THE SPOTTSVILLE MONSTER

A true story

By.B.M.Nunnelly

SCENE 1

EXT.-RIVER-DAWN

The sun rises over early morning mists.

CAPTION: SPOTTSVILLE, KY RIVER BOTTOMS,1935

EXT-RIVER-MORNING

HERMAN HOPGOOD,17,sits on the river bank holding a long, stout cane pole .He is dressed in the simple garb of a dirt farmer’s son. The water laps peacefully at his bare feet. He hears a noise from the line of trees behind him and turns to look. After a couple of seconds he turns back to his fishing pole, relaxed. Taking out a small tin of tobacco, he rolls up a smoke. His cork suddenly goes under and he jerks the pole upward. His face shows obvious delight as he feels the weight of his catch bending his cane pole nearly double.

EXT-RIVER BANK-LATER

Herman makes his way up the river bank holding his cane pole in one hand and an old hemp stringer in the other. Four nice sized channel cats hang limply from the string. He tops the incline and walks along the edge of a grassy, unplowed field until he comes to a long, deep washout created by the erosive waves of the river. He cautiously approaches the edge and looks down at the deep mud about fifteen feet below.

He walks down a dirt road dragging the fish behind him. There is a small farmhouse not far away sitting in front of a thick line of trees in the full bloom of Spring. A couple of sheds and barns are also nearby.

SCENE 2

EXT-FARMHOUSE-DAY

Herman walks into view and steps up onto the small wooden front porch. In the narrow driveway sits a late 1920's model Ford. The birds chirp as the tree limbs sway in a gentle wind. All is well as Herman enters the house.

EXT.-ANOTHER SMALL FARMHOUSE-NIGHT

The crickets chirp into an otherwise quiet, still night.

No lights are showing in the windows. Inside a couple, mid-fifties, are sleeping peacefully.

A large dog walks down from the front porch and into the yard. Suddenly the crickets’ night song ceases. As the dog begins to bark the man stirs in his sleep.

The dog barks furiously now. From a nearby tree line loud tree-snapping sounds approach. The man, STUTLER, stirs more vigorously, on the verge of waking.

SCENE 2 (Contin.)

EXT-NIGHT

As a huge, dark figure with red glowing eyes emerges from the thicket. The dog stops barking and, with a yelp, races for the porch where it whines and scratches desperately at the front door.

INT-NIGHT

STUTLER, finally awakened by the ruckus, sits up grumbling. He gets out of bed and starts for the front door and the noise.

STUTLER:(cursing beneath his breath)

Fuckin’...crazy son of a bitchin’ mongrel...

Halfway to the door the sounds of the distressed canine abruptly cease with a final ‘yelp’.

STUTLER:

What the...hell...?

He picks up a shotgun and nears the door, sliding the frazzled curtain slowly back and peering outside into the darkness. He sees nothing so he clicks the hammer back and slowly opens the door. He steps out onto the porch, holding the gun out before him. All is quiet.

STUTLER:

Moses...(whistles)...here boy....(whistles)

There is no answer but from the thicket the sound of heavy, crashing footsteps. Some of the smaller trees bend and break as something huge and heavy passes. The man’s eyes widen and he turns around and sprints back to the house where he shuts and locks the door. He leans back onto the wall, visibly shaken. From outside the crickets start up again.

SCENE 3

INT.-SMALL COUNTRY CHURCH-MORNING

Everyone is singing ‘Shall we gather at the river, the beautiful, beautiful river...’The congregation is a modest one. Herman sits among the pews alongside an older woman, MS. HOPGOOD, fiftyish, and a young girl, his sister MARY, twelvish. No man sits with them or in the empty pews on either side of them. The preachers’ wife passes an offering plate. When it reaches Herman it is still mostly empty. The preacher looks out at the faces of his dwindled flock. On his own face is a look of thinly veiled consternation.

EXT-CHURCH

The doors swing open and the preacher stands just inside shaking hands with all the people as they begin to file out.

EXT-OUTSIDE CHURCH-DAY

The parish members socialize. Herman is standing with two other youths of similar age. His mother and sister stand with the small contingency near the preacher.

STUTLER, standing beside an old jalopy, motions for Herman, who starts toward him.

STUTLER:

Herman...

HERMAN:

Mr. Stutler...How ya doin’?

STUTLER:

I heard you ‘us needin’ to borry a tractor to break up

that back field’a y’alls...down by the river. Izzat right?

HERMAN:

Yes sir...it is.

STUTLER:

Hmmph...Ya got any gas money?

Herman digs into his pocket and pulls out a Morgan silver dollar. He holds it up.

HERMAN:

That be enough? It ain’t a big field...

Stutler takes the coin and holds it up. From the church his mother turns and sees the two.

STUTLER:(looking at the coin)

Nineteen twenty one...Damn good year. Might just do it,

son. Tell ya what. You come on by and get’er first thing

in the mornin’.I’ll have ‘er gassed up and ready fer ya.

HERMAN:

Thankya...I ‘preciate that. I really do...

SCENE 3(Contin.)

STUTLER:

‘At’s alright. You just have ‘er back ‘fore dark, ya

hear? An’ take care not ta run inta that damn

warshout. I spect ya to bring ‘er back in the same

shape she left in. You do that...we’ll be just dutch.

HERMAN:

Yes sir Mr. Stutler. I’ll take good care of ‘er. Give ya

my word on that.

STUTLER:(looks back at church)

Well...guess ‘at’s the last sermon I’‘ get ta hear in

this ole’ church .reverend Keel’s a damn fine preacher

too. Gonna miss it.

HERMAN:

Whyzat?

STUTLER:

Come middle’a next week. me an’ the missus is pullin’

up stakes and lightin’ outta this(beneath his breath)...

Goddamn place...Same as the rest of ‘em whats left.

HERMAN:(taken aback)

Well...why y’all leavin’,if ya don’t mind my askin’?

STUTLER:(uncomfortably)

Y’all ‘er new round here.Heerd you lost your Pa few

years back...

Herman nods in agreement.

STUTLER:

Notice them two empty house y’all passed up the

road yonder? Them ain’t the only ones ya know?

More of ‘em down by the river. Old...fallen in. There’s

reasons folks don’t stay ‘round these parts too long.

My place’ll be empty too next week. Y’all’s will too I

reckon. Sooner ‘er later..

SCENE 3 (Contin.)

HERMAN:

Whatcha talkin’ ‘bout, Mr Stutler? What is it wrong

with this place...’zactly?

Stutler stiffens at the question, clearly showing reservations about speaking further.

STUTLER:

All’s I’m sayin’ is...this here ain’t no place for a family

ta be without no Pa ta look after ‘em. People’s had things

happen to ‘em here. See’d things. Me included. Things ‘at

Don’t ‘peer ta be...quite natural. Queer even, if ya take my

meanin’.

HERMAN:

What do ya mean ...‘not natural’?

STUTLER:

Ain’t nuthin’ ‘bout this place natural, ya ask me.

‘Specially after dark.

HERMAN:

Yer missus afraid of the dark, is that it?

STUTLER:(ruffled)

Dammit boy...There’s somethin’ out there...in them

woods...Waitin’, ya ken? Waitin’ for the sun ta go down.

That’s why folks don’t stay here too long. This place is

cursed.

Stutler’s wife, who is standing in the same group as Herman’s mother and sister, turns toward the two.

STUTLER’S WIFE:(raising voice)

James...you ready?

The two men turn and begin to walk slowly in that direction.

SCENE 3 (Contin.)

STUTLER:

This is just between you ‘n me, got it? Only reason I told ya

this is ‘cause it’s somethin’ ya need to know...bein’ the

man’a the house an’ all. Now mind what I said, son. Try not

to let dark catch ya outside if you can help it. And watch

over them womenfolk.

The preacher and his wife stand on the church porch. They have a sorrowful look on their faces.

Like they know that soon their little church would be nothing but a memory.

PREACHER:

So few today. Every week I see more empty pews than the

one before. Almost as if...God is turning his back on this

town. On these people.

PREACHERS WIFE:(turning back inside)

This place is cursed.

The door slams shut.

SCENE 4

INT.-KITCHEN-NIGHT

Herman and his sister are seated at the table as his mother sets a plate of fried chicken there.

Herman reaches for a bit of crust, only to have the woman slap his hand away.

MS. HOPGOOD:

Herman Hopgood! You know better. Not before Grace.

The young girl giggles as her mother sits down and, with but a look, signals for everyone to assume the position for Grace.

MS. HOPGOOD:

Dear Heavenly Father...We thank you for the blessings we

are about to receive, and all the ones we received already.

Please bless this food.

The wind outside picks up and rattles through the eaves as if a storm is brewing. The young girl looks up with sad, knowing eyes.

SCENE 4 (Contin.)

MS. HOPGOOD:

Please watch over and pertect what’s left of my family. I beg

these things of you in the name of our lord and saviour,

Jesus Christ. Amen

HERMAN:

Gonna git that back field broke up ta morrow, mom. Mr.

Stutler said I could borry his tractor for the job. Plow an’

All.

MS. HOPGOOD:

Mighty neighborly of ‘im. Herman?

HERMAN:

Y...yes, ma?

MS. HOPGOOD:

What did you do with that dollar I gave you this mornin’

To put in the offerin’ plate?

Herman opens his mouth to speak but cannot manage a single word before his mother interjects.

MS. HOPGOOD:

Don’t’ you lie to me boy. Seventeen ain’t too old ta take a

good lickin’ if ya ask me. I saw you just pertend ta put that

coin in the plate. You give it to Mr.Stutler?

HERMAN:(downcast)

Yes m’am...He needed it fer gas, ma. There was nothin’ for

it...

MS. HOPGOOD:(shaking her head)

Child...that might’ve been our last dollar, but it was supposed

to go into that plate. Give the Lord that which is the Lord’s.

What the good book says. Ya get it back ten times over. If yer

Pa was here...

HERMAN:

If Poppa was here we wouldn’t need no tractor ta plow that

field.

SCENE 4 (Contin.)

MS. HOPGOOD:

Nothin’ good can come from stealin’ from God, son. Mark

my words.

MARY:

I hate this place...

Herman and his mother look at Mary, surprised.

MS. HOPGOOD:

Wh...What’s wrong Mary?

MARY:

Nothin’...everything...I don’t know. Sumpin’ ‘bout this

place...scares me, Ma. Sometimes, when I’m playin’ out-

side...it feels like someone’s watchin’ me from the woods.

Gives me the heeby jeeby’s. Can we move?

MS. HOPGOOD:

Move? Honey...we ain’t got no other place ta go. ‘Sides, yer

brother’s gotta git that crop in or we’ll all starve come this

winter. It’s just a feelin’ ya have is all...It’ll pass in time.

The wind is howling now. Herman gets up and throws a small log into the gently crackling fireplace.

HERMAN:

Ain’t nuthin’ wrong with this place far as I can see, sis. You

sound like some of our neighbors. They’s sure some strange

folks ‘round here.

MARY:

It ain’t the people here, bubby. It’s this place.(turns to mother)

You’re right, Ma. I got me a feelin’...And it’s a bad one.

Herman walks over and kisses his little sister on the forehead.

HERMAN:

Don’t worry, Mary. I’ll pertect you’n Ma. I’m the man of the

house now.

SCENE 4 (Contin.)

EXT-HOPGOOD HOUSE-NIGHT

Rain is falling now. A feeble light issues from behind the curtains of the house. Thunder rolls

ominously and, in a brief flash of lightning, a hulking, stoop-shouldered shadow is cast on the back door. The wind howls.

SCENE 5

EXT-FIELD-MORNING

Herman is plowing the field next to the river. The tractor slowly travels the length of the field leaving freshly turned topsoil on its wake. Sitting behind the wheel Herman is singing to himself and smoking a newly rolled cigarette. He pulls to a stop not far from the large washout, kills the engine and picks up a glass jug of water. Halfway through his first drink a miserable, wailing sound issues from the crevasse. He turns his head to the sound with a look of consternation. The wailing comes again, more urgently and louder. He steps down from the tractor. He drops the half finished smoke to the ground.

HERMAN:

Holy smokes...somebody’s done fell down in there for sure.

He starts running for the trench.

HERMAN:

Easy there...I’m comin’!

The cries sound somewhat like a human in obvious distress as he runs. But the closer he gets to their source, the more bizarre they become. He gets close enough to see the top of the fissure. Long, finger-like runnels go down one muddy side. He is almost at the crevasse when the moaning becomes decidedly inhuman and he stops dead in his tracks. The worried look becomes replaced by one of utter fear. Another loud cry, which sounds like a howling demon, sends the youth running in the opposite direction. He bullets past the tractor and continues running for his life toward home. Between ragged breaths a terrified moan escapes his lips as he runs.

FADE OUT

SCENE 5

EXT-NIGHT

CAPTION: 30 YEARS LATER,1965

The scene has changed very little. The front porch is now concrete, the driveway and road now graveled. A telephone pole now stands beside the road across from the house. A newer model car sits in the driveway beneath an overhanging tree.

SCENE 5 (Contin.)

INT-HOUSE

A woman, late 40's, simply dressed, sits on the couch doing needlepoint. A boy, slim, in his teens, sits in a chair reading an old copy of ‘The Hobbit’ while the radio on the end table pours out a stream of classic Grand Ole’ Opry. There is no TV set in the room.

WOMAN:

Jessie...Would you run out to the car for me? I think I left the

house keys in the ignition.

JESSIE:

Aw, Mom. Who’s gonna steel the car way out here in the

boondocks?

WOMAN:

Be sure an’ take the flashlight out with ya...

JESSIE(sourly)

Yes ,m’am...(mumbling)Mound Ridge Road...Nowhere K-Y.

EXT-NIGHT

The boy switches on the flashlight as he exits the house via the back door. The family dog, a full

grown Lab, immediately comes up to him in a friendly manner.

JESSIE:

Hey there boy.You wanna walk me out to the car dontcha?

Come on then...

He starts walking, shining the light out before him, the dog following at his heels. The car is parked just beyond the house beneath a large tree. The drivers side door is locked. He shines the light inside and sees the key-chain dangling from the ignition.

JESSIE:(quietly)

Son...of...a...bitch.

He walks to the other side of the car. The dog follows hesitantly, nervously. He opens the door and leans in.A huge, dark figure then drops from the tree right onto the dog’s back. It lets out a high pitched yelp .The dark thing begins to growl, the sound of it strangely mixing with the distressed cries of the dog. The youth quickly steps back from the car, a look of fearful shock on his face. He shines the light in the direction of the sounds and straight into the face of some fearsome beast,

SCENE 5 (Contin.)

the SPOTTSVILLE MONSTER (TSM). Its red eyes and terrible fangs chill the boy to the bone as the creature lifts the dog by one back leg and slams it against the car with lethal force.

After the second blow the dog becomes silent. The boy drops the flashlight and screams as he falls backwards to the ground.

INT-HOUSE

Hearing Jessie’s scream his mother stands up, her needle point flying from her lap.

WOMAN:

JESSIEEE!!!

She is paralyzed with fear. Unable to move. Jessie crawls on the ground towards the back door.

Each move is laborious as he too is fighting with the mind altering fear. He is crying. Trying to scream again but can’t. The monster slams the dog into the car again for good measure. He crawls faster. His feeble scratching on the door finally breaks the grip of terror which holds his mother. She rushes for the door and flings it open and see’s Jessie.His face is chalk white. She screams and reaches down to him. With some effort she drags him into the house. TSM stands at the corner of the house. It rapidly approaches the door. Jessie’s mother hurriedly shuts and locks it, then sits down on the floor holding him in her arms and crying with him.

EXT-DAWN

The sun rises over the trees. Birds are singing. The car sits beneath the tree, dried blood and a few dents mark the trunk and one side. The front door of the house slowly opens and the woman looks cautiously out. She exits the house followed by Jessie who is holding a couple of bags. They rapidly make for the car.

EXT-CAR

As it flies down the gravel road away from the house.

SCENE 6

EXT-ROAD SIGN-DAY

It reads ‘Mound Ridge Rd’.

CAPTION:1975

SCENE 6 (Contin.)

EXT-VEHICLE-DAY

As it turns onto Md. Rdg. Rd. It is an old, green 1960's model station wagon. There is snow on the ground.

V.O.- CHILD’S VOICE:

Are we really movin’ back out here to the country dad?

INT-CAR

Five children sit in the backseat; DONEY, a girl-age 11, DEAN, boy-age 10, BART, boy-age 9,

VICTOR, boy-age 7, KEITH, boy-age 5.

In the front seat a woman, ROSE, mid thirties, very pretty, is driving while a man, RED, early fifties, wearing glasses but still handsome, holds HELEN, girl-age 3 in his lap. All the children are attractive but wearing inexpensive shoes and coats. Dean is leaning forward, awaiting an answer to his question. Bart is reading a comic book.

RED:

Yep...We sure are, son.(To Rose) We been cooped up in the

city way too long now ain’t we Rosalie?

ROSE:

We’ll damn sure be off to ourselves way out here...

RED:

Yeah. This is just what we need. We can plant us a big veget-

able garden...raise some chickens...put us out a couple’a

acres of tabacka. Be nice ta get some good honest dirt under

our nails again.(to kids)Yer Uncle Robert says this place is

sittin’ on old Indian burial grounds. Ought’a be plenty of

arrowheads for you boys ta hunt come Spring.

The boys express their excitement at this announcement. Even Bart looks out from behind his comic book with obvious pleasure.

BART:

If we move here, do ya promise not ta sell all of our arrow-

heads no more? Promise?

RED:

All right son...I promise.

The boys cheer with delight. Doney looks as if she could care less.

SCENE 6 (Contin.)

DONEY:

Can we get Poncho back from Uncle Robert? Can we, dad?

Please? Please?

RED:

Sure, darlin’.He’s still got ‘im. Soon as we get moved in I’ll

have ‘im bring Poncho back. Maybe even get ‘im another

dog to keep ‘im company.

DEAN:(excitedly)

This is gonna be just like the Booth’s farm!

Rose’s face takes on a troubled look at this statement, as if she is uncomfortable with some unpleasant memories that have been unexpectedly recalled. The smile slowly fades from Red’s face as well.

ROSE:

This ain’t gonna be nothin’ like the Boooth’s farm, y’hear?

Nothin’ like that...

FLASHBACK

INT-BOOTH’S FARMHOUSE-NIGHT

Rose stands looking out a bedroom window with a terrified expression. Her face is illuminated by a soft red glow coming from outside .She steps backward in fright. A very bright searchlight sweeps through the trees outside, creating surreal, nightmarish shadows. A loud barge-horn booms into the darkness. The entire family rushes outside to the waiting car, the light still sweeping back and forth through the shadowy trees. They all look very scared. A couple of the younger kids are crying. The front door is left standing wide open as the car speeds away, rocks flying, down the gravel road. The screen door swings slowly back.

EXT-CAR-DAY

As it rolls to a slow stop beside an old white truck which sits in the snow covered driveway beside the farmhouse on Mound Ridge Rd. An old outhouse sits close to the house as well as a small chicken coop. There are no chickens .From behind the house three ill-tempered dogs emerge and converge on the car barking ferociously.

ROSE:

Good lord! Don’t y’all dare open none’a them doors

yet. Just sit still...

SCENE 6 (Contin.)

A man, BUZZY, short, bespectacled, walks into view from the corner of the house. He yells and kicks at the dogs as he approaches the car.

BUZZY:

Shut up now! Git! Git on outta here...

Reluctantly the dogs disperse and Buzzy motions that it is now alright to get out of the car. As the family exits the vehicle Rose walks over to Red and takes his arm to lead him to Buzzy. It is obvious that Red suffers from a degenerative eye disease. With a cordial smile he stretches his hand out to Buzzy.

RED:

You must be Mr.White...

BUZZY:

Just call me Buzzy.

RED:

Red Nunnelly. Pleased ta meetcha, Buzzy.

BUZZY:

Same here, Red. Y’all come on in an’ warm them youngins

up. We been ‘spectin’ ya.

The group walks to the back door. Beside the step is a small hole in the underpinning of the house. One of the dogs sits in the opening with a menacing look on its face. As Red steps inside he notices several narrow strips of wood nailed over the screen door.

INT-KITCHEN

As the Nunnelly’s walk in a woman, RUTH, short, portly, simply dressed, is sitting at the table with two teenage girls, LAURA and KATE. A fire is burning in the fireplace.

BUZZY:

There ya go. Y’all come on in an sit down. This here’s my

wife, Ruth. How do y’all take yer coffee?

RED:

Black’s fine for both of us. This here’s Rosalie.

SCENE 6 (Contin.)

Ruth sets down two fresh cups of coffee on the table and smiles.

RUTH:

Nice to meetcha Rosalie.(to kids)You kids take your coats

off and warm up there by the fire. Y’all hungry? Laura. Fix

these youngins a snack.

ROSE:

That’s alright, Ruth. They’re fine.

LAURA:(to kids)

Y’all like sugar toast?

The Nunnelly children nod their agreement. Kate turns on the oven and takes a loaf of bread from the cupboard.

BUZZY:

Red Nunnelly...I heard that name before. You used to be a

boxer?

RED:

Yessir. ‘Bout thirty years ago.

BUZZY:

Well I be damn. Same one ‘at won the Golden Gloves ?

RED:(smiling)

Yeah. That was me alright.

BUZZY:

Kiss my ass! That’s sumpin’ I tell ya. How’d y’all find

This old place, Red?

RED:(sips the cofee)

Well, my brother Dob knows your landlord Stumpy

Hughes. Stumpy told ‘im the house was comin’ up

empty soon. Wanted to know if he knew someone

might be interested. We’re just country folk. Been

livin’ in the city for a couple’a years now. ‘Bout ta

Drive us crazy. Thought we’d come take a look.

SCENE 6 (Contin.)

Kate takes the bread, spreads butter and sugar over it and pops it into the oven.

BUZZY:

Stumpy told me y’all was comin’.An’ we’re glad ya came out.

Shore are. It’s a good old house. Two bedrooms, if ya use the

dinin’ room fer one like we do. No leaks. Ain’t too drafty.

Only thing is, there ain’t no bathroom inside. Got a outhouse

right out back. Just got runnin’ water in here to the sink last

summer.

RED:

Yeah, Dob mentioned that. My oldest boy’s a carpenter. We

take the house ,I’m thinkin’ a havin’ him add on a bathroom.

Maybe another bedroom for these kids.

BUZZY:

Well ,I think you’ll like this place just fine. Plenty a fruit trees

right here close to the house. Peach, apple, cherry, pear, mulberry.

Even a wild strawberry patch out behind the barn. That’s always

a plus come summer. Mostly peace an’ quiet. Ain’t nobody

around to...bother ya.

Red notices the slight pause in Buzzy’s speech. Kate takes the toast from the oven and passes it out. The Nunnelly kids thank her with a smile and, for a moment, are busy eating the treats.

RED:

Well...I guess we like it alright don’t we honey?

ROSE:

Seems fine to me. We can put up with the outhouse ‘til

Harold can put us in a bathroom I guess.

RED:

Just curious, Buzzy. Why ya leavin’ this peaceful little spot?

Dob says Stumpy don’t charge no rent out here. Long as ya

look after the place and let ‘im help hisself to some fresh

garden vegetables when they come in...

SCENE 6 (Contin.)

BUZZY:(nervously)

Well...uh...we found us a place over in Owensboro that we

like. Ruth says she’s ready to git on back ta the city. She’s

kinda tired of country livin’ I guess.

Buzzy glances at Ruth who meets his gaze with a stern expression as if her husband is lying to these people and she doesn’t like it one bit. Rose notices the exchange but says nothing. Red, who doesn’t see it at all but feels it, breaks the awkward silence.

RED:

I see. One more thing. Comin’ in I noticed them wooden

strips on the screen door. Why ya got it patched up like that?

Buzzy, even more uncomfortable at another unexpected question, looks again at his wife as if he doesn’t know what to say or how to answer.

RUTH:

Go ahead Buzzy.T ell ‘em.You tell ‘em right now or I will.

Buzzy looks down at his coffee cup for a second.

BUZZY:

Well, Red. I tell ya...uh...(to the 2 girls)Laura. Why don’t you

and Kate take these kids outside an’ play for a few minutes?

Build a snowman ‘er somethin’.

The kids, finished with their snacks and pleased at the notion ,glance up at Rose to see if she will go along with the suggestion. Rose and Red look at each other puzzledly.

ROSE:

It’s alright. Y’all go on out an’ play. Zip them coats up all

the way, y’hear? And put your gloves and hoods on too.

The kids do as they’re told and are led merrily out the door by Laura and Kate. Red and Rose look to Buzzy for an explanation.

BUZZY:

Sorry y’all. Some things just don’t need ta be talked about

in front ‘a young kids.

SCENE 6 (Contin.)

RED:

Is ‘at right...what ‘things’ you talkin’ ‘bout Buzzy?

BUZZY:

Well, Red. I see that what you’re lackin’ in sight you make

up for with insight. Thing is...I don’t want folks ta be thinkin’

I’m crazy or somethin’.Understand? But I was sittin’ here at

this table one mornin’ last summer. Drinkin’ coffee just like

we are. Ruth an’the girls was gone ta town for groceries an’

such.

FLASHBACK

INT-KITCHEN-MORNING

Buzzy sits at the kitchen table with his back to the open back doorway, peacefully sipping coffee.

A rifle is leaning on the wall beside the door.

BUZZY: (o.s.)

Had my back to the door. Just sippin’ my coffee...All of a

sudden the hairs on the back a my neck just stand straight

up. It was like...when ya get that feelin’ like somebody’s

watchin’ ya?

A pallid look comes over his face and he sits the cup down on the table and slowly starts turning his head toward the door, afraid of what he will see.

BUZZY: (o.s.)

So I turned around...

TSM is standing a few feet from the door looking in.

BUZZY: (o.s.)

I see’d this...thing...some kinda big...hairy fella lookin’

in right back at me. Scared me purty bad too. Never see’d

nothin’ like it before.

Buzzy quickly grabs the rifle and raises it, then starts unloading right through the screen door. It automatically fires off 16 rounds in quick succession. After the first 8 TSM screams and simply walks away. Buzzy still holds the trigger down like he doesn’t realize he’s out of bullets.

SCENE 6 (Contin.)

BUZZY: (o.s.)

I had sixteen shells in that gun. I unloaded at least seven or

eight into it before it decided ta move off. And not in no

hurry neither. No sir...

EXT-YARD-PRESENT

All the kids are throwing snowballs. They are laughing and having a great time.

INT-KITCHEN

Rose and Red are staring at Buzzy.

ROSE:(seriously)

Well, what did it look like?

BUZZY:

Like I say...never see’d nothing like it before. It was big. I

tell ya that much. Covered from head ta toe with long, dark,

shaggy hair. I thought it was a bear at first. But it was standin’

on two legs see? Took off on two legs too. Its head didn’t

look like no bears neither. Had a man’s face...sort of. But

differnt. Like a animals too. Mean lookin’.I don’t know what

It was, but I see’d enough ta know it was sumpin’ mighty

unusual. I finally got hold a myself, reloaded the gun, and

Went outside. There was no sign that I even hit it. No blood

trail...no footprints. Nuthin’.But I know damn good’n well

I did.

FLASHBACK

EXT-MORNING

Buzzy slowly opens the now ragged screen door and walks out. He examines the ground carefully, then walks cautiously toward the woods just behind the nearby outhouse. He stops and looks intently at the trees. His face shows a mixture of emotions.

BUZZY:(O.S.)

I hope this don’t change y’alls mind about takin’ the house,

Red. You’n Rose. We ain’t really had much trouble out here

to amount to anything since then. That thing didn’t act like it

wanted ta hurt nobody. Big as it was, that door damn sure

wouldn’t a stopped it if it wanted to get in on me.

SCENE 6 (Contin.)

RED:

Well, Buzzy. Tell ya what. I ain’t afraid of no kinda fella.

Hairy or not. I’ll get me a shotgun in case he decides ta

Come back. Not likely ta miss with a twelve gauge. Hell,

I think we’ll do just fine here.

Ruth looks sympathetically at Rose, who twirls her hair as if a bit unsettled. Outside the kids still play. TSM stands silently in the distant trees and watches them. It sways slightly from side to side and the long, shaggy hair ripples in the breeze.

BUZZY:

Yeah, Red. I think y’all do just fine.

SCENE 7

EXT-HOUSE-NIGHT

Now only the Nunnelly vehicle sits in the driveway. The trees stand in an even darker line behind the house. A soft light issues from the back windows.

ROSE:(v.o.)

Alright now kids. I want y’all to go to sleep now, hear me?

Love y’all...Good night.

The kids bedroom is sparsely furnished with 2 beds and a dresser. No curtains are hung to cover the windows .There are 3 kids in each bed,t he youngest closest to the fireplace.

KIDS:

Night, Mom. Love you...

DEAN:

Man I can’t wait ‘til they break up these fields out here.

BART:(staring at the dark window)

Me neither. Hope there’s as many arrowheads here as

there was at the Booth farm.

DEAN:

Should be. This place is close to the river too. I bet there’s

hunnerds of ‘em out here just waitin’ ta be picked up.

SCENE 7(Contin.)

VICTOR:

I bet I can find more arraheads than y’all...

DEAN:

So. We never get ta keep ‘em. Dad’ll probably take ‘em ta

Owensboro ta sell to the museum like he always does.

BART:

We’ll see...we’ll see...

DONEY:

Y’all better go ta sleep before I tell Mom.

Rose enters the kitchen and begins to unpack dishes from a box. Red is stoking the fire.

RED:

Need some help with those honey?

ROSE:

No, babe. I got it.

RED:

Why ya so quiet tonight? Sumpin’ bothern ya?

ROSE:

Yeah. It’s just...well...we moved out here so quick. We don’t

even own a shotgun yet an’...I don’t know...what if...?

RED:

Aw now Rosalie. There ain’t nothin’ ta be scared of out

here, honey.

ROSE:

How do you know that Teddy? You heard what Buzzy

said. You know Diona Lynn seen somethin’ like that at

the Booth farm, just before...

SCENE 7 (Contin.)

FLASHBACK

INT-BOOTH FARM-NIGHT

All the kids are sitting in the kitchen watching a small black and white t.v. A grotesque, hairy face suddenly appears in the window beside Doney. She screams. The front door flies open. Red rushes out followed by Rose. She points and mouths ‘There it is...’ as a large, shaggy figure runs down a dirt side road close to the house Red raises the gun and fires off 3 rounds. Fire and smoke erupts from the barrells.

ROSE (v.o.)

The Brown Man, she called it, remember? Said it looked

like ‘Frankenstein’.

RED:(present)

I ain’t forgot that, Rosalie. But that wasn’t the reason we

moved away from there and you know it.

FLASHBACK-BOOTH FARM-NIGHT

The searchlight from the river barge sweeps through the trees. The screen door swings slowly back.

RED:(present)

Baby...you know that thing run like hell once I fired off a

few rounds, and we never saw it again.

ROSE:

I know...I just...

RED:( arm around Rose)

Don’t worry baby. You know I’d never let anything hurt you

or one of the kids. It would hafta kill me first.

ROSE:

I know honey...but you can’t see as good as ya used to. And

The doctor said it wouldn’t ever get no better. Bein’ back

out here in the country like this...I just don’t want this to

another Booth farm. That’s all.

SCENE 7 (Contin.)

RED:

Reckon I can still see good enough ta take care ‘a my own

family. If it’ll make ya feel better, I’ll go get that shotgun

from Jimmy soon.’Sides...the Booth farm was over three

years ago. We’re gonna make it just fine here. I promise.

We’ll put us out a big garden. Raise some chickens. Some

tabacka. Ever thing’s gonna be fine. You’ll see.

ROSE:

(Runs fingers through his hair)

Alright Teddy. Just promise me you’ll get us a phone put

in out here soon.

RED:

Okay. I promise. Now let’s go break in that bed good’n

proper on our first night here.

ROSE:

Stop it. You’re awful.

The lights go out. A distant owl screeches.

SCENE 8

INT-HOUSE-MORNING

Rose is looking out the window.

ROSE:

Here comes y’all’s school bus kids. Get your coats on.

The kids file out of the house as the bus pulls to a stop out front.

ROSE:

I already signed y’all in. Just go to the office an’ they’ll

show ya to your rooms.

They get on. All the kids on the bus stare at them.

DEAN:

Man...this sucks.

SCENE 8 (Contin.)

BART:

Yeah. Switchin’ schools is the worst part a movin’ around so

much. I hate this crap.

INT-OFFICE-DAY

All the Nunnelly kids stand staring at the school secretary. She looks up.

DEAN:

Uh...we’re the new kids...

INT-CLASSRM-DAY

Bart stands at the front of the class by the teacher ,his head slightly lowered from embarrassment. All the students are looking at him.

TEACHER:

Alright class...This is Mr. Barton(looks at paper)...Nunnelly.

He is joining us straight from Jefferson Elementary and he

will be your new classmate(kids giggle).Now Mr. Nunnelly,

please take any empty seat and we will continue with

todays history lesson. When the pilgrims landed at Plymouth

Rock...

EXT-RECESS-DAY

Bart stands by himself, the quintessential new kid, alone and friendless, watching the other kids play. A group of boys approach. A fat kid, with freckles and new clothes is saying his name.

FAT KID:

Bart the fart, Bart the fart, Bart the fart...

BART:(ruffled)

Name’s Barton...not Bart...

FAT KID:

Barton fartin’, Barton fartin’, Barton fartin’...

BART:

Hey, think of somethin’ new, fat ass.(to himself) I hate my

name...

SCENE 8 (Contin.)

EXT-NUNNELLY HOUSE-DAY

As the school bus rolls to a stop out front. Red and Rose stand arm in arm in the front yard. Two large dogs are at their feet. One is an old bird dog, the other a Colley. The kids get off the bus and rush happily towards the dogs.

DONEY:

We got Poncho back!!

VICTOR:

Ponch!

RED:

Yep. Your Uncle Robert brought ‘im back this mornin’.

DONEY:

(Petting other dog)Who’s this Mom? She looks just like

‘Lassie’...

ROSE:

Just a poor old gal that didn’t have a home. Your uncle says

she’s friendly ta kids. And real smart.

DEAN:

Not as smart as Poncho, I bet.

DONEY:

Can we keep her too, Dad?

RED:

Sure can, honey. Only thing is, Dob didn’t catch her name.

So you kids’ll hafta pick ‘er out a new one. How was y’all’s

first day at Spottsville Elementary?

BART:

Fine, Dad. Good as ever...

RED:

Good, son. That’s good.

SCENE 8 (Contin.)

INT-BDROOM-LATE

ROSE:

I just can’t get over how happy the kids were ta see Poncho.

‘Specially them boys.

RED:

Yeah, that Poncho’s somethin’ else alright...Snake killin’est

dog I ever seen.

ROSE:

Mm hmm. You know how many times he’s saved them kids

that way. Member when he killed those two moccasins ‘at

was after you’n Dean?

RED:

Yeah. He got bit so many times we thought he was gonna die.

Never even hardly got sick as I recall.

ROSE:

Sure did’nt...Good thing your check came today. Think we’ll

have enough left after groceries ta get that phone put in?

RED:

I think so, honey. We’ll go inta town Monday an’ see. Might

take’em a coupla days to get a pole put up way out here tho.

INT-LVGROOM-MORNING

The KIDS are watching Saturday morning t.v. H.R. Puffinstuff dances merrily across the screen. Dean and Bart sit on the couch reading comics. By their feet is a small box. One

is labeled ‘Deans comic books’.The other is labeled ‘Bart’s Comic Books’.

MR. HUGHES, late 60's, looking short and portly in his expensive clothes and hat, pulls into the driveway. His car is met by the two family dogs, which bark furiously.

DONEY:

Mom, Dad...I think it’s Mr. Hughes.

Rose leads Red out to the driveway where Mr. Hughes still sits in his car eyeing the dogs, which quietly back away at their owners appearance. The kids watch from the window.

SCENE 8 (Contin.)

DEAN:

It is Mr. Hughes...

BART:

I wonder if he’s as nice as Mr. Booth was...

VICTOR:

I don’t see ‘im packin’ in no goodies.

INT-KITCHEN

The grown ups sip at their fresh cups .Mr. Hughes sits his cane down and removes his hat.

MR.HUGHES:

So tell me, Red...How do you’n Rosey like this old place?

RED:

We like it just fine, Stumpy. Don’t we honey?

ROSE:

(Nods in agreement) Sure do...

RED:

We’re plannin’ on addin’ on to the house come Spring. That

is, if you don’t have no objections a course. Wanna put another

bedroom up front for the youngins’.And a bathroom right here

off this kitchen.

MR.HUGHES:

Hell no. I don’t mind at all Red. Be the first time somebody

‘sides me ever tried to improve this place.

RED:

How long you had this place, Stumpy?

MR.HUGHES:

Well...Its been in my family for a good spell now. You know,

there used ta be a little town down here up ‘til the nineteen

thirty’s. Had a little church, schoolhouse and everything right up

the road yonder.

SCENE 8 (Contin.)

RED:

Ya don’t say...

MR.HUGHES:

Yessir. Shore did. The flood ‘a thirty-seven purty near swept

everbody outa here. Did’nt even touch this house, sittin’ up

on this ridge, tho. Anyway...after that didn’t hardly nobody

wanna come back down here an’ live. Been a few folks stay

here since then. But fer some reason or another they never

stayed too long. Don’t know why. I like this little spot myself.

RED:

We do too, Stumpy. An’ we’re plannin’ on stayin’ on with ya

for awhile.

MR.HUGHES:

That sounds fine.Red. Glad ta have decent folks like y’all.

Your brother Robert tells me your still the toughest sumbitch

this side’a the Mississippi. Best boxer since Jake LaMotta. Is

‘at right?

SCENE 9

EXT-BURNING HOUSE-DAY

The Baskett Volunteer Fire Dpt. Is on the scene battling the blaze. People line the streets watching the spectacle. It is early Spring. Among the crowd is a group of five people, two adults and three children. From the way the children are crying it is obvious that it is their house burning. The fire chief, ROY COLEMAN, mid-twenty’s, tall, handsome, looks at them sympathetically as the water rushes from the hose.

INT-FIRE STATION-DAY

Roy punches his time card and starts for the door. Another fireman approaches.

FIREMAN:

Enjoy your time off, chief. Go fishin’ or somethin’.

ROY:

I will, buddy. Y’all be careful, hunh?

SCENE 9 (contin.)

Roy walks out of the station.

FIREMAN:(o.s.)

See you day after tomorrow...

EXT-CAR-DAY

As Roy drives past a road sign which reads, ‘Welcome to Spottsville’.

EXT-ROY’S HOUSE-DAY

As Roy pulls up the front door opens and 2 small girls run outside, followed by his wife BRENDA, mid-twenty’s, slender, pretty. He gets out of the car and starts toward his family.

DAUGHTERS:

Daddy, Daddy!!

Roy stoops and hugs his daughters, then approaches his wife who stands waiting on the front porch.

BRENDA:

Hello, handsome....You alright?

They embrace, then enter the house. Several trophy mounts hang on the walls of the livingroom.

BRENDA:

I heard about the run on the Police Band. Was it a bad one?

ROY:

Naw, honey. Not too bad.’Less it was your own house I guess.

They lost everything.

BRENDA:

Supper’s almost ready. You’ll feel better once your belly’s

full.

INT-BEDROOM-NIGHT

Roy and Brenda are in bed. A small t.v is on playing Johnny Carson.

SCENE 9 (contin.)

ROY:

Ya know what honey...I was thinkin’ ‘bout going squirrel

huntin’ in the morning. Simmer down a little...relieve some

pressure.

BRENDA:

I think that’s a good idea, Roy. As for right now...(starts

Rubbing his chest provocatively) I got a great idea ‘bout

relieving some of that pressure. Turn off the t.v...

SCENE 10

EXT WOODS-NIGHT

Three coon-hunters are hurrying through the thick woods beside the river. their hat-mounted wheat lights casting unsteady slices of light on the ground in front. Several dogs are barking in the distance.

HUNTER 1:

Come on boys...they done tree’d us a ‘coon fer shure!

From the depths of the river to their left a massive amount of bubbles break the surface as a steadily rising glow begins to emerge. The dogs abruptly stop barking and the hunters turn to the river. Their mouths drop open.

HUNTER 2:

Sweet Jesus on a John Deer....what the hell is ‘at?

A large, elliptical, bright yellow object rises slowly from the river’s surface. Save for the water, which cascades down its smooth sides and back into the river, it makes no sound. The hunters drop their shotguns and start running. The object hovers above the water.

INT-TRUCK-NIGHT

A young COUPLE drive down a lonely stretch of back road. In the distance to their right they see the bright light as it rises and stops at tree level. He pulls the old truck over to the side of the road. The light suddenly shoots upwards with incredible speed and disappears into the night sky.

DRIVER:

Holy shit honey...Did you see that?!!

SCENE 10 (contin.)

The truck pulls back onto the road and the couple resume their journey.

PASSENGER:

What the fuck was that baby...a shootin’ star?

DRIVER:

If it was...it was goin’ the wrong way...

Suddenly another truck comes speeding from a side road and out in front of the couple. The driver slams down on the brake. The vehicle slides to a stop in a cloud of dust and stalls, narrowly avoiding collision. The speeding truck never slows. It whips around the stalled truck throwing more dust into the air. The tailgate is down and two empty dog cages are in the back, the doors are open.

DRIVER:

( To the speeding truck)

YOU STUPID SONS A BITCHES!!!YOU COULD’A

KILLED SOMEBODY!!

Grumbling, the driver restarts the engine and pulls back onto the road. Just then two coon dogs

come running down the road in the same direction as the speeding truck. The driver stops once again as the hounds run, yelping and slobbering, past in search of their lost masters.

DRIVER:

Well kiss...my...ass...

SCENE 11

EXT-RIVERBANK-NIGHT

A suped up car is parked down by the river. Loud music blares from the radio. A good-sized fire is going. A girl and a boy sit on opposite sides. Two more boys and one girl are down by the water’s edge keeping vigil over a couple of fishing poles which rest on tree-limb forks sticking from the mud. One of the boys suddenly reaches down, grabs the pole and jerks the hell out of it. He lets out a victory yell.

TEEN 1:

HELL YEAH! WOOO!! That’s what I’m talkin’ ‘bout!

Saturday night...beer...dope...the fish are bitin’...

SCENE 11 (contin.)

TEEN 2:

Yeah...too bad ya couldn’t get a girl ta come campin’

With ya, dweeb.

TEEN 1:

Hey Fuck you,man! I can get a girl. Just not tonight...

Fuckin’ prick...

TEEN 3:

(putting the fish on the stringer)

Come on man...don’t get ‘im started. He’s already half lit.

TEEN 2:

I’m just fuckin’ with ya man. But seriously, I know somethin’

you can get. That bag in the car. Roll us up a big fat-ass joint.

TEEN 1:

Yeah fuck you man...That’s a good idea....

As TEEN 1 starts toward the nearby car an old Bowie song starts to bleat from the radio.

TEEN GIRL :

Alright! I love Bowie!(to TEEN 2) Baby...come on up here.

I want to dance...

TEEN 2:

Hell no. I ain’t dancin’ ta no queer music.(to TEEN 1)HEY

MAN...Put in some real music while yer up there.

(to TEEN GIRL )Babe. Bring me another beer...

As the heavy guitar sounds of Black Sabbath fill the air, no one notices a dark, manlike shape

silently rising out of the water. TSM’s shaggy head emerges, red eyes aglow, then its impossibly broad shoulders. Another step and its barrel chest clears the surface as it heads toward the group.

TEEN GIRL stops midway to her boyfriend. The beer drops into the sand and she stands looking at TSM, too terrified to scream. TEEN 3 sees it next.

TEEN 3:

Holy shit...WHAT IS THAT, MAN?! WHAT THE FUCK

IS THAT?!!

SCENE 11 (contin.)

TSM, still walking slowly up out of the water and toward the group, lets out a blood curdling scream so loud it almost shakes the trees. The teenagers flee. TEEN 2 grabs TEEN GIRL as he passes and drags her backwards.

TEEN 2:

COME ON GODAMMIT! WE GOTTA GET THE FUCK

OUTTA HERE!!

TEEN 3:

START THE CAR!! START THE FUCKING CAR!!!

TSM steps onto the bank near the abandoned fishing poles as the car speeds away. It throws back its head and screams again.

SCENE 12

INT-KIDS BEDROOM-NIGHT

DEAN, BART and VICTOR are in bed. Everyone is asleep except BART. He opens his eyes and looks at the window. It is still without curtains and only inky blackness meets his gaze.

His eyes close for a second, then reopen. In the distance the dogs are barking.

EXT-NIGHT

TSM steps from a line of trees into a field bordering the Nunnelly farm. Halfway between the house and TSM the dogs stand barking furiously at the creature. It begins to approach and they

both race back to the house and quickly disappear beneath it.

BART closes his eyes again, then opens them sluggishly. He is almost asleep. His eyes close.

TSM approaches the house, its breath coming in ragged, gutteral gasps.It walks up to the window, stoops and looks in, its eyes glowing sinisterly. BART opens his eyes. The window is empty and dark now. He rolls over and finally falls asleep.

RED and ROSE are sleeping as well when the sound of riled up chickens comes from the coup outside. The noise wakes ROSE.

ROSE:

Teddy...? Teddy did you hear that?

RED:

Hear what honey?

SCENE 11 (contin.)

ROSE:

Somethin’s stirrin’ up the chickens...

RED:

Get up and look out the window.

She goes to the window and pulls back the curtain just enough to look out.

RED:

Well...? See anything?

ROSE:

I can’t see shit. It’s black as pitch out there.

RED:

Hmm...the dogs ain’t barkin’.It’s probably nothin’.Come on

back ta bed, honey. I’ll see if I can’t rig up a light out there

tomorrow.

ROSE stares out the window for a couple more seconds, then climbs back into bed.

SCENE 12

INT-ROY’S HOUSE-MORNING

ROY, dressed in a camo shirt, pants and hat, prepares to leave. He takes a shotgun from the gun cabinet, a box of shells then turns toward the door to see BRENDA standing there. He walks up to her and kisses her on the cheek.

BRENDA:

You be careful out there honey. I know you’re the great white

Hunter but still...

ROY:

(Smiling)No reason to worry, babe. I’m huntin’ squirrels,

not lions.

BRENDA:

That’s funny b’wana. Last night I heard some weird noises.

Woke me up...

SCENE 12 (contin.)

ROY:

Yeah? Over my snoring? What kinda noises?

BRENDA:

Probably nothin’.You just be careful alright?

ROY:

Yes, Mom. Don’t worry. Just goin’ down by the river. Be back

‘Fore ya know it. Love ya.

EXT-WOODS-DAY

As Roy’s truck pulls up and stops. He gets out, loads up his gun and walks into the trees.

EXT-BACKYARD-DAY

ROSE walks out the back door towards the chicken coop. Several chickens mill about the yard pecking at the ground. Inside in the livingroom ‘Shazam’ is playing on the t.v. All the kids sit watching. RED sits at the kitchen table drinking coffee and smoking a cigarette.

DONEY:

I wish we had us a color teevee set...

DEAN:

Yeah. Tony Merideth said they had one. Said it’s real nice.

ROSE enters the back door with the basket now full of eggs. She sits it down on the table in front of RED.

ROSE:

We got some chickens missin’,Teddy...

RED:

What...?

ROSE:

Damn right. Three of ‘em. There’s feathers everywhere...

BART:

Mom...can we get some curtains for our room soon?

SCENE 12 (contin.)

EXT-WOODS-DAY

ROY sits on a log enjoying the peacefulness of the forest. He hears the sounds of birds singing and gently swaying tree limbs. Then a familiar sound from the tree tops makes him look up. He rises and starts walking stealthily.

INT-KITCHEN-DAY

The NUNNELLY FAMILY all sit around the kitchen table. Plates of bacon, eggs and toast sit in the middle of it.

RED:

Y’all bow your heads for Grace, now...Dear Heavenly Father,

we thank you for the blessings we are about to receive and ask

forgiveness for our sins. In Jesus Christ our saviour’s name we

pray. Amen.

As they pass the plates they hear the sound of a car pulling up into the drive. Loud music is coming from the car.

RED:

That must be Harold’n Jackie...

INT-CAR-DAY

HAROLD is driving. He passes a partially smoked joint to his wife, JACKIE. They are both mid-twenties, attractive but slightly hippyish. CCR’s ‘Green River” is blaring from the radio.

HAROLD:

Here, put that doob out baby. We’re gonna smell like Pole

cats...

They get out of the suped up GTO. Poncho approaches and he immediately gets a few pats on the head. The Colley eyes them warily.

HAROLD:

I’ll be damn...they got Poncho back.

ROSE opens the back door as they approach.

SCENE 12 (contin.)

ROSE:

Y’all come on in here. You’re just in time for breakfast.

JACKIE:

That’s good, maw. We’re really hungry this mornin’.

They hug ROSE as they walk by, then RED.

ROSE:

You kids can go eat in the livin’ room an’ watch t.v. if ya

want.(To Harold)Y’all fix yerselves a plate, son. Where’s

the youngins?

JACKIE:

Darlene’s watchin’ ‘em.

RED:

Son...you been smokin’ that funny shit again? You know I

can smell that shit on ya a mile away.

HAROLD:

Aww, Dad...Yeah. Jackie’s been smokin’ it too...

JACKIE:

(Slapping Harold’s shoulder)

You sonofabitch Harold. You did’nt have to tell on me too.

RED:

Rosalie, pour these two some coffee.(To Harold) I need

ya ta have your wits aboutcha son. We got some plannin’

to do. Stumpy’s lettin’ me lease out all these fields ‘cept

for eight acres up here close to the house. I need you’n

Skinflint there ta help us raise some tabacka this year.

Spainhoward’s droppin’ off the lease money this

afternoon. Now how much is it gonna take ta get started

on them two rooms?

SCENE 12 (contin.)

EXT-WOODS-DAY

As ROY follows the sound of the retreating squirrel. He listens for a second, then moves on. He walks right past the perfectly camouflaged TSM, totally unaware of its presence. It takes a silent step forward.

It makes no noise at all as it follows the oblivious hunter. Each time Roy takes a step, the monster takes one, perfectly in sync and silently.

Roy see’s the squirrel up in the top of a tree and stops walking. He raises the gun slowly and looks calmly down the barrel, placing his quarry carefully in his sights. He does’nt even notice that the woods have gone eerily silent. Even the trees are unnaturally still.

TSM reaches its hairy, taloned hand toward Roy’s back.

Roy’s finger slowly, unhurriedly squeezes the trigger.

The hand draws closer to Roy’s neck. Just as it is about to reach it...BAM! Roy pulls the trigger.

TSM lets out a strange squeal and takes off like a streak. Roy turns around quickly, his face a

portrait of surprise, just in time to see TSM running on two legs and kicking up dirt and leaves

as it disappears into the thick forest.

ROY:(Shocked)

What...the...hell...?

At the sound of the monster’s retreat, the forest seems to come alive again. Birds sing. Tree-limbs begin to sway in a warm breeze. Roy stands transfixed, looking in the direction of the fading sounds of snapping limbs. He turns around and walks rapidly in the opposite direction. The dead squirrel lies forgotten in the brush.

EXT-DRIVEWAY-DAY

As HAROLD and JACKIE pull out. RED and ROSE are standing there close to the station wagon. Harold shouts from car.

HAROLD:

Bye y’all...See ya Monday...

RED:

Alright son...Y’all be careful...

ROSE:

Bye...Love y’all...

SCENE 12 (contin.)

RED:

Come on, honey. let’s give Mr.Buley a call and see when he

can come disc up these fields.

ROSE:

Sure am glad they got them phone lines up out...

(Interrupted)

The two dogs start barking out toward an adjacent field. The Nunnelly’s turn and Rose see’s Roy

in the distance coming in their direction.

ROSE:

Who in the hell’s this I wonder?

RED:

What is it?

ROSE:

Looks like a hunter, Teddy. Comin’ cross yonder field.

RED:

Carryin’ a shotgun?

ROSE:

Yeah...

RED:

He got it broke down?

ROSE:

Yep.

Red yells at the dogs as the man approaches. They back off obediently.

ROY:

Hello there, sir...

RED:

Mornin’ to ya.

SCENE 12 (contin.)

ROY walks up and offers RED his hand.

ROY:

Roy Coleman...Hope I didn’t alarm y’all walkin’ up with

the gun an’ all...

RED:

Pleased ta meetcha, Mr.Coleman...Red Nunnelly.

ROY:

You can call me Roy, Mr Nunnelly.

RED:

Alright. But only if ya call me Red. This here’s my wife,

Rosalie.

ROY:

M’am...Red Nunnelly...I heard that name back when I lived

in northern Indiana. You ain’t the same one that was a bouncer

up in Gary are ya?

RED:

Yessir. That was me alright. A long time ago...

ROY:

Well I’ll be damned....they said you was the toughest son

of a bitch in three states.

RED:

Well, I ain’t rowdy like that no more if I can keep from it.

Came down with glaucoma a few years back. Calmed me

down quite a bit. What can I do for ya, Roy?

ROY:

Well .I live about half a mile or so up the main road

there...

RED:

Ah...So we’re neighbors, hunh?

SCEN 12 (contin.)

ROY:

Yes sir. But that’s not why I come walkin’ through your

field. I came to warn ya.(Pausing, searching for the words)

This is gonna sound pretty strange I’ll bet. I was just squirrel

huntin’ in them woods back there awhile ago and...I scared

up some kinda ...animal...A big animal. Looked like it took

off in this direction. Thought I’d better come on over here an’

let y’all know.

RED:

Happen ta see what kinda animal it was?

ROY:

Yeah. That’s the thing, Red. I Can’t say as I’ve ever seen

anything like it before. I been huntin’ and trappin’ my whole

life and...well...I just don’t know what the hell it was.

ROSE:

Well what did it look like then?

ROY:

I thought it was a bear at first. I know there ain’t been no

bears in these parts for a hundred years or more, but...that’s

what I thought when I saw it.Big...hairy...real tall. Strange

thing is...it ran off on its hind legs. Just like a man runs. I

seen bear before. This was’nt no bear.

RED:

What do you think it was then?

ROY:

Did’nt really get a good long look at it. Never seen nothin’

run that fast. Could’nt hardly find no tracks either.

when I got over my fright and doubled back. Just a bunch

of broken limbs and half mowed down trees.

RED:

Mowed down trees? Damn,Roy. Was it that big?

SCENE 12 (contin)

ROY:

Yeah, Red. it was. Y’all got any kids?

INT-KITCHEN-LATER

ROSE:

I don’t like this shit one bit, Teddy. That’s the second person

ta tell us that shit already..

RED:

Aw now honey. I wouldn’t go gettin’ all worked up about it.

Ain’t nothin’ bothered us. We’ll drive out ta Jimmy’s this

afternoon an’ see if he’ll let me have that shotgun, okay?

Rose picks up the phone and offers the receiver to Red.

ROSE:

Here. I’ll dial his number. Tell’im ta be expectin’ us...

SCENE 13

INT-ROY’S HOUSE-DAY

BRENDA:

Hey, honey? How did it go? Get your limit?

ROY doesn’t even hear his wife. He is lost in thought.

BRENDA:

Roy?...Is something wrong? Are you okay?

ROY:

Hunh? Oh..no Brenda I’m fine...I’m just...

BRENDA:

What is it?

ROY:(hesitating)

I saw somethin’ today...Down by Stumpy Hughes’ place.

SCENE 13 (contin.)

BRENDA:

What, baby? What did you see?

ROY:

I don’t know. I don’t know what it was. It was right behind me

and...I never even heard it. If I hadn’t shot that squirrel and

scared it off...it might’ve...got me. That’s how close it was.

BRENDA:

Oh my God...what do you mean ‘got you’? Killed you?

Oh my God!

ROY:

Calm down, Honey. Calm down. I don’t know that for sure.

BRENDA:

Don’t tell me to calm down! You could’ve been eaten and I

should calm down? Shit...Was it a bear or something? What?

ROY:

Yeah, honey. It was probably just a stray bear. Nothin’ to

worry about.

BRENDA:

Nothin’ to worry about? Roy, there’s a fucking bear on the

loose. I don’t want you going back there alone. No tellin’

what kinda animals are still roaming around down there in

them bottoms. Think you should call somebody?

ROY:

No I ...think I scared it off. If it comes back around...I’ll

shoot it.

EXT-BACKYARD-DAY

RED is screwing a lightbulb into a socket hanging from an electric cord. Propped up with a tobacco stick, it hangs about five feet off the ground. ROSE stands at the back door.

SCENE 13 (contin.)

RED:

Alright baby...hit the switch.

Rose flips the switch.

ROSE:

It works alright. Good idea ‘bout hangin’ it up where the

kids can’t mess with it.

A loud ‘gulping’ sound comes from the tree line just behind the chicken coop. It sounds like some huge animal drinking from a shallow creek.

RED:

You hear that Rosalie? What the hell...

ROSE:

Yeah...It sounds like a cow down there drinkin’ from the

creek.

RED:

Hmm...ain’t no cows within a mile of this place. Think one

could’a wandered down here?

ROSE:

Sure sounds like it. Ya know what...Since Terry’s on her way

out, let’s see if she’ll babysit these kids while we go to Jimmy’s

and pick up that shotgun.

SCENE 14

EXT-OLD HOUSE-NIGHT

A dog-pen is situated a short distance from the house. Inside the pen a Bassett hound begins to whine. TSM approaches through the darkened trees. The dog begins to run frantically around the pen.

Inside the house an old man,s eventyish and scrawny, is taking a bath and singing off key.

OLD MAN:

...Oh where were you last night, why did you leave me here

all alooone...

SCENE 14 (contin.)

TSM walks up to the cage and rips one side of it completely away .The old MAN hears a loud canine ‘yelp’ and stops singing.

EXT-PORCH-NIGHT

As the MAN, now wearing a pair of hastily donned blue jeans, opens the door holding a shotgun.

He walks cautiously onto the porch.

OLD MAN:

SAMSON..? You alright old fella..?

He makes his way around the side of the house and out to the dog cage. It is ruined. There is no sign of Samson.

OLD MAN:

Sweet mother a Mary...What in blue blazes...

A low, deep growl issues from the nearby woods. A look of fear comes over the old man’s face and he begins to back away. Something moves in the thicket and he raises the gun and fires in the direction of the trees. Then another growl breaks the silence, followed by a tremendous crashing in the underbrush. The man turns and races back to the house.

EXT-WOODS-NIGHT

TSM walks through the darkness, the limp carcass of Samson in one huge, hairy fist. It drops the dog to the ground, then stoops and reaches down. With one swift motion of its black taloned hand Samson is sliced from gullet to groin.

An eerie red light begins to glow from behind a dense stand of trees as TSM begins removing the dogs entrails.

EXT-NUNNELLY HOUSE-LATER

TSM stands in the front field looking at the farmhouse and holding the dead dog. The lights are on. It emits a weird sounding moan, then begins moving toward the house.

INT-LIVING RM-NIGHT

DEAN and BART are watching ‘Kolchak , the Night Stalker’ on tv. In the kitchen TERRY, early twenties, slim, pretty, and her two young sons TIMMY, age 6, and JIMMY, age 4 are playing cards with the rest of the Nunnelly children.

SCENE 14 (contin.)

TERRY:

Okay...Victor...Do you have a Jack?

VICTOR:(Lying)

Nope...Go fish...

Dean and Bart hear the sound of the dogs bumping their heads on the floor boards beneath their feet.

DEAN:

‘Zat the dogs underneath there?

A weird, garbled sound comes from somewhere outside...

BART:

Joo hear that?

TSM approaches the back door. Its hand reaches out. Dean and Bart,c reeped out, enter the kitchen just as the back doorknob begins to turn as if someone is trying to get in.

TERRY:

Daddy must be back. I did’nt even hear ‘em pull up.(Lays

down her cards and stands) JUST A SECOND DAD...

BART:

That’s cause they ain’t got back yet, Terry. That ain’t them...

DEAN:

Somethin’s out there. Don’t open the door!

The door shakes again, more vigorously, followed by a series of short growls. Inside the kitchen the girls scream as they all shrink back away from the door. Some of the younger ones start to cry. The doorknob twists frantically.

TERRY:

Y’ALL GET BACK BEHIND ME! GET OVER HERE!!!

The kids do as they’re told. They stand huddled at the far wall.

SCENE 14 (contin.)

DONEY:

Call Uncle Jimmy’s and tell Mom an’ Dad ta come home

Right now!

The doorknob stops shaking as she carefully makes for the phone which is mounted on the wall beside the back door. She picks up the receiver and starts working the rotary dial. Just then the sound of a car driving up and headlights shine through the front window.

TERRY:

Thank GOD! Its Dad....

DEAN:

They don’t know somethin’s out there. We gotta warn ‘em.

Terry goes to the front room and rapidly switches the ligh on and off several times.

TERRY:(To herself)

Please, please have the shotgun...

INT-CAR-NIGHT

As it pulls up into the driveway. ROSE see’s the warning signal and immediately knows something is wrong inside the house. RED sits in the passenger seat holding the shotgun.

ROSE:

Oh shit Teddy. Somethin’s wrong in there...

Red reaches into his pocket for shells.

RED:

Leave the headlights on. You see anything?

ROSE:

No...

RED:

Alright.(Pumps the barrel) Grab my arm and lead me in. If

you see anything I’ll fire a couple of shots in that direction.

Ready?

SCENE 14 (contin.)

Rose nods. They exit the car and start quickly for the back door. Terry is looking out the curtain.

She unlocks the door and opens it.

TERRY:

Hurry up Daddy! Y’all get in here!

RED:

What the hell’s wrong in here Teddy Bear?

TERRY:(Shaking)

Oh Daddy...somethin’ tried ta get in the back door right

before y’all pulled up. Did ya see anything out there?

ROSE:

No...We didn’t see anything.

RED:

Where’s the dogs? And why ain’t ya got that back yard light

on?

BART:

Whatever it was scared both the dogs up underneath the

house. They still ain’t made a peep.

TERRY:

I forgot to turn the light on Dad...sorry.

Red walks over and flips the switch. The backyard is immediately flooded with light. Rose looks out the backdoor window.

DEAN:(To Bart)

I didn’t think Poncho was scared’a nothin’.

ROSE:

Well. Whatever it was...I think it’s gone now...

TERRY:

Dad...I want to go home now.

SCENE 14 (contin.)

EXT-NUNNELLY HOUSE-LATE

Inside everyone is fast asleep. Only the backyard light is on. Now two sheets cover the windows in the kids room. The light shines through the window where Rose and Red lie sleeping. Everything is quiet. Suddenly the light winks out.

SCENE 15

INT-ROY’S KITCHEN-MORNING

The Coleman FAMILY are eating breakfast.

BRENDA:

I see you’re dressed for hunting again this morning...

ROY:

I’m going back down to the Hughes farm today.

BRENDA:

No, Roy. I told you I didn’t want you going back down there.

You don’t know what c...

ROY: (interrupting)

Brenda...honey...I’ve never been scared out of the woods

In my life. Any woods....I ain’t about to start now. I’ve got to

find out what that thing was if I can. I did’nt sleep a wink

last night from thinkin’ about it. Sides...I’m takin’ the thirty-

thirty this time,a nd both the dogs. Won’t nothin’ sneak

Up on me again, I promise you that. So see? No reason to

worry.

Brenda gets up with her plate.

BRENDA:

Well then...I see you’ve already made up your mind...

JAMIE:

Daddy...is there really a Bogeyman?

SCENE 15 (contin.)

EXT-BACKYARD-MORNING

RED and ROSE are standing in the yard. Red holds the two ends of the sliced light-cord and is studying them intently.

RED:

Son of a bitch...I don’t believe this shit.

ROSE:

How do ya figure it got broke?

RED:

Wasn’t broke Rosalie. It was cut. And them damn dogs

never barked one time last night.

ROSE:

There’s more chickens gone too. I oughta shoot both them

damn dogs if they can’t gaurd no better’n that.

RED:

Now honey. You know that’d break those youngins’ hearts.

I’ll call the light company first thing tamorra mornin’. See

if we can’t get ‘em out here to put us up a coupla Dusk to

Dawn lights. Maybe that’ll help.

EXT-WOODS-DAY

ROY parks his truck in front of a thick tree line. A couple of dog cages sit in the back near the tailgate. He gets out and walks around to the passenger side, opens the door and puts the strap of the deer rifle across his shoulder. He picks up the twelve gauge next, makes sure it is loaded, and walks around to the back of the truck.

EXT-NUNNELLY FARM-DAY

Most of the kids are playing in the front yard. DEAN and BART are in the upper reaches of a nearby tree. HAROLD is measuring the front left side of the house and writing down the numbers in a small notebook..JACKIE is nearby watching their two daughters, STACEY, 6, and THERESA, 4, play in the grass. Everything seems well on a beautiful country day.

SCENE 15 (contin.)

DEAN:

Shore hope they break these fields up tomorrow. Then I hope

it rains real hard...

BART:

Me too...Dad say’s you’n me get ta sleep in the new bedroom

Harold’s gonna build.

DEAN:

Long as its got curtains. Mom said if we helped set the tabacka

we could order one’a them giant D.C. comic books. I want

Batman. Which one you gettin?

BART:

(Hanging upside down)

Tarzan.

DEAN:

If Mom see’s you up here doin’ that the only thing you’ll

get is a real hard ass-whuppin’.

BART:

She hears you cussin’...reckon you’ll get one too...

RED and ROSE approach Harold and Jackie. Rose is holding a jug of iced tea. Red is holding a

stack of glasses.

HAROLD:

Thanks, Mom. Ya know what y’all? Me an’ Jackie was thinkin’

last night. Instead’a drivin’ back’n forth from town everyday,

why don’t we just move our trailer out here next to the house?

Live next ta y’all...

RED:

Well I think that’s a good idea, son. What do you think

Rosalie?

SCENE 15 (contin.)

ROSE:

Hell yeah it is. Maybe you can shoot whatever it is been

draggin’ off our chickens. How soon can ya get it out here?

EXT-WOODS-DAY

With his left hand ROY holds onto the leashes as the two dogs walk him through the brush. In his right he holds the shotgun.S oon the dogs pick up a scent and really start surging forward barking furiously. Roy looks ready, even eager.

ROY:

GET ‘IM BOYS. That’s it. Let’s go get ‘im.

The hounds struggle through the thickening forest, running as fast as they can go.

They approach a particularly dense copse of trees and suddenly stop. They stop barking as well.

EXT-TSM-DAY

As it stands just inside the tree line. It is perfectly hidden yet it can see ROY and the dogs through the trees. The dogs begin acting spooked, whining and pacing back and forth. Going no further.

ROY:

COME ON! GET IN THERE BOYS...LET’S GO...

TSM takes a step forward. ROY hears the sharp snap of a breaking limb as a low, menacing growl issues from the trees.

The dogs suddenly break free, knocking Roy to the ground, and race away in the opposite direction trailing their leashes behind them.

Roy looks up as another limb snaps. He can just make out the gigantic outline of TSM. Near the top of the figure he see’s two red dots and realizes that they are eyes.

He gets up, still holding the shotgun. TSM lets out a bloodcurdling, unearthly scream and Roy starts to back away, then turns and runs for it.

EXT-TREE-DAY

DEAN and BART look down and see DONEY walking toward the outhouse followed by the two family dogs.

SCENE 15 (contin.)

DEAN:

Can you believe how silly Doney is?

BART:

Yeah. You sure we’re kin to her?

DEAN:

Heh...She got ta name the dog ‘Lad’.I mean, come on. It’s

a girl dog. I told her the names Lad and Laddie was Irish

for boys,j ust like Lass and Lassie was Irish names for girls.

BART:

We CAN”T be kin to ‘er...Let’s go get some’a that tea

Mom’s holdin’...

DONEY goes into the outhouse. Poncho and Lad mill around for a second then wander back behind the small wooden structure. Then they bark a couple of times.

EXT-FRONT YARD-DAY

DONEY comes running back from the outhouse.

DONEY:

Mom, Dad! I found a dead dog behind the outhouse! Come

see!

RED:(To Rose)

Better go check it out baby.(to Doney)You did’nt touch it

Did ya’?

Doney leads Rose to edge of the woods behind the outhouse. Dean and Bart are already there

examining the grisly discovery. They are poking it with long sticks.

ROSE:

Dean...Y’all better not’ve touched that damn thing. Could’a

had rabies or anything...

SCENE 15 (contin.)

DEAN:

We didn’t Momma...

BART:

It didn’t die from rabies. Come look at this...

ROSE:

Oh my God...Go get yer daddy.

EXT-GROUP DAY

As they all stand at around.

ROSE:

You kids go on’n play. Hell, it’s just a dead dog. It ain’t

Nuthin’.

Dean and Bart exchange a knowing look before they do what they were told, leaving the four grown-ups to discuss the carcass. Jackie turns away in disgust, hands covering mouth.

HAROLD:

Holy shit dad....

RED:

What is it? What’s the matter with it?

Harold takes a stick and lifts the front leg. It is Samson. His mouth, sans tongue, is stretched unnaturally wide. His eyeballs are gone.

ROSE:

It ain’t got no eyes or tongue for one thing...

RED:

Hell, honey. That ain’t uncommon. Birds’ll take the eyes

first thing. Tongues too if they can reach ‘em.

DAD:

Its guts’ve been scooped out. No blood anywhere that I

can see.

SCENE 15 (contin.)

RED:

Belly ripped open?

HAROLD:

Not ripped...cut. Like someone used a knife.

RED:

What?!

HAROLD:

S’wat it looks like...

JACKIE:

What in the hell could’a done that?

HAROLD:

I don’t know baby. Who would wanna go around cuttin’ up

dogs’n takin’ their guts?

RED:

Could be the same sumbitch ‘at cut my light cord. Harold...

You go on an’ drag it a good ways back up inta the woods.

Take the shotgun with ya. Take a look down by the creek

While you’re in there. See if you can see anybody’s tracks.

Rose, you go tell all these kids not ta go anywhere near these

woods out here. They’re damn sure not ta go inside ‘em for

any reason. Make sure they know it’s an ass whuppin if they

do. Harold, put some gloves on.

EXT-WOODS-DAY

HAROLD carries the dog to the top of a hill thickly overgrown with trees and grass and throws it over the far side. Samson’s dead body rolls down and settles beside a large rock. On the rock there is an ancient Indian petroglyph. It is carved to look like an ominously grinning human skull.

INT-LIVINGROOM-DAY

DEAN and BART walk through the door.

SCENE 15 (contin)

BART:

I been thinkin’ ‘bout whatever’s gettin our chickens. What it

might be...check this out...

He grabs up several issues of “Swamp Thing’,and ‘Man-Thing’ and hands them to his brother.

BART:

What if it’s some kinda monster? Like in the comics...

DEAN:

Dad told me Roy said it was hairy. These are both green.

Bart hands him another comic. A ‘Werewolf By Night’.Dean looks at the cover.

EXT-BACKYARD-DAY

HAROLD walks up to ROSE and RED.

ROSE:

See anything Harold?

HAROLD:

No...I checked down by the creek. Did’nt see any tracks.

RED:

Hmph...I know it was down there drinkin’ from it...

HAROLD:

No Dad.I did’nt see ANY tracks. No deer, coon, squirrel...

Not even a possum. Its like there ain’t no animals at all

in these woods.

SCENE 16

INT-KITCHEN-NIGHT

RED and Rose sit at the kitchen table with another couple, RONNIE and IRENE. they both look to be in their forties and plainly dressed. They all hold playing cards in their hands. Ronnie throws down a card on top of the small pile in the middle of the table. Rose throws her cards down .

SCENE 16 (contin.)

ROSE:

TONK!

RED:

Son of a bitch, Ronnie.These women are kickin’ our asses

tanite. They must be cheatin’...

RONNIE:

They probably are Red,(laughs).

IRENE:

Hell no we ain’t. We don’t have ta chest ta beat you two

at Tonk, do we Rosey? Y’all just choose to forget.

ROSE:

Yeah they remember alright. They just won’t admit it.

RED:

Hell then...Maybe we oughta play some Rook instead.

The kids are in the living room watching t.v. Ronnie and Irene’s two daughters, JACKIE and CINDY, both in their early teens and very pretty, sit on the couch. Dean and Bart spend more time watching them than the television. Cindy catches them looking and they quickly avert their eyes. She nudges Jackie with her elbow and they both smile.

Back in the kitchen Red is shuffling the cards.

RONNIE:

We’re sure glad y’all moved back out this away, Red. How

do ya like it here?

RED:

Well, you know how these old country houses are Ronnie.

Has its ups and downs. Gotta take the bad with the good

so they say...Like it a lot better when we get some indoor

shitters in here. Harold’s gettin’ ready to start buildin’ it

here in the next coupla days.

SCENE 16 (contin.)

RONNIE:

Good ta hear your plannin’ on stayin’ awhile. Else you

wouldn’t be plannin’ ta add on to the house. I thought

y’all’d done had a yard full of chickens by now though.

RED:

Yeah...we’ve had a few come up missin’ here lately. I

strung up a light cord out back. Next mornin’ we found

it sliced in two.

RONNIE:

No shit? Someone cut it? How’d they get past your dogs?

RED:

Don’t know. They never barked that first time.

RONNIE:

Damn. That’s unusual.

RED:

Yep. Harold’s gonna move his trailer out here sometime

next week. Reckon he can help me take care of a few things.

Gonna put out eight acres a tabacka. Plant a big truck patch.

Can us some vegetables this fall.

IRENE:

Eight acres, hunh? Burly or Dark?

RED:

Mostly Dark. Brings more at auction. That Burly shore is

purty though. Probably set two acres of it just for spite.

RONNIE:

Well, if ya need any help be sure to let us know. Y’all know

we’d do anything for ya. Good friends are kindly scarce out

here in the boonies.

RED:

Well thankya Ronnie. We feel the same way ‘bout y’all,

Don’t we Rosalie?

SCENE 16 (contin)

ROSE:

Damn right we do.

RONNIE:

That reminds me. You ‘member Speedy Brown dontcha

Red? He’s got this goat he’s trying to give away. It’d really

do a number on all that tall grass ya got out back. You

think ya might want it I’ll bring it right over tomorra?

RED:

Is ‘at right? Yeah. We could use a goat out here I guess. How’s

Speedy doin? we ain’t seen him and Clara in a long time.

RONNIE:

They’re fine. Still over in Reed.

RED:

He sure is a character. Next time ya talk to ‘im tell ‘im ta

come over and visit sometime.

ROSE:

Hell. Why don’t everbody just come over this comin’ Friday

for supper? I can kill a couple a roosters and make chicken

an’ dumplins.

IRENE:

Now that sounds good Rosey. Ever body knows you’re the

best cook in the whole damn county.

ROSE:

I don’t know ‘bout all that now Irene. But thankya.

IRENE:

Just the gospel truth is all.

EXT-PORCH-DAY

DEAN and BART sit on the front porch whittling one end of tobacco sticks into sharp points. Out in the fields a couple of tractors are plowing. The sky is dark with clouds.

SCENE 16 (contin)

DEAN:

Won’t be long now. Probly rain tonight.

BART:

(Holds up stick)Yeah...reckon these’ll do us any good?

You know...if we hafta use ‘em?

DEAN:

Let’s just hope we don’t hafta find out.

BART:

Yeah...Who do you think would win between Conan and

Tarzan? No weapons allowed.

DEAN:

(Thinks for a second)Conan.

BART:

No way.

EXT-HOUSE-NIGHT

All the lights are out and everyone is in bed. All is quiet save for some distant thunder. A noise like a Screech Owl carries on the wind.

ROSE:

Teddy...D’you hear that?

RED:

Screech Owl, honey. Go ta sleep.

Another sound. A canine howl. Rose makes to speak again but Red interrupts...

RED:

Coyote...

The sound of rain steadily begins hitting the roof and windows.

SCENE 16 (contin)

EXT-OLD CORN CRIB-NIGHT

As the storm increases and the rain falls down flashes of lightening reveal the dark shadow of TSM on the side of an old, abandoned building. It lets out a short series of grunts as it walks up

to the building and punches through the side, ripping several boards away. Then it squeezes through the opening leaving a good sized tuft of hair hanging from the jagged wood.

INT-BEDROOM-NIGHT

DREAM SEQUENCE.

Bart is lying alone in his bed. The room has changed. Now the bed is right beneath the window.

There are no curtains again. He stirs in his sleep. From the window comes a flash of fading light as if a low flying comet has just passed overhead. The window grows dark again and a pair of red eyes peer in and down at the sleeping youth. A small, ugly, hair covered creature with long claws and dripping fangs enters through the window, slipping effortlessly and noiselessly through the glass as if it wasn’t even there. It has a wide, ape-like nose and evil, red eyes. It quietly slips into the room which is faintly illuminated by the low burning embers in the fireplace, and onto the bed.

Bart opens his eyes and see’s it,t hen tries to scream, but no sound comes out.I t hops up onto the frightened boys chest, crushing the air out of his lungs.

Bart awakes with a start. He sits up trying to catch his breath as a shadow looms up in the still curtainless window. A huge, hairy hand suddenly breaks through the window,s hattering the glass, and locks around Bart’s throat. He manages a weak, frightened scream as he is jerked through the window and out into the waiting darkness.

Bart wakes up, for real this time, breathing hard and grasping his throat. He looks around at the window, which now has curtains. Victor lies beside him on the left. Dean on the right. Outside thunder booms overhead. Rain beats down. The windows flash from the lightning. Frightened, he lays back down and pulls the covers over his head.

INT-ROY’S HOUSE-NIGHT

ROY is staring out the bedroom window watching the storm, lost in deep thought. BRENDA sleeps peacefully on the bed behind him. The room is dark save for the brilliant flashes of lightening.

SCENE17

INT-KITCHEN-DAY

The Nunnelly’s eat breakfast. The kids are having cereal, the adults are drinking coffee. RED looks at DEAN and BART who sit across from him.

SCENE 17 (contin)

RED:

Reckon you boys’r rarin ta go hunt some arrows this mornin’.

Seein’s how it rained last night’n all...

DEAN:

Yeah, Dad...We can’t wait ta hit the fields.

RED:(seriously)

I want y’all ta listen to me close now. ‘Specially you two.

I don’t want y’all goin’ anywhere near these woods out here.

Got it?

VICTOR:

Why, Dad?

RED:

Don’t even worry ‘bout why. Y’all just do what I tell ya.

Stay in the plowed fields only. And don’t go wanderin’ too

far from the house. This is a big place and we don’t know

it too well yet. Don’t know what all’s on it. Y’all ever come

up on somethin’ that looks like a cave, you get your asses

away from there double quick., understand? Dontcha dare

go inside one under any circumstances. If ya do...I’ll whip

your asses til my arm gives out. Now I want y’all ta promise

me...

DEAN/BART

We promise...

VICTOR:

I’m goin’ arra head huntin’ too...

RED:

You let your big brothers scout out the area first, Lonesome

Kid...You can go next time.

VICTOR:

‘At ain’t fair...

SCENE 17 (contin.)

RED:

Ain’t got nothin’ ta do with fair, son. You heard me.(To

Dean and Bart)Y’all see or hear anything unusual out there

ya high tail it back to the house immediately. An’ one more

thing...I know I told ya this before at the Booth Farm but

now I’m tellin’ you again...don’t pick up no beads, bones,

teeth or anything like that. I don’t want none’a that shit

brought inta this house. Arraheads, tomyhawks, stuff like

that’s fine. But nothin’ else. Y’all break any a these rules

an I wont letcha step nary another foot inta any a these

fields out here ever again...Understand?

ROSE:

And don’t y’all go trackin’ no mud into the house.

BART:

Yes m’am...uh...I mean no ma’m.

INT-ROYS HOUSE-DAY

ROY,d ressed again in hunting attire is preparing to leave. He has a stern look about him. BRENDA walks in giving him the cold shoulder but Roy says nothing as he checks his guns and ammo.

BRENDA:

Why’re you dojng this Roy? Are you trying ta get yourself

killed? what am I supposed to tell your kids? Hunh?

ROY:

Don’t do this Brenda. You know me. You know how much I

love huntin’. For the first time the other day...somethin’

scared me outta the woods. I ain’t gonna let that happen again.

It’s done got inta my head. Can’t even sleep thinkin’ ‘bout it.

I’ve got to find out what it is. If I don’t...it’ll drive me crazy.

Roy turns to walk out the door. Brenda’s expression changes from anger to concern.She runs to Roy and hugs him, then looks up at him with teary eyes.

BRENDA:

Just be careful,honey...Be careful.Alright?

SCENE 17 (contin.)

EXT-FOELD-DAY

A small flint projectile point is sticking up from the dirt. A shadow falls over it, then a hand reaches down and picks it up.

BART:

WHOO HOO!!.FOUND ANOTHER ONE, DEAN.

DEAN is walking about twenty feet away. They are both in a large field, broken for planting. They are each carrying their sharpened sticks. Dean hurries over and Bart hands the point to him.

DEAN:

Wow, Dewey! That’s definatley the best one yet. That’s three

already for you, an’ two for me. An’ we ain’t even been out

here an hour yet.

BART:

Man, this place is loaded. I told ya it’d be. Just like the Booth

farm...

EXT-FIELD-A LITTLE LATER

DEAN walks along the top of a small ridge. BART walks along the lower end bordered by trees.

He walks with his head down, intently scanning the ground which is littered with flint shards and small rocks. Bart approaches the trees and, out of curiosity, walks a few feet inside. He now stands in small dried up pond area. Aside from a few plant beds, the ground is clear. More trees loom darkly on the other side.He examines the ground for a few steps,t hen stops. At his feet lays a two foot high pile of animal bones. He looks around him at the trees, as if sensing TSM, who stands just out of sight studying the youth. Suddenly Dean gives out a yell which sounds much the same as Barts first one. Bart turns and starts to run back the way he had come, out into the field and towards his brother.

EXT-CORN CRIB-DAY

ROY stands at the edge of the woods looking at the corn crib with jagged hole in its side. He decides to approach it and walks cautiously, rifle up and at the ready. He slowly walks up to the side and peers in through the huge hole in the splintered boards. The place is empty. As he turns to go he notices a tuft of long, dark hair hanging from the wood. He examines the hair closely, pulls it free and holds it for a second, then nervously turns around at looks back at the trees.

SCENE 18

EXT-RIVER-NIGHT

A tugboat makes its way down the middle of the river. Its searchlight waves back and forth across the misty water. Inside the cabin are two men ;the PILOT, middle aged, somewhat portly, and the CO-PILOT. The pilot mans the light while the co-pilot stands by the wheel smoking a cigarette.

PILOT:

Fuckin’ fog. Just keep ‘er in the channel. Steady as she goes.

CO-PILOT:

Aye aye, skipper.

PILOT:

Told ya ta stop callin’ me that did’nt I?Gilligan...What the?

What the fuck was that?

CO-PILOT:

What?

PILOT:

There...on the bank. See it?

CO-PILOT:

Looks like a big fuckin’ tree stump to me.

PILOT:

No...I saw it come out of the water. It dropped down when

the light hit it...Full stop. Here...keep the light trained on it.

The pilot grabs a large caliber pistol and heads out on deck. He walks to the edge of the boat.

The figure on the bank is still. The pilot raises his pistol and fires. The dark object rises up, red eyes shining and TSM lets out a terrible shriek. Just then the side of the boat rises a couple of feet from the water and slams back down with a splash. The pilot falls backward onto the deck losing the pistol. He looks back at the river bank. Nothing is there.

PILOT:(panicky)

FULL SPEED AHEAD!! FUCKING FULL SPEED

AHEAD!!

SCENE 18 (contin.)

EXT-NUNNELLY HOUSE-DAY

Harold’s GTO is parked in the driveway next to the family car. Most of the kids are playing in the front yard. VICTOR and KEITH, the two youngest boys, are walking in the field closest to the house. HAROLD is decking the newly framed bathroom. JACKIE is helping from the ground. ROSE and RED approach.

ROSE:

Sure lookin’ good Harold. You’re doin’ a helluva job.

HAROLD:

Thanks Mom. Should be done here in a couple more days.

Then I can start on the bedroom.

RED:

Rosalie’s cookin’ supper son. Y’all stayin’ aintcha?

HAROLD:

Naw, Dad..We gotta start boxin’ things up. Hired a truck ta

pull the trailer out a couple days from now.

RED

Good, son. We’ll be glad ta have ya out here with us.

JACKIE:

Yeah...we can’t wait ta get out here...

EXT-FIELD-AFTERNOON

DEAN and BART hunt for artifacts along the edge of the cultivated field. To their left is a huge, long mass of piled up trees, dirt and weeds, pushed there years before when the field was first cleared for planting. Dean is slightly ahead of Bart when he stops, staring into the mass of debris.

DEAN:

Holy shit, Dewey! Dad was right...a cave!

Dean slowly walks to the mouth of the opening.

SCENE 18 (contin)

BART:

What the hell’re you doin’? You know what Dad said...

DEAN:

Come on man...don’t be no chicken shit. Maybe there’s

arrowheads inside...

They walk about three feet inside. The rest is lost in darkness

BART:

I don’t see nuthin’ in here. Not even no flint...Let’s go...

DEAN:

(Looking around apprehensively) Yeah...this is creepy.

BART:

(Walking outside) We gotta tell dad about the cave. You

better not mention we went inside it neither. We’ll get an

ass-whippin’ for sure.

DEAN:

Damn right. I ain’t sayin’ shit. Hey man...what’s that?

BART:

I dunno. Looks like somethin’ dead...

DEAN:

Look...It’s another dead dog. It’s cut up just like that other’n.

BART:

What the hell are ya doin’ now?

DEAN:

Lookin’ for tracks. I don’t see any. Not even dog tracks. Do

You?

BART:

No...we better get on back to the house. I’m gettin’ hungry.

SCENE 18 (contin.)

INT-KITCHEN-DUSK

The Nunnelly FAMILY is gathered around the supper table. RED is examining one of the arrows, mostly by feel.

BART:

That makes thirteen whole ones we found today, Dad...

RED:

Damn, son. That’s real good...

EXT-HOUSE-DUSK

As TSM creeps silently up to the kitchen window. Both dogs are silent beneath the house.

RED:

Y’all didn’t pick up no beads or teeth did ya? Stuff like that?

DEAN:

No Daddy...just like you said. No beads or bones...

BART:

We found another dead dog though. It was cut up just like

that other one was.

ROSE:

Barton Maclane!

BART:

Sorry Mom...We found it out in the field close to that cave.

Red and Dean both give Bart a look.

RED:

Cave? What cave?

DEAN

It’s down the road in that big pile’a logs and trees an’ stuff.

It’s probably not even a cave. Just a big hole probly...

SCENE 18 (contin.)

BART:

Yeah...sure looked like one though...

RED:

You boys didn’t go inside it did ya?

DEAN:

(Gulp) No sir...

RED:

Good. Tomorrow y’all can take me’n yer mother down an’

show it to us. Y’all think ya can find it again?

EXT-TSM-NIGHT

As it backs slowly away from the window and walks calmly into the darkness. The dogs don’t make a sound.

EXT-FIELD-DAY

BART, DEAN and both PARENTS stand beside the tree pile. Red is holding the shotgun. The two boys stare in shock.

DEAN:

I can’t believe it. It was right here. Right here! Was’nt it

Dewey?

BART:

It sure was...

RED:

Y’all sure this was the right spot?

DEAN:

Positive.

RED:

That means that whatever was livin’ in there musta smelled

y’alls scent...Either that...or it was listenin’ to us last night at

the supper table and decided to get rid of it...Can y’all see any

tracks around?

SCENE 18 (contin.)

ROSE:

Not that I can see honey. Just ours and the boys’.

RED:

From now on I don’t want you two wanderin’ any further

than shoutin’ distance from the house. Understand.

The boys nod their disappointed agreement.

SCENE 19

INT-ROY’S HOUSE -NIGHT

ROY and his family are in the living room. His two DAUGHTERS are cheerfully playing a board-game in front of the t.v. BRENDA is looking at Roy. Her stare goes unnoticed. All her husband’s attention is upon a small zip-lock baggy he holds up before him, intently scrutinizing it. Inside are the strands of coarse hair.

EXT-FIELD-DAY

HAROLD is driving a small tractor pulling a tobacco planter behind. ROSE and JACKIE sit in the seats feeding the small plants into the wheel. RED walks a short distance behind holding extra plants.

INT-NUNNELLY HOUSE-LATER

Six adults sit around the kitchen table finishing up supper, RED, ROSE, RONNIE, IRENE and an additional couple, SPEEDY and DEE. The kids do the same in the living room. In addition to the Nunnelly children are the young guests; JACKIE,C INDY and RONNIE JR., Ronnie and Irene’s three, and RAYMOND,S peedy and Clara’s boy. They get up one by one and take their empty plates into the kitchen.

SPEEDY:

Hot damn, Rose. That’s about the best chicken an’ dumplin’s

I ever ate. Ain’t that right Dee?

DEE:

Sure the hell is...Better than my own momma could make.

SCENE 19 (contin.)

ROSE:

Well thank y’all Speedy, Dee. Sure am glad ya liked it.

IRENE:

Soon as all them youngins get done me an’ Dee’ll wash up

them dishes.

ROSE:

No now...Y’all ain’t gotta do all that...

DEE:

Yes now Rose. We insist. It’s the least we can do.

ROSE:

Well...alright then. If y’all insist. I’ll put us on another pot’a

coffee and we can all beat the hell outta the men at a game’r

two’a Rook.(turns to men)How does that sound fellas?

The fellas boisterously agree.

SPEEDY:

Hey Red, ‘member that time we’s in Alabama at that truck

stop an’ them three fellas busted me over the head with that

pool cue?

RED:

Yeah. I remember Speedy...

SPEEDY:

Red come out an’ whupped ever one’a them sonsabitches.

‘Member when we’s runnin’ that White Lightnin’ down ta

Tennessee and them revenuers come bustin’ out after our

asses? Boy that was some fancy fuckin’ drivin’ you did

that day. Left them bastards eatin’ our dust. Ain’t that right

Red?

RED:

Yeah, that’s right. I also member a time in Illinois when I

did’nt outrun ‘em. Cost me elleven months’a my life up in

Marion. That was my last run I’ll tell ya that.

SCENE 19 (contin.)

INT-LIVING RM.

RONNIE JR:

Say y’all been findin’ a lot’a arraheads down here Dean?

DEAN:

Yep. Shore have Ronnie. Quite a few.

RAYMOND:

More’n y’all found on Collin’s road?

JACKY:(To Dean and Bart)

Momma heard that trailer down the road’s gonna be up for

rent in a couple’a weeks.

CINDY:

Yeah...say’s we might get ta move in it. Then we’d be y’alls

closest neighbors.(Winking at Dean) How’d y’all like that?

VICTOR:

Hey. Someone change the tv channel...

EXT-HOUSE-NIGHT

It is completely dark outside as SPEEDY and DEE, with RAYMOND in tow, are walking out to their car. ROSE and RED stand at the doorway. A full grown goat is chained to the old water pump.

SPEEDY:

Damn Red. We need a flashlight just ta find the car out here.

RED:

Yeah. I done called the city ‘bout puttin’ us up some Dusk

Til Dawn lights. They said we’re on the list. Y’all be careful

now Speedy. You’n Dee come back an’ see us when ya get

the chance, hear? Thankya for that goat.

SPEEDY:

You’re welcome Red. Y’all take care now. We’ll drop back in

again real soon...

SCENE 19 (contin.)

INT-KITCHEN

RED closes and locks the door. ROSE looks at the clock.

ROSE:

Good lord Teddy. It’s after ten o’clock. KIDS...Let’s get them

teeth brushed and get ta bed...

EXT-WOODS-NIGHT

From just inside some nearby trees TSM is stares toward the Nunnelly house.

INT-BEDRM-NIGHT

ROSE is tucking the KIDS into bed .Outside the dogs bark a couple of times.T he goat bleats.

Outside, the dogs stand in the yard barking. TSM lets out a frightening roar and starts towards the house. With a whine both dogs flee in that direction as well.

Rose hears the sound and stops. She hurries into the middle room, all the kids following close behind with frightened looks. RED is already pulling on his pants.

ROSE:

Teddy...What the hell was th...

RED:

(Interrupting)

Get me the shotgun...

They hear the dogs banging their retreat on the floorboards beneath their feet. Outside the goat bleats desperately.

RED:

Everbody into the kitchen!

Rose gathers the frightened children into the kitchen and stands with them at the furthest wall. TSM walks up to the goat which is struggling furiously to break the chain and flee. It turns to the house and approaches the back door, reaching its huge, clawed hand out for the doorknob.

SCENE 19 (contin.)

RED stands in front of his family, closest to the door, holding the shotgun. The doorknob turns several times. At this some of the younger children moan with fright.

RED:(To kids)

SSSHHH....(Turns to door) WHO IS IT?! WHO’SE OUT

THERE?!!YOU BETTER ANSWER YOU SON OF A

BITCH OR I’M GONNA SHOOT RIGHT THROUGH

THIS FUCKIN’ DOOR!

The door starts to shake now, as a weird sounding growl comes from the other side. Some of the kids start to cry. Red backs away from the door in disbelief.

ROSE:

SHOOT TEDDY! SHOOT THROUGH THE FUCKIN

DOOR!!

RED:

NO! That ain’t no man out there...right now that door’s the

only thing standin’ between us and it. Dial the State Police!

INT-BEDROOM-NIGHT

Roy, in his pajamas, stands in front of his bedroom window looking out. He hears the sound of police sirens as they go by in the distance.

INT-POLICE CRUISER-NIGHT

OFFICER 1:

...in’ monster? He said it was a monster? These fuckin’

Country bumpkins...

OFFICER 2 (driving)

Yeah I know. Sarge says check it out...we gotta check it

out. Orobly just a damn coyote. Nunnelly...That name sounds

familiar...

SCENE 19 (contin.)

EXT-YARD-NIGHT

At the sound of the oncoming sirens TSM turns and grabs the goat, snapping the chain like thread. It shrieks again as it disappears into the woods behind the house.

INT-KITCHEN-NIGHT

ROSE:

There goes that goat...it got the fuckin’ goat...

EXT-WOODS-NIGHT

TSM walks swiftly through the darkness carrying the still noisy goat in one hand. It grabs its throat with the other and, with effortless ease, breaks its neck.

EXT-HOUSE-NIGHT

As the patrol car pulls up in fron of the Nunnelly house and kills the siren. Both officers exit the vehicle and approach the house, hands on holsters and waving the flashlights. ROSE lets them in. She leads them to the kitchen where things are much the same as they have been.

OFFICER 2:

Sir you need to put down that firearm...

RED:

I ain’t puttin shit down officer. Not ‘til y’all look around out

there and can tell me that thing’s gone. When I know my

family here’s safe...that’s when I’ll put down the gun.

Officer 1 nods at officer 2 as if to say ‘okay’.

OFFICER 1:

That’s what we’re here for Mr. Nunnelly. Just watch the

weapon, alright? we’re gonna go take a look around for ya

right now.

RED:

Alright. Open up the back door for ‘em Rosalie.A nd you

two be careful. Somethin’s out there.

SCENE 19 (contin.)

The two officers draw their revolvers as they step out the back door. They walk around toward the back yard,s hining the lights at the trees. The night is unnaturally quiet.

OFFICER 1:

Can you see anything?

OFFICER 2:

Naw...Can’t see shit. Trees are too thick. You think they’re

full’a shit?

OFFICER 1:

Hell no. You see the looks on them kids’ faces? They were

scared shitless alright. All of ‘em were. Let’s go back and

find out what happened.

INT-KITCHEN-SECONDS LATER

RED:

Ya see anything?

OFFICE 1:

No sir. Not a thing. Can you tell us what happened?

RED:

Y’all scared it off with all them damn sirens and lights.

That’s what happened.

OFFICER 1:

I meant what happened earlier...before you called us.

RED:

Well, ‘bout a quarter after ten we heard the damndest growl

come from outside. Then, whatever it was, came up to the house

and started twistin’ on the back doorknob. I threatened ta open

fire right through the door...and it started shakin’ the hell out’a

the door. Hollerin’ and growlin’ like some ...kinda big

animal. Never heard a growl like that before.

OFFICER 2:

Did anyone see it?

SCENE 19 (contin.)

RED:

No...just heard it. And that was enough I’ll tell ya. Whatever

it was it carried off a full grown goat right before ya got here.

Now you tell me what could’a done that.

OFFICER 1:

Well...whatever it was...it’s gone now Mr.Nunnelly. Maybe

it won’t come back. Ya know? This is the first isolated

country house like this I seen with no dogs runnin’ around.

Y’all ain’t got no dogs?

RED:

Hell yeah. Two of ‘em. They’re up underneath the house

scared ta death.

OFFICER 2:

Hm...Well. If y’all wanna go stay somewhere else for the

night we’ll wait’n escort ya out if ya want.

RED:

Reckon we’ll stay, if you say that thing’s gone.

ROSE:

Y’all sure ya didn’t see anything?

OFFICER 2:

Nothin’ outta the ordinary Mrs. Nunnelly.

The two officers start out through the living room. Officer one notices a framed photograph on the way out.

OFFICER 1:

Just one more thing Mr. Nunnelly, if ya don’t mind my askin’.

What’s your first name?

RED:

Theodore. Most folks call me Red, or Teddy. Why?

OFFICER1:

Just curious. Y’all have any more trouble just call and we’ll

come back. Try ta have a good evenin’,now.

SCENE 19 (contin.)

RED:

You too officer. And thanks.

INT-CRUISER-SECONDS LATER.

OFFICER 1:

Red Nunnelly. Now I know why that name sounded so

familiar. He was Deputy Sheriff over in Union county

‘bout twenty years ago.

OFFICER 2:

How the hell do ya know?

OFFICER 1:

Saw a picture of ‘im shakin’ hands with the Mayor.

EXT-WOODS-NIGHT

As TSM walks through woods carrying the goat’s limp carcass by its feet. He is making angry, gutteral grunts. It drops down to its knees and begins to savagely mutilate the goat, ripping it in half. He lifts his head to the sky and screams.

SCENE 20

INT-SCHOOL BUS-MORNING

The Nunnelly kids are piled into the seats. DEAN see’s Roy’s truck pass going up the gravel road towards the house.

INT-HOUSE-DAY

ROY, RED and ROSE sit at the kitchen table drinking coffee.

ROY:

Just thought I’d come down and check on y’all, Red. Heard

a State boy fly past the house last night...

RED:

Yeah. They’s comin’ here.

SCENE 20 (contin.)

ROY:

What happened?

RED:

We had a run in with that thing you scared up out squirrel

huntin’ awhile back.

ROY:

What? Did anyone see it?

RED:

Naw. Sumbitch...whatever it was...come right up to the back

door an’ started turnin’ the knob. Growlin’ and carryin’ on.

Scared the hell out of all of us I’ll tell ya that. It ran off

carryin’ a full grown goat.

ROY:

What about these dogs?

RED:

Well...They’re too smart for that thing. They run up under

the house where it could’nt reach ‘em. Else they’d probly

ended up like them other two we found.

ROY:

Ya found some dead dogs? Did the damn police see anything?

RED:

Hell no. It ran off when it heard the sirens.

ROY:

Son of a bitch. I had a bad feelin’ last night. I just knew them

sirens had somethin’ ta do with y’all. Listen Red...what say I

go take a look around. Maybe pick up some sign. Might be able

ta find that goat...

RED:

That goat’s long gone. You can bet on that. But you can suit

yourself ta this place anytime ya want. But you’d best be

careful out there. I can’t see too good but...that thing. I could

feel through the door that somethin’ wasn’t right. Ya get what

I’m tryin’ ta say to ya?

SCENE 20 (contin.)

EXT-TREELINE-DAY

Roy pulls up next to an old barn and walks into the trees, examining the ground carefully as he goes. He looks up and see’s a thick limb twisted off and hanging down from about nine feet up. He continues on.

EXT-NUNNELLY HOUSE-DAY

As HAROLD’S GTO rolls down the road towards the house, followed closely by a big truck hauling the single wide trailer.

Harold motions the driver back as it positions the trailer close beside the newly built bedroom.

JACKIE, ROSE and RED stand beside him. The women are smiling.

EXT-WOODS-DAY

Roy stands still looking down and around him in disbelief. He stands in a roughly circular area littered with goat parts and blood. After a few seconds he raises his rifle and moves forward into the woods.

EXT-YARD-DAY

HAROLD:

You sure this ain’t too close to the house, dad?

RED:

Yep. Leave just enough room to walk between. I want you

in easy shoutin’ distance in case I need ya.

EXT-RICKETY OLD SHACK-DAY

ROY stands looking at the structure from twenty yards out. It is long abandoned and the forest has reclaimed the area around it. A dark shape appears, blocking out one of the old, broken windows. The shape bends down and TSM peers out the window at Roy. His eyes look like two red dots in the darkness. Roy raises his gun. Slightly trembling his finger slowly squeezes the trigger. Roy blinks once and when he opens his eyes the monster is gone. Surprised, he hurries to the door. After a moments hesitation he kicks it in, enters and scans the interior. The shack is empty.

SCENE 20 (contin.)

INT-KITCHEN-NIGHT

RED: (on phone)

Empty? Well where do ya think it went?

ROY:

That’s just it Red. It counldn’t’a went anywhere without me

seeing’ it. I know this sounds crazy but...it’s like this thing

just up and disappeared...into thin air. I think you were right.

There’s somethin’ strange goin’ on down here.

RED:

And the goat. You sure it didn’t eat any of it?

ROY:

I’m sure. It was scattered all over the place. Ripped to shreds.

Like it killed it just to be killin’ somethin’.

RED:

Hmph...I thought only people did that.

INT-BEDROOM-NIGHT

ROY and BRENDA are in bed.

ROY:

Honey...I been thinkin’ ‘bout takin’ a couple weeks vacation

time.

BRENDA:

Really? Why? No...Roy no. Tell me you’re not going after that

thing down there again. Not after what happened today.

ROY:

I have to,Brenda. Red’s got Glaucoma. He can’t see well enough

to protect his family from that thing. Dontcha see? They got six

kids down there. All of ‘em scared ta death. What if that thing

came up and grabbed one of ‘em and did the same thing to ‘em

it did to that goat? Think of how you’d feel if that happened to

one of our own kids. I can’t turn my back on them. I’ve got to

at least try to help if I can.

SCENE 20 (contin.)

BRENDA:

Then you go, Roy. You go and kill that sonofabitch and send

it back to hell or wherever it came from. I just want you to

come back to me, you hear? Just come back ...to us.

SCENE 21

EXT-WOODS-DAY

ROY, dressed in full camouflage, sits among the brush. He is almost completely invisible among the verdant foliage.

INT-BEDROOM-NIGHT

RED is preparing for bed. ROSE comes walking in wearing a bathrobe. Her hair is wet.

ROSE:

Sure is nice havin’ an indoor bathroom again...

RED:

Yep. Sure is honey.

INT-TRAILER-NIGHT

HAROLD and JACKIE are in the livingroom smoking pot and listening to hard rock LP’s.

JACKIE:

You better turn that down Harold ‘fore you wake up them

kids. ‘Sides. You’ll have your daddy over here raisin hell.

HAROLD:

They’re sound asleep by now honey. Let’s you’n me raise a

little hell while we got the chance.

Jackie smiles, then stands up and slowly takes her t-shirt off exposing her full, firm breasts.

Outside TSM walks up, casting its immense shadow on the trailer’s side.

The two are now on the floor and things are getting hot and heavy when the entire front end of the trailer lurches as if it has just been pushed. Jackie gives a cry of surprise. Harold gets up zipping his jeans with Jackie right behind him. The record player’s needle has been thrown off the record which spins silently.

SCENE 21 (contin.)

HAROLD:

What the fuck was that shit?

JACKIE:

How the hell do I know? Get the gun, get the gun...

HAROLD:

Turn out the light...

JACKIE:

Okay...See anything?

HAROLD:

I can’t see shit...

JACKIE:

Go wake your daddy up.

HAROLD:

Hell no. I ain’t openin’ that fuckin’ door ‘til mornin’.This is

only a twenty-two.

Outside a tremendous peal of thunder breaks, which scares them both half to death, followed by the flash of lightning. Then the rain starts.

EXT-HEN HOUSE-NIGHT

Another bolt of lightning reveals TSM’s shadow as it approaches.

INT-HOUSE-DAY

ROY:(On phone)

How y’all doin’ down there Red? Everything alright?

RED:

Alright I guess, Roy.had another visit last night. Bumped up

against my son’s trailer. Several more chickens gone. Other

than that...

SCENE 21 (contin.)

ROY:

Hmm...I gotta stick around the house today. Take care of

some chores. What say I come down there about dusk. Hide

up on your roof tonight. That thing shows up...I’ll see to it

he won’t be botherin’ y’all no more.

RED:

Sounds like a good idea. Just might work. I’m mighty obliged

to ya Roy.

The Nunnelly BOYS finish up breakfast and start walking out the door.

EXT-GROUND-MORNING

The ground is puddled from last night’s rain. Bart walks up and looks.

BART:

Hey Dean! Come lookit this...there’s goldfish swimmin’

around in here.

DEAN:

I know. They’re in this’n too!

They run to a shallow drainage ditch beside the road.I t too is filled with goldfish, angel fish and guppies. They stand and stare in wonder.

DEAN:

Holy shit...

EXT-ROOF-NIGHT

ROY is hunkered down on top of the Nunnelly house. The lights go out and all is quiet save for the crickets and frogs. All is dark.

Inside the house the kids sleep. Mason jars filled with water and fish sit atop the dresser.

RED and ROSE are also in bed.

ROSE:

I’ll sure sleep a little better knowin’ that Roy is up there.

SCENE 21 (contin.)

RED:

Yeah. Me too.T oo bad Harold’s in town tonight. He could be

up there too. Just remember...any shootin’ starts... we get

up quick an’ you hand me the shotgun. Got it?

Roy is lying prone along the ridge of the roof, peeking over the eves. He nods sleepily. The dogs are beneath the house. Suddenly the night goes completely quiet and Roy is alerted by the sound of a snapping limb. He grips his rifle tightly as the sound of footsteps come from within the darkened trees. Roy follows the sound, resting the barrel of the gun on the ridge-cap and waiting for it to step out. It doesn’t. The footfalls fade into the night.

ROY: (mutters)

Smart...mother...fucker...

EXT-TRUCK-MORNING

ROY:

...smart.Real smart, Red. It knew I was up there. Wouldn’t

step out of the trees so I could get a shot off at it.

RED:

Well...thanks just the same for tryin’, Roy. You better go

getcha some sleep.

ROY:

That’s a good idea. Call me if anything happens. Hear?

SCENE 22

EXT-YARD-DAY

the school bus pulls to a stop in front of the Nunnelly house. Some county workers are installing a couple of exterior light poles. All the surrounding fields are planted. The two dogs run up as the CHILDREN step off the bus, wagging their tails in greeting.

ROSE waves from the front door as the children walk in.

ROSE:

How was y’all’s day today?

SCENE 22 (contin.)

KIDS:

Fine Mom...okay I guess.

ROSE:

Dean.You’n Bart got somethin’ in the mail today. In there

on the table...

The two walk eagerly into the kitchen and see two large, thin packages. They snatch them up and start ripping away the paper.

BART:

Alright! They finally came!

DEAN:

Seem’s like we been waitin’ forever...

Red and Rose stand in the doorway watching the two’s delight with a measure of their own.

DEAN:

Whoa...Batman...check it out...

BART:

Yeah. Look. Joe Kubert art. This is so cool.

INT-BEDROOM-NIGHT

ROSE and RED are spooning. All the kids are asleep. All is quiet. From the distance outside comes the sound of a screech-owl.

ROSE:

That damn screechowl’s out there again. I’d like ta shoot

that sonofabitch.

There is the sound of a Whippowill, followed quickly by the bleating of a goat. Red sits up.

RED:

What the hell...?

Then comes the sound of a neighing horse, followed by what sounds like the trumpeting of a bull elephant.

SCENE 22 (contin.)

RED:

Now that sounded like a fucking elephant. It’s that damn

thing out there. Shit! Its’s back!

He gets up, pulling on his pants, and grabs the shotgun leaning against the wall next to the bed.

He starts for the kitchen, Rose close behind. Don’t turn on the light Rosie. Maybe that thing won’t come close to the house with those Dusk ta Dawn lights up out there.

ROSE:

I hope not...

RED:

Ya know sumpthin? I always thought my own dad was the

smartest man in the world. He’d been everwhere. Seen ever

thing. Never told me nuthin’ that wasn’t right and true. He

taught me everthing he knew. But he never told me anything

about...what’s out there. Never told me there was...real mon-

sters in the world.

ROSE:

Mine did’nt either Teddy. Maybe they did’nt know.

RED:

Maybe they did. Deep down inside...I think everbody knows.

That part of us...the part that used to be children...has always

known. We just don’t admit to it anymore when we grow up.

But we still know...You go on back to bed honey. I’ll stay up

and listen for awhile, alright? I’ll wake ya up if I need to.

ROSE:

Alright honey. If you hear anything. Anything. You come get

me, y’hear?

She kisses his forehead and exits the room. Red sits there in the darkness holding the shotgun.

EXT-YARD-DAY

The entire Nunnelly clan stand outside. Red, Rose and the kids are filing into the station wagon. Jackie and Harold stand at the trailer door.

SCENE 22 (contin.)

RED: (To Harold)

Alright son. We’re offta town for groceries. Y’all need anything

while we’re out?

HAROLD:

Naw, Dad. We’re fine thanks.

DEAN:

Dad...do I have ta go?

HAROLD:

It’s alright Dad. He can stay here with us while yer gone.

DAD:

Alright. We won’t be gone long. Dean.mind yer brother now.

DEAN

I will dad.

The car pulls away. Harold walks back into the trailer. Dean grabs his stomach as if a pain has hit him.H e looks over to the nearby outhouse.

INT-OUTHOUSE-DAY

As Dean settles onto the seat. He grunts then sighs his relief. He hears rustling from behind the outhouse..It comes again, closer now. Dean twists around and peeks out through a crack in the boards to the patch of horseweeds growing ten ft. tall. As he watches, TSM’s arm reaches out of the tall grass, grabs a handful of weeds and squeezes until the green juice runs down its hairy fist.

Dean’s eyes widen and he jumps up.

He bursts out the door and runs towards the trailer. His pants are not pulled up and he gets about five feet before falling. Again the rustling, perhaps a footstep. He pulls up his pants as he runs into the trailer.

JACKIE:

Damn Fats! What’s the matter with you?

DEAN:

Out...outside...I seen something...

SCENE 22 ( contin.)

HAROLD storms out the door with the shotgun and heads towards the outhouse. DEAN and JACKIE follow.

DEAN:

A big hairy arm. It reached out and grabbed the weeds.

They stand beside the outhouse looking at the thick brush. Jackie and Dean stand behind Harold.

DEAN: (Pointing)

Right in there, Harold...

Harold lifts the gun and fires three times into the brush. Jackie covers her ears but flinches anyway.

INT-BARN-DAY

ROY stands inside looking around. Old straw and loose boards lay strewn about. He examines a stall and see’s flattened down straw, like a large animal has been bedding down there. As he starts to exit the barn he notices something partially buried in the dirt at his feet. He stoops and digs it up and looks at it. It is a large, black claw.

INT-NUNNELLY HOUSE-DAY

DEAN:

So, what do ya think it is Dad?

RED:

I don’t know son...I just don’t know. I know I don’t want you

and Bart goin’ down inta them lower fields no more. Y’all

stick to the ones closer to the house. Alright?

The phone rings.

ROSE:

Hello...Hi Edward! How ya been? Yeah...well sure. We’d be

glad to see ya. Alright...That’d make her real happy. Okay, Ed.

See ya then. Bye.(To Red) That was your brother. Say’s he’s

stoppin’ in tomorrow ta bring Helen Jewel a present.

SCENE 23

EXT-TOBACCO FIELD-DAY

HAROLD, JACKIE and the three oldest boys, DEAN, BART and VICTOR, one per row, are hoeing the weeds in a tobacco field. The two adults reach the end of their row first and walk to the GTO parked beneath a large Persimmon tree. A water cooler sits on the trunk of the car and they each have a drink. Harold see’s that his three brothers are nearing the end of their rows. He walks to the tree and picks several small persimmons.

JACKIE:

What the hell’r you doin’ Harold?

HAROLD:

(Smiling mischievously)

Watch this...( To boys) Y’all come take a water break when

ya get to the end of your rows. Dont wantcha gettin’ too hot.

JACKIE:

You know them persimmons ain’t ripe. Aw shit...

The three boys walk up to the cooler. Harold pretends to take a bite from the small green fruit.

HAROLD:

Mm,mm. Man these are good. Taste just like apples. Y’all

wanna try one?

DEAN:

Nah...think I’ll stick to the water.

BART:

Me too.

VICTOR:

Gimme one. I’ll try it.

HAROLD:

Here ya go Lonesome Kid. Take ya a big bite’a that. Tell us

how ya like it...

SCENE 23 (contin.)

Victor takes the persimmon and bites into it. A puzzled look immediately overcomes his face. He pulls the fruit away from his severely puckered lips and drops it to the ground. His lower jaw is locked in place, like his lips. Seeing his expression the rest of the group bursts into laughter. Victor, at first, tries to laugh as well, then realizes he has lost control of his lower face and tears of panic well up in his eyes. He runs around uncertainly, not knowing what to do which makes the group laugh even harder. Harold grabs him and manages to hand him the water cup.

HAROLD:

Here, Vic. Rinse your mouth out. You’re okay...

Victor struggles to get the water past his tightly sealed lips. He sputters and coughs.

VICTOR:

Y...you fuh...fucker! I’m gonna tell Dad!

He takes off running down the gravel road towards the house.

HAROLD:

Shit...

Dean walks over and hands Harold Victor’s hoe.

DEAN:

That was some funny shit. Here...you can take over his next

row...

EXT-FIELD-DAY

ROSE and RED are working in the field when a truck rolls by pulling a short horse trailer and comes to a stop in the driveway. ED, early fifties, smoking a pipe, gets out.

HELEN:

Uncle Bud!!

ED:

Come here Lumpy. Give yer Uncle Bud a hug. I got a

present for ya.

SCENE 23 (contin.)

RED:

Hello there Edward.

ED:

Teddy...Rose...I brought somethin’ for Helen Jewel. But all

the other youngins’ll like it too I bet.

He walks to the trailer, opens it and leads a small white pony out. The kids yell with delight.

ED:

Her name is Dolly. She’s real gentle. Won’t run off. And she

just loves ridin’ kids on her back all day long.

EXT-YARD-LATE AFTERNOON

HAROLD is holding onto Dolly’s reigns, leading it slowly around the yard. HELEN and STACEY are riding. RED stands nearby.

RED:

Son...It’ll be dark pretty soon. Take Dolly on into the barn

and shut her in one of the stalls for the night.

HAROLD:

Alright dad. C’mon girls. Y’all hop down. You can ride her

again tomorrow.

EXT-BARN-LATE NIGHT

As the Nunnelly’s lie sleeping Dolly stands inside the stall looking about nervously. Outside TSM stands just inside the tree line looking to the barn, then starts moving in that direction.

Dolly begins to whinny, clearly becoming agitated.

TSM walks up to barn and looks inside through the cracks between the boards.

Dolly begins to raise hell, running back and forth and kicking on the sides of the stall.

INT-BEDROOM-NIGHT

ROSE:

That damn pony out there’s gonna keep us up all night.

SCENE 23 (contin.)

RED:

She sure is raisin’ hell.

ROSE:

I hope she don’t pull that shit every night. Drive me crazy...

EXT-BARN-NIGHT

With an ominous snarl TSM walks quietly away and back into the woods. Dolly quiets down immediately.

EXT-WOODS-NIGHT

TSM breaks off a thick tree limb with frightening ease and bangs it rapidly several times against another tree. Silence...It repeats the process, then it is answered by a similar sound in reply coming from some distance away.

INT-BEDROOM-NIGHT

ROSE, asleep, tosses fitfully, lost in some obviously disturbing dream.

FLASHBACK-BOOTH FARM

INT-BEDROOM-NIGHT

ROSE sits on the side of DONEY”s bed looking through a Sears Christmas catalogue.

DONEY: (Pointing)

An’ I want that too, momma. Either that...or that.

ROSE:

(Twirling her daughters hair)

Alright honey. I’ll see what I can do. Time for bed now. All

your brothers are asleep.(kisses her forehead) Goodnight.

DONEY:

Night momma.

Rose walks over to the small window and starts to close the curtains when a strange red glow

envelopes her. A look of terror comes over her face as she watches a flying saucer float slowly down from the night sky and disappears behind an old barn on the hillside.

SCENE 23 (contin.)

ROSE:

Get up Diona Lynn! Get dressed!

DONEY:

Why momma? What is it? I’m scared...

ROSE:

Right now dammit! Move!

She runs into her own bedroom where her husband is laying.

ROSE:

Get up Teddy! Get dressed.Wwe gotta fet the hell outta here!

RED:

What? What the hell’s the matter with you Rosalie?

ROSE: (Crying)

Hurry! I just saw a flyin’ saucer land out behind that old

barn. Hurry Goddamit! We gotta get the fuck out!

RED:

A rocket ship?! You sure?

ROSE:

Hell yes you sonofabitch!

RED:

Alright. I want you ta calm down now. Go get the kids up an’

get’em dressed. Quick as ya can. And don’t turn on no lights.

Ya hear me?

Rose struggles to wake the younger kids, but at last they are all gathered at the kitchen table in total darkness. Red is loading shells into the shotgun. Victor starts crying.

ROSE:

Ssshhh...Alright Teddy. Lets go.

RED:

No...not yet.

SCENE 23 (contin.)

ROSE:

What do you mean not yet?We gotta fuckin’ leave now.

RED:

Hush. If that was really a rocket ship you saw this shotgun

won’t be no match for’em. They could be out there right now

waitin’ ta pick us off one by one as we run out the door. What

time is it?

ROSE:

Almost elleven. Why? What the hell does it matter?

RED:

Hmm. Ever night about this time one’a them barges comes

down the river out back. You know that. They always blare

on the horn and sweep the big searchlight around. That

would be a good distraction. Let’s just wait a couple of

minutes. Get the car keys ready...

ROSE:

Okay...them fuckin’ dogs ain’t even barked a lick.

They sit there for a couple of moments in silence. It seems like an eternity. When the barge horn suddenly blows and powerful lights sweep past the window it scares most of them half to death.

RED:

Let’s go! Now! Everbody straight to the car!!

EXT-HOUSE-NIGHT

As the FAMILY bursts out the front door. Rose is carrying the baby in one arm and leading Red with the other. The searchlight sweeps through the area and the horn sounds again, closer this time. The starkness of the trees makes illuminated makes the scene surreal. The front door stands open, slowly swinging as the car peels out of the driveway throwing up gravel behind.

INT-BEDROOM-PRESENT

As ROSE wakes up with a start breathing heavily. She sits up on the side of the bed and sobs.

SCENE 23 (contin.)

TSM walks into a moonlit clearing in the forest and lets out a series of short, otherworldy sounding grunts. Seconds later a similar sound comes from somewhere in the distance. Another monster, this one taller and completely black in color,e merges from the opposite side of the clearing. The two stand facing each other, motionless and quiet, when another growl, this one lower and deeper than the first two, issues from the trees. Yet another creature steps into the moonlight. This one is much taller yet leaner looking with thin gray-streaked hair. It walks toward the others emitting guttural, oriental sounding words.

EXT-NUNNELLY HOUSE-DAWN

The morning silence is broken by a rooster crowing out its wake up call. ROSE and RED are at the table drinking coffee.

ROSE:

That’s the third night in a row that damn pony’s kept me

awake. I can’t take another one. You’re gonna hafta do

somethin’ about it Teddy. I don’t care if you shoot the

damned thing.

RED:

Now Rosalie...You know I ain’t gonna shoot that pony. That

would break these kids’ hearts. ‘Specially them girls. I’ll think

of somethin’...

EXT-YARD-DAY

HAROLD leads the pony around in big circles. The three youngest girls are sitting on its back. RED stands close at hand and DEAN and BART watch from the front porch.

DEAN:

I don’t see what the big deal is. We had lotsa ponies that

were better’n Dolly.

BART:

Yeah but you’n me was the only ones that were old enough

ta ride’em. Dolly’s more of a pony for little kids.

JACKIE: (From front door)

SUPPERS READY..!

SCENE 23 (contin.)

RED:

Y’all run on in an’ getcher plates now. Harold...son...we’re

gonna hafta put Dolly somewhere else tonight. She keeps

Rosalie awake one more time and she’s liable ta shoot her.

HAROLD:

Well...where else you wanna put her?

RED:

Don’t know. Somewhere away from the house.

Harold looks up and across the field at a stand of trees.

EXT-NIGHT

DOLLY stands tethered to one of the trees. All is quiet. Inside the house the family sleeps.

The silence is broken by a distant howl. Dolly snorts nervously, then begins to bray and jerk on the tether as TSM approaches from the field.

ROSE:

This shit’s drivin’ me crazy Teddy.

TSM is mere feet away from the panicking horse now.

ROSE:

Bad enough ya gotta sleep with one eye open around this

damn place. Now I can’t even sleep at...(Dolly suddenly

goes quiet) Thank God. Now maybe we can get some

fuckin’ sleep.

Red lies there with his eyes open and a grave expression.

EXT-MORNING

RED knocks on the trailer door. He holds a spade in one hand. Harold, dressed only in his underwear, groggily opens the door.

HAROLD:

Damn dad...It’s early...

RED:

Yeah, I know. Get dressed son.

SCENE 23 (contin.)

EXT-FIELD-MORNING

HAROLD:

Aww shit dad. It don’t look good. She’s on the ground...

RED:

Fuck...

HAROLD:

Oh...shit....

Red hands Harold the shovel.

INT-KITCHEN-MORNING

RED:

Make sure you save Harold a plate honey. He’ll be hungry

when he comes in.

HELEN:

Can we ride Dolly when we get done eatin’ daddy?

RED:

Well...Helen Jewel...Dolly ran away last night an’we can’t

find her. But don’t you worry baby. She’ll come back. And

if she don’t daddy’ll get you a brand new pony. Alright?

Helen starts to cry. Red looks gravely at Rose.

SCENE 24

INT-HOUSE-NIGHT

The Nunnelly BOYS are comparing arrowheads in the living room. Dean and Bart have close to one hundred each. The GIRLS are watching Sonny and Cher on t.v. ROSE and RED are in the kitchen. Rose is putting away the freshly washed dishes.S everal plates of food are still on the table.

RED:

I’m glad we finally got that garden planted today. That was

a chore.

SCENE 24 (contin.)

ROSE:

Well it’s a little too big if ya ask me. Hell. I’ll be cannin’ for

a month. Would ya’ look at all these damned leftovers. Ya

think I oughta take’em over to Harold and Jackie? I know

she cooked tonight but...

RED:

Might as well honey. Take’em on over.

Rose, carrying the plates of food, exits the house via the front door. She walks to the edge of the porch then stops, as if sensing that she is being watched. She slowly turns her head and her eyes widen in fear. TSM stands near the driveway cloaked in darkness. Its eyes glow red.

Rose lets out a bloodcurdling scream. The plates drop to the porch and shatter.

She runs back into the house, slams the door and locks it. The kids are wide eyed and staring at her. Red enters on the run with the shotgun already in hand.

RED:

Rosey! What is it!? What happened!?

ROSE:

I seen it...that fucking thing...I seen it! Oh my God!!

RED:

Where?

ROSE:

By the driveway...its eyes...oh shit...

HAROLD: (O.S.)

(Beats on door)

MOM.DAD.LET US IN GODDAMMIT!!!

Rose doesn’t move. Red brushes past her and unlocks the door. Harold, holding his own gun, rushes in followed by the rest of his family.

HAROLD:

What the hell’s goin’ on? Is ever body alright?

ROSE:( Crying)

I seen that monster out there.Watchin’ me...

100

SCENE 24 (contin.)

RED:

What did it look like, honey?

ROSE:

Like a big black shadow with red eyes. It was huge. Eight or

nine feet tall at least. I could...feel its eyes on me...as soon as

I stepped out onto the porch.

HAROLD:

I’m gonna go have look.

RED:

No. Everbody just sit tight. You kids be quiet. And stay away

from the windows.

The clock on the wall moves from 7:16 to 9:40. The grown ups all sit in the kitchen, guns at the ready. Most of the kids are piled into the middle bedroom. Harold’s kids are on the living room couch.

HAROLD;

Sure is quiet out there. You think it’s gone dad?

RED:

Hard ta say son. I did’nt think it would come up into the yard

once they put them outside lights up...

HAROLD:

Well. We’ll probably just ease on back to the trailer. Put these

kids in bed...

As the children lay quietly awake in the bed light from the outside lights filters in through the front window. Suddenly a large, dark shadow blocks out the light as TSM walks onto the front porch. After a couple of heavy, barefooted footfalls the shadow is at the front door. An extremely low, ominous growl comes from outside. The kids all scream and make for the kitchen. Jackie grabs onto Rose. The two men stand up and make for the living room.

RED:

Y’all stay in the kitchen. Try to quiet them kids down!

HAROLD:

It’s at the door! Turnin’ the knob!

101

SCENE 24 (contin.)

RED:

Don’t shoot Harold! Don’t you dare shoot through that door.

Rosalie...call the police!

INT-FIRE STATION-NIGHT

RADIO:

Dispatch...emergency call...code one oh four. All units in

Spottsville area, respond...unit nineteen, responding...unit

four, responding...

FIREMAN:

C’mon Roy. You holdin’ or foldin’?

ROY:

What? Yeah...I fold.

RADIO:

One oh four in progress. Rural route four, Mound Ridge Road.

Be advised .Family requesting escort off property.

FIREMAN:

Sounds like another monster call. Can you believe that shit?

Probably just a fucking coyote. What do you think, Roy? You

live out there...

ROY:

Deal me in will ya...

EXT-ROAD-NIGHT

Two state patrol cars are flying down the road with lights and sirens blazing.

OFFICER:

Son of a bitch! Has the whole fucking county gone crazy?

This is the twentieth call this month. Hebbardsville, Bluff City,

now Spottsville. Sarge says it’s just a bear. Its gotta be a bear.

Right?

PARTNER:

Hmmph...

102

SCENE 24 ( contin.)

OFFICER:

Hmmph? Whaddaya mean ‘hmmph’?

PARTNER:

Ain’t been no bears in these parts for a hundred years.

EXT-YARD-NIGHT

The two police cruisers are pulled up close to the house, lights still flashing. The NUNNELLY’s are filing out the front door.

RED:

We’re goin’ in town to momma’s house for the night, Harold.

What’re y’all gonna do?

JACKIE:

We’re comin’ in with ya, that’s what. No fuckin’ way are we

stayin’ out here by ourselves. Harold,get our shit together.

BART:

We’re goin’ ta Momma Nunnelly’s and Sissy’s?

SCENE 25

INT-MOMMA NUNNELLY’S-MORNING

The Nunnelly family is gathered in the living room. Also present is SISSY, late twenties, very pretty, partially paralyzed on her right side, and MOMMA NUNNELLY, early 80's, Indian features.

ROSE:

I hate goin’ back to that place, Teddy. Ain’t no tellin’ what

that thing is out there. Why don’t we just up’n move?

RED:

You know we can’t do that Rosalie. Hell. We got eight acres’a

tabacka in them fields. Not ta mention I done spent damn near

a thousand dollars havin’ Harold build them two rooms...

103

SCENE 25 (contin.)

SISSY:

What do y’all think it is, Daddy?

RED:

I don’t know Sissy. I ...just don’t know...

MOMMA NUNNELLY:

I told ya last time this happened to ya at the Booth Farm.Ya

brought it on yerselves...by livin’ on...Indian burial grounds.

I know...They had spirits...Some of ‘em evil spirits...

Monsters too...that could kill or take...anybody they wanted...

But couldn’t be killed...themselves. Now I want ya...ta listen

to your momma. son. Soon’z yer crops come in...you pack up

them kids and git outta there...’fore sumpin’ bad happens...

INT-NUNNLLY HOUSE-AFTERNOON

RED:(on phone)

Yeah, Roy...I tell ya...I thought we’d better stay the rest’a the

night in town. Rosey’s still pretty tore up about it. Them damn

cops. I know they think were all crazy out here. I know exactly

what they think.

ROY:

Don’t worry ‘bout them sumbitches Red. I know yer not crazy.

Tell ya what. Next time somethin’ happens down there, don’t

even call them. Call me. I can be there in about two minutes. I

mean it, now. I got bigger guns than any deputy, I can tell ya...

RED:

Well...alright. It’s a deal Roy. I’m indebted to ya again. What

can I do to pay ya for all this?

ROY:

Well...I been thinkin’ bout that and...Them kids’re outta school

on summer vacatiion now. You can watch ‘em real close, Red.

You’n Rosey. I got a bad feelin’...y’all just watch ‘em...

104

SCENE 25 (contin.)

RED:

We will Roy. You don’t have ta worry ‘bout that...We will.

EXT-FIELD-DAY

HAROLD AND JACKIE are working in the tobacco. The plants now stand about four feet tall.

Jackie looks at her husband seductively and smiles. They kiss. She looks around, sees no one and pulls Harold down and out of view.

Meanwhile, DEAN,BART and VICTOR step out onto the road from the next field. As they near the vicinity of the two love-birds they hear Jackie giggling and see movement in the plants. Bart

squats down and motions for his brothers to follow suit quietly.

BART:( whispers)

Hey Vic...’member when Harold made ya eat that green

persimmon? Ssshhh...Wanna get’im back?

EXT-TOBACCO PATCH-DAY

VICTOR quietly creeps between and through the plants toward the noise Harold and Jackie are making. He stops and lets out a couple of low grunts.

JACKIE:

You hear theat Harold? What the fuck was that?

HAROLD:

It was nothin’, honey..Probably a coyote. C’mon...that monster

ain’t been around here for weeks...

Victor really starts laying it on heavy now, growling wildly and shaking plants.

JACKIE:

IT’S THE FUCKIN’ MONSTER!!! IIIIEEEEE!!!!

HAROLD:

RUN JACKIE RUN! YAAAHHHH!!!

The three boys burst out in hysterics. Harold, still trying to zip his pants, turns around.

HAROLD:

What?! Oh you little fuckers got me...oh shit...shit....

105

SCENE 25 (Contin.)

INT-HOUSE-NIGHT

The entire FAMILY, with the exception of Harold and Jackie, is laughing. They are gathered around a huge, antique record player, country music fills the air.

HAROLD:

Damn near scared us ta death.We thought the monster

done had our asses for sure.

RED:

Think I should whup’im,son? Seems ta me Lonesome Kid

done taught ya a good lesson...

JACKIE:

(Glancing at Dean and Bart)

Mm, hmm.I got a feelin’ he had some direction...

ROSE:

Hell. Ever thing’s been goin’ good for once. Dance with me

Teddy...

HAROLD:

Hell yeah, mom! Come on Jackie. Let’s cut us a rug too.

The kids watch in amusement the grownups dancing on the living room floor.

Meanwhile, TSM stands alone in a nearby field. He seems to be listening as well. He growls ominously, then turns away.

SCENE 26

EXT-YARD-DAY

RED:

Rosie. You and’ Jackie and Harold can take these boys down

to the lower field. Have’em hoe weeds while y’all sucker. I’m

gonna start suckerin’ this field here in front’a the house.

ROSE:

You sure ya don’t want someone up here with ya, Teddy?

106

SCENE 26 (Contin.)

RED:

Naw, honey. It’s a small field. I reckon I can do it myself. Y’all

stick together. Watch them kids, now. An’ make’em wear their

straw hats...

The group departs, walking down the road.

RED:

Diona Lynn, you stay out here an’ watch these youngins.

While Red walks toward the field, Doney walks into the house and turns on the television.

Red is suckering the plants, mostly by feel, when the two dogs walk up.

RED:

Whatchoo doin’ Poncho...Lad...How y’all doin?

Red hears a low rumbling sound and stops. He looks up like he can’t decide if it’s an airplane or not. The dogs whine nervously. As the sound rapidly approaches Poncho and Lad give a yelp and bolt out of the field with their tails tucked. The hairs on the back of Red’s neck stand as TSM approaches. He takes off through the field running toward the house, knocking down half a row of plants as he flees. His straw hat hits the ground before he reaches the front yard and the children.

RED:

ALL Y’ALL GET UP HERE ON THE FRONT PORCH!

RIGHT NOW! DONEY....WHERE THE HELL ARE YA’?

Red enters the house and grabs the shotgun.

DONEY:

Whatsa matter, daddy?

RED:

I told ya to watch them kids....(outside) Stacey Lashell...

You see that monster?

STACEY:(pointing)

Yeah Papaw! It’s standin’ by the swamp...

Red raises the gun.

107

SCENE 26 (contin.)

EXT-FIELD-DAY

The rest of the family stop what they are doing as a gunshot rings out. By the fourth shot they are all on the road and running back in the direction of the house. They arrive to find Red sitting on the porch wiping sweat from his forehead with a pocket rag.

ROSE:

What the hell happened, Teddy?

RED:

That damned thing...’bout got me. That’s what. It just about

got me...

Harold looks at the row of trampled plants.

HAROLD:

Damn...

EXT-LIVING ROOM-NIGHT

The Coleman FAMILY watch t.v. The phone rings.

ROY:

Hello...Hi there, Red. Everything alright? What? Son of a...It

walked right up on ya? Alright. I’ll be down first thing in the

mornin’.Make sure all the doors’n windows are locked up

good. And try not to venture outside if you can keep from it.

‘Specially not the kids. Alright, Red.See you then.

Roy looks over to BRENDA who is watching him with a concerned look.

INT-KITCHEN-MORNING

RED, ROSE and ROY are at the table. The children watch Saturday morning cartoons in the living room.

ROY:

I just don’t get it. There was’nt a print one out in that tobacco

patch, Red. Other than yours and the dogs.

108

SCENE 26 (contin.)

RED:

What kinda animal...’specially one that big....walks around

without leaving tracks?

ROY:

I’m gonna check out the old barns down by the river again.

I found a place in one of ‘em that looked like something big’s

bedded down there.

RED:

Roy, don’t get me wrong. I appreciate what you’re doin’ an’

all but...sounds kinda crazy to go after somethin’ like that all

by yourself. Maybe I can get Harold to go with ya...

ROY:

No thanks, Red. Smart as this thing is...two people wouldn’t

have much of a chance sneakin’ up on it. Besides. I couldn’t

vouch for anyone else’s safety out there. This way, if anybody

gets hurt, it’ll just be me.

RED:

Alright then. Just be careful yourself. Anything happens to

you I don’t know what we’d do.

INT-HOUSE-DAY

ROSE is putting eye drops in RED’s eyes. BART is in his room counting his arrow-heads. VICTOR, KEITH and DONEY are watching t.v. Meanwhile, outside in the front yard, DEAN approaches HELEN, STACEY and THERESA. The girls all have garden hoes in their hands, playing with the potentially dangerous implements. Birds are singing in the trees.

DEAN:

Y’all better put them hoes down ‘fore ya get hurt.Dintcha

hear me? Put ‘em down...Alright. I’m tellin’ dad. I hope the

monster gets ya...

A deathly silence falls, followed by the sound of breaking limbs. Dean looks up into the tree line, eyes wide, mouth agape. The sounds stop.

DEAN:

See? I told you stupid girls...

109

SCENE 26 (contin.)

Dean once again looks up toward the trees. TSM(3) stands next to the shed looking at him and the girls. Dean screams so loudly that everyone inside thinks he is dying. TSM takes off quickly at the scream. By the time the grownups rush outside it is nowhere in sight. Dean is crying and shaking.

Red points the gun upward. In the old barn Roy pauses as he hears the faint shots.

EXT-YARD-DAY

The NUNNELLY’s are in the front yard. ROY is in the area of Dean’s sighting looking closely at the ground. Dean points his finger.

DEAN:

Over to the left a little Roy...

Roy stops, then stoops down on one knee and looks at a partial print showing four huge toes.

ROY:(To Red)

Son of a...I found something.Make sure nobody comes

near this spot until I can get a cast made, alright?

EXT-FENCE LINE-DAY

ROY, gun in hand, walks the fence line next to the forest. The sky is heavy with the threat of rain. To his right is a well plowed field. In front of him looms an old barn. A peel of thunder, close and loud, is followed by the first large drops of rain.Roy hurries toward the old barn. He enters it, stepping out of the downpour. It is a large, open ended barn with many stalls and an upper tier filled with moldy hay. He shakes the rain from his hat and lights a smoke. Behind him the large, dark figure of TSM climbs silently down from the upper level. It approaches Roy soundlessly and stops right behind him. Roy feels the creature’s presence and his face goes slack.

The smoke drops to the ground. He slowly turns around and stares into its hairy chest. Very quickly he reaches for his rifle strapped across his shoulder and looks upwards. TSM’s red eyes mesmerize Roy as he looks into them and he freezes, slack-jawed and wide-eyed. An incredibly deep voice telepathically enters his mind.

TSM:

Don’t be...afraid...I mean you...no...harm...

TSM slowly turns and walks unhurriedly out of the barn, leaving Roy still immobile and staring upward into space.After a few seconds the red eyes dissipate. He leans against the stall, shaking his head and rubbing his eyes. Once he has regained his composure he rushes out into the field and looks down at the mud. The rain has nearly stopped. He see’s nothing and drops to his knees.

110

SCENE 26 (contin.)

ROY:

No, no...No! Where are you you bastard?! Where’d you go?!!

He grabs a handful of mud and holds it up. Rain and tears stream down his face.

ROY:

Where’s your fucking footprints?! Where are they?!!!

EXT-FIELD-MINUTES LATER

As ROY makes his way back along the old fence line he stops, looking intensely ahead. He see’s an odd looking area a short distance in front. A roughly square area which resembles an otherworldly doorway hangs in the air. Inside the portal the air is distorted, as if heat waves are rising from the ground. Roy rubs his eyes and looks again. He approaches closer and hears strange noises issue from the aperture. He begins to back away in fear.

He makes it to his vehicle and speeds away casting paranoid glances all around.

INT-KITCHEN-DAY

RED:

DEAN, BART, VICTOR AND KEITH. I want all you boys

in here right now...It’s those damn Indian arrowheads. Your

Momma Nunnelly was right. She said them Indians had

curses. I think they might’ve put some on their artifacts too.

Y’all was pickin’ them things up at the Booth Farm too,

remember? I want y’all to take ever last arrow ya got and

throw ‘em as far into the woods as ya can. Get rid of ‘em.

DEAN:

Dad...awww no...

BART:

That ain’t fair, dad. It took us a long time ta find ‘em...I

got eighty-three perfect ones...

RED:

I don’t care if ya got a thousand apiece, Dewey. You’re

gonna do exactly as I say or I’ll do it for ya. Now go get ‘em.

111

SCENE 26 (contin.)

EXT-BACKYARD-DAY

DEAN, VICTOR and Keith stand at the tree line throwing their arrowheads as hard as they can into the woods. BART walks by with a shoe box in one hand and a knife in the other. He walks behind the shed and into the woods where he kneels and begins to dig a hole.

Behind him, deeper in the forest TSM looks on. Bart looks around, spooked, then continues to dig.

SCENE 27

INT-ROY’S HOUSE-NIGHT

BRENDA:

What is it, baby? These past couple’a days you been acting

like you’re In a daze. Tell me what happened. I can’t help

you if you don’t talk to me.

ROY:

I can’t tell you what happened Brenda. I can’t tell nobody

yet...because I don’t know myself. Feels like I’m goin’ nuts.

Just give me some time to figure it all out. Okay?

INT-LIVING ROOM-DAY

BRUCE WAYNE, late teens, dark hair, sits talking to the NUNNELLY’S. HAROLD and JACKIE are there as well.

ROSE:

Good gracious, Bruce. We ain’t seen ya in so long. You growed

up on us...

RED:

How ya been Bruce?

BRUCE:

Alright, dad. I been hangin’ in there. Sure have missed y’all.

ROSE:

We missed you too honey. How long ya stayin’?

BRUCE:

Just tonight, mom.I gotta get back home tomorrow...

112

SCENE 27 (contin.)

HAROLD:

Bruce come out to help me kill the monster...

RED:

What...?

HAROLD:

We’re gonna sit up there tonight and wait for it to come out.

When it does...we’ll blast his ass ta kingdom come. Ain’t

that right Bruce?

RED:

I don’t know, son. Bruce is awful young to be up there like

that...

HAROLD:

Aww, c’mon dad...I won’t let nothin’ happen to’im.I swear.

EXT-ROOFTOP-NIGHT

HAROLD and BRUCE sit quietly waiting. The crickets and frogs sing their night songs. Harold fires up a doobie and passes it to Bruce. He hits it and immediately starts to cough.

HAROLD:

SSSHHHH...We gotta be quiet, Bruce...This fuckin’ thing’s

smart. It ain’t like no bear or nothin’...

BRUCE:

Sorry...man...

Inside the house RED hangs up the phone.

RED:

Jimmy and Hellen are on their way. He said he’s bringin’ over

a few extra guns for back up.

ROSE:

Good. I’ll put some more coffee on.

113

SCENE 27 (Contin.)

EXT-DRIVEWAY-NIGHT

JIMMY and HELEN, both late fortyish, blonde and attractive, pull up into the driveway. The dogs bark furiously at them. Jimmy steps out, totally unafraid.

JIMMY:

Shut the hell up Poncho! Go on now...git!

He opens the back car door, straps on a couple of rifles while his wife gets out. He pulls out a bulging sheet and the two start for the front door which ROSE holds open for them.

ROSE: (As they approach)

Good Lord, Jimmy...

They enter the house. Jimmy sets the sheet down on the kitchen table and spreads it open revealing an impressive arsenal of handguns.

RED:

Son of a bitch, Nephew...That’s enough for a whole damned

regiment...Think that’s enough?

JIMMY:

Hope so...This is all I had just layin’ around.

EXT-ROOF

All is quiet. HAROLD and BRUCE, their guns beside them, are nearly dozing. Inside the house the clock reads nearly eleven.

JIMMY:

Well...guess that thing ain’t gonna show up tonight.Just

when we was ready for him too.

RED:

Listen...You hear that? It’s the dogs gettin’ under the house...

Somethin’s out there...

EXT-WOODS-NIGHT

TSM walks behind the house keeping just inside the tree line. It holds a large dog in one giant hand, carrying it by the scruff of the neck.

114

SCENE 27 (Contin.)

Back on the roof an eerie silence has enveloped the two men.

HAROLD: (whispering)

Bruce...you hear that?

BRUCE: (listening)

Naw...I don’t hear a damn thing...Nothin’...

HAROLD:

That’s right. Not even the crickets and bullfrogs are makin’

a sound...It’s here...

TSM holds the dog aloft and puts a taloned finger to it’s throat. On the roof the two men hear a

‘Yelp’ from the nearby trees as the dog dies. Then a deafening, insanely inhuman roar fills the night. Harold and Bruce rise up screaming and firing in the direction of the sounds.

HAROLD:

YAAHHH YOU MOTHERFUCKER!!! AAAGHH! BRUCE!

WE GOTTA GET OFF THIS FUCKIN’ ROOF...

Harold makes his way to the ladder but accidentally unsettles it with his leg and it slides down to the back yard. Bruce fires until his pistol is empty, then reaches down and picks up a double barreled shotgun. He pulls both triggers at once. The recoil knocks him backwards and he too falls from the roof to the yard. He gets up running and starts yelling and banging on the front door.

INT-KITCHEN

RED and JIMMY are standing up in an agitated state.

HAROLD: (O.S.)

HELP! HELP!!! OH SHIT!!!

RED:

Get out there Jimmy! They done knocked the fuckin’ ladder

down...

Jimmy grabs two pistols from the table and turns for the door, then turns around and puts them back down, grabbing a rifle. He puts the rifle down and grabs a shotgun.

115

SCENE 27 (Contin.)

RED:

Sonofabitch Jimmy. Just grab one and get that ladder back up.

Rosalie. Go let Bruce in...

BRUCE: (O.S.)

LET ME IN! OPEN THE FUCKIN’ DOOR!!!

Jimmy runs out the back door firing the shotgun in the direction of the trees. The sound of brush breaking emerges as TSM stops roaring and casually begins to move away. Harold wastes no time coming down once the ladder is repositioned. They back in through the kitchen door, still firing. Everyone is gathered therein, The younger kids are all crying.

HAROLD:

AAGHHH...SON OF A BITCH DAD...IT’S FUCKIN’ HUGE!!!

BRUCE:

Ohshitohshitohshit....

RED:

Calm down now boys! Calm down!

JIMMY:

Y’all get a good look at it? What was it! What did it look

like?

HAROLD:

A monster...A FUCKIN’ MONSTER! It coulda reached up

and grabbed us off the roof it was so big!

BRUCE:

I put twelve rounds into that bastard and it never even flinched.

I don’t think I wanna stay here anymore...

RED:

You kids quit that cryin’. Hush, now. Hush...

SCENE 28

EXT-DAY

A county sheriff cruiser is stopped in front of the Nunnelly home. ROSE looks out the window.

116

SCENE 28 (Contin.)

ROSE:

Teddy...the sheriff’s out front. Somebody else is with

Him too...

Rose opens the door. Outside stands the SHERIFF and a REPORTER.

SHERIFF:

Afternoon’ misses Nunnelly. This fella works for the

newspaper. Like to ask y’all a few questions if ya

don’t mind.

INT-KITCHEN-DAY

RED:

So...How’d the newspaper find out about all this?

REPORTER:

The office monitors the Police Band radio.So...Mr.

Nunnelly...what can you tell me about this...monster?

RED:

Not much. It’s eight or ten feet tall. Hairy like a bear ,but

walks on two legs like a man. We’ve had some damned

strange shit happen ‘round here for the past few months.

Bunch’a animals come up missin’ or dead. My wife and all

the kids are scared to death. Couldn’t say what it the thing is.

Don’t have no idea. Fella lives up the road named Roy

Coleman seen it up close. He could probably tell ya a lot

more than I can. Might oughtta go talk to him...

REPORTER:

Sounds like a good idea...Mind if I snap a few pictures

outside?

EXT-ROY’S DRIVEWAY-DAY

ROY and BRENDA see the cruiser pull up outside.He gives his wife a look as the reporter steps out.

117

SCENE 28 ( Contin.)

CLOSE-UP-NEWSPAPER

The headline reads: The Spottsville Monster...can there be anything to this?

ROY:

Shit...Here we go. I told ya didn’t I? I’m gonna catch hell for

this at work...Maybe I should quit.

BRENDA:

Don’t be silly, Roy. The truth’s the truth. To hell with anyone

can’t see that. Long as you tell the truth you got nothing to be

ashamed of.

Roy looks at his wife and smiles.

INT-NUNNELLY HOUSE-DAY

HAROLD:

Dad, I hate to tell ya this. I really do. But we’re moving the hell

outta here. We’ll still help with the crops and all but...there’s a

fuckin’ monster out here. A real fuckin’ monster. An’ my kids

are even younger than yours. I...I just can’t take a chance on that

thing grabbin’ one of ‘em. Ya know?

RED:

I understand, son. An’ I don’t blame ya none either. Been

thinkin’ ‘bout it myself. Things keep goin’ like they’re

goin’...don’t reckon we’ll be long behind ya.

HAROLD:

Yeah...I hope not, dad. I hope not.

EXT-ROAD-DAY

Harold’s trailer is being hauled away. They follow in the GTO and give a honk or two as they wave their goodbyes. The Nunnelly FAMILY stands in the front yard waving back at them. RED and ROSE exchange a look of foreboding.

118

SCENE 28 ( Contin.)

INT-KITCHEN-NIGHT

RED walks into the kitchen where the rest of the family is gathered. He picks HELEN up and sets her on his lap.

RED:

Kids...I want y’all to listen to your daddy now. Me an’ your

mom’s been talkin’ and’ I got somethin’ I need to tell ya...

Or ask ya, rather. I guess it’s easiest ta just come right out an’

say it...Monsters are real. I guess ya know that by now dont-

cha? Were gonna move outta this place soon as we can find

another house...but we gotta stay here ‘til then, understand?

Y’all see that bucket of kerosene and the mop over there by

the door? The reason it’s thee is...well...Whatever that thing is

Out there...that monster...if it ever did take a serious notion to Come inta this house, ain’t no wooden door gonna stop it. If it

does try it I’m gonna dip that mop in the fuel and strike fire to

it.And...if the fire don’t stop it...well...we decided, your mother

and I, that...instead of lettin’ it carry one of you youngins off...

and losin’ you forever...it’d be better if I just kicked over that

whole bucket on the floor and let the fire take all of us together

at one time...Y’all think about if that was to happen. Could ya

go on livin’ without your sister or brother, knowin’ what

happened to ‘em? Would ya even want to? Or would you

rather all of us go to Heaven together? I know I couldn’t go

on livin’ if somethin’ happened to another one of my kids...

Red lowers his head and a tear rolls down his cheek as if remembering a previously painful loss.

BART:

(Rises and puts his arm around him) Don’t cry daddy...I’d rather

us all go to Heaven together...

The other kids follow Bart’s lead, rising to hug their dad.

DEAN:

Me too dad...

DONEY:

I would too...

119

SCENE 29

INT-MORNING

DONEY is looking out the window. A news van has rolled up into the driveway. The dogs are barking furiously.

ROSE:

Teddy...Here we go again...

INT-LIVING RM.-DUSK

A MAN sits in a well furnished room. Beside him on the table is the newspaper which is turned to the page featuring the Spottsville headline. The television is broadcasting the evening news.

ANCHORMAN:

The Kentucky State Police have recently responded to a steady

series of bizarre phone calls from rural Henderson County

reporting what can only be described as a large, hairy,

monster of some sort. The Nunnelly family from Spottsville

claim that the frightening beast, which has recently been

dubbed “The Spottsville Monster” has been terrorizing

their isolated farmhouse for months, slaughtering and mutil-

ating livestock.

CUT TO

RED:

We’ve lost a couple hundred chickens I reckon. A goat, a pony.

We also found other animals, eight or nine dogs and a pig,

that didn’t belong to us. All killed the same way.

ANCHORMAN:

Most dismiss the claims as misidentification of an ordinary

bear, though no bears have been seen in Henderson for over

a hundred years. The explanation is flatly denied by witnesses.

CUT TO

ROY:

I’ve taken a lot of flak over this at work, but I’ve seen the thing

up close and it’s definately not a bear. It walks and runs like a

man, on its hind legs. And it’s intelligent.

120

SCENE 29 ( Contin.)

ANCHORMAN:

Mr Coleman, a local firefighter, claims to have hard evidence

to prove the existence of The Spottsville Monster in the form

of hair and bone samples as well as a partial cast of the creat-

ure’s right foot. Similar reports have also been received from

the nearby communities of Reed, Bluff City and Hebbardsville.

MAN:

This won’t do. This just won’t do at all.(Picks up phone)Yes.

Get me the sheriff’s office....

EXT-DOOR-AFTERNOON

There is a knock. ROY walks over and opens the door .Outside stands the SHERIFF and two other MEN.

ROY:

What the...hell.

SHERIFF:

Mr. Coleman...

ROY:

Sheriff. Warden...(eyes the unfamiliar third member of the

group) What brings y’all out here?

SHERIFF:

We need to talk. Can you step outside for a minute?

Roy exits the house and follows the three men back to the patrol car.

ROY:

What’s the problem sheriff?

SHERIFF:

You are.

ROY:

Uhh...what?

121

SCENE 29 ( Contin.)

SHERIFF:

Your little performance on the news really pissed off

some folks.

ROY:

Look, now...I just told the truth...

SHERIFF:

Hmmph. The Spottsville Monster. Sounds like bullshit to me.

Like I say, we don’t ‘preciate that kinda talk around here.

Gets folk excited. Upset.’Sides...we don’t need a bunch of

gun totin’ monster hunters runnin’ around shootin’ at ever-

thing in sight. We say it’s nothin’ but a stray bear...And we

want you to say the same thing. In print. Put an end to this

crazy shit.

ROY:

It ain’t no bear. I seen it. No one’s gonna tell me it was a bear.

I could take you down there right now and prove it.

SHERIFF:

You ain’t quite gettin’ me are ya? I don’t give a flyin fuck

what it is, or what you think you can prove. You stay the hell

away from Mound Ridge Road. An’ if you say one more god-

damn word to the media about the Spottsville Monster - other

than that it was a bear - I’ll place you under arrest.

ROY:

For what?

SHERIFF:

I’ll make somethin’ up. Somethin’ bad.

ROY:

I don’t appreciate you comin’ here and tryin’ to intimidate

me. This is America. I got rights. Case you ain’t heard, freedom

of speech is one of ‘em.

122

SCENE 29 (Contin.)

SHERIFF:

Well, that’s where you’re wrong. I’m the law and I say you

ain’t got the right to talk about this thing no more. ‘Less it’s

what I tell you to say. I ain’t fuckin’ around neither. You just

test me and see. Fuck with me...you’ll be lookin’ at your wife

an’ kids through prison bars the rest of your life. I’ll be

sendin’ another reporter out here in a day or so to re-interview

ya. Say just what I told ya. Else you’ll be sorry.

ROY:

You bastard...

SHERIFF:

Like you say Mr. Coleman...it’s a free country. And you’re

free to make your choice when he gets here. One more thing,

I’m officially confiscatin’ all your so called evidence regard-

ing the bear. I want all of it. Right now.

ROY:

Like hell you are. You got a warrant?

SHERIFF:

(Touching his holster)

Sure do. Right here. Want me to serve it?

EXT-CAR

ROY hands a paper sack to the SHERIFF. He looks inside then, satisfied, he starts the car.

SHERIFF:

Guess you ain’t as free as you thought, hunh Mr. Coleman?

Y’all have a good night now. Hear?

ROY:

Go to hell...

SCENE 30

EXT-DUSK

A Chevy full of rowdy beer-guzzling, gun toting teenage BOYS peels down the road. It slows down as it passes a man standing in his front yard. One boy sticks his head out the window.

123

SCENE 30 (Contin.)

TEEN WITH GUN NO.1:

Hey bumpkin, where the hell is Mound Hill Road?

The local shrugs

TEEN WITH GUN NO 1:

Well fuck off then!

He re-enters the car where three of his buddies, all with beer cans in hand, await rocking to the sounds of heavy metal music.

TEEN WITH GUN NO 2:

WOOO-HOOO!!! We’re gonna kill us a monster! Gonna

be fuckin’ rich! (To driver) Whatchoo gonna do with your

share of the million bucks?

TEEN WITH GUN NO 3:

A lifetime supply of three things; beer, pot and pussy. Now

pass that fuckin’ joint...

TEEN WITH GUN NO 1:

So who do ya think’s cooler. Arthur Fonzarelli or Vinnie

Barbarino?

TEEN WITH GUN NO 4:

That’s the dumbest fuckin’ question I ever heard.(Takes huge gulp

of beer) Everyone knows the Fonz is cooler...

The car speeds down a lonely, forested road as the sun sinks below the trees.

TEEN WITH GUN NO 4:

(Holding newspaper) Man, the paper says Mound Hill Rd.

I ain’t seen no fucking Mound Hill Rd. out here. You sure

we’re in the right place?

TEEN WITH GUN NO 2:

This is Spottsville ain’t it? That’s all I fucking know ass-

munch.

124

SCENE 30 (Contin.)

TEEN WITH GUN NO 1:

Vinnie Barbarino...fuckin’ retard...

TEEN WITH GUN NO 4:

Up your ass with some broken glass...Jack off...

TEEN WITH GUN NO 2:

Man this is bullshit. We ain’t ever gonna find the monster

like this. I’m pullin’ over.

The car pulls to a stop next to a stand of dark trees. It is completely dark now.

TEEN WITH GUN NO 2:

Okay let’s do it. Ammo check. Who’s got the damn flashlight?

The group walks into the thick woods shining the flashlight beam ahead.

TEEN WITH GUN NO 1:

Damn it’s dark. Don’t get us lost out here. I’m so fucking high...

TEEN WITH GUN NO 2:

Shut the fuck up. Did y’all hear that? I heard somethin’...

TEEN WITH GUN NO 3:

I didn’t hear shit, man.(A low growl comes from the darkness)

I heard that. I heard that...

Above a pile of fallen logs a shape rises. Teen With Gun No 2 raises his gun and fires. The figure

drops to the ground. The monster hunters rush to the spot.

TEEN WITH GUN NO 2:

I did it! I killed the fuckin’ Spottsville Monster. I killed the

mother fuckin’ Spottsville...mon...ster...

They look down at the body of a large Great Dane, a bloody hole in it’s side from the shotgun blast.

TEEN WITH GUN NO 4:

Good fuckin’ job, man. You shot a fuckin’ dog. We’re rich...

125

SCENE 30 (Contin.)

TEEN WITH GUN NO 2:

Fuck off you prick I thought...

A nearby yard light comes on. Just beyond the not so thick stand of trees is a house.

VOICE (O.S.)

Taz? Here boy...TAZTOO...where are ya boy?

TEEN WITH GUN NO 3:

Oh Shit! Come on...let’s beat it....

The group takes off running back in the direction of the car, scrambling through the trees and brush.

TEEN WITH GUN NO 3:

(Back in car) Let’s go let’s go before they call the fuckin’ cops!

TEEN WITH GUN NO 2:

Okay okay!

The engine roars to life. The headlights come on. The driver makes a partial turn and stops. There in the headlights stands TSM, ten feet of hairy monster, red eyes blazing. It growls and starts toward the car and the monster hunters.

TEEN WITH GUN NO 1:

Oh...fuck....

TEEN WITH GUN NO 3:

AAAAGGHHH!!!! GO! GO! GO! AAGGHHH!!!!

The car peels out in reverse and swings around. The monster runs after it.

TEEN WITH GUN NO 4:

It’s chasin’ us. Holy shit! Faster! Faster Goddamnit!!!

TEEN WITH GUN NO 1:

MOMMA...momma...

TEEN WITH GUN NO 2:

I’m doin’ fifty...Shoot it! Shoot the motherfucker!

126

SCENE 30 (Contin.)

Teen With Gun no 3 levels the shotgun at the back window and pulls the trigger. The window

explodes outward. The monster still follows running impossibly fast, keeping pace with the speeding vehicle.

TEEN WITH GUN NO 2:

My fucking window...Dad’s gonna kill me, man...shit...

TEEN WITH GUN NO 3:

It’s catching up...FASTER!!! The gun ain’t stoppin’ it...

TEEN WITH GUN NO 1:

(Praying) I swear I’ll be good. No more weed or booze...and

no more dirty magazines I swear. I swear!

The car swerves onto a straight stretch of blacktop and pours on the gas. The creature stops in the middle of the road and screams its frustration to the sky. Gunfire still echoes from the car.

TEEN WITH GUN NO 2:

I’m never comin’ back. here...never comin’ back...

SCENE 31

EXT-NUNNELLY YARD-DAY

An old red pick-up truck pulls to a stop in the driveway. RED and ROSE stand there and yell back the dogs. A MAN, pushing sixty with thinning hair, gets out and offers his hand to Red.

HERMAN:

Y’all the Nunnelly’s?

RED:

Yes sir. Red Nunnelly. This here’s my wife, Rose.

HERMAN:

Herman Hopgood. Pleased to meetcha.

RED:

What can I do you for Mr. Hopgood?

127

SCENE 31 (Contin.)

HERMAN:

Call me Herman. I see’d y’all on the news a couple nights

back. You and your family. I used to live here back in the

thirties. That same house right there. I’d like ta talk to ya

fer a minute if you’ll listen.

EXT-DAY

ROY is lying in the tree line with a pair of binoculars pointed out across a bean field. He swings left until he sees the odd, wavy area that is the portal near an old fence-row. The otherworldly doorway shimmers in the sun. He blinks, rubs his eyes, then looks again. It is still there.

ROY:

What is that? What the hell is that?

INT-KITCHEN

HERMAN:

I know y’all ain’t crazy, Red. Lotta folks probably think ya are.

Not me. I just can’t believe this shit is still happenin’ down here

after all these years.

RED:

What? Ya mean that thing was here back in the thirties?

HERMAN:

Damn right...Forty years ago I was plowin’ that lower field.

One of ‘em had fell down and got stuck in a big warsh-out

down there.

FLASHBACK

EXT-DAY

Herman is running towards the wash-out.

HERMAN: (O.S.)

I thought it was a man at first. It was hollerin’ and screamin’

somethin’ awful down in that hole. But the closer I got...the

more I realized it were’nt no human down there. Scared me

half ta death let me tell ya.

128

SCENE 31 (Contin.)

INT-KITCHEN-PRESENT

HERMAN:

A few days later, me an’ my mother went into town for

groceries and what not. My little sister, Mary, wanted ta

stay home and finish up some chores...

FLASHBACK

INT-KITCHEN-DAY

Mary stands at the sink washing dishes.

HERMAN: (O.S.)

So we left her here alone...

Suddenly, all at once, the doors fly open and the curtains blow inwards as if a rush of wind has just passed through the house. Startled, Mary turns around and slowly walks towards the living room where she hears the sound of heavy breathing. As she clears the wall obstructing her view of the living room she screams. Standing in the middle of the room is a huge monster resembling TSM. It is stooped over, being far taller than the eight foot ceiling. It turns its head to look at her with its red eyes. With each breath blue flames are spewing from its mouth. It bellows out a bloodcurdling scream and the girl passes out.

EXT-DRIVEWAY-DAY

As HERMAN and his MOTHER arrive back home.

HERMAN: (O.S.)

When we got back home we knew sumpin was wrong right off.

MS. HOPGOOD:

That’s strange, son. The door’s shut...

The two get out carrying paper sacks and approach the front door.

HERMAN:

It’s locked momma...Mary...MARY, YOU IN THERE?

MS. HOPGOOD:

Check the back door. Hurry. Mary! Mary you open this door

right now. YOU HEAR ME?

129

SCENE 31 (Contin.)

HERMAN:

Back door’s locked too. Watch out...

Herman breaks the glass, reaches in and unlocks the door. They enter.

INT-KITCHEN-PRESENT

HERMAN:

We found her under the bed; white as a sheet; scared damn

near ta death. It was hours ‘fore we could get’er to talk at all.

Then she told us what happened. It was almost too much to

believe. Even after what happened to me...but in the livin’

room, right where she said the thing was standin’...we found

a footprint pressed into the linoleum rug. It was twenty-six

inches long. We moved outta this place in a hurry after that.

Never looked back. ‘Til now...

EXT-ROY’S HOUSE-DAY

ROY is outside in the yard when a new Buick pulls up. A middle aged man gets out carrying a

notebook. They shake hands.

KELLEN:

Mr. Coleman? Neil Kellen, Henderson Gleaner. Heard you

seen a bear out here...

ROY:

Sheriff send you out here Mr. Kellen?

KELLEN:

Yes sir. To get your statement. This monster business has got

the whole county in an uproar. Reports comin’ in from all up

and down the Green River. They even staked out a field over

in Hebbardsville all night. Didn’t see nothin’.

ROY:

Oh, I’m sure they didn’t.

130

SCENE 31 (Contin.)

KELLEN:

Don’t get me wrong. Makes great news. We’d like to get

to the bottom of it though. So you say it was a bear then?

ROY:

I didn’t say shit Mr. Kellen...

KELLEN:

Uh...well...was it or not?

ROY:

Tell ya what...You just put in your paper what the sheriff

told ya to. That’s all I have to say on the subject, got it?

Now, if you’ll excuse me, I got work to do. Have a good

day and don’t come back out here botherin’ me no more.

Go on now. Get ta steppin’.

EXT-TREE LINE-DAY

ROY settles back into his spot, binoculars in hand. He focuses in on the area where he had previously seen the portal. It is still there. He gets up and walks slowly in its direction, skirting the open field and keeping to the trees.

He approaches it, studying its curious distortions. Picking up a good sized stick he tosses it into the otherworldly doorway. It disappears.

ROY:(Astonished)

Shit...

He bends down for another stick when TSM suddenly steps from the portal, red eyes glaring, its

face a mask of evil incarnate. It growls deeply. Roy stands up and freezes, his own face twisted in fear. The monster speaks telepathically again-only this time it is screaming.

TSM:

LEAVE...

Roy’s expression changes from fear to pain. He drops his rifle and falls to his knees.

TSM:

ME...

Roy clutches at his chest.

131

SCENE 31 (Contin.)

TSM:

ALLOONNE!!!

Roy falls over into the dirt writhing in pain. TSM shakes its head flicking drops of thick drool into the air. It lets out another weird, terrifying shriek then steps back into the portal and disappears.

Roy crawls, slowly and painfully, back in the direction of his truck.

SCENE 32

INT-HOSPITAL-DAY

The doors swing open. Roy lies semi-conscious on a Gurney moaning weakly. EMT’s line each side. The overhead lights flash by.

INTERCOM:

Doctor Hale. Dr. G. Hale please report to ER. Doctor Tittle.

Doctor Bentley Tittle.

EMT:

Blood pressure dropping. Hurry! We’re losing him!

INT-WAITING ROOM

BRENDA stands waiting, tears in her eyes. A DOCTOR opens the door and slowly walks in. He has a dour look on his face. The woman takes one look at him and starts shaking her head and wailing with grief.

BRENDA:

No...NO!!!

DOCTOR:

I’m sorry Mrs. Coleman...We did all we could for him...

Maybe if we had gotten to him sooner...

INT-E.R.-DAY

ROY lies on the table slack mouthed and dead. The door opens and a NURSE enters the room.

She is fortyish and very pretty. She looks sympathetically at the cadaver, then walks up and takes

Roy’s limp hand in her own. Suddenly one of Roy’s fingers begins to move. The nurses eyes light up.

132

SCENE 32 (Contin.)

INT-WAITING ROOM

As the nurse rushes in.

NURSE:

Doctor Hale!

INT-RECOVERY RM.-DAY

BRENDA is at ROY’s bedside.

BRENDA: (Crying)

Oh Roy...I thought we lost you. The doctor told me you were

dead and...

ROY:

Sshhh, baby. Don’t cry. I’m not done yet. Done with that

monster, though. I promise you that...

INT-NUNNELLY HOUSE-NIGHT

RED hangs up the phone.

RED:

Damn...I sure am worried about Roy. Ain’t been able to

get him on the phone for three days now...

ROSE:

I hope he’s alright. Think somethin’ happened to him?

RED:

Hope not...

INT-LIVING RM.-DAY

ROY is reading the newspaper. The headline reads; “Spottsville Monster Solved: Local Hunter

identifies bear” by Neil Kellen. Brenda sits beside him.

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SCENE 32 (Contin.)

ROY: (Reading)

Roy Coleman, a local hunter and firefighter, claims he saw the

thing while hunting last week. It stood up on its hind legs when

it saw me, he said, then took off running on all fours. I got a real

good look at it-and it was definately a bear...Lyin’ bastards.Well,

I guess that’s the end of that.

BRENDA:

I’m just glad it’s all over, honey.

ROY:

There’s one more thing I gotta do, Brenda. It might be over for

everybody else, but that thing’s still down there. I’m afraid for

Red and his family. I’m goin’ down there today to have a talk

with him. I gotta tell him the truth before one of them kids gets

hurt...or worse...

BRENDA:

You just got back home. You need rest...

ROY:

No...This is more important. It’s somethin’ I gotta do.

EXT-NUNNELLY FARM-DAY

RED:

Say it talked to ya in your head, hunh? And the police took

all your evidence? That’s just bizarre, Roy. I used to be a

cop an’ I never heard ‘a such. Hell. Ever since we moved out

here the whole show’s been mighty fuckin’ queer. Monsters.

Rainin’ goldfish...Dean an’ Bart even said they saw a castle in

the sky comin’ back from town last week. Said it was so clear

they could count the bricks in the walls...An’ I believe ‘em too.

Ever last word.

ROY:

There’s somethin’ about this place alright, Red. Somethin’

magical. Or cursed. Maybe its got somethin’ to do with all

those old Indian burial mounds. I don’t know, but the way I

see it, the authorities know more’n they want the general public

to. They know about the monster. And their goin’ outta their

way to make sure no one else finds out about it.

134

SCENE 32 (Contin.)

RED:

Yeah. Had a woman call me last night name’a Staples. They

lived here nine years ago. Said they was sittin’ out on the

front porch one afternoon and they seen five little creatures

down by the pump-house. Looked like little men wearin’

brown suits. When the boy tried to sneak up on ‘em they

ran away so fast it looked like they just disappeared.

Roy shakes his head in wonder.

RED:

Tell me somethin’ Roy...do you think that thing might come

up here an’ try ta make off with one of my kids?

ROY:

Well. Y’all been here almost a year and it ain’t tried to yet.

That’s not sayin’ it won’t though. Like I say, it’s somethin’

supernatural and there’s more than one of ‘em. One thing’s

for sure, if it decided to, nothin’ in the world could stop it.

That kid would be gone forever with no way to ever bring it

back to ya. Nobody’d ever see that youngin’ again. Even a

man as tough as you are, with perfect eyesight, would be

helpless against somethin’ like that. It damn near killed me,

did kill me really, and never even laid a finger on me. I

wanted to tell you sooner, Red, after I seen it in the barn.

But I couldn’t even tell my wife it sounded so crazy.

RED:

That’s alright, Roy. I understand. You did ever thing you

could to help us and I’ll always be grateful to ya fer that.

You put yourself in harms way for us. Damn near cost you

your life. Can’t think of many people that would do that for

folks they don’t hardly know. You’re a man among men in

my book. I want ya ta know that.

ROY:

Feelin’s mutual. That’s for certain.

RED:

Well. That’s really all I needed ta hear. Got a line on a

house up in Corydon. We’ll start packin’ tomorrow. Tough

as everbody thinks I am, it’d kill me if I lost another kid.

One way or another...it’d kill me.

135

SCENE 32 (Contin.)

ROY:

Another?

RED:

Lost a daughter back in the fifties to dysentery. Druisilla

was her name. She was 4 years old. That’s a heartache I

hope you never know my friend.

ROY:

I can’t even imagine your loss, Red...Y’all pack on up an’

get outta hear soon as ya can. Bad as I hate to see you go,

that’s the best advice I can give ya. I wish ya the best of

luck wherever you go.

RED:(Shaking hands)

Same to you buddy. Take care of yourself and steer clear’a

this place next time you decide to go huntin’.

ROY:

I will Red. It’s been a real pleasure knowin’ ya.

RED:

Likewise, Roy. Likewise.

EXT-STATION WAGON-NIGHT

The Nunnelly family car, like so many before it, rolls down Mound Ridge Rd. For the last time.

Mattresses are tied on top and the back is loaded down with kids and boxes.

ROSE:

I ain’t ever livin’ in the country again, Teddy. Come hell

or high water. Never again.

EXT-TREE LINE-NIGHT

TSM watches the car disappear down the road. The house stands dark and silent nearby. It voices, once again, a terrible shriek and disappears into the woods. A yellow glow begins to issue

from the trees. Seconds later a flaming ufo rises above the trees and zooms quickly forward.

136

SCENE 33

DREAM SEQUENCE

ROY is running through the woods. Running...running...

TSM stands outside his house. Inside BRENDA sees the doorknob turn and approaches, leaving the two girls standing and watching.

BRENDA:

Roy? Roy is that you?

She approaches the door and opens it. TSM reaches in and grabs her by the throat. She screams.

Roy, still running, screams her name. She lies in the front yard as he approaches. Her eyes are gone, her mouth a bloody mess. Her torso is ripped open exposing the absence of her entrails.

Roy falls to his knees by her side, his face a mask of tortured agony and disbelief. He grabs her hand and pulls it to his chest. Looking through the ruined doorway into the house he sees the bloody hand of one child, the shoeless foot of the other. He screams again as TSM looms up behind him. Slowly he turns around. With impossible swiftness the monster grabs his head and lifts him high into the air. It screams, fire and smoke pouring from its mouth. Then it slams him with all its might into the ground.

Roy wakes up with a start, sweat seeping from every pore. Outside it is raining and dark.

ROY:

It’s not over...Oh my God. It’s not over...

Lightning flashes...

Thunder booms...

THE END

137