story townhouseand intothe secondstorywindow of:

4 •

....,it.'i/'·.'··

DANAPOLR, a thoughtful,attractivecollegesophomore. Her roomis likeherr restrainedandwell ordered,but withfunky touchesof colorand whimsy. A fewsketches andwatercolorsof her owndot thewalls aswell.

Danais in shirtand undies,packingfor atrip and boppingsoftlyto the music,whichnow comesfrom her littlestereo. She doesthat singing-alongthingwhere youstart to singtoo soon,lookssheepisheven though she'salone.

Shetakes a coupleof politicalsciencetextbooks,drops themin her suitcase.Crosses tograb someart supplies, includingabattered sketchbook.She pauses,flipping throughher sketches--which aren'tbad --til shegets toa portraitof a handsomethirtysomethingman with longishhairand glasses.

CLOSB ONDanastaring sadlyat thepicturewhen Julie uJULEswLoudencomes intoframenext to her. Julesis bubbly,sexyand as often minutesago, blonde.

(_

s.

Sheholds upDana's bikinifromher opendrawer.

She pullsthe textbooks out.

CURTVaughan isJulee'sboyfriendand yes,that's a lettermanjackethe'swearing andyes, that'sa football he'sthrowingright atthe girls.

REVERSEon themyeepingand flinchingasthe ball goes rightbetweenthem andout tll•window.

CUR~ (CONT'D) Well,faeter thanthat.••

Danamovesto look outthe window,is intime tosee:

ANGLE: DOWNON THE STREET

Curt's friendHOLDENMcCrea rusheeintothe streetand catches theball, aslowing carbumpinghis leg. It's an impressivecatch.

ANGLEON: the two girlsat thewindow,Curt behindJules, all lookingout.

(

He grabaJulee'sboobs frombehind.

CUR'l' (to Dana.shyly) I'm sortof seeingthisgir1, but,uh, you'reway blonderthaneh• is, andI was thinkingwe could•••whatis this?

He priesthebooks fromJulee.

In mock weep,she fleesthe room. Curtholds thefirst book up toDana.

·'...)?..:.'»-·..'k whole bookin his lectures. ,', (MORE)

I

I(

Hetosses thebooks backon the bed,callingout to:

Dana,panicked,hoistsher jeanson, headingout after Curtinto:

Juleeis openingthe doorfor Holden,andhe's even betterlookingup close. Less ofa wildman than Curt.

Hetosses itback to Curtam:1grabshisweekend duffle bag,entering~

(

Holdenie dumpingJulee'slast suitcase(shehas overpacked)intothe RAMBLER,thetrailerCurt owns,with thedirt-bikeattachedto the rear. Dana'sinside,takes itfrom him (politesmilebetweenthem) ashe turnsback toJulee anda bag-ladenCurt.

'·,,~ / .}• DANA ',,...•,'4/f'../:]

(lookingoff) Oh my god •••

ANGLE: A CAR hae justfinishedparking. Martin "MARTY" Mikalskiis gettingout of thedriver'sseat while aaoking ahuge bong. It's difficulttomaneuver,but definitelynot hisfirst time.

His friendsinetantlylook aroundfor,oh, say,police•••

He pours thewaterout. Removesthe bowl,sticksit in a little holderinsidethe tubeand telescopestheentire thing down,pulls alid off thebottomand popsit on the top, makingit lookexactly likea canof Fresca.

As Bolde~raises hieeyebrowsand Ju.Leerollsheceyes

Marty hopein, callingout:

The keyis turned,the gassteppedon. Curt looksinthe rear viewat hispeeps.

Generalassent.

ANGLE: FROMUP HIGH we seethe ramblerrollingoffinto thedistance. The cameraarms upto watchit go, the sideof the buildinginframe.

(

Itreaches theroof andpans overas we finda groupof sixmen in CleanRoom Suitsstandingsilently. Aftera beat,one speaksinto hisearpiece.

A beat,thenhe circleshis fingerin theair, scrambling themen to pickup casesand headfor thedoor to the stairwell.

A thick metaldoor (notvault-sized,butimpressive) wheezes open,a militaryguardstandingbehind it. His name is AlexTRUMAN,and his exactmilitaryaffiliation is unclear. He is upright,exacting,andpretty new at all this.

'RBV-ERSBQDSittersonandHadleyas theypull offtheir

badqea aadswipe -hemover Truman'shandheldreader. He con'firme:

The controlroom hastwo levels. On thelower levelare a coupleof tableswith built-inmonitorsand phones.

The upperlevel,behind, isa wonderlandof screens, switchesand dials,with tworolling chairsforSitterson and Hadleyto moveabout in. On the farwall,over the lower space,are threebig screens,alsooff. The place resemblesa moviemixing stage,or atiny Houston Control.

Hadleyand Sittersonmake theirway up,talkingwith Truman.

',~

Hadleyis shrugging,hittinga bankof switcheson the wallthat audiblypowersup the controlroom. He crosses to hischair andstarts flippingswitchesthereaswell.

I i ~

(

'.'

Sittersonis alreadyenteringdatainto a computer, lockingand testingknobsand levers.

Sittersonrollsto anotherbank ofcontrols,flips the coveroff a row ofbuttons.

Thescreens allcome towhite, blanklife,their light brighteningthedim room.

Ittrucks alongan oldroad, nothingbutbrush visible.

The gang isin mid-ride,clearlya couplehours in. Curt is still driving. Jules,ridingshotgun,is checking both a map andthe GPS. Martysits at thelittletable, cautiou.e.lyrollinganelegant,filtered.rowofjoints. Dana aitawith him,Bolden inthe batbrootftwiththedoo• open, wherewe can seethey'vestaimeda keg. He's filling threecupa.

,.,

He grinsat her, holdsup a gorgeousjoint.

( my other etashaboutit beoauseit would

become jealous.

DAN1\ (pointingahead) A sign. Up there.

Holdenbrings upbeers forCurt, JulesandDana, who smilesat him shyly.

(

Danagives hera 'shutup' look.

CU!tl' Ithought youwere droppin9art.

Jules swatscurt,gives him alook.

,.

I

i . l HOLDEN

(toDana) Is itokay ifI didn'tfollow that?

They all lookahead.

EXT/INT.GAS STATION

It is asdecrepitand abandonedlookingas itcan be. An

old pump squatsinfront ofa monumentto rust,windows cloudedwith grime.

ANQJ..B:FROM INSIDEthroughthewindowswe seethe ramblerpull up~ The insideof thisplace do88ll'tlook any moreinvi-tingthanthe011taide.once upona time thin~ were fixedand good8were 8Q.ldinhere,but notof late-

The kidspile out,stretching,lookingabout. Curt and Martyexamine thepump.

Curtmoves a paceto seeif anyoneis around.

ANGLE: HOLDENis inside,moving slowlytowardtheback. We hearCurt'soffecreen:

Butno reply. Holden keepswalking,tracinghis finger alongthe countertop.

CLOSE ON: HISFINGER trailingaline ofclear glassinto thegrime.

(

ANGLE:THE GIRLS

Aremaking theirway nimblyaroundback.

They stop, staringinhorror.

REVERSE ON: THE BATHROOM. It'sjust ashorrible aait could be. The dooroff, the room tiny--the walls stained withwhat mightbe actualslime. The toiletis lidless, brokenandfilled withbrownishsludge.

A weird littlegurglecomes fromit. C,;.) Dana moveaforward,brow fttrrowed.She1eana inand looks down.

In the toilet,a scorpionstruggles,drowninginthe fetid muck.

ANGLE: HOLDENis headingbackoutside. We're behindhim,

and throughthe opendoorwaywe can seecurt andMarty trying tofigure outhow towork the pump.

The ATTENDANTfillsthe doorway,havingcome aroundfrom the outside. He speaksaa heappears,over thesurge of music andHolden'sshocked jump--

The attendantisold, weathered,andcreepy ashell. One eyeballis hideouslyred,tobacco chawspillsover his stainedlips, andhe carriesa permanentscowlof disgust.

curtis makinghis wayover tohim, Martyjudiciously hangingback.

But he doesn'tmove tohelp. The girlscome around,no more anxiousto getclose oncethey'veseen himthan Marty waa.

The attendantlooksat her,the nameregistering. She

kind ofwrigglesunder hisgaze.

He startsamblingtoward thepump,pulling outa ringof keys andunlockinga latch.

(

Theattendant sticksthenozzle inthe rambler'sgas tank. The numberson thepump startgoing upmanually (likethey usedto backwhen), butcreak toa stop almost immediately.

She takesa step back,freaked. Danatakes her arm.

The attendantstopsfor a second,notexpectingthis guy to have come backathim. Glances atJules, mutters:

Curt isabout toclock him butHoldenputs a handto Curt'schest, stepsforward.

".)

)

He pulls outthe nozzleas thegang movesback in,Curt contemptuouslythrowinga twentyat theguy's feet.

ANGLE: THERAMBLER'STIRE

Spins inthe sand andtakesthe heapright outof there,, cruisingdown the road.

The attendantwatches,spitschaw. Watches.

BX~. WOODS- DAY

A helicoptershot£loats overthe ramblerasit winds throughan endloe expanseof firs,finally consumedby them.

The Ramblercomesup the sideof asteep drop-off. We see Julesin thepassengerseat smiling.••

And we panwiththe vehicleas itenters themountain tunnel,slowingdown a bit-- it'sa tight fit. The cameramoves upthe mountainside,lookingdown toseethe ramblercome outthe otherend.

A birdcomes frombehindcamera, flyingdirectlyabove the tunnel. Abouthalfwayacrossit hits aninvisible barrierand fallsin a showerof sparksasfor onemoment an electricalgridseemsto appearwhere itstruck, beforesparkingaway intonothing.

(

--;:_,)··,.

There'sno audiobut musicas thekids allcrowd the frontof thevan to lookat theirvacationspot. The lakeappearsup ahead,sun ripplingover thewater,and theylook andpoint, talkinga bit.

Finallythe cameraracesthroughthe forestand findsthe cabin. It equateuninvitingly,afairly ramshackle-- thoughnot overlyrustic-- singlestory structure. Windowson eithersideof the door,not unlikeclosed eyes.

Thevan pullsup andthe kids come out,moreslowlythan theydid atthe gas station,takingit in. Dana'sa littleentranced,Holdencurious,Curt pumped,Jules mildly excited,Martywary.

MARn' (tohims•li) Thishouaa istalkinga hlue s~reak•••

As the boysstart unloadingthekeg, Danaapproachesthe front door •••s.JA,wlyturnstheknob •••

She entersthe livingroom. It's also,if youturn to the right,the kitchen;thestove is aclassicold wood- burningKalamazooWonder, thesink clearlyretro-fitted. The decoris sparseand antlery. A wolf'sheadis

mountedon one wall.

A hall goesown themiddle,with twobedrooms oneither

side. Danamakesher way aroundtheroom as therest of

the gangpours in.

·:~ ,Jll

I(), 22. \,d -,,

Julesruns downto thehall, tolook in therooms, grabbinga doorknob--

Shepulls herfingerback -- it'scut, slightlyonthe tip,a littleblood wellingup.

Dana looksover atMarty, whostands·inthe doorway, looking aroundwarily.

He looksaround, notreadyto make hismove.

Holdenthrows hisbag on hisbed, whichsqueaks appallingly. Be lookearoundthe decrepit--but not entirelyun-homey-- room,focusseson a pictureopposite

the bed.

ANGLE: THE PICTUREis like19th centuryprint,but it's of a huntingpartywith machetesanddogs tearinga lamb to piecesand, uponcloseexamination,ie repulsive.

(

He takesthe pictureoffthe wall,camera followshimas he leansit onthe floor,comes backup to findDana staringat him blanklythrougha holein thewall. Once again,he jumps.

Shebarea herteeth athim. He stops,not gettingwhat's goingon at all,then asshe startspickingbetweenthem, hegets it. Moves forwardand putshis handto theone- wayairror betweenth-.

He watchesherfor abit, firstamused, thena little hypnotised.She reallyis kindof beautiful. Shemusses her hair a little,givesup, grinningather own vanity. Moves to herbed andstarts unbuttoninghershirt.

Be bob'sbackand forthbetweenthia goldenopportunity and comme~human (yawn)decency. Movesaway fromthe hole, outof frame. Moves back.

Finally bangson thewall, duckinghishead justas she's about totake it off

The gangis all inthere, checkingit out.

He makes apenoisesoff screen. Dana isstill staringat the glass.

He grabshis bag andthey headout asshe says:

She makescringe face.

(

Inher (nowhie) room,he dumpshie stuffand she grabs here.

Dana exits,clearlyfrustratedwith herlame exitline. She entersher new roomand#droppingher luggage,moves to put thepictureback. She'astoppedby the sightof. Holden, alsGlookinga littlafruatrated. A moment,and

he pul.lahi•shirtover hishead. Re'ain prettygood shape. He pulls hisbathingsuit outof his bag,etarta unbuttoninghie pants

Sheepishly,she grabsthe pictureandreplacesit. Takes a momentto look atthe slaughteredlambscene•••

We cutto a highand wideof her placinga littleblanket overthe picture,and suddenlythe frameis thatof a monitor,as we pullback tosee:

••. we'rewatchingDanaona MONITOR. And aswe continue

to PULL OUT, we seeMOREMONITORS. ON THE SCREENS:we see asurveillanceview ofHolden inhi• room •••

••• andMartyinhi• room •••andJuleswithcurt••• In fact--

ALLTHE MONITORSon thecontrolbank arenow lit up,each showingdifferentviewsof thecabin andsurrounding area. Sittersonrollsinto frameon hisoffice chair, lookingthescreens over--

Hadleystaresat DANA'S MONITOR. Keysthemicrophonein frontof him--

VOICE (overspeaker) Haveit backto you infifteen•••

Sittersonglancesup as --

SI1"l'ERS0>5 Ms, Lin!

Wendy Linenterethe area,clip'.boacdunderhecamn. Sittersonwheels himselftowardsher.

ANGLE: ON A MONITORisJULES,goingthrough herstuff.

(

And ANOTHERVOICE ringsout overthe speakers

HADLEY

;,;~..:

Hadley andSittersonshare a glance. Sittersonholdsup his hands --don't lookat me. Thie isall yours•••

Hadleyhits a buttonon hiskeyboard --

TheATTENDANT(who, itturns out,is namedMORDECAI) speaksintothe gas stationpayphone

Hadley nods,movesto hang up

Sittersonstartslaughing. He clampshis handsdown over hismouth to keepquiet. Lin keepsmostlycool•.•

(

Sitterson'snearlyoryingnow --

Thatdoes it. Everyoneloses it-- evenTruman is grinning.As the roomeruptswith laughter

Sittersonpounds hishead onthe console,he's laughing so hard. Off which--

Footstepsring out asDana andHoldenrace down the wooden dock. They'reboth intheir swimsuits,runningat top speed. As theyreach theend, theydive intothe lake --

Reverseon Curt,Jules, andMarty (allalso inswimwear exceptMarty, whoat leasthas barefeet androlled-up pants)as they casuallywalkdown thedock --

I ~ I I I I 30. \ i :)

C'lll'tstepstotheedgeof thedock,.facefallingas he looks intotba water--

(,)~.'.'I',t, CURi'

He putshie handon Julesback --

And withthat,he shovesJules straightintothe lake. Splash!

(

Curt pointsat anotherpart ofthe lake--

He jumpsout rightwhere hewas pointing-- SPLASH-- as he surfaces--

He laughsas she triesto dunkhim

Dana laughs,looksup at Marty

(, DANA Marty --9'•tin.here

He sitsdown onthe edge ofthe dock,dangleshis feetin the water. Leansback. Highas theproverbialkite --

And withthat,we CUT WIDE ON THELAKE. On thehorizon, the sunis juststaring toset. WeHOLDON THIS TABLEAU as thekids splashand laughand frolicin thelake.

For amoment, allis rightwith theworld.

WBUMPl A largewad of CASH slam8downontothe console. Widento revealSitterson-- for somereasonhe's holding largewads ofcash. A8he stepsup onto theconsole

ic·.I 32. 'yI' I.. ,~. l ;.;

Theroom iabustlingwith activity. Severalpeopleare clusteredaroundHadley,thrustingpapersand cashin his face,everybodytalkingover eachother--

Sittersonlooksat hieclipboard

A TECHNICIANin a labcoathandsher formto Sitterson.

As he looksat it--

SIT'l'ERSOB(CONT'D) I'mnot evensure weha,,eoneof these•••

Acrossthe room,A YOUNG GUYwho looksa lotlike an

INTERN handshisform to Hadley

( '·

(

Lin is off tothe side,where Trumanstandsat attention, stoically watchingtheproceedings.

TRtJMAN Does'theDirector•••dothey know about itdownstairs?

Hadleyglances upat the monitors. ON THE SCREENS--we see Dana,Holden,Jules, Curt,and Martycrossingthrough the cabin,headingtowardsthe livingroom.

M_,~,__,. '<'~"tf..."t. '.~Ji-~

Hadley countsthe money--

Re handsthe restof the mo·neytoSitterson,whoslamsit on thepile withthe rest ofthe cash.

Curt pumpsthe keg,spraysbeer intoa plasticcup as Julesputs on a song--

He handsthe beerto Jules,who dancesthroughframein ti.metothe musicpumpingout of thestereo.

(

·-t;,~ ·:~~- ,;j

He a grabsa joint, lightait, andtakesa massivehit. But he doesn'texhale. He justlooks atHolden --all right, bringit on •.•

Marty nods-- true.

Marty exhalesa hugecloud ofsmoke asthe group applauds.

36 •

..,·~..

Everyone turns,looksto wherehe's pointing. MOUNTEDON THB WALL isthe large,snarlingWOLF'S HEAD. Forthe record, itcouldn't lookl••• likea moose.

Jules nods,takesa drink,hops toher feet.

JULES

) No problem.

The groupcheers. As Julesmakes herway acrossthe cabin,she dropsher hipsa bit, addinga sultryswagger to herstep.

WOLF'S POV: We'relookingout at thecabinas Jules walksright by us. And justas she'saboutto exit frame,she stopsin her tracks. Looksoverat us.

She glancesoverher shoulder. Bashful. Looksbackat us wolf,pointsto her chest.

Everyonelaughs,cheeringher on. But Juleepretends they'renot eventhere --it's justher andthe wolf.

Sheblushes, twirlsherhair aroundher finger--

(

Shesteps towardsthe wolf,then actslike shetrips--

Whilethe grouphoots andhollers,Jules turnsaround, bendsover rightin frontof thewolf. Pretendslike she'spickingsomethingfrom theground.

Then,withoutturning around,shestands upstraight,so thatthe wolfis now directlyoverher shoulder. She nuzzlesit,cheek to cheek--

Sha turns around,takesthe wolf'•headin her handa

And withthat, Julesleans inand givesthe wolfthe most passionatekiss we'veever seen. She justgoesfor it full-on,tongue-to-taxidermied-wolf-tongueaction.

The grouploses theirminds. Everyone leapstotheir feet, givingJules astandingovation.

Jules looksto the group,takesa bow evenas shemakes a face, spittingout etuffed-wolftaste.Asshe walksback to the group,Curt handsJulesher beer,the otherskeep applauding--

\ J

Danafrowns. GlancesatCurt --

ANGLE MARTY-- he'sglancing atCurt. Frowning. Somethingaboutallthis seemsa littleoff•••

And Dana seemsto noticeit too. But she'snotabout to letCurt getunder herskin --

And justthen, behindher --WH-WHAM --the cellardoor blows open. Everyonescreams,startled.

They alllook backat the now-openholein thefloor. As they movetoward it--

(

) -~.

Theyall clusteraroundthe hole. A set ofstairs leads downinto theforebodingdarkness. The groupstaresdown atit, all alittle spooked--

Danaglancesup at her. What? ( JULES (CONT'D) I dar•you togo down intothe cellar.

:) And we'reCLOSE ON DANAae shetries notto show justhow

much that scaresher. OFF HERLO01'--

Crrreak.Dana cautiouslymakesher waydown theold wooden staircase. It'sdark;Dana's flashlightbarely illuminatesthreefeetin frontof her.

She reachesthe landing. Triesto keepher voicesteady as she callsback tothe others

She standsat the baseof thestairs,trains the flashlightbeam aroundthe room. Curiositygettingthe better ofher, shesteps intothe darkness.

Creak•••

The flashlightbeamscansthe room,catchinga glint of metal --OLD RUSTYTOOLS hangfrom hooksalongthe walls.

Creak•••

Danakeepsmoving, heartpoundingin herchest. Her flashlightsweepsthearea, findinga dustyoldRECORD PLAYER•••a CHILD'S TOY CHEST•••adressmaker's MANNEQUIN•••

Dana turns,beam sweepingacrossthe wall. As itdoes so, it finds--

A GHOSTLYFACE.

Staring rightat her. Dana screams,nearlyjumpsout of her skin--

As footstepsringout from above,Danaanglesthe light back towardsthe face,realizes--

It's aPORTRAIT. A daguerrotype,tobe precise,of a youngwoman, roughlyfifteen,dressedin turnof the centurygarb. Shestaresback at Danawith sadeyes.

Danatarns to findHoldenracing downthe stain, the othersright behindhim.

Martystrikes amatch, lightsan OLDOIL LANTERNhanging fromthe wall. As orangelight spillsacrossthe room •••

•..theyget afull viewof THE CELLAR. The roomisbig much biggerthanwe expected-- andeverydark corner seemsto be filledwithcreepy clutter.

• "'t•

But the othersaren'teven listeningto him. Theyspread out, each focusingona differentpart ofthe cellar--

Holden looksdown ata varietyof CHILD'S TOYS scattered across thefloor. He picksupan ORNATEMUSIC BOX

curt haspicked up aCONCH whenhe seesa WOODEN SPHERE sitting behindit. He puts theconch down andhoiststhe sphere. Italmost lookslikea small globe,it'sso ornatelycarved, butit has dustybrassrings inlaid around it-- it canbe turnedand adjustedalmostlike a sphericalRubik's cube.

Dana aan•ttake hereyes offthe portraitof thegirl. on the·vanitybelo~it, shenotic" ava:r:ietyo~personal effec:ts:anold h~rbrush•••a silverlllirror.....anda leather-boundBOOK.

Julesstudies thedressmaker'smannequin. ANAMULET hangsaround itsneck. Julestouchesit•••

Buteven Martycan't helpbut be intriguedashe spotsan OLD SUPER-8 PROJECTOR.He findsafilm reel,starts unspoolingit•••

HAUNTINGMUSICfills theair as Holdenstartswindingthe crankon themusic box .••

Curtstarts turningthesphere parts-- theyseem tobe liningup •.•

0)

Dana brushesthe duetoff thebook, revealingtheword "DIARY" onthe cover•••

Julee takesthe amuletoff themannequin,holdsit up to her neck,looks forthe clasp as thoughshewere about to try iton •••

Marty holdsthe filmstrip upto thelight, frownsas he

tries todiscernwhat's on it •••

As Holdencontinuesto windthe crank,the musicBUILDS

and BUILDS•••He'sstaringdown at thebox-lid-- it'sas

thoughsomething'sabout topop rightout of it•••And

just asthe music'saboutto reach crescendo--

Holdenstops windingthe crank. The worldgoesquiet. Everyonelooks upfrom whatthey'redoing.

Reluct.aA:tly,eachpersonputsclowntll.eobjecto£hisor her attentionandmovestowards.Dana.

Danalooks inthe insidecover.

(

She stops,looking ateveryone. Nobodycomments. Bewildered,she flipsahead, continues:

Dana looksaround. Holdengives hera littlenod.

A smallvoice seemstowhisk acrossthe topof theroom, barelyaudible:

VOICE Read it••••

Martyis theonly onewho seemsto hear it. He looks around•••

The fuck ••?

'),; ,,,l VOICE

Readit out loud •••

Marty startsacross theroom asDana appearsto beabout to start. Curt plantsa hand inhis chestand shoveshim back.

(

Asher voicecontinuesto echo onthe soundtrack,a gnarledand greyhand digsite wayout ofthe ground, holdinga ruatyblade.

Theycome outone by one,in variouspartsof thewoods: agroup of hastilyburiedand notall thatdecomposed zombies,fiveof them,all in 1900 1 sfarmclothes,all holdingvariousappallingfarm implements.

Theseare theBucknera: FATHERwith hisscythe, MOTHER with her brokensaw, skinnyJUDAHwith histhin, sharpenedtrowel,enormousMATTHEW(we don1 tseehis weapon yet)and little,one-armedPATIENCE, holdinga hatchet.

Patience isthe firstto move,ambling towardthedistant light of thecabin.

OilTHE MAINVIEWSCREEN-- we seethe imageof theZOMBIE P'J\KILYslowl.ymakingtheirwaytow,irdath•cabin.

SI!I"l'ERSON(O.S.) We have awinner! ·

Widen toreveal aHUGECROWD has filledthe controlroom.

Everyone1 swatchingthelargeviewscreenintently.

Most ofthe crowdGROANS indisappointment,throwstheir bettingslips tothe ground. But a fewBLUE-COLLARGUYS throwtheir armsup in triumph--

And ashe says that,we seebehind him:

A LARGEWHITE-BOARDagainstthe wall. Writtenin marker, downone column,there's along listof MONSTERS. A few wordsjump out atus: "VAMPIRES,""WEREWOLVES,""FLOATING WITCHES," "ALIENS,' 1"ZOMBIES,'1"KEVIN,""CLOWNS," "WRAITHS,""SCARECROWS,""ANGRYMOLESTINGTRBE," ( "MUTANTS."

; •l

Down anothercolumn:acorrespondinglistof DEPARTMENTS: "ELECTRICAL," "ENGINEERING," "SECURITY,""ZOOLOGY"andso forth.

Hadleyhandsan enormouswad ofcash tothe BLUE-COLLAR GUYSand anotherwad tothe happyINTERNwe sawearlier.

People shaketheir heads,beginto fileout ofthe room. A WIRY GIRL approachesSittersononherway out

Sittersontaps theboard. There it isrightthere: "ZOMBIEREDNECK TORTUREFAMILY." Rightnextto "HAINTBHANCB"and "RONALD'l'BBINTERN."

SJ.i'i 1BRSON(CONU''D) Entirely separa.tething.It'alikethe differencebetweenan elephantand an elephant seal.

Her shouldersslump. Knows he'sright. As shegoes:

Trumanstares atthe screens,at theshamblingBuckners corpse-clan.

~•.1.

(

Sittersonwalksover toHadley. He'ajuststanding there,staringup at thescreens. Lookinga little despondent--

S11"J'!RSON Dude,be thankful. Thoaethingsa.re terrifying.And the cleanuponthem's a nightmare.

Hadley nods-- I supposeyou'reright. He gestures towards thescreens.

Hadleynods, goodpoint. As they startwalkingback

(

towardstheir console--

}

')

And asSittersonand Badleyclearframe,we BOLDON ONE OFTHE MONITORS.

ON THE SCREEN:weseea video feedof aJAPANESE SCHOOL ROOM. Severalschoolchildrenrunscreamingin terror froma SOPPINGWET YOUNGGIRL who'sfloatingthroughthe airlike she'shangingfrom an invisiblenoose.Aa the childrenSCREAMand SCREAM,theWET GIRL floatsTOWARDS US andwe CUT TO

IMT.LIVING ROOM- NIGHT

tilemueiais blaringand Ju.1e8isdancingup a storm. Curt is 9,0ingwithit,ocoa•ionallygettingbehindher for the :butt-cuppingdance,but@e'sall overthe 1100m rea1ly workingit. Popa a coupleo~ buttonstoshow more cleavage.

Everyoneelse is sitting,Danaand Holdenon thecouch, Dana stillholdingthe book,and Martyslumpedin armchair,smoking sullenly.

Jules dancesover infrontof Holden anddoesa little impromptulap-dancewrigglefor him. He looksa little awkward,glancing atDana,who isn't exactlythrilled.

j i t

Shemoves to him,gives hima littlewriggleaction as she takeshis jointand suckshard.

Dana stands,droppingthe bookon the couch.

They exit,as Danacrosses toget anotherbeer andHolden flips throughthebook. Martyhoistshimself upand joins her,still smoking.

DAltA Curt'sjustdrunk.

j ;,;' ·:t. ' ·~ -~

C

I

I DANA

Marty,I love you,but you'rereally high.

He ambles offinto hisbedroom asDana comesback tothe couch witha beer forherself andHolden. He takeshis, still holdingthe book.

HOLDBlt ( TheLatin. Tha.tyou•••

He sipshis beer,tosses thebook backon the couch.

She smiles,looksdown.

Julesis laughing,runningthroughthe woods,Curt inhot pursuit. He catchesheraround thewaist withone hand, beerstill heldin the other.

Hekisses her,deep andhard.

He startspulling atthe lastbuttons. She pullsaway a little.

IW. CO~OL ROOM -CONTINUOUS

Cl, They'Zllauddenlyonthree hagescremte,beingshot witha

framewatching themintently.

He pullsthe shirtopen butshe takesa stepback and holds ittogether.

A 9Z"oanthroughoutthecrowdcauseHadley tostand up fromthe controlarea behindthem.

As theyare herdedoutby Truman,Hadley sits,sayingto (_ ,~, Sitterson: -····.,,·'

( ,_"I!:"'

He types faston a keyboard,usesa touch-screen thermometergage to raisethe heat.

Hadley isworking hisown controls•••

AT THEIR FEET we actuallyseewispsof fogrise fromthe ground.

Jules, stillholdingher shirttogether,closesher eyes and takesa deep breaththroughher nose. She opensher eye•, .looJcin9atCurtwithhalf-liddedlust. Begoea in for anotherkisa andshe~· her arm,,aroundhim,

·:, pul1ingo.ifbis ehirt. Aa hetries toarch beedown to I_J;..ff the ground,her laetsleepyprote.art:

He startsto turnher, pullingher openshirt awayfrom her neckand kissingit frombehind•••

The boysare workingin concertnow.

He pushesa lever-- literallya dimmer-- upas he hums. And:

Beforethe kids,a tinyglen ofmoss andsoft green frondssuddenlyseemsto glow inthe moonlight.It couldn'tbemore inviting.

Julessmiles,dizzywith lust.

ANGLE: GROUNDLEVEL-- Jules dropsdown intoframe,Curt onher, thetwo of themonly aboutthebusiness. They rollover,Jules ontop, slidingher handdown Curt's pants -- hemoans withlonging,runninghis handup her chestoverher bra.

The men watchthe screens,handsat theready to manipulateany dial. They havethe dispassionatefocus of porn theaterpatrons.

Truman looksoverat them,a little disturbed.

Sittersonturnsback to thescreens,and thetwo men watchtheir handiwork.

Andnow we cutback andforth a bit.

(

Curt,kneeling,slidesJulee's pantsoff. His headcomes backinto frameand takesthe edgeof herpanties inhis mouth, makinga littlegrowl ashe lets goand itsnaps back on herwaist --

Jules laughs,leaningher headback and suddenlynot laughing,breathinghard •••

Hadley andSittersonstare, (lookingperhapsdirectly into camerato make useven lesscomfortable)•••

Jules swingson topand pullsher shirtoff at last. She takes hertime, slidingher handsup herbelly toher breasts, finallytothe claspin the middleof herbra •••

She pops itopen, holdingittogether coylyforone moment beforepullingthe braoff, revealingherbreasts, a sheen ofsweat (andthe factthat they'renot fake) making themall themore enticing. Shesmiles knowingly, a visionof hedonisticperfection.

Curt looksup at herin silentwonder.

All threemen in thecontrolroom -- includingTruman--

look ather the exactsameway•.

into him~hie armacoming aroundherback.

He makesa smalltweak ona dial, eyesstillon the screen.

ANGLE: ABOVE'THELOVERSthecamera comessoftlydown towardsthem, thetableauromantic andsensual. He's atopher and a bitto theside, onehand (outof frame) workingunder herpantiesas she moans,armsout •••

CLOSE ON: HER HAND, runningalongthesoftmoss.

A rustytrowel nail•it toth• earth.

JulesSCREAMS,rearing up--- hamperedby thehand that won'tmove, asCurt tumblesoff her,lookingup to see:

Threezombies (astheywill be calledfromnow on) are attackingthem.

SkinnyJUDAH iscrouchingover Jules,pullinghis trowel out evenas MOTHERreachesaround herneckwith her snaggle-toothedsaw. MATTHEW,thebiggest,is still a few feetbehind,amblingtowards.

CLOSEON: THE MOTHER'SBELLYas threeburningcoals flop out ofa slit init, sizzlingon Jules'shairand the moss.

Shestarts to drawthe sawalong Julee'sneckand Curt snapsout of it. He piledrivesrightintoMother

knockingherback onher ass. He turnsto Judah just

asJudah digsthe trowelinto hisarm. curthowls, tryingto pullit out asJules holdsher bleedingneck, tryingto risebut weak.

curtpulls hisarm away,bringingJudah towardshimand thenpunches Judahhardright inthe nose. The nose breakseasily,crumblinga bit,Judah completelyunfazed byit. curt looksovertowardsthe thirdzombie.

M&tth:ews.tandeafewfeetaway,leaningslightly. 0 Suddenl.ybeletsa chainelidet~ hisfi-ngera,.all th~wa.yta theground,pulled bya b~okenbear-t.cap,juat arusty metaljaw withteeth: atum-of-the-centurymace andchain.

Matthewgrins.

The trapswingswith suddenspeed,whackingCurt'shead (luckilynotwith the jaggedside)andknocking himback, bleedinganddazed.

Shetries torise andMatthew swingsagain,diggingthe clawof thetrap intoher back. She SCUANS, arching backand floppingface-downontothe ground,diggingher fingersintothe earthas Matthewdra9aher baokvarda.

Curtstumblesup -- andFatheris behindhim, slipping theshaftof his scytheoverCurt's headand pullingit back hardagainst Curt'sthroat. Curtthrashes,unable toscream,as his feetare pulledoffthe ground. He sees:

The screaming,pleading,whimperingJulesis keptin place byMatthew's footas heyanks outthe trap.

Judahpulls herhair back,holdingup herhead -- her eyeson Curt's-- as Motherplacesthe brokenblade once moreat herthroat. Curtwatchesin silenthorror.

Insidethe controlroom,the menare equallysilent, Trumantryinghard notto lose itas Julee'spleas fill theair around.

CLOSE ON: JULES'SPLEADINGEYESas we hearthe horrible scrape of thesaw tearingflesh.

No sound inthe consoleat all savescrapingand shuffling. Truman hashis eyesclosed. Hadley and Sittersonboth have loweredtheirheads,and Sitterson quietly intones:

penta.graJI\.Bekies•sitandrepla<:eaitund•r hieshirt )

as Badle¥c~ossesbehind himto a seriesof tivemahogany

panels atthe farend of theroom.

He opensthe firstand pressesan ornatebrass lever down.

CLOSE ON: A MECHANISMalmostlikean oldclock,Julee Verne-esque. A smallhammerstrikes avial thatcracks, dark redblood pouringout intoa brassfunnelthat runs down athin pipe,seeminglya very longway.

The pipeends inthe ceilingof a darkroom we won't reallysee justyet. Theblood poursout ontoa leaning slabof dark marble,rightinto a grooveat thetop. The bloodraces downthe grooveas it bendsand arcs differentways,forming aprimitivepicture ofeome sort -- thoughof what,we do notyet see.

Judahhisses atus.

(_

..

Dropwide tosee Curthas stoppedstruggling,Father stillholdinghim asJudah andMother ambletowardhim. Matthew is bentoverJulee's corpse,butwe can'tsee what he's doing,thankfully.

As they raisetheir blades,Curtaprin9•into action, planting hisfeet onboth of themand pushingashard as he can, knockingthemback --and Fatheras well,Curt rolling overhim andpulling himselffree.

Gasping forbreath,Curt scrambleson handsandknees back towardsthe cabin,almoston his feet-- andthe blade of Father'sscytheslicesthroughthe cuffof his jeans, pullinghis legand droppinghimback toearth.

Marty islying in bedon hisback ashe reads Curious George.

Lettingout a br:eath,hedrop.s1:habooktohisc-hest.

VOICE I'm gonnago for awalk •••

He sitsright up.

He runshis handsover hiseyes,weary.

VOICE I'm gonnago fora walk ...

(

Danaand Holdenare leaningin fora kisswhen Marty stridesby,making themstop.

They look ateach otherawkwardly,the moment broken. Marty shutsthe doorbehind him.

We walk outwith Marty,leavingthe housebehind. He comes outabout thirtyyards, nearthe firsttrees. In medium close-up,helooks up •••

And he ~tartsto takea piss. All ofwhich is heldat this closeangle, sowe onlyhear it.

There'sa noise inthe woodsbehind. He turnsaroundto

see a copseof trees,but no movement.Turns backand in

the BG oneof thetrees turnsout to bea figure-- a silhouettedgirlwith only onearm, holdinga hatchet.

She makesher wayslowly towardhim, now litbythe side windowof the house,now lostin the darkin frontof it. Marty zipsup, turnsagain --and Curtattack•hia froa rightbeeid• caaera,yellingand scaringthe shitout of him.

Martyheads back,with Curt,when Patiencestepsout of theshadows in frontof thehouse. Marty rearsback but '>.";>.'.:;,t Curtfucking clothelinesher,sendsher flying-- ''·:•

--and pullsMarty towardtheporch.

Dana closesher eyesas Holdensoftly kissesher. It's tender andsweet. Shepullsback.

They startto kissagain•••

WHAMJ curtspillsonto hisknees inthe doorway. Dana and Holdenrace tohim, gaspingas theysee hiabloody

wounds --

Marty'sright behindCurt-- as heraces inside-- Curt grabsthe door,slams it shut. Gaspsfor air. Dana racesto his side,tries toexaminehis wounds--

Curtpushes heraway, shakeshishead. Tearsspringto his eyes he'sclearlyin shock. Holdentries tocalm himdown --

(,

Be'salreadymoving towardsthe backof thecabin.

Danareachesfor the frontdoor. Starts toopen it•.•

•••andshe swingsthedoor opea.,revealing--

·.,''.~.'.\ \ , r..• He'• at~ndingon theporch, framedin thedoorway. Just

staring atus. Holdingsomethinground downby hisside. He tosses itright atDana --she gasps,catches it, looks downto see

It'• Jule•'BBAD.

Dana screamsher heartout. Shedrops Jules'headon the ground, glancesup asMatthewsteps up theporch. She screams andscreamsas Matthewapproaches-- Holdendives forward,slams the doorshut justas --

WHAM! Matthewslamsinto it. The frameshakes,the wood splinters. Marty racesforward,helps Holdenbracethe door. Asthey slamthe deadboltinto place--

Curt flipsthe couchover, triesto shoveit againstthe door. Looksup atDana, who'sstill inshock

Dana snapsout of it,helpsCurt shovethe couchunder

the doorknob. WHAM! The wholecabinseems toshake as Matthewslams intoit

Holdenracesacross thelivingroom, throwsthedeadbolt onthe backdoor.

Dana's facefalls asshe realizes

DAM& Ohgod. Patience. (glancesat.Holden) The dieq --

(

Curtstarts headingtowardsthe backof thecabin. As he waveathem forward--

Hadley'sslumpedin hiachair, shakinghishead as he staresat thesurveillanceimagesof Curtand the others movingthroughthe cabin. Sitterson'arightbesidehim, working the console--

Clickety-clack--hehits some keys,throwaa switch--

nrr. CABIN

CUrt'a h,urripples•lightly aahe's hitbye gustof air from a l\earbyHEA"l'ntGVENT.H'estopeinhistraoka, looking •lightlyconfused--

He glancesaround, lookingslightlybefuddled.Shakea his head--

He looksat the othersalmostlike hedoesn't trustthem.

And now Danaand Holdenlooka littlehazily paranoidas well. They thinkabout it,nod

CRASHJ Justthen,the livingroom windowEXPLODES INWARD. Ourgroupcries out insurprise,looksback to see MATTHEW'SARM now reachingthroughthewindow

Curt turns,races backtowardsthe livingroom --

As Curt startsshovinga bookcaseupagainst thewindow, Dana andHolden sharea glance. Nod.

They racetowardsthe back. Marty hesitatesamoment,

frowning---somethingaboutthis isn'tquiteright. But then heshakes itoff, hurriesafterthem.

IW'. C~OL aooM

ON THBJl0!1ITORS we seeDanA, Holden,«ndKarty running downthe hall. Aa Hadleyand Sittersonwatch--

Sittersonthrowsa switch

-- andas Dana,Holden,and Martyall splitoff into theirseparaterooms --

Allthe doors SLAMSHUTbehind them,and:WH-CHUNK1 We hearvault-worthylocksslamminghome.

Martystops inhis tracks. Glancesback atthe closed doorbehind him. Again,he frowns-- Huh. That's weird•••But beforehehas timeto considerit fully--

WHAM! The cabinshakesagain. We hear glassbreakingin anotherroom. Marty snapsoutof it stickto the plan. He racesto thewindow,which iswide open--

(

Aa he divesfor it,pulling itshut, heloaes hie

balance,knocks overthe endtable nextto his bed

CRASH1 A lamp SHATTERSon theground. Marty glances down atthe fragments. Sees something•••

ON THE FLOOR --athin blackwire snakesthroughthe

shards ofglass. Marty picksit up, seesthere's

actuallya small,fiber opticCAMERA atthe endof it

ON THE MONITOR--Marty's facefillsup the entirescreen as he staresdirectlyintothe camera

SI'l"l'ERSOJf No no no-- hanq on--

Bepoint• to anothermonitor. ON ~BBSCREEN-- we see oneof th$ zombie•walkingout of theforest,heading straighttowards~acksideof the cabin--

Martypulls thecamerawire taut,follows itup the lengthof thewall. Staresup atthe ceiling. We see therealizationhit him--

CRASH! Justthen, thewindow behindMartyEXPLODES INWARD-- Judahreachesthrough,grabs Martyby theneck, yankshim backward,THROUGHTHB WINDOW--

Martyscreamsas Judahtries topull himout of the cabin. Martystrugglesmightily-- he holdsfastto the window frame,desperateto getback inside--

Judahgrowls,yanks Martyagain. As Martystartsto lose hisgrip on thewindow,he flailsabout,his freehand searchingthenearby dressertopfor anythinghe canuse asa weapon --

Andjust as Judahyankshim onelast time,Marty's fingersclosearound theFRESCACAN --

JudahhaulsMarty straightoutof the cabinwindow-- WHAM -- Martyslams intothe ground-- hegasps inpain, looksup justin timeto see --

Judah plungingTHE TROWELdown straightatMarty'shead. Marty rollsto the side-- THUNK-- asJudah buriesthe trowel intothe groundnext tohim --

Marty strugglesto hisfeet,but Judah'sright ontop of him. AsMarty triesto fighthim off,he glancesdown at the Frescacan in hishand. He givesit a shake--

Cl-CLACK --and ittelescop911outwardintotheGIANT BON'G. Martytakesthe makeshiftbat.on,swingsitwith all hiemight -- ·

WHAM! Heh.ttsJudehflush inthe aide~ thehe$1,. droppinghim to thegroundwith a sickeningthud.

Marty staresdownat Judah'scrumpledbody •••butJudah's only momentarilydazed.••he'salreadystartingto getto his feet. Marty doesn'thesitateanylonger•••he bolts towardsthe forest

But asMarty racesaway attop speed,Judah takesthe trowel inhand --

And hurl•it rightat llarty'•baak.

Wh-CHtJNI(LBullseye--hehits Martyright betweenthe

shoulderblades. Marty criesout inpain ashe pitches forward,crashesto the ground.

Judahslowly walkstowardsthe fallenMarty ...

ON THE GROUND--Marty gaspsin pain,tears inhis eyes as hedesperatelystrugglesto getthe trowelout ofhis back. He reachesbehind him-- hisfingerstouch the hilt,but they can'tfindpurchase...

Judahgrabs Martyby theleg. Startsdragginghim into the forest--

(

--and we'reWITH MARTYas Judah dragshim throughthe treeline. They'reheadingtowardsa DARX HOLE inthe ground(fromwhich Judahfirst emerged).Marty triesto struggle-- bloodseepsfrom thewound in hisback, leavinga bloodytrailthrough thedirt.

Marty'sfadingfast•••He coughsblood, tearsstreamdown hisface --

And as Judahdrags himdown intothe hole,we STAY UP TOP -- Martystruggleswith everythinghe'sgot -- his TERRIFIED EYES starebackat usas he screamsand screams --his fingersclaw trailsin thedirt aroundhim as he triesto hang on ( MARn (CONT'D) BBl,JI....

But it'sno use. Andwith a final.yank,.Martydisappears from rl-ewentirely.His horrifiedscreamsecho through the forest•••

And thenhe's gone.

CLOSE ON ALEVER asa hand pullsit down-- CH-CHl.JNX--

-- and onceagain,BLOODtrickles down,down, down

throughthe carvedstone etchings. And asit flows outwardwe slowlyPULL BACKto revealthe pictureforming

is of aPRIMITIVEHUMAN FIGURE. It isholding agoblet

and dancing.

We heara RUMBLING•••

,-__-__._:r, Danais laboriouslymovinga tall dresserin frontof the C_ \.·;~~~ window,at whicha zombiepounds.

Suddenlytherumbling fillstheroom, whichstartsto shakewith whatfeels likea decentsizedearthquake. Danalooks around,almostexasperatedinher terror--

Hadley,SittersonandTruman allpause tolook aroundas theytoo, areshaking. Hadleyis returningfromthe leverhe justpulleddown, turnsto Sittersonwith shrug•••

The rumblingaubaidu and sheturns herattentionback.to the dresa,er.Aa shegets itin pl.aceshehe,u-sthe

Q window shatterandthe chestbegins torock. She shoves

the bed againstitand goeafor the door.

It won'topen. Shepulls,kicks, butit's lockedsolid. She's staringat it,confused-- it looksso flimsy-- when thechest goesover anda zombiestartsclimbing in. She hitsit witha lamp butit has noeffect.

She seesa secondone coming,backsup againstthe wall and thepicture onit 90••flying, glassshattering,

makingher jump.

Holdenknocks outthe restof the one-waymirror. There'sbanging inhis room butno zombiesinyet.

He looksat heraitch-~ worse thanhis own --and beckonsher tocome through.

(

Shestands onthe bed andwrigglesthrough,with his help,but notwithout somecuts, andthey bothfall to thefloor.

They'restillrising whenthe furnitureHoldenhas piled upis knockedaway By Matthew.

Theyup..:enditandshoveit at thewindow,holding its metalframe againstthepoundingfrom without. Dana looksaroundfor somethingelse,sees:

ANGLE: UNDERTHE BEDSPACEis a trapdoor.

He looks, putshis shouldertothe bed totake theweight as he indicatesfor herto checkit out. She movesto it and pulls itopen --nothing butblacknessbelow. She looks backat Holden.

He :stick#hiefoot outand slidesa lampto her. It's been set onthe floor(duringthe :furniturepile-up)but still pluggedin. Shelowersit into thedark space, lets it hangby itsplug.

Holden givesthe bedone lastkick in placeandmoves to the door,calling out:

The knobstarts moving.

Holden movesto theedge of thespace,takes aquick look inand goesin headfirst, holdingtheedge andflipping himself overto landon his feet. Danaslips down into hie upstretchedarmsright after,disappearingintothe hole.

It's strangelyquiet,as thoughit swallowedthenoise from above. The onlylightis from thedanglinglamp, and it throwsthewhole smallroom intoa creepyhalf- light. And creepyseems tobe the generaltheme.

It's atorture chamber,witha chair,chains,shackles, and a tablewith sometrulyappallinginstrumentsrusting on it. Sweeney Toddwouldget squeamishin here.

They lookaround abit, unwittinglyfascinated.

HOLOBN

He takesher firmlyby herarms.

He looks--she's right.

c··

•

Shepulls herselftogether-- movesto the farwall, grabbingsomethingthatlooks likea small crowbar, runningone handalongthe wall fora hiddendoor and tappingwith thebar occasionallytotest thesound of it. Calls out:

Holdenhas movedto onewall, now crossesbelowthe trapdoorto theother

-- and thebear-trapswings downfrom thetrapdoor, catching underhis armand digginginto theback ofhis shoulder. He SCREAMSas Matthewstarts hoistinghimup through thetrap-door. (. Dana runato h.un.andhelpahimatrug.gle,:f.inaUy ov.rbalanain9Matthew,who .f.al.1•forward,stuckupside down halfwaythroughthe trap-door#etillgrabbingat Holden OJItheflooJ:'.

Holden painfullypullsthe trapfrom hisshoulder-- but Matthew getsa holdof him, hismouthwide in a hissing scream --

Dana runsthe crowbarrightthrough Matthew'sfaceand into thewall behind,pinninghim. Screamsin hisface:

Matthewgrabs thebar and pullsat it-- Holdengetting

free --and Dana findsa kitchenknife,stabs Matthew

with itseveral times,shakingwith rage. Matthew

finallyhangs limp. Dana staresat him,breathinghard.

Sittersonpushesa button--

CLOSE ON: THE KNIFE HANDLEasa smallelectricalcharge jolts Dana'shand.

As we dropback wider,it lookslike she'sdroppingthe knife 'causeshe doesn'tlikeholdingit. Sheturns her back onMatthew, draggingHoldenup. They moveto the other sideof theroom -- andthe wallbehindthem opens, Curt reachingin tograb them.

They exitinto:

And makefor thestorm doors,pushingthem open,Curt grabbinga handyplank tohit zombieswith.

EX1'.CAB"IN/INT.VAli-CON'l'INOOUS

Theymov"eas quicklyas theycan,both Holdenand Curt beinginjured,im:tencounteringanydead folkas they raceto the Rambler.

Theycome aroundthe Rambler,camerabehind,and Curt movesto openthe door.

Thereis dirton the latch.

He looksat Holden,stepsback withhis plankas Holden readiesto openthe doorand getout of theway. A beat, andCurt nods.

Thedoor opens

CLOSE ON:AHIDEOUS SCREAMINGFACE ofaJapanesefloating drownedgirl. It suddenlystops,a warm glowbuilding arounditsnow-bewilderedface.

•

Cutwide to see:

The floaty girlhoversover the room,inwhich several Japaneseschoolchildrenareplacinglotusflowers intoa largebowl ofwater onthe floor,all thewhile singinga happy songof love.

A frog hopsout the bowl. The drownygirlis consumedby light and disappears.

They all laughandhug.

( Sittersonie ~atchingthis ona screen,very unhappy.

Badleyia workingbehind him.

A com-linelightsup and heswitches it,eyes stillon the screenand thefrog andthe happysong of love.

(-~ 74.

Hadleyreplies,thoughhe's stillin theBG working.

...:•.

HADLEY

G (justto Sitterso~ alL

business) Got'em inthe 'Rambler,headedforthe tunnel.

Hadleymakes thehand-across-throatsignto Sitterson.

And Sittersoncutsher off,lookingat Hadley.

•

ANGLE: SCREENOF THEOPEN TUNNEL, lightonthe road beyond.

Sittersonrolls backto his station,hitsa com-line•••

But Sitt•rsonatabea button,cuta themoff. He'aon his feet headingout.

The Ramblerplows awayfrom usat dangerousspeed.

Sittersonruns throughthe hall,a fewworkers andguards moving aside--

The Ramblercareensaround acurve --and in thedistance is thetunnel.

Hadleygets an NtJNABLBTOOVERRIDll.AUTBORNESYSTBMS DIAGNOS'l'IC?"

He bangsthe counterin frustration.

We .enterwithSittersontosee the lightsblinkingand sparkscoming froma darkenedconsole. Threeworkers-- slightlybeefieror moreweatheredthan Sitterson-- are tryingto bringit back tolife.

DEMO#1 It's notthe breakers!

DEMO#2 We don'tknow! Electricalsaid therewas a glitchup top,one of thecreatures?

DEMO#2 We nevergot theorder••.

DEM0#3 We'refried inside. We needa clean connectionto thedetonator--

Sittersonhasdroppedto the groundand pulledopenthe underpartofthe console,revealingwiresand circuits galore. Hegets on hisback, messingwithones above him--

DEMO #1 SystemsTech istrying areboot onthe

Sittersonreplaces achip in aboard --some ofthe console lightsup.

DEM0#3 No,that's justlocal;it's notlinked.

The cameraraces inwith Ms.Lin

He justspinsand staresat her,nervous ashell. Camera continuespasthim to ascreen showingthevan speeding throughthewoods -- thetunnelvisible notfar ahead.

Thevan racesthroughframe

Sittersonputsa wireto a contact itsparks andhe flinches--

DEMO #1 That'sit!

Demo #3 hita big redknob.

M:!l'.MOUNTAINTUNNEL/INT.RAMBLBR-CONTINUOUS

And theRambler entersthe tunnela.aacharge aeadarooks tumblingdo\fn. Tb8kids seesthe,:a.throughthewindshield falling upahead beforethevan is poundedfromabove --

The wholetunnel iscaving inas Curtslams onthe brakes,hits reverseand tearsback out,the vanstopping a few yardsfrom thedin andsmoke oftotal collapse.

The kidslook at it,in shock.

Sittersonis breathinghard,nobody sayinganything. He exits,saying to#2 contemptuously:

The kidsare out,Dana lookingnervouslybackfor possiblepursuingzombies,not givingin tothe tearsshe can'tstop. (

Curt isfurious,lookingover the sideof themountainat the cliff'sedgeon the otherside,a tantalizing20 feet away. Holden looksit overintently,workingthe problem.

ANGLEON: CURT'S DIRTBIKE asthewheel spinsin thedirt and the biketurns,Curt revvingit, gettinghisnerve up.

He comeedown offhisadrenalinekick fora moment,looks ather like theguy we knew.

A moment. Dana kisseshim onthe cheek.He gunsit.

He guns itand letsGO -- wheelsspinningas heblaste toward th.eedge,.DanaandBoldenwatchingin fearand hope -- Cu:rtaailsover theedge withgreat tonn,frontwheel high, thearc is good--

-- he elaaainto theinvisiblebarrierand hisbike esplod••--

-- as heplummetsstraightdown, scrapingtheelectrical

matrix soit appeareby himall theway as hefalls.

c·

Theblood pours,this timeonto theprimitivefigureof a muscularmanwith javelinand ball.

Holdengunsthe engine,swingingthe Ramblerback down the dirt road,away fromthe tunnel. Danais oddlycalm.

Dana shakesher head,reallystartingto get it--

Her Zombie-likefatalitygetsto Holden.

She looksat him. He holdsher gaze,rock-solid

Sheactually laughsa little,whichdoesn'thelp.

Shestares athim, eyessoftening.

WSSSHLICK --A SCYTHEtear• throughHolden'sthroatfrom behind.

Blood splattersthewindshield-- DanaSCREAMS-- she glance.abackto see

'FA!l'HBRBUCRNER.

He•s rightbehindthem, havingcreptup fromhi• hiding place inthe Rambler. He growlsas hetries todislodge hie scythefrom Holden'sthroat-- SHLOCK-- hepulls it free -- arterialbloodsprayseverywhere,allover Dana

instinctivelyclutchat hisown throat-- thesteering

wheel spinsunchecked--

WH-SHLACK-- FatherBucknerswings thescytheagain, this time lodgingit inthe sideof Holden'shead. Holden pitchesforward,the Ramblercareensout of control, leaps offthe roadand crashes--

Right intothe lake.

SMASH! The frontwindshieldSHATTERS-- lakewater cornea rushinginto thecab, blastingDanastraightback into her seat--

Besideher, Holdencontinuesto THRASH-- h•'•atill alive-- FatherBuckneryanks the scythefree,triesto swingit againbut thewater blastshim backto therear of theRambler--

("

Lakewater fillsthe cab-- withina matterof seconds, they'recompletelysubmerged--we're withDana as she screams,goesunder

And everythinggoesquiet.

Danastrugglesunderwater,panicin her eyesas shelooks overand seesHolden staringbackat her. He'a still holdinghisthroat --blood poursfrom hiewounds --

Danafightsto free herselffromthe seatbelt-- she shakesher head,CRIES OUT underwaterassheholds Holden'sgaze--

And WE'RE CLOSE ON HOLDENasthelife drainsout ofhim. As he staresat Dana,hie handsgo slack,blood gushes fromhie throat,cloudingthewater aroundhim untilhe disappearsentirely•••

WIDE ON THELAKE asthe rest ofthe Ramblersinksbelow the surface,disappearingentirelyfromview. (

I~ • .RAJl"AI~R/LAD-NIGHT

We*re WITI!DANAaathe Ramblercontinuesto sink,the van now perpendiculu aeit plummetsstraightdown. She tumblesupward, intothe ceiling,towardsthe back •••

Her handsreach outfor anything,desperateto find purchase. Her eyesdart upward,fallingon --

The CEILINGHATCH.

It's small-- a basicventilationhatch,no morethan a foot-and-a-halfsquare-- butnow's notthe timeto be

picky.

There'sa littlebubble of airtrappedin there,and Dana shovesher face init, gaspsit greedily. It disappears as shedoes and shepulls herhead back,holdingher breathagain --

CLOSE ON: FATHER, smilinginthe darkwater. He doesn't need tohold hisbreath.

Danareaches out,grabs thecrank, spineit around. As the hatchswingsopen, shepunches outthe screen, squeezesher bodythroughthe hole. And justas she gets abouthalfway through--

FatherBucknergrabs herankle.

We'reON DANAas the sheerterrorof itall hits her-- she'sstuckhalf-in, half-outofa sinkingvan witha derangedzombieyankingat herlegs. Shethrasheswith everythingshe'sgot left-- kickinghimas hardas she canin the face-- WHACK-- knockinghimback

Shebreaks free,rocketsupwardout of thehatch,towards thesurface. Beneathher, thevan disappearsintothe inkydarknessof the lakebelow •••Danakicksforthe surface,closer,closer--

And a beerbreak• throughthesurfaceof the ice-waterof the littlecooler theboys hadstashedby the console.

Sittersontosses itto Hadley,pulls outtwo morefor Lin and himself.

SITTBBSO.R

0 Photo fuckin'finish. But '418 arethe

champion•-- of theworld. (toTruman) Tru?

He holdsa beer up. Trumanshakes hishead.

He pointsto theBIG MONITOR,whereON THE SCREENwe see a bloodied,exhaustedDanaswimmingthroughthe lake towardsshore.

(

Sittersonstepsup besidehim. Watches Danaon the screen.

As a fewworkers areat the door,holdingout a bottleof tequila•••

ElegiacMUSIC startsto swellon the score. Danagrabs hold of thewooden dock-- ittakes everyounce of strengthshe's got leftto pal1herselfup out ofthe ( lake. Sheroll.aonher back,gaspa f.ora.i.t:.

As she laysthere, •taringupat tba eta.rs,thescore co11,tinue•toswell.She gaspsand gasps•••and111e're CLOSE OlfHERas therealizationfinallyhits her--

Sh•'• alive.

She madeit. She closeshereyes, thankgod --I'm alive•.•And just asshe breathesa sighof relief

WHAMl MATTHEW'SBEAR TRAP splintersthedock just millimetersfrom herhead.

Dana screams,scramblingback,sees MATTHEWloomingover her, thecrowbar stillstickingthroughhis head. As he bearsdown on her--

ON THEMONITORS-- we seeDana fightingfor herlife with Matthew. But withthe notableexceptionof Truman, nobodyreally seemsto bewatching anymore.People from otherdepartmentshave trickledin, some withdrinks, bagsof chips ---there'san officeparty vibe-- even musicplaying.

Hadleyis talkingto coupleof excitedlabcoaters...

86 •

..:J

Sittersonheads towardstheDemolitionguys.

DEMO#1 (inno mood) Thatvaan'tour fault.

DEMO#2 No. Suiou•ly. Thatwa,sn'tonus. There wasan unauthorizedpowerre-route from upetairs.

Sittersonstopsmid-drink,frowns. Wait

BRRRRING.

Justthen, a piercingRING fillstheair. Sitterson's face falls-- hiseyes darttowardsthe backof theroom where--

A singleRED TELEPHONEsitson thewall. BRRRING. As one,the crowdgoes QUIET. Sittersonlooksto Hadley-- theylock eyes,color drainingfromtheir faces Oh. Shit. Hadley swallows,movestowardsthephone --

Someonestopsthe music. The workersglanceat each other,tense. BRRRING. Hadleygrabs holdof thephone, takesa deepbreath, thenanswersit --

Hadley'sfacefalls ashie eyesdart up tothe VIEWSCREENS.

WHAMJ Dana'sbody hitsthe dockhard. Matthew'sbear trap shattersthe wood besideher-- thedock's now in splinters. (J Dana looksuerrible-- she'aaopp!ng wet,batteredand ~loody. Clearly, Matthew'•beenkickingth~ he11out of he~. Da~aaan't eYenstand --tea.rsinher eyea,ahe tries tocrawl away-- she seesa brokendock plank beside her-- ma.--y:'beitcanbeusedasweapon--she reachesout for it --

And Matthewsteps down onherarm. DanaCRIES OUT•••As she triesto struggle,Matthewbears down •••We'rewith Dana as sherealizesthere'snothing shecan do •••she's as goodas dead •••

CHING•••CHING••• CHING•••Matthewstartsto swingthe chain•••He grabs thehandlewith bothhands, swinging

the chainbehind hisback andoverhead•••and justas

he's bringingit down forthedeathblow--

WWHH-CHING-- A BORGcatchesthe chainfrom behind. Lets

it wraparound andyanks itback --

Matthewjerks in surprise--he stumblesbackwards, crashingdown tothe dock --

Dana rollsto herfeet, looksback tosee --

MARTY.

Hisclothesare dousedin blood,the woundon hisback looksprettynasty•••but he's stillbreathing. Dana can'tbelieveher eyes

But this isno timefor tearfulreunions. Matthew's already strugglingtohis feetbeside them--

But she doesn'trun. As Matthewyankshis chainfrom Marty's grasp,Danagrabs holdof thedock plankbeeide her. Sheswings itwith allher mightright at Matthew --

CRACK! Ithits himsquare inthe face he pitches backwardsright offthe dock-- SPLASH intothe lake.

Dana joinsMarty andthey areat a deadrun.

SPLOOSH! Matthewre-emergesfrom thelake. Starts

movingthrou.gb.thewater.Right towardsthem..

Dana andMarty racetowardsthe cabin. Behindthem,we can seeMatthew emergefromthe lake,followingthem --

WHAM! UP AHEAD, thefrontdoor ofthe cabinflies open. Framedin the doorwayisMOTHER BUCKNER.

Danaand Martyboth jump,scared. As MotherBuckner stepsout ontothe porch,Marty pullsDanato the side

Theybolt aroundthe sideof the house,headingtowards theback. MotherBucknerfollows...

--Marty andDana racearound thecornerof the cabin. Marty headsstraight forthe treeline.UP AHEAD-- we seethe edgeof the 'grave'JudahdraggedMarty into earlier.

Scccrrr•••Dana looksover, seesMotherBuckner roundthe corner ofthe cabin. Draggingher sawby her side•••

Shlop •••Shlop •••thesoundofMatthew'swet footsteps ring outas he comesaroundthe otheraide ofthe cabin.

Fwi.Bh--in the forestUPAHEAD, PatienceBucknecbreaks throughthe treeline.

ON DANA-- as shesees Mother,Matthew,and Patienceall closingin on her. She'strapped. She knowsit. So it takesher all ofone secondto makethe decision--

Martykneels bythe hole inthe groundand opensit furtherlike a stormdoor. On top,sod and leaves. Underneath,smooth,cleanmetal.

Lookingapprehensive,Danaslides inand MartySLAMSthe doorshut on topof them.

We stayoutside,lookingdown, holdingon thedoor inthe earthfor a beat. And then--

PatienceBucknerelides downthe embankment.She awkwardlytriesto paw atthe metaldoor withher one hand. And asshe scratchesat themetal, shelets outa chillingcry ofzombie frustration

....,:..:·:·:fi;it,., ) ( "

Thesound of Dana'sbreathechoesoff the metalwallsof thissmall, darkchamber. It's onlytall enoughto crouchin, buta good twelvefeetby twelvefeet, witha squaremetal doorin themiddle ofthe floor. The light inthe room comesfroma panel inthe metalthat's been poppedout, afew glowingcables behind,includinga couplethat havebeenmessed with. As Danalooks more closely•••

Shesteps onsomethingsoft, jerksback asshe realizes it'sJudah'smewling face. He'sbeen completely dismemberedand piledup in thecorner, buthis bits stilltwitch.

She looksat him, bewilderedanddespairing. (_ MARn (COM'D) Nobodyelae,huh?

She shakesher head.

He goesto the doorin the floorand slidesitopen. She looks down: it'sa small metalelevator. Two sidesare thick glass,bu.ttheyare upagainst themetal shaftso tight youmight noteven tell.

A beat,andshe scramblesdown intoit ashe movesto the openpanel.

She moves againstthewall, lookingup.

Marty flicksa switchand slidesrightinto the holeas the elevatorwhirs tolife andthe doorstarts sliding shut. He barelymakesit --and one ofJudah'sarms falls inwith him, thetwo ofthem doingthe get-away- from-it danceeven asthey bracethemselvesagainstthe sudden plummet.

The eJ.~a.torstartsdown --nottoo faet-- andit is

shakenby anothertr-or.

The tremorrocks Patienceaswell. At its height,we hear metalscrapingand thehatch 9rind•opena sliver. Patiencelooks atit, her headcockedcuriously.

It seemsto go downa goodlong while-- thenjoltingly stops. They lookat eachother -- nothingopens-- then it startsmovingagain•••

Danais leaningagainst theglasswhen the elevator suddenlycomes abreastofanotherelevator, alsowitha thickglass wall,and stops--

--a ravenousWEREWOLF leapsat heras sheturns she jumpsback as ithits theglass,clawing atit and drooling. Martystares inincomprehension.

Bothof them pressup againsttheoppoeitewall -- and theelevatormoves sidewaysagain,revealinga Gigeresque ALIEN hangingfromthe ceilingbehindthem. It jumps ontothe glassand atickathere, freakingthemout again, makingthem move tothemiddle ofthe smallspace, lookingaroundfor the nexthorror.

Theelevatoris jerkeddown -- thensideways,revealing thistime oneon each side. Danasees:

A littlegirlin a raggedballerinaoutfit (nota tutu, buta limp,torn skirt). She hasno face,just a circle- mouthwith aring of teeth.

Marty sees:

A staringman in a long,leather,futuristiccoat. He's dead white,has no hairand buzzsawsstuckin hishead in a neat row. His armsare ringedwith barbedwire stuck in deep. He is grinningat Martyand holdinga flowing sphere almostexactlythe•- as the onein the cellar. C DARA.

·?i~ (realizing) ,, Wechose,••

The elevatormoves backdown intodarkness.

The incomprehensionbuildsinher and shepunchesthe glass. It doesn'tmake a crackbut shekeeps going, poundingaway withboth fistslike a prize-fightergoing for bodyblows --Marty triesto holdher and she screams,thrashingaa we dropback wideto see:

An endlessarrayof elevators. Movingaround likea 3-D puzzle,like Charlie'sGreatGlass Elevator,likeucube". Monsters(many ofthem likethe oneswe've seen)in every singleone. It'sthe Costcoof death.

(.

Everyonehas clearedoutexceptWendy andour herothree. She'sin the lowerpart,on console,earpiecein. The men aregoingthrough everypartof the buildingontheir screens,movingfast andfrightened.

Sittersonwatchesnineconstantlychangingviews of monstersin elevators,lookingforthe kids.

Hadley,overthis, islooking athalls andstairwells, (manyof thembeing sweptby securityteams),also talkingon anearpiece:

He's lookingat theelevatorscreens. Sittersonfreezes them fromchanging,then putstheir screenonall nine.

Martyia holdingDana, who'sbreathinghardbut calm,aa theelevator goeadown. The elevatorstopsand the door opensinto a sortof lobby. Instantlya GUARDis steppingone footin, gunat theirheads. Danais a littlein frontof Marty,standingexhausted,haunted, herknuckles --and muchelse of her-- bloody.

GUARD (

Be move!JSfoxwardan<iJudall'•aragcal,9hi•foot.He wiga11shootingat it.

Dana takesthe lb0tnenttorushhim--

Pushing himback --he liftsthe gun andMarty knocksthe guard'sarm so his gunpointsstraightat his own chin it goesoff•••

The guardfalls againstthewall, clutchingat his

bloodspurtsas Martytakes thegun.

They lookaround. There areeight elevatorwells,four on eachside, witha corridorturn behindfromwhich we can hearthe trompof approachingguards. On theother side isa small guardstation,whichthis deadfellow presumablycameout of, sincethe dooris ajar. The guardstation hasglass alongthe tophalf, asthick and unbreakableas theelevators'.

As the kidsget theirbearings,a voice comesovera loudspeakerinthe hall. It'sa good system,andthe voice ia surprisinglyintimate.

They look around,seeinghiddenspeakers,not surewhat to do.

Marty makesa motionto Dana-- don'tspeak.

IN!l'.CQN'P;ROLROOM-CONTINt10US

Had1eyand Sitter•onlistfmas well. On theirscreens, we seeMarty andDana in acorridor-- and a SWAT-lookin' team c·reepingdownanother.

The kidssee theshadowsof the approachingguards lookaround forescape.

Martypulls atDana, handingher thetrowel aathey head to theempty guardstation.

Theyare closingthe doorbehind themwhen itis peppered withgunfire. They slamit shut andlock it,keepinglow eventhough theglass isn'teven crackingyet.

Martylooks up: the lobbyis fullof approaching guards-- SWAT-lookingguyawho keepa steadypound of bulletscoming.

Danalooks atthe consolein here,realizationdawningon her:

ANGLE: THE CONSOLEcontrolsallthe elevators. And there's a buttonthatsays ''PURGE".

She looks atthe guards,at Marty. Back atthe console. (

She hitir-purge".

In the hall,the soundof theelevatorsis audible. The lead guardholds hisfist up.

They finallydo, andthere's amoment ofquiet.

ANGLES DOWNTHE HALL.

We can seeevery elevatordooropen, butnot what's

inside. Another momentas themen betweenturn tolook.

Werewolves,Aliens,Mutantsand Robotspour outof the elevatorsat crazyspeed, decimatingthemen evenas they beginto fire. It'sa warzonein a second.

ANGLE: RUNNINGDOWNTHE ADJOINING HALLwiththenext groupof guards, theyturnthe cornerto see horrible Chaos-- and thedoors openagain, thenext batchof horrorssweepingout directlyat them.

ANGLE: DANAAND MARTYare sittingwiththeir backs against thewalls, listeningtoall mannerof screamsand weird soundsand thingsbumpingor smearingagainstthe window above.

As the carnagecontinues:

ANGLE: FROMINSIDE AN ELEVATORasit opens,andan alien rocketsout at theguard turningto usand firing.

ANGLE: IN A CORRIDORaguardruns froma floating, screamingwitch,who grabshis head andmysticallysucks the lifeout of it.

Thereis chaos onevery screen. Wendy issilentand near tears. Truman hashis weaponat theready. Hadley and Sittersonare stillworking.

Sitr'l'ERSCJll Why aren'tthe de£enaeaworldng? Where's the fuckinggaaT

Thelights goout, thescreens godead. And something hitsthe doorhard enoughto buckleit.

Thetwo are stillcoweringwhensomething••••h•• though theglass andinto thewall across. It starts unfurling...It'sa DRAGONBAT.

Shemakes forthe door,Martyright behind. Theyopen it andhead out,keepinglow.

(

The lobby isstill ascary placeto bebut there aremore things killingand/orfeeding thanlookingfor prey. They maketheir way across--Marty shootinga Mutantin the eye-~ and are almostto theturnwhen they hearan unbelievablescreech.

guard station.Theybolt, turning

·:..intoalabcoatguywhopassesthem i- 2cornerthey camefrom --and gets

nail hara ~v ::.:::,dragonbatthatheanditamaah throu\ilatheva11:

The dragonbatpullshim back,eating hisentrails,and Dana looksat thehole in thewall. Thereis astone corridorbeyond, differentthanany ofthe.restof this place. Older.

Marty iswatchingthe corridor-- a coupleof flesh- eatingZombies areslowly comingtowardthem --and Dana grabshis arm, pullshim intothe stonecorridorand down it.

Andmore carnage:

ANGLE: A CLOWNtakingbullethit afterbullethit as it lumbersforward,knife inhand.

ANGLE: AWEREWOLFtearingout a man'sthroatwith its teeth,as in thebackgrounda unicornslams itshorn repeatedlyintothe guardup againsta wall,blood spurtingon itslovely unicornmane.

Thedoor is offits hinges,smokefilling thedark room.

TheSCARECROWFOLR havealmost overpoweredTruman,their knife-fingerstwitchingashe shootsthem tono avail.He pullsout a grenade•••

Hadleyhas asubmachinegun froma slidingdrawer of weapons underhis console. He'slooking downinto the spaceand firingcovershots intothe smokyroom as Sittersonisworking thekey-padof a securetrapdoor hidden underthe carpet. Wendy Linstandsover him, terrified.

Truman'sgrenadeexplosionknocksHadleyoff the edgeand intothe mainspace, lostin thesmoke.

ANGLE: HADLEYis onhis back,dazed,when he hears something slurpingtowardhimin the smoke. Helooks to see the MERMAN,blackfin anddorsal likea whale,black soaking hair,blackeyes -- everythingelseaswhite as his razor-sharpteeth. He putsa webbedhand onHadley's throat asHadley realizeshe'sabout tobe killedby a merman --

And it bite•his faceoff.

ANGLE: SITTERSOBANDLIN areconcentratingonthe trapdoor,we heara 'ping' --

Sittersonswingsthe heavystone doorup as atentacle

wraps aroundLinand whipsher up outof frame.

Sittersondives intothe holeand pullsthe doorshut

over him.

Sittersonracesdown a ladderand aroundthecorner -- and rightinto Dana'strowel. He looksat her,confused by theblade inhis chest. She looksstricken.

He seesMarty comingup behindher,turns toher ashe sinks•..

And diesat herfeet, trowelstillin him.

•

She'slookingdown atSitterson.

She looks upat him. Be holdsout the gun.

She takesthe gun anddoes seemto gain some measureof calm fromit. Startsdown thehall -- anddown along stone staircase,takingpoint,gun heldout.

Marty andDana enterquickly,Dana holdingthe gun,the camera circlingthemas theyturn, lookingat thefive stone slabs,then armingapto see they'restandingon a

mo•aico£ the aymbolSittersonwore. (

~xceptat the stair•,the edgesof thestone don'treaoh thJIw•ll..'l'betwoofthem looko:vartheedge tosee a spaceof maybe fourfeet acrossthat goesall tilevay down intodarkn.... But thereis thesense of something movingin that darkness. Thekids drawback fromit.

A whirringsoundaccompaniesa spillof lightas a small circularhatchopens in thecenterof the mosaicand up comesTHE DIRECTOR (kindoflike Lukein "Empire"when he entersthe cryogenicchamberto fightVader.)

He isolder, distinguished,wearingablacksuit, grey shirt,no collar,no tie,and greygloves. He's calm, almostaffectionate.

·~ J

THB DIREC'l?OR (shrugging) For being young? It'sdifferentfor every culture. And itchangesover the years, butit's veryspecific. There must be atleast five.

He pointsto one ofthe carvings: it'sa woman standing erect,holding openher robe,her nakedbody revealed.

THB DI!tB.CTOR Thagods. Thea1eepi.Jllggods;thegiants ( thatlive inthe earth,tha.~1.1eedtorule it..They foughtfor abillion yearsand no,,theysleep. In everyaountry,for everyculture,there isa gad toappease. Aslong as onesleeps,they alldo. But theother ritualshaveall failed.

There is agreat rumbling--they all staggera bit,and silt siftsdown fromthe ceiling. As itsubsides•••

Neitherof them questionsthetruth ofit. Theystare at him a moment.

Helooks overto Danato see that•h• i•pointin9the gun athia.

I'.maorry.

MAR'l'Y

soam I.

A werewolfleapsat her fromthe stairsand tearsinto

her! Thegun goesflying asshe fallsto theground,

tryingto pull thebeast offher.

The DirectorandMarty bothmove forthe gun,and strugglethemselves,but Martyfinallygets holdof it-- knockingThe Directorto thefloor --and without hesitationputs threebulletsinto thewerewolf,sending it screechingbackup thestairs.

Dana rollsover,eyes wild,blood everywhere.The Directorrises andtacklesMarty. They wrestleon the floor,the gun justout ofreach, theedge ofthe abyss by theirheads.

As theyfight, Danabreathesheavilyby thestairs, unableto rise. She looksover astwo smallfeet shamble by her,in old,dirty shoes,the edgeof atattered ginghamdress swingingabovethe ankles.

Martygets ontop of TheDirectorand pusheshis forearm againsthis windpipe. Hisback isto thegirl.

(_

He turns-- TheDirector grabsthe gun-- andMarty spins TheDirector ontop of him justaa Patiena•awin9•her hatchet,buryin9it in theback of theDirector'•akull.

Anothertremorand Marty kicksThe Directoroverthe edge ofthe circle. Patience,unwillingto let goher hatchet,goes overwith him.

Martywatchesthem a moment,then limpsover tothe stairs.

Another,biggertremor makeshim pause,but itsubsides andhe slumpsin the cornernext toDana. She's breathingshallow,tearsstreaming fromher eyes,but she'spretty alert.

As he continues,helights upa joint.

MARTY {CONT'D) I'msorry Ilet you getattackedby a werewolfandthen endedthe world.

Be takesa drag andholds itout to her. With ashakey hand, shetakes itand dragson it herself.

Biggestrumbleyet. Thefloor startsbulging,cracking, asdust and debriscloudthe screen.

Danaholds outher hand. Martyputs his init. Squeezes it. They holda moment.

An explosionof debrisfrom belowobliteratesthe chamber.

We are wideon the cabinas agnarled hand,biggerthan the houseand on an arma hundredfeet long,shootsup froJllthecrustof theearth,

SLAO: OUT. HIPP