diff --git "a/scripts/Pet Sematary.txt" "b/scripts/Pet Sematary.txt" new file mode 100644--- /dev/null +++ "b/scripts/Pet Sematary.txt" @@ -0,0 +1,8691 @@ + 1. + + + + 'PET SEMATARY’ + + by + + Stephen King + + FADE IN ON + + that most persistent summer SOUND: crickets in high grass-- + + ree-ree-ree-ree... This in dark which slowly + + DISSOLVES TO: + + +1 EXT. A GRAVE MARKER SUMMER - DAY 1 + + It’s a plywood cross leaning aslant. Written on the + crossarm in black paint which has faded: SMUCKY HE WAS + OBEDIENT. The letters are faded. They are also straggling + and ill-formed--the work of a child. + + MAIN TITLES BEGIN. + + +2 EXT. ANOTHER GRAVE MARKER 2 + + A child’s printing again, this time on a chunk of warped + crating: BIFFER BIFFER A HELLUVA SNIFFER UNTIL HE DIED HE + MADE US RICHER 1971-1974. + + MAIN TITLES CONTINUE + + +3 EXT. TWO MARKERS 3 + + I think all these shots are LAP DISSOLVES. All is silence + but for the crickets and the wind stirring the grass. + Around the markers themselves, the grass has been clipped + short, and by some markers there are flowers in cheap + vases. Crisco cans, Skippy peanut butter jars, etc. + + These two markers: IN MEMORY OF MARTA OUR PET RABIT DYED + MARCH 1, 1965 (on a wide flat board) and GEN PATTON (OUR! + GOOD! DOG!) APRIL 1958 (another board). + + MAIN TITLES CONTINUE + + +4 EXT. FIVE OR SIX MARKERS 4 + 2. + + + We can't read all of them; some are too faded (or the + "gravestones" themselves too degenerated), but we can see + now that this woodland clearing’s a rather eerie -- and + well-populated -- animal graveyard. + + We can see: POLYNESIA, 1953 and HANNAH THE BEST DOG THAT + EVER LIVED. HANNAH’S tombstone is part of an old Chevrolet + hood, painstakingly hammered flat. + + MAIN TITLES CONTINUE. + + +5 EXT. ANGLE ON THE PET SEMATARY 5 + + From here we can see most of the clearing, which is + surrounded by forest pines. We can see that the graves-- + maybe 80 in all--are arranged in rough concentric circles. + On the far side of this clearing is the end of a path which + spills into this graveyard clearing. The end of the path is + flanked by wooden poles which hold up a crude arch. We can + see no writing on this side -- the words on the arch face + those arriving along the path. + + MAIN TITLES CONTINUE + + +6 EXT. THE ARCH, FROM THE PATH SIDE, CU 6 + + MAIN TITLES CONCLUDE. Written on the arch in faded black + paint is the work of some long-gone child: PET SEMATARY. + + THE CAMERA HOLDS ON THIS FOR A MOMENT OR TWO, THEN PANS + SLOWLY + + DOWN to look through the arch. From this angle we are + looking across to a deadfall--a tangle of weather-whitened + old dead branches at the back of the graveyard. It’s maybe + twenty-five feet from side to side and about nine feet + high. At either end are thick tangles of underbrush that + look impassible. + + AS HAIN TITLES CONCLUDE, THE CAMERA MOVES SLOWLY IN on the + deadfall. And as it does, we realize that there is a + horrible snarling face in those branches. Is this an + accident? Coincidence? + + Our imagination? Perhaps the audience will wonder. THE + CAMERA HOLDS ON IT and then we + + BLACK. And a white title card: MOVING DAY. + + +7 EXT. A HOUSE IN THE COUNTRY - EVENING 7 + 3. + + + SOUND of crickets: ree-ree-ree-ree... + + To the left of this house: a big empty field. Behind it: + the woods. Before it: a wide two-lane road. + + The house is a pleasant two-story New England dwelling with + a shed/garage attached. In front of it is a sign which + reads QUINN REALTORS 292 HAMMOND STREET, BANGOR. A big SOLD + strip, like a bumper sticker, has been plastered across it + diagonally. + + GROWING SOUND: the rumble of a truck. A big, big truck. It + belts between the CAMERA and the house --a tanker truck + with a silver body and the word ORINCO written on the side + in blue letters. Its short-stack is blowing quantities of + dark brown smoke. Behind it comes a Ford wagon, which + slows, signals, and turns into the driveway of the house + we've been looking at. + + +8 EXT. REAR OF THE WAGON 8 + + As LOUIS CREED brings it to a stop we get a good look at + the license plate (Illinois) and a bumper sticker (HAVE YOU + HUGGED YOUR M.D. TODAY?) + + The ENGINE SOUND stops. For a moment or two we hear only + the ree-ree-ree-ree of crickets. Then: + + ELLIE CREED (VOICE) + Is this our new house, daddy? + + LOUIS CREED (VOICE) + This is it. + + +9 EXT. THE WAGON, A NEW ANGLE 9 + + The two front doors and one back door open. LOUIS CREED, + about 32, gets out from the driver's side. RACHEL CREED, + his wife, gets out from the passenger side. From the rear + door comes ELLIE CREED, a girl of 6. They are staring, + fascinated, at the house. + + They come together, the three of them, by the front of the + wagon, still staring at the house. LOUIS is clearly + nervous. + + LOUIS + So...what do you think? + + RACHEL begins to smile. She turns to LOUIS and hugs him. + 4. + + + RACHEL + It's gorgeous! + + ELLIE + Am I really gonna have my own room? + + LOUIS + Yes. + + ELLIE + Yaay! + +She looks toward the side lawn and sees a tire on a rope +hanging down from the bough of a tree. + + ELLIE (TO RACHEL) + Is that a swing? + + RACHEL + Yes, but the rope might be-- + + ELLIE + Yaay! + +She goes running toward it. RACHEL gives LOUIS a tired +smile. + + LOUIS + Let her go. It’s cool. + + RACHEL + Louis, the house is beautiful. + +They kiss--gently at first, then more passionately. As he +draws her more tightly against him, a baby--GAGE--begins to +cry from the car. LOUIS and RACHEL break the clinch. + + RACHEL + The Master of Disaster awakes. + +This SOUND is joined by the unhappy yowling of a pent-up +tomcat. + + LOUIS + And Buckaroo Banzai. + + RACHEL + Come on--let’s parole 'em. + +They walk to the car, RACHEL going to one of the back seat +doors, LOUIS to the rear of the wagon. + 5. + + +10 INT. THE FRONT SEAT, WITH RAHEL AND GAGE 10 + + GAGE is sitting in his car seat, not exactly crying but + certainly yelling to be let out. The seat, dash, and + floorboards are littered with roadmaps, soda cans, Big Mac + boxes, and similar crud. These folks have driven all the + way from Chicago to Maine in this station wagon, and the + wagon looks it. + + RACHEL + Decided to wake up and see what + home looks like, huh? + + She begins to unbuckle the straps and harnesses. GAGE is + just wearing a t-shirt and a diaper. He’s fifteen months + old. + + +11 EXT. THE REAR OF THE WAGON, WITH LOUIS 11 + + He opens the doorgate and lifts out a cat carrier. We see a + big tomcat inside--mostly what we're aware of are shining + green eyes. + + ELLIE (VOICE) + Daddy! Mommy! I see a path! + + LOUIS, cat carrier still in hand, turns toward: + + +12 EXT. ELLIE IN THE TIRE SWING 12 + + She’s got it penduluming back and forth in long wide arcs. + + +13 EXT. THE VIEW UP TOWARD THE WOODS, ELLIE'S POV 13 + + We see the field, and a clearly marked and mown path + leading up its flank and into the dark woods. + + THE CAMERA DIPS AND PENDULUMS as ELLIE swings. + + +14 EXT. RACHEL AND GAGE (FRONT OF THE CAR) 14 + + RACHEL (IRRITATED) + Not so high, Ellie! You don’t know + how strong that rope is. + + She puts GAGE down. He totters a bit on his little legs and + then stands there, looking at his sister. + 6. + + +15 EXT. THE ROPE AND THE BRANCH, CU 15 + + The bark has rubbed off the branch--it looks like a bone + peeping through decayed flesh. The rope is old, discolored. + And it is fraying away as we look at it. Soon ELLIE, like + Humpty Dumpty, is going to have a great fall. + + +16 EXT. LOUIS (REAR OF THE CAR) 16 + + He's set the cat-carrier down and is straightening up. + + ELLIE (RAPTUOUS VOICE) + Wheee! + + LOUIS + Ellie, you heard your m— + + His eyes widen. + + +17 EXT. ELLIE 17 + + ELLIE + Wh— + + SOUND: A heavy twang! as the rope breaks. The tire swing-- + with ELLIE still inside it--goes crashing to the grass. + ELLIE screams and begins to cry--a little hurt and a lot + surprised. + + LOUIS and RACHEL run to her. + + LOUIS + Ellie! Are you all right? + + RACHEL + Honey? Are you okay? + + +18 EXT. ELLIE, RACHEL, LOUIS, A CLOSER SHOT 18 + + ELLIE'S parents reach the tangle of tire, rope, and six- + year-old girl. + + ELLIE + Hurrts! It hurrrrts! + + LOUIS + Anyone who can scream that loud + isn't ready for intensive care just + yet-- looks like she just skinned + her knee. + 7. + + + Nevertheless, he begins to rapidly disentangle his daughter + from the tire. RACHEL helps. + + +19 EXT. GAGE 19 + + He's standing in the driveway by the front of the car, + utterly forgotten in the heat of the moment. His diaper is + sagging quite a bit; the boy needs a change. + + He stares toward the scene of the accident for a bit, then + loses interest. CAMERA FOLLOWS as he walks down the side of + the station wagon, little bare feet slapping on the + asphalt. He stops for a moment at the back, looking at the + cat-carrier, which LOUIS never got around to opening. + CHURCH is staring hopefully out through the mesh. + + GAGE + Hi-Durch! + + CHURCH + Waow! + + GAGE bends down and tries to open the cat-carrier’s door. + No soap. + + Either he can't solve the latch or his fingers don't have + the strength. Anyway, he stops trying after a moment. + + SOUND: Growing thunder of an approaching truck - a big one. + + +20 EXT. THE ROAD (GAGE'S POV) 20 + + A big tanker truck--silver body, ORINCO written on the side + in blue letters--blasts by. + + +21 EXT. GAGE, BY THE CAT CARRIER 21 + + The windlash if the passing truck blows GAGE'S hair back + from his forehead. We should be scared here--not by the + truck, but by GAGE'S lack of fear. He's smiling, happy. + + GAGE + Druck! + + He starts down the driveway toward the road. + + +22 EXT. LOUIS, RACHEL, ELLIE (AT THE SWING) 22 + 8. + + + ELLIE has been disentangled from the swing. She's sitting + by the wreckage at the end of the driveway, weeping + hysterically (as much from tiredness as from pain, I think) + as LOUIS and RACHEL examine her scraped knee. The wound + doesn't look too serious. + + LOUIS (TO RACHEL) + Would you get the first aid kit? + + ELLIE (SCREAMING) + Not the stingy stuff! I don't want + the stingy stuff, daddy! + + RACHEL suddenly looks around toward: + + +23 EXT. THE FRONT OF THE WAGON (RACHEL'S POV) 23 + + No one there. + + +24 EXT. RACHEL, ELLIE, LOUIS, BY THE SWING 24 + + RACHEL + Gage's gone! + + LOUIS + Jesus, the road! + + They get up together. + + +25 EXT. GAGE, AT THE EDGE OF THE ROAD 25 + + A truck is coming. A great big one. + + +26 EXT. ANGLE ON THE TRUCK, CU 26 + + The grille looks like a tombstone that's learned how to + snarl. + + +27 EXT. GAGE 27 + + He takes a step into the road...and then big, gnarled hands + grab him. + + GAGE looks rather surprised at this, but not worried--this + kid is used to being picked up and treated humanely. To + GAGE strangers are as interesting as...well, as interesting + as Orinco trucks. + 9. + + +28 EXT. GAGE AND JUD CRANDALL 28 + + The fellow who has picked GAGE up is a man of about eighty + in old blue jeans, a faded Bruce Springsleen T-shirt. Over + this lie wears a faded khaki vest with bright silver + buttons. His face is deeply wrinkled and kindly. + + JUD CRANDALL (TO GAGE) + No you don't, my friend--not in + that road. + + But he softens this with a grin. GAGE grins back at him. + + GAGE + Drucks! + + JUD (LOW) + No shit, Sherlock. + + JUD carries him up the driveway to the station wagon. Here + he's joined by LOUIS and RACHEL, out of breath and really + scared. ELLIE brings up the rear. She's still sniffling. + + RACHEL + Gage! + + JUD (HANDS HIM TO HER) + He was headed for the road, looked + like. I corralled him for you, + missus. + + RACHEL + Thank you. Thank you so much. + + LOUIS + Yes--thanks. I'm Louis Creed. + + He sticks out his hand and JUD shakes it. LOUIS takes it + easy--no crushing JayCees grip, or anything like that--the + old guy looks as if he might have arthritis. + + JUD + Jud Crandall. I live just across + the road. + + RACHEL + I'm Rachel. Thanks again for saving + the wandering minstrel boy, here. + + JUD + 10. + + + No harm, no foul. But you want to + watch out for that road. Those damn + trucks go back and forth all day + and most of the night. + +He leans over toward ELLIE. + + JUD + Who might you be, little Miss? + + ELLIE + I'm Ellen Creed and I live at 642 + Alden Lone, Dearburri, Michigan. + (Pause) + At least, I used to. + + JUD + And now you live on Route 9 in + Ludlow, and your dad's gonna be the + new doctor up to the college, I + hear, and I think you're going to + be just as happy as a clam here, + Ellen Creed. + + ELLIE (TO LOUIS) + Are clams really happy? + +They all laugh--even GAGE. + + RACHEL + Excuse me, Mr. Crandall--!'ve got + to change this kid. It's nice to + meet you. + + JUD + Same here. Come over and visit when + you get the chance. + +As RACHEL, carrying GAGE, moves away: + + ELLIE (WORRIES) + Daddy, do I really have to have the + stingy stuff? + + LOUIS + No-I guess not. + + ELLIE + Yayyy! + +She goes belting off. + + IUD (AMUSED) + 11. + + + I guess your daughter there ain't + going to die after all. + + LOUIS (ALSO AMUSED) + I guess not. + + JUD + House has stood empty for too long. + It's damn good to see people in it + again. + + SOUND: A truck engine, gearing down. + + +29 EXT. A MOVING VAN 29 + + It blinks and comes lumbering into the Creed's driveway. + + +30 EXT. LOUIS AND JUD 30 + + LOUIS + Hey--they actually found the place! + + JUD + Movin' in's mighty thirsty work. I + usually sit out on my porch of an + evening and pour a couple of beers + over m’dinner. Come on over and + join me, if you want. + + LOUIS + Well, maybe I-— + + RACHEL (VOICE) + Louis, what's this? + + +31 EXT. RACHEL AND GAGE 31 + + GAGE has been changed, and RACHEL is following him as he + explores the nearest edges of the new homestead. They are + fairly close to the wreckage of the tire swing, and here is + the head of the path ELLIE has already glimpsed. + + +32 EXT. LOUIS AND JUD 32 + + They cross to the van. The FIRST and SECOND MOVERS are just + climbing out of the van. + + FIRST MOVER + You Mr. Creed? + 12. + + + LOUIS + Yes. Just a second. + + +33 EXT. RACHEL AND GAGE, AT THE HEAD OF THE PATH 33 + + She's holding GAGE on her hip now, and both of them are + looking at that strange (and oddly enticing) path which + disappears into the deepening twilight. LOUIS and JUD join + them. + + LOUIS + The movers-- + + RACHEL + Yes--I know. This path, Louis? + Where does it go? + + LOUIS + I don't have the slightest idea. + When I saw the house, this field + was under four feet of snow. + + RACHEL (SMILING) + I bet Mr. Crandall knows! + + JUD nods. He smiles, too, but underneath the smile we sense + that he is serious. + + JUD + Oh, ayuh! I know. It’s a good + story, and a good walk, too. I’ll + take you up there sometime, and + tell you the story, too-- after you + get settled in. + + He smiles at them and they smile back--it is a look of + understanding and real liking, in spite of the age + difference between the CREEDS and JUD. + + +34 EXT. THE CREED HOUSE - NIGHT 34 + + SOUND: Crickets. Ree--ree--ree-ree... + + There's one light upstairs, one downstairs. Perhaps we see + the path, glimmering away into the field? Either by virtue + of it being mown, or by virtue of some gentle optical + trick? Maybe. + + +35 INT. THE LIVING ROOM - NIGHT 35 + 13. + + +There's a light on in the kitchen, but it just casts a dim +glow in here. The room has a fireplace and a lovely wooden +floor. It's going to be nice, but now it's just a big bare +box with movers' cartons stacked all over the place. + +LOUIS is drinking a can of Pepsi, and he looks pretty +damned tired--anyone who's ever moved house and can +remember the first night in the new place will understand. + +He finishes the last of the Pepsi and surveys the living +room. He sits on one of the bigger boxes, takes cigarettes +from his pocket, + +and lights one. He drops the spent match in the empty can, +and taps into the can during the scene. + +SOUND: Feet coming down the stairs. The door on the far +side of the room opens and RACHEL comes in, wearing a +nightgown. + + RACHEL (CROSSING TO LOUIS) + Kids are asleep, doc. + + LOUIS + Great. + +He hugs her. She hugs him back warmly--for a moment they +are just two good people in all the big darkness of their +new house. + + RACHEL + You're not really going over to + have a beer with that old guy, are + you? + + LOUIS + Well, I’ve got a million questions + about the area, and— + + RACHEL + —and you'll end up doing a free + consultation on his arthritis or + urinary problems and— + + LOUIS + Did you see his shirt? + + RACHEL (GIGGLES) + Sure. Bruce Springsteen. + + LOUIS + 14. + + + I really do have a million + questions about the area...but the + thing I'm really curious about is + how come this octogenarian Yankee + is decorating the slumped remains + of his pecs with the Boss. + + She laughs. + + +36 EXT. THE PATH OF THE CRANDALL HOUSE - NIGHT 36 + + Pervasive SOUND of the crickets as LOUIS comes rather + hesitantly up the crazy-paved path from the road's edge. + + DUD (VOICE) + That you, doc? + + +37 EXT. THE SCREENED-IN PORCH OF THE CRANDALL HOUSE 37 + + We hear the SQUEAK of a rocker; we see the dim red fitful + glow of DUD'S Pall Mall. We see by its glow that he is + wearing Walkman earphones. + + +38 EXT. LOUIS 38 + + LOUIS + It's me. + + +39 INT. THF PORCH, WTTH DUD 39 + + The Walkman is in his lap. He switches it off and puts the + headphones casually around his neck, like a kid. + + DUD + Well, come on up and have a beer. + + +40 INT. THE PORCH, A SLIGHTLY WIDER SHOT 40 + + LOUIS comes on up. DUD has got a pail of ice beside his + chair with some cans of beer in it. He opens one and hands + it to LOUIS. + + DUD + You need a glass? + + LOUIS + Not at all. + 15. + + + DUD + Good for you. + +LOUIS drinks half the can at a draught. + + LOUIS + God, that's fine. + + DUD + Ain't it just? The man who invented + beer, Louis, that man was having a + prime day for himself. + + LOUIS + What were you listening to? + + DUD + Allman Brothers. + + LOUIS + What? + + DUD + The Eat A Peach album. God, they + were good before drugs and bad luck + caught up with them. Listen to + this, Louis. + +He passes the headphones over. LOUIS puts them on. DUD +presses the Walkman's PLAY button. + +SOUND: Ramblin' Han blasts us out of our seats. + +LOUIS winces and rakes the spidery earphones off his head. + + DUD + I’m sorry. Wait. + +He turns it down. + + DUD + Try that. + +LOUIS puts the earphones back on and listens for a few +moments. + +It’s the instrumental break. Gregg and Duane Allman dueling +hot Fenders. LOUIS takes the earphones off. + + LOUIS + Nice. + 16. + + + DUD + I like rock and roll. No...I guess + that's too mild. I love it. Since + my ears started to die out on me, + it's the only music I can really + hear. And since my wife died...I + dunno, some­times a little rock and + roll fills up night. Not always, + but sometimes. + (Pause) + One more time--welcome to Ludlow. + Hope your time here will be a happy + one. + + LOUIS (GREAT SINCERITY) + Thank you, Mr. Crandall. + + He drinks again--they both do. There’s a moment of + companionable silence here, broken by the SOUND of a big + truck. They look + + +41 EXT/INT. THE ROAD (THROUGH THE PORCH SCREEN) 41 + + One of those big tanker trucks goes rumbling by--now there + are little amber running lights on top of it. It's going + fast, too-- + + sweeps by in a blast of air. + + +42 INT. THE PORCH, WITH LOUIS AND DUD 42 + + LOUIS (WINCING) + Desus! + + DUD (LIGHTS A CIGARETTE) + That's one mean road, all right-- + you remember that path your wife + commented on? + + LOUIS + The one that goes into the woods-- + sure. + + DUD + That road--and those Orinco trucks- + - are the two main reasons it's + there. + + LOUIS + What's at the end of it? + 17. + + + DUD (SMILES) + Another day--after you get settled + in a bit. Meantime, doc— + + Here DUD raises his glass in a toast. + + DUD (CONTINUES) + Here's to your bones. + + LOUIS clinks his glass against DUD'S. + + LOUIS + And yours. + + They drink. + + +43 EXT. ROUTE 9 - NIGHT 43 + + LOUIS crosses from the CRANDALL side to his own, and the + CAMERA FOLLOWS as he walks slowly up the driveway and past + the wagon. He pauses for a moment, looking thoughtfully-- + hopefully--at his new house. Then something--the CRY of an + OWL, perhaps--draws his attention the other way...toward + the path. + + He walks to its head and stands looking out at it--it + glimmers in a wide cut swath that's a bit ghostly in the + dark. + + A SHAPE suddenly lurches out of the high grass at him, and + LOUIS recoils with a startled, muffled cry. + + +44 EXT. CHURCH 44 + + The cat, sure; who--or what--else? We see his big green + eyes in the dark as he cries his strange feline hello: + Waow! + + +45 EXT. LOUIS AND CHURCH, AT THE HEAD OF THE PATH 45 + + LOUIS + Church! God, you scared the life + out of me! + + CHURCH + Waow! + + LOUIS bends and picks up the cat. As he does, that truck + SOUND comes again and he looks toward: + 18. + + +46 EXT. THE ROAD, LOUIS'S POV 46 + + Another Orinco tanker drones by, fast. + + +47 EXT. LOUIS AND CHURCH 47 + + LOUIS (TO THE CAT) + I know one thing that will keep you + home, good buddy. + + He starts toward the house. + + BLACK. And in that blackness, we see a second title card: + THE DEAD SPEAK. + + +48 INT. A KITCHEN BLACKBOARD, CU - DAY 48 + + Written on it is: MONDAY 1.) CHURCH SPAYED 10 A.M. QUENTIN + DOLANDER, D.V.M. And below, in even bigger letters: 2.) + ELLIE'S FIRST DAY OF SCHOOL!! + + THE CAMERA PANS LEFT, showing us the kitchen. There are + still a few cardboard cartons around, but the place is + getting in shape. + + We look out the window and see the CREEDS, led by DUD + CRANDALL, climbing the path toward the woods. LOUIS has got + GAGE in a Gerrypak. + + +49 EXT. AT THE TOP OF THE HILL, WITH CREEDS AND DUD 49 + + They are also at the edge of the woods. DUD stops and lets + them catch up. + + DUD + Take a look behind you. + + They turn around, and their faces express their wonder. + + LOUIS + My God! + + RACHEL + It's beautiful! + + +50 EXT. THE VIEW 50 + 19. + + + It is indeed beautiful. The CREED house is in the f.g., + Route 9 just behind it (with one of the ever-present Orinco + trucks droning along), but behind that is the great sweep + of the Penobscot river valley, dozing under a fall sky of + clear blue. + + +51 EXT. AT THE TOP OF THE HILL, WITH DUD AND THE CREEDS 51 + + DUD + You folks ready to go on? + + LOUIS + Sure. + + ELLIE + But where are we going, Mr. + Crandall? + + DUD + You'll see soon enough, hon. + + They go into the woods, still following the path. + + +52 EXT. FOREST - DAY 52 + + These are old woods indeed--huge trunks with dusty sunlight + shafting through them. It looks as though man has never + made his mark here. + + THE CAMERA PANS SLOWLY DOWN to them, on the path. Here it + is carpeted with pine needles, but it is just as clearly + marked. + + JUD stops. LOUIS looks glad of the rest; he’s sweating and + there are wide dark patches under his arms where the + Gerrypak’s straps are. + + LOUIS + Who owns the woods up ahead? Paper + companies? + + JUD + Nope. The Micmac Indians. What's up + ahead is all that's left of their + tribal lands. + + ELLIE (GIGGLING) + Micmac, Ricmac, Kickmac, Sickmac. + + JUD (SMILES) + 20. + + + Ayuh, it's a funny word, ain't it? + You tired of totin’ that yowwen + yet, doc? + + LOUIS + Not yet...how much further is it? + + JUD + Aw, you'll be okay. Less than a + mile. + + He starts off again, fresh as a daisy. ELLIE scampers after + him. + + LOUIS rolls his eyes at his wife and RACHEL rolls hers + back. Then they press on. + + +53 EXT. THE ARCH READING PET SEMATARY 53 + + +54 EXT. JUD AND THE CREEDS, ON THE PATH 54 + + JUD (STOPPING) + This is the place, honey. + + ELLIE is of course second. Se tries to read the words on + the arch but can’t. She whips around to look at her mother. + + ELLIE + What's it say, mommy? + + A strange expression has come over RACHEL'S face--she + doesn't like this. Not a bit. + + RACHEL + It says Pet Cemetery, hon. It's + misspelled, but...that’s what it + says. + + She runs for the arch. RACHEL starts; looks more uneasy + than ever. + + RACHEL + Ellen--! + + +55 EXT. ELLIE 55 + + She's almost under the arch. She looks back, questioning. + + +56 EXT. RACHEL, LOUIS, JUD 56 + 21. + + + RACHEL (A BIT LAME) + Be careful. + + +57 EXT. ELLIE 57 + + She goes racing into the Pet Sematary. + + +58 EXT. RACHEL, LOUIS, JUD 58 + + JUD lights a cigarette with a wooden match, using his + thumbnail. + + JUD + I told you it was a bad road, + Louis--it's killed a lot of pets + and made a lot of kids unhappy. But + at least something good come of it. + This place. + + ELLIE (EXCITED VOICE) + Mom! Dad! Y’oughtta see it! + + +59 EXT. ELLIE, AT THE EDGE OF THE SEMATARY 59 + + She surveys the rude markers with puzzled delight, then + runs toward the center, pausing to investigate some of the + markers as she goes. We clearly see the symmetrical pattern + of rings. + + +60 EXT. RACHEL, LOUIS, JUD 60 + + They are walking slowly toward that rude archway. LOUIS is + extremely interested in all this, but it’s becoming clearer + and clearer that RACHEL is troubled. They stop and look in. + + RACHEL + How can you call it a good thing? A + graveyard for pets killed in the + road! Built and maintained by + broken­hearted children! + + JUD + Well, but Missus Creed! It ain't + quite that way, dear! + + LOUIS + I think it's rather extraordinary. + + RACHEL + 22. + + + Extraordinarily morbid, maybe. + + She's growing more and more upset. JUD looks at her + curiously. + + JUD + Well...they have to learn about + death somehow, now don't they, + Missus Creed? The little ones? + + RACHEL (COLDLY) + Why? + + JUD + Well...well, because-- + + ELLIE (VOICE) + Mommy! Daddy! Look at me! + + +61 EXT. ELLIE, ON THE DEADFALL 61 + + She has begun to climb it, and this looks like an extremely + dangerous proposition. ELLIE, however, is having the time + of her life. A branch breaks under one of her feet and she + switches nimbly to the next one up. + + +62 EXT. THE GROWNUPS, AT THE ARCH 62 + + JUD (ALARMED) + No, honey! You don't want to go + climbing on that! Come on down! + + He hurries in. + + +63 EXT. EL HE, ON THE DEADFALL 63 + + She looks back at JUD. + + ELLIE + It's okay, Mr. Crandall-- + + +64 EXT. ELLIE'S FOOT, CU 64 + + The branch she's on breaks with a dry CRRRACK. Her foot + drops down suddenly. + + +65 EXT. ELLIE AND DUD 65 + 23. + + + She totters backward, pinwheeling her arms, and DUD catches + her as she falls. Not much of a catch because she wasn't + too far up. + + LOUIS joins DUD and ELLIE. GAGE jounces along on his back. + + LOUIS + Have you got a death-wish, Ellen? + + ELLIE + Well, I thought it was safe-- + + DUD + Best never to go climbing on old + blowdowns like this, Ellie-- + sometimes they bite. + + ELLIE + Bite? + + DUD + Ayuh. + + +66 EXT. RACHEL, STANDING AT THE ARCH 66 + + Her discomfort makes one thing very clear--she doesn't want + to come in. + + RACHEL (CALLS) + Is she all right, Louis? + + +67 EXT. LOUIS, DUD, ELLIE 67 + + LOUIS (CALLS BACK) + Fine! Come and see! + + +68 EXT. RACHEL, STANDING AT THE ARCH 68 + + RACHEL (CALLING) + I think I'll sit this one out, doc. + + +69 EXT. LOUIS, DUD, ELLIE--BY THE DEADFALL 69 + + ELLIE + I want to look around, daddy-- may + I? + + LOUIS + For a little while. + 24. + + + DUD looks toward: + + +70 EXT. RACHEL AT THE ARCH (ELLEN IN F.G.) 70 + + RACHEL has retreated a bit. She sits on the pine needle + carpet of the path, opens her purse, and draws out + cigarettes. + + +71 EXT. LOUIS AND DUD 71 + + DUD looks at LOUIS as if to say "What's all this about?” + LOUIS looks away. + + ELLIE (VOICE) + Dad! Daddy! Look! A goldfishie! + + +72 EXT. ELLIE 72 + + She runs from one tombstone to the next, cheerful as maybe + only a kid could be in such a place. She looks at BIFFER’S + tombstone; at SMUCKY'S. + + +73 EXT. LOUIS AND DUD 73 + + They are walking slowly toward her. LOUIS is looking at the + tombstones. + + LOUIS + I can hardly read these. + + DUD + Ayuh--they get older as you go + toward the middle. + (Points) + Pete LaVasseur's dog is buried + there... + (points) + the Stoppard boys’ racing pigeuri + LlidL MibbUb Cowley'b <\_dl + got...and I think that's the cat + himself right there, although it's + been so many years I can't tell for + sure. + (calling) + Missy Ellen! Come over here just a + minute! + + +74 EXT. ELLEN 74 + 25. + + + She runs amid the tombstones--they have worked their way + near to the center and there are quite a few of them--and + joins the adults. + + DUD + I see you're quite a reader for + such a little girl. Can you read + that? + + He points again, and Ellen goes over for a look-see. + + +75 EXT. ELLEN, AT THE GRAVE MARKER 75 + + It is a small slate marker slanted to one side. ELLEN reads + the words laboriously, tracing them with her finger. + + ELLEN + "Spot a good fellow we love you + boy." + (Pause) + "Owned by Dudson...Dudson..." Gee, + I can't read the rest. + + +76 EXT. DUD AND LOUIS 76 + + DUD + Last name's Crandall, little missy. + + LOUIS looks at him sharply as ELLIE rejoins them. + + DUD + That's where I buried my dog Spot + when he died of old age in 19 and + 14. Dug it good and deep. By the + time I finished, I had blisters all + over my hands and a hell of a crick + in my back. Soil's stony up here. + + ELLIE looks awed. LOUIS looks a little awed, too. + + DUD sweeps a hand around, indicating the whole sematary, + but is still looking at ELLEN. + + DUD + Do you know what this place is, + Ellie? Oh, I know you know it's a + boneyard, but a bone ain’t nothing + and even a whole pile of 'em don't + amount to much. Do you know what a + graveyard really lb? + 26. + + + ELLIE + Well...I guess not. + + JUD + It's a place where the dead speak, + Missy. + + He sees her startled, uneasy expression and laughs. He + ruffles her hair reassuringly. + + JUD + No--not right out loud. Their + stones speak...or their markers. + Even if the marker ain't nothing + but a tin can someone wrote on with + a Magic Marker, it speaks. Ain't + that so, Louis? + + LOUIS + I think it is so, Ellie. + + ELLIE + What if you can't read what’s + written on there anymore? + + JUD + Well, it still says some animal got + laid down here after, don't it? + + CLLIC + Yes-- + + LOUIS + And that someone cared enough about + that animal to mark the spot. + + ELLIE + To remember. + + JUD (SMILES) + Yes. To remember. This ain't a + scary place, Ellie. It's a place of + rest and speaking. Can you remember + that? + + ELLIE (A LITTLE AWED) + Yes, sir. + + They start to walk slowly back toward the arch. + + +77 EXT. RACHEL, OUTSIDE THE ARCH 77 + 27. + + + It’s clear she’s impatient and out-of-sorts with the whole + thing. + + RACHEL (CALLS) + Louis, can we go? I’m tired! + + +78 EXT. LOUIS, ELLIE, IUD 78 + + ELLIE + Mommy! This is a place where dead + animals talk! Mr. Crandall said so! + + +79 EXT. RACHEL AND ELLIE 79 + + But RACHEL is not amused. She doesn’t like any of this. + + RACHEL (SOFT) + Did he. + + +80 EXT. LOUIS AND JUD 80 + + LOUIS + My wife is not crazy about + cemeteries of any kind. As you may + have noticed. + + JUD + He neither. But I believe in + knowing your enemy. + + LOUIS looks at him, startled, then decides this is a joke. + He laughs. JUD smiles, a trifle thinly. + + +81 EXT. THE ARCH, A NEW ANGLE 81 + + The men rejoin RACHEL and ELLIE. + + LOUIS (VOICE) + Did we take too long? + + RACHEL (CURT) + Well, if supper's burned, I'm not + the one going out for pizza. + + They move away. + + +82 EXT. THE DEADFALL, FROM THE ARCH 82 + 28. + + + The face we saw at the beginning of the movie wasn't there + when the visitors were there...but it's sure there now, + leering at us. + + +83 INT. THE KITCHEN TRASH CAN - NIGHT 83 + + There are two greasy boxes poking out with NAPOLI PIZZA + stamped on them. Guess dinner was burned. + + THE CAMERA PULLS BACK and we se LOUIS sitting at the + kitchen table. The table is covered with newspapers. On it, + LOUIS is putting together a complicated model boat, using + glue and tweezers. He's wearing glasses. + + ELLIE comes in, wearing a nightgown. She watches him for + awhile. + + LOUIS (NOT LOOKING AROUND) + Hi, babe. + + ELLIE + Daddy, that Pet Sematary is there + because of the road, isn't it? + + LOUIS looks around at her, surprised. + + ELLIE + That's what I think. I heard Missy + Dandridge tell Mom when Church was + fixed he wouldn't cross the road so + much. + + LOUIS + Well, it's always better to take + precautions--but I'm sure Church + will be all right, honey... + + +84 INT. JUST OUTSIDE THE KITCHEN DOOR 84 + + RACHEL is coming along with some dirty dishes. She hears + voices and stops, listening, her face troubled and afraid. + + ELLIE (VOICE) + No he won't! Not in the end! He + won't be all right in the end no + matter how you fix 'im! + + +85 INT. LOUIS AND ELLIE 85 + + Ellis has started to cry. + 29. + + + ELLIE + In the end he’s gonna croak, isn't + he? + + LOUIS + Lovey...Church might be still alive + when you're in a high school...and + that’s a very long time. + + ELLIE + It doesn't seem long to me. It + seems short. I think the whole + thing about pets dying s-s-sucks! + + Poor kid’s bawling her eyes out now. LOUIS folds her into + his arms and she hugs him tightly, wanting his comfort. + + LOUIS + If it was up to me I'd let Church + live to be a hundred...but I don't + make up the rules. + + ELLIE (MUFFLED) + Well who does? God, I suppose. But + he's not God's cat! He's my cat! + Let God get His own, if He wants + one! Not mine! Not mine! Not-- + + She breaks down completely, sobbing, and LOUIS rocks her + back and forth. + + +86 INT. THE HALLWAY OUTSIDE THE KITCHEN, WITH RACHEL 86 + + She is crying silently. + + +87 INT. ELLIE'S BEDROOM - NIGHT 87 + + She is a dimly perceived hump in the darkness. An oblong + shaft of light falls on her, illuminating her more clearly. + She's asleep with her teddy encircled by one arm and her + thumb corked into her mouth. + + +88 INT. THE DOORWAY, WITH RACHEL 88 + + RACHEL looks at her daughter with infinite love and then + quietly closes the door. + + +89 INT. LOUIS'S AND RACHEL'S BEDROOM - NIGHT 89 + 30. + + +LOUIS is in his pajamas, propped up on pillows on his side +of the bed. There a number of medical books scattered +around him and he's making notes from one as RACHEL comes +in. + + RACHEL + She's finally asleep. + + LOUIS + She was a little over-excited, + that's all. Poor kid. + + RACHEL + It was that place. That creepy + cemetery up in the woods. Whatever + disease the kids in this town have + got, I don't want Ellie to catch + it. + + LOUIS + Jesus, Rachel, what’s got into you? + + RACHEL + Do you think I didn't hear her + tonight, crying as if her heart + would break? Here she is thinking + Church is going to die. + +It should be clear to us by now that, despite her words, +RACHEL is much more upset than ELLIE was. LOUIS slowly puts +his notebook aside and caps his pen. + + LOUIS + Rachel... someday Church is going + to die. + + RACHEL (WHIRLS ON HIM) + That is hardly the point! Church is + not going to die today, or + tomorrow-- Never mind. I can see + you don't have the slightest idea + what I'm talking about. + +She stalks to the bathroom, which adjoins. LOUIS follows. +She goes in and slams the door. He goes for the knob. + + LOUIS + Rachel--! + +SOUND: CLICK OF THE LOCK. + +LOUIS stares at the door, bewildered and upset. + 31. + + +90 EXT. ROUTE 9 - NIGHT 90 + + Here comes a big Orinco truck, droning along, headlights + glaring. + + +91 INT. LOUIS'S AND RACHEL'S BEDROOM 91 + + The headlights of the truck illuminate the room and we see + LOUIS and RACHEL asleep, each as far over to his/her own + side as he/she can get, with a big empty space in the + middle. + + Lights and TRUCK SOUNDS slowly fade. + + +92 INT. GAGE - MORNING 92 + + Cheerful little clots of scrambled eggs are scattered all + the way across the tray of his high-chair--it looks a + little like a map of the Pacific islands done by a guy who + only had a yellow crayon. + + Now he scoops up a handful and throws them. + + +93 INT. THE KITCHEN TABLE, WITH ELLIE 93 + + Splat! Eggs on the serving plate of toast. + + ELLIE + Yee-uck! Gross! + + +94 INT. THE KITCHEN, A WIDER SHOT 94 + + RACHEL is at the sink, doing dishes (we see the blackboard + with its message near her). + + LOUIS comes in, wearing a sport-coat and slacks, ready for + his first day on the job...and ELLIE is in a pretty first + day of school dress. + + LOUIS + He can't help it, babe. Emily Post + is going to be beyond him for a few + years. + + +95 INT. BY THE KITCHEN DOOR 95 + + Here is the cat-carrier with CHURCH inside it. He waows + unhappily. + 32. + + +96 INT. THE KITCHEN TABLE, WITH ELLIE AND GAGE 96 + + ELLIE gets down and goes across to the cat-carrier. + + ELLIE + I don't want him to get his nuts + cut, daddy! What if he dies? + + +97 INT. RACHEL AND LOUIS, BY THE SINK 97 + + LOUIS looks shocked and amused by ELLIE'S colorful choice + of words. + + LOUIS + Good God! Where'd you hear that? + + +98 INT. ELLIE 98 + + ELLIE + Missy Dandridge. And she says it's + a operation! + + +99 INT. RACHEL AND LOUIS, BY THE SINK 99 + + LOUIS tries to kiss RACHEL'S mouth. She turns her head + slightly so he gets her cheek instead. She's still mad. + LOUIS’S amusement dies. + + RACHEL + Honey, Church will be fine. + + +100 INT. ELLIE, BY THE CAT CARRIER 100 + + ELLIE + But what if he dies and has to go + to the Pet Sematary? + + +101 INT. LOUIS AND RACHEL, BY THE SINK 101 + + She gives him a look as if to say: "There! Now do you + understand what you did?" + + RACHEL + Don't be silly. Church is not going + to die. + + LOUIS + 33. + + + According to what Mr. Crandall + says, the road's a lot more + dangerous than the operation. + Church will be just the same. Well- + -almost the same--and we won’t have + to worry about him getting turned + into catburgers by one of those + damn Orinco trucks. + + At this RACHEL tightens up still more in that funny way-- + she's actually angered by LOUIS'S reference to catburgers-- + but under the anger we sense she is deeply shocked, as a + prudish woman might be shocked by a dirty joke. For RACHEL, + that's just what death is. + + RACHEL + That's enough of that kind of talk! + + LOUIS + I just said-- + + RACHEL + I know what you just said. Ellie, + clear your place. + + ELLIE goes slowly back to the table. + + ELLIE (SETS THE PLATE DOWN) + I'm scared. What if school here + isn’t like in Chicago! I’m scared + and I want to go h-h-home! + + ELLIE bursts into loud tears and puts her hands over her + face. + + +102 INT. THE KITCHEN, A NEW ANGLE (FEATURES LOUIS AND RACHEL) 102 + + THE CAMERA FOLLOWS as they go to the table to comfort + ELLIE. + + RACHEL + You’ll be fine, Ellie. Now you can + be excused. Go and wash your face. + + LOUIS + And Church will be fine. + + ELLIE (ANXIOUS) + Do you promise, Daddy? + + LOUIS + Well, honey...you know that... + 34. + + + RACHEL + Don't shilly-shally, Louis. Give + the little girl her promise. + + LOUIS (RELUCTANTLY) + Church will be fine. I promise. + + ELLIE + Yayyyy! + + She runs off, cheered up. And RACHEL is cheered up, too. + + RACHEL + Thank you, Louis. + + LOUIS + Oh, you’re welcome. Only if some­‐ + thing should go wrong while he's + under the gas--it’s a one-in-a- + thousand shot, but it happens--you + explain to her. + + He gets up and leaves the table. She looks after him, + stunned and a little frightened. + + +103 INT. GAGE 103 + + GAGE (CONVERSATIONALLY) + Here, Durch! + + He picks up a large glob of scrambled eggs from his tray + and throws it in the direction of the cat-carrier. + + +104 INT. THE CAT-CARRIER 104 + + CHURCH is close to the mesh, looking out. Scrambled eggs + hit the mesh, driving him back, surprised. + + +105 EXT. THE CREED HOUSE MORNING 105 + + The school bus pulls up, red lights flashing. ELLIE runs + toward it across the lawn, with her lunch-box. + + +106 EXT. LOUIS, RACHEL, AND GAGE, IN THE FRONT DOORWAY 106 + + RACHEL + Have a great day! + + LOUIS grabs GAGE’S hand and makes him wave it. + 35. + + + GAGE + Bye-bye! + + +107 EXT. THE BUS 107 + + ELLIE climbs abroad. The red flashers go out and the bus + pulls away. + + +108 EXT. THE CREED DRIVEWAY - MORNING 108 + + The station wagon is parked there. LOUIS comes out with a + heavy briefcase in one hand and the cat-carrier in the + other. He opens the wagon’s doorgate. + + A small car turns into the CREED driveway and parks beside + LOUIS. + + A rather sour-looking middle-aged woman gets out and + crosses the front of her car. Her color is bad. This is + MISSY DANDRIDGE. She looks at the cat-carrier. + + MISSY + Gonna get his-- + + LOUIS + --nuts cut, yes. Thank you, Missy, + for introducing that colorful + phrase into my daughter's + vocabulary. + + MISSY + Don't mention it. + + She opens the passenger side door of her car and we see a + big neat pile of folded sheets. She reaches for them, then + winces and presses her hands against her midriff for a + moment, as if with an attack of indigestion. + + LOUIS (SEES THIS) + How's that belly-ache of yours? + + MISSY (GETS THE SHEETS) + No better and no worse. + + LOUIS + You ought to see a doctor about it. + + MISSY + It'll pass. They always do. + + She starts toward the house with the sheets. + 36. + + +109 EXT. THE SIDE YARD - MORNING 109 + + RACHEL hurries past MISSY, who turns to look and then goes + on into the house. LOUIS has just put the cat-carrier into + the back of the wagon and closed the doorgate as RACHEL + reaches him. + + RACHEL (ANXIOUS) + Still friends, doc? + + LOUIS appears to consider this seriously for a moment...and + then he smiles and hugs her. They kiss. + + RACHEL + Thank God. I was a little worried + there. Have a great first day at + school, doc. No broken bones. + + LOUIS (SMILES) + Not so much as a sprain. + + +110 EXT. VICTOR PASCOW AND FRIENDS - MORNING 110 + + PASCOW is in a blanket that is being carried by three boys + and one girl. They are all yelling at each other not to + joggle him, not to drop him. A small knot of horrified + college kids moves with the bearers. + + PASCOW'S head is upside down to the CAMERA, which retreats + ahead of the advancing students. Fixed eyes stare. Half of + his head has been shattered inward. Before the catastrophe + he was a husky male of about twenty. He's dressed in a U of + M muscle shirt and red jogging shorts. + + THE CAMERA PULLS JERKILY TO ONE SIDE, allowing the bearers + to mount the steps of a brick building. The infirmary. The + lookers-on break to either side. The infirmary doors open. + + +111 EXT. NURSE CHARLTON, AT THE DOORS 111 + + She’s the head nurse, a tough old babe of about fifty. + + CHARLTON + Holy Jesus. + (turns) + Steve! Steve! Dr. Creed! Dr. Creed, + we've got a mess here! Stat! + + The bearers sweep past her and inside, leaving a red smear + of blood across the midriff of MARCY CHARLTON’S uniform. + 37. + + +112 INT. THE INFIRMARY RECEPTION AREA 112 + + THE CAMERA will show us all we need to see, but its + movements will seem almost random; this is like being in + the hotel kitchen after Sirhan shot Bobby. + + As the students bring in PASCOW, LOUIS comes running, + followed by STEVE MASTERTON, his P.A. Standing to one side + are two student nurses in candystriper uniforms. They're + boggled and horrified. + + LOUIS kneels. THE CAMERA RUSHES FORWARD, shoving between + onlookers. LOUIS looks at the wound. There’s shattered bone + and pulsing brain tissue beneath. + + There's a scream; the girl who was carrying one corner of + the blanket is having hysterics. + + GIRL + Vic! Vic! Oh Christ! Vic! + + LOUIS (TO CHARLTON) + Get her out. Get them all out. + + CHARLTON puts her arms around the girl. + + GIRL (STRUGGLING) + No! No! He can't die! He can't die! + + THE CAMERA MOVES BACK DOWN as LOUIS takes an opthalmascope + from STEVE and shines it in PASCOW'S bulging, fixed eyes. + + CHARLTON is just pushing the last of them gawkers and + bearers out the door. + + LOUIS + Steve, get the ambulance over here + right now. He’s got to go to EMMC. + + STEVE + The ambulance is at Sonny's Sunoco + downtown, getting-- + + LOUIS + --a new muffler, oh shit-- + + PASCOk makes a weird gargling noise. Blood suddenly spurts + out of his mouth. He begins to seizure. + + One of the candystripers shrieks. THE CAMERA JERKS UP TO + COVER the student nurses. One turns and throws up on the + wall. + 38. + + + CHARLTON rushes over. + + CANDYSTRIPER + I can't look at it...I can't stand + it... + + CHARLTON (SLAPS HER) + Yes you by God can. Go get the hard + stretcher! + + As they start away, one helping the other down the hall, + and as CHARLTON starts over to where PASCOW lies dying on + his blanket, THE CAMERA DROPS TO LOUIS AND STEVE. + + LOUIS + Help me hold him. + + They hold PASCOW'S spasming body. + + STEVE + It wouldn't matter if we did have + the ambulance. + + LOUIS + It wouldn't matter if we had the + SST. + + PASCOW begins to quiet. + + LOUIS + He's going. Steve, go call the + motor­pool. Marcy, roll out the + crash wagon. + + CHARLTON + It won't-- + + LOUIS + I know it won't! But let's for + God's sake do it by the rules! + + She leaves. LOUIS is alone with PASCOW. CHARLTON has drawn + the drapes, so the doctor and the dying man have complete + if temporary privacy. + + +113 INT. LOUIS AND PASCOW, A CLOSER SHOT 113 + + LOIS + There wasn't even supposed to be a + sprain today, my friend--that's + what I told her. + 39. + + + PASCOW'S fixed eyes suddenly roll and his left hand bear- + traps LOUIS'S right wrist. The dying man pulls him slowly + but relentlessly down, until their faces are only inches + apart. + + PASCOW + ...Pet Sematary. .. + + LOUIS recoils, breaking the grip of the hand...but he + cannot quite snap the grip of those bright dying eyes. + Blood leaks from PASCOW'S mouth. + + LOUIS (WHISPERS) + W-What did you say...? + + PASCOW struggles hard to speak again. At first he can only + gurgle. + + PASCOW + It's not the real cemetery... + (Long pause) + The soil of a man's heart is + stonier, Louis...a man grows what + he can...and tends it. + + LOUIS leans forward again, terrified, yet needing to know. + + LOUIS + How do you know my name? + + PASCOW (GURGLING) + I'll come...to you. + + LOUIS grabs PASCOW'S bloody shoulder. + + LOUIS (LOW BUT URGENT) + Dammit, how do you know my name? + + +114 INT. HALLWAY ENTRANCE TO RECEPTION, WITH STEVE 114 + + STEVE + Louis, they’re sending a-- + + +115 INT. LOUIS AND PASCOW 115 + + PASCOW begins to spasm again. + + LOUIS (SNAPS) + Help me! + + PASCOW spews more blood as STEVE kneels beside LOUIS. + 40. + + +116 INT. THE HAIN INFIRMARY HALLWAY 116 + + CHARLTON is pushing along your basic MEDCU goodie-cart, + covered with emergency life-saving gear. + + +117 INT. LOUIS, STEVE, PASCOW 117 + + PASCOW'S spasms are weakening. + + LOUIS (TO CHARLTON) + Never mind. He's going. + + PASCOW'S hand comes up and paws at LOUIS'S shirt, leaving a + bloody handprint. Then it falls limply back. PASCOW is + dead. + + LOUIS + Steve, will you get a sheet to + cover him with? + + STEVE leaves the frame and LOUIS stares fixedly down at the + body of VICTOR PASCOW. He closes the eyes. + + +118 EXT. A COUNTRY ROAD, LATE AFTERNOON 118 + + It’s the leading edge of Maine fall, sunny and wonderful. + Here comes LOUIS'S station wagon. As it reaches THE CAMERA, + it swivels to TRACK. + + RADIO (VOICE-OVER) + Tragedy struck on the first day of + the University of Maine's fall + semester when Victor Pascow, a + nineteen-year-old sophomore-- + + +119 INT. THE CAR, WITH LOUIS 119 + + He still looks shocked by the tragedy. The dying man's + bloody handprint is partly visible on LOUIS'S shirt in + spite of his sport-coat. + + LOUIS abruptly turns off the radio and swerves over to the + side of the road. + + +120 EXT. THE STATION WAGON 120 + + IT comes to a slueing, shuddering stop, almost going in the + ditch. + 41. + + +121 INT. LOUIS, BEHIND THE WHEEL 121 + + LOUIS + He said my name. I heard it. He + said my name. + + He stares blankly through the windshield. + + +122 EXT. THE CREED HOUSE - NIGHT 122 + + All lights are off. It’s late. + + +123 INT. THE CREED BEDROOM - NIGHT 123 + + LOUIS and RACHEL are asleep, each on his/her own side of + the big double. THE CAMERA MOVES IN ON LOUIS. + + SOUND: Loud, hollow BANG. It's very loud--loud enough to + wake the dead. + + LOUIS sits up. Beside him, RACHEL sleeps on. LOUIS'S eyes + widen in terror as he stares at: + + +124 INT. THE DOORWAY, WITH PASCOW 124 + + He's exquisitely dead. Now pallid as well as smashed up. + + PASCOW + Come on, doc. We got places to go. + + +125 INT. LOUIS 125 + + He is in terror...but he is also in a state of near-trance. + + +126 INT. PASCOW 126 + + PASCOW + Come on, doc--don't make me tell + you twice. + + +127 INT. LOUIS 127 + + He glances at RACHEL. Although PASCOW has spoken in a + fairly loud voice--and the opening door was like a bomb-- + she's still fast asleep. LOUIS looks back toward + PASCOW...and then gets out of bed. + 42. + + + He's naked except for a pair of pajama bottoms. + + +128 INT. PASCOW 128 + + He turns and leaves the doorway. + + +129 INT. LOUIS 129 + + He reaches the bedroom doorway himself and looks back at: + + +130 INT. THE BED, LOUIS'S POV 130 + + RACHEL is sleeping as before, and LOUIS himself is also in + bed asleep, although his rest is uneasy...as if he's having + a bad dream. + + +131 INT. THE DOORWAY, WITH LOUIS 131 + + LOUIS (RELIEVED) + Oh. Thank God. + + PASCOW (VOICE) + Hurry up, doc. + + +132 INT. THE KITCHEN 132 + + LOUIS enters and crosses toward the door which gives on the + shed/garage. This door stands open. LOUIS pauses by it. + + PASCOW (LOW) + Come on, doc... + + LOUIS goes into: + + +133 INT. THE SHED/GARAGE 133 + + The station wagon is a dark hulk. LOUIS crosses to it and + stands, perplexed. + + PASCOW looms softly behind him and puts an arm around him. + LOUIS turns... and suddenly his face is less than an inch + from PASCOW'S mutilated face. + + PASCOW + Let's go, doc. + 43. + + + LOUIS (MOANS) + I don't like this dream. + + PASCOW + Who said you were dreaming? + + He begins to move toward the garage door. After a moment + LOUIS follows him. + + +134 EXT. THE FIELD BEHIND THE HOUSE, LONG - NIGHT 134 + + We can see two shapes moving up the path toward the woods-- + PASCOW and, behind him, LOUIS. + + +135 EXT. THE PET SEMATARY ARCH 135 + + CAMERA HOLDS, THEN PANS DOWN as LOUIS passes under the + arch. + + +136 EXT. LOUIS, CLOSE 136 + + He looks around, obviously afraid. + + +137 EXT. THE PET SEMATARY, LOUIS'S POV 137 + + We can see why. By starlight this is one scary place. + + +138 EXT. LOUIS 138 + + He suddenly sees something else, and now his fear is close + to terror. + + +139 EXT. THE DEADFALL, LOUIS'S POV 139 + + The face is back in the tumbled branches. It yawns and + snarls. + + +140 EXT. LOUIS 140 + + He walks toward the deadfall as if hypnotized. PASCOW'S + hand falls on his shoulder. LOUIS turns, terrified. + + +141 EXT. PASCOW, CLOSE 141 + 44. + + + He really is a dreadful mangled mess. + + PASCOW + This is the place where the dead + speak. + + +142 EXT. LOUIS 142 + + He closes his eyes. + + LOUIS + I want to wake up. I want to wake + up, that's all. I-- + + +143 EXT. LOUIS AND PASCOW 143 + + PASCOW + The door must not be opened. The + barrier must not be crossed. Don’t + go on, doc. No matter how much you + + That grinning face--and perhaps now there are other effects + as well, subtle but there? Dim red light? A misty smoke + drifting through the tumbled dead branches? The director + will know. + + After a moment there is a HUGE GRUNTING ROAR from the woods + behind the deadfall--it sounds like no animal we've ever + heard before. + + There is the sound of something huge shifting and snapping + a tree like a toothpick. + + +144 EXT. PASCOW AND LOUIS 144 + + LOUIS has crumbled to PASCOW'S feet. His eyes are squeezed + tightly shut. + + LOUIS + Please, I want to wake up. Leave me + alone. It's not my fault you died; + you were as good as dead when they + brought you in-- + + PASCOW + The power of this place is old and + always restless. Sometimes the dead + do more than speak. Remember, doc. + + CAMERA BEGINS MOVING SLOWLY IN ON LOUIS. + 45. + + + LOUIS + Leave me alone! + + PASCOW + Remember. + + CAMERA IS TIGHT ON LOUIS. + + RADIO (VOICE) + --another beautiful day in Maine! + This is Michael O'Hara sayin' that + the git-go ain't gonna be that bad. + Temps are going all the way up to + 70... We got the Ramones for + Ludlow...here's "Sheena." + + As the Ramones start blasting "Sheena Is A Punk Rocker": + + +145 INT. LOUIS, IN BED 145 + + His eyes snap open. He's in his own bedroom. As he sits up + THE CAMERA ANGLE WIDENS OUT so we can see that he's in bed + alone; the covers on RACHEL’S side are thrown back. + + After the initial confusion and fear, LOUIS looks deeply + relieved; he looks the way I suppose we all look upon + waking up and realizing our worst dreams were only dreams + after all. + + RACHEL (CALLS) + You up, doc? + + LOUIS + Getting there. + + RACHEL + I got eggs down here! + + LOUIS + Good d-- + + He throws the covers back and freezes. + + +146 INT. LOUIS'S FEET, LOUIS'S POV 146 + + They are covered with mud and pine needles. The sheets are + greased with woods-muck. + + +147 INT. LOUIS, CU 147 + 46. + + + Utter terror. + + +148 INT. THE LAUNDRY CHUTE, CU 148 + + LOUIS'S hands enter the shot and dump a bundle of sheets + into the chute. + + +149 INT. LOUIS, IN THE UPSTAIRS HALL 149 + + He's naked but for a towel around his waist. He's obviously + fresh from the shower. + + He starts down to the bedroom to dress. + + BLACK. And on it a third title card: CHURCH. + + Over this the SOUND of a RINGING TELEPHONE. + + LOUIS (VOICE) + Hello? + + +150 INT. THE CREED LIVING ROOM - AFTERNOON 150 + + There's a bowling match on TV. LOUIS, dressed in his + Saturday afternoon grubs (jeans and a Maine sweatshirt), + has the phone to his ear. + + IUD CRANDALL (PHONE FILTER) + Louis? 'Fraid you may have a spot + of trouble. + + LOUIS (FROWNING) + Jud? What trouble? + + +151 INT. THE CRANDALL LIVING ROOM, WITH JUD 151 + + He's on the phone, looking out his window. + + JUD + Did you tell me Rachel took the + kids back to Chicago for a few + days? + + +152 INT. THE CREED LIVING ROOM, WITH LOUIS 152 + + LOUIS + 47. + + + For Ellie's birthday, yes. I didn't + go because her old man thinks I'm a + shit and the feeling is heartily + re­ciprocated...they'll be back + tomorrow night. Jud, what's this + about? + + +153 INT. THE CRANDALL LIVING ROOM, WITH JUD 153 + + JUD + Well, there's a dead cat over here + on the edge of my lawn, Louis. I + think it might be your daughter's. + + +154 INT. THE CREED LIVING ROOM, WITH LOUIS 154 + + LOUIS + Church? Oh. Oh, Jesus. + + +155 EXT. THE CRANDALL HOUSE, MEDIUM-LONG 155 + + We’re looking across from the CREED lawn. LOUIS waits for + one of those trucks to go blasting by and then crosses. + It's cold and windy. Downed autumn leaves fly. + + LOUIS and JUD stand over a small furry body like mourners. + + DUD (VOICE) + Well? + + +156 EXT. THE CAT'S BODY 156 + + It’s lying on its belly and doesn't look much damaged. + Hands-- + + LOUIS'S--come into the frame. He puts one hand under the + cat's head and lifts it so the open eyes, now a dull green, + stare into THE C/WERA. There's some blood on its ruff. + That's all. + + +157 EXT. LOUIS AND DUD, ON THE EDGE OF THE CRANDALL LAWN 157 + + LOUIS + It's Church. + + DUD + I’m sorry. At least it don’t look + like he suffered. + 48. + + + LOUIS + Ellie will, though. She'll suffer + plenty. + + From his jacket pocket he takes a green plastic garbage bag + and hands it to DUD. DUD holds the bag's mouth open on the + ground while LOUIS kind of shoves the body in. During this: + + DUD + Loved that cat pretty well, didn’t + she? + + LOUIS + Yes. + + LOUIS twists the bag shut and puts one of those plastic + ties on it. Then he holds it up. + + LOUIS + Bagged cat. What a mess. + + DUD + You going to bury him in the Pet + Sematary? + + LOUIS (A LITTLE BITTER) + I guess that’s what it’s there for, + huh? + + During all of this DUD has grown peculiarly intense. + + DUD + Going to tell Ellie? + + LOUIS + I don't know. + + DUD + Seems like you told me about a + promise you made-- + + +158 INT. THE CREED KITCHEN - MORNING 158 + + GAGE is in his high chair. ELLIE, in her first-day-of- + school dress, is in her place. LOUIS is sitting at his own + place staring, hypnotized, at the middle of the table, + where there is a large serving dish. On the dish is + scrambled eggs, strips of bacon, and CHURCH’S corpse-- + staring eyes, bloody ruff and all. + + RACHEL (IMPATIENTLY) + 49. + + + Don't shilly-shally, Louis. Give + the little girl her promise. + + +159 EXT. THE CRANDALL LAWN, WITH DUD AND LOUIS 159 + + LOUIS (DEFENSIVE) + That was a mistake. But Rachel... + she doesn't like to talk about + death, or even think of it. Her + younger sister died of spinal + meningitis when Rachel was eight. + Rachel was there when it happened. + Alone. I guess you could say it + made a complex. + + DUD + Cat's just as dead, Louis. + + LOUIS (SNAPS) + Well that's a big help! + (Pause) + I’m sorry, Dud. + + DUD + No need to apologize. + + LOUIS + Maybe when they call I’ll just tell + Ellie I haven't seen the damn cat + around. You know? + + DUD (AFTER A LONG PAUSE) + Maybe there’s a better way. + + +160 EXT. THE START OF THE PATH TO THE PET SEMATARY, LONG 160 + EVENING + + LOUIS and DUD cross the road from the CRANDALL side. LOUIS + is carrying the plastic bag in one hand and a flashlight in + the other. DUD has a pick and shovel in one hand and a + flashlight of his own in the other. + + Evening shadows have grown long. It’s maybe an hour until + dark. + + DUD and LOUIS stop near the replaced tire-swing. + + +161 EXT. LOUIS AND DUD 161 + 50. + + + DUD has a Walkman clipped to the belt of his pants and + earphones slung around his neck. + + LOUIS + Dud, this is crazy. It's going to + be almost dark before we get back. + + DUD + It's going to be dark before we + even get where we’re going, Louis. + But we can do it...and we're going + to. + + LOUIS + But - - + + DUD + Does she love the cat? + + LOUIS + Yes, but-- + + DUD + Then come on. + + He puts the earphones on, effectively forestalling further + argument, and pushes the PLAY button on the Walkman. We can + hear Marshall Crenshaw singing "Crystal Girl." DUD starts + away. After a moment, LOUIS follows. + + +162 EXT. THE PET SEMATARY AND THE BACK OF THE ARCH LATE - 162 + EVENING + + The SOUND of crickets...ree-ree-ree... + + The SOUND of footfalls. + + Faintly, the SOUND of Huey Lewis and the News, singing + "Working For A Living." + + It's now almost twilight. + + JUD and LOUIS enter the Pet Sematary. LOUIS is looking + around curiously. + + LOUIS + Well, folks, here we are, in Louis + Creed Dreamland. + + JUD snaps off the Walkman and puts the earphones around his + neck again. + 51. + + + JUD + What say, Louis? + + LOUIS + Nothing. + (Pause) + Do we plant him on the outer circle + or start a new one? + + JUD + We're still not where we’re going. + +He walks past LOUIS and toward the deadfall. LOUIS follows. + + LOUIS + What do you mean? + + JUD + The place we’re going is on the + other side of that. + +He points at the deadfall. + + LOUIS + We can't climb over that. We'll + break our necks! + + JUD + No. We won't. I have climbed it a + time or two before, and I know all + the places to step. Just follow + me...move easy...don't look + down...and don't stop. If you stop, + you'll crash through for sure. + + LOUIS + I'm not climbing that. + + JUD + Give me the cat. I'll take care of + it myself. + +He holds out his hand and LOUIS sees the old man means +exactly as he says. After a moment he says: + + LOUIS + Let's go. + +JUD starts up one side of the deadfall, and in spite of its +snarled tangles, he mounts as easily as a man climbing a +flight of stairs. After a few second, LOUIS follows. + + LOUIS (LOW) + 52. + + + Thank God my Blue Cross is paid up. + + +163 EXT. THEIR FEET 163 + + First JUD'S pass THE CAMERA, then LOUIS'S, partly obscured + by the swinging cat-bag. Their feet unerringly find the + right branches and just as unerringly miss holes which look + like ankle-breakers. + + +164 EXT. LOUIS 164 + + He's grinning, exhilarated. + + LOUIS + God, this is amazing! + + +165 EXT. JUD 165 + + There are beads of sweat on the old man's face. He looks + both stern and a little scared. + + JUD + Just don't stop and-- + + +166 EXT. LOUIS 166 + + He looks down. + + +167 EXT. LOUIS'S FEET 167 + + A dead branch snaps under one of them like a gunshot and + that foot plunges down maybe six inches. + + +168 EXT. LOUIS 168 + + He lurches to the edge of balance, then regains it. + + LOUIS + And don't look down. Right. + + He continues. + + +169 EXT. THE DEADFALL, REVERSE - TWILIGHT 169 + 53. + + + JUD reaches the top and starts down the far side. LOUIS + reaches the top. + + +170 EXT. LOUIS 170 + + LOUIS (AMAZED) + Holy...! + + +171 EXT. BIG GOD WOODS, LOUIS'S POV 171 + + In the dying glow of twilight, this should be a mystic, + awe­inspiring shot. There’s no more scrub underbrush and + junk pines and juniper-bracken here; ancient firs rise + almost like Sequoias. + + The sunset light shafts among them. This is a real + forest... an old forest. And winding upward among the trees + along that needle-carpeted floor, clearly marked by large + white stones, the path goes on. + + +172 EXT. LOUIS 172 + + He's stopped on top of the deadfall, still surveying all + this with frank amazement. + + +173 EXT. JUD 173 + + JUD (TURNS TO LOOK) + Come on, Louis--don't stop! + + +174 EXT. LOUIS, ATOP THE DEADFALL 174 + + LOUIS (GRINNING) + I'm all right! I'm f— + + +175 EXT. LOUIS'S FEET 175 + + One of the branches snaps. LOUIS'S foot plunges. His cuff + rips. + + +176 EXT. LOUIS, JUD'S POV 176 + + We’re looking up at a fairly steep angle as LOUIS staggers + off-balance. He steps with his other foot, misses, and goes + flying. + 54. + + +177 EXT. LOUIS, CLOSER 177 + + He does a half-somersault in the air and hits the deadfall + on his back, the green garbage bag flying out of his hand. + His flashlight also goes. Branches crack. White dust puffs + out from under him. + + +178 EXT. DUD, AT THE BASE OF THE DEADFALL 178 + + LOUIS thumps to the ground nearby. DUD kneels beside him. + + DUD + Louis! You all right? + + LOUIS sits up groggily. His pants are torn. His sweatshirt + is torn. His ankle is bleeding. + + LOUIS (DAZED) + Sure. I guess I just lost my happy + thoughts for a second there. + + LOUIS gets slowly up and retrieves the bag, which is rather + shredded now--and we can see catfur through some of the + rents. + + LOUIS (CONTINUES) + I shouldn't have stopped...and it + does bite. + + He whaps the flashlight against his palm a time or two and + the light comes on. Satisfied, he shuts it off. + + DUD + No, you shouldn't have stopped. But + you got away with it. Important + thing is are you sure you're all + right? + + LOUIS + Yes. + (Pause) + Where are we going, Dud? + + DUD + You'll see before long. Let’s go. + + He starts off up the path. After a moment LOUIS follows, + carrying the bag. + + +179 EXT. LOUIS AND DUD, FROM THE DEADFALL 179 + 55. + + + Again, there should be a sense of awe and mystery as they + go tolling up the path into the twilight, dwarfed by those + ancient firs. + + SOUND OF CRICKETS, LOW at first, then UP TO LOUD: Ree-ree- + ree... + + DISSOLVE TO: + + +180 EXT. LOUIS AND DUD, AT THE EDGE OF LITTLE GOD SWAMP 180 + BUILIGHT + + Lots of undergrowth here, and creeping ground-mist, too. + The SOUND OF CRICKETS is now only a part of the soundtrack: + BUZZ OF CICADAS, THUMP OF FROGS. Swamp-sounds. + + LOUIS looks frankly doubtful. + + DUD + This next bit's like the deadfall, + Louis-- you got to walk steady and + easy. Dust follow me and don't look + down. + + +181 EXT. LITTLE GOD SWAMP, LOUIS'S AND DUD'S POV DEEP TWILIGHT 181 + + Mysterious...awesome...scary. Dead trees poke out of the + murk like twisted hands. There's scummy water standing + around tussocks covered with long grass, most of it dead. + There's a lot of choking underbrush. + + All of this fades away into a grim, obscuring fog. + + +182 EXT. LOUIS AND DUD 182 + + DUD + Micmacs used to call it Little God + Swamp. + + LOUIS + Is there quicksand? + + DUD + Ayuh. + + LOUIS (NERVOUS; JOKING) + Are there ghosts? + + DUD looks at him expressionlessly. + 56. + + + DUD + Ayuh. + + DUD starts off, stepping to the first tussock. After a + moment, LOUIS follows. + + +183 EXT. DUD, CU 183 + + His face is set, strange. + + DUD + There's a lot of funny things down + this way, Louis. + + +184 EXT. LOUIS, BEHIND DUD 184 + + LOUIS + You're telling me. + + +185 EXT. DUD 185 + + DUD (STILL WALKING) + The air's heavier...more + electrical... something. You might + see St. Elmo’s Fire...what the + sailors call 'foo-lights.' It makes + funny shapes, but it's nothing. + + +186 EXT. LOUIS 186 + + HE looks up and his eyes widen as he sees: + + +187 EXT. ANGLE ON LITTLE GOO SWAMP, LOUIS'S POV 187 + + A faintly glowing, ethereal shape hangs in the branches of + one of the dead trees. It looks a bit like a corpse. In + fact, I think it looks quite a bit like PASCOW'S corpse. + + As we watch it fades...fades... is gone. + + +188 EXT. LOUIS 188 + + He's somewhere between being mystified and puzzled and + being scared. Now a weakly glowing fireball rolls slowly + across the surface of the standing water toward him...and + then just fades into the thick mist. + 57. + + + LOUIS + It's funny, all right. + + +189 EXT. DUD 189 + + DUD + Just don't stop, Louis. You don't + ever want to stop down here in + Little God. + (Pause) + And you don’t ever want to look + behind you, whatever you hear. + + +190 EXT. JUD AND LOUIS, LONG ANGLE - NIGHT 190 + + We see them moving through the mist like wraiths, JUD with + his digging tools, LOUIS with his light and his Hefty-Bag + coffin. The whole swamp is glowing dimly. + + +191 EXT. THE FAR SIDE OF LITTLE GOD SWAMP - NIGHT 191 + + In the extreme f.g. we can see firm ground sloping up. + Ahead is a thick white mist. And here comes JUD and LOUIS + slogging through it and out of it. Both of them are wet + from the knees down. They head into the woods on the far + side. + + +192 EXT. A LOW, STONY BLUFF OR STEEP HILL 192 + + In the book this is described as being almost a cliff, but + a rocky hill rising out of the woods would serve just as + well. We can see steps cut into the side, and two figures-- + LOUIS and JUD--toiling up them. + + +193 EXT. JUD AND LOUIS, A CLOSER SHOT 193 + + JUD'S panting and out of breath; LOUIS is, if anything, in + worse shape. + + JUD + Almost there, Louis. + + LOUIS + You keep saying that. + + JUD + This time I mean it. + 58. + + + He tops the last step and stands on a rocky level under the + stars, the wind blowing his hair off his deeply lined brow. + A few moments later LOUIS joins him and stares with + undisguised wonder. + + +194 EXT. THE MICMAC BURYING GROUND, LOUIS AND JUD’S POV 194 + + The top of this hill or bluff is rocky and bare, but there + are a number of rocky piles. But for every pile of rocks we + can see, there are ten littered heaps, as if the neat piles + had been burst apart. There's a shape to all of this, and + it is the shape of the Pet Sematary: concentric circles. + + SOUND: The wind, blowing ceaselessly. + + +195 EXT. LOUIS AND JUD, AT THE EDGE OF THE BURYING GROUND 195 + + LOUIS (AWED) + What is this place? + + JUD + This was their burying ground, + Louis. + + LOUIS + Whose burying ground? + + JUD + The Micmac Indians. I brought you + here to bury Ellen's cat. + + LOUIS + Why? For God’s sake, why? + + JUD + I had my reasons, Louis. We’ll talk + later. All right? + + LOUIS + I guess so...but... + + JUD + You want to rest a bit before you + start? + + LOUIS + No, I’m okay. Will I really be able + to dig him a grave? The soil looks + thin. + + JUD + 59. + + + Soil's thin, all right. But you’ll + manage. + + He hands him the pick and shovel. + + JUD + I'm going to sit over yonder and + have a smoke. I’d help you, but + you’ve got to do it yourself. Each + buries his own. That’s how it was + done then. + + JUD walks away, leaving LOUIS with the digging tools in one + hand and the flashlight in the other. After a minute, LOUIS + walks out into the burying ground. + + +196 EXT. LOOKING DOWN INTO A SHALLOW HOLE - NIGHT 196 + + SOUND: The wind. It blows ceaselessly up here. + + The hole’s about two and a half feet deep. Stubby rocks + protrude from the sides. The pick comes down, hits a rock + at the bottom, and flashes fire. + + +197 EXT. LOUIS 197 + + He drops the pick and sticks his hurt hands in his armpits. + Beside him we see a low pile of rocks and earth. + + JUD (VOICE) + Should be deep enough. + + He joins LOUIS. He's got a lot of rocks in his arms. + + LOUIS + You think so? + + He notices the rocks. + + LOUIS + What are those for? + + JUD + Your cairn. + + +198 EXT. THE MICMAC BURYING GROUND, LOUIS'S POV 198 + + Those tumbled piles of rock are very obvious. + 60. + + +199 EXT. LOUIS AND JUD, BY CHURCH'S GRAVE 199 + + LOUIS + Doesn't look like they last long. + + JUD + Don’t worry about that. + + LOUIS + Jud, why am I doing all this? + + JUD + Because it's right. + + He walks off again. + + LOUIS looks after him for a moment, then kneels down. + + +200 EXT. LOUIS, BY THE GARBAGE BAG 200 + + He opens it and looks in at CHURCH’S stiffening corpse. + + LOUIS + Pax vobiscum, Church old buddy. You + were a hell of a god cat. I doubt + if you were worth all this + aggravation, but you were a hell of + a good cat. + + He tumbles the bag containing the body into the grave, and + then begins pushing the stony soil over it with the spade. + + +201 EXT. THE CAIRN, CU - NIGHT 201 + + LOUIS'S hands come into the frame and add a final two or + three stones. + + +202 EXT. LOUIS, BY THE CAIRN 202 + + He looks at it for a moment and stands up. IUD is right + there. + + JUD + That's fine. You did real good. + + LOUIS looks at him. + + +203 EXT. THE CREED HOUSE - NIGHT 203 + 61. + + + There's a light on in the kitchen, but that's all. There’s + silence at first, and then the PHONE STARTS RINGING. + + +204 EXT. LOUIS'S FIELD - NIGHT 204 + + LOUIS and IUD are coming down the path with their tools and + their lights. They are both clearly fagged out. + + SOUND, FAINT: The telephone. + + LOUIS + Oh, shit! Rachel! + + He drops the tools and sprints. + + +205 EXT. THE CREED'S SIDE YARD, BY THE TIRE SWING 205 + + LOUIS runs into the side yard. SOUND of the phone is + louder. + + +206 EXT. THE KITCHEN DOOR OF THE CREED HOUSE, WITH LOUIS 206 + + He runs to the door and inside. + + +207 EXT. THE END OF THE PATH, WITH IUD 207 + + He stands there, eyes inscrutable. + + +208 INT. THE LIVING ROOM, WITH THE PHONE 208 + + It stops. A beat later LOUIS enters the room. He picks it + up, although he already knows it's too late. He listens to + the SOUND of the dial tone and then drops it back into the + cradle, disgusted. + + He starts to dial a number from memory. + + IUD (VOICE) + Louis. + + +209 INT. THE KITCHEN/LIVING ROOM DOORWAY, WITH JUD 209 + + JUD + 62. + + + When you talk to 'em, not one word + about what we done tonight. + 'S'far’s you know, the cat's still + fine. + + +210 INT. LOUIS, BY THE PHONE 210 + + After a moment he lowers it into the cradle. + + +211 INT. JUD 211 + + JUD + You'll understand. In the meantime, + keep your peace. What we did, + Louis, was a secret thing. Women + are supposed to be the ones who are + good at keeping secrets, but any + woman who knows anything at all + would tell you she's never seen + into a man’s heart. The soil of a + man’s heart is stonier, Louis--like + the soil up there in the old Micmac + burying ground. A man grows what he + can...and tends it. + + During this, he's come across the room to LOUIS and dropped + his hand on LOUIS'S shoulder. + + LOUIS + But - - + + JUD + No buts! Accept what’s done, Louis. + What we done was right. Another + time it might not be, but tonight + it was... at least I hope to Christ + it was. Now you make your + call...but not a word about + tonight. + + +212 EXT. THE ROAD, WITH JUD 212 + + SOUNDS: Boops and beeps of a touch-tone telephone. Ringing. + Then: + + DORY GOLDMAN (VOICE) + Goldman residence. + + LOUIS + Hi, Dory...it's Louis-- + 63. + + + During this, another SOUND has been growing: an approaching + truck. + + As JUU gains his side of the road, he looks back, and we + read fear on his face--no matter what he said to LOUIS, + he’s sorry for tonight's piece of work. + + A moment later a highballing Orinco truck cuts between THE + CAMERA and JUD. + + +213 INT. LOUIS, IN THE LIVING ROOM - NIGHT 213 + + He's on the phone, smiling and happy. + + RACHEL (VOICE) + You want to talk to the birthday + girl? + + LOUIS + That'd be real fine. + + ELLIE (VOICE) + Hi...daddy? + + LOUIS (SINGS) + Happy birthday to you/Happy + birthday to you/Happy birthday, + dear Ellie/Happy birthday to you! + + ELLIE (VOICE) + That was awful, daddy. + + LOUIS + Yeah, I know...how are things out + there in Chicagoland? + + ELLIE + Fine...except when Hom was airing + Gage's diaper rash, he walked away + and got into Grampa's study and + pooped in Grampa’s favorite chair. + + LOUIS (GRINNING BROADLY) + Way to go, Gage! + + ELLIE (VOICE) + What? + + LOUIS + I said that's too bad. What did you + get for presents from Gramma and + Grampa? + 64. + + + ELLIE (VOICE) + Lots of stuff! I got two + dresses...and a Chatty Cathy + doll... + + +214 INT. THE GOLDMAN LIVING ROOM, WITH ELLIE 214 + + She's dressed for bed, in fuzzy pink pajamas. Her Chatty + Cathy is crooked in one arm. In her lap is a Garfield + transistor radio. + + TLLLT + ...and a Garfield radio! How's + Church, dad? Does he miss me? + + +215 INT. THE CREED LIVING ROOM, WITH LOUIS 215 + + The smile fades off his face. It's replaced with a look of + combined guilt and unhappiness. He’s looking at his hands, + which are still dark with the dirt from CHURCH’S grave. + + LOUIS + Well...I guess he's just fine, + Ellie. I haven't seen him this + evening, but-- + + +216 INT. THE GOLDMAN LIVING ROOM, WITH ELLIE 216 + + RACHEL, holding GAGE, sits on the arm of ELLIE'S chair. + + ELLIE + Well, make sure you put him down + cellar before you go to bed so he + can't run out in the road and get + greased. And kiss him goodnight for + me. + + LOUIS (VOICE) + Yuck! Kiss your own cat! + + ELLIE + Want to talk to Gage? + + Before he can answer, she puts the phone in GAGE’S hand. + ELLIE and RACHEL watch, amused, as GAGE gobbles into it. + Perhaps RACHEL encourages him to say a few words. + + +217 INT. THE CREED LVING ROOM, WITH LOUIS 217 + 65. + + + From the telephone comes the sound of GAGE talking and + chortling. + + LOUIS is not listening. His eyes--and his mind--are far + away. + + +218 EXT. THE CREED HOUSE - MORNING 218 + + LOUIS is raking leaves on the side lawn, near the tree with + the tire swing. After a moment or two of this he props the + rake against the tree and starts toward the garage. He goes + in. + + +219 EXT. THE GARAGE, WITH LOUIS 219 + + It’s dim in here. LOUIS is crossing to the door which + communicates to the kitchen. As he passes the station + wagon, he hears a cat HISS. He turns. + + +220 INT. CHURCH, ECU 220 + + He's on top of the car, but at this point we probably don't + notice; THE CAMERA is so close that CHURCH looks like he's + coming right down our throats. He's hissing angrily. + + +221 INT. LOUIS 221 + + He recoils and stumbles backward with a cry. He hits a + tool-rack on the wall and a lot of them fall down with a + LOUD JANGLING NOISE. + + +222 INT. ON TOP OF THE STATION WAGON, WITH CHURCH 222 + + He jumps down, frightened by the noise, and the CAMERA + TRACKS as he goes flying out the garage door into the + sunlight. + + +223 INT. LOUIS 223 + + He gets slowly to his feet again. He’s getting over his + fright but we can see he's totally freaked out by what gave + him that fright. + + He goes to the garage door and looks out. + + LOUIS (CALLS) + Church? + 66. + + +224 EXT. THE SIDE YARD, LOUIS'S POV 224 + + Grass and fallen leaves. No sign of CHURCH. + + +225 EXT. LOUIS'S STUNNED FACE, CU 225 + + +226 INT. THE KITCHEN, WITH LOUIS 226 + + He's spooning cat-food into a dish. He goes to the door-- + there should be a total of three doors in the kitchen: one + to the living room, one to the shed/garage, and one which + leads directly outside. LOUIS uses this latter door now. + + +227 EXT. THE KITCHEN STOOP, WITH LOUIS 227 + + He puts the dish of food down and sits beside it. + + LOUIS + Food, Church...food! + + SOUND: Miaow. + + +228 EXT. THE SIDE OF THE HOUSE, LOUIS'S POV 228 + + CHURCH comes slinking out of the bushes and comes slowly + toward THE CAMERA. He stops, looking mistrustful. + + +229 EXT. LOUIS 229 + + LOUIS + Come on, Church! Chow down! + + +230 EXT. CHURCH 230 + + He crosses to the stoop and begins eating the food. + + LOUIS + (to himself) + Christ. I don't believe this. + + He picks CHURCH up. CHURCH miaows again--he wants the food. + + LOUIS (WINCING) + God, you stink, Church. + 67. + + + CHURCH is looking at the food, trying to get out of LOUIS'S + arms. + + LOUIS + In a second. + + He tilts the cat's head back so he can get a look at + CHURCH'S neck. + + +231 EXT. CHURCH'S NECK, CU (LOUIS'S POV) 231 + + There's some sort of mark here--a clear remnant of the + crash. A line of white fur, or perhaps a dark red scar + where no fur at all grows. + + +232 EXT. LOUIS AND CHURCH, ON THE STOOP 232 + + LOUIS sees something else as he lets the cat's neck go. He + tweezes something out of CHURCH'S whiskers. + + +233 EXT. LOUIS'S HAND, ECU 233 + + It’s a shred of green plastic. + + +234 EXT. LOUIS AND CHURCH 234 + + LOUIS + Chewed his way out. Jesus + Daldheaded Christ, he ch-- + + CHURCH suddenly claws at his face. + + LOUIS + Ow! + + He claps his hand to his face. CHURCH leaps for the food. + LOUIS slowly takes his hand away. There are claw marks on + his cheek, welling blood. He looks at the cat. + + +235 EXT. JUD CRANDALL'S GARDEN, WITH DUD 235 + + The garden is a plot of about half an acre. JUD comes + trundling slowly along a row, pushing a wheelbarrow. There + are several pumpkins in it. JUD is wearing old khaki + gardening pants and a Ramones sweatshirt. He’s wearing his + headphones and we can hear the Romantics doing "What I Like + About You." JUD is singing along and bopping a little--as + much as his arthritis will allow, if you can dig it. + 68. + + + He sees a real big pumpkin, stops, and bends over to get + it. + + He takes out his pocket-knife and slits the pumpkin-vine. + He gets the pumpkin in his arms and stands up. He + turns...and LOUIS is right there (kind of a cheap jump, but + always fun), looking totally stunned. + + JUD, startled, drops the pumpkin. LOUIS reaches out and + slides the phones off JUD'S cars. + + LOUIS + What did we do? + + +236 INT. THE CRANDALL KITCHEN 236 + + LOUIS is sitting at the kitchen table. JUD is at the + fridge. JUD comes back with a couple of long-necked bottles + of beer and opens them. + + JUD + I most generally don't start before + noon, but this looks like an + exception. + + LOUIS + What did we do, Jud? + + JUD + Why, saved a little girl from being + unhappy...that's all. Drink up, + Louis! + + LOUIS drinks about half the beer. + + LOUIS + I tried to tell myself I buried him + alive. You know--Edgar Allan Poe + meets Felix the Cat. But... + + JUD + Wouldn't wash? + + LOUIS + No. I'm a doctor. I know death when + I see it, and Church was dead. He + smells horrible and he uses his + claws, but he's alive...and I feel + like I’m going crazy. It was that + place, wasn't it? + + JUD + 69. + + + Ayuh. It was the rag-man told me + about the place--Stanley Bouchard. + Us kids just called him Stanny B. + He was half Micmac himself. + + LOUIS drains his beer. + + LOUIS + Can I have another one? + + JUD + I guess it wouldn't hurt. + + He gets up and goes to the fridge. + + +237 INT. JUD, AT THE FRIDGE 237 + + JUD + The Micmacs used to bury their dead + up there long before the whites + came. + + He returns to the table with the beer. + + JUD + They buried their dead and for a + long time their dead stayed buried. + Then something happened. Half the + tribe died in a season. The rest + moved on. They said a Wendigo had + soured the ground. + + LOUIS + Wendigo? + + JUD + Spirit of the north country. Not a + good spirit. Wendigos are great + liars and tricksters, according to + the stories. And if one touches + you... + + JUD pauses, perhaps a flustered, and gathers his thoughts. + + JUD + Maybe it really was a Wendigo-- I + ain’t the one to say it wasn't-- or + maybe it was just some disease. + Whatever the reason, those that + were left moved on. But they left + that place...the way it is now. + 70. + + + JUD shrugs, and drinks. + + +238 EXT. JUD AS A BOY, CU/SEPIA TONE - DAY 238 + + The time here is about 1910. JUD is wearing short pants. + He's crying, not in any big-deal histrionic way, but as if + he means to keep doing it for a long time. I mean he looks + really sad. + + JUD (VOICE) + I loved my dog a lot, Louis. When + Spot died, I thought I was gonna + die. + + JUD is sitting on the front stoop. It's the same house JUD + lives in now, but the porch hasn't been added yet, and the + road is dirt rather than tar. + + Along this road comes a horse-drawn wagon--STANNY B.'S + wagon. The wagon's full of junk, rags, bottles...stuff to + sell and swap. + + Strung across the top are bells, and we can hear their + CHIMING SOUND...but faint, like bells heard in a dream. + + STANNY B. is old and drunk. Dust spumes up behind the wagon + as he draws up to the CRANDALL house and stops. He gets + down, almost falls, takes a bottle out of his back pocket, + drinks, and approaches JUD. We can see him speaking. + + +239 INT. JUD’S KITCHEN, WITH JUD AND LOUIS 239 + + LOUIS + You and this old Indian rag-man-- + + JUD + Stanny B. did for me what I did for + you last night, Louis. Only I + wasn't alone when Spot came back. + + +240 EXT. THE CRANDALL BACK YARD/SEPIA TONE - DAY 240 + + JUD'S MOTHER is back to THE CAMERA, hanging sheets on the + line. + + The sheets billow. And suddenly, pushing out from behind + them, quite near her, is a small mongrel dog. SPOT. He's + covered with graveyard dirt. His eyes are red and rolling. + He splashes the sheets with the muck of his passage. + 71. + + + JUD (VOICE) + My mother was with me. + + She sees who it is--what it is--and backs away, screaming, + horrified. + + +241 EXT. SPOT, CLOSER/SEPIA 241 + + JUD (VOICE) + He’d got caught in bobwire that + infected. You could still see the + marks on him. + + And so we can, around his neck and along the side of his + head. + + These marks are the counterpart of the marks we've already + seen on CHURCH. + + SOUND of JUD'S MOM SCREAMING. Like the bells, these are + screams heard in a dream. + + +242 EXT. THE BACK STOOP OF THE CRANDALL HOUSE/SEPIA 242 + + The BOY JUD comes running out, dressed in a night-shirt. + + +243 EXT. JUD’S MOM/SEPIA (JUD'S POV) 243 + + She’s cringing against the fence at the rear of the yard. + SPOT stands in front of her, swaying from side to side, as + if doped. + + JUD'S MOM (DIM; FAR) + Get your dog, Jud! He stinks of the + ground you buried him in! Come here + and get your dog! + + She is in utter terror. + + +244 EXT. THE BOY JUD/SEPIA 244 + + Horrified...ashamed. + + +245 EXT. JUD’S MOM/SEPIA 245 + + JUD’S MOM (TERROR) + COME AND GET YOUR DOG!! + 72. + + +246 INT. JUD AND LOUIS, IN JUD’S KITCHEN 246 + + LOUIS + How did your mother take it, Jud? + How did she take it when your dog + came back from the dead? + + JUD'S face is a complication. He's lying to LOUIS, + certainly--but is he also lying to himself? Yes, I think + so. + + JUD + Well, she was a little upset at + first, and that's why I thought you + ought to hold your peace when you + talked to your people last + night...you did, didn't you, Louis? + + LOUIS + Yes. + + JUD + Why, then, things should be fine. + + LOUIS + A little upset is all she was? + Because I'll tell you, Jud, my + brains feel a little like a nuclear + reactor on the edge of a meltdown. + + JUD + She got used to the idea. Spot + lived another four years. He died + peacefully in the night that second + time, and I buried him in the Pet + Sematary. ..where his bones still + lie. + + +247 EXT. THE ROAD BETWEEN THE TWO HOUSES, WITH LOUIS AND JUD 247 + + We see them crossing. + + LOUIS (VOICE) + You still haven't told me why you + did it. + + +248 EXT. JUD AND LOUIS, ON THE CREED FRONT LAWN 248 + + JUD + 73. + + + A man doesn’t always know why he + does things, Louis. I think I did + it because your daughter ain't + ready for her favorite pet to die. + + LOUIS + What? + + JUD + Ellie’s a little scared of death. + And the main reason Ellie's that + way is because your wife is a lot + scared of death. Now you just go + ahead and tell me I'm wrong. + + But LOUIS’S reaction tells him he's not wrong--in fact, JUD + has hit the nail right on the head. + + +249 INT. BATHTUB FIXTURES, CU 249 + + LOUIS'S hands come into the frame and turn the spigots. + + +250 INT. THE BATHROOM, WITH LOUIS 250 + + He starts to undress, still looking troubled. We should + notice that the door behind him is firmly shut. The + bathroom has no windows. + + +251 INT. THE BATHTUB SPIGOTS 251 + + The hot water is steaming. LOUIS'S hands enter the frame + and turn off the faucets. SOUND of LOUIS climbing in. + + +252 INT. LOUIS IN THE TUB 252 + + A big sigh and an expression of exquisite pleasure. He + relaxes in the hot water. After a few moments he puts a wet + washcloth over his face. + + +253 INT. BY THE KITCHEN SINK, WITH RACHEL 253 + + RACHEL + Don't shilly-shally, Louis. Give + the little girl her promise. + + +254 INT. THE KITCHEN TABLE 254 + 74. + + + GAGE is in his high chair. ELLIE is at her place, crying. + In RACHEL’S place sits VICTOR PASCOW, bloody and wrecked. + LOUIS sits in his place. On the platter of bacon and + scrambled eggs is CHURCH’S mangled body. + + PASCOW + The door must not be opened. The + barrier must not be crossed. + + LOUIS + You don't understand-- + + +255 INT. THE BATHTUB, WITH LOUIS 255 + + The washrag is slipping, but it still covers his face. + + LOUIS (MUTTERS) + --I'm a doctor. + + +256 INT. THE CREED KITCHEN TABLE 256 + + In attendance: PASCOW, LOUIS, ELLIE, GAGE in his high + chair. Lying in the middle of the table, clotted with dirt + and blood, eyes staring, neck a gory mess of infected + wounds, is SPOT. He's also dotted with clots of scrambled + egg and bits of bacon. + + PASCOW + Sometimes the dead do more than + speak. Remember, doc. + + +257 INT. RACHEL, AT THE KITCHEN SINK 257 + + RACHEL (WITH GREAT FORCE) + Don't shilly-shally, Louis. Promise + me. Promise me. Promise me. + + +258 INT. THE BATHTUB, WITH LOUIS 258 + + The washcloth has slipped enough so we can see his eyes are + closed--he's dozing. + + LOUIS + Promise... + + +259 INT. THE CREED KITCHEN TABLE 259 + 75. + + + To LOUIS, ELLIE, PASCOW, GAGE, and the corpse of SPOT + enters JUD, his eyes shocked and staring. + + JUD (TO LOUIS) + You do it for all the best reasons, + but that ain't why. You do it + because it gets hold of you...you + do it because you have to. + + +260 INT. LOUIS, IN THE BATHTUB, CU 260 + + The washrag has worked its way down to his mouth by now. + His doze is deepening; he's started to snore a little. + + SOUND: A splash. Something has been dropped into the bath. + + LOUIS opens his eyes. Looks puzzled. Looks down. Eyes widen + in shock. + + +261 INT. THE BATHWATER, LOUIS'S POV 261 + + A very large and very mangled dead rat floats in the bath, + actually brushing against LOUIS'S chest. Blood has begun to + stain the water. + + +262 INT. LOUIS 262 + + Turns his head, preparatory to leaping out. + + +263 INT. THE TOILET LID, WITH CHURCH 263 + + Its mouth yawns open. It hisses, showing bloodstained + teeth. + + +264 INT. THE BATHROOM 264 + + LOUIS leaps from the tub. Grabs a towel and begins to rub + himself frantically. He’s grossed out. The cat tries to + arch against him and he hits it. CHURCH falls to the floor, + hissing. + + LOUIS looks at the closed door. + + LOUIS + How the hell did you get in? + 76. + + + He may not know that, but he knows how it’s going to get + out. He opens the door to the upstairs hall. If CHURCH + doesn't go at once, LOUIS helps it with his foot. + + Then he looks down at: + + +265 INT. THE BATHTUB WITH BRER RAT, LOUIS'S POV 265 + + +266 INT. LOUIS 266 + + Staring at the rat. Over this: THE SOUND OF JET ENGINES. + + +267 EXT. A DELTA 727 267 + + Its landing gear unfolds preparatory to touching down at + Bangor International Airport. + + +268 INT. A DELPLANTING AREA - DAY 268 + + Lots of people making their way up the jetway. + + +269 INT. LOUIS, OUTSIDE THE SECURITY POINT 269 + + He's looking anxiously for his people. In one hand he's got + half a dozen roses. His face lights up. + + +270 INT. THE DEPLANING AREA, LOUIS'S POV 270 + + Here comes LOUIS'S family. ELLIE is a little ahead. RACHEL + is pushing GAGE in his stroller. ELLIE sees LOUIS and + lights up. + + ELLIE + Daddy! + + She runs for him. + + +271 INT. DUST OUTSIDE THE SECURITY POINT 271 + + ELLIE comes belting up to LOUIS, weaving among the + deplanees like a slalom skier. She leaps into his arms. + LOUIS swings her cheerfully. + + LOUIS + Hi, sugar! + 77. + + + She smacks him noisily. He smacks her back just as noisily. + + ELLIE + Daddy, is Church all right? + + LOUIS'S face changes. All at once he's watchful. + + LOUIS + Yes...I guess so. He was sleeping + on the front porch when I left. + + ELLIE + Cause I had a bad dream about him. + I dreamed he got hit by a car and + you and Mr. Crandall buried him in + the Pet Sematary. + + LOUIS (TRYING TO SMILE) + That was a silly dream, wasn't it? + + ELLIE + Is he really all right? + + LOUIS + Yes. + + ELLIE + Because you promised. + + LOUIS + I know. + + RACHEL reaches them. She's pretty tired. Hair hanging in + her face, good travelling clothes now looking a bit + wrinkled and a bit stale. + + RACHEL + Want to take your son, doc? + + LOUIS does. GAGE is ecstatic. + + LOUIS kisses RACHEL deeply. + + +272 INT. THE CREED KITCHEN - NIGHT 272 + + CHURCH at the door, waiting to be let out. ELLIE does the + honors. + + CHURCH oils out into the shed/garage. ELLIE closes the + door. She looks distressed. She crosses the kitchen again. + 78. + + +273 INT. THE CREED LIVING ROOM - NIGHT 273 + + RACHEL, in a flannel nightgown, is watching TV. LOUIS is + reading a medical tome and making notes. GAGE, zipped into + a warm blanket suit, is sacking on the couch. + + ELLIE (ENTERING) + Can cats have shampoos? + + RACHEL + Yes--you have to take them to + someone who grooms animals, though. + I think it's pretty expensive. + + ELLIE (STILL UPSET) + I don't care. I'll save up my + allowance and pay for it. Church + smells bad. + + LOUIS + I've noticed it, too. I'll cough up + the money, Ellen. + + ELLIE + I hate that smell. + + +274 INT. LOUIS, CU 274 + + He looks both grim and sad--a man discovering that what you + pay for you own, and what you own always comes home to you. + + LOUIS + Yes--I hate it, too. + + BLACK. And on it, a fourth title card: MISSY DANDRIDGE. + + SOUND: A pen scratching over paper. + + +275 INT. A STUDY DESK, CU 275 + + A single sheet of lined paper is spotlighted by the glow of + the desk-lamp. On it, MISSY'S right hand is just finishing: + "Dr. says Intestinal Cancer. Cannot face this Pain. Sorry." + + The hand puts the pen down. It tears the paper in two, + leaving just the half with the message. + + +276 INT. THE DANDRIDGE CELLAR - NIGHT 276 + 79. + + + A light comes on and we see a hangman's noose strung over a + beam. + + It dangles above a kitchen table which has been relegated + to cellar duty. + + SOUND: Descending footsteps. + + +277 INT. THE NOOSE, CU 277 + + SOUND of MISSY climbing onto the table. + + Her face enters the frame. She looks very sick. She puts + her head into the noose and rakes it tight at the hyoid + bone. + + +278 EXT. THE DANDRIDGE HOUSE - NIGHT 278 + + One light on...a cellar light. + + SOUND: Ree-ree-ree...then... + + SOUND: Kick! THUMP! + + SOUND: Ree-ree-ree... + + +279 INT. THE CELLAR, WITH MISSY DANDRIDGE 279 + + She hangs limply, hands dangling at her sides, above the + table, which now lies upon its side. We can see the note + clearly. She pinned it to the bodice of her housedress. + + SOUND: Car engines starting up. + + +280 EXT. IN FRONT OF THE GRACE METHODIST CHURCH - DAY 280 + + People are coming out and getting into their cars and + turning on the headlights, even though it is only mid- + morning. + + In the immediate f.g. is a hearse. Four pallbearers are + loading a coffin into it. + + +281 EXT. LOUIS AND ELLIE, ON THE CHURCH STEPS 281 + + ELLIE + 80. + + + They're all turning on their + lights! Daddy, why are they all + turning on their lights in the + middle of the day? + + JUD, dressed in a rusty old black suit and a black tie, + comes out and stands with them. He looks haggard and old. + + JUD + They do it to honor the dead, + Ellen. + + ELLIE + Is that right, dad? + + LOUIS + Yes. To honor the dead. + + +282 EXT. THE CHURCH PARKING AREA 282 + + More cars start up; more lights come on; the back doors of + the hearse swing closed. + + +283 EXT. LUDLOW CEMETARY - DAY 283 + + [NOTE: In the book LOUIS finds it difficult to enter at + night because of a high iron fence. Here we should see + there's no such problem; there's only a low stone wall + between the graveyard and the public road.] + + The mourners are of course gathered around the grave of + MISSY DANDRIDGE. The coffin rests above it on runners. + + MINISTER (VOICE) + May the Lord bless you and keep + you; may the Lord make his face to + shine upon you, and comfort you, + and lift you up, and give you + peace. Amen. + + +284 EXT. LOUIS, ELLIE, JUD 284 + + As the mourners begin to break up, these three start back + toward LOUIS'S car. + + JUD + Rachel not feeling well? + + LOUIS + Well...a touch of the flu... + 81. + + + ELLIE + She's in bed. She was throwing up. + Ever since Mrs. Rogers called and + said Missy— + + LOUIS + That's enough, Ellen. + +They've reached the CREED station wagon. + + JUD + Out of the mouths of babes, Louis. + + LOUIS + This babe has said enough. + +He opens the front passenger door. + + LOUIS + Hop in, Ellie. + +She does, and LOUIS closes the door. + + JUD + Poor Missy. God, I was sorry to + hear. I remember when she was no + older'n Ellen there, walking down + to the store with her Raggedy Anne + doll draggin' behind her in the + dust. I don't know why God takes + someone like her, who should have a + bunch of years still in front of + them, and lets an old shit like me + just go on and on. + + LOUIS + My father used to have a saying, + Jud-- "God sees the truth, but + waits." + + JUD + Ayuh...how is your cat, Louis? + + LOUIS + It's Ellie's cat. + + JUD + Nope. He's your cat now. + +JUD opens one of the back doors as LOUIS goes around to the +driver's side. + 82. + + +285 INT. THE BACK SEAT OF THE WAGON 285 + + JUD has tilted over in one corner and is snoring. His + Walkman 'phones are on and we can hear the tinny sounds of + Billy Idol. A little old man's drool trickles down from one + corner of his mouth. + + SOUND: ELLEN is crying. + + +286 INT. THE FRONT OF THE WAGON, WITH LOUIS AND ELLIE 286 + + Tears are spilling freely down ELLIE'S face. + + LOUIS + Ellie? What's wrong? + + ELLIE + No more chocolate chip cookies. + + LOUIS + Huh? + + ELLIE + Missy made the best chocolate chip + cookies in the world--even Mom said + so. Now there won't be any more + because she's gonna be dead + forever! + + She cries harder. LOUIS reaches out and strokes her hair. + + +287 EXT. THE STATION WAGON - DAY 287 + + Moving up the country road toward home through blazing fall + foliage. + + +288 INT. TV SCREEN, CU - NIGHT 288 + + On it is a scene from "Night of the Living Dead." + + NEWSCASTER + Bizarre as it may seem, it now + seems almost beyond doubt: the dead + are returning to eat the living. + + ELLIE (VOICE) + Daddy? + + +289 INT. THE CREED LIVING ROOM - NIGHT 289 + 83. + + + There's a VCR on top of the TV; LOUIS has been watching + "Night." + + Now he quickly uses the remote control to shut down the TV. + + She's dressed for bed, and comes toward him slowly. + + LOUIS + What's up, sugar? + + ELLIE + Daddy, do you think Missy Dandridge + went to heaven? + + LOUIS + What? + + +290 INT. THE KITCHEN, WITH RACHEL 290 + + She's putting away the last of the supper things. She hears + this and moves toward the living room door to listen. She + doesn't look at all well. Her eyes are red from crying and + her face is haggard. + + +291 INT. THE LIVING ROOM, WITH LOUIS AND ELLIE 291 + + She's gotten up into his lap. + + ELLIE + At school Michael McDowell said she + was gonna fry in hell. Michael + McDowell says all sewersides fry in + hell. + + LOUIS + Well, I think Michael McDowell is + so full of shit he probably squeaks + when he walks, my dear. + + +292 INT. RACHEL, AT THE DOOR 292 + + She smiles a little at this. + + +293 INT. LOUIS AND ELLIE, IN THE LIVING ROOM 293 + + LOUIS + But don't you dare say that. + + ELLIE + 84. + + + I won't...is Missy in heaven, do + you think? + + LOUIS + I don't know, honey. Different + people believe all sorts of + different things happen to us when + we die. Some believe in heaven or + hell. Some think we're born again + as little children-- + + ELLIE + Sure, carnation. Like in that movie + you rented, Audrey Rose. + + LOUIS + Well, it's actually reincarnation, + but you get the idea. And some + people think we just wink + out...like a candle flame when the + wind blows hard. + + ELLIE + Do you believe that? + + LOUIS looks toward: + + +294 INT. THE LIVING ROOM SOFA, WITH CHURCH, LOUIS'S POV 294 + + CHURCH is sleeping. + + +295 INT. LOUIS AND ELLIE 295 + + LOUIS + I think we go on. I'm not sure what + happens after we die, but yeah-- I + have faith in that. + + ELLIE + You believe in it. + + LOUIS + Oh, faith's a little more than just + believing. + + +296 INT. RACHEL, AT THE KITCHEN DOOR 296 + + Listening intently. + 85. + + +297 INT. LOUIS AND ELLIE 297 + + LOUIS (CONTINUES) + I'll tell you what faith is--it's + the evidence of the heart; the + assurance of things not seen. + + ELLIE + I don't get it. + + LOUIS + Well, here we are, sitting in my + chair. Do you think my chair will + be here tomorrow? + + ELLIE + Yeah, sure. + + LOUIS + Then you have faith in that. But we + don't know it will be; after all, + some crazed chair-burglar might + break in while we’re away and steal + it, right? + + ELLIE'S giggling. + + +298 INT. RACHEL, AT THE DOOR 298 + + She's smiling, too...but tears are running down her cheeks. + + +299 INT. LOUIS AND ELLIE 299 + + LOUIS + But we plan on that chair. We + believe in that chair. And I plan + on going on somehow as Louis Creed, + after I die. it is now time for + Ellen Creed to get ready for bed. + So buzz. + + He gets her off his lap. + + ELLIE + I'm not tired! + + LOUIS + I’m sure you’re not. + + ELLIE + Then why do I have to go to bed? + 86. + + + LOUIS + Because your mother and I need the + rest, sugar. Now buzz. + + She heads toward the stairs. + + +300 INT. LOUIS AND RACHEL’S BEDROOM 300 + + LOUIS is in bed, reading. RACHEL, wearing a robe over her + nightgown, comes in. + + RACHEL + I heard you tonight. + + LOUIS + I thought maybe you did. I know you + don't approve of the subject being + raised-- + + RACHEL + That's not true. The subject scares + me. Because of Zelda. + + LOUIS puts his book down and looks at her thoughtfully. + + LOUIS + Your sister, I know. + + RACHEL sits down on the end of the bed. She’s clasping her + hands nervously together. + + RACHEL + Sometimes you're so good with her, + Louis--so straight with her--that + you make me ashamed of myself. + + LOUIS sits up and scoots down the bed to her. He tries to + put an arm around her. She rejects it--but gently. + + RACHEL + I’m sorry I couldn't go with you to + Missy's funeral. And that I blew up + when we went to that silly animal + graveyard. + + LOUIS + That’s forgotten. + + RACHEL + Not by me, it isn't. I know how + badly I acted, how unfair I was. + It's just that I..you know. + 87. + + + LOUIS + Yes, I guess I do. + + He makes a place for her beside him and hugs her. They lie + silently together for awhile, taking comfort from each + other. + + RACHEL + I'm going to try to do better. + + LOUIS + You're doing fine. + + DISSOLVE TO: + + BLACK. And on it, a fifth title card: GAGE. + + SOUND: An idling truck motor. + + +301 EXT. THE GRILLE OF A TRUCK - DAY 301 + + It looks monstrous...as high as a mountain. + + +302 EXT. THE TRUCK, A NEW ANGLE 302 + + It’s an Orinco tanker. The driver, a young man in khaki + fatigues and a baseball cap, climbs up into the cab. He + slams the door and jams the truck into gear. + + IRWIN GOLDMAN (VOICE) + I knew something like this would + happen. + + +303 EXT. THE ORINCO SHIPPING YARD - DAY 303 + + The truck comes rolling slowly toward the main gate...stops + so the driver can look both ways...and then pulls slowly + out onto ROUTE 9. + + IRWIN (VOICE CONTINUES) + I told her when you were first + married. ’You'll have all the grief + you can stand, and more,' I said. + + +304 INT. A FUNERAL CHAPEL, WITH IRWIN GOLDMAN AND LOUIS - DAY 304 + 88. + + + There are others here, but they are in the b.g., and + concentrating on the scene the old man is making. He's + RACHEL’S dad. LOUIS is sitting in the aisle seat of a pew- + like bench. He looks terribly shattered- -they both do, + actually. He's staring at the old man as if he cannot in + the least comprehend what he's saying. + + IRWIN (CONTINUES) + And now look at this! + + He gestures toward: + + +305 INT. THE FRONT OF THE FUNERAL CHAPEL - DAY 305 + + Here, half-buried in floral tributes, is a child-sized + coffin. + + GAGE'S. + + +306 INT. IRWIN AND LOUIS - DAY 306 + + IRWIN (WEEPING) + Run over in the road like a...a + chipmunk! + + +307 EXT. ROUTE 9, W/TRUCK - DAY 307 + + Getting up to speed. + + +308 EXT. A KITE, CU 308 + + There's a hand holding it—LOUIS'S. The kite begins to move + and THE CAMERA TRACKS IT. It flaps and flutters. + + +309 EXT. THE FIELD BESIDE THE CREED HOUSE, WITH LOUIS 309 + + He runs with the kite beneath a gorgeous fall sky in which + fat clouds move like airy ocean liners. + + ELLIE (VOICE) + Go, daddy! + + +310 EXT. A PICNIC TABLE DAY 310 + + The remains of a picnic lunch are spread here. Looks like + everyone ate well. In attendance: RACHEL, ELLIE, GAGE, and + JUD CRANDALL. + 89. + + + GAGE + Go, dayee! + + They all laugh--JUD ruffles the kid's hair. + + +311 EXT. LOUIS, RUNNING WITH THE KITE 311 + + He's paying out string--and the kite is going up. + + LOUIS (VOICE) + Where’s Rachel? + + +312 INT. THE FUNERAL CHAPEL, WITH LOUIS AND IRWIN 312 + + IRWIN looks toward: + + +313 INT. THE BACK OF THE CHAPEL, WITH RACHEL AND DORY GOLDMAN 313 + + They are by the sign-in book. Both are dressed in black. + Both look haggard. But RACHEL looks more than haggard; she + looks damned near insane with grief and horror. + + +314 INT. LOUIS AND IRWIN 314 + + IRWIN (LEANING FORWARD) + with her mother! where she should + be! As for you, I hope you rot in + hell! In hell, do you hear me? + + We should; by now he's screaming his head off. + + +315 INT. THE CAB OF THE ORINCO TRUCK - DAY 315 + + The driver is whistling. A transistor radio hangs from the + rear­view mirror on a strap. He turns it on. The Ramones. + "Sheena." + + Hey-ho, let's go. + + +316 EXT. ROUTE 9, TRUCKER'S POV 316 + + Unrolling before us at a good clip--too good, maybe. + + +317 INT. THE TUCKER'S FOOT 317 + 90. + + + Stamping the pedal closer to the metal. + + +318 EXT. THE ONCOMING TRUCK 318 + + Belting toward THE CAMERA. SOUND of the GROWLING ENGINE. + + +319 EXT. THE SKY, WITH THE KITE 319 + + LOUIS has clearly gotten it up okay. + + +320 EXT. LOUIS, IN THE FIELD 320 + + He’s holding the string, looking up at the sky. now he + looks back at the picnic table. + + LOUIS + Hey, Gage! + + +321 EXT. THE PICNIC TABLE 321 + + GAGE gets down and runs toward his father. + + +322 EXT. ROUTE 9 WITH THE ORINCO TANKER 322 + + Belting along fast. SOUND of the Ramones. + + +323 EXT. THE FIELD, WITH LOUIS AND GAGE 323 + + GAGE runs to his dad, chubby legs working. He reaches him, + and LOUIS transfers thee ball of string to GAGE’S hands. + + GAGE + Dat? + + LOUIS + String! You're flying it. Gage--you + got the hammer, my man! + + GAGE + Gage fline it? + + LOUIS + Bet your boots. Look-- + + LOUIS puts his hands over GAGE'S hands and pulls them down. + 91. + + +324 EXT. THE KITE 324 + + It dips in the sky. + + +325 EXT. LOUIS AND GAGE 325 + + LOUIS + See? + + GAGE + Gage fline it!! + + LOUIS (TENDERLY) + Bet your ass, little hero. + + He kisses his son. They look up at: + + +326 EXT. THE KITE 326 + + Dipping and drifting in that gorgeous fall sky. + + IRWIN GOLDMAN (VOICE) + Where were you while he was playing + in the road? Thinking about your + stupid medical articles? You + stinking shit! You killer of + children! + + +327 INT. THE FUNERAL CHAPEL, WITH LOUIS AND IRWIN 327 + + IRWIN + You-- + + But there is no way he can express his outrage with mere + words. As LOUIS sits staring numbly up at him, IRWIN + punches him in the nose. LOUIS sprawls backward, falling + out of the pew onto the floor. + + +328 INT. THE REAR OF THE CHAPEL, FEATURING RACHEL AND DORY 328 + + RACHEL screams and starts forward. DORY pulls her back. + + RACHEL + Louis! Daddy! Stop it! STOP IT! + + +329 INT. LOUIS AND IRWIN 329 + 92. + + + LOUIS is getting up groggily. Hs nose is pouring blood. + + IRWIN + How do you like that, you son of a + bitch? I should have done it + sooner! + + IRWIN punches him in the stomach. LOUIS "oofs” arid doubles + over. + + +330 INT. ANGLE ON THE OTHER MOURNERS 330 + + Among them we see STEVE MASTERTON and MARCY CHARLTON. + + STEVE (GETTING UP) + Hey! + + +331 INT. LOUIS AND IRWIN 331 + + LOUIS is slowly straightening up. IRWIN is in a sour frenzy + of glee. + + IRWIN + How do you like that? How do-- + + LOUIS pushes the old man with both hands. + + +332 INT. IRWIN GOLDMAN 332 + + He goes stumbling and flailing backwards... strikes the + coffin... knocks it off its bier. A SCREAM goes up from the + mourners. + + +333 INT. RACHEL AND DORY 333 + + RACHEL screams. Her mother struggles to hold her but RACHEL + easily breaks free and goes running down the aisle. + + +334 INT. ANGLE ON MOURNERS, WITH MARCY AND STEVE 334 + + MARCY + Stop them. Right now. + + STEVE gets up and goes toward: + + +335 INT. THE FRONT OF THE CHAPEL, WITH IRWIN 335 + 93. + + + He's picking himself out of a tangled mess of coffin and + overturned floral tributes. His suit is wet from spilled + water. + + He's weeping. + + LOUIS has just reached him, and that stunned look is gone. + I think he intends to do the Cool Jerk all over IRWIN + GOLDMAN'S puny little body. IRWIN strikes a Gentleman Jim + Corbett pugilistic pose. + + IRWIN + Come on! I'm ready for ya! I'll + take y'apart! + + As LOUIS wades in, STEVE MASTERTON gets between them...at + the last possible moment. + + STEVE + Stop it! + + LOUIS swings. STEVE manages to block the punch with his + body. + + STEVE + Stop it! Jesus, what's wrong with + you, Louis? It's your son's + funeral, not a boxing match! + + That gets to LOUIS. He drops his fists. That stunned + expression creeps over his face again--that look that says + he doesn't have the slightest clue as to what’s going on or + how it could possibly have happened. + + +336 INT. LOUIS 336 + + PASCOW (VOICE) + The soil of a man’s heart is + stonier, doc-- + + LOUIS turns toward: + + +337 INT. THE FRONT PEW, WITH PASCOW AND CHURCH 337 + + PASCOW, bloody and ruined in his jogging shorts and muscle + shirt, has the pew to himself...except for CHURCH, who is + sitting on his lap and PURRING. + + PASCOW + A man grows what he can...and tends + it. + 94. + + +338 INT. LOUIS, CU 338 + + A sense of horrible awareness comes into his face...and + then he covers it with his hands and begins to SOB. + + SOUND, COMING UP: A TRUCK MOTOR. + + +339 INT. THE CAB OF THE TANKER 339 + + The trucker is singing along with the radio. + + +340 INT. THE GAS PEDAL 340 + + It’s closer to the floorboards than ever. + + +341 EXT. LOUIS AND GAGE WITH THE KITE, IN THE FIELD 341 + + We are at some distance--far enough to see that the two of + them have moved quite close to the road. + + +342 EXT. LOUIS AND GAGE, A NEW ANGLE (KITE'S POV) 342 + + We can see their faces upturned to us--we can hear the + AMPLIFIED RATTLING SOUND of the kite itself. + + THE CAMERA PANS TO THE LEFT--to the road. And we can see + the truck, fairly close by now, and coming closer. + + +343 EXT. THE PICNIC TABLE, WITH RACHEL, ELLIE, AND JUD 343 + + JUD'S lighting a cigarette. His Walkman 'phones are around + his neck. + + ELLIE + I want to fly it! Can I fly it now, + mommy! + + RACHEL + In a minute, hon. Let Gage finish + his turn. + + +344 EXT. LOUIS AND GAGE 344 + + This is the last moment of happiness in this man’s life--so + let’s make it very happy. As he and GAGE stare up at the + kite: + 95. + + + IRWIN (VOICE) + Jesus. Louis. I'm sorry-- + + +345 INT. THE FUNERAL CHAPEL 345 + + The fight has gone out of IRWIN and STEVE has backed away-- + but cautiously. He's ready to jump back in if one or the + other goes mad again. But IRWIN is shuffling toward LOUIS, + hands out-- + + everyone else has gathered in a knot near the front of the + chapel. + + Among them is RACHEL and her mother, weeping in each + others' arms. + + IRWIN + I don't know what happened to me. + Louis, please-- + + LOUIS brushes by him with no acknowledgement that IRWIN + even exists. He kneels down slowly by the coffin and puts + his head against it. + + LOUIS (WEEPING) + I’m sorry, Gage--I’m so sorry, + little hero. + + +346 EXT. LOUIS AND GAGE, IN THE FIELD 346 + + There's a strong gust of wind. The ball of string falls out + of GAGE'S hand. + + +347 EXT. THE KITE, BLOWING AWAY 347 + + +348 EXT. THE PICNIC TABLE 348 + + ELLIE + It got away from him! That numb + shit! + + RACHEL (OUTRAGED) + Ellen Creed! + + +349 EXT. THE BALL OF KITE TWINE 349 + + It is bouncing and unraveling. More importantly, it is + being carried directly toward the highway. + 96. + + +350 EXT. GAGE 350 + + He takes off after the ball of twine. + + GAGE + Kite fline too fast! + + SOUND: The oncoming truck. + + +351 EXT. THE TRUCK 351 + + Slamming toward us--a brutal leviathan on eighteen wheels. + + +352 EXT. LOUIS 352 + + He's looking--looking toward his people at the picnic + table. + + LOUIS (SHRUGS, GOOD-HUMORED) + What can you d- + + TRUCK SOUND CONTINUES. + + +353 EXT. THE PICNIC TABLE 353 + + TRUCK SOUND LOUDER. + + Alarm hits IUD'S face. He rises. + + JUD + Don't let him go in the road, + Louis! + + RACHEL looks; registers terrible alarm. + + RACHEL (SCREAMS) + Get him, Louis! + + +354 EXT. GAGE 354 + + He's still scampering after the bouncing ball of kite- + twine, which has now almost reached the road + + TRUCK SOUND LOUDER. + + +355 EXT. LOUIS 355 + 97. + + + The SOUND is loud enough so he's having trouble hearing. + + LOUIS (CUPS HIS EAR) + What? + + +356 EXT. THE PICNIC TABLE 356 + + RACHEL (SHRIEKS) + GET THE BABY!! + + JUD is running toward the road, although he’ll never get to + GAGE in time; only LOUIS has a chance. + + +357 EXT. LOUIS 357 + + Horrible understanding dawns on his face. He whips around + and sees: + + +358 EXT. GAGE, LOUIS'S POV 358 + + The kid’s almost in the road; the ball of twine is in it. + + RISING DRONE OF THE TRUCK. + + +359 EXT. THE ONCOMING TRUCK 359 + + +360 EXT. GAGE, RUNNING INTO THE ROAD 360 + + GAGE (CHEERFUL) + Geddit-geddit-geddit! + + +361 EXT. EVERYONE, KITE'S POV 361 + + GAGE reaches the middle of the road as the truck comes + around the corner. LOUIS is running across the field, + getting close to the side of the road. RACHEL is clutching + ELLIE by the picnic table. + + JUD is helplessly trying to wave the truck down as it + passes him. + + +362 EXT. GAGE, IN THE ROAD 362 + + As he reaches the broken white line he grabs the ball of + string. + 98. + + + SOUND OF THE ONCOMING TRUCK. + + GAGE turns his head. + + GAGE (NOT AFRAID) + Druck! + + +363 EXT. THE ONCOMING TRUCK AND THE DRIVER, GAGE’S POV 363 + + Suddenly THE DRIVER'S face turns into a Halloween mask of + horror. + + He BLASTS THE AIR-HORN. + + +364 EXT. LOUIS, ON THE VERGE OF THE ROAD 364 + + LOUIS (SHRIEKS) + NO!! + + +365 EXT. GAGE 365 + + BLARE OF THE AIR-HORN. A shadow falls over his face. There + is an audible CLICK! and we FREEZE FRAME. What we have now + dously winning photograph of a little boy, not + is a tremen­ + quite two, with a ball of string in his hand...and a shadow + lying across his face. + + +366 EXT. PHOTO MONTAGE 366 + + a.) LOUIS is pushing RACHEL out of a hospital door. RACHEL + is in a wheelchair and looks radiantly happy (so, for that + matter, does LOUIS). I think we may safely assume that the + small blanketed bundle in RACHEL'S arms is CAGE. + + b.) LOUIS, bare to the waist, is tubbing a two-month-old + GAGE in a baby-tub. He's laughing. The infant looks + confused but calm. + + c.) The whole family by the Christmas tree, following an + orgy of present-opening. ELLIE, about five, has a doll in + each hand. LOUIS and RACHEL are in pajamas. GAGE, about + five months, is lying in a drift of wrapping paper. He + looks confused but calm. + + d.) A child's sneaker lying in the road. It’s splashed with + blood. + 99. + + + e.) GAGE--he's about nine months old in this snap--is + propped up in the angle of a sofa. There’s a big white + rabbit in his lap. + + GAGE looks c. but c. + + f. ) ELLIE and GAGE, bundled up against the Chicago winter. + ELLIE is pulling a child's chair-sled. GAGE is propped up + in the chair. + + He's about eleven months old in this snap. He's laughing. + + g. ) The Orinco tanker, overturned on the far side of Route + 9. + + h. ) This one was taken at Gage's first birthday party. + He's wearing a party-hat and looking at a birthday cake + with a single candle on it while LOUIS kisses one cheek and + RACHEL kisses the other. + + i. ) LOUIS, in the road. He's holding GAGE’S jumper, which + is torn, blood-soaked, and inside out. LOUIS is looking up + toward the sky and screaming. + + j. ) Here is a full-face studio portrait of GAGE. He is + smiling at us, heartbreakingly lovely. CAMERA HOLDS ON THIS + while: + + DUD (VOICE) + Sedative finally took hold. She's + asleep. + + +367 INT. THE KITCHEN TABLE, WITH LOUIS 367 + + He's holding the studio portrait in his hands and looking + at it fixedly. The other photos (the good ones, that is; + not the screamers--those, we may assume, exist only in + LOUIS'S tortured memory) are scattered on the table. We + only saw a few; there are actually hundreds. + + LOUIS puts the photo down as DUD comes in and crosses to + the fridge. LOUIS'S nose is badly swelled. He also has a + black eye. + + DUD gets a couple of beers and comes back toward the table. + + DUD + Your father-in-law packs a wallop, + for an old guy. He and his wife + gone back to Chicago? + + LOUIS + 100. + + + No...squatting out there at the + Holiday Inn like a couple of + vultures. He really thinks Rachel's + going to go back with them. Her and + Ellie. + + DUD + Louis-- + + The swing door opens. They look toward: + + +368 INT. ELLIE 368 + + She looks dazed and shocked. There are brown circles under + her eyes, but otherwise her complexion is much too white. + She's wearing fuzzy pj's. She's carrying the picture of her + pulling GAGE on the sled. + + +369 INT. DUD AND LOUIS, AT THE TABLE 369 + + ELLIE (COMING TO THE TABLE) + I want to go back to my own room. I + can't sleep with mommy. She keeps + stealing the covers. + + DUD + What you got there, Ellie? + + At first she doesn't want to show him, but DUD is very + kind. + + DUD (STUDYING IT) + Why that's real nice...you pullin’ + him on a sled. Bet he liked that, + didn’t he? + + ELLIE nods. She is starting to cry. DUD is also leaking at + the eyes. + + ELLIE (CRYING) + I used to pull 'im a lot. + + LOUIS, looking down at his hands, nods. + + ELLIE + I'm going to carry this picture, + Mr. Crandall, until God lets Gage + come back. + 101. + + + DUD reacts violently. And LOUIS looks up, dully + curious...but hasn't the thought already passed through + LOUIS'S mind? Yes--I think it has. + + DUD + Ellie...God doesn't do things like + that. I know you loved y*brother, + but-- + + ELLIE + He can if He wants to. He can do + anything, just like Inspector + Gadget on TV. But I have to keep + things ready for him, that’s what I + think. I've got his picture and I'm + going to sit in his chair— + + LOUIS + Ellie— + + ELLIE + And I’m going to eat his breakfast + cereal, too, even though it tastes + like boogers. And...and... + + She bursts into tears. + + DUD + Louis, take care of your little + girl...she needs you. + + +370 INT. LOUIS, CU 370 + + His face is stricken. + + +371 INT. ELLIE'S BEDROOM NIGHT 371 + + LOUIS comes in with ELLIE in his arms. He puts her gently + into her bed and pulls the covers up. She's already mostly + asleep. + + LOUIS (KISSES HER) + Good night, Ellie. + + ELLIE + G'night daddy. + + He starts for the door. + + +372 INT. ELLIE, CU 372 + 102. + + + ELLIE + God could take it back if He wanted + to, couldn't He? If He really, + really wanted to? Can I have faith + in that? + + +373 INT. LOUIS, AT THE DOOR 373 + + He stands looking at her for a long time, apparently + thinking about this quite deeply. + + LOUIS + Yes--I suppose you can. Good night, + Ellie. + + He steps out, closing the door. + + +374 INT. ELLIE, IN BED 374 + + In some sense comforted--it may be a poison comfort but she + surely doesn't know this--she turns over on her side to go + to sleep. We can see the picture of GAGE under her arm. + + +375 INT. THE UPSTAIRS HALL, WITH LOUIS 375 + + The light here is fairly dim. LOUIS goes down and opens + another door. He pokes his head in. + + +376 INT. THE MASTER BEDROOM, WITH LOUIS 376 + + He reacts first with surprise, then a species of horrified + disgust. + + +377 INT. LOUIS AND RACHEL'S BED, LOUIS'S POV 377 + + CHURCH is crouched on RACHEL’S sleeping form. + + +378 INT. THE BED, A NEW ANGLE 378 + + LOUIS comes in and swats the cat a damned good one. + + LOUIS (LOW SNARL) + Fuck off, hairball! ! + + +379 INT. CHURCH, CU 379 + 103. + + + It hisses at him through a mouthful of fangs, its eyes big + green balls...and then it flees. CAMERA FOLLOWS IT out the + door. + + +380 INT. LOUIS, BY THE BED 380 + + RACHEL stirs and mutters thickly, then lies still + again...she’s doped to the gills. LOUIS bends over and + kisses her gently. + + He leaves the room and closes the door behind him. + + +381 INT. THE UPSTAIRS HALL, WITH LOUIS 381 + + He tries the door a couple of times to make sure it's + firmly on the latch (his face wears an expression of "How'd + he get in there in the first place?”). Then he walks down + the hall to the stairs. + + +382 INT. ON THE STAIRS, CU 382 + + The cat is on one of the risers. LOUIS trips over it. + + +383 EXT. ON THE STAIRS WITH LOUIS, WIDER 383 + + For a moment he's pinwheeling madly for balance, on the + verge of falling. He regains his balance as the cat goes + shooting across the dining room toward the kitchen. + + LOUIS regains his equilibrium after a bit and continues on + down. + + +384 INT. THE KITCHEN, WITH DUD AND LOUIS AND CHURCH 384 + + As LOUIS enters through the swing door from the dining + room, DUD is just letting CHURCH out the back door. As DUD + closes the door: + + LOUIS (SLIGHTLY ANTAGONISTIC) + I thought you'd be gone by now. + + DUD + I got you a fresh beer out of the + fridge, Louis. + + He indicates the table, where there is indeed a fresh beer. + + LOUIS + 104. + + + Dud, I buried my son today and I’m + very tired. I wonder it we could + just-- + + DUD + You're thinking of things best not + thought of, Louis. + + LOUIS + I'm thinking about going to bed. + + But he begins pouring the beer into a glass. + + DUD + You never asked me if anyone had + buried a person up there in the + Micmac burying ground-- + + LOUIS'S hand jerks. Beer goes foaming across the kitchen + table. + + DUD + --but I think the thought has + crossed your mind. + + LOUIS + Shit! Look at this mess! + + DUD + Ayuh--it's a mess, all right. + + As LOUIS goes to get a cloth to wipe up the mess: + + DUD + I know the Micmacs thought it was a + holy place...and then they thought + it was a cursed place. That's why + they moved on. + + LOUIS + Because something called a wendigo + soured the ground. + + DUD + And because the dead walked. + + LOUIS stops sopping and looks at him. + + +385 INT. DUD, CU 385 + + DUD + 105. + + + Oh, ayuh. It's been done. What + you've been thinking of has been + done. + + +386 EXT. A COUNTRY RAILROAD STATION/SEPIA - DAY 386 + + The time is the late summer of 1944, although I don't + believe we need to know that specifically. The sign on the + station reads LUDLOW. There are a few 40s cars parked near + the station--they have gas-ration coupons on the + windshields. And a hearse. + + A train is coming. + + +387 EXT. THE HEARSE, WITH UNDERTAKER AND BILL BATERMAN/SEPIA 387 + + We can see the UNDERTAKER is trying to talk to BILL + BATERMAN, a man in his forties who periodically wipes his + brow with a bandana. + + BILL walks away. He doesn't want to talk; he doesn't want + comfort. + + He's a grief-stricken, bitter man. + + JUD (VOICE OVER) + Timmy Baterman was on his way home + from the war with his Purple Heart + when he got killed in some stupid + car accident down in Georgia. + + +388 EXT. THE TRAIN, IN FRONT OF THE DEPOT/SEPIA 388 + + The door of the mail-car is open. The UNDERTAKER and three + trainmen are unloading TIMMY BATERMAN'S coffin, which is + draped in a 48-star flag. BILL BATERMAN stands by, watching + balefully as they carry his son's final apartment to the + back of the hearse and load it in. + + JUD (V-O CONTINUES) + Bill was bitter--his son had been + in the thick of it two years and + then got shot in the leg--a clean + flesh-wound. He was supposed to be + coming home safe and sound, + instead, he come home in a box + after all. + + +389 EXT. THE REAR OF THE HEARSE/SEPIA 389 + 106. + + + The doors close. The hearse pulls away. THE CAMERA PANS TO + BILL BATERMAN, who stands staring balefully after it and + mopping his brow. + + DUD (V-O CONTINUES) + He wasn't able to get to the bottom + of the truth, Louis. + + +390 INT. THE CREED KITCHEN, WITH LOUIS AND JUD - NIGHT 390 + + LOUIS is now sitting down, drinking a beer, staring at JUD. + + LOUIS + I'll bite--what's the bottom of the + truth, Jud? + + JUD + Why...that sometimes dead is + better. That’s all. Sometimes dead + is better. + + LOUIS (BITTER) + Tell that to my wife and little + girl. + + JUD + It ain't your wife and little girl + that's got me worried, Louis. + + +391 EXT. THE LUDLOW CEMETARY/SEPIA - DUSK 391 + + We’re featuring a fresh grave...that of TIMMY BATERMAN. A + truck, showing only parking lights, turns into the + graveyard and drives slowly up to it. It stops, and BILL + BATERMAN gets out. HE looks at the grave and then goes to + the back of his truck. + + JUD (VOICE-OVER) + Timmy was buried on July 22nd, as I + remember. + + +392 EXT. BILL BATERMAN AT THE BACK OF HIS TRUCK/SEPIA - DUSK 392 + + He reaches in...and brings out a pick and shovel. + + DISSOLVE TO: + + +393 EXT. MARGIE WASHBURN, ON HER PORCH/SEPIA - DAY 393 + 107. + + + She's a middle-aged woman dressed in mid-forties style. + She's got a rug-beater in one hand; the other is up to her + eyes to shade the sun. She's staring at something, + horrified. + + JUD (V-O CONTINUES) + It was four or five days later + when... + + +394 EXT. A COUNTRY DIRT ROAD, WITH TIMMY BATERMAN/SEPIA - DAY 394 + + A young man dressed in Jeans and a plaid shirt is shambling + up the road. His eyes are vacant. His shirt is half + untucked. His hair is sticking up in a wild crow's-nest + thatch. There is an ugly mess of healed scars on his neck + and one side of his face. I think one of his ears may be + gone--torn off in the accident. + + JUD (V-O CONTINUES) + ...Margie Washburn seen him walking + up the road toward Yorkie's Livery. + + +395 EXT. MARGIE/SEPIA 395 + + She's screaming--we hear her faintly. + + +396 EXT. TIMMY/SEPIA 396 + + He turns toward her and we see a green light like the St. + Elmo’s fire in the Little God Swamp glow dimly deep in his + eyes. He grins at MARGIE. + + +397 EXT. IN FRONT OF THE LUDLOW TOWN OFFICES, WITH MARGIE/SEPIA 397 + + She hesitates for a moment or two and then walks up toward + the door. + + JUD (V.O.) + Lots of people saw Timmy Baterman + walking back and forth between the + home place and the town line. But + it was Margie... + + +398 INT. THE TOWN OFFICES, WITH MARGIE/SEPIA 398 + + She's in a hallway in front of a door with LUDLOW SELECTMEN + printed on the frosted glass. After a moment she opens it + and goes in. + 108. + + + JUD (V.O. CONTINUES) + ...who finally got up enough guts + to talk to the town fathers about + it. She knew it had to be stopped, + Louis. + + +399 INT. THE SELECTMEN'S OFFICE/SEPIA 399 + + MARGIE and four men are grouped around a desk. She’s + talking; they're listening. THE CAMERA LAZILY PANS the four + men--one, of course, is JUD as a YOUNG MAN. + + JUD (V.O. CONTINUES) + She knew it was an abomination. + George Anderson, the town + postmaster, was there...and Alan + Purinton...Hannibal Benson...and + me. I was there. + + +400 EXT. THE BATERHAN PLACE/SEPIA SUNSET 400 + + It’s a ramshackle old farm which looks remarkably like the + estate of that gentleman farmer Jordy Verrill. + + An old Ford pulls into the driveway, and the four men get + out. + + SOUND BLEEDS IN: Most of all the SOUND OF THE CRICKETS. + + They go to the door, and JUD is wordlessly elected as the + prime honcho. He knocks. No answer. Again. No answer. + + SOUND: Crazy laughter. + + BILL BATERHAN (VOICE) + Stop that, Timmy! + + The four men look at each other. + + JUD + Come on. + + They start around to the back. + + +401 EXT. THE BACK YARD, WITH BILL AND TIMMY/SEPIA 401 + + TIMMY BATERHAN is staring directly into the setting sun, + his eyes glowing with green fire. He’s laughing like Goofy + gone insane. + 109. + + + BILL, scared, is trying to make him stop, to turn away from + the sun. + + +402 EXT. THE BACK YARD, A NEW ANGLE/SEPIA 402 + + The four men come around the side of the house. They freeze + when they see BILL and TIMMY. + + ALAN + Oh holy Jesus look at that. + + BILL whirls around and sees them. + + BILL + You men get out of here! + + JUD + I heard your boy was killed down + Georgia. + + BILL (AGITATED) + That was a mistake! + + HANNIBAL + Was it? + + BILL + You see him standing there, don’t + you? Now get out! Get the Christ + off my land! + + Now TIMMY turns around and comes shambling forward. + + TIMMY (LAUGHING) + Ge ow! Ge Cwise off eye an! + + GEORGE (REVOLTED) + Oh Jesus, Jud! He's dead! I can + smell him! + + BILL + He ain’t dead! Give him a day or + two and he’ll be fine! Don't you + say that! + + JUD + Bill, this ain't right--you can see + that yourself-- + + BILL (SCREAMING) + GET OUT! YOU HEAR? GET OUT!!! + 110. + + +403 EXT. TIMMY BATERHAN/SEPIA 403 + + TIMMY (LAUGHING) + Dead! We love dead! Hate living! + + Abruptly he reaches up with both hands and scratches down + his cheeks, goring deep grooves in his flesh. Blood flows + sluggishly out. Very weird blood. + + +404 EXT. THE ENTIRE GROUP/SEPIA 404 + + BILL grabs TIMMY, who’s still laughing wildly, and gets him + turned around. TIMMY shambles back to where he was + originally standing. + + BILL goes with him like a man who has charge over a trained + baboon. A stupid trained baboon. + + BILL (OVER HIS SHOULDER) + You want to get out of here before + I get my shotgun! You boys are + trespassing! + + +405 EXT. THE FOUR MEN/SEPIA 405 + + JUD + God help you, Bill. + + +406 EXT. BILL AND TIMMY BATERMAN/SEPIA 406 + + BILL (SNARLS) + God never helped me. I helped + myself. + + +407 EXT. TIMMY BATERHAN, CU/SEPIA 407 + + Staring directly into the setting sun and laughing wildly, + mindlessly. + + +408 INT. THE CREED KITCHEN, WITH LOUIS AND JUD 408 + + LOUIS + What happened? + + +409 EXT. THE BATERHAN PLACE--MONTAGE NIGHT 409 + + a.) A car pulls up with its lights off and stops. + 111. + + + JUD (V.O.) + There was a fire. + + b. ) We see legs as people get out of the car, and hands + holding tin cans of gasoline. + + c. ) Hands splash gasoline from the cans along the sides of + the house. + + +410 EXT. THE BATERHAN PORCH - NIGHT 410 + + JUD (as a young man) rings the bell--an old-fashioned twist + type. + + BILL (VOICE) + Who's there? + + TIMMY (LAUGHING, SCREECHING VOICE) + Ooo air? Ooo air? + + JUD + Get out, Billy--the place is going + up. + + He walks away. BILL BATERMAN, wearing a strappy tee-shirt, + looks out the window. + + BILL + I seen you! I seen you, Dud + Crandall! + + +411 EXT. THE BATERHAN PLACE--MONTAGE - NIGHT 411 + + a. ) A match is struck...and applied to wet boards. Whoosh! + + b. ) The other side of the house: The same. + + c. ) In the back yard, JUD lights a torch and heaves it + through the kitchen windows. Ka-PLOOM! + + d. The men draw away toward the front, their faces grim and + ) + + judgmental. + + +412 EXT. THE BATERHAN PLACE - NIGHT 412 + + Burning. Going up fast. + 112. + + +413 EXT. THE MEN 413 + + ALAN + You think Bill's gonna get out, + Jud? + + JUD (STONY) + If he don't, he don’t. + + +414 EXT. THE FRONT DOOR 414 + + It bursts open. We see two men struggling at the forefront + of an inferno--correction, one man and an undead monster. + TIMMY is giggling and screaming, trying to pull his father + back into the flames. + + BILL (STRUGGLING) + No! No, Timmy! Let me go! + + TIMHE (LAUGHING) + Love dead! Hate living! + + He sinks his teeth into his father's arm. BILL screams. + + A beam falls on TIMMY, lighting him afire. BILL breaks free + and runs down the porch steps. + + +415 INT. THE FRONT HALL, WITH TIMMY 415 + + He's burning and laughing. + + TIMMY + LOVE DEAD! HATE LIVING! + + And into the fire he goes, still shrieking and laughing. + + +416 EXT. THE FRONT YARD - NIGHT 416 + + BILL BATERHAN is collapsed on the lawn as sparks drift down + around him, his face hidden against his thighs, weeping. + + CAMERA MOVES SLOWLY IN on the four men, who are grouped at + the end of the driveway by the road and staring with awe + at: + + +417 EXT. THE BLAZING FARMHOUSE - NIGHT 417 + + DISSOLVE TO: + 113. + + +418 INT. THE KITCHEN, WITH LOUIS AND JUD 418 + + JUD (SOFTLY) + Sometimes dead is better, Louis. + + BLACK. And on it, a sixth title card: THE DEAD WALK. + + SOUND BLEEDS IN: JET ENGINES. + + +419 EXT. BANGOR INTERNATIONAL TERMINAL - DAY 419 + + A jet plane rises into the sky from behind the building. + + GATE AGENT'S VOICE + This is the final call for United’s + flight 61 to Chicago... + + +420 INT. A BOARDING GATE, WITH LOUIS AND RACHEL 420 + + In the b.g. we can see IRWIN and DORY GOLDMAN waiting by + the jetway with ELLIE as the last few passengers board. + RACHEL looks confused and grief-stricken. She also looks + punchy, doped up. I imagine she's floating on a sea of + Valium, and that makes her easier to deal with. LOUIS'S + battle-scars are fading a little. + + The GATE AGENT is standing by the jetway with a mike in one + hand and a bunch of boarding passes in the other. + + GATE AGENT (CONCLUDES) + All passengers should now be + aboard. + + LOUIS + You better get going, hon. + + RACHEL + Oh Louis, I just don't know about + this— + + LOUIS + I told you last night--this can be + the start of patching things up + with your folks. If something good + doesn’t come of Gage's death, I + think I'll go crazy. + + RACHEL + Louis, are you sure? + + LOUIS + 114. + + + I'm sure. + + +421 INT. THE GOLDMANS, WITH ELLIE 421 + + ELLIE + I don't want to go to Chicago, + Gramma Dory. + + DORY + Why not, darling? + + ELLIE + I had a bad dream last night. A + nightmare. + + IRWIN (KINDLY) + About what? + + ELLIE + About Daddy. + (Pause) + And Gage. + + DORY and IRWIN exchange a knowing, sad glance over the + child's head. + + ELLIE + And someone named Paxcow. + + +422 INT. RACHEL AND LOUIS 422 + + LOUIS guides her to the jetway. + + LOUIS + Come on, you guys--before you miss + the boat. + + He kisses DORY. IRWIN hugs him. + + IRWIN + Louis, I am sorry. What can I say? + That I lost my mind? It's the + truth, but no good excuse. + + LOUIS (HUGS HIM BACK) + We all lost our minds, Irwin. + + LOUIS kisses RACHEL. Then he kneels and hugs ELLIE. + + LOUIS + 115. + + + Be good to your mother, darlin'. + She needs you. + + ELLIE + Come with us, daddy. Please come + with us! + + LOUIS + I'll be there in three days--four + at the most. I've got to get the + electricity shut off and square + things with your school so the + truant officer ain't after you, + and-- + + +423 INT. ELLIE, CU 423 + + ELLIE (CRYING) + Please, daddy! I'm scared! + + +424 INT. LOUIS AND ELLIE 424 + + LOUIS + Of what? + + ELLIE (CRYING HARDER) + I don’t know. + + LOUIS (GREAT EMPHASIS) + Everything's going to be all right, + Ellie. Now go on--get aboard. + + ELLIE + Do you swear? + + LOUIS + I swear. + + The Voice of Authority has spoken. We can tell by ELLIE'S + face that while things are still not all right, they are a + little better. She joins her mother. + + The four of them--RACHEL, ELLIE, and THE GOLDMANS--start + down the jetway. ELLIE looks back once, as if begging him + to come...and then they’re gone. + + +425 INT. LOUIS, CU 425 + + LOUIS'S face changes. Nov; it is a stony and contemplative + face. + 116. + + + Not, when you get right down to it, a very nice face. + + He turns and strides away. + + +426 INT. THE AIRPORT PARKING LOT, WITH LOUIS 426 + + The family station wagon is in the f.g. We hear the SOUND + OF JET ENGINES, and as LOUIS reaches the wagon he turns and + watches: + + +427 EXT. THE TERMINAL, LOUIS'S POV 427 + + From behind it a United Airlines jet lifts into view and + banks away. + + +428 EXT. LOUIS, IN THE PARKING LOT 428 + + Face set, he gets into the wagon and drives away. + + +429 EXT. ROUTE 15 IN BREWER 429 + + The CREED mobile pulls up across from the Brewer Tru-Value + Hardware and LOUIS crosses to it. + + +430 INT. THE HARDWARE STORE COUNTER, CU 430 + + On it: A six-cell flashlight, Duracell D-batteries, a pick, + a shovel, and a nylon drop-sheet in cellophane packaging. + Nov; the CLERK'S hands come into the frame and drop a pair + of heavy work­gloves into the pile. + + +431 INT. LOUIS AND CLERK (SMALL PUN, HEE-HEE) 431 + + CLERK + Anything else for you today? + + LOUIS (AFTER A LOOK) + I think we got it all. + + The CLERK starts to ring things up. + + CLERK + Looks like heavy work. + + LOUIS + It could be. + 117. + + + The quality of LOUIS'S reply is somehow unnatural. The + CLERK looks at him, momentarily unsure and uncertain. Then + he starts ringing things up again. + + +432 INT. A UNITED JETLINER, WITH ELLIE AND RACHEL 432 + + ELLIE is in the window-seat, asleep. RACHEL is holding a + paperback but not reading it. Her eyes are red. She's + looking into space. + + CAMERA DRIFTS TO ELLIE. Her sleep is not easy. Her head + turns from side to side, as if in negation. She becomes + steadily more upset. + + She’s starting to mutter. Suddenly her eyes flare open and + she screams. + + +433 INT. JETLINER, SLIGHTLY WIDER 433 + + We can see the GOLDMANS in the seats behind the CREEDS. + They are startled. So are other passengers. A stewardess + comes running. + + ELLIE + Paxcow says it's almost too late! + + RACHEL + Ellie...Ellie...what... + + ELLIE + Paxcow says it's almost too late! + We have to go back! Paxcow says + it's almost too late! + + +434 EXT. LUDLOW CEMETARY - DAY 434 + + The CREED wagon turns in and drives up one of the lanes. It + stops and LOUIS gets out. + + He walks to a fresh grave on which the first flowers are + already starting to wilt. He sits down and takes a flower. + He plucks it, looking at the grave steadily. He says + nothing for a long time. + + LOUIS + It's wrong. + (Pause) + What happened to you is wrong. + 118. + + +435 EXT. GAGE, IN THE FIELD 435 + + He runs toward THE CAMERA, happy and laughing, in SLOW + MOTION. + + +436 EXT. LOUIS, BY GAGE'S GRAVE 436 + + LOUIS is now weeping, but he seems calm just the same. + + PASCOW (VOICE) + Remember, doc. + + LOUIS looks at: + + +437 EXT. A TOMB, LOUIS'S POV 437 + + PASCOW, bloody and mutilated, is standing by it. + + PASCOW + The barrier was not meant to be + crossed. The ground is sour. + + +438 EXT. LOUIS, BY GAGE'S GRAVE 438 + + He is not put out of countenance in the slightest by + PASCOW'S appearance; he probably knows PASCOW is just a + figment of his conscience or imagination, and so do we. + + LOUIS + I'll tell you where the ground is + sour--the ground in my heart is + sour. Let me tell you something + else, Vic-baby: Wrong is wrong. + + +439 EXT. PASCOW 439 + + PASCOW + Timmy Baterman. That was wrong. + + +440 EXT. LOUIS, BY GAGE'S GRAVE 440 + + LOUIS + Don't talk like an asshole even if + you are just a bit of underdone + potato or a blot of mustard. + + +441 EXT. PASCOW, BY THE TOMB 441 + 119. + + + He stands mute, just looking. + + +442 EXT. LOUIS 442 + + LOUIS (WEEPING) + He was my son! He wasn't even two + and he was run down in the fucking + road and he was almost in pieces, + and if you don't think I'm going to + try... + + +443 EXT. THE TOMB, SANS PASCOW 443 + + VIC has put on his boogie shoes. + + +444 EXT. LOUIS, BY GAGE'S GRAVE 444 + + He's crying harder. Abruptly he reaches out at the floral + tributes and knocks a bunch of them over. + + LOUIS + If it doesn't work--if he comes + back like Timmy Baterman--I'11 put + him to sleep. But I'm going to try. + (Pause) + And if it doesn't work...they don't + ever need to know. + + +445 EXT. THE GOLDMAN HOUSE IN LAKE FOREST, ILLINOIS - NIGHT 445 + + +446 INT. UPSTAIRS HALL - NIGHT 446 + + THE CAMERA MOVES LEISURELY along this hallway, which is + lined with pictures of RACHEL, ELLIE...and GAGE (there may + even be a couple in which LOUIS is featured, but damned + few). Near the end of the hall a door is open and light + spills out. + + RACHEL (VOICE) + Honey, you just had a bad dream. + You know that, don't you? + + ELLIE (VOICE) + It wasn't a dream. It was Paxcow. + 120. + + + THE CAMERA GOES THROUGH THE DOOR and into the room where + ELLIE is staying. She's in bed, still badly upset. RACHEL + is sitting on the bed beside her. There's a single lamp on + the bedside table. + + ELLIE + Paxcow says Daddy's going to do + something really bad. He-- + + RACHEL + Who is this Paxcow? Is he like the + boogeyman? + + ELLIE + He’s a ghost. But he's a good + ghost. + + RACHEL turns off the bed-lamp. + + RACHEL + There are no ghosts, Ellie. I want + you to go to sleep and forget all + this nonsense. + + ELLIE + Will you at least call and make + sure daddy's okay? + + RACHEL + Of course I will. + + She kisses ELLIE. + + RACHEL + Now will you try to go to sleep? + + ELLIE (TURNS OVER ON HER SIDE) + Yes, Mom. + + RACHEL gets up and leaves the room. + + +447 INT. THE UPSTAIRS HALLWAY 447 + + PASCOW is here, halfway down the hall to the stairs, bloody + as ever. RACHEL doesn't see him. She looks perplexed, a + woman trying to think of something. She stops very near + him. + + RACHEL (TO HERSELF) + Paxcow, why do I know that name? + + PASCOW + 121. + + + Pascow. + + RACHEL suddenly straightens. She looks startled and afraid. + + RACHEL + Pascow? Was she saying Pascow? + + She suddenly heads for the stairs, fast. + + +448 EXT. THE CREED HOME IN LUDLOW - NIGHT 448 + + SOUND: A car starting up. + + The station wagon backs out and heads down the driveway. As + it passes THE CAMERA, we see LOUIS driving. The wagon turns + onto Route 9 and heads off. + + CAMERA HOLDS ON THE HOUSE. A beat of silence. Then: the + telephone starts ringing. + + +449 INT. THE GOLDMAN LIVING ROOM - NIGHT 449 + + IRWIN and DORY are watching RACHEL with some anxiety. + RACHEL is holding the phone to her ear. We can hear the + FILTERED SOUND of one ring after another. She hangs up. + + RACHEL + He's not home. + + DORY + Why, he probably went out for a + hamburger or a chicken dinner, + dear, you know how men are when + they're alone. + + Good old IRWIN'S face says that maybe LOUIS went out for a + couple of grams of coke and a whore in Nazi SS boots. + + RACHEL is dialing another number. + + +450 EXT. THE CRANDALL HOUSE - NIGHT 450 + + SOUND: Phone starts to ring. + + +451 INT. THE CRANDALL KITCHEN, WITH JUD 451 + + He shuffles to the telephone. His Walkman phones are around + his neck. He's got a bottle of beer in one hand. + 122. + + + DUD (PICKS UP) + Hello--you got Hudson. + + +452 INT. THE GOLDMAN LIVING ROOM, WITH RACHEL 452 + + RACHEL + It's Rachel Creed, Jud. I'm calling + from Chicago. + + JUD (SURPRISED VOICE) + Chicago! Is Louis with you? + + RACHEL + No...we're going to be here awhile, + and he wanted a few days to wind up + our affairs there. I just wondered + if he was with you. + + +453 INT. THE CRANDALL KITCHEN, WITH JUD 453 + + His face says this is very serious. + + JUD + No--but if he drops by, I'll tell + him to call you. + + +454 INT. THE GOLDMAN LIVING ROOM 454 + + RACHEL + Jud, do you remember the name of + the student that died on Louis's + first day at work? The one that was + hit by a car? + + JUD (VOICE) + I don't-- + + RACHEL + Was it Pascow? + + +455 INT. THE CRANDALL KITCHEN, WITH JUD 455 + + JUD + Ayuh, I think 'twas. If I see Louis + come home before I go to bed, I'll + tell him to-- + + +456 INT. THE GOLDMAN LIVING ROOM, WITH RACHEL 456 + 123. + + + RACHEL + Don't bother. I'm coming home. + + JUD (ALARMED VOICE) + Rachel! + + RACHEL + Thank you, Jud. Goodbye. + + She hangs up. + + +457 INT. THE CRANDALL KITCHEN, WITH JUD 457 + + JUD + No! Rachel! Don't do that! Rachel- + -! + + The buzz of an open line. Connection broken. JUD slowly + replaces the receiver. The man looks very grim. + + +458 INT. THE FRONT HALL OF THE GOLDMAN HOUSE 458 + + RACHEL comes down the stairs, dressed for travelling. She's + carrying a suitcase in one hand. Her parents meet her at + the foot of the stairs. + + DORY + Rachel...darling...you're upset... + a night's sleep... + + RACHEL + I have to go. The connections are + tight, and I have to be at O'Hare + in forty minutes. Will you drive + me, daddy? + + IRWIN + You know something's wrong, don't + you? You know. And Ellie does, too. + + RACHEL + Yes. + + IRWIN + I'll drive you. + + ELLIE (VOICE) + Mommy? + + They all turn to: + 124. + + +459 INT. ELLIE, ON THE STAIRS 459 + + ELLIE + Please hurry. + + +460 INT. RACHEL AND THE GOLDMANS 460 + + RACHEL + I will. Come and kiss me. + + ELLIE races into her arms. + + +461 EXT. LUDLOW CEMETERY - NIGHT 461 + + SOUND Of a car engine, THROBBING AND LOW. It cuts off. + + CAMERA MOVES IN on the low stone wall between the cemetery + and the road. Beyond it we can see the roof of the CREED + station wagon. + + LOUIS appears, dressed in dark clothes. He looks both ways, + then tosses a big duffle bag over the wall. Stuff clanks + inside. + + LOUIS climbs over the wall, grabs his bag, and checks out + the scene. + + +462 EXT. LUDLOW CEMETERY, LOUIS'S POV 462 + + A quiet city of the dead. Spooky. SOUND of crickets: Ree- + ree-ree... + + +463 EXT. LOUIS 463 + + He heads for GAGE'S grave. + + +464 INT. THE GOLDMAN CAR, WITH RACHEL AND IRWIN 464 + + IRWIN + I'll come with you if you want, + honey. + + RACHEL (SHAKES HER HEAD) + I've got three planes to catch and + I got the last seats on two of + them. It's like God saved them for + me. + 125. + + +465 EXT. O'HARE UNITED AIRLINES TERMINAL, WITH IRWIN'S CAR 465 + + IRWIN'S car heads for it. + + +466 EXT. THE GRAVE OF GAGE CREED 466 + + LOUIS approaches it slowly and sets down his bag of grave- + robbing equipment. He sets aside the remaining floral + tributes and then opens the bag and takes out the spade. He + looks down at the grave for a long second. + + LOUIS (LOW) + Gonna bust you out, son. + + He starts to shovel. + + +467 EXT. THE SHOVEL, CU 467 + + Digging...throwing...digging again. Already the shape of + the excavation is beginning to show. The work is easy; this + earth is new and fresh. + + +468 EXT. JETLINER, IN A LINE-UP OF JETLINERS 468 + + +469 INT. JETLINER, WITH RACHEL 469 + + Everyone looks impatient, but RACHEL looks half crazy. + + PILOT (VOICE) + This is the Captain speaking. I'm + sorry about this delay, folks, but + we’ve got a real low ceiling + tonight and air traffic control's + playing it safe. Looks like it's + going to be about half an hour + before we get on a roll, so I'm + turning off the NO SMOKING sign. + + SOUND: Bing! + + There's a general groan. CAMERA MOVES IN ON RACHEL, who has + closed her eyes. I think she’s praying. + + +470 EXT. GAGE'S GRAVE - NIGHT 470 + + Now it's pretty deep. Four feet, maybe. LOUIS is standing + in it. + 126. + + + We see his feet as the shovel goes up and down, up and + down. + + +471 EXT. LOUIS - NIGHT 471 + + He's sweating and dirt-streaked. He's tossing dirt on a big + pile. + + Suddenly, as he takes another shovelful, we hear a SCRAPING + SOUND. + + He tosses the shovel aside and squats. + + +472 EXT. IN THE GRAVE, WITH LOUIS 472 + + There's a white streak on the bottom of the grave--the top + of GAGE'S coffin. LOUIS swipes his hand through the loose + dirt, uncovering more, and then he begins to sweep off the + top of the coffin with his hands. + + +473 EXT. THE CRANDALL PORCH 473 + + JUD comes out. He's wearing a light jacket. His Walkman + phones are around his neck. He's got a six-pack. He looks + at: + + +474 EXT. THE CREED HOUSE, JUD'S POV 474 + + It's dark. + + +475 EXT. THE CRANDALL PORCH, WITH JUD 475 + + He sits down. + + JUD + You done it, you stupid old man... + now you got to undo it. + + He puts his earphones on. Cracks a beer. Lights a + cigarette. + + Pushes the PLAY button on the deck. Faint SOUNDS of The + Clash buzz-sawing "Rock The Casbah." + + JUD begins to watch. + 127. + + +476 EXT. LOUIS 476 + + He climbs out of the grave and opens his duffle bag. He + starts to pull out the pick. + + SOUND of an approaching car. + + LOUIS freezes. + + +477 EXT. THE ROAD OUTSIDE OF THE CEMETERY 477 + + A police car comes cruising slowly along. The spotlight on + the driver's side comes on and runs along the graveyard's + stone wall. + + +478 EXT. LOUIS 478 + + +479 EXT. LOUIS 479 + + He relaxes perceptibly. He gets the pick and drops back + into the grave. + + +480 EXT. THE TOP OF THE COFFIN, CU 480 + + LOUIS inserts the tip of the pick in the flange of the + coffin and levers it. CRACKING SOUND. Again. More CRACKING. + Again. And the lock breaks. The coffin lid comes up a + little, dirt gritting in the hinges. + + +481 EXT. LOUIS, CU 481 + + Here’s a man on the thinnest edge between sanity and + madness. + + +482 EXT. JETLINER LIFTING OFF FROM O’HARE 482 + + +483 INT. RACHEL AND HER SEATMATE 483 + + SEATMATE + Think you'll make your connection + in Boston? + + RACHEL + I have to. + 128. + + +484 EXT. LOUIS, BY GAGE’S GRAVE 484 + + He's lying on his stomach, reaching in. We hear the SOUND + of dirt grating in hinges again. + + +485 EXT. LOUIS, CU 485 + + We’re looking up into his face. If GAGE had a POV, this + would be it. LOUIS'S face fills with a terrible grief. + + LOUIS + Oh, Gage--oh, honey. + + +486 EXT. JUD CRANDALL, ON HIS PORCH 486 + + His chin slips to his chest, even though we hear Creedence + on his ’phones and to him the sound must be at blastoff + levels. There’s a long round ash on his cigarette in the + tray. A couple of empty beer cans on the table beside him. + + A truck blasts by, startling him out of his doze. He jerks + his head up suddenly...and slaps himself. He’s okay...for + now. + + +487 EXT. THE GRAVEYARD, WITH LOUIS 487 + + He is sitting on the edge of the grave, holding his dead + son in his arms, rocking him. GAGE is back to us. We see + only a small limp figure in a dark suit. Hair flops limply. + + LOUIS + It’s going to be all right...I + swear it’s going to be all right... + + The canvas tarp has been spread open to the right. LOUIS + begins to lay his son down on it. + + +488 EXT. THE GROUND BESIDE THE TARP, CU 488 + + It’s littered with flower petals. One limp hand appears + among them. + + +489 EXT. LOUIS 489 + + He closes the tarp over GAGE, making a roll. He then + produces rope from the duffle bag. He cuts the rope and + begins to tie one piece around one end of the canvas roll + containing the corpse of his son. + 129. + + +490 EXT. JETLINER IN THE NIGHT SKY 490 + + PILOT (VOICE) + Good evening again, ladies and + gentlemen... + + +491 INT. THE JETLINER, WITH RACHEL 491 + + Her seatmate is knitting something. Across the aisle sits + VICTOR PASCOW, bloody but serene, hands clasped in his lap, + looking straight ahead. RACHEL looks around tensely. + + PILOT (CONTINUES) + I’m delighted to tell you that + we've got a strong tail-wind + tonight and we expect to arrive at + Boston’s Logan Airport almost on + time. + + PASCOW clenches his fist in a "That’s one for our side!" + gesture. + + RACHEL (SOFTLY) + Thank God. + + Her SEATMATE looks at her a bit strangely. + + +492 EXT. THE GRAVEYARD, WITH LOUIS 492 + + He's got the bundle containing his son and the duffle-bag + with the tools. He runs bent over. He reaches the wall and + there's the SOUND of another motor. He crouches at the base + of the wall. + + +493 EXT. THE ROAD 493 + + Here comes that same police car. The spotlight runs along + the wall. + + +494 EXT. LOUIS 494 + + Crouching against his side of the wall and sweating. + + +495 EXT. THE POLICE CAR 495 + + It stops. The COP gets out. He walks slowly toward the + wall. + 130. + + +496 EXT. LOUIS 496 + + Crouched. Now we see the COP looking over the top. If he + looks down...but he doesn’t, instead he turns around so we + see his back. + + LOUIS looks up, miserably scared, pouring sweat. + + Silence. Then: SOUND of the cop taking a whiz. + + +497 EXT. THE COP 497 + + Ah! Relief. SOUND of his fly being zipped. He looks back at + the cemetery for a moment. + + COP + I ain’t afraid of no ghost. + + He walks back to his cruiser, gets in, and hauls ass. + + +498 EXT. LOUIS, BEHIND THE WALL 498 + + He collapses with relief. Then he gets up and looks + cautiously over the wall. Nothing there but his car, parked + a little way down on the other side of the road. + + He tosses the duffle bag over the top of the wall. He puts + the canvas roll containing GAGE on top of the wall. Then he + vaults over. + + +499 EXT. THE STREET SIDE OF THE WALL, WITH LOUIS 499 + + He takes the roll, gets the duttle bag hooked over his + shoulder by the string, and runs across the road like a + soldier crossing enemy territory. He goes to the rear of + the wagon. + + +500 EXT. THE REAR OF THE WAGON, WITH LOUIS 500 + + He puts the body down. He feels in his pocket for his keys. + No keys. Mild consternation. He looks around, feeling + exposed. The other pocket. Still no keys. More + consternation. He begins to hunt feverishly through his + pockets. Maybe in his jacket? Nope. + + SOUND: An approaching car. + + +501 EXT. PASSING CAR 501 + 131. + + + A civilian--not the ubiquitous cop. + + +502 EXT. LOUIS 502 + + He turns his pockets out, spilling change everywhere. + Nothing. + + Suddenly a little light goes on in his eyes. He goes to the + driver's side of the car and looks in at: + + +503 INT. IGNITION, LOUIS'S POV 503 + + The keys are in the switch. + + +504 EXT. LOUIS 504 + + He snatches the keys and returns to the back of the wagon. + He uses the key to open the doorgate. He puts gage's body + in gently, then the duffle bag. He closes the doorgate and + returns to the front of the car. He opens the driver's door + and freezes. + + LOUIS returns to the rear, gets his keys from the doorgate, + comes back to the front, gets in, and drives away. + + +505 INT. A JETWAY AT LOGAN INTERNATIONAL 505 + + People are debarking into the gate area. Through them comes + RACHEL, running fast, pushing some people, excusing herself + incoherently. PASCOW is walking near her. + + PASCOW + There's just time. If you run. + + Without looking at PASCOW, RACHEL takes off her shoes and + runs. + + +506 INT. THE CONCOURSE, WITH RACHEL 506 + + She's sprinting down the concourse--look out, Joanie + Benoit! + + +507 INT. GATE 27, WITH FEMALE GATE AGENT AND PASCOW 507 + + The FEMALE GATE AGENT is starting to close the jetway door. + 132. + + + PASCOW + Don't do that, babe. + + The GATE AGENT looks puzzled, as if she just had a thought + (or maybe a gas pain). She stops closing the door. RACHEL + runs into the area. She sees: + + +508 INT/EXT. THE JET PLANE, THROUGH THE GATE WINDOWS 508 + + It is just starting to swing ponderously away from the + jetway. + + +509 INT. RACHEL AND FEMALE GATE AGENT (PASCOW IS GONE) 509 + + RACHEL + Hake it come back! + + FEMALE GATE AGENT + I can't-- + + RACHEL bolts down the jetway. The GATE AGENT stares after + her, and then runs for her stand, where we can see FLIGHT + 61 and BANGOR on the slide-cards. She picks up her mike. + + +510 EXT. THE JETWAY NIGHT 510 + + RACHEL stands all alone at the end of it. + + AMPLIFIED SOUNDS OF JET ENGINES. + + RACHEL (SCREAMS) + COME BACK, MOTHERFUCKER!! + + +511 EXT. THE JET, RACHEL'S POV 511 + + It starts to swing back to pick her up. + + +512 EXT. RACHEL 512 + + PASCOW appears behind her and puts a hand on her shoulder. + + PASCOW + You're doing just fine. + + +513 EXT. JUD CRANDALL, ON HIS PORCH 513 + 133. + + + He's fast asleep with the tinny sound of Graham Parker + coming out of his Walkman 'phones. + + SOUND: An approaching car. + + +514 EXT. THE CREED HOUSE 514 + + The station wagon turns in and parks. LOUIS gets out. He + opens the back, removes the body in the tarp and the duffle + bag filled with tools. He manages to get everything + together and walks to the edge of the path. He looks at: + + +515 EXT. THE PATH TO THE PET SEMATARY, LOUIS'S POV 515 + + Off it goes, glimmering in the dark. + + +516 EXT. LOUIS 516 + + He holds the corpse of his little boy to him. + + LOUIS + Please God--let this work. + + He sets off. + + +517 EXT. JUD, ON HIS PORCH 517 + + Zonked out. He missed the whole thing. Nice going, Jud. + + +518 EXT. OUTSIDE THE ARCH TO THE PET SEMATARY, WITH LOUIS 518 + + Louis passes under like a ghost. + + +519 EXT. THE PET SEMATARY, WITH LOUIS 519 + + LOUIS is crying. He crosses to the deadfall. + + LOUIS + Ain't gonna stop, Gage. Ain't gonna + look down. + + He begins to mount the deadfall. + + +520 EXT. LOUIS, A NEW ANGLE 520 + 134. + + + He reaches the top. And woven into the deadfall, behind + him, facing the Pet Sematary, is that snarling face. + + LOUIS descends the other side. + + +521 EXT. THE FOOT OF THE DEDFALL, WOODS SIDE 521 + + LOUIS reaches the bottom and looks at: + + +522 EXT. THE WOODS, LOUIS’S POV 522 + + The path winds onward through those gigantic trees--it + glows slightly. + + +523 EXT. LOUIS, MOVING UP THE PATH 523 + + +524 EXT. LOUIS, AT THE EDGE OF LITTLE GOD SWAMP 524 + + That phosphorescent glow is a lot more pronounced. SOUNDS + of CRICKETS and FROGS. The water is mucky and still. + Hummocks stick up like knobs on the back of a creature best + not seen. Fog drifts through the dead trees. LOUIS doesn't + want to go in there. Smart man. I wouldn't either. + + But he does. + + +525 INT. THE HERTZ DESK, AT BIA WITH RACHEL AND CLERK--AND 525 + PASCOW + + PASCOW is lounging back against the rack of folders--and + getting some of them bloody. + + IICRTZ CLERK + I'm sorry...it's been very busy + tonight. I really don't have + anything. + + PASCOW + What about the Aries K with the + scratch on the side? + + The CLERK starts looking through her papers. + + CLERK + I do have an Aries K, but it came + in sort of beat up--there's a long + scrape up one side-- + 135. + + + RACHEL + I'll take it. + + +526 EXT. LOUIS, IN LITTLE GOD SWAMP 526 + + He comes walking toward THE CAMERA with GAGE in his arms + and the duffle bag over his shoulder. Mist swirls around + him. The landscape is weird, surreal. CRICKET SOUNDS, + AMPLIFIED. In fact there are a lot of swampy, marshy + SOUNDS--too many. It sounds almost prehistoric. + + SOUND: HARSH, SCREAMING LAUGHTER + + LOUIS stops. He looks slowly around at: + + +527 EXT. MIST-FACE, LOUIS’S POV 527 + + A demonic face takes shape in the mist and FLOATS SLOWLY + TOWARD THE CAMERA. It runs out a tongue that's about nine + feet long. + + Its eyes blow out. Blood and thick, gooey stuff runs from + the sockets. + + +528 EXT. LOUIS 528 + + He closes his eyes. After a moment he opens them. + + +529 EXT. LITTLE GOD SWAMP, LOUIS'S POV 529 + + Nothing there. + + +530 EXT. LOUIS 530 + + LOUIS + See? Dust imagination. Dust-- + + +531 EXT. LOUIS'S FEET 531 + + We can barely see them because they are thick in mist, but + he is standing on a couple of low, marshy tussocks. + Suddenly a thick tentacle slimes its way out of the + standing water and slithers around his ankle. + + +532 EXT. LOUIS, LOOKING DOWN 532 + 136. + + + LOUIS + Nothing...there. + + He turns around and begins to walk again. + + +533 EXT. LOUIS'S FEET 533 + + The tentacle falls away. + + +534 EXT. LOUIS, IN LITTLE GOD SWAMP 534 + + MYRIAD SOUNDS, none of them pleasant--laughter, gobbling + howls, screams. Sounds like the swamp has been invaded by a + pack of escaped lunatics. LOUIS continues on regardless. + + +535 EXT. WOODS 535 + + LOUIS comes into the frame. He's obviously tiring now, but + he keeps moving along. + + SOUND: Approaching footsteps. Big ones. Thudding ones. + Something is coming which sounds approximately the size of + a Tyrannosaurus Rex. And it just keeps getting louder and + louder and louder. LOUIS looks plenty scared. + + SOUND: A falling tree. + + +536 EXT. WOODS, LOUIS'S POV 536 + + Those SOUNDS keep getting closer and closer. Another tree + falls-- + + we see this one. And now we see a SHAPE--just a SHAPE. + + +537 EXT. LOUIS 537 + + He's scared almost to death. His face turns up...up...up. + + +538 EXT. THE WOODS--AND THE SHAPE, LOUIS'S POV 538 + + It is vaguely manlike: perhaps sixty feet tall, perhaps + eighty. We don't see it very well, nor do we have to--I'm + not even sure it's flesh and blood. But there is a clear + suggestion of a head. Now it turns and looks down...looks + at LOUIS CREED. We see great yellow eyes the size of + lighthouse lamps. + 137. + + + It makes a huge GRUNTING SOUND...and then walks on. + + +539 EXT. LOUIS 539 + + The SOUND OF FOOTFALLS is slowly diminishing. + + LOUIS + It was the Wendigo. Dear God, I + think the Wendigo just passed + within sixty feet of me. + + Slowly he begins to walk again. + + +540 EXT. LOUIS, A NEW ANGLE 540 + + In the extreme f.g. is a tree which has just fallen--it is + no small tree, either, but a great big old fir. + + LOUIS approaches it. Stops. Looks at the tree. Looks down + at: + + +541 EXT. THE FOREST FLOOR, LOUIS'S POV 541 + + Here is a gigantic animal track--if it was full of water, + LOUIS could swim in it. It looks like no animal track we've + ever seen before. Three big claws at the end of it. + + +542 EXT. LOUIS 542 + + Looks up again. His face is set and hard. + + LOUIS + It doesn't matter. Come on, Gage. + + He starts to walk again. + + +543 EXT. THE MICMAC BURYING GROUND 543 + + SOUND: The wind, lonesome and keening. + + THE CAMERA MOVES SLOWLY toward the slope, dreaming its way + over those rocky cairns...most of them burst apart. + + SOUND: Tortured breathing. Panting. + 138. + + + LOUIS toils his way into view, carrying his bundle. He + reaches the top. He makes his way slowly into the burying + ground. He stumbles over a rock. Falls down. Slowly gathers + his things together and gets up again. He goes a little + further and then stops and looks at: + + +544 EXT. A BROKEN CAIRN AND THE GRAVE BENEATH, LOUIS'S POV 544 + + We can also see the shredded remains of a green garbage + bag. + + +545 EXT. LOUIS 545 + + He slowly kneels down. He puts the canvas tarp to one side + and slowly takes the pick and shovel from the duffle bag. + By now he is clearly a man approaching total exhaustion. + + +546 EXT. A COUNTRY ROAD, WITH AN ARIES K 546 + + It tracks past THE CAMERA. + + +547 INT. THE ARIES K WITH RACHEL AND PASCOW 547 + + Both of them look tense. RACHEL is bolt upright behind the + wheel. + + Suddenly, BANG! as one of the tires blow. + + +548 EXT. THE ARIES K 548 + + It goes skidding and slueing across the road, the rear tire + half off the rim. IT climbs the curb and hits a tree. + + +549 INT. RACHEL 549 + + She lurches forward, but she’s wearing her seat-belt--good + girl! + + She unbuckles it and gets out. + + +550 EXT. RACHEL 550 + + She looks at the car, which now has quite a bit more wrong + with it than just a scratch up the side. + 139. + + + RACHEL slumps, near tears. LOUIS isn't the only one who’s + been through a lot tonight. + + RACHEL + Now what? + + PASCOW comes from around the tree as RACHEL walks to the + road, looking for cars, or something. He looks urgent and + upset. + + PASCOW + It's trying to stop you. Do you + hear me? It's trying to stop you. + + RACHEL looks around uncertainly... a little afraid. As she + scans the scene she looks at--and through--PASCOW. + + RACHEL + Is anyone there? + + After a moment of silence she turns back to the road. + Lights appear and brighten as a car approaches. RACHEL + steps to the shoulder and after a moment she sticks out her + thumb, surely for the first time in her life. + + The car sweeps by her without slowing. + + +551 EXT. GAGE'S CAIRN, CU 551 + + LOUIS'S hands enter the shot and put a few more rocks on + it. THE CAMERA PULLS BACK and we see him surveying his + work. Beside him is the canvas tarp, now open and empty. + + Absently, LOUIS stuffs the tarp into the duffle bag (where + his tools have also been replaced) and stands up with a + wince. One hand goes to his lower back. He looks down at + the cairn. + + LOUIS + Come back to me, Gage. Come back to + us. + + He turns away toward the stairs. + + +552 EXT. RACHEL, ON ROUTE 9 552 + + She's walking down the shoulder with her high heels in one + hand. + + Lights. An approaching car. She turns, thumb out. The car + blasts by. + 140. + + + RACHEL (SHOUTS) + MAY THE SEWERS OF RANGOON BACK UP + IN YOUR BEDROOM, ASSHOLE! + + She starts walking again. + + +553 EXT. THE FIELD BESIDE LOUIS'S HOUSE 553 + + LOUIS is moving down the path. As he passes the tire swing + he pushes it, setting it in motion. + + +554 INT. THE GARAGE 554 + + LOUIS slings the duffle bag wearily to one side and goes + into the kitchen. CHURCH is under the table but LOUIS + Doesn't see him. + + +555 INT. THE UPSTAIRS HALL 555 + + SOUND of LOUIS slowly plodding up the stairs. He comes into + view, dirty and exhausted, his hair hanging in his face. He + walks down the hall toward the master bedroom. + + +556 INT. THE BEDROOM 556 + + on the immaculate bedspread and lies still. + + In this shot we should note the closet door is standing + open. + + +557 EXT. THE MICMAC BURYING GROUND, FEATURING GAGE’S CAIRN 557 + + THE CAMERA MOVES IN SLOWLY. Holds. Nothing for a beat. + Then: + + A small white hand slams up through the rocks, hopefully + scaring the living shit out of us. + + CAMERA MOVES CLOSER as the hand begins to feel around. It + takes one of the rocks and pushes it aside. Another. + Another. Another. + + The SOUNDS are not encouraging. It is GRUNTING and + GROWLING. There is nothing human here. + + Rocks begin to tumble as GAGE starts to come out of his + grave. + 141. + + +558 INT. THE CREED BEDROOM, WITH LOUIS 558 + + Fast asleep on the coverlet in his dirty jeans and black + sweater. + + +559 EXT. RACHEL 559 + + My babe is still takin’ a hike. But here comes another + vehicle. + + +560 EXT. THE DEADFALL IN THE PET SEMATARY 560 + + THE CAMERA MOVES IN on that snarling face. + + SOUNDS: GAGE coming. Dead dry breath. Low snarling noises. + + Now we see small feet in dirty black shoes walking down the + deadfall. + + +561 EXT. RACHEL 561 + + Suddenly, as the lights appear, she does a Claudette + Colbert, pulling her skirt up and exhibiting a very lovely + leg. + + Lights--it's an Orinco truck, naturally--spotlight her. The + truck stops. + + +562 EXT. RACHEL AND THE TRUCK 562 + + The driver leans over and opens the door. + + DRIVER + Hop in, baby. + + RACHEL + Thank you. + + She does. + + +563 INT. THE CREED KITCHEN, WITH CHURCH 563 + + He's under the kitchen table, green eyes gleaming. I think + he loves dead, hates living. + + SOUND: The doorlatch. CHURCH MIAOWS. + 142. + + +564 INT. THE KITCHEN, A NEW (LOW) ANGLE 564 + + GAGE'S shoes grit slowly across the linoleum, leaving dirty + tracks. CHURCH turns to watch GAGE'S passage, and then + follows. + + +565 INT. THE BEDROOM, WITH LOUIS 565 + + CAMERA HOLDS ON LOUIS as those gritting footsteps approach. + Then we pan to the closet. On the floor is LOUIS'S little + black bag. We hold on this as the footfalls near. A small + white hand enters the frame and pulls the doctor-bag out of + the closet. Now another hand enters the frame and opens the + bag. The hands search around inside and bring out a + scalpel. + + They hold it up. The GAGE-THING makes a contented SOUND. + + +566 EXT. THE ORINCO TRUCK, ON ROUTE 9 - NIGHT 566 + + It sweeps past THE CAMERA + + +567 INT. THE CAB, WITH RACHEL AND DRIVER 567 + + RACHEL + Can't you go any faster? + + TRUCKER + Lady, I got nine points on my + license right now. + + RACHEL + I understand. It's just that-- + + She looks at him, pleading. The TRUCKER speeds up. + + RACHEL + Thank you. If you only understood + how important this is-- + + TRUCKER + That's all right, babe. Only if we + get stopped, next time I'll be the + one hitchin' and you can give me a + ride. + + +568 EXT. DUD, ON HIS PORCH 568 + 143. + + + More deeply asleep than ever. Suddenly, from inside, comes + the sound of Quiet Riot singing/screaming "Bang Your Head." + It's the stereo, and boy, is it cranked. + + JUD straightens up so suddenly he almost falls off his + chair. His hands go first to his earphones--his first + thought on waking is that it's coming from there--and then + he hurries inside. + + CAMERA PANS DOWN to small muddy tracks on the porch floor. + + +569 INT. THE LIVING ROOM, WITH JUD 569 + + He hurries in, turns on the light, and rushes across to his + stereo system, which is state-of-the-art digital--it looks + like a flying saucer among the more traditional furnishings + of the room. He shuts it off and looks around, frowning. + + SOUND: Todd Rundgren, singing "Bang on the Drum All Day" at + the top of his voice. + + JUD'S head snaps toward the SOUND. + + +570 INT. A SONY RADIO, CU 570 + + THE CAMERA PULLS BACK as JUD hurries across the kitchen to + the counter, where the radio is. He turns it off, looking + around, more bewildered than ever. + + JUD (SHARPLY) + Who's here? + + He walks toward the door which gives on the hall. + + +571 INT. THE HALL, WITH JUD 571 + + It's dimly lit by light-spill from the living room and + kitchen. + + JUD + Come on, stop playing games! + + SOUND: Molly Hatchet, "Flirtin' with Disaster," being + played top end, from upstairs. + 144. + + + DUD hurries up. Let me suggest that there is a certain + psychology at work here--for the moment he's more concerned + about waking the neighborhood with all this high-decible + rock and roll than with the prowler...and he would + certainly know who--or what--that prowler was, if he had + time to think. + + +572 INT. DUD’S BEDROOM 572 + + He enters and turns on the light. We see a portable + phonograph with the record, turning. DUD rushes over and + turns it off. + + He looks around, and we see by his face that he knows. + + DUD + Gage? + (Pause) + Are you the one playing games? + + He goes to the window and looks out at: + + +573 INT/EXT. THE CREED HOUSE, WITH THE STATION WAGON, DUD'S POV 573 + + +574 INT. THE BEDROOM, WITH DUD 574 + + He turns slowly and walks toward the bed. + + DUD + Gage? Come on out. + + He reaches in his pocket and brings out a pocket-knife. He + unfolds the blade. + + DUD + I want to show you something. + + SOUND: Miaow! + + +575 INT. THE DOORWAY, WITH CHURCH, DUD'S POV 575 + + +576 INT. DUD, BY THE BED 576 + + DUD (TO THE CAT) + How did you--?! + + +577 INT. DUD'S FEET 577 + 145. + + + A small hand holding a scalpel shoots out from beneath the + skirt of the coverlet and slashes DUD'S calf, + + +578 INT. DUD 578 + + He screams with pain and staggers backward. + + +579 INT. DUD'S FEET 579 + + The other hand shoots out. GAGE grabs one of DUD'S ankles + and pulls. + + +580 INT. DUD 580 + + With a startled yell, he falls. + + +581 INT. DUD AND GAGE 581 + + This one's gotta be pretty rough. George will know what to + do. We finally see GAGE, but it should be clear to us that + it's not really GAGE at all. Some daemonic presence is + riding inside the mouldering, disfigured shell of GAGE. + + There is a struggle. DUD is repeatedly slashed with the + scalpel. + + Perhaps he gets GAGE a time or two with the pocketknife. + + GAGE screams and gibbers--nothing intelligible here; only + sounds. + + DUD expires. + + GAGE sits on top of him...and then bites into his throat. + + +582 EXT. ROUTE 9, BETWEEN THE CRANDALL AND CREED HOUSES 582 + + Headlights. RACHEL'S truck has arrived. It pulls up. + + RACHEL opens the passenger door, which is on DUD'S side. + + +583 EXT. ANGLE ON THE CAB 583 + + We can see PASCOW sitting in the passenger seat where + RACHEL just was. + 146. + + + RACHEL + Thank you so much. + + TRUCKER + I didn't get a ticket, so you're + welcome, lady. + (And, more seriously) + Whatever your problems are, I hope + they work out. + + PASCOW + It's the end of the line for me, + too--I'm not allowed any further. + + RACHEL (TO THE TRUCKER) + I'm sure things will be fine. + + PASCOW + I'm not. + + She closes the door and steps down. + + The truck starts off with a HISS OF RELEASED AIRBRAKES. As + it pulls past her, RACHEL starts across the road, when: + + GAGE (SOFT VOICE) + Mummy! + + She stops, startled. Her face wears a "did I hear that?" + + expression. She looks back toward DUD'S house. + + GAGE (SOFT VOICE) + Mummy! + + RACHEL walks halfway up DUD'S paved walk and looks at: + + +584 EXT. DUD'S HOUSE, RACHEL'S POV 584 + + The one place in the whole world we do not want RACHEL to + go. + + +585 EXT. RACHEL 585 + + She goes. Up the steps to the porch. All through this she's + been travelling with two bags: her handbag and a light tote + with her initials on it. Now she sets the tote down on the + top step and opens the porch door. + + She looks very uncertain. This is the wee hours of the + morning, and someone else's house. But...that voice... + 147. + + + GAGE (VOICE) + Mummy, I need you! + + RACHEL looks stunned-- rocked. She steps onto the porch. + + RACHEL + Who-- + + The door to the house swings open. After a moment CHURCH + comes into the doorway and sits down. + + CHURCH + Miaow! + + RACHEL + Church! + + GAGE (VOICE) + Mummy, I need you! + + She crosses to the open door. + + RACHEL + Gage? Gage? + + No answer. RACHEL steps in. + + +586 EXT. THE CREED HOUSE MORNING 586 + + +587 INT. THE CREED BEDROOM, WITH LOUIS 587 + + He's restless, having a very bad dream, from the look. He + rolls back and forth. Closer and closer to the edge. + Finally, with a wild yell, he goes over onto the floor. + + +588 INT. LOUIS, ON THE FLOOR 588 + + He comes awake, sits up. Ouch! He's aches from top to + bottom and side to side...but his back is worst. His hands + go to it. + + LOUIS + Jesus! + + He starts to get up very slowly, and this his eyes fix on: + + +589 INT. GAGE'S TRACKS ON THE BEDROOM FLOOR, LOUIS'S POV 589 + 148. + + + They enter the house, go to the closet, then leave again. + + +590 INT. LOUIS 590 + + LOUIS + Gage--? + + He scrambles for the closet, his aches and pains forgotten. + He stares in wildly. + + +591 INT. THE DOCTOR-BAG 591 + + It’s open. + + +592 INT. LOUIS 592 + + He pulls the doctor-bag out. His original hope is now + tempered with the first signs of fear. He begins to go + through the doctor­bag. Suddenly he brings out a case and + opens it. The case is empty, but the indented shape is + clear. There was a scalpel in this case...but not anymore. + + LOUIS + Oh my God. + (Pause) + Gage! + + +593 INT. THE HALL, WITH LOUIS 593 + + LOUIS + Gage! + + LOUIS stands there, tensely listening, for a moment or two, + but there's only silence. He rushes down the hallway and + opens the door to GAGE'S room. + + +594 INT. GAGE'S ROOM, LOUIS'S POV 594 + + Empty. + + +595 INT. LOUIS, ON THE STAIRS 595 + + He goes downstairs, yelling GAGE'S name. + + +596 INT. THE KITCHEN, WITH LOUIS 596 + 149. + + + Nothing. The phone RINGS. LOUIS almost jumps out of his + skin reaching for it. + + LOUIS + Hello! + + IRWIN (VOICE) + Hello, Louis--it's Irwin. I just + wanted to be sure Rachel got back + all right. + + As IRWIN says this, LOUIS'S eyes fix upon something. + + +597 INT. THE FLOOR, WITH TWO SETS OF GAGE-TRACKS, LOUIS'S POV 597 + + One set comes in from the shed-garage and heads for the + parlor and upstairs. The other comes out of the parlor and + crosses to the kitchen door giving directly on the outside. + + +598 INT. THE KITCHEN, WITH LOUIS 598 + + In his eyes we suddenly see that he understands + everything...or almost everything. + + IRWIN (VOICE) + Louis...are you there? + + LOUIS (SLOWLY) + Yes--I'm here. + + IRWIN (VOICE) + Did she get there all right? + + LOUIS + Yes, she's fine. + + IRWIN (VOICE) + Well, put her on at that end and + I'll put Ellie on at this one. + Ellie's very worried about her + mother. + (Pause) + She’s almost in hysterics. + + LOUIS + She...Rachel1s asleep. + + |IRWIN (an edge in his voice now) + + Then I suggest you wake her up. Ellie...I think she had a + dream that her mother was dead. + 150. + + + LOUIS + I'll call you right back. + + IRWIN (VOICE) + Louis--! + + But LOUIS, whose last few responses have been almost + trancelike, hangs up. He looks at the tracks, then goes + into the parlor. + + +599 INT. THE CRANDALL LIVING ROOM, WITH THE PHONE 599 + + Tiny bloody hands lift it off the cradle. A tiny bloody + finger didlb. + + +600 INT. THE CREED KITCHEN 600 + + The phone starts to ring. After two or three ringy-dingys, + LOUIS, looking extremely upset, comes out of the parlor and + picks it up. + + LOUIS + Irwin, you'll just have to-- + + GAGE (VOICE) + I’m at Dud's, daddy. Will you come + over and play with me? + + LOUIS is dumbfounded...slack-mouthed with terror. + + |LOUIS (a bare whisper) + + Gage? + + GAGE (VOICE) + Mommy already came. We played, + daddy. First I played with Dud and + then mommy came and I played with + mommy. We had an awful good time. + Nov; I want to play with you. + + GAGE begins to giggle...a really awful sound. + + LOUIS + What did you do? What did you-- + + CLICK! The GAGE-THING hangs up, still giggling. + + +601 INT. THE CREED BED, CU 601 + 151. + + + He puts the doctor-bag down on the bed and roots through + it. He comes up with three syringes, still wrapped in + paper, and puts them aside. Then he roots around some more + and comes up with several ampoules. He holds one up for + inspection and we can read the word MORPHINE on it very + clearly. + + +602 INT. THE BEDROOM, WITH LOUIS 602 + + He carries the syringes and ampoules of morphine over to + the window. His hair has gone partially white. + + He fills all three syringes with morphine (using two + ampoules for each syringe--i.e., enough to kill a polar + bear) and puts them in the left breast pocket of his shirt. + He puts the spare ampoules in the right breast pocket of + his shirt. + + LOUIS is slowly going insane. What remains of his + rationality is like a rapidly fraying rope. + + LOUIS + What you buy is what you own, and + sooner or later what you own comes + home to you. Wasn't that what you + said, Dud? Wasn’t that pretty much + it? + + He leaves the room. + + +603 EXT. THE FRONT DOOR OF THE CREED HOUSE 603 + + LOUIS comes out the door. In one hand he's got a raw pork + chop. In the other he is carrying a pair of Playtex rubber + gloves. He walks to the soft shoulder and waits for an + Orinco truck to pass. Then he crosses. + + +604 EXT. THE CRANDALL WALK, WITH LOUIS 604 + + He walks most of the way to the house, then stops. + + +605 EXT. CHURCH, LOUIS”S POV 605 + + He gets up, humping his back warily. + + +606 EXT. LOUIS 606 + + LOUIS + 152. + + + Hi, Church. Want some grub? + + He tosses the pork chop onto the grass. + + +607 EXT. CHURCH 607 + + He hurries down the steps, goes to the chop, sniffs it, and + starts to chow up. He looks up at: + + +608 EXT. LOUIS 608 + + He is pulling on the rubber gloves. + + LOUIS + Don't mind me. Eat it while you + can. Eat all you want. + + +609 EXT. CHURCH 609 + + He starts worrying the chop again. Smack-smack-smack. + + +610 EXT. ANGLE ON LOUIS AND CHURCH 610 + + LOUIS + Eat all you can...all you want... + that's right...today’s Thanksgiving + day for cats, but only if they came + back from the dead... + + He finishes with the gloves, gets one of the loaded + syringes out of his breast pocket, holds it up, squirts a + drop out of the tip, then moves toward CHURCH. + + CHURCH looks up. LOUIS stops moving. CHURCH starts eating + again, and LOUIS starts moving again as soon as he does. + All the time he talks to the cat in that soothing voice. He + bends down...and grabs him. + + CHURCH begins to squall and fight. LOUIS holds onto him. He + tries to get the syringe into the cat and CHURCH almost + gets away. + + LOUIS + No, you don’t! + + +611 EXT. CHURCH, CU 611 + + The syringe plunges into his haunch. + 153. + + +612 EXT. CHURCH AND LOUIS 612 + + The needle is still dangling out of CHURCH'S haunch. The + cat looks dazed. It tries to walk and falls over on its + side. It tries to get up...and then falls over again. + + LOUIS + Go on. Lie down. Play dead. Be + dead. + + He walks to the porch steps and picks up the tote-bag. + + +613 EXT. THE TOTE-BAG, LOUIS'S POV 613 + + Any doubt he might have allowed himself the luxury of + having is erased by the initials--R.C. , same as the cola. + + +614 EXT. LOUIS 614 + + Twang! One of the few remaining strands of sanity has now + parted. + + He looks back at: + + +615 INT. CHURCH, ON THE PATH, LOUIS'S POV 615 + + Dead. + + +616 EXT. LOUIS 616 + + He climbs the steps and goes onto the porch. + + +617 EXT. LOUIS, ON THE PORCH 617 + + He strips off the rubber gloves. He tosses them onto the + table beside JUD'S beer-cans as he goes inside. + + +618 INT. THE FOYER OF THE CRANDALL HOME, WITH LOUIS 618 + + It’s dark in here, and spooky. + + LOUIS + Rachel? + (Pause) + Jud? + (Longer pause) + 154. + + + Gage? + + No answer. He looks down and sees: + + +619 INT. A SHOE, LOUIS'S POV 619 + + One of RACHEL'S shoes. It lies by the foot of the stairs. + + +620 INT. LOUIS 620 + + He goes over and picks up the shoe. It's a three-quarter + heel, and it's pretty badly scuffed. RACHEL, after all, did + some pretty hard travelling to get here. + + There's a spot of blood on it. + + SOUND: A low giggle. + + LOUIS looks up: + + +621 INT. THE STAIRS, LOUIS'S POV 621 + + Mighty dark. Mighty shadowy. + + SOUND: Another giggle. + + +622 INT. LOUIS, AT THE FOOT OF THE STAIRS 622 + + LOUIS + Gage? + + +623 INT. THE STAIRS 623 + + GAGE (VOICE) + Let's play, daddy! Let's play hide + and go seek! + + +624 INT. LOUIS 624 + + takpc one nf thf» loaded ^yrnngpc from hit pocket. + + LOUIS + All right, Gage...let's. + + He begins to climb the stairs. + 155. + + +625 INT. UPSTAIRS, WITH LOUIS 625 + + LOUIS arrives on the landing. We begin the nerve-wracking + business of checking rooms. First, the bathroom...and the + shower curtain is of course pulled. LOUIS yanks it back. + Nothing. + + He checks the linen closet. Nothing. Goes back to the hall. + Looks down it. He walks slowly along it. He checks one + room. It's a guest room. Shadowy and empty. + + Down the hall. A closet door. A bag falls off the top + shelf, and a bunch of ceramics inside it SHATTER LOUDLY. + LOUIS flinches back. + + Down the hall. Now he’s at JUD'S room. He goes in. + + +626 INT. JUD'S ROOM, WITH LOUIS 626 + + He checks the closet. No go. He steps around the bed and + sees: + + +627 INT. THE FLOOR, LOUIS'S POV 627 + + A bloodstain. + + +628 INT. LOUIS 628 + + He gets down on his hands and knees and examines the + bloodstain. + + He sees the skirt on the bedspread. He lifts it. He is nose + to nose with JUD, who is dead with his eyes open, an + expression of incredible horror on his face. + + The DOOR SLAMS. + + LOUIS bolts to his feet as GIGGLES fade down the hall. + + Slowly, he kneels down and speaks to the skirt of the + spread, which has mercifully fallen back into place. + + LOUIS + I'm sorry, Jud. I'm so sorry. I'm— + + There's a SQUEAKING, SQUEALING SOUND. + + LOUIS turns around. He gets up again. He starts for the + door. Then he turns back and speaks to JUD again. + 156. + + + LOUIS + I'm going to set things back in + order. I...I know just what to do. + + He goes out. + + +629 INT. THE HALLWAY, WITH LOUIS 629 + + He takes one of the two remaining loaded syringes from his + breast pocket. + + LOUIS + Gage? + + Another SQUEAKING SOUND. And another GIGGLE. + + LOUIS starts slowly forward. He gets about halfway down the + hall-- + + and our nerves are tuned to the breaking point--when there + is a SQUEALING CREAK and a GRATING THUMP from overhead. + + +630 INT. CEILING TRAPDOOR 630 + + This happens fast. The trap--which presumably gives on the + attic with a set of folding stairs--rises, and RACHEL'S + body plunges down through and then hangs, swinging: she has + been bound around the armpits and as become a grotesque + parody of MISSY DANDRIDGE. + + Half her face is gone. Eaten. + + +631 INT. LOUIS 631 + + He SCREAMS and backs against the wall. Twang! The last + silver + + +632 INT. THE TRAPDOOR, WITH GAGE 632 + + He leaps down, crashes on the floor, and then picks himself + up. He is waving the scalpel. + + GAGE (SCREECHING) + Allee-allee-in-free! allee-allee- + in-free! Allee-allee-in-free! + + +633 INT. LOUIS AND GAGE 633 + 157. + + + I won't choreograph all the moves, but GAGE slashes his + stunned father up pretty badly with the scalpel. He's + screeching the whole time. LOUIS finally begins to react. + He grapples with the little critter, and tries to get the + syringe into him. No good. It's batted out of his hand just + before he can do it. It breaks. + + LOUIS and GAGE fall to the floor. LOUIS gets the other + syringe out of his pocket, but it's also knocked out of his + hand. Only consolation is this one isn't broken. It rolls + off along the floor. LOUIS finally manages to get it again + as the struggle goes on, and plunges it into GAGE'S neck. + + GAGE + No fair! NO FAIR! + + He gets to his feet, clawing for the needle lolling out of + his neck. He's lost all interest in his father. He goes + staggering away. He’s slowing down. He goes to his + knees...and falls on his face. + + LOUIS watches this... and then his vacant, half-catatonic + gaze goes to: + + +634 INT. RACHEL, LOUIS'S POV 634 + + She swings slowly back and forth. + + +635 EXT. THE BACK YARD OF THE CRANDALL HOUSE 635 + + Time has passed. It's late afternoon. LOUIS comes out with + a sheet-wrapped form in his arms. RACHEL, of course. + + He sets the body down and goes back inside. + + +636 INT. THE KITCHEN, WITH LOUIS 636 + + He's splashing around a can of coal-oil. When he's got the + room wetted down to his satisfaction, he goes to the door, + lights a match, and tosses it. + + Flame runs across the floor. The fire is slow at first, but + then it begins to gain rapidly. + + LOUIS goes out. + + +637 EXT. THE BACK LAWN, WITH LOUIS 637 + 158. + + + He picks up the sheet-wrapped form of his wife and walks + around the side of the house as flames shoot through the + kitchen windows. + + +638 EXT. THE FRONT OF THE CRANDALL HOUSE, FROM ACROSS THE ROAD 638 + + LOUIS appears with his shrouded burden and approaches the + road. + + PAGE 134 MISSING FROM HARD COPY + + +639 EXT. THE SHOULDERING RUINS OF THE CRANDALL HOUSE NIGHT 639 + + CAMERA HOLDS FOR A MOMENT, then rises and looks toward the + CREED house. There's one light on--in the kitchen. + + TOLLING CONTINUES: Three...four...five... + + +640 INT. THE KITCHEN TABLE, WITH LOUIS 640 + + LOUIS is filthy, covered with dried blood. He is playing at + Patience. He holds a handful of cards. + + TOLLING CONTINUES: Six...seven... + + SOUND: The back door opens. + + SOUND: Crickets from outside. Ree-ree-ree... + + SOUND: Gritting footsteps. + + LOUIS looks up. He doesn't look behind, at what's coming. + He looks straight ahead. + + LOUIS + And what you own always comes home + to you. + + He flips up one card. + + TOLLING CONTINUES: Eight... + + +641 INT. THE CARD 641 + + It’s the Bitch, the Queen of Spades, she who supposedly + poisoned the laddies in the Tower. + + LOUIS'S hand falls upon it. + 159. + + + TOLLING CONTINUES: Nine...ten... + + +642 INT. LOUIS, CU 642 + + A hand clotted with grave-dirt falls on his shoulder. A + woman's hand. + + TOLLING CONCLUDES: Eleven...twelve... + + RACHEL (VOICE) + Darling. + + FADE OUT ON THE SOUND OF CRICKETS. + \ No newline at end of file