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