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by Joseph Thompson (sepster8@ptd.prolog.net)

Rated:

Genre: Horror User Review:

First in a trilogy.

BORN OF EARTH

FADE IN:

EXT. OVERHEAD SHOT OF TOWN - NIGHT

A FULL MOON hangs in the night sky. Dark storm clouds are
seen gathering in the distance. A faint rumble of thunder is
heard.

We zoom in towards the town. We pan past the main road
leading into town and a sign that reads "Welcome to the
peaceful town of Prophet Hills".

We cut to several shots of EMPTY STREETS. The town is silent
except for the occasional barking of several dogs.

All the STORES are closed for the evening. We cut to several
different HOUSES until we finally ZOOM in on one in
particular.

The approaching STORM lets its presence known as THUNDER is
heard once again.

EXT. BACKYARD OF A HOUSE - NIGHT

We cut to a low angle of the BACKYARD to the house, a SWING
SET in the yard. We pan up from the yard to the side of the
house. We see in through the kitchen window where a woman,
SHANNON KESSLER, mid- thirties, brunette, and attractive is
seen cleaning the kitchen before bed.

INT. KITCHEN - NIGHT

SHANNON
(yelling upstairs)
Those teeth better be brushed and
ya'll in bed by the time I'm done
in here.

We see a man, DANNY KESSLER, mid-thirties, light brown hair,
medium build enter the frame. He approaches Shannon from
behind and embraces her.

DANNY
(whispers in ear)
Does that include me too?

Danny begins to kiss her on her neck.

SHANNON
You bet your ass it does. Why
don't you head up now? I'll finish
up here and be right up, okay?

Danny releases Shannon and heads towards the fridge.

DANNY
Come on honey, it's late. Why
don't you finish this up tomorrow?
I tell ya what, if you wait I'll
even help you finish cleaning up.

Danny pours himself a glass of milk. Shannon approaches
Danny.

SHANNON
Wow! You help me clean? What did I
do to deserve this?

DANNY
Hey I help
clean.......occasionally.

SHANNON
(laughing)
Occasionally is right, but I still
love ya.

Danny sets his glass in the sink. He turns and embraces
Shannon.

DANNY
I love you too.

SHANNON
I'll just finish a couple of
things and I'll be right up to
join you.

DANNY
Alright, but don't be long. I'm
gonna grab a shower and I'll meet
you upstairs.

SHANNON
Will you peek in on Jason and
Mandi?

DANNY
I think I can swing it.

Danny releases Shannon with a last minute kiss on the cheek
and heads upstairs leaving Shannon to finish up.

INT. CHILDREN'S BEDROOM - NIGHT

Bedroom DOOR creaks open to reveal two sleeping children a
young boy, JASON KESSLER, 12 years old and a young girl,
MANDI KESSLER, 10 years old. Danny walks to Mandi's bed and
pulls her blanket up over her. Mandi rolls over to face
Danny.

MANDI
Hey daddy.

Danny sits on the edge of the bed.

DANNY
Hey pumpkin, did you brush your
teeth?

MANDI
yes.

DANNY
Good girl. You excited about this
weekend?

MANDI
Daddy, are there gonna be bears
where we are going camping at?

DANNY
There are bears in the park but
not where we will be camping. Why
honey?

MANDI
(whispering)
Jason said bears eat little girls!

DANNY
I think your brother is just
trying to scare you. Don't listen
to him. We are going to have fun.
If we see a bear, we'll just feed
your brother to it. Okay?

They both laugh and Danny leans down and kisses Mandi on her
for head.

Danny notices the CLASP on her necklace has spun from the
back to the front. The NECKLACE is a heart with a ribbon

wrapped around it with the word "Sacred" inscribed on it. As
in "Sacred Heart".

DANNY
Hey, I guess you get to make a
wish.

Danny reaches down and slides the NECKLACE around Mandi's
neck until the clasp is behind it.

MANDI
What should I wish for?

DANNY
Whatever you want. You have to
close your eyes and not tell
anyone what you wished for, or it
won't come true.

Mandi thinks for a moment, then closes her eyes.

DANNY
Did you make one?

MANDI
Yes, but I can't tell you. Right?

DANNY
That's right.

Mandi pulls her teddy bear in close to her as she nestles
down to sleep.

DANNY
Goodnight angel. Love you.

MANDI
Goodnight daddy, I love you too.

Danny makes his way over to Jason's bed. He leans over
cracking a smile as he kisses the boy on his head. Danny
makes his way to the door and exits the room.

INT. HALLWAY - NIGHT

Making his way to the master bedroom, Danny passes several
PHOTOS of him and his family hanging on the walls.

INT. MASTER BEDROOM - NIGHT

Danny enters bedroom. He makes his way over to the dresser
and removes his watch.

INT. BATHROOM - NIGHT

Danny enters the bathroom. He pulls open the shower door and
turns on the Water.

EXT. BACKYARD OF HOUSE - NIGHT

We see Shannon once again through kitchen window. It has now
started to rain. We pull away from the window and towards
the GROUND, where a pile of moist earth begins to slowly
move. A dark colored and muddy HAND with talons comes up
through the ground. THUNDER starts to crash really loud. We
pull away a little further to reveal a couple more MOUNDS of
earth stirring in the yard.

INT. KITCHEN - NIGHT

Shannon is finishing up the dishes, (humming one of her
favorite songs) unaware of what is awakening in the earth
right outside in her yard.

EXT. BACKYARD - NIGHT

Several creatures now begin to emerge from the earth. They
are black with long matted hair, and bright green eyes. They
are thin and stand about 5 feet tall. They hiss and snarl.
Their wide grins gleaming as they look around at one
another. They take in huge breaths like trying to locate a
scent. After a couple of seconds they all let out a high
pitch scream and move toward the house.

INT. KITCHEN - NIGHT

Shannon is now finished with everything. She makes her way
to hang up her towel and hit the light switch in the
kitchen. She takes one last look to make sure she has not
forgotten anything. While panning the kitchen, we pass by
the WINDOW and see lightning flash. The silhouette of two of
the creatures at her window, two sets of green eyes piercing
the dark, leering in the window at her. LIGHTNING flashes
again and they are gone. Shannon stares for a moment, unsure
if she saw anything.

SHANNON
What the hell?

INT. BATHROOM - NIGHT

Danny finishes his shower, steps out and starts to towel
off.

DANNY
(into bedroom)
Honey?

Danny peeks around the bathroom door only to an empty room.
He just kinda smiles.

DANNY
(to himself)
She never knows when to quit.

Danny dips back into the bathroom to finish getting dressed.

INT. KITCHEN - NIGHT

Shannon slowly walks toward the window (where the eyes just
moments before were just peering at her). She looks out only
to see the STORM that has been gathering. No sign of
anything. Still an uneasy feeling in her stomach, she grabs
a kitchen KNIFE off the counter ands heads over to the
kitchen door.

EXT. BACKYARD FACING KITCHEN DOOR - NIGHT

Rain falls hard. Lightning flashes. Shannon opens the
outside door and makes her way onto the back porch.

SHANNON
(yelling)
Hello? is anyone out there?
Hello?

Shannon scans the yard {her P.o.v.}. No movement in the yard
at all. Thunder crashing.

After a moment Shannon realizes how silly she feels and
shakes her head. Now convinced her mind was just playing
tricks on her.

SHANNON
Must definitely be time for bed.

She turns to walk back into the house. Then we see one of
the creatures rushing up behind her. She turns...

SHANNON
AHHHHHH!

As she screams, two of the creatures pounce on her and begin
to tear her apart.

INT. UPSTAIRS BATHROOM - NIGHT

Danny brushing his teeth turns off the faucet at the sound
of a scream coming from downstairs. He pauses for a second
or two listening hard for a confirmation the scream was
real. He then heads out of the bathroom.

INT. HALLWAY - NIGHT

DANNY
Shannon? You okay hun?

Danny cautiously moves down the hall. Coming from the
kitchen the sounds of glass breaking echo throughout the
house.

THUNDER CRASHING

As Danny makes his way down the hall he pauses at his
children's room and cracks the door. A small sliver of light
shines onto the now awake children sitting up in their beds.

INT. CHILDREN'S ROOM - NIGHT

            JASON
      (wide eyed and
       frightened)
Daddy, what was that?

MANDI
Was that mommy?

Danny walks over to his children.

DANNY
Listen to me. I want you both to
stay here and don't move. I'll be
right back. I'm sure everything is
okay. Now stay here.

Jason and Mandi both lay back down. Danny exits the room and
pulls the door shut behind him.

INT. HALLWAY - NIGHT

Danny continues down the hall until he reaches the top of
the staircase.

DANNY
Shannon, is everything okay?

As Danny peers down the stairs(his p.o.v.) he hears no
reply. A couple of seconds of silence pass. Fearing a chance
of an intruder Danny heads towards the closet.

Danny quietly opens the closet door. He rummages through the
closet till he finds his bag of GOLF CLUBS, grabs his trusty
9 IRON and closes the closet door.

EXT. AERIAL SHOT OF TOWN - NIGHT

The thunder and lighting is really bad now. We hold on a
shot of the town. Lights start to go out all over until a
total blackout.

INT. TOP OF STAIRS - NIGHT

Danny now armed with his golf club tries the LIGHT SWITCH to
only find no power.

DANNY
(whispers)
This is fucking just great.

Danny slowly starts to descend the stairs.

INT. BOTTOM OF STAIRS - NIGHT

Danny makes his way to the bottom of stairs and starts
toward the kitchen, holding his club in a typical baseball
swing position.

THUNDER RUMBLES THROUGHOUT THE HOUSE

DANNY
(nervously)
Shannon!
(then in a whisper)Please, honey
answer me.

Danny makes it the kitchen entrance. The wind and rain
blowing in from the still open kitchen door. Danny scans the
KITCHEN(Danny's p.o.v.)to see no sign of Shannon. He rounds
the counter to slam the door when he stumbles across the
mutilated body of Shannon.

A look of horror consumes Danny's Face. Speechless, he drops
to his knees.

INT. CHILDREN'S ROOM - NIGHT

Jason and Mandi both lay quiet, but wide awake.

MANDI
(whispering)
Jason?

JASON
Be quite, I'm trying to listen.

MANDI
Do you think something is wrong
with mommy?

Before Jason can reply NOISES start to come from outside the
bedroom door.

JASON
Dad is that you?

We cut to the bottom of the door and see MOVEMENT right
outside. Jason and Mandi stare intensely at the door. We cut
to the DOOR KNOB that starts to move and finally click open.

The door swings open. The children stare at the dark
doorway. Unable to make out anything. Then finally a HISSING
noise consumes the room and several dark FIGURES begin to
make their way through the door. The children's faces
express sheer fright as the only visible movement coming in
through the door is the glowing sets of green eyes.

INT. KITCHEN - NIGHT

We cut to Danny on his knees. His head lowered. His whole
surrounding world has just collapsed. When it seems as if
almost nothing can bring him back from the brink of
insanity.

SCREAMS FROM UPSTAIRS

Danny hears the sound of his children screaming and is
immediately snapped out of it. His instinct to protect his
children has taken over. He jumps to his feet and runs
towards the stairs.

10.

DANNY
(Yelling)
Jason! Mandi! I'm coming

We follow Danny up the stairs and down the hall to his
children's room.

INT. CHILDREN'S BEDROOM - NIGHT

Danny kicks open the door. He sees sitting on the open
window sill a small creature holding Mandi. It opens it's
mouth at Danny and lets out a shriek. Two more creatures are
pulling his son out of his bed.

MANDI
(crying)
Daddy, please help me!

DANNY
You get the hell away from my
kids!

JASON
Please daddy, get them off me!

Danny takes one step into the room and the creature on the
window leaps out taking Mandi with it. Two other creatures
scurry out from the darkness towards Danny.

Danny runs toward the window.

DANNY
Mandi! Noooooo

Before Danny can make it a thud to his chest brings him
down. He realizes one of the creatures is sitting on his
chest. The creature lunges down to bite at Danny.

Danny grabs the creature's head holding it up to expose it's
throat.

DANNY
I said get the fuck away from my
kids!

Danny takes the handle of his golf club and drives it up
through the bottom of the creatures jaw piercing its skull.
Danny rises to his feet and slams the HEAD of the creature
into the wall. The creature's skull shatters apart. Another
creature jumps on his back and bites into his SHOULDER.

11.

DANNY
AAAAhhhhhhhh!

Danny looks and sees two of the creatures dragging Jason to
the window.

Danny struggles with the creature still latched on to his
shoulder.

DANNY
Jason! Leave him alone you sons of
bitches!

Danny lifts the end of his club and hits the creature that
is attacking him. The thing releases it's grip. Danny grabs
it by its locks of hair and flips it over and plants its
skull into the side of Jason's dresser killing it.

Danny runs to the window just as the two creatures jump
taking Jason with them. Danny leans out the open bedroom
window and looks down. From Danny's P.O.V., we see the
creatures start to sink into the wet earth with their prize,
the children. The moist earth engulfs them and the sounds of
his still live children becoming muffled out as the earth
swallows them up.

            DANNY
      (yelling over top
       the storm)
JASON! MANDI!

Danny hangs out the window with his arms reached out toward
the ground. His gaze gleamed over from tears. He intensely
stares at the spots of earth his children vanished into. Now
all that remains are small mounds of dirt. We ZOOM in on the
ground and fade to black.

OPENING CREDITS ROLE

EXT. EMPTY STRETCH OF HIGHWAY - DAY

We fade in to a deserted highway. From ground level we see a
car approaching in the distance. Across the bottom of the
screen letters appear.

5 YEARS LATER

The car starts to get closer. We occasionally lose sight of
it as it dips up and down the hills in the road until it
finally passes over.

12.

INT. FRONT SEAT OF CAR - DAY

A set of HANDS grips the steering wheel. One with a
cigarette in between two fingers. The front seat is covered
with MAPS of the world and BOOKS on the occult. The maps
have a lot of x's, circles and lines in red marker drawn all
over them. One of the HANDS reaches down to turn on the
radio. The HAND with the cigarette lifts to reveal that the
smoker is Danny. He is unshaven, with a distant but
determined look in his eyes.

On the dash is a PICTURE of him with Shannon and his
children. It's worn and faded.

EXT. HIGHWAY - DAY

We cut to Danny's CAR heading down the road, a SIGN on the
side of the road reads "Murphy Gas & Grub just ahead" and
behind that, another sign reads "Prophet Hills 5 Miles". The
CAR continues past the signs.

INT. MURPHY'S GAS STATION - DAY

We see an old man, SAM MURPHY, glasses, late sixties,
approach the window of the store to peer out. He's dirty,
wearing an old John Deer hat.

CUT TO SAM'S P.O.V.

Danny's car pulls up into the gas station next to one of the
pumps. The bell rings inside. Sam retreats from the window.

EXT. OUTSIDE OF CAR - DAY

We cut to the driver side door as it opens to see Danny exit
the vehicle. He stretches feeling the effects of being on
the road for so long.

DANNY
(to himself)
Almost home.

He makes his way around the back of his car and grabs the
fuel PUMP and begins to fill his car.

INT. MURPHY'S GAS STATION - DAY

The DOOR to the store swings open and Danny makes his way to
the counter. He ends up in line behind a woman, SUSAN

13.

WILCOX, late twenty's, holding her daughter, JESSICA, five
years old.

SAM
(to the woman)
And here is your change Miss
Wilcox, you have a good day now.

MISS WILCOX
Thank you Mr. Murphy. You take
care, say goodbye Jessica.

Jessica waves at Sam.

JESSICA
bye -bye!

SAM
(to Jessica)
bye-bye sweetie!

Susan and Jessica make their way to the door. Jessica looks
at Danny and smiles. Danny smiles back. Then visions of his
own children screaming start to flash through his head.
Danny closes his eyes and tries to block out the horrifying
images of what happened to him years ago.

SAM
You plan on paying for that gas
son, or just stand around in my
store all goddamn day?

Danny snaps out of his daydream and walks up to the counter
and pulls out his wallet.

DANNY
Sorry, I guess I kinda spaced out
there for a minute. Here you go.

Danny hands Sam the money owed for the gas. Sam stares at
Danny for a second.

SAM
Hell son, I remember you. You used
to live around here. Didn't ya?

DANNY
I grew up around here. Just been
away for the last few years.

Sam hands Danny his change.

14.

SAM
Yeah, no shit you're Danny
Kessler. I have not seen or heard
of you since......

Danny looks up at the old man.

SAM
...well since um... the
unfortunate night that you lost
your family. What did they say
some kind of animal attack.

            DANNY
      (slightly
       frustrated)
That's what they say.

Sam leans in closer to Danny while looking around.

SAM
You don't have to play dumb. I
think you know it was not no damn
animal that killed your wife and
ran off with your children.

DANNY
(now angered)
Just what the hell are you trying
to say?

Sam holds up his arms.

SAM
Don't mean to get your panties in
a bunch, all I'm saying is I have
lived here all my life too. As
long as I can remember.......let's
just say this town has it's share
of mysteries. And I know coyotes
or bears or whatever don't come in
a mans home kill his wife and take
off with his children.

DANNY
So, what do you think happened
then?

SAM
I think you know already. Don't
ya?

15.

Danny begins to stare off again. IMAGES of those horrible
creatures that took everything from him start to flash
through his head. The old man hitting so close to home
brings an overwhelming amount of images of monsters, his
children screaming for him. His wife's mangled body. Sam
continues...

SAM
Son, I believe you've seen the
things that hide in the shadows.
The things that are under our beds
and in our closets. Yeah you've
seen them. I see it in your eyes.

DING DING

A car pulls up to one of the other gas pumps. The bell snaps
Danny out his hypnotic state the old mans haunting words
held on him.

DANNY
You certainly have an imagination.

SAM
Tell me this, is it my imagination
you are hear five years to the day
it happened? You know what's
coming. If I were you son I'd head
the opposite way. Stay out of town
tonight.

DANNY
You should take your own advice.

SAM
Hell, I'm too old to run. Whatever
happens I won't go without a
fight. Besides I've been around
this long.

Danny turns to walk out the store.

SAM
A lot of people around here think
I'm crazy. Over the years I have
seen and heard many strange
things. This old man is smart
enough to know when the sun goes
down tonight my doors and windows
will be locked and my rifle will
be on my lap.

Danny pauses at the door and turns to the old man.

16.

DANNY
Doesn't sound like you are crazy
to me.

Danny exits the store and heads towards his car.

SHERIFF PARKER
(from out of frame)
Who you out here rambling on to
Mr. Murphy?

We see a colored man, SHERIFF DWAYNE PARKER, mid-thirties,
enter the frame adjusting his fly.

SAM
Why that was a former resident of
ours sheriff.

SHERIFF PARKER
Oh yeah ? Well just who would that
be now?

SAM
A Mr. Danny Kessler. From back
about five years ago.

Parker pauses in thought for a moment, a look of worry comes
across his face.

SHERIFF PARKER
I know who in the fuck Danny
Kessler is you dumb shit.

Parker storms out of the store. Sam rounds the counter to
follow.

EXT. MURPHY'S GAS STATION - DAY

Parker makes his way out of the store. Danny's CAR is seen
pulling out of the gas station heading towards town.

SHERIFF PARKER
Goddammit!

Sam makes his way out the door onto the porch of the store.
Standing behind the sheriff.

SAM
Is there a problem Sheriff?

Sam becomes quite curious at Parker's reaction.

17.

SHERIFF PARKER
Get back in your store and mind
the counter, and your business.

Mumbling curses under his breath, Sam turns and makes his
way into the store.

Parker begins to make his way towards his squad car.

SHERIFF PARKER
(to himself)
I better get a hold of the Mayor.
Shit, I just know this will ruin
his day.

Parker gets into his car and grabs the radio.

SHERIFF PARKER
Dispatch you copy?

DISPATCH OPERATOR
(radio filtered)
Yeah Sheriff, go head.

SHERIFF PARKER
Hey Linda, see if you can get a
hold of the Mayor. Tell him I'll
be at his office in
twenty-minutes, and he better be
there. Tell him it's really
important.

DISPATCH OPERATOR
You got it Sheriff.

Parker starts his car.

SHERIFF PARKER
Knew it was just a matter of time
before this would blow up in his
face.

He puts the car in gear and pulls off.

INT. FRONT SEAT OF CAR - DAY

We see a woman, KELLY WILLIAMS, Shannon's sister, early
thirties, driving. The RADIO is playing a hit from the 80's
that she knows every word too. The back seat is full of
GROCERIES.

18.

CUT TO

A small PICTURE frame hangs from her keyring. The photo is
that of her with Shannon. Both smiling with their heads
leaning on each others.

EXT. TOWN - NIGHT

As Kelly drives we see several children playing in the
streets. They run and play oblivious to the evil right under
their feet.

EXT. DRIVEWAY OF HOUSE - DAY

We see Kelly pull into her driveway. She exits the car and
starts to pull the bags of groceries from the rear of the
car. Fumbling with the bags and trying to retrieve her house
key she makes her way to the front door.

After unlocking the door, Kelly disappears into the house.
We pan back to across the street, where we see Danny's CAR
parked.

INT. FRONT SEAT OF DANNY'S CAR - DAY

Danny watches the woman enter the house. He takes in a deep
breath and exhales.

DANNY
Okay Danny, you can do this. So
she might think you are completely
crazy, but what the hell right?

He starts to gather the MAPS and other LITERATURE off the
front seat and put into a bag to take in with him.

Danny starts to exit the car. He throws his bag over his
shoulder. Closes the car door and heads toward the house.

INT. KITCHEN - DAY

Kelly enters the kitchen sets her bags of groceries on the
counter. She grabs a carton of orange juice and heads over
to the fridge to place it. When she closes the refrigerator
door. We see on it are several PHOTOS held on by magnets.
Among the photo's are several of her with Danny and Shannon.

Kelly starts to remove more items from the bags as we hear a
KNOCK on the door.

19.

EXT. FRONT PORCH OF HOUSE - DAY

Danny waits nervously for the door to open,unsure of the
reaction that awaits him. Then finally the door swings open.

KELLY
Can I hel..

Kelly cuts herself off when she realizes who it is.

DANNY
Hey Kelly. How ya doin'?

Kelly starts to almost tear up and leans in and embraces
Danny. Danny drops his duffel bag and returns the affection.

KELLY
God, I didn't know if I wanted to
knock you on your ass or kiss you,
you jerk.

DANNY
I know I can't blame you. How are
you doing?

They release each other and Danny leans down and grabs his
duffel bag.

KELLY
I'm hanging in their. Come in.
Come in.

Danny and Kelly make their way into the house.

INT. KELLY'S KITCHEN - DAY

Kelly and Danny enter the kitchen.

DANNY
(Looking around)
Where's Haley and Richard?

KELLY
Haley's in school still. As far as
Richard goes I wouldn't even know
where to tell you to look. He left
me and Haley about three years
ago. Haven't heard from him since.

DANNY
My god Kelly, I'm sorry. I didn't
know.

20.

Kelly wipes the tears from her face.

KELLY
It's okay. Besides how would you
know. Nobody's seen you in five
years.

DANNY
Well what happened?

KELLY
I don't even really know. After my
sister died. I guess I kinda
detached myself from him a little
more every day. So eventually he
just left.

Danny makes his way over to Kelly. Puts his hands on her
shoulders.

DANNY
Kelly, I'm really sorry.

KELLY
Hey, me and Haley are fine. I
guess I just didn't deal to good
with Shannon's death. Anyway, tell
me where on God's green earth have
you been. This better be good.

Kelly starts to try and continue putting things away.

DANNY
Kelly, I have to talk to you. Why
don't we sit down.

KELLY
I would just like to know how come
we never heard from you. I mean
when you left right after she
died, we had no one to go through
this grief with. Me, you and
Shannon all grew up together. We
were all friends. You marrying my
sister made us family. I think
that would entitle us to a phone
call.

Danny ushers Kelly over to the kitchen table.

KELLY
I just hope whatever it is you
need to say better contain an
explanation of where you have been
(MORE)

21.

KELLY (cont'd)
the last five years and why you
couldn't call me once, or even
write us a letter.

DANNY
I promise it will contain all that
and then some. You just have to
trust me. Do you trust me?

            KELLY
      (after a second or
       two)
Yes Danny. I trust you.

DANNY
Okay....I guess I'll just start at
the beginning. I mean the night
Shannon died. I'm gonna tell you
what really happened.

KELLY
What do you mean? What really
happened?

DANNY
Some of this is gonna sound crazy
I know. I won't even be sure it's
true until sundown. Which I hope
we'll be out of here by then, but
I will tell you what I saw.

KELLY
Danny what in the hell are you
talking about?

DANNY
Just hear me out before you have
me committed. Okay?

KELLY
Committed? Danny your scaring me.

DANNY
Just hear me out.

Danny reaches in his chest pocket and grabs two cigarettes.
He offers Kelly one. Kelly deliberates only for a moment and
takes it. Danny lights it for her then one for himself.

Kelly takes a long drag then exhales.

22.

KELLY
Okay, let's hear it.

INT. MAYOR O'BRIAN'S OFFICE - DAY

Parker is seated in front of the mayors desk awaiting his
arrival. He sits impatiently tapping his feet. Finally the
office DOOR swings open. We see a man, MAYOR O'BRIAN, in his
early sixties enter. Wearing a dark suit. His white hair
perfectly combed. In a hurried pace he moves through the
room. His secretary follows.

MAYOR O'BRIAN
Jackie, get those figures to
Emerson and have him go over them
before Friday, and hold all my
calls.

SECRETARY
Right away Mayor.

The secretary leaves closing the door behind her. O'Brian
makes his way around his desk to have a seat.

MAYOR O'BRIAN
Alright Parker, what so goddamn
important I had to rush right
over. I was kinda in the middle of
something.

SHERIFF PARKER
(now standing)
Well, I thought you might be
interested in knowing a former
resident has returned after a five
year vacation.

O'Brian leans back in his chair. Now curious.

MAYOR O'BRIAN
Who?

SHERIFF PARKER
Danny Kessler.

After a moment O'Brian sits up in his seat in a haste. He
brings a FIST down onto his desk.

MAYOR O'BRIAN
Jesus Christ! Do you know how bad
this could be Parker?

23.

O'Brian stands up and makes his way to the window. Trying to
gather his thoughts.

MAYOR O'BRIAN
He split town before we had a
chance to convince him that
silence would be in his best
interest. We have to get to him
before he has a chance to talk to
anyone.

SHERIFF PARKER
What do you want me to do?

MAYOR O'BRIAN
Have him picked up and brought
down to the station. I would like
to see Danny. Talk to him a
little bit. See if he knows more
than we do? Now get your ass
moving and call me when you have
that sonuvabitch in a holding
cell.

O'Brian turns to Sheriff Parker.

MAYOR O'BRIAN
This is a very bad time for rumor
control to get out of hand. With
being what today is and
everything. You better handle this
Parker or I'll get rid of your
ass. Don't forget. We are the only
place that will take a fuck-up
Sheriff like you. So you do your
job. And keep this quiet.

Parker keeps his anger in check and remains calm.

SHERIFF PARKER
I'll call you when we have him.
Where should I check.

O'Brian turns his gaze back to the window.

MAYOR O'BRIAN
Try the Williams residents. I'm
sure he will pay Kelly a house
call. Her and that little girl of
hers is all he has left that would
resemble family. Start there.

24.

SHERIFF PARKER
Yes sir.

MAYOR O'BRIAN
I didn't bust my ass to keep
Prophet Hills evils quite just to
have it all gone to hell because
of some motormouth stirring up
trouble. If unexplained reports of
missing children got out. We would
be ruined.

Mayor O'Brian returns to his chair and sits down.

MAYOR O'BRIAN
I'll be awaiting your call....you
may go.

Parker turns and leaves the office. While O'Brian sits and
stares off into space thinking hard on how to deal with the
thorn that has just ripped into his side, Danny Kessler.

INT. KELLY'S KITCHEN - DAY

We see Danny and Kelly standing around the kitchen table. He
has his maps spread out across it. Different NEWS PAPER
CLIPPINGS also populate the table.

KELLY
So these things come out every 5
years snatch a couple of kids,
also kill and eat anyone else who
gets in their way. Is that about
right?

Danny looks surprised by her quick grasp on the situation.

DANNY
Yeah, that's right. They have
different names all over the
world, but most commonly called
the Cannibi.

KELLY
What are all these x's and circles
on these maps here? I mean there
are maps from all over the world
here.

DANNY
They represent places on the
planet that similar cases have
occurred. All five years apart. As
(MORE)

25.

DANNY (cont'd)
far back as one-hundred years.
Even more in some cases.

Kelly picks up a couple of the ARTICLES and reads through
them.

DANNY
The story goes, every five years
the planets and everything line up
just right and on this one
rotation of the earth wherever
it's night, they can come up from
the caverns in the earth and roam
free. At least until dawn. I guess
they don't like the sun too much.

KELLY
Okay, lets say I buy into all this
bullshit. What happens to the
kids? Why not just kill them, like
everyone else?

DANNY
I'm not exactly sure but they need
the souls or something from the
children to eventually raise their
God, or overlord or whatever the
hell you want to call it. I don't
have all the details. Just the
short and ugly version.

Danny pulls up a chair and sits down.

Kelly makes her way over next to Danny and pulls a chair up
next to him and sits down.

Danny looks up at Kelly.

DANNY
I told you you would think I was
crazy.

KELLY
Danny, I'm not saying I don't
believe you. I'm really just
trying to understand everything
you are telling me. This Professor
you got all this from, what's his
name?

Danny stands up out of his chair. He makes his way over to
the kitchen window and leans on the counter.

26.

DANNY
I told you Phillips. Professor
Howard Phillips.

KELLY
All I'm saying is, how in the hell
does he know all this?

Kelly gets up and walks over to Danny.

KELLY
Danny, don't be upset with me.
This is a lot for someone to hear.
I think I have a right to inquire
about it's credibility.

Danny turns to face Kelly.

DANNY
When I was looking for an
explanation, pretty much all roads
on the subject led to him, in one
way or another.

KELLY
Well what makes him such an expert
on something like this?

DANNY
He's a professor of Theology,and
believe it or not, Demonology at
Miskatonic University.

KELLY
They actually have classes for
these things? Where have I been?

Kelly looks down at her watch.

KELLY
Shit. Okay look. Haley will be
home soon it's almost three
thirty. What do want us to do?

DANNY
You believe me?

Kelly goes up to Danny.

KELLY
Danny, I've known you my whole
life. I trust you. I believe you
saw something you can't explain.

27.

DANNY
I know what I saw. I saw them up
close too.

Danny pulls his COLLAR over his shoulder to show Kelly the
SCAR from the bite one of the creatures gave him the night
of Shannon's death.

DANNY
I saw it close enough to see it
was not a bear or any fucking wild
animal that took Jason and Mandi.
I don't care what anyone says.
These things are real.

Kelly rubs her HAND across the scar tissue.

KELLY
The whole thing with the animal
attack never sat well with me
either, but honestly I couldn't
think of anything else that would
do something like that. When the
cops told me, I just accepted it I
guess.

Danny starts to gather up the maps and articles off the
table. A couple CLIPPINGS fall to the floor.

DANNY
That's another thing. I think the
cops somehow know something's
going on.

KELLY
On top of monsters, you now have a
conspiracy theory?

DANNY
Come on Kelly, think about it.
Growing up don't you remember the
random disappearances of our
fellow classmates?

KELLY
I think your reaching a little bit
now.

Danny stops and looks right at Kelly.

DANNY
Remember when we were younger we
had several classmates end up
missing. The explanation was
(MORE)

28.

DANNY (cont'd)
always that they had moved or
something. All of them just moved
that night without telling us. I
mean some were close friends of
ours. Then all of a sudden on the
same night all of them moved and
none of them said shit.

KELLY
It was rather odd, now that you
mention it. So what's the plan?
And what in the world do I tell
Haley?

DANNY
Well first, how do you think she
will react to seeing me?

KELLY
Of course she will be happy to see
you.

DANNY
Good, that will make it easier.

Danny finishes gathering up everything off the table.

KELLY
Make what easier?

DANNY
Montgomery county is having their
fair tonight. When she gets home
tell her we are all going and we
are gonna stay in a motel for the
night.

Kelly looks at Danny confused.

KELLY
You think monsters are coming out
of the ground tonight and you want
to take us to a fair?

Danny zips up his duffel bag and throws it over his shoulder
and starts to walk into the living room.

DANNY
These caverns these things live in
are scattered all through out the
world. This town just happens to
be on top of one. We will be safe
in Montgomery county. It's far
(MORE)

29.

DANNY (cont'd)
enough out of town.

Kelly storms off after Danny.

KELLY
Yeah, but all this is in theory,
and where the hell are you going?

INT. KELLY'S LIVING ROOM - DAY

DANNY
There is something I have to do.
Get whatever you need. When Haley
gets home let her know whats going
on. We will have to finish this
later, we don't have time it's
gonna be dark soon.

Danny stops walking and turns around to face Kelly.

DANNY
I won't be long. So both of you be
ready. We will have plenty of time
to catch up, but we have to be
gone before sundown.

Danny leans in and hugs Kelly.

KELLY
I'll do it because its you, but
this still is almost to much. You
show up after five years and you
unload all this...

DANNY
(interrupting)
Yell at me later when we are safe
okay?

Danny heads to the front door and opens it to leave.

KELLY
Hey, Danny?

Danny stops and turns.

Kelly walks over to the door and stands directly in front of
Danny.

KELLY
If all this is true then what
about everyone else? The people in
town should we tell them whats
(MORE)

30.

KELLY (cont'd)
going on?

DANNY
We don't have time. Nobody would
believe us anyway. If anything
they might lock us up thinking
we're nuts. Kelly this is real.
Right now on the other side of the
world, some town or something on
top of one of their caverns like
the one we are on is finding out
just how real it is. There is no
way to warn them in time. Same
with the people in this town. My
only concern is you and Haley.

Danny turns and begins to walk to his car.

KELLY stands in the doorway and watches Danny get in his car
and leave. Overwhelmed with the events of the last few
moments of her life she appears emotionally exhausted. She
enters her home and closes the door behind her.

EXT. SOUTH AFRICAN FARMING COMMUNITY - NIGHT

Several small wooden FARM HOUSES populate the screen. Rain
is falling and the wind is blowing hard. There are several
COWS and other forms of livestock in pens and fences
throughout the little village. Letters superimpose over the
bottom of the screen "South Africa"

We see a man, TSHEPO, Caucasian, late thirties, wearing a
raincoat. His BOOTS sloshing through the already muddy earth
as he runs through the village until he makes his way to his
home.

Tshepo makes his way onto the porch of his small home and
enters the front door.

When the DOOR closes behind him we pull back to see the
LIVESTOCK start to get excited.

HORSES begin to huddle nervously close to one another. They
can sense something in the air. All the other ANIMALS begin
to sense the same danger as they too begin to get excited
and scared.

We cut to a shot of the wet earth as a clawed FOOT comes
down into the frame. The creatures head surveys the VILLAGE
in front of him. It raises its HEAD up to smell the air.
After a few seconds it turns to look behind it as several

31.

other Cannibi emerging from the earth come towards him. He
looks back at the village as they all start to make there
way towards it.

INT. FARM HOUSE - NIGHT

As Tshepo enters he starts to remove his raincoat. The
fireplace is casting off light that fills the front room. A
woman, PALESA, Tshepo's wife, early thirties is sitting in a
chair nearby rocking their son, THATO, six years old, in her
arms.

            TSHEPO
      (South African
       Accent)
I'm hoping the gates will hold on
the pens. With this weather though
it's hard to tell.

PALESA
Will we be okay?

TSHEPO
Why wouldn't we be? It's just a
storm. Everything is going to be
fine.

Tshepo makes his way across the room to his wife. He leans
down and kisses both wife and child.

EXT. VILLAGE - NIGHT

We scan past several of the FARM HOUSES. People are seen
moving past windows.

As we continue to pan over to the animal pens, we see
several cannibi crouched down low creeping there way towards
the terrified animals. They are low to the ground like a
lion stalking its prey.

As we HOLD on a cows face, a cannabi jumps onto the animals
back. It sinks its teeth into the cows throat. It's claws
tearing into it's flesh. A gurgled sound escapes the animals
throat before it is taken down and devoured.

Then in a shark like feeding frenzy creatures begin to
pounce and bring down several of the animals. Horses, cows
and anything else that moved would be slaughtered.

The massacre continues and the sound of the animals being
taken apart does not go unnoticed for long.

32.

INT. FARM HOUSE - NIGHT

We see Tshepo with his raincoat back on. He is loading his
30-30 rifle. A concerned Palesa still with child in arm,
approaches her husband.

The sounds of the animals can be heard outside along with
the storm.

TSHEPO
It's probably just some wild
animal spooking them. I'll go
check it out. We probably aren't
the only ones hearing this. I'll
be fine.

He loads the last shell and places a few extra shells in his
pocket.

PALESA
Please, just be careful.

Tshepo grabs a LANTERN hanging off the wall and walks out
the door with his rifle in hand.

EXT. OUTSIDE OF FARM HOUSE - NIGHT

Tshepo shuts the door behind him as he steps outside of his
hut. The rain continues to fall. He holds his lantern up to
try and see anything. He sees stepping out of another home a
man, MOTHUSI, early thirties, Caucasian, also holding a
lantern. The barely visible light is the only thing he can
make out.

TSHEPO
(yelling)
Hey, over here!

The FIGURE carrying the lantern hears him and begins to run
toward him.

            MOTHUSI
      (trying to yell
       over storm.)
Guess you heard all the commotion
too then.

TSHEPO
It was coming from the animals.

33.

MOTHUSI
Do you think something got in the
pens?

TSHEPO
More than likely.

Tshepo holds up his rifle for Mothusi to see.

TSHEPO
Let's go check it out.

MOTHUSI
You don't happen to have another
one of those do you.

TSHEPO
I doubt we'll need this one. Come
on.

The two men make their way through the storm and the muddy
earth. Both holding their lanterns high. Squinting trying to
see through the rain and wind.

MOTHUSI
Hey, is it me or do you notice the
animals aren't making anymore
noise?

They both stop in their tracks. Tshepo tries to listen for a
moment. The storm starts to let up.

TSHEPO
Yeah, your right. Maybe whatever
was spooking them ran off.

They proceed again toward the pens of the livestock. They
get up to one of the fences and lean their lanterns over it.

They then see the horrifying truth.

MOTHUSI
Or maybe it's because they are all
dead.

The little illumination their lights give off reveals the
slain BODIES of all the animals. Most partially eaten.

TSHEPO
What could have done this?

MOTHUSI
Holy shit! Are they all like this?

34.

Tshepo opens the pen gate and enters. Mothusi follows
closely behind him.

            TSHEPO
      (While scanning
       the carcasses.)
I was just out here not even
thirty minutes ago and they were
all fine. A little spooked but
alive.

An inhuman scream startles both men.

Tshepo raises his RIFLE and points in the direction the
sound came from.

MOTHUSI
Just what in the hell was that?

            TSHEPO
      (while still
       pointing his
       rifle.)
I don't know, but if it can kill
all those animals and much less
eat most of them within thirty
minutes. Well I ain't taking no
chances.

They both stare intensely into the dark.

Nothing moves, and all has become quite. The raging storm
has stopped and dead silence fills the air. The two men
frozen with fear never take their gaze from where that awful
scream came from.

We hold close on the two men's faces, as we pull back we see
behind them several cannibi heading towards them out of the
dark like banshees. They both turn and ...

BLAM!

A single shot is fired before they are overtaken.

INT. FARM HOUSE - NIGHT

The gunshot brings Palesa to her feet. Thato is laying in
his bed in the next room. Palesa makes her way to a window
and looks out.

She sees other PEOPLE in the village are beginning to emerge
from their homes. Also having heard the gunshot they go

35.

outside to investigate. Within moments they are also pounced
on by several cannibi.

Palesa retreats from the window in horror at the sight of
the carnage. She runs to her son's room and pulls Thato out
of bed.

PALESA
Come with mommy sweetie.

THATO
(just waking up.)
Mommy, what is it?

EXT. VILLAGE - NIGHT

The sounds of men and women screaming fill the village. We
see victims being chewed on by the creatures while other
Canibi are descending into the earth with the children from
the village.

Children are seen being dragged out of their homes. Their
parents killed.

One of the cannibi looks up from his meal in front of him, a
half eaten MAN. It sees Palesa carrying Thato pass by a
window. It takes one last chunk of flesh off the body and
runs toward Palesa's house.

INT. FARM HOUSE - NIGHT

Palesa carrying Thato makes her way over to a panel in the
wall. She sets the boy down. A thud is heard at the front
DOOR. Palesa and Thato both turn to face the door.

THATO
(frightened)
Mommy, what is that?

Another thud at the DOOR. Then SCRATCHING sounds and hissing
noises are heard coming from behind the door. Something was
about to come through, and soon.

Palesa turns her concentration back to the panel in the wall
and removes it.

PALESA
C'mon baby, hide in here for
mommy.

36.

THATO
But mommy why?

Palesa puts Thato in the cubbyhole in the wall.

PALESA
Listen to me, you'll be safe in
here. No matter what happens do
not come out until I come and get
you. Okay?

She grabs the PANEL and puts it back in place. She runs and
begins to try and block off the door with some furniture.

Thato notices a small sliver of LIGHT coming from a crack in
the panel. He peeks out. He sees his mother trying to block
off the door.

All of a sudden the creature comes crashing through the
window. Palesa screams. Thato watches through the crack as
the creature attacks and savagely tears Palesa apart.

Thato tries to hold back his tears. A small whimper escapes
his throat. He quickly looks through the crack to see if he
was heard . The cannabi turns directly into the direction of
the boy. It moves it head as if trying to figure out some
puzzle. Thato pulls away from the crack fearing he would be
seen.

EXT. VILLAGE - NIGHT

Moments pass and all the chaos outside has quited down to
silence the last of the creatures descending back into the
earth, some with children others with content from the meal
they just had.

37.

INT. FARM HOUSE- NIGHT

The past couple of minutes have been silent. Thato has not
heard anything for a while. He peers through the crack. The
creature is nowhere to be seen. He glances down to see his
mothers tattered REMAINS.

Realizing she won't be coming for him Thato begins to
cautiously make his way out. He removes the panel. He scans
the ROOM and all that is visible is BLOOD sprayed on the
walls and the corpse of his half eaten mother. Thato emerges
from the hole. He stands up and looks around.

Just as he is about to walk towards the door something
drips onto his shoulder. We pull back to reveal on the
ceiling above and just behind him a cannibi hangs looking
down at the child its drool dripping down on him. Thato
touches the fluid on his shoulder as the creatures starts to
hiss. Thato turns around slowly and looks up to see the
cannabi. It seems to almost smile as it leaps off the wall
down onto the child. Thato lets out a final scream as the
screen goes black.

EXT. AERIAL SHOT OF PROPHET HILLS - DAY

The colors of fall are present on the leaves of the trees.
Kids are seen riding bikes along the sidewalk. We pan down
towards two teenagers, HALEY WILLIAMS, Kelly's daughter,
seventeen years old and BOBBY ANDERSON, a friend from
school, also seventeen, walking along the street.

BOBBY
So have you picked yet?

HALEY
No, not yet. I'm leaning towards
NYU, but still undecided. How
about you?

BOBBY
My folks would love to see me at
Berkley, but I really like the art
program at Boston.

The two finally reach the front of Haley's house.

HALEY
Well, I guess I'll see you Monday.

BOBBY
Alright, you take care Haley. See
ya.

38.

HALEY
Bye Bobby.

Bobby turns and leaves as Haley makes her way to the front
door of her house.

INT. KELLY'S KITCHEN - DAY

Kelly is seen sitting at her table. She is reading several
newspaper clippings(that fell to the floor earlier). The
clippings are mostly from the same areas but all five years
apart.

The front door is heard slamming shut.

HALEY
(off screen)
Mom! You home?

Kelly quickly collects the news paper clippings.

KELLY
I'm uh, in the kitchen.

Kelly rushes over to the counter an stuffs the articles in
the drawer closing it as Haley enters.

KELLY
Hey honey, how was school?

Haley walks past her mom and sets her backpack down on the
table.

HALEY
Alright, I guess. We had one of
those career fair things. You know
where everyone tries to talk you
into doing what they do for a
living.

KELLY
I know how excited you are to tell
me about your career fair..

HALEY
(sarcastically)
Oh, I'm so excited.

KELLY
but we have to talk.

Haley becomes somewhat concerned.

39.

HALEY
Is something wrong mom?

KELLY
Well, it's not so much something
is wrong.

HALEY
Okay, so what is it then?

KELLY
It's just...well your uncle Danny
was here today.

Having always been close to Danny as a child Haley becomes
excited.

HALEY
Really! Is he coming back or what?

KELLY
Yes, he is coming back. He wants
to take us to the Montgomery
County fair tonight.

HALEY
So, how was it seeing him? Is he
doing okay?

Kelly heads over to a chair and sits down.

KELLY
Honestly, I was almost just as mad
as I was happy to see him. I just
wish he would have been here after
Shannon's death. I mean with her
dying and Mandi and Jason
disappearing. I was just really
worried about him.

Haley walks over to Kelly.

HALEY
Uncle Danny probably just wanted
to be alone. I would imagine it
would be hard for anyone to deal
with that. Besides I think we all
dealt with it pretty good
considering. Even with dad bailing
on us, we still got through it
mom.

40.

KELLY
You know, your pretty perceptive
for a seventeen year old.

Haley leans down and kisses her mom on the head.

HALEY
What can I say, good genes.

Haley starts to head out of the kitchen.

KELLY
Haley...

Kelly gets up and heads over to Haley.

KELLY
...we will be staying overnight in
a hotel, so pack some clothes for
tonight.

Haley stops before ascending the staircase.

HALEY
Sounds good. Look, mom tonight
could be just what we all need.
Some fun you know.

Haley runs to the top of the steps and makes her way into
her room. We hear the door shut. Music begins to emerge from
her room as the muffled thump of the base is heard.

Kelly turns to walk back into the kitchen. After a few steps
a knock comes from the front door. Kelly assuming it is
Danny heads toward her door.

EXT. KELLY'S FRONT PORCH - DAY

Sheriff Parker stands and waits for the door to be answered.
He glances around the neighborhood. He almost smiles at the
site of the children playing in yards. It amazes him how the
serenity of small town America can hide so many secrets.

The clicking of the lock snaps Parker right into character.
The door swings open. Kelly stands with a blank expression
on her face.

SHERIFF PARKER
(Removing his hat.)
Good afternoon Kelly. How are ya
today?

41.

Kelly just keeps the door cracked. Feeling a little
suspicious due to Danny's earlier conspiracy theory.

KELLY
Hello Sheriff. What can I do for
you today?

SHERIFF PARKER
Well, I hate to bother you but
this morning I happen to see Danny
Kessler heading into town. Just
wondering if maybe he had been by
here to see ya.

KELLY
Does this have anything to do with
Shannon's death?

SHERIFF PARKER
It's just he left town pretty
quick and there were a couple of
last minute things we need him to
clear up. Paperwork and stuff of
that nature. Plus the mayor would
like to personally give
his..(pause)..condolences.

Kelly opens the door completely, still cautious of the
Sheriff's intentions.

KELLY
Well, that's awfully sweet of the
Mayor. Five years late though
don't you think Sheriff?

SHERIFF PARKER
Once again, Danny just left before
the mayor could get a chance to
tell Danny he is sorry for his
loss.

Kelly looks the sheriff up and down. She takes a deep
breath.

            KELLY
      (while closing the
       door.)
He stopped by earlier this
afternoon. That's all I can tell
you.

Parker quickly jams his foot in the door to keep it from
closing.

42.

SHERIFF PARKER
Please, did he say where he was
going? Or will he be coming back
here?

KELLY
(now annoyed.)
He didn't say and I didn't ask.
Don't you think he's been through
enough? Or that we all have been
through enough? That's all Danny
needs is you tracking him all over
town to bring up the worst night
of his life. Why don't you leave
him and us alone!?

Kelly calms down after a second.

SHERIFF PARKER
Kelly, I didn't mean to upset you.
I'm just doing my job. I feel for
Danny's loss. I really do. The
mayor would just like to talk to
him. If you see Danny just relay
the message. Okay?

KELLY
(calming down)
Sheriff I didn't mean..

SHERIFF PARKER
(interrupting.)
No, it's okay. I'm sure it's still
a tender subject. I apologize. So
just let Danny know okay he's not
in trouble.

KELLY
If I see him.

Parker puts his hat back on.

SHERIFF PARKER
Good enough. Have a good evening.

KELLY
You too.

Kelly watches Parker as he makes his way down the driveway
to his squad car. She then closes the door.

43.

CUT TO PARKER

As Parker gets closer to his vehicle he hears the faint
sound of his police radio.

DISPATCH OPERATOR
(radio filtered)
Sheriff, you out there? Come in
Sheriff. You copy?

Parker picks up his pace a little. He reaches in the open
window and grabs his walkie.

SHERIFF PARKER
I'm here go ahead.

DISPATCH OPERATOR
Sheriff, Deputy Hicklin has been
trying to get a hold of you.

SHERIFF PARKER
Yeah, what about?

DISPATCH OPERATOR
I guess he located that car you
put an A.P.B. out on this morning.
Belonging to a Kessler.

SHERIFF PARKER
Where is Hicklin now?

DISPATCH OPERATOR
The car is over at Prophet Hills
Memorial Cemetery. The perp is
inside the cemetery. Deputy
Hicklin has been there the last
few minutes but wanted to get a
hold of you before proceeding.

SHERIFF PARKER
Tell Hicklin to stay put I'll meet
him over there. Tell him not to
approach the perp until I get
there.

DISPATCH OPERATOR
You got it Sheriff.

As the sheriff heads down the street in his car we pan back
across the yard to Kelly's house where in the window we see
that she had been looking out at the sheriff. A worried look
on her face she slowly draws the curtains closed.

44.

EXT. PROPHET HILLS MEMORIAL CEMETERY - DAY

A light breeze caresses the leaves on the trees as we pan
down to several rows of tombstones. In the distance
approaching we see Danny walking carrying a handful of
flowers.

Danny reaches the tombstone he was there to see. We see the
inscription. It reads "HERE LIES SHANNON KESSLER BORN 1971
DIED 1999 LOVING WIFE AND MOTHER"

Danny leans down and starts to pull the tall grass from
around the tombstone.

DANNY
Hey sweetie, long time no see huh?

He sets the flowers down and sits down.

DANNY
Shannon, I'm really sorry I have
not come by the last few years. If
you have been keeping an eye on me
you would know, I've been kinda on
the road trying to figure out just
how and why my world came to an
end five years ago.(pauses) I miss
you and the kids so much.

Danny lifts his hand to touch the tombstone.

DANNY
To tell you the truth it surprises
me I've even been able to remain
sane throughout this whole
thing.(pauses) I really hope Jason
and Mandi are with you. I really
try not to think of where they are
or what happened to them. I just
hope in some way the three of you
are together.

Danny reaches into coat and pulls out and lights a
cigarette.

DANNY
Anyway, on a lighter note Kelly is
doing okay. Well considering
Richard leaving her and Haley. I
want you to know I'm going to get
Kelly and Haley out of here
tonight.(pauses)It's really hard
sometimes Shannon, ya know? I mean
sometimes it seems like I can't
(MORE)

45.

DANNY (cont'd)
even look at myself in the mirror.
I feel like I should have been
able to do something to protect
you and the kids but I failed.
Protecting Kelly and Haley from
this may be my only shot at some
sort of personal redemption.

Behind Danny we see two police CARS pulling up to the front
gate.

DANNY
You know, we probably would have
been okay if we would have went
camping two days before we had
planned.

Danny looks up toward the late afternoon sky. Realizing the
safety of daylight will soon be leaving. He stands up.

DANNY
Well honey, I guess I better be
getting the show on the road.
(pauses) I miss and love you so
much. Let Jason and Mandi know
there dad is doing what he can to
make this right and that I love
them both.

Two car doors SLAMMING gets Danny's attention. He turns to
see two POLICE CARS blocking the gate. One officer, DEPUTY
CLARENCE HICKLIN, mid twenties, thin, isn't to bright, is
waiting by his squad car. While the other approaches.

DANNY
It seems I was missed more than I
had thought.

Danny starts to walk toward the approaching officer. Who we
see is Sheriff Parker.

SHERIFF PARKER
Mr. Kessler. How are we doing
today?

DANNY
Fine sheriff. It's been awhile.
What can I do for you?

46.

SHERIFF PARKER
I was kind of hoping you wouldn't
mind coming with me for a few
minutes.

Danny once again looks to the sky knowing time is starting
to run out.

DANNY
Is this gonna take long? I kinda
don't have all day.

SHERIFF PARKER
Shouldn't take long at all. Just a
couple follow up questions and
last minute things we didn't get
to take care of. On account of
you leaving so quickly.

Danny debates for a second.

DANNY
Lets make it quick.

Together they both walk towards the waiting squad cars.
Parker puts Danny into the front seat of his car and the two
cars leave.

EXT. PROPHET HILLS - DAY

The setting SUN is seen in the horizon. We cut to several
shots of the town until finally on the POLICE STATION.

Two police cars pull up in front of the building. Danny is
seen getting out as well as Sheriff Parker. We close in on
the two men. Danny looks around the town. He then focuses on
the setting sun. Realizing it won't be long before the sky
is dark. He turns to Parker.

DANNY
You sure this won't take long? I
mean I can really only spare a
minute.

SHERIFF PARKER
You have somewhere you have to be
in a hurry?

DANNY
Let's just say I want to be out of
town in a hurry.

47.

SHERIFF PARKER
Not sure what the Mayor has on his
mind. Hopefully he won't keep ya
long.

Danny and Parker enter the police station. Deputy Hicklin
follows.

INT. POLICE STATION - DAY

As the three men enter LINDA NORWOOD, mid fifties, silver
hair,lots of make-up, the dispatcher is seen in front of her
desk.

            LINDA
      (motioning towards
       an office door)
Sheriff, the Mayor is waiting in
your office.

SHERIFF PARKER
Thank you Linda. Hicklin take
Danny into the other room. I'll be
right with you.

DEPUTY HICKLIN
Yes sir. Come right this way.

Hicklin escorts Danny to another room. While Parker heads
into his office to see the mayor.

INT. PARKER'S OFFICE - DAY

We cut to O'Brian sitting in Parker's chair behind his desk.

As Parker enters he bites his tongue on telling the mayor to
get the hell out of his chair, but it still irritates him
nonetheless.

MAYOR O'BRIAN
So, I hear we have our boy. Good
job Sheriff. Now where is he.

Parker sits in one the chairs in front of his desk.

SHERIFF PARKER
Hicklin took him to the
interrogation room.(pauses) Mayor,
what exactly are we doing here? I
mean, why so much hostility
towards Danny. You know he lost
his wife and kids. Don't you think
that is enough. Why did you want
(MORE)

48.

SHERIFF PARKER (cont'd)
him brought in? He didn't sound
like he planned on sticking around
anyway.

MAYOR O'BRIAN
Parker what can I say, you have
done a good job over the years.
You looked the other way in all
these disappearances when I asked
you to, and you have done a good
job of keeping your mouth shut.

SHERIFF PARKER
But Mayor, nobody was ever found
killed before the night Danny's
wife was. When you gave me this
job you said every couple years
kids would disappear. The fact we
could not figure out what was
happening is why I agreed to keep
it quiet, to avoid looking
incompetent.

O'Brian leans in toward Parker.

MAYOR O'BRIAN
Well, we both know your
incompetent as a police officer
Parker. In fact the whole state of
New York thought so too. Isn't
that why they got rid of your ass
twelve years ago.

SHERIFF PARKER
(very annoyed)
It wasn't incompetence. It was an
accident.

MAYOR O'BRIAN
That's what people who are
incompetent say. Now if you want
to continue to be a law
enforcement officer of any kind
you do what the fuck I tell you
and you never question any thing I
say or do. You here me?

Mayor O'Brian gets up from Parker's chair.

MAYOR O'BRIAN
Now, lets go and talk with Danny.

49.

SHERIFF PARKER
(while standing up)
How about you do this on your own.
I have better things to do than to
help you be some sort of an
emotional assassin on some poor
guy that has lost everything
already.

O'Brian now irritated at Parker's somewhat insubordination
comes around from the desk and stands right in front of
Sheriff.

MAYOR O'BRIAN
Fine, I'll deal with him myself.
Why don't you go look for a reason
to act like a cop again and get
the hell out of my face before I
fire your black ass.

O'Brian walks past Parker and exits the room slamming the
DOOR behind him. Parker enraged flips his desk over onto the
ground. He closes his eyes for a second to calm down.

INT. POLICE STATION - DAY

O'Brian makes his way past Linda and enters the
interrogation room. Hearing the commotion Linda goes running
to Parker's office door as Parker is leaving.

LINDA
(concerned)
Sheriff, are you okay? What was
going on in there?

Linda peeks in Parker's office to catch a glimpse of the
mess Parker made.

SHERIFF PARKER
Yeah Linda, I'm fine. I'm gonna go
on patrol. Get a hold of me if you
need me. I gotta go cool off.

LINDA
Yes Sheriff.

Parker leaves the police station.

50.

INT. INTERROGATION ROOM - DAY

Danny sits behind a table. He glances down at his watch. He
desperately knows he has to get going. Deputy Hicklin waits
by the door chewing his nails.

The door swings open. Hicklin quickly stands at attention
expecting the Sheriff, when instead its O"Brian much to
Hicklin and Danny's surprise.

MAYOR O'BRIAN
Good evening Mr. Kessler. I'm
Mayor O'Brian. How are we doing
today?

O'Brian grabs a chair and sits across from Danny.

DANNY
Well actually....

MAYOR O'BRIAN
Wonderful, glad to hear it. Deputy
leave us alone, would you?

DEPUTY HICKLIN
What would you like me to do?

O'Brian keeps his focus on Danny but still answers the young
Deputy.

MAYOR O'BRIAN
Why don't you go eat a fucking
donut.

DEPUTY HICKLIN
Is there really donuts?

O'Brian takes his gaze off of Danny and looks at the Deputy.

MAYOR O'BRIAN
I don't know dumbass. How about
this instead, why don't you start
your patrol car.

O'Brian returns his gaze to Danny.

MAYOR O'BRIAN
This shouldn't take long. From
what Parker says it seems Danny
here is in quit the hurry. Is that
right Mr. Kessler?

Unsure of the Mayors intentions he answers.

51.

DANNY
I guess you can say that.(pauses)
Just what exactly is this all
about?

MAYOR O'BRIAN
You waiting on something Deputy?
Go start your fucking car. Danny
will be needing a ride here
directly.

DEPUTY HICKLIN
Yes sir.

Hicklin leaves the room.

MAYOR O'BRIAN
Now, that's better. Just you and
me.

DANNY
Mayor, can we speed this up? I
have to get going.

MAYOR O'BRIAN
Don't worry you'll be going here
soon. Just might not where you
wanna be.

DANNY
(now worried)
Just what the hell does that mean?

O'Brian stands and begins to circle Danny.

MAYOR O'BRIAN
Did you talk to anyone today since
you have been in town?

DANNY
My sister in-law. Why?

MAYOR O'BRIAN
Exactly what was said?

Danny becomes seriously annoyed by the Mayors questions.

DANNY
How about we talk about your
little town of Prophet Hills
instead?

52.

MAYOR O'BRIAN
What about it?

DANNY
How about the children missing
from it over the last couple
decades? At least the ones you
even know about.

O'Brian becomes a little worried to what Danny knows and
doesn't know.

MAYOR O'BRIAN
What do you know about anything?

DANNY
I know about the kids that have
disappeared over the years. I also
know you must have been covering
them up this whole time. Is that
about right?

MAYOR O'BRIAN
Well it sounds like you got it all
figured out. Your just a goddamn
genius.

DANNY
I saw them. If you care anything
about your town or the people in
it you get everybody the hell out
of here tonight.

MAYOR O'BRIAN
What the hell does that mean? You
saw them?

DANNY
The creatures that took Jason and
Mandi.

MAYOR O'BRIAN
Let me strike the remark of genius
and change it to psychotic.
Creatures? What are you nuts? Your
telling me you think monsters took
the children.

DANNY
Monsters did take them.

O'Brian sits back down in his chair.

53.

MAYOR O'BRIAN
Look we have had our share of
problems, but I assure no one has
ever reported seeing a monster
around here. Some fucking animal
is to blame.

DANNY
Is that what you believe or what
you tell yourself to sleep better
at night? Even if that was the
case you would be alright with it,
as long as nobody new? Your the
real monster.

MAYOR O'BRIAN
Not that I have to explain a
fucking thing to you. I will tell
you I have done what I have had to
do to keep Prophet Hills afloat as
a town. Now if that means looking
the other way or keeping unsolved
crimes quite. Then so be it. I did
what I had to do for the town.

DANNY
I think your town would rather be
alive than afloat.

A look of realization crosses Danny's face.

DANNY
Wait, you really don't know
anything. All you know is about
the children missing, and you
don't have a fucking clue why.
What did you do pay off the
families to keep their mouths
shut, then relocate them. That's
why you try so hard to keep it
quite, you to damn embarrassed to
admit your clueless.

Danny starts to become irritated.

DANNY
Maybe if you would had let people
know there was a threat
precautions could have been taken
and my wife and children might
still be here.

O'Brian becomes annoyed at Danny.

54.

MAYOR O'BRIAN
Well, you know the saying.(pause)
You can't make an omelet without
breaking a few eggs.

In a fit of rage Danny springs from his chair and grabs
O'Brian and slams him into the wall.

DANNY
(yelling)
They weren't eggs you miserable
fuck! They were my family, my
everything goddamnit!

Deputy Hicklin enters the room to see Danny all over
O'Brian.

MAYOR O'BRIAN
(to Hicklin)
Will you get him the fuck off me!

DANNY
You sonuvabitch! They would be
alive if you had let us know we
were in danger! We had a right to
know something was going on ,even
if you didn't know what it was!

Deputy Hicklin pulls Danny off and throws him to the ground.
O'Brian goes over to Hicklin grabs his STUN GUN of his belt.

MAYOR O'BRIAN
Give me that damn thing.

O'Brian goes over to Danny and uses Hicklins stun gun and
shocks Danny until he goes unconscious. Hicklin stands
bewildered at the sight. O'Brian repeatedly stuns Danny,
after a moment O"Brian lets off.

MAYOR O'BRIAN
You stupid mother fucker. Don't
you ever put your hands on me.

O'Brian gives Danny a kick to the stomach for good measure.

MAYOR O'BRIAN
Deputy?

DEPUTY HICKLIN
Yes Mayor.

55.

MAYOR O'BRIAN
I want you to drag Mr. Kessler to
your car and drive him to the edge
of town. Then drop him off.

O'Brian hands Hicklin his stun gun.

MAYOR O'BRIAN
If he gives you any shit, shoot
him. If he tries to come back into
town shoot him. You got that.

O'Brian leaves the room adjusting his collar.

            DEPUTY HICKLIN
      (Unsure of the
       Mayors request)
Yes sir.

Deputy Hicklin gets Danny to his feet. Danny still groggy
from the voltage from the stun gun moans as he is carried
out of the interrogation room.

EXT. KELLY'S FRONT PORCH - DAY

Kelly stands on her porch leaning up against a post watching
the SETTING SUN.

As Kelly surveys the neighborhood she notices the STREET
LIGHTS have come on. She realizes darkness would soon be
upon the town.

KELLY
(to herself)
Come on Danny. Where the hell are
you?

The door behind Kelly opens. Haley emerges from the house.

HALEY
Everything okay mom?

Haley walks up behind Kelly putting her arm around her.

KELLY
Everything is fine, just waiting
on Danny.(pauses) You got
everything you need ready for
tonight?

56.

HALEY
Yep, all packed and ready to
go.(pauses) You worried if Danny
is going to come back or not?

KELLY
I'm not worried I just expected
him before it got dark. I'm sure
he'll be along any minute.

Kelly looks to the sun that has now all but gone down. The
NIGHT SKY begins to blanket the horizon. An unsettling
feeling begins to tickle Kelly's insides.

KELLY
Come on Haley, lets get inside.
We'll just sit tight and wait for
Danny in the house. Plus, I want
you to help me close and lock all
the windows. Deal?

HALEY
You got it.

Kelly and Haley enter the safety of their home. As the door
close we hear the deadbolt being latched.

EXT. ROAD LEAVING PROPHET HILLS - NIGHT

Darkness has now filled the sky. The bright FULL MOON
occasionally peeks out from behind storm clouds.

We cut to the highway where we see a POLICE CAR leaving
town. The rumble of thunder is heard.

INT. POLICE CAR - NIGHT

The driver Hicklin is seen adjusting his rear view mirror. A
moaning is heard from the backseat.

DEPUTY HICKLIN
Hey, you awake back there? Wow,
man the mayor must really have it
in for you. I have never seen him
flip out like that. You two got
some history or what?

Danny is seen rubbing his head. Finally getting his wits
about him. He realizes the sun has gone down.

57.

DANNY
How long was I out?

DEPUTY HICKLIN
I guess about twenty-five minutes
or so.

Danny looking around at his surroundings realizes he is
being driven out of town. He leans up to the glass
separating him from the driver.

DANNY
You have to turn this car around.
You have to take me to Kelly
Williams house. Do you know who
she is?

DEPUTY HICKLIN
Yeah, I know who she is, but I
have my orders. I have to get you
to the edge of town. Oh, and I do
have permission to shoot you. Not
that I plan on it. Just don't give
me a hard time or try to come back
into town.

DANNY
Don't you think that's sort of an
odd request from a mayor?

DEPUTY HICKLIN
One thing I have definitely
learned about this town is don't
ask too many questions. Just go
quietly and there won't be no
problems. I'll lose my job if I
don't do what I'm told.

THUNDER is heard again as it begins to rain.

DANNY
Look shit head, I'm not worried
about your job. I have to get to
Kelly's house. They are waiting
for me. Now turn this fucking car
around!

DEPUTY HICKLIN
Hey, don't yell at me I told
you.....

58.

DANNY
(interrupting)
Look out!

As Danny points out to the road ahead. A dark FIGURE runs
out in front of the car. Hicklin swerves to miss it.

DEPUTY HICKLIN
Hold on!

As Hicklin misses the figure, the CAR begins to fishtail and
go out of control. Finally it stops at the side of the road.
The headlights point out into the field next to the road.

DEPUTY HICKLIN
Holy shit.(pauses) Hey are you
okay?

DANNY
Yeah, I think I'll live. Did you
see what it was?

DEPUTY HICKLIN
Not really. Must have been a dog
or something. I'll check it out.

Hicklin opens the door and begins to get out.

DANNY
I really don't think that is such
a good idea. How about we just
head back into town.

DEPUTY HICKLIN
Give it a rest would you. This
doesn't change anything.

DANNY
You go out there you might change
your tune.

DEPUTY HICKLIN
Just sit tight.

EXT. OUTSIDE OF SQUAD CAR - NIGHT

Hicklin gets out of the car. He gets his flashlight out and
begins to look around.

59.

INT. SQUAD CAR - NIGHT

Danny meanwhile starts to get anxious. Almost sure of
exactly what ran out in front of them he begins to look
around for an escape route. The last thing he wants is to be
trapped in the backseat of the car.

EXT. SQUAD CAR - NIGHT

Hicklin continues to look. Nothing is seen on the side of
the ROAD. With the rain not helping his vision he just about
gives up his investigation of the area. Hicklin begins to
head back to the car just as a SOUND in the foliage catches
his attention. Hicklin draws his weapon and shines the
FLASHLIGHT in the direction of the noise.

INT. SQUAD CAR - NIGHT

Danny watching from inside the car knows they should be
getting out of there.

DANNY
(yelling)
Hey deputy? You see anything or
what. Lets get out of here
already!

Danny looking out the front of the car notices the GROUND
the headlights are shining on is beginning to move.

DANNY
(to himself)
Oh shit, this is bad.

EXT. SQUAD CAR - NIGHT

Hicklin makes his way to the edge of the road. Rain coming
down he shines his Flashlight into the WOODS to find
nothing. Then the sound of Danny shouting catches his
attention.

INT. SQUAD CAR - NIGHT

DANNY
(yelling)
Get back to the car! Fucking move!

Danny turns his attention back to the patches of earth that
were moving moments before. The only thing there is empty
holes. Whatever was coming out already made it.

60.

Danny watches Hicklin. Trying to see out into the storm for
other movement. As Hicklin gets to the car he opens the door
and leans in.

DEPUTY HICKLIN
Did you see anything? I sure as
hell didn't.

DANNY
Just get us out of here! Lets go!
Lets go!

DEPUTY HICKLIN
Now your in a hurry to leave. I
thought...

Hicklin gets knocked to the ground before he can climb
completely into the car. One of the cannibi has tackled him
and begins to rip him up. The blow shuts the car door
leaving Danny trapped inside.

EXT. SQUAD CAR - NIGHT

DEPUTY HICKLIN
Help me! Get this thing the fuck
off me!

Finally Hicklin's last breath escapes his lungs and he lies
motionless as the cannabi begins to feed.

INT. SQUAD CAR - NIGHT

Watching from the squad car Danny notices two more cannibi
begin to creep out of the woods and join their companion in
the feast.

DANNY
(to himself)
I gotta get out of here.

Danny tries the doors to find no way out. He notices
Hicklin's SHOTGUN on the front seat. Danny lays on his back
and begins to kick at the WINDOW with his feet.

EXT. SQUAD CAR - NIGHT

The cannibi's attention is soon caught by the noises coming
from the squad car. They quickly turn their focus to Danny.

INT. SQUAD CAR - NIGHT

Danny kicks several times at the window.

61.

DANNY
Come on you sonuvabitch break.
Break.

EXT. SQUAD CAR - NIGHT

Finally the GLASS shatters out. The three cannabi are soon
upon him. Danny begins to slide out of the window onto the
ground.

INT. SQUAD CAR - NIGHT

Danny quickly makes his way into the front seat of the car.
As he climbs in one of the cannibi grabs his FOOT and tries
to pull him out.

Danny kicks at the creature several times until finally he
breaks free. The cannabi is thrown back a couple of feet.
Danny tries to get his feet into the car to shut the door.
Just then the other two cannabi begin to pull at Danny. They
scream and hiss as they try to get Danny out of the car.

While Danny is fighting off the creatures, he looks over and
sees the SHOTGUN he noticed earlier. He reaches over and
grabs it. DANNY holds the SHOTGUN up and points it toward
the two cannabi at point blank range.

BLAM!

The buckshot removes the two creatures HEADS. The blast
knocks down the third creature as well.

As Danny starts to close the car door he gazes down to the
remains of the two creatures. They have started to
disintegrate to no more than a pile of dirt.

EXT. SQUAD CAR - NIGHT

The remaining Canibi begins to get to it's feet. Danny
starts the car and slams it into gear. The TIRES squeal as
he pulls off.

The creature begins to run after the car.

INT. SQUAD CAR - NIGHT

Danny adjust the REAR VIEW MIRROR to see the reflection of
the Canibi catching up to him.

DANNY
Son of a bitch!

62.

Danny slams the PEDAL to the floor and tries to put some
distance between him and the pursuing creature.

EXT SQUAD CAR - NIGHT

The CAR begins to pull away. The creature leaps into the air
and lands on the trunk of the police car. It's CLAWS sink
into the metal as it begins to climb up onto the roof of the
car.

The CAR swerves right and left going down the road as Danny
tries to shake the creature off.

The cannabi relentlessly pounds away at the roof. Until a
blow to the WINDSHIELD causes it to crack and splinter.

INT. SQUAD CAR - NIGHT

Danny reaches up and pulls the SEAT BELT down over his
shoulders and clenches the STEERING WHEEL.

DANNY
Alright, you ugly bastard.

EXT. SQUAD CAR - NIGHT

The creature jumps down onto the hood of the car. It punches
at the WINDSHIELD several more times until it finally starts
to come apart.

Danny hits the brakes. The car screeches to a halt. The
creature goes flying off the car onto the street.

INT. SQUAD CAR - NIGHT

Danny grabs the SHOTGUN off the seat and takes off his seat
belt. He exits the car.

EXT. SQUAD CAR - NIGHT

Still disoriented the creature begins to slowly sit up.
Danny enters frame and points the shotgun down at the
cannabi.

DANNY
If your so fucking hungry?! Eat
this!

63.

BLAM!BLAM!BLAM!

The shotgun blast blows the creature to pieces. Danny walks
over and squats down next to the carcass. Danny watches as
the carcass of the cannabi begins to turn into no more than
a pile of wet earth.

Danny stands up and runs back to the squad car and races off
to town

EXT. MAYOR O'BRIAN'S HOUSE - NIGHT

As the STORM continues we cut to a house. The presence of
wealth is seen as we pan across a Mercedes in the driveway.
The muffled sounds of classical music escape the house.

INT. MAYOR O' BRIAN'S HOUSE - NIGHT

We cut to several shots of the interior of the house until
we finally cut to the upstairs hallway.

We see a DOOR at the end of the hall. LIGHT from the room
cast on the wall from the door being slightly open. As we
approach the MUSIC begins to get louder.

INT. O'BRIAN'S DEN - NIGHT

Inside the room Mayor O'Brian sits at his desk. We see the
STEREO in which the classical music has been coming from. A
fire burns in the fireplace. A SCOTTISH TERRIER lies
sleeping in front enjoying the warmth.

Mayor O'Brian picks up his glass of scotch on the rocks and
takes a sip. Across his desk are old PHOTOS of children,
classified REPORTS on possible child abductions, and PAPERS
on the unsolved abductions that have plagued the town for
almost a century.

The RADIO goes silent as the CD ends. Mayor O'Brian stares
at the PAPERS and PHOTOS spread out before him. The PHONE
rings. Startled Mayor O'Brian jumps spilling his drink on
himself.

MAYOR O'BRIAN
Goddammit!

Mayor O'Brian stands up and grabs his cordless phone off the
desk.

64.

MAYOR O'BRIAN
Hello?(pause)Jesus Christ. Emerson
you about gave me a stroke. What
the hell do you want?

Mayor O'Brian grabs some tissues of his desk and starts to
wipe the spill off his lap the best he can.

MAYOR O'BRIAN
Look the investors are coming in
Friday at five o'clock.(pause)
Well that gives us a few days.
Just make sure everything looks
legit.

As Mayor O'Brian continues his conversation we cut the
sleeping DOG.

EXT. MAYOR O'BRIAN'S HOUSE - NIGHT

Outside the HOUSE the rain continues to fall. THUNDER
rumbles. Suddenly a high pitched scream echoes throughout
the night.

INT. MAYOR O'BRIAN'S HOUSE - NIGHT

The inhuman scream causes the sleeping dog to sit up. Mayor
O'Brian heard nothing and continues to talk, oblivious to
anything else for the time being.

The dog begins to growl. Finally it lets out a bark.

            MAYOR O'BRIAN
      (covering the
       phone)
Merlin, knock that shit off!

Merlin the dog gets up and makes it's way out of the room.

MAYOR O'BRIAN
Sorry Emerson. Look just make sure
we have no more loose
ends.(pause)No, I took care off
that. He is long gone by
now.(pause) Well let me just say
he had some interesting theories
on our little problem.(pause) Oh,
hell no! I think he needs
medication. It was all nonsense.

While talking Mayor O'Brian makes his way over to the stereo
and puts in another classical cd.

65.

INT. O' BRIAN'S HOUSE - NIGHT

We cut to Merlin making his way through the house until
finally going out through the pet door in the kitchen.

EXT. MAYOR O'BRIAN'S HOUSE - NIGHT

We cut to the front yard. The ground is muddy from the rain.
Merlin walks into frame smelling at the earth. Finally the
GROUND starts to move. Merlin starts to bark ferociously at
the mound of dirt rising out of the ground.

INT. MAYOR O'BRIAN'S HOUSE - NIGHT

MAYOR O'BRIAN
Alright Emerson. I'll talk to you
tomorrow.

O'Brian presses play on the STEREO. He makes his way over to
his desk hanging up the the PHONE. Merlin is heard BARKING
outside. It lets out a final yelp before going silent. The
music on the STEREO starts to play. O'Brian displays a look
of concern and heads out of the room.

INT. O'BRIAN'S KITCHEN - NIGHT

As O'Brian enters he turns the outside light on and heads
towards the kitchen door.

EXT. MAYOR O'BRIAN'S HOUSE - NIGHT

O'Brian opens the door and begins to whistle for Merlin.

MAYOR O'BRIAN
Here boy! Merlin! Where are ya?!

After a moment or two with no reply O'Brian gives up.

MAYOR O'BRIAN
Fine. Stay out in the rain then.
Dumbass dog.

From the edge of the yard we see O'Brian closing the door.
We start to pull back and reveal Merlin's carcass behind a
couple of bushes. Next to Merlin are several HOLES in the
ground that have been left behind from the emerging Canibi.

66.

INT. MAYOR O'BRIAN'S HOUSE - NIGHT

O'Brian bolts and LOCKS the door. He shuts the outside and
kitchen LIGHTS off. He makes his way out of the kitchen. As
O'Brian exits the kitchen we pan back to the PET DOOR. It
begins to move a little and finally swing open as a
creatures HAND is seen coming through. The creature's long
HAIR dangles out the bottom of the door as the cannabi
starts to pull the rest of itself through.

INT. STAIRWAY - NIGHT

O'Brian just about to the top of the stairs stops in his
tracks as NOISES start to come from the kitchen. O'Brian
turns and looks to the bottom of the stairs. He takes a step
toward the bottom of the stairs. Just as he does this, a
cannabi peeks around the corner at the bottom of the stairs.

The creature hisses as it looks up the staircase right at
O'Brian. Another cannabi comes around the corner from the
kitchen as well.

MAYOR O'BRIAN
(whispering)
What the fuck?

O'Brian starts to back up the stairs slowly. The creatures
on all fours start to creep up the staircase toward O'Brian.

O'Brian turns and begins to run full sprint up the stairs
and down the hall towards the den. The two creatures begin
to run after O'Brian. As they both ascend the stairs one
creature begins to climb up the wall.

INT. O'BRIAN'S DEN - NIGHT

O' Brian makes his way down the hall to his den. He goes to
shut the door behind him. As he looks down the hall he sees
the two Canibi approaching. Both now running along the walls
of the hallway. O'Brian goes to slam the door. As he does
one the creatures leaps toward the door and manages to get
one of its HANDS inside before O'Brian can get the door
shut. O'Brian struggles to get the door closed. Both
creatures pound on the door. O'Brian repeatedly slams the
door on the creatures ARM until it finally recoils in pain.

O'Brian slams the door shut and LOCKS it behind him. He runs
over to his desk and opens one of the top DRAWERS and grabs
a PISTOL out of it. He checks the CLIP. Seeing its full he
slams the clip in the handle and draws the slide putting a
slug in the chamber.

67.

The two cannabi in the hallway continuously bang at the DOOR
trying to get in.

O'Brian picks up his phone and dials 911.

MAYOR O'BRIAN
(into the phone)
Hello? Yes this is Mayor O'Brian
my house is being.... invaded. Get
the fucking Sheriff over here
right now!

The banging has ceased at the DOOR. O'Brian lowers the phone
from his ear and aims the PISTOL at the door as he
approaches it.

O'Brian presses his ear against the door upon reaching it.
To listen to see if the creatures had left. A loud CRASH
comes from behind him. O'Brian turns. He sees the window
behind his desk has been shattered out and several of the
cannibi are now entering the room through it.

O'Brian lifts his PISTOL and aims towards the approaching
creatures.

MAYOR O'BRIAN
Bring it, you sons of bitches!

BLAM!BLAM!BLAM!BLAM!

A couple of the creatures are hit, but more continue to
climb in through the window.

O'Brian continues to fire on the creatures. Then the door
behind begins to bust and splinter. The cannibi in the
hallway begin to start banging on it again, until they
finally begin to break through.

O'Brian turns towards the door and begins firing in its
direction. Cannabi now approach from both sides. The
creatures then pounce and take O"Brian down. As they begin
to feed O'Brian is heard screaming in pain as we scan across
the den to his DESK and the PHOTOS of children on it.
O"Brian finally lets out one final scream of pain as we see
BLOOD splatter across his desk.

EXT. SIDE STREETS OF PROPHET HILLS - NIGHT

The STORM seems relentless as the rain gives no indication
of letting up. Parker's SQUAD CAR is seen driving slow
through the back alleys.

68.

INT. PARKER'S SQUAD CAR - NIGHT

As Parker drives, he struggles to see through storm. A voice
starts to come over the POLICE RADIO.

DISPATCH OPERATOR
(radio filtered)
Hey Sheriff, you copy?

Parker grabs the C.B.

SHERIFF PARKER
Yeah, I'm here. Go ahead.

DISPATCH OPERATOR
We just got a 911 call from over
at the Mayors house.

SHERIFF PARKER
Did I get lucky and someone put
him out of my misery?

DISPATCH OPERATOR
What was that Sheriff?

SHERIFF PARKER
Nothing. Any details?

DISPATCH OPERATOR
Wasn't a long phone call. He did
say something about his home being
invaded.

SHERIFF PARKER
Invaded? You sure?

DISPATCH OPERATOR
That's what he said.

SHERIFF PARKER
What happened with Mr. Kessler?

DISPATCH OPERATOR
Don't really know. While cleaning
up your office I did hear some
yelling but when I came out Deputy
Hicklin and the Mayor were gone.
As was Mr. Kessler.

Parker thinks for a moment.

69.

SHERIFF PARKER
Alright, I'm gonna head over and
check it out. Over.

Parker turn on the LIGHTS and siren.

EXT. SIDE STREETS - NIGHT

Parker turns around and speeds of to O'Brian's house.
Thunder rumbles. Parker's CAR is seen pulling away in the
distance. As lightning flashes several cannabi are seen
crossing the road and leaping over fences into the backyards
of several homes.

EXT. MAYOR O'BRIAN'S HOUSE - NIGHT

We HOLD on the front of O'Brian's HOUSE. The sound of
classical music still comes from inside the home.

The sound of a siren begins to get louder as in the distance
we see Parker's SQUAD CAR approaching.

Thunder is heard as PARKER turns into Mayor O'Brian's
driveway.

Parker exits the vehicle and runs up to the door. Now under
the safety of the porch roof he begins to ring the DOORBELL.

No response from the doorbell. Parker begins to bang loudly
on the door with his fist.

SHERIFF PARKER
O'Brian you in there! Open up,
it's Parker!

With no response Parker takes a step off the porch and
surveys the house. As he looks up he notices one of the
second story WINDOWS is smashed in.

SHERIFF PARKER
What the hell?

Parker draws his GUN and runs back up onto the porch. He
kicks at the DOOR several times until it finally opens.

INT. O'BRIAN'S HOUSE - NIGHT

Once in the doorway, Parker draws his weapon and enters the
home.

70.

Parker stealthily moves through the house. When entering the
foyer he stumbles across a trail of muddy FOOTPRINTS. He
follows the trail to it's point of origin in the kitchen.

INT. KITCHEN - NIGHT

O'Brian's music hauntingly echos throughout the house as
PARKER enters the kitchen. He follows the FOOTPRINTS over to
the pet door. Still being cautious he turns and follows the
tracks of mud back out of the kitchen.

INT. STAIRCASE - NIGHT

Still following the muddy FOOT PRINTS he makes his way to
the bottom of the staircase. Parker begins to ascend the
stairs. Gun pointing forward he makes it to top of the
stairs and slowly creeps down the hall towards the source of
the music.

As Parker gets almost to the door he notices the damaged
inflicted to it. Parker peeks through the hole in the door
to see O'Brian body on the floor with three cannabi feeding
off the corpse.

Trying not to make any noise Parker begins to back up. He
backs up against the wall in the hallway contemplating his
course of action.

Parker approaches the door to once again peek inside. As he
looks in the cannabi are gone.

SHERIFF PARKER
Now where in the fu...

Before Parker can finish a creatures head drops down in
front of him. Hanging upside down the creature is face to
face with Parker. It lets out a scream.

SHERIFF PARKER
Holy Shit!

Startled, Parker immediately starts to back up down the
hall, firing his weapon at the creature.

Several rounds hit the cannabi and it falls to the ground.
As the creature begins to turn into dirt Parker notices the
disintegration.

The other two cannabi begin to climb through the hole in
the door towards Parker.

71.

Parker retreats down the hall shooting. Just as he is about
to run back down the stairs he notices several more cannabi
have began to congregate at the bottom of the staircase.

The cannabi look up at Parker and begin to climb up the
stairs after him.

Parker looks back down the hall to see the other two
creatures coming down the hall. With nowhere to go he runs
into the bathroom behind him and shuts the door.

INT. UPSTAIRS BATHROOM - NIGHT

Parker quickly looks for an escape. He notices a window. He
runs over to it. The cannabi pound viciously at the door.

Parker opens the window and looks outside to see the second
story drop. He looks back to the door. The blows from the
creatures causing the door to shake.

Parker options for the window. He begins to start to climb
out. The creature's relentless pounding is causing the DOOR
to splinter and give way.

EXT. OUTSIDE BATHROOM WINDOW - NIGHT

Parker lowers himself down out of the window. Hanging onto
the sill he looks down to ground below.

INT. UPSTAIRS BATHROOM - NIGHT

The cannabi finally start to come through. A few make it
over to the window. As they go to grab Parker's hands he
lets go and drops to the ground twisting his ankle.

EXT. O'BRIAN'S YARD - NIGHT

SHERIFF PARKER
(holding his ankle)
Sonuvabitch!

Parker tries his best to finally stand up. He gazes up to
the window. Two of the creatures are looking down at him.

With A bad limp Parker begins to run around the side of the
house.

The two cannabi watch as Parker rounds the corner out of
sight.

72.

While trying to run with his injury Parker looks behind him.
On the side of the house he sees several creatures in
pursuit. Almost insect like they stick to the side of the
house while closing in on Parker.

Parker holds his weapon up and begins to fire. Striking two
of the creatures they fall to the ground.

With still several creatures behind him Parker makes it to
the front of the house. He runs over to his squad car.

Two of the cannabi come from around the back of the house.
Still scaling the side of the house they leap off the wall
onto the ground and head towards Parker.

Parker hears the creatures closing. He turns and finishes
off the clip in his pistol killing both of the cannabi.

SHERIFF PARKER
These fuckers don't know when to
quit.

Parker climbs in his vehicle and starts it up. He swings the
CAR out of the driveway and speeds off.

Parker's CAR is seen heading off into the distance. One of
the remaining cannabi comes from behind the house. It heads
across the yard to the street and watches Parker's car. It
lifts it's head and lets out a cry of anger at the escaping
prey as the screen goes black.

EXT. ROAD LEADING INTO PROPHET HILLS - NIGHT

We see a POLICE CAR speeding towards town.

INT. SQUAD CAR - NIGHT

Inside of the car we see Danny behind the wheel. A voice is
heard coming over the police RADIO.

SHERIFF PARKER
(radio filtered)
Hicklin, you out there?

Danny reaches down and grabs the RADIO C.B.

INTER CUT BETWEEN DANNY AND PARKER

DANNY
Sorry sheriff, your deputy is
gone.

73.

SHERIFF PARKER
Who the hell is this? Kessler is
that you?

DANNY
Yeah, it's me. You and the Mayors
plan to get me out of town didn't
go so well for your deputy.

SHERIFF PARKER
I wanted no part of whatever
O'Brian was planning on doing with
you. Now where is Hicklin?

Danny hesitates for a moment.

DANNY
They got him.

SHERIFF PARKER
By "they" I'm guessing you mean
the same ugly bastards that just
killed the mayor.

DANNY
They got the Mayor too?

SHERIFF PARKER
I just came from his house where I
had to fight off a few of them to
get away. Do you know what they
are?

DANNY
I have a theory.

SHERIFF PARKER
What do we do?

DANNY
What do you mean we? I'm going to
get what little family I have out
of here. I suggest you do the
same.

SHERIFF PARKER
I have nobody.(pause)Danny I want
to know what the hell is going on?

74.

DANNY
Fine, I'm heading to Kelly's house
to get her and Haley. If I'm not
already to late. If you wanna know
than you meet me there.

INT. KELLY'S LIVING ROOM - NIGHT

Thunder rumbles as Haley stares out of the living room
window into the storm. In the background Kelly is seen
pacing.

HALEY
It's really coming down out there.
So much for the fair. You sure
he's coming back?

KELLY
He was pretty adamant about it.

Haley turns to Kelly.

HALEY
Mom, exactly why are you a nervous
wreck? I mean you say Danny is
coming to take us to the fair, yet
you look like you are waiting for
the worst news of your life.
What's really going on?

KELLY
Okay, look Haley your uncle showed
up here today and informed me...

The power goes out.

KELLY
(looking around)
Well this is just great.

HALEY
Did you forget to pay the electric
bill, or what?

KELLY
Haley, go and grab the flashlight
out of the kitchen drawer.

HALEY
The one next to the fridge?

75.

KELLY
Yeah, Hurry.

HALEY
Once again, your acting a little
weird mom. The power just went out
it's not the end of the world.

INT. KITCHEN - NIGHT

Haley goes into the kitchen to grab the flashlights. Kelly
makes her way to the front door and begins to check the
LOCKS.

Haley goes over to the DRAWER and opens it. She rummages
through everything eventually pulling out a FLASHLIGHT.
Haley turns it on and just as she is going to shut the
drawer she pauses. Gazing down at the drawers contents she
reaches down and removes the NEWSPAPER ARTICLES Kelly had
placed there earlier.

INT. LIVING ROOM - NIGHT

Kelly is lighting a few CANDLES on the coffee table.

HALEY
(off screen)
Mom, what are these?

Kelly turns to face Haley. Behind her Haley stands in the
doorway holding up the ARTICLES she has found.

HALEY
Do these have anything to do with
why Uncle Danny is really here?

Kelly sits down on the couch behind her.

KELLY
Come over here honey and sit down.

Haley approaches Kelly.

HALEY
Are the missing kids in these
articles connected to Jason and
Mandi?

Haley sits down next to Kelly.

KELLY
Look, the last five years Danny
has been searching for another
explanation of what happened the
(MORE)

76.

KELLY (cont'd)
night Shannon was killed.

HALEY
Other than an animal attack you
mean?

KELLY
Yes.

HALEY
Did he figure anything out?

KELLY
Well, some professor he met put
the idea in his head that....well
monsters took Jason and Mandi, and
they killed Shannon as well.

Haley stares down into her lap for a moment.

            HALEY
      (Looking back up
       at Kelly)
What do you believe?

KELLY
I believe Danny loved Shannon and
the kids very much and can't
rationalize what happened. So I
believe he might be a little
delusional. At the same time he is
so convincing you can't help but
feel there is something not right
with it all.

Kelly reaches out and places her hand on Haley's shoulder.

KELLY
Look no matter what..

CRASH!!

The WINDOW behind Kelly and Haley shatters as one of the
cannabi breaks through it, grabbing Kelly.

Haley screams as she jumps up off the couch.

The cannabi begins to make it's way through the window.
Kelly punches and kicks trying to loosen the creatures grip
on her shoulder.

77.

Haley wide eyed and frightened runs to the end table picking
up a LAMP. She crashes it over the head of the cannabi.

The cannabi lets go of Kelly. Haley helps Kelly off the
couch as the creature retreats out the window after the
blow.

HALEY
Mom, what is it?

KELLY
I don't know, but we gotta get the
hell outta here.

CRASH!

Another WINDOW gets busted out. More cannabi starts to crawl
into the house.

KELLY
Out the front door. Lets go!

Kelly and Haley run to the front door as several of the
creatures begin to chase after them.

Once they have made it to the door Kelly starts to fumble
with the LOCK trying to get it open. The cannabi are now
just a few feet from them and closing.

HALEY
Mom, hurry! They're coming!

KELLY
I'm trying! I'm trying!

Finally Kelly concentrates long enough to get the door
unlocked.

CLICK!

KELLY
Yes, got it.

Kelly grabs Haley and looks up at the approaching creatures.

KELLY
Come on!

Kelly swings the front door open and there stands Parker
pointing a shotgun right in the face of Kelly.

SHERIFF PARKER
Both of you get down!

78.

Kelly and Haley both drop to the ground on their stomachs.

BLAM!BLAM!BLAM!

Parker unloads on the approaching cannabi. The gunshots take
out the creatures before they can get to Kelly and Haley.

The last cannabi is taken down. Parker holds his aim until
he is sure there is no more of them are coming.

SHERIFF PARKER
Are you both okay?

Parker reaches down and gives Kelly and Haley a hand getting
to their feet.

KELLY
Yes, I think so. Haley are you
okay sweetie?

HALEY
(shaken up)
Mom? What were those things?

KELLY
Danny's monsters. So much for him
being delusional.

Parker motions them both out of the house.

EXT. KELLY'S HOUSE - NIGHT

KELLY
Sheriff, where is Danny?

SHERIFF PARKER
He should be here any second.

KELLY
Why are you here? Not that I'm
ungrateful for you saving our
lives.

SHERIFF PARKER
Danny and I decided to meet here.
He promised me an explanation on
what the hell is going on around
here. Do you know?

KELLY
Just bits and pieces.

79.

HALEY
Mom are they responsible for Jason
and Mandi?

KELLY
I think so.

HALEY
Then they killed Aunt Shannon as
well then?

KELLY
Yes.

Up the road in the distance we see an approaching police CAR
with its lights on.

SHERIFF PARKER
Here comes Danny now.

Parker starts to reload his shotgun.

HALEY
So what happens now?

KELLY
We get the hell out of town.

The SQUAD CAR finally pulls up to the house. Danny gets out
of the car and runs up to Kelly and Haley.

DANNY
Is everyone okay?

Danny hugs both Kelly and Haley.

KELLY
I was getting worried.

DANNY
Sorry. I got a little held up.

They all look over to the SQUAD CAR that is now all beat up.

KELLY
I'll say.

Danny looks to Haley.

HALEY
Hey, uncle Danny.

80.

DANNY
Wow, you got big. I sure missed
you.

HALEY
Me too.

A scream pierces the night. Parker raises his shotgun.

SHERIFF PARKER
Don't mean to cut short your
reunion but we should probably get
going before more of those things
come around. We'll take my car.

HALEY
And get the hell out of the rain.

DANNY
(standing)
Your right we should get going. We
just have to make it out of town.

The four of them begin to get into Parker's squad car. Danny
stops Parker before he can get in.

DANNY
Hey, I just wanted to say thank
you. For saving them.

SHERIFF PARKER
Protect and serve right. Let's get
out of here.

INT. SQUAD CAR - NIGHT

In the back seat Haley rest her head on Kelly's shoulder.
Kelly has her arm around Haley holding her close. The sound
of heavy rain is heard hitting the roof of the car. Danny
turns to face Kelly.

DANNY
Is she gonna be alright?

Haley lifts her head off of Kelly's shoulder.

HALEY
I'll be fine. Just a little shaken
up. After all I was just attacked
by a bunch of freaking monsters.
Uncle Danny what is going on?

81.

SHERIFF PARKER
That is definitely a good
question. You going to tell us or
what? Are these things responsible
for all the kids missing over the
years?

KELLY
Go ahead and tell them Danny. I
think they will believe you. They
saw for themselves.

DANNY deliberates for a moment.

DANNY
Okay. Yes, they are responsible.

SHERIFF PARKER
How come we never seen them
before? I mean the way O'Brian
made it seem there have been kids
coming up missing as long as the
town has existed.

DANNY
For every kid that is taken they
turn into more of those things.

SHERIFF PARKER
I've seen what happens once
they've been killed.

DANNY
You mean with them turning into no
more than a pile of wet earth.

SHERIFF PARKER
Yeah. Guess that would explain the
large piles of mud upstairs in
your house the night Shannon was
killed.

DANNY
Those piles were actually two of
the things that took my children.

SHERIFF PARKER
We had assumed it was brought in
with whatever animal took your
children.

82.

HALEY
So Jason and Mandi are one of
those things now?

DANNY
Yes. They are. As far as nobody
ever seeing them, well I guess
they were kinda shy before their
numbers increased. They aren't
hiding anymore.

HALEY
How many do you think there are
Uncle Danny?

DANNY
I don't know honey.

EXT. SQUAD CAR - NIGHT

The SQUAD CAR starts to slow and eventually comes to a
complete stop.

INT. SQUAD CAR - NIGHT

SHERIFF PARKER
Oh, my god.

DANNY
What is it?

Danny looks over at Parker who's gaze is fixed on the road
ahead of them.

KELLY
Why are we stopping?

Danny looks ahead to see what has captivated Parker.

DANNY
Holy shit.

Kelly and Haley both lean up in the seat to get a look.

EXT. MAIN STREET - NIGHT

In front of them they see the town of Prophet Hills thrown
into total chaos.

There are PEOPLE running all over with cannabi chasing after
them. Several VEHICLES have been wrecked. Screams are heard
throughout the town as many of the residence of Prophet
Hills fall prey to the invading masses of creatures.

83.

INT. SQUAD CAR - NIGHT

KELLY
Okay. I have seen enough. Can we
go now please?

HALEY
Man, the fair sounded so good too.

As Haley sits back in the seat, we see one of the creatures
pressed up against the window looking in at her. It begins
to hiss. Haley sees the creature.

HALEY
AAAHHHHH!

The scream gets every ones attention. They notice other
cannabi are approaching the car as well.

DANNY
Fucking go man! Go!

Parker slams the PEDAL to the floor. The car takes off.
Parker turns left and right trying to avoid PEOPLE and
abandoned CARS in the street.

Haley looks out her window as a CAR comes speeding towards
them.

HALEY
Look out!

EXT. MAIN STREET - NIGHT

The oncoming CAR hits the rear quarter panel of the squad
car. The impact spins the SQUAD CAR out of control.

INT. SQUAD CAR - NIGHT

SHERIFF PARKER
Everybody hang on!

EXT. SIDEWALK IN FRONT OF APPLIANCE STORE - NIGHT

The SQUAD CAR goes up over the curb and crashes through a
store front window.

INT. APPLIANCE STORE - NIGHT

The SQUAD CAR sits motionless. Smoke rises from under the
hood. Underneath we see FUEL has started to leak out of the
vehicle.

84.

INT. SQUAD CAR - NIGHT

Parker lifts his hand to his head to see blood on his
FINGERTIPS.

SHERIFF PARKER
Everyone okay?

Danny reaches up grabbing his shoulder.

DANNY
Yeah, I think so. You girls okay
back there?

KELLY
I'm fine. Haley, you okay?

HALEY
Other than an emptied bladder,
I'll be fine.

INT. APPLIANCE STORE - NIGHT

As they all start to exit the car. Danny looks and surveys
the PATH the car had made through the store.

Danny glances up at the window they just crashed through.
Outside in the street in front of the store several cannabi
start to head towards the store.

SHERIFF PARKER
Should be a couple of flashlights
in the back with some extra
shells. We better grab them.

DANNY
Hey guys?

Parker helps Kelly and Haley out of the car. Kelly follows
Parker to the rear of the car. Parker pops the trunk and
gives Kelly two flashlights.

SHERIFF PARKER
Extra shells must be in the glove
box. I'll check.

DANNY
Guys!?

SHERIFF PARKER
What is it?

85.

DANNY
We are about to have company.

Cannibi begin to pile into the store. Climbing on the walls
as they enter through the now busted open window.

DANNY
Guess we ain't going out that way.

SHERIFF PARKER
Everyone to the back of the store,
now!

Parker begins to fire at the onslaught of approaching
creatures. He is able to take several out with his shotgun.
Danny begins to fire as well.

While Danny and Parker continue to fire, Haley and Kelly
make their way to the back of the store.

INT. BACKROOM - NIGHT

HALEY
Look mom, that's gotta be the back
door.

KELLY
I hope your right.

Kelly and Haley both run up to the DOOR. It does not budge
as they push on it.

KELLY
Shit!

EXT. ALLEY BEHIND STORE - NIGHT

Outside we see a wrecked CAR up against the door is
preventing their escape.

INT. APPLIANCE STORE - NIGHT

Parker and Danny continue to fire on anything that
approaches.

SHERIFF PARKER
Get to the back. I'll hold them
off.

DANNY
What?

86.

SHERIFF PARKER
Grab the other shells out of the
glove box. Go on, I'm right behind
you.

DANNY
You better be.

Danny leans in the vehicle and opens the GLOVE BOX taking
the remaining ammo. Danny fires off one last round and runs
to the back. As Parker turns to begin firing he looks down
and notices the GASOLINE leaking from under the car.

INT. BACKROOM - NIGHT

We cut to Danny running towards Kelly and Haley.

DANNY
What is it? Whats the matter?

HALEY
The doors stuck.

KELLY
She's right, it won't budge. What
are we going to do?

Danny starts to look around the back room.

HALEY
(off screen)
Wait, whats this?

Danny looks over to Haley and sees her removing a RUG to
reveal a DOOR underneath it.

KELLY
What is it? A cellar door or
something?

Danny runs over and pulls at the latch until it finally
opens.

DANNY
Hand me your flashlight.

Kelly gives Danny her FLASHLIGHT. Danny shines it down into
the dark.

HALEY
You see anything?

87.

DANNY
Looks like a bunch of tunnels. A
little bit of water. Doesn't look
too deep. I think it could be our
way out.

INT. APPLIANCE STORE - NIGHT

We cut to Parker. Cannibi are still approaching. With no
more ammo in his rifle he starts to pat down his POCKETS

SHERIFF PARKER
C'mon, where are you? There you
are.

Parker pulls from his pocket a ZIPPO lighter.

Danny comes running up behind Parker.

DANNY
Hey, we found a way out. Lets go.

SHERIFF PARKER
Get ready to run.

Danny notices the lit ZIPPO. He then looks down to see the
GAS that has formed into a nice size puddle by now.

DANNY
Oh, shit.

Danny turns and runs toward the back.

SHERIFF PARKER
This should keep you warm.

Parker throws the LIGHTER to the ground. The GAS ignites.
Parker turns and starts to run to the back of the store. The
FLAME follows the trail of gas toward the car.

INT. BACKROOM - NIGHT

We cut to Parker running into the back room. Danny starts to
climb down into the tunnels. He jumps down into the water.

INT. APPLIANCE STORE - NIGHT

Creatures begin to make their way around the squad car. The
FLAME continues to spread until the car is consumed in fire.

INT. BACKROOM - NIGHT

Parker starts to descend into the floor.

88.

INT. APPLIANCE STORE - NIGHT

KABOOM!!

The squad CAR explodes killing every cannabi around it. The
blast reaches even to outside on the street. As finally the
entire store explodes.

INT. BACKROOM - NIGHT

Parker looks down the hall to see a wall of FLAME
approaching him.

Just before the fire reaches him Parker pulls the door
closed and drops to the shallow water below.

INT. TUNNELS UNDER PROPHET HILLS - NIGHT

The sound of the blast echos throughout the dimly lit
corridor.

Danny reaches down helping Parker to his feet.

DANNY
A little overzealous, aren't ya
Parker?

The four of them stand knee high in water. Haley and Kelly
shine their flashlights down several different PASSAGEWAYS.

SHERIFF PARKER
Hey, it worked didn't it? Should
by us a little time anyway.

Haley shines her light down into the WATER.

HALEY
So, where exactly are we?

SHERIFF PARKER
These tunnels run under the whole
town. We could probably follow one
all the way out of town.

KELLY
Sheriff, you know your way out of
here?

Parker looks around at the possible routes they could try.

89.

SHERIFF PARKER
Not really. Figure just follow one
until we can't go any further.It's
a small town. One way either
direction we would eventually come
to the edge of town. What do you
think, Danny?

DANNY
As long as we don't go in circles
all night.

HALEY
What if those things are down
here?

DANNY
I'm thinking if they can only come
out every five years, they will
probably take advantage of it and
stay topside.

Parker thinks for a moment.

SHERIFF PARKER
In five years we are gonna have to
go through this again?

DANNY
Yeah, and there will be more of
them too.

Danny throws Parker some shotgun shells.

KELLY
Is there a way to stop them?

DANNY
We should probably start moving.

Danny begins to wade through the water. Kelly grabs his arm.

KELLY
Can we stop it?

DANNY
I don't know.

KELLY
What about your Professor?

90.

SHERIFF PARKER
What Professor? Who is she talking
about?

KELLY
The Professor that Danny got all
his information from on whats
going on.

Parker walks up to Danny.

SHERIFF PARKER
Would he know?

DANNY
If anyone was to know a way, it
would be him.

KELLY
How do we find him Danny?

DANNY
He's over in the middle east
somewhere on a dig or something.
Exactly where are you going with
all this?

KELLY
I say we find him. See if he knows
a way to stop them and do it
before they hit us again in five
years and its too late.

SHERIFF PARKER
Count me in.

Danny looks at both Kelly and Parker for a moment.

HALEY
It would be kinda cool to save the
world.

DANNY
I think your all nuts.

KELLY
C'mon Danny, you know..

            DANNY
      (interrupting)
No way Kelly. Save the world. Look
I couldn't save my family. I can
barely save you guys. Jesus
Christ, what do you think my odds
            (MORE)

91.

DANNY (cont'd)
of saving the whole fucking planet
would be?

KELLY
But you wouldn't be alone in this.
We would be with you. Plus if
other places around the world were
hit like we were, then that means
there are people out there who
will believe us. We could try and
find survivors, and try and get
them to help as well.

SHERIFF PARKER
Besides, saving the world sounds
like a job for more than one man.

Danny lowers his head, contemplating what to do.

KELLY
We could prevent others from
suffering as we all did. I don't
think we can honestly go back to
the way things were before tonight
anyway. I think we owe Shannon's
memory at least that.

Danny glances from Kelly to Haley. After debating only for a
moment.

DANNY
All right. For now we worry about
surviving the night. Then tomorrow
we track down Professor Phillips.
Even if it takes us to the Middle
East. We'll find out if he knows a
way to stop it.(pause) Then we go
and try and save the world.

EXT. THE MIDDLE EAST - NIGHT

A vast landscape of sand dunes fills the screen. Letters
superimpose over the bottom "Twenty miles East of Damascus".

Being hours ahead of Prophet Hills the morning SUN starts to
peek over the horizon.

The morning light reveals an encampment. Dozens of men are
seen digging into the earth swinging pick axes. Others
remove mounds of dirt with shovels revealing the top of an
ANCIENT TEMPLE.

92.

We see a woman, SAGE HEPNER, late twenties, brown hair, and
attractive. She makes her way through the trenches that have
been dug into the earth. She follows them until she reaches
an entrance that has been made into the temple through the
exposed portion.

INT. TEMPLE ENTRANCE - MORNING

Upon entering Sage pulls a flashlight out off a bag she has
hanging off her shoulder.

Sage turns on the light and follows the slopping path that
leads from the top of the temple down to the main hall still
fifty feet underground.

SAGE
Professor? You down here?

Sage continues until she sees several lights set up around a
nine foot PILLAR in the main hall. We see an older man,
PROFESSOR PHILLIPS, late sixties with glasses using a brush
to clean off the ENGRAVINGS that populate the outside of the
pillar.

PROFESSOR
Over here Sage.

Sage walks up looking the PILLAR up and down.

SAGE
Reports from your scouts have come
in. Of the six caverns that have
been exposed to the night, all
surrounding areas were hit hard.
At least up to a thirty mile
radius.

Professor Phillips puts down his brush.

PROFESSOR
And the children?

SAGE
All taken.

Professor Phillips removes his glasses and cleans them using
his shirt.

SAGE
It's really going to happen isn't
it? I've been your assistant now
for two and a half years
Professor, and I have to tell you,
(MORE)

93.

SAGE (cont'd)
I'm pretty scared about all this.

PROFESSOR
You should be scared. Come here
Sage. Let me show you something.

Professor Phillips adjust one of the portable lights up to
the top of the PILLAR.

PROFESSOR
The entire genesis of my life's
work is documented on this pillar.

Sage surveys the carvings.

SAGE
Can you read them?

PROFESSOR
Cuneiform isn't the easiest thing
in the world to read. The Sumerian
alphabet contains about five
hundred and fifty characters.
Sumerian scribes had to endure
years of strict schooling to
obtain their skills.

SAGE
Do you happen to know any scribes?

PROFESSOR
No, but I should be able to give
you the just of it.

We pan across the different SYMBOLS.

PROFESSOR
The carvings tell us about an age
of darkness that existed eons ago
before man, or even time as we
know it. The ancient god Tiamat
ruled the cosmos. Her and her son
Kingu, general of her army of
ghouls ruled the universe with
fear and terror.

SAGE
I know my Sumerian History
Professor. Does it say anything
about a way to stop it.

94.

PROFESSOR
Eventually the elder god MARDUK
stepped forward to end Tiamats
tyranny over the universe. A war
between the two Gods raged until
Marduk had a weapon forged. Thus
the Disc of Power was made.

PROFESSOR PHILLIPS points at a depiction of the Disc on the
PILLAR.

PROFESSOR
That's it there.

SAGE
So what did he do with it?

PROFESSOR
Well Marduk slayed Kingu and
Tiamats army of ghouls, called
cannabi. Then he eventually
defeated Tiamat as well.

SAGE
Well if he defeated her then how
can she come back?

PROFESSOR
Marduk used the blood of Kingu to
create the race of man. The earth
was created to imprison Tiamat.

SAGE
So we were made from the blood of
her son? No wonder she's pissed at
us, and why imprison, not kill?

PROFESSOR
I don't think you can truly
destroy a god.

SAGE
How is she able to come back now?

PROFESSOR
Since her imprisonment she has
slumbered in the earth. Surviving
cannabi from her army have
occupied the caverns beneath us
for centuries. Coming up every
five years to collect more
recruits for her army.

95.

SAGE
By recruits, you mean children?

PROFESSOR
Right. Soon Tiamat will have
drained enough of the life force
from our children to where she and
Kingu will again rise, and with
her army replenished a wave of
slaughter will wash every living
thing off the planet.

SAGE
Jesus Christ.

PROFESSOR
And with Earth as her throne she
will once again rule the cosmos.

SAGE
We can't do anything?

PROFESSOR
The disc is buried in a tomb
underneath this temple, we have to
reach it.

SAGE
Then what?

PROFESSOR
We must get it to The Temple of
Anu deep in the Zagros Mountains.

Sage pauses in thought for a moment.

SAGE
Professor the Zagros Mountains are
about eight hundred miles east of
here. If the Disc is suppose to be
in the Temple of Anu why is it all
the way near Damascus?

PROFESSOR
About five thousand years ago a
great flood wiped out Mesopotamia.
Scattering pieces of its culture
all over the middle east.

SAGE
The same flood Plato suggest took
Atlantis?

96.

PROFESSOR
The very one. About 2700 B.C. King
Gilgamesh of Uruk on a pilgrimage
to find eternal life came to
Damascus and encountered a sole
survivor of the great flood. An
immortal who claimed to posses the
disc after the flood. Gilgamesh
knew of the importance of the
disc. Once he obtained it he and
the immortal had this temple built
to protect it from allies of
Tiamat.

SAGE
So what of the immortal?

PROFESSOR
Some say the immortal is still in
the tomb beneath this temple
protecting it.

SAGE
Great.

PROFESSOR
There is still one more thing we
need if we are to stop her rising.

SAGE
What's that?

Professor Phillips shines a light on a specific
HIEROGLYPHIC. It is an image of a figure holding the disc
high above his head.

PROFESSOR
It is said only one may enter the
temple to deliver the disc to
Marduk. Someone special.

SAGE
Any ideas on who?

PROFESSOR
Oh yes. I believe I know who he
is.

SAGE
Well shouldn't we go find him?

97.

PROFESSOR
Not to fear my young assistant. If
all goes as prophesied soon Mr.
Kessler will come to me.

INT. TUNNELS UNDER PROPHET HILLS - NIGHT

Four figures move down the long dark corridors under the
town. Flashlights shining all around as they move.

Parker and Danny lead with their shotguns as Haley and Kelly
follow close behind.

DANNY
How are your injuries?

SHERIFF PARKER
Ankle still hurts. Just a cut on
my head. I'll live.

DANNY
Can I ask you something Parker?

SHERIFF PARKER
Absolutely.

DANNY
Well, for one thing you don't seem
to be as much as an asshole as
O'Brian. You strike me as a decent
human being.

SHERIFF PARKER
I tend to get nervous when I feel
people are buttering me up for
something.

DANNY
No it's not that. It's just well,
how did you end up in Prophet
Hills?

Parker looks back to check on Kelly and Haley. They both
seem fine other than the look of disgust at the water they
are wading through.

SHERIFF PARKER
About twelve years ago I was a cop
in New York. I was on the beat,
walked into a corner store to get
some gum. See I had promised my
wife I would quit smoking, so I
was chewing a lot of gum at the
(MORE)

98.

SHERIFF PARKER (cont'd)
time.

DANNY
What happened?

SHERIFF PARKER
Well when I walked into the store
I did not know it was being held
up at the time. I entered and
there was this guy with a gun. I
drew my weapon and fired hitting
the perp in the shoulder.

DANNY
Sounds like you got there just in
time.

SHERIFF PARKER
Wish it had been that easy. The
bullet passed through the perp and
went into a closet behind him.
Where unknown to me the store
owners nine year old son had been
hiding.(pause) I killed him.

DANNY
I'm sorry Parker.

SHERIFF PARKER
Well we fast forward several
years, I had lost my badge, my
wife left me and took my son with
her. Bad memories surrounded me in
New York. So I moved out here.
O'Brian offered me the job as
Sheriff. All I had to do was keep
a few things quite.

DANNY
Like the missing kids?

SHERIFF PARKER
Mainly the missing kids. The night
your wife was killed we didn't
know what to think.

DANNY
So why help me now?

SHERIFF PARKER
From the sounds of it. You might
need me. Besides I joined the
force when I was young to help
(MORE)

99.

SHERIFF PARKER (cont'd)
people. Do you know how long it
has been since I have had a sense
of purpose? Plus a little
redemption would be nice.

DANNY
I know a little of redemption
myself.

KELLY
Do either one of you know where we
are going?

Danny stops and waits for Kelly and Haley to catch up.

DANNY
Don't drift to far behind, get up
here with us.

SHERIFF PARKER
Shouldn't be to much further. The
both of you should stay in between
Me and Danny.

DANNY
Haley, are you holding up okay?

HALEY
Uncle Danny, this water is cold
and gross.

DANNY
Come on, you can stick it out.

Parker lets Danny, Kelly and Haley walk in front of him so
he can cover the rear.

As the three of them pass by Parker a splashing sound from
behind them gets his attention. He points his shotgun down
the dark CORRIDOR waiting for any sign of movement

HALEY
I swear it feels like we've walked
to China and back.

DANNY
Should only be another hundred
yards or so.

Parker still looks down the corridor with his gun raised.
Still no sound. With one of his hands he shines his
flashlight down the tunnel then into the water. He stares

100.

for a moment into the swirling dark water. Just then one of
the cannabi springs up out of the water onto the ceiling.

SHERIFF PARKER
Fuck!Everybody run!

Danny, Kelly and Haley all turn towards Parker.

Parker fires at the on the ceiling killing it. Other
cannabi begin to leap out of the water onto the walls and
ceiling of the tunnel. They scurry towards Parker as he
continues to fire.

DANNY
Let's go!Let's go!

Danny pulls at both Kelly and Haley as the three of them
have difficulty running through the knee high water.

Parker continues to bring up the rear. Limping through the
water occasionally shooting at any creature that gets to
close.

As Danny, Kelly and Haley press on in front of Parker a high
pitch scream echos throughout the tunnel ahead of them.

DANNY
God, give us a fucking break would
you!

The three of them look ahead and see clinging to the walls a
dozen cannabi racing towards them.

KELLY
Don't think he got that message.

The hideous demons approach them from both sides.

SHERIFF PARKER
Somebody better think of
something!

Danny backs up with Kelly and Haley until he hits something.
Danny turns to see a ladder.

DANNY
Hold this.

Danny hands Kelly his shotgun and starts to climb up. He
pushes on the latch opening it. He then jumps back down.

DANNY
Everybody up!

101.

Kelly hands Danny back his shotgun.

KELLY
Where does it go?

Danny looks at the approaching creatures from both sides.

DANNY
Do you really care? As long as it
isn't here.

KELLY
Good point.

SHERIFF PARKER
I'm about out of shells. You
better hurry.

Kelly ascends the ladder. Danny fends off creatures from one
side as Parker covers the other. Haley follows Kelly up the
ladder.

DANNY
Okay, Parker your next. Go.

SHERIFF PARKER
Forget it! Get up there with your
family. I'll hold them. No
arguing.

DANNY
Shit.

Danny makes his way to the top. He lays on his stomach with
his arm reaching down to Parker.

DANNY
Come on Parker! Give me your hand.

Parker continues to fire, now in both directions.

SHERIFF PARKER
I think it's a little late for
that. Go on. They'll just follow
me up.

DANNY
Fuck that! We can all get out of
here. Don't go and be a hero.

Parker notices a aqua duct in the wall across from him. He
then looks up at Danny.

102.

SHERIFF PARKER
Redemption, right?

DANNY
Not on my account, now come on!

SHERIFF PARKER
I'll be seeing you.

Parker runs and dives into the aqua duct. Several cannabi
follow.

DANNY
PARKER!? PARKER!?

Danny stares down onto the water. Two creatures run into his
line of sight and look up at him. They immediately start to
climb the ladder as Danny closes the LATCH just before they
get to it.

INT. BASEMENT OF CHURCH - NIGHT

Danny slams the latch shut and slides a heavy trunk over it.
The LATCH shakes from the creatures below pounding to get
in.

HALEY
Will they be able to get in?

DANNY
I don't think so.

KELLY
Parker?

DANNY
He led them away from the ladder.
I don't know if he made it or not.

HALEY
Where are we?

Haley shines her flashlight around investigating their
surroundings.

Danny runs up a small flight of stairs to a door and opens
it. As he peers in we see the inside of a dark church. STAIN
GLASS WINDOWS with biblical figures are seen. The PEWS that
are filled every Sunday for mass are now empty.

103.

Kelly begins to also investigate the contents of the
basement. She looks around until an old COAL CHUTE catches
her eye.

Danny closes the door and heads back down into the basement.

DANNY
Looks like we're in the basement
to the church. I should sneak up
to the front of the and see if
there is a vehicle close by.

HALEY
Definitely beats walking.

Kelly shines her light into the COAL CHUTE and sees nothing.

DANNY
What do you think, Kelly?

Kelly takes her attention off the coal chute and turns to
Danny.

KELLY
A car sounds good, but how will
you even know i........

Before Kelly can finish A cannabi leaps out of the coal
chute and sinks its teeth into Kelly'S throat.

KELLY
AHHHHH!

HALEY
MOM!NO!

Kelly thrashes around trying to get the creature off of her.

DANNY
Sonuvabitch!

Danny runs up and smashes the cannabi in the head with the
butt of his shotgun. The creature lets go of Kelly and it
drops to the ground.

Haley runs up and holds Kelly as she lays her down to the
ground.

Danny walks over to the creature, plants a FOOT in it's
chest and blows its head off with his shotgun.

Haley rips off one of her sleeves and applies pressure to
the wound on Kelly's neck.

104.

HALEY
(sobbing)
Mom, your gonna be okay. Mom stay
with me.

Danny runs up kneels down next to Haley.

DANNY
No Kelly. I'm not going to let you
do this.

Danny looks up towards the COAL CHUTE as the sounds of more
cannabi climbing through it is heard.

DANNY
Shit.

Danny runs over sets his shotgun down and starts to slide a
bookshelf in front of the chute to block it off.

The wound on Kelly's neck prevents her from talking. She
coughs up blood as she tries to get the words out.

KELLY
Hal..(cough).

HALEY
Don't talk mom. Save your
strength.

Kelly grabs Haley's HAND and holds it tight.

Danny holds the bookshelf as it starts to break apart as
cannabi try to get in.

DANNY
It's not going to hold!

Haley leans down and hugs Kelly as tears roll down her
cheeks.

HALEY
I love you, mom.

While Kelly and Haley hold each other Kelly's ARMS go limp
and fall to her sides. Haley sobs heavily while she
continues to hold her mom.

Danny looks over to Haley and Kelly. Realizing Kelly has
passed Danny lowers his head.

105.

Haley gently lays Kelly's head to the ground. She stands up
wiping the tears from her face. Then with a look of purpose
she runs over to the bookshelf to help Danny.

Haley and Danny both try and hold the bookshelf against the
opening.

DANNY
I'm sorry. I failed all of you.

HALEY
You didn't fail anything. None of
this is your fault. We probably
wouldn't of lasted this long if
not for you. Let's just get out of
here.

DANNY
All right, I say we go out the
front of the church and try to
find a vehicle. I still have some
rounds. We can try blasting our
way.

The BOOKSHELF violently shakes.

DANNY
Can you reach down and grab the
shotgun. I'll hold the bookshelf.

HALEY
You got it?

DANNY
Yeah, just grab the gun.

Haley reaches down and picks up the shotgun.

HALEY
Okay, now what?

DANNY
Get ready to hand me the gun. When
I let go of this we run up the
stairs and out through the front
of the church.

Haley looks over to her Kelly'S body.

HALEY
I'm ready.

Creatures HANDS are seen reaching from around the bookshelf.

106.

DANNY
Okay, now!

Haley hands Danny his shotgun. They both start to run up the
stairs. Danny turns as the cannabi push aside the bookshelf
and start to climb into the basement out of the chute.

Danny starts to fire at the creatures who are coming up the
stairs after them. Some cannabi rush over to start feeding
off Kelly.

INT. MAIN HALL OF CHURCH - NIGHT

Haley swings the basement door open and both her and Danny
make their way into the church.

DANNY
Keep going, all the way out the
front doors!

Haley and Danny make their way down the center of the aisle.
All of a sudden the stain glass windows start to shatter out
as creatures leap through them.

HALEY
They're blocking the doors. Now
what?

Danny turns around to see the cannabi coming up out of the
basement.

DANNY
Stay out of my line of fire!

Danny begins to fire the last few rounds off. Creatures
approach from both sides.

CLICK

Danny looks down and realizes he is out of shells. Danny
throws the shotgun to the ground.

Haley watches as more cannabi approach. She hugs Danny tight
and buries her face into his shirt.

The stain glass WINDOWS starts to get noticeably brighter.

The storm has passed and the soft hint of reds and lavenders
start to fill the sky as the sun begins to rise.

Danny and Haley stand in the middle of the church holding
each other as the cannabi encircle them.

107.

Danny looks up to the ceiling at all the ANGELIC FIGURES
painted on it.

DANNY
I tried Shannon, I really tried.

A noise brings Danny's and Haley's attention to the front
doors of the church. A car horn.

Cannabi also hear the noise and slowly approach the DOOR as
the sound of the horn gets louder. Just as they are reaching
the doors they fly open as an old pick up TRUCK drives up
into the church.

DANNY
Get down!

Danny gets him and Haley out of the way as they take cover
on the ground.

The PICK UP runs over several cannabi until it finally
stops. Through the smashed out WINDOWS and the DOUBLE DOORS
the truck just drove through, the rising suns LIGHT starts
to fill the church. As the remaining cannabi are exposed to
it they shriek in pain before finally they all start to
explode..

Silence fills the church.

Danny and Haley peek their heads up and look around as the
dust settles from all the chaos.

DANNY
You okay?

HALEY
(coughing)
Yeah, I'm alright.

The pick up TRUCKS driver side door swings open. A figure
steps out.

SHERIFF PARKER
Anyone need a ride?

DANNY
Glad you could make it.

SHERIFF PARKER
Hey, protect and serve. Right?

Parker limps over towards Danny and Haley.

108.

SHERIFF PARKER
(looking around)
Where's Kelly?

Danny and Haley look at each other.

DANNY
She's gone.

Parker looks to Haley.

SHERIFF PARKER
I'm sorry.

HALEY
Me too.

Danny starts to leave when he looks down and notices one of
the body's of the creatures. As it disintegrates something
shinny catches his eye. Danny reaches down into what is now
no more than a pile of dirt.

HALEY
What is it Uncle Danny?

Danny lifts his hand to reveal the shiny object is a
NECKLACE with a heart, and the word "Sacred" on it.

Danny's eyes start to glaze over.

DANNY
Mandi's necklace.

Danny walks over to Haley and puts the NECKLACE on her.

DANNY
Take care of this would ya?

HALEY
Would be happy to.

The three survivors walk towards the front doors of the
church. Danny holds his hand above his eyes as the morning
sun blinds him.

They exit the church and stand on the front steps. They
survey the town of Prophet Hills and what is left of it.
Haley closes her eyes and lets her face bask in the morning
sun.

            HALEY
      (voice over)
Our lives from that night took on
whole new meanings. The three of
            (MORE)

109.

HALEY (cont'd)
us decided we would do what we
could to save the rest of the
world. We would start by trying to
find survivors from the other
cavern locations and get them to
help. Then we would search for the
Professor and try to find a way to
stop this. We knew this was just
the first battle in the coming war
for mankind. There would be more.
However, next time we will be
ready.

FADE OUT.

Feedback

From Aaron G. White	Date 4/14/2008
Great script. Congrats on selling it, and on the release of the film.

From Nick Hanks	Date 2/24/2008
Well I gotta tell ya from a writer's perspective you meant well but it just didn't do it for me. The first time I saw the word "pan" it started to reek of inexperience. Never, under any circumstances, give camera direction in a spec script. That job is to be left up to the directors. There are way too many words in this script, I didn't get a feel for the concept of the story because no producer or underling would want to pour over all the words in this script. A spec script should be designed to sell the story using ONLY action and dialogue, anything else is completely superfluous. I'm not saying it's a lost cause though, but you have to shorten all dialogue and direction. Make it to were I have no trouble reading it quickly, that together with a great concept and you'll sell this script. As we say in the business, this one is in need of a rewrite. That is not meant to be an insult by the way. It is not uncommon for writers to write and then rewrite a script 4 or 5 times. The magic is all in the rewrite. Hope this helps.

From Tri Xuan	Date 2/7/2008
Not sure what happen to my first post, but I'll say it again... This screenplay rocked! I read it in a few hours and was hooked. The only reason I gave it a 3.5 is cause there was no spot for a 3.95 ha ha ha! Some things were predictable, but non the less still very entertaining. We look for more from you. If this was made into a movie they would need to spend 80 million to due it any justice!

From Jillian	Date 11/26/2007
I was drawn in from the beginning! I read this at work and all I wanted to do was keep reading to find out what happens. Being descriptive is very hard for some people, but you pulled it off on that as well as dialogue. Great job! Look forward to reading some more of your work.

From Chris	Date 11/9/2007
Instead of saying things like, "EXT. BACKYARD OF A HOUSE - NIGHT", you should say, "EXT. HOUSE - BACKYARD - NIGHT"

From Justin	Date 8/20/2007
Very nice...Action begins a little too quick, but...in the end it really grabbed alot of good attention towards me. I think this is great work from yourself

From Stuart	Date 8/13/2007
grabbed my attention from the get go, liked the characters. Dialogue was good too, stuttered a bit and became a little awkward at very few points but really good overall, thats the only reason i didnt give you a 4.

From Connor Dillon	Date 8/6/2007
Dude, thats really good. I want this to be in theaters, man. Not only is it attention grabbing, but also very inspiring.

From John Thompson	Date 7/30/2007
I agree! This was extremely awesome man.I was on the edge of my seat.You've got talent bro' keep it up!Keep giving us more.

From chudi okoye	Date 7/30/2007
Great, I'm usually one for Psychological horror- but this was well-paced interms of character development and although i wasn't spooked thaat much- i was engaged, which in my opinion is a harder thing to do

From Mark Scherer	Date 7/25/2007
This is a great script. I was spooked during several parts of it. Excellent dialog and character development. Well done.

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