Little Earl's

LITTLE EARL’S
FADE IN
EXT - HIGHWAY - NIGHT
A Mack truck with panoramic front view and a refrigerated

trailer speeds along. Not far behind it, another big rig, sans
trailer, follows. That second one is Paris’ cab.
INT - PARIS’ CAB - CONTINUOUS
PARIS HAWK, a good looking man in his late twenties, drives.

There's a sawed off shotgun on the passenger seat.
PARIS
You asleep back there yet?
In the sleeper box behind the front seat lies HELEN HAWK,
Paris’s little sister, hidden in shadows. The radio is on, set
to a station with slow music, but with the volume low. The CB is
on and not so quiet.
HELEN
No.
PARIS
We should be coming up on a place
to stay the night soon enough. You
can sleep in a real bed for the
night. How'd that be?
HELEN
That'd be great.
PARIS
If this guy would just stop for
the night already, we'll get a
damn room.
The Mack truck is visible through the windshield. Paris keeps

his eyes on it.
HELEN
You promise?
2
PARIS
You bet.
EXT - HIGHWAY – CONTINUOUS
The two trucks drive on.
INT - MACK TRUCK - CONTINUOUS
GEORGE COOPER, an overweight man, drives. He's noticeably tired,

but not quite to the point that he's dozing off. Like Paris,
he's got a shotgun on the passenger seat. His radio is on. A
love song begins.
GEORGE
Hell no.
He switches the station. He finds the beginning of a heavy metal

song.
GEORGE
That's more like it.
He starts moving to the song, suddenly a whole lot more awake

than he was just seconds before.
RIBBY G
(over CB)
Who's that cowboy on US 119?
MARVIN
(over CB)
Would that cowboy be driving a
brand new, bright blue Mack CH?
RIBBY G
(over CB)
Marvin Kazer, that you?
MARVIN
(over CB)
Sure is, Ribby G. You planning on
stopping at Little Earl's tonight?
The old chain gang should be there.
ELIAH
3
(over CB)
I’m just pulling in there myself,
Marv.
RIBBY G
(over CB)
Can't make it…
George turns up the radio, blocking out the CB.
Helen, still hidden in the shadows, sits up.
HELEN
This Little Earl's place nice? We
could stop there.
PARIS
Depends on where this guy stops,
Helen. You know that.
HELEN
You gotta follow this guy?
PARIS
Phelps is paying me a shitload of
money-
HELEN
Watch it, Pare.
PARIS
He's paying me a lot of money to
find out where this guy is headed.
More money than I made all last
year. So, yeah, I've gotta follow
him.
EXT - HIGHWAY - CONTINUOUS
George's truck speeds around a Payne Oil truck.
INT - PAYNE OIL TRUCK - CONTINUOUS

4
Driving that Payne Oil truck is DAMON VASQUEZ, a guy with

boyishly good looks. He grabs his CB. He’s got a strong southern
accent.
DAMON
Thought Marv’s in a bright blue
rig tuhnight.
MARVIN
(over CB)
That's right.
DAMON
We gots another cowboy with the
hammer down out tuhnight.
INT - ELIAH’S CAB - CONTINUOUS
ELIAH RELLIFORD, a somber, well dressed man, drives. There’s a

picture of a woman hanging from the rearview mirror. Eliah looks
relatively emotionless until he grabs his CB. Then, there’s a
smile on his face and in his voice.
ELIAH
That guy got a refrigerator on his
back and a bobtail behind him?
Paris' cab speeds around Damon's. Damon watches him pass and
shakes his head.
DAMON
10-4, Irv. Dat's him.
ELIAH
(over CB)
Saw that fella nearly run a roller
skate with a family inside off the
road back a few dozen ticks.
INT - KEVIN’S CAR - CONTINUOUS
A nondescript car. KEVIN ERBEROS-older than he looks and he

looks to be thirty-follows behind Damon's truck. He too has a CB
radio.
5
DAMON
(over CB)
Roger dat. Hell of a driver, dat
one.
KEVIN
(to himself)
Too many eyes out tonight.
Kevin speeds around Damon's truck.
George is still rocking out to the music, speeding on down the

road.
INT - PARIS CAB - CONTINUOUS
Paris looks back to see if Helen's asleep yet. She seems to be.
EXT - HIGHWAY - LATER
Up ahead of the Mack is a car with trailer.
INT - CAR WITH TRAILER - CONTINUOUS
PHIL MACAVOY drives. His wife, ROSE MACAVOY sits in the

passenger seat. The two of them are in their late thirties.
Their six year old son, TIMMY MACAVOY is lying down across the
backseat, presumably asleep.
ROSE
Your father's gonna be fine.
PHIL
No, Rose, he's not. He'll be dead
before I can make it back there. I
should have said a better goodbye.
TIMMY
You said a good one, dad.
ROSE
(flustered)
Timmy? Thought you were asleep.
Timmy sits up.

6
TIMMY
I was.
PHIL
Mom's gonna go soon enough herself.
ROSE
Maybe we should talk about this
later, Phil.
TIMMY
I heard it all so far, mom. No
need to stop now.
ROSE
Well-
TIMMY
I can handle it. I know grandma
and grandpa are both getting up
there in age.
George's Mack truck speeds around the MacAvoys’ car.
PHIL
God damn it.
ROSE
Phil!
PHIL
Don't tell me to watch my
language, Rose. I'm not in the
mood.
In the backseat, Timmy, realizing his parents are probably about

to fight, rolls down his window and sticks his head out. The
wind drowns out the beginning of his parents' fight.
Paris’ cab speeds around the MacAvoy's car. Timmy MacAvoy’s head
is out the window.

7
Paris leans forward over the steering wheel.
PARIS
This guy's nuts.
HELEN
You're driving as bad as he is.
PARIS
Thought you were asleep.
HELEN
Nope. We to Little Earl's yet?
PARIS
Cooper doesn't stop there, we
won't either.
HELEN
I know. I'm just hoping. How much
farther is it?
PARIS
Not too far.
Kevin’s car speeds around the MacAvoys' car.
Glancing briefly at the MacAvoys fighting, Kevin shakes his

head. Then, he looks ahead.
RIBBY G
(over CB)
You tell Little Earl that the
warden's got me home early this
trip, or I'd be there.
MARVIN
(over CB)
10-4. Next time.
RIBBY G
(over CB)
8
I'll be in Tampa next month. I'll

look you up, Marv.
MARVIN
(over CB)
Looking forward to it.
EXT - HIGHWAY - LATER
George’s Mack truck is virtually on its own, save Paris' truck

right on his tail.
George drives like a crazy man, still dancing in his seat to the
music.
Something hits his windshield and hits it hard. George slams on

the brakes.
EXT - MACK TRUCK - CONTINUOUS
The trailer’s axle brakes lock and the trailer swings into the
other lane.
Paris slams his foot on the brakes. Through the windshield,

George’s Mack is visible sliding to a stop.
INT - KEVIN’S CAR - CONTINOUS
Kevin stops his car rather easily. He watches to see what

happens in front of him.
The Mack and Paris’ cab come to complete stops.
George lets out a sigh of relief then opens his door.

9
George gets out and looks at the front. The windshield is

cracked and the grill is dented. A dark red liquid, not quite
blood, is splashed on both.
GEORGE
What the hell?
He looks closer. He rubs his hand over the dark red liquid then
looks at the stuff on his hand.
GEORGE
Blood?
There's movement below the cab. The FIRST CREATURE, a hideous

looking thing, something like a cross between a bird, a monkey,
an insect and maybe a lizard, but none of those things, its
wings broken, its body bloody, crawls out slowly.
George quickly climbs back into the cab.
George grabs his shotgun. Inside his truck, the CB is still on.
RIBBY G
(over CB)
…so I told her to go to hell. But,
she'd have none of it…
MARVIN
(over CB)
But, she didn't kick you out?
George climbs back out.
RIBBY G
(over CB)
Hell no.
George aims the gun at the thing on the ground. Its neck cranes
back. The face turns toward George. Two rather large eyes open
and look right at him. A rather wicked looking mouth full of
sharp teeth opens. A cry not unlike a human baby comes out,
quickly changing to a wail of pain.
10
Paris has now gotten out of his truck and has walked around
George's trailer. The back of his jacket has on it, in large
block letters, IX.
PARIS
What the hell happened?
George doesn't look up. In fact, he hardly seems surprised at

all by Paris' presence.
GEORGE
This thing hit my windshield.
PARIS
What is it?
GEORGE
Damned if I know.
The thing on the ground twists around, two thin arms grabbing
the front bumper of George's truck, pulling the thing onto its
hind legs. Its eyes never move off George. And, his aim never
moves off it. The thing cries again, flaps its broken wings.
PARIS
Kill that thing, put it out of its
misery.
GEORGE
No way. You seen one of those
before? This is something new.
What it's doing in the middle of
West Virginia, I don't know. But,
it's something new. I got a
feeling people will want to see
this thing.
PARIS
What are you going to do, take it
with you?
GEORGE
Sure. Why not?
The First Creature lunges suddenly at George. It hits his gun

out of his hand before he can fire. Then, it jumps at his face.
11
Paris shoots it.
Its limp body lands a few feet away.
George looks at it, at Paris, then back at the thing again.
GEORGE
Thanks.
PARIS
No problem.
George picks up his shotgun then looks at Paris. He looks him up

and down, then offers a hand.
GEORGE
Name's George, George Cooper.
Folks call me Buddy.
Paris shakes George’s hand.
PARIS
Paris Hawk.
George smirks, like he doesn't believe that's a real name.
HELEN (O.S.)
What's going on, Pare?
PARIS
(to George)
My sister.
(yelling to Helen)
Nothing. Just sit tight.
GEORGE
Got your sister in your cab?
PARIS
Parents died a while back. I look
after her.
George shrugs then walks over to the First Creature. It's still
moving a little. He raises his shotgun, aiming at it.
GEORGE
You give me a hand with this?
12
PARIS
Where you gonna put it?
Suddenly, the First Creature gets up on its hind legs and takes
off running. George shoots it and it falls on its face, sliding
several feet on the road.
George and Paris walk after it. The First Creature looks pretty
much dead now, not moving at all. George touches it with the end
of the shotgun barrel. The neck twists around, the eyes open,
and it looks right at George. The mouth opens and closes, no
sound coming out.
GEORGE
Resilient little fucker, isn't it?
The neck sways, the head looks past George, toward his truck.
George falls for it, looks back, and the thing lunges at him
again. Paris shoots it. It falls down again.
GEORGE
Thanks again.
PARIS
No problem. You sure you want to
try to take that thing anywhere?
The First Creature starts moving again, this time crawling

weakly away from the truck.
GEORGE
Where you think you're going?
The First Creature raises an arm, pointing away from the truck,
then keeps crawling.
GEORGE
Did that thing just answer me?
PARIS
Couldn't have.
A sound that could only be laughter comes from the thing. It

looks back at George and Paris. It cranes its neck, sniffs at
George's gun then laughs again.
13
HELEN (O.S.)
Pare, what's taking so long?
PARIS
Nothing. Just stay put.
The First Creature keeps crawling. Every few seconds, it looks

back at George and laughs. He keeps his gun aimed at the thing's
head.
PARIS
George, just shoot it or
something, and do whatever you're
gonna do with it.
GEORGE
What's your rush?
PARIS
Your rig's kinda blocking the road.
GEORGE
Don't pretend like you're not just
following me, Mr Hawk. I was
warned there'd be people
interested in my load, and I know
you've been behind me for the last
couple days at least.
PARIS
I don't know what you're talking
about. I just came-
GEORGE
Don't make up some lie. I know
your truck. It's been behind me
constantly, and this morning, I
had a closer look at that shitty
motel we stopped at. I know you're
following me. So, what I'm
wondering is, why aren't you
trying to take advantage of me
being away from the cab like this,
and stealing the truck?
PARIS
I'm not after your load. I'm just-
14
George turns his gun on Paris.
GEORGE
The truth please.
PARIS
I'm just supposed to see where you
end up. That's all. Guy that hired
me works for the FBI same as the
guy who hired you to drive that
thing. He just wants to know where
the storage facility is. That's
all, I swear.
George lowers his gun and keeps walking after the thing on the
ground.
GEORGE
You know what it is?
PARIS
That thing?
GEORGE
My load. Do you know what it is?
PARIS
No idea. Wasn't exactly necessary
information if all I've got to do
is find out where you're going.
George probes the First Creature's back with the barrel of his
shotgun, slowing it down for a second.
GEORGE
No idea myself. He didn't tell me.
Just warned me some people might
come after it, then gave me enough
money that I could overlook not
knowing what it was I've been
dragging across this God damn
country.
The First Creature swipes at the gun barrel with one of its
arms. Then, it falls on its face and screams. George kicks one
of its legs out from under it. The thing lies still for a
15
moment, then turns its neck around slowly and looks at George
again. It hisses.
GEORGE
Ugly little thing, isn't it?
Paris stops, looks back toward George's truck.
PARIS
George.
GEORGE
Yeah?
PARIS
If you thought I might go for your
truck while you were away from it,
why are you still moving away from
it?
GEORGE
Well, just figured this thing
ain't trying to get my load.
PARIS
How do you know?
George stops and turns toward Paris.
GEORGE
Look at it, Mr Hawk. That thing
don't even got the sense to give
up already. And you think it lured
me out here?
Kevin stands by his car now, smoking a cigarette.
George looks suspiciously toward his truck. Headlights approach.

George watches. The MacAvoys' car comes around Kevin’s car and
Paris’ cab then squeezes around George’s Mack truck on the
shoulder and then speeds by. Phil MacAvoy yells something out
his window at George, but it's muffled.
PARIS
Maybe you should just go move that
truck, then grab this thing.
16
George raises his gun toward Paris but doesn't quite point it at
him.
GEORGE
Why don't you just shut up? I'll
take my God damn time if I want to
take my God damn time, and you'll
have nothing to say about it.
He lowers his gun and turns toward the thing on the ground again.
GEORGE
So, if you aren't going to give me
a hand, just go sit tight with
your sister and be patient.
Paris heads back.
PARIS
You know, I could still take that
truck of yours.
GEORGE
Try it and you'll die soon after,
Mr Hawk. I don't know what's in
that there trailer, but I've been
well paid to protect it, and I've
no intention of letting you, or
anybody else for that matter, take
it.
The Payne Oil Truck stops behind Kevin’s car.
Damon blows the horn. He opens his door.
EXT - PAYNE OIL TRUCK - CONTINUOUS
Damon leans out. He sees Kevin.
DAMON
Wha's goin’ on?
17
Kevin shrugs, says nothing. He puts out his cigarette on the

ground and gets back into his car.
Kevin does as the MacAvoys did. He drives around the stopped

truck. As he drives by, he and Paris watch each other.
KEVIN
Too many eyes.
EXT - PAYNE OIL TRUCK - CONTINUOUS
Damon climbs down from his cab and approaches the stopped
trucks. As he passes Paris' cab, Helen, sitting in the drivers'
seat now, ducks back into the sleeper box, so quickly she's
nothing but a blur. Damon, startled, jumps.
HELEN
Sorry-
DAMON
'S okay. Just didn't see you
there. Startled me is all. Know
wha's goin’ on?
HELEN
Nope.
Damon keeps walking.
HELEN
You see my brother up there-he's
the one with the shotgun-tell him
I'm sick of just sitting here.
Damon nods but looks confused.
DAMON
Shotgun?
He keeps going.
Up ahead, George grabs the First Creature by it's broken wings

and lifts it up. It tries to shake free, screaming the whole
time. It lashes out with an arm and cuts a gash in George's
18
cheek. He drops it. He shoots it again with his shotgun and it

stops moving.
He looks back toward the truck. Paris is standing near it but

apparently not trying to take it. George turns back to the thing
on the ground.
Damon comes around the trailer of George's truck.
George fires another shot into the thing on the ground.
Back by the truck, Damon looks a little scared.
DAMON
Must be the girl's brother.
Paris turns.
PARIS
No, that would be me.
DAMON
Said the one with the shot…
He sees the sawed off shotgun in Paris' hand.
DAMON
Wha's goin’ on?
PARIS
Thing hit his windshield, some
sort of animal.
George shoots again.
PARIS
(yelling)
Damn it George, leave it alone
already.
(to Damon)
He's intent on taking the thing
with him. Think's it's some new
species or something, which from
the looks of it, it very well may
be.
DAMON
19
Really?
PARIS
Thing won't die, though. Just
keeps on moving.
Up ahead, the First Creature takes off running and George chases
after it. It leaves the road and heads down an embankment.
George stumbles on his way down and falls. He rolls down the
hill, losing his gun.
He comes to a stop at the bottom, looks around for his gun, sees
it, and moves toward it. The First Creature jumps onto him and
scratches his face again. He throws it off him, crawls for his
shotgun and the thing grabs his leg and pulls him back. He just
barely gets his hand on his gun, turns it around and shoves the
barrel against the thing's head. Just before he can pull the
trigger, the thing laughs, then does something he never would
have expected. It speaks.
FIRST CREATURE
You make this too easy.
George pulls the trigger.
Back by the truck, Damon looks to Paris.
DAMON
The hell he’s doing?
PARIS
Killing it, I guess.
A loud thump draws both their attentions to the top of George's

trailer. There, a SECOND CREATURE has just landed. This one,
uninjured, looks as if it could tear them apart with minimal
effort, if any at all.
DAMON
What the hell?
Paris raises his gun and aims at the Creature, but a THIRD
CREATURE has just landed on the roof next to that one. They
takes turns hissing at him. He lowers his gun.
A FOURTH CREATURE, bigger than the other, lands on the trailer.

It leans forward, cranes its neck toward Paris and speaks.
20
FOURTH CREATURE
That's better.
Paris and Damon are both shocked, frozen there. Helen screams.
Paris shakes off the shock and runs.
DAMON
Good idea.
Paris rounds George's trailer to find a FIFTH CREATURE sitting

on the hood of his own truck.
Damon runs past him, toward his own rig. Paris raises his gun to
aim at the Fifth Creature on the hood. Then, the windshield
blows out, the Fifth Creature goes flying. Helen has shot it
from inside the truck. Paris runs and climbs into the truck, as
the injured Fifth Creature gets up off the ground.
Helen is still not visible, as it is dark in the cab. But, there

seems to be something wrong with her, something about the shape
of her head and face. Paris smiles at her then puts the truck in
gear and heads around George's trailer. Though there is not
enough room, he scrapes by and speeds away as fast as possible.
HELEN
What was that thing?
PARIS
Things. There were a whole bunch.
HELEN
Well, what were they?
PARIS
Don't know. Don't plan to find out.
HELEN
What about the job?
Paris hits the brakes.
PARIS
I can't leave, can I? I've got to
find out where George was headed.
21
HELEN
Or you could just give back the
money.
PARIS
Can't do that. Phelps would never
go for that.
Damon forces his own truck around George's, now with more than a
dozen of those Creatures sitting on it.
Seeing the clear road ahead, Damon hits the gas.
George comes running back onto the road, the First Creature
behind him, and stops just short of getting flattened by Damon’s
truck. The First Creature, it's head all but gone, doesn’t slow
down. It hits the front of Damon's truck.
And, the First Creature splatters across the windshield. Damon

switches on the windshield wipers but doesn't bother to slow
down. He just keeps going.
Around a curve in the road, he comes upon Paris' cab and barely
steers around it. He looks back at Paris as he passes, wondering
why the guy stopped.
George clambers into his cab. One of the Creatures claws at his
legs, but he shuts the door on its hands and it backs off.
George closes the door all the way, starts the engine and puts
it into gear. As he drives off, another Creature launches itself
at his windshield, cracking it a little worse than it is already.

22
The rest of the Creatures try to hold onto the roof but George's
erratic driving throws them all off. The swarm of them flies
after him.
George speeds around Paris' cab, the swarm right behind him.
Paris watches, wide eyed, then puts his truck in gear.
Helen leans forward, still mostly in shadows, but there’s

something strange about her shape.
HELEN
Oh my God.
Paris follows after George.
EXT - LITTLE EARL’S - NIGHT
It’s a truck stop with gas station, restaurant and motel. A

large neon sign proclaims it to be Little Earl’s Truck Stop.
Below that sign, a well lit sign with moveable letters says
there's a restaurant, driver's lounge, showers, a store, motel
rooms, service and parts, and scales. It’s a full service kind
of place. But, tonight it’s not very busy. The MacAvoy’s car is
parked near the front entrance. A handful of trucks are parked
here and there. And, Kevin Erberos’ car is just pulling in.
INT - LITTLE EARL’S - RESTAURANT - NIGHT
The MacAvoys are sitting at a table, eating.
Truck drivers are about: DINAH WOLFRAM, who seems far too young
and attractive, a right southern belle, to be a truck driver,
though she is one; ELLEN HAZELTON, not quite old but with grey
hair; ELIAH RELLIFORD, the somber man from before. There is also
a BEARDED DRIVER, a YOUNG DRIVER and a FAT WOMAN DRIVER.
SHAYLA CROUSE, a waitress with dyed blonde hair and dark roots.
is at Dinah’s table, presumably taking her order.
Leaning against one wall, Marvin Kazer, who we’ve seen, is

talking to KAYLA NOBLE, beautiful but cheapened a little by too
much makeup and clothes that are trying a bit too hard to be
sexy. Marvin whispers something in Kayla's ear.
23
KAYLA
That will cost more.
Kevin Erberos enters the place. Kayla notices him and ducks
behind Marvin.
KAYLA
Oh shit. What's he doing here?
Marvin looks.
MARVIN
Who?
KAYLA
Long story.
MARVIN
We can go get a room and you can
tell me that story.
Kayla moves as Kevin finds himself a table, keeping herself

hidden from him.
KAYLA
I think there are better things we
could be doing in that room.
MARVIN
Then, tell me the short version
and let's get on with business.
KAYLA
Maybe I'll tell you later, Marv.
Let's go.
Shayla passes by, glancing over at Marvin and Kayla, and goes
into the kitchen.
Marvin and Kayla head for a hallway. Out of an office comes EARL
MADRIGAL, a very big man, old, but very fit. He sees Marvin.
EARL
Marv, you made it.
Earl wraps his arms around Marvin, practically crushes him with
the embrace. Then, he lets him go.
24
EARL
You look good. How long's it been?
MARVIN
Not that long. Less than a year,
I'd say.
EARL
Really? Seems like longer.
Earl notices Kayla's with Marvin.
EARL
Marvin and me-we used to drive
together some years back, before
he retired and built this place.
Kayla clearly doesn't care.
EARL
We'll talk later. I'll let you two
get going.
Kayla and Marvin disappear together down the hall. A sign next
to the hall says MOTEL ROOMS. Eliah watches them then looks down
at his food. He pushes the remains-really, most of a plate full-
of dinner around the plate on the table in front of him, but
doesn't eat anything. There’s a crucifix on the table next to
his plate.
Shayla Crouse exits the kitchen, balancing four plates. She

heads for the Bearded Driver’s table and sets all four plates
before him. Shayla looks over at Eliah, contemplates coming to
get his plate, then rethinks it and disappears into the kitchen
again.
Earl comes over and sits across from Eliah.
EARL
Why so glum, El?
ELIAH
Kim lost the baby.
EARL
Sorry to hear that.
25
ELIAH
Yeah well, the doctor said nothing
could have been done.
EARL
You know, you sounded your usual
jovial self over the radio.
Eliah fakes a smile.
ELIAH
Well, you know me.
INT - LITTLE EARL’S - KITCHEN - LATER
HOWARD BRIGHT, a middle aged man, is cooking away. Shayla comes

up behind him.
SHAYLA
Not much of a party. I thought
it'd be more energetic.
Howard looks back over his shoulder at her.
HOWARD
The night's still young.
SHAYLA
I guess.
Howard keeps his eyes on the food cooking.
HOWARD
Ellen here?
SHAYLA
Yeah, Ellen's here.
Howard smiles, but just keeps cooking.
SHAYLA
Go talk to her if you want. I'll
watch this stuff for a bit.
HOWARD
No. That won't be necessary.
26
SHAYLA
She'll think you don't care for
her anymore, Howard.
Howard looks back at Shayla.
HOWARD
She knows better than that, Shay.
INT - LITTLE EARL’S - RESTAURANT - LATER
At the MacAvoys' table, Phil and Rose are fighting again. Timmy
is ignoring them, playing with a brand new toy truck from the
gift shop. He's hardly touched his food.
ROSE
Why can't we just stay here for
the night? We've been in that car
all day, Phil. Timmy could use a
good night's sleep before we do
all the moving tomorrow.
PHIL
Rose, didn't I already say the
subject was closed? We can make it
there tonight.
ROSE
But why? DC will still be there in
the morning and we can't do
anything till the movers arrive
anyway, and they probably won't be
there till noon or after.
TIMMY
This place can't be any worse than
the motel last night, dad.
Phil glares at his son. Timmy diverts his attention again, plays
with his truck.
ROSE
Eat your food honey.
PHIL
Don't coddle the boy.
27
ROSE
I'm not coddling him. I just told
him to eat his food. If he's not
going to get a decent night's
sleep, he might as well eat up, to
preserve his energy for tomorrow.
In less than a second, Phil's on his feet, slapping Rose.
Everybody in the place looks his way.
Earl Madrigal rushes over and pushes Phil back from his wife.
Phil pushes back.
PHIL
What's your problem?
EARL
Nobody lays a hand on a woman at
Little Earl's or he answers to me.
PHIL
And, WHO are you?
EARL
Little Earl Madrigal.
PHIL
Well, do yourself a favor, Little
Earl. Take a step back.
Earl laughs.
ROSE
I'm okay. Just, leave it alone,
please, Mr Madrigal.
Earl turns toward Rose.
EARL
Everybody calls me Little Earl,
ma'am.
ROSE
Well, Little Earl, please just
leave it alone.
28
PHIL
Listen to the lady, you ignorant
son of a bitch.
Earl turns slowly back to face Phil.
EARL
Please tell me, sir, was that
meant as a slight toward my
mother, or was it just a bad
choice of phrasing?
PHIL
And, what might you do about it,
if it was the former. And, by
"former" I mean the first one.
EARL
(mostly to himself)
Condescending little prick.
Earl lunges at Phil, his fist swinging to hit the man. Phil
easily sidesteps and, with a quick move, sends Earl sprawling to
the floor.
Before Earl gets up, Eliah, Dinah, the Bearded Driver and the
Young Driver get up and come toward Phil. Not really a stupid
man, Phil backs off when Earl gets to his feet.
EARL
(to Rose)
Ma'am, might I suggest you get
away from this man at your
earliest chance, perhaps now.
(to Phil)
And, sir, get out of my place.
Phil grabs Rose's hand.
PHIL
We were just leaving.
Rose resists him pulling her to her feet.
PHIL
Rose, get up. We're leaving.
29
Timmy goes around and sits down next to his mother.
EARL
Rose, is it?-do you want to leave?
Rose looks at Phil, at Earl, then at Timmy. The moment seems to

take forever. She shakes her head.
PHIL
Rose, get up and get out to the
car. We're going.
Rose shakes her head. So does Timmy.
Nearby, Ellen Hazelton takes a moment from watching the kitchen

door to look over at Earl and Phil.
Earl steps forward, grabs Phil by the shoulder and turns him
toward the exit.
EARL
I think it's time you left.
Phil seems ready to fight Earl, but the other drivers move
closer. Phil reluctantly heads for the entryway and leaves.
The drivers return to their seats. Earl stays near Rose, looking
down at her. She bows her head, bursts into tears, and covers
her face with her hands. Timmy tries to comfort her to no avail.
Earl crouches down next to her, reaches out and moves her hands
from her face, raises her chin.
ROSE
What'll I do? Without Phil, I've
got nothing.
EARL
(whispering)
You've got yourself a fine little
boy, and for the night or as long
as you want it, you've got a room
here.
Rose wipes some tears from her eyes and cheeks. Earl takes a
handkerchief from his pocket and gives it to her. Rose wipes
30
away her tears, blows her nose and hands it back to him. Earl
takes it and puts it back into his pocket.
INT - LITTLE EARL’S - BEDROOM - LATER
Kayla and Marvin are in bed, no clothes on, just finishing with
their sex Kayla rolls off of Marvin and lies next to him. On her
arms, plainly visible now are track marks. And, it's painfully
obvious she was not satisfied by the sex. But, something in her
expression also says that wasn't the point in the first place.
Kayla turns on her side, eyes Marvin’s wallet on the dresser.
MARVIN
So, what's the story?
KAYLA
You really want to know?
Marvin gets up from the bed and nods.
KAYLA
That guy that came in-his name's
Kevin Erberos.
Marvin pulls on his boxers and his blue jeans. He walks around
to the dresser and takes some money from his wallet.
KAYLA
He's the father of my son.
Marvin turns his head abruptly.
MARVIN
You've got a kid? Earl never
mentioned that.
He puts his wallet into his pocket, sets some cash on the
dresser where the wallet had been.
KAYLA
That's 'cause I don't have the
kid. Kevin does. I never really
even saw the kid when he was born.
Kevin just kinda took him from the
hospital.
31
MARVIN
What do you mean, he just took him?
KAYLA
He just took him. And, Kevin, you
see, works for some people that
you just don't mess with.
Marvin puts his shirt on then sits down on the edge of the bed
to put on his shoes. His socks, he never removed.
MARVIN
What people?
KAYLA
Special branch of the government,
something like the CIA. I was
young and didn't want a kid
anyway. So, I didn't put up a
fight.
Marvin stops what he's doing.
MARVIN
But, it was your kid.
KAYLA
I told you, I was young. I didn't
want or need a kid.
MARVIN
But since then, you've rethought
it, right? You'd like to see your
kid.
KAYLA
Oh, I've seen him. He's a nice
looking boy-Trevor. That’s his
name-Trevor.
MARVIN
That's not what I meant.
KAYLA
What's it matter? Why do you care?
Marvin looks down, thinks about his response.

32
MARVIN
I've just always wanted kids. I
hate the idea that this guy-
KAYLA
Kevin.
MARVIN
-took your kid from you.
KAYLA
Well, forget about it, already.
MARVIN
I don't know if I can. I mean,
why's he here? What's he doing
showing his face here?
KAYLA
You may be about my only regular
customer, Marv, but you are not my
protector. So, please just leave
it alone.
Marvin gets up from the bed again.
MARVIN
I'll leave it alone, but only
after I've talked to the guy.
Marvin heads for the door.
KAYLA
Marv, leave it alone.
He's already left.
INT - LITTLE EARL’S - SHAYLA’S ROOM - MEANWHILE
Shayla’s room is like the motel room Kayla and Marvin were in
but more lived in and there’s a large crib by the bed. Shayla
goes over to the crib and looks into it. MIKEY CROUSE, age 5 and
too big for the crib, is asleep in it.
SHAYLA
Hey, Mikey.
33
Shayla pats him on his back and pulls his blanket over him.
SHAYLA
Sleep tight, baby.
She heads for the door, turns out the light and leaves.
EXT - LITTLE EARL’S - LATER
Outside, Phil MacAvoy is standing by his car. He’s unsure of

what to do, whether to leave or go back inside and face Earl.
PHIL
I sent him to the floor once. I
can do it again.
He nods, sure that's right. He starts toward the building again.
Right then, the Payne Oil Truck speeds into the lot and barely
swerves around Phil.
INT - LITTLE EARL’S - RESTAURANT - MEANWHILE
Earl sits across the table from Rose, his arms on the table, his
hands holding hers. She has her head down, crying.
Eliah Relliford sits alone. He watches Earl and Rose, and Timmy,
who's got his arm around his mother.
Damon comes into the restaurant and looks around. He spots Earl
and heads toward him. Before he reaches Earl, he’s already
talking, quite loudly.
DAMON
Lil'Earl, weird shit's going down
out there.
Earl looks up at Damon, a little annoyed.
EARL
Vasquez, this better be good.
Damon looks around and sees Kevin Erberos. Kevin looks away.
DAMON
34
'S Buddy. Sometin's ‘tacking his

truck.
EARL
What do you mean? What's attacking
his truck?
Earl lets go of Rose's hands and gets up. She looks up, tears in
her eyes. Earl looks down at her.
EARL
I'll be right back. Just sit tight.
Earl grabs Damon and leads him away from the table. No other
table free, they sit down at Eliah's table. Self consciously,
Eliah covers his crucifix with one hand.
EARL
Excuse us, El.
ELIAH
No problem.
Eliah pulls the crucifix closer to him.
Marvin Kazer comes back into the restaurant and heads for
Kevin's table.
EARL
Okay, Vasquez, now what were you
saying?
DAMON
Freaky lookin' creatures were
‘tacking Buddy Cooper's truck. One
hit his windshield and he had to
stop. Trailer was angled across
the whole road. He got out, tried
to kill this thing and the thing
wouldn' die. Shot it a few times,
a couple while I was watching.
Thing just wouldn' die. Then, more
of them appeared on top his
trailer.
EARL
Appeared?
35
DAMON
Landed. Didn’t I say they had
wings? Well, they had wings. Well,
a few landed on his trailer.
Vicious looking things. And, swear
to God, one of them spoke.
ELIAH
Spoke?
DAMON
Dis other guy put down his gun-
ELIAH
Gun?
DAMON
-and the thing says "that's
better." Swear it said that. Me
and the other guy-we took off.
Over at Kevin’s table, Shayla takes money from by his empty

plate.
SHAYLA
So, I can't interest you in some
dessert? Howard makes some great
apple pie.
Kevin shakes his head.
SHAYLA
You can't tell me you don't like
apple pie.
KEVIN
I like it well enough.
SHAYLA
Well, I'll get you a slice.
KEVIN
Um…
He reads her nametag.

36
KEVIN
Shayla, I don't want any pie. But,
maybe I could use another cup of
coffee.
Shayla smiles.
SHAYLA
Coming right up.
She heads for the kitchen.
Marvin nearly bumps into her, steps out of her way, then sits
down across from Kevin.
KEVIN
Can I help you?
MARVIN
What are you doing here?
KEVIN
I was under the impression this
was a truck stop. I'm not actually
driving a truck, but that didn't
stop too many other people either.
MARVIN
You've got some nerve.
KEVIN
Tell me what you're getting at or
leave this table.
MARVIN
Where's Kayla's son?
KEVIN
How do you know Kayla?
Right then, Kayla comes into the restaurant.
MARVIN
She works here. I suppose it's
just a coincidence that you're
here.
37
KEVIN
Um, what’s your name?
MARVIN
Marvin
Kevin sees Kayla. She comes over to the table.
KEVIN
(to Marvin)
Marvin, I had no idea…
(to Kayla)
I had no idea you worked here.
KAYLA
Yeah right, Kevin. Your bosses
have access to all the information
anyone's got, and you didn't know
where I worked?
KEVIN
I swear I didn't, Kayla.
Kayla sits down by Marvin.
KAYLA
You expect me to believe that?
MARVIN
Where's the kid?
KEVIN
The kid's mine. I don't know what
she told-
MARVIN
You stole him from the hospital-
that's what she told me.
Kevin looks at Kayla.
KEVIN
Stole? You were about to lose him
and you know it. They'd all but
decided you were unfit as a
mother. If I hadn't taken him,
38
some family of strangers would

have gotten him.
MARVIN
Is that true?
KAYLA
Better a family of strangers than
you.
Across the way, Timmy's listening to Earl, Damon and Eliah.
EARL
Damon, what the hell are you
talking about?
ELIAH
Thought you were off the juice,
Damon.
DAMON
Clean and sober, four years now,
swear. Haven't had anything to
drink. Some weird ass creatures
out there.
TIMMY
I saw one.
Earl turns to look at Timmy.
EARL
What?
DAMON
You saw one?
ROSE
Timmy, leave the men to their
conversation.
EARL
(to Rose)
It's okay.
(to Timmy)
What did you see?
39
TIMMY
Ugly thing with wings. It was
sitting on that truck, the one
stopped in the road. Dad drove
around it, I thought we were gonna
go right off the road, but we made
it. My dad may be mean, but he can
drive pretty good.
DAMON
What’d it look like?
TIMMY
A little like a monkey, but it had
wings.
DAMON
See.
TIMMY
Had a whole mess of teeth, sharp
ones.
Earl turns to Damon.
EARL
And, one of these things spoke?
DAMON
Swear one did, Lil'Earl. May the
good Lord strike my ass dead if
I’m lyin’.
(to Eliah)
Pardon the language.
EARL
I believe it. I've seen some weird
shit in my time.
ELIAH
Come on.
DAMON
Know what they are?
EARL
Have to see 'em to be sure.
40
DAMON
But, ya might know?
ELIAH
You can't believe any of this,
Little Earl.
From the look Earl gives Eliah, it's clear he believes it.
EARL
Surprised you don’t.
Eliah closes his fist tightly around his crucifix.
Earl gets up.
EARL
Come on.
Damon and Eliah get up and the three man head away from the
table.
Across the way, Shayla sets down Kevin's cup of coffee in front
of him. She looks at Kayla and Marvin.
SHAYLA
You two want anything?
Kayla shakes her head. Marvin glances at a menu, making no real

effort to be quick about it.
MARVIN
Turkey breast on rye.
SHAYLA
Coming right up, Marv.
KEVIN
(to Marvin)
You done?
(to Kayla)
You never could have kept him.
KAYLA
He should have been with me.
41
KEVIN
You didn't even want him.
KAYLA
Yes, I did.
MARVIN
That's not-
KAYLA
Stay out of this, Marv.
KEVIN
(to Kayla)
Let him speak.
(to Marvin)
Go ahead, Marvin. What did she
tell you? She told you she was
young and not ready for a kid,
didn't she? And, did she also tell
you that she was high more often
then not, and had that kid gone
home with her, he would have been
dead inside a week? Trevor was
better off with me.
(to Kayla)
In fact, I'm a little surprised
that you're still around to wonder
about the son that got away.
Figured you for an overdose by now.
Kayla lunges across the table at Kevin. Kevin easily gets out of
the way.
KEVIN
Keep a leash on her, please,
Marvin. She has a tendency toward
violence.
Shayla comes into the kitchen. Howard's right by the door,

watching Ellen through a round window.
SHAYLA
Just go talk to her already,
Howard.
42
HOWARD
Can't.
SHAYLA
You've talked to her before.
Should be easier this time.
HOWARD
You'd think.
SHAYLA
Well, since you're staying in
here, Marv wants a turkey breast
on rye.
HOWARD
Marv Kazer? He ordered food? He
never orders my food.
SHAYLA
I think he's just trying to annoy
that guy he and Kayla are sitting
with.
HOWARD
What guy?
Shayla points him out through the window.
SHAYLA
No idea. Never seen him before,
far as I know.
INT - LITTLE EARL’S - ENTRYWAY - LATER
Earl, Damon and Eliah are right inside the entrance, in sight of
the restaurant section.
EARL
Buddy was headed this way, right?
DAMON
Yeah.
EARL
How far behind you?
43
DAMON
Not far. But, he wasn't in his
truck yet. Might not've even made
it back to the cab. The other guy,
in the other truck, he just
stopped-don't know why. Maybe one
of those things got him, too.
EARL
Well, I say we go find them and
bring them here safe.
DAMON
Ya better have some weapons round
this place, or I ain't goin'.
ELIAH
Oh, he's got weapons.
DAMON
The rumors are true?
EARL
What rumors?
DAMON
That ya stockpile stuff here,
weapons, food, supplies of all
kinds. What for, a nuclear
disaster, or what?
Eliah laughs.
EARL
You never know.
EXT - HIGHWAY - NIGHT
Paris’ cab speeds along right behind George's Mack. A swarm of

Creatures is all over George's truck.
One of the smaller ones falls back and hits the windshield.
Helen screams.
44
PARIS
It's okay. Got pretty good glass
in this thing.
The Creature launches itself into the air again, pushing off the
glass. Cracks radiate out from the bullet hole put there by
Helen.
HELEN
Good glass until I shot it.
PARIS
It'll hold.
The cracks go further.
HELEN
I'm sorry.
PARIS
It's okay, Helen. It's not your
fault. You did good, shooting that
other one.
HELEN
No, I didn't. I just made the
whole group angry.
PARIS
That's not true. If it was, they'd
be all over our truck, not his.
EXT - PARIS’ CAB - CONTINUOUS
Now, the Fourth Creature, the big one, flies right into the
windshield.
Helen screams again, then cries, whimpers even. More cracks

form, but the glass holds.
HELEN
I'm sorry. I'm sorry.
PARIS
It's not your fault, Helen.
45
HELEN
Everything else always is.
Despite all the commotion outside, despite their high speed,

Paris looks back at his sister.
PARIS
What's that supposed to mean?
HELEN
Like you don't know.
The windshield shatters. The Fourth Creature falls into the cab.
Paris loses control of his truck. Helen grabs a gun again and
shoots the thing in the head just as it attacks Paris. The thing
comes at her, she shoots it again and again. It keeps coming.
Paris hits the brakes.
The cab slides to a stop.
Paris grabs hold of the Fourth Creature by its neck and twists
it, yanks it and throws it out through the broken windshield.
HELEN
You okay?
PARIS
Fine.
He's clearly not fine. The side of his face is scratched,

bleeding.
The Fourth Creature, wounded, leaps up onto the hood of the

truck.
FOURTH CREATURE
Gotta do better than that.
PARIS
Helen, get the red box.
HELEN
46
You sure?
The Fourth Creature takes cautious steps toward where the

windshield used to be.
PARIS
Now, Helen.
Helen passes a red toolbox to her brother. He opens it, pulls

out a grey wad, plastique, plastic explosives.
He lunges at the Fourth Creature, grabs it by the neck again and

shoves the wad into its disfigured mouth. He puts his hands back
and Helen puts a small electronic chip in it. He sticks it into
the wad of plastique.
PARIS
Shoot him again.
Helen fires again, hitting the Creature in the chest, knocking

it off the truck.
Paris puts the truck into reverse and hits the gas.
Paris drives back away from the injured Fourth Creature. He

stops about twenty yards back. By now, George's truck is quite a
distance down the road, the swarm with it.
Paris reaches into the red toolbox again, takes out a small
remote, flips up a small antenna then pushes the first button.
The Fourth Creature, lying on the road, explodes, the explosion

far too big for such a small thing.
Paris puts the remote down.
PARIS
It better not have lived through
that.
47
The smoke clears and there's nothing left of the Fourth Creature
but small bits and pieces, none of it even remotely alive.
Paris tucks the remote into his jacket pocket, sets the toolbox
on the passenger seat, puts the truck into gear and heads off
after George Cooper.
Earl, Eliah and Damon come out the front of the truck stop, each
carrying a shotgun, with a pistol in his belt. Phil MacAvoy,
heading toward the place, turns back for his car upon seeing the
three men. It doesn't look like they see him.
Inside the restaurant, Marvin and Kayla still sit at the table
with Kevin. Marvin picks at his sandwich, but doesn’t really eat
any of it. Kevin sips at his coffee.
MARVIN
Why don't you just leave already,
then, Kevin?
KEVIN
I stopped here for a late dinner
and maybe to stay the night, so
I'm not about to just go on my way
because she's here.
KAYLA
Where's Trevor?
KEVIN
What?
KAYLA
Where's my son, you stupid
bastard? Where's my son, while
you're out gallivanting across the
country doing God knows what?
KEVIN
I'm working.
KAYLA
48
Whatever the fuck you're doing,

where's my son?
KEVIN
He's my son, Kayla.
MARVIN
Just answer the question.
KEVIN
He's with Marina.
Kayla calms down.
KAYLA
Oh.
MARVIN
Who's Marina?
KEVIN
My sister. And, Kayla here knows
that Marina's a better parent than
either of us ever would be.
KAYLA
Is he always with her?
KEVIN
Just when I'm out of town.
Otherwise, he's with me. He likes
it with her, you know. He and her
two girls get along great.
KAYLA
He's never in any danger, is he? I
mean, because of your work?
MARVIN
What is it you do, Kevin?
Kevin ignores Marvin.
KEVIN
Never.
KAYLA
49
And, he's happy?
KEVIN
He asks about you sometimes, if
that's what you want to know,
Kayla. He doesn't remember you, of
course, but he knows you're out
there somewhere.
KAYLA
Does he want to meet me?
KEVIN
He hasn't said it so specifically,
but I think he does. You should
come to Annapolis, see him some
time.
KAYLA
I will.
MARVIN
What's with the friendliness all
the sudden? Kayla, this guy stole
your kid.
KAYLA
I told you I didn't want to come
out and talk to him.
KEVIN
She agrees with me, Marvin. She
knows that working here like this
would not be good for Trevor.
MARVIN
Working here like this?
KEVIN
What do you do here, Kayla?
MARVIN
You already know. Don't you?
KEVIN
As I said before, I didn't even
know she worked here.
50
MARVIN
You're lying.
KEVIN
I would not have to lie to the
likes of you, Mr Kazer.
Kevin leans forward over the table, so only Marvin can hear him,
and not Kayla.
KEVIN
Why don't you go home to your wife
and kids and leave this situation
to work itself out?
Kevin sits back again.
KAYLA
What'd he say?
MARVIN
Nothing, Kayla. Nothing at all.
EXT - HIGHWAY - MEANWHILE
George sees the big sign for Little Earl's Truck Stop ahead and
hits the gas harder than he already has been.
Shayla stops at Ellen Hazelton's table and sits down briefly.
ELLEN
What do you want, Shayla?
SHAYLA
Howard's in the kitchen going
nuts. He wants to come talk to
you. But, he's nervous.
ELLEN
He's nervous? Again?
SHAYLA
Again. Maybe you could go in there
and talk to him.
51
Ellen thinks about it.
ELLEN
I don't think so.
SHAYLA
You're sure?
Ellen nods. Shayla gets up.
SHAYLA
You two are never going to amount
to anything at this rate, you know.
Shayla walks away.
ELLEN
(to herself)
I know.
EXT - OFFRAMP - MEANWHILE
All over George's trailer, the Creatures are clawing at the

walls, trying to get to what's inside. One is even clawing at
the lock on the back door. A RATHER LARGE CREATURE is on top of
the cab. This one leans down the front of the truck then swings
its arms into the windshield, breaking through it.
EXT - LITTLE EARL’S - CONTINUOUS
Earl, Eliah and Damon see George's truck coming and they see the
swarm all over it and in the air around it.
ELIAH
What the hell?
DAMON
Told you-whole swarm of those
things. Lil'Earl, you recognize
'em?
EARL
Gotta see 'em up closer.
George's driving becomes erratic as he turns off the highway

toward the truck stop.
52
ELIAH
Looks like you'll get your chance
at that.
Earl raises his shotgun. Damon follows suit. Eliah does the same.
Phil MacAvoy sees them raise their guns and looks toward
George's truck. Its path will bring it pretty close to his car.
He hurries around and gets into it, starts the engine and barely
drives out of George's way.
George is fighting off the Rather Large Creature with one hand,
trying to steer with the other and not doing too well at either.
Out the broken windshield, Earl, Damon and Eliah are visible,
their guns raised. The truck is headed right for them and the
main entrance to the truck stop.
Another Creature bursts in through the driver's side window,

another through the passenger side. Briefly, George can see
nothing but these things, their wings and limbs flailing about,
their claws scratching him, tearing at him, and all he can hear
is their screams and laughter.
Earl, Damon and Eliah lower their guns, realizing simultaneously

that George hasn't slowed down or made any effort to turn.
Timmy MacAvoy's got his arm around his mother. She's looking
toward the main entrance. Kevin, Kayla and Marvin are sitting in
silence. Other drivers are going about their own business, no
one inside aware of what's coming out front.
INT - MACK TRUCK - MEANWHILE
George, through a small gap between the Creatures, sees Earl,

Damon and Eliah getting out of his way, the front entrance
getting too close too fast. He hits the brakes.
EXT - MACK TRUCK - CONTINOUS

53
His drive axles lock. His attempts at turning are in vain. Even
as the Creatures inside the cab with him claw at him, the truck
smashes almost head on into the front entrance of Little Earl's
Truck Stop.
INT - LITTLE EARL’S - ENTRYWAY - CONTINOUS
The wall crash down and the truck goes right through the
entryway into the restaurant.
Shayla, by Dinah Wolfram's table, is hit hard by the truck and

thrown like a ragdoll. Dinah is knocked clear, as her table and
bench are pushed aside.
Rose and Timmy manage to get clear.
The Bearded Driver, heading toward the restroom, is knocked into

the wall.
Ellen's bench and table is all but crushed underneath the truck,
Ellen gravely injured.
The truck has entirely missed the table where Kevin, Kayla and
Marvin are sitting.
The Young Driver is crushed between the truck and the kitchen
wall.
The truck keeps going into the wall of the kitchen.
INT - LITTLE EARL’S - KITCHEN - CONTINUOUS
The truck comes through the wall and Howard is thrown back into
the stove. The sleeve of his shirt catches fire.
The truck comes to a stop finally, before squashing Howard

completely.
The dust settles. The Creatures that had been covering and were
peeled off easily by the walls and rubble spring to their feet
and swarm on the truck again, ignoring the people strewn about.
Rose stands and picks up Timmy. She holds him tight against her.
Though he's a little big and clearly a little too heavy for her
to be holding him like she is, but she's not about to put him
54
down. She looks at the Creatures around the truck. Her mouth
drops open, her eyes go wide, but she does not scream. She's
dumbfounded.
The Fat Woman Driver is trapped under a table and bench, dead.
Kevin and Marvin both run over to Ellen. She is in bad shape,
her clothes torn, bloodied, her body strangely misshapen, a
little crushed. The truck has rolled right over her.
Kayla runs to Shayla.
KAYLA
Shayla!
Shayla can't move. She's propped up awkwardly against the wall,

one leg twisted the wrong way beneath her, a bone poking out of
the skin of her forearm.
SHAYLA
Kay?
Shayla's dazed, her eyes out of focus. Kayla crouches down next
to her, and Shayla doesn't see her.
KAYLA
I'm here, Shay.
SHAYLA
Mikey?
KAYLA
I'm sure he's fine.
Kayla looks toward the motel rooms. The truck has knocked down
the wall to the kitchen and it’s hard to see the damage past
that. The truck had all but left the restaurant when it finally
stopped. Kayla doesn't like what she sees.
A child's cries suddenly are all that can be heard. Shayla

reacts, tries to move, to get up, to do anything, but it hurts
too much.
SHAYLA
Get him, Kay.
KAYLA
55
I will.
Kayla heads cautiously toward the gaping hole in the wall, past
the Creatures still clawing at the trailer of George's truck.
Nearby, Marvin tries to lift up Ellen, but each movement makes

her cry out in pain.
KEVIN
Leave her.
MARVIN
She's hurt, Kevin. She's hurt bad.
KEVIN
Moving her isn't going to change
that.
Howard lies unconscious on the floor. His sleeve is still

burning. Suddenly, he wakes up and frantically puts out the
fire. He heads for the door.
INT - LITTLE EARL’S - RESTAURANT - CONTINUOUS
Howard bursts out through the door from the kitchen. He sees
Ellen and stumbles over the rubble to her. He pushes Kevin and
Marvin aside.
Across the way, Dinah gets up, pushes the overturned table aside
and looks over at Kevin, Marvin, Howard and Ellen. Dinah gets up
and walks over to Rose MacAvoy, who looks out of place standing
in the center of the room. Timmy isn't moving. The idea that
he's dead in Rose's arms would be an appropriate (but incorrect)
assumption.
DINAH
He okay?
ROSE
He's fine.
Timmy moves a little, turns his head, looks back at Dinah and
smiles. Dinah smiles back.
56
One of the Creatures brushes against Kevin and Kevin pulls out a
pistol and shoots the thing. It falls down next to Marvin.
Marvin glances at it briefly then looks over at Kevin. He’s not
surprised Kevin has a gun but Kevin misinterprets the look he's
getting.
KEVIN
What? What's your problem?
That Creature surprises them both, lunges back at them, knocking

them both down. The gun is thrown clear. The Creature favors
Kevin in its attack, clawing at him, holding him down. This
creature isn't big but it's strong. Marvin crawls for the gun,
gets it and turns it on the Creature. But, he hesitates before
firing.
KEVIN
Shoot it! Goddamnit, shoot!
Marvin fires. The shot misses, hits Kevin in the leg. Kevin
screams. Suddenly able to ignore the Creature on him, Kevin
lunges toward Marvin. Another Creature dives down at him,
stopping him. Marvin fires again, this time hitting the Creature
in the head.
INT - LITTLE EARL’S - HALLWAY - MEANWHILE
Kayla barely squeezes past one rather large Creature and finds
herself at the entrance to Shayla’s room. The wall’s crumbling
and the door is hanging loose. Kayla pushes the door aside and
enters.
INT - LITTLE EARL’S - SHAYLA’S ROOM - CONTINUOUS
The room is a mess. The bed is shoved up at an angle against the

wall and the crib is at an angle, two legs broken. Mikey is in
the corner by the bed, crying. There's blood on his face. Kayla
rushes to him, bends down and picks him up. He screams louder.
Kayla shushes him. She puts one hand to his forehead and finds a
cut just above his hairline. It doesn’t look too serious.
Howard cradles Ellen in his arms. She's dying, it's clear. She
tries to say something but can't.
HOWARD
57
Quiet, Ellen. Don't try to speak.
She tries again.
HOWARD
Don't. Please, don't. Just, sit
tight. Don't try to talk. Don't
try to move. Everything's going to
be okay.
Howard looks around the place and knows he lied. Everything will
not be okay.
Rose watches, still standing in the center of the room holding

Timmy.
A Small Creature leaps onto Dinah, ripping a chunk out of her

shoulder with its mouth and knocking her down. Suddenly, with a
bang, that creature flies back into the wall, its head and neck
blown to pieces.
Across the way, Earl Madrigal, his shotgun raised, has just shot
it. On either side of him are Damon and Eliah, their guns also
raised. The Small Creature lunges at the three of them and all
three fire simultaneously. The Creature flies back then recovers
and comes at them again. They fire again and again and finally
the Creature doesn't get up again. Even then, it is still moving
just a little.
Earl helps Dinah up.
DINAH
Thanks.
EARL
No problem.
Eliah looks over at Earl incredulously.
ELIAH
No problem?
Earl shrugs.
Earl holds up his shotgun to Dinah.
EARL
58
You know how to use this?
Dinah nods. Earl hands the shotgun to Dinah.
DAMON
Lil’Earl, what'll you use?
Earl takes out his pistol.
EARL
Till I can get to the storage room
again, this'll have to do.
DINAH
What's in the storage room?
EARL
More guns, some explosives. You
want it, I got it.
Across the way, Kevin, with some unknown strip of cloth tied now
around his leg above his gunshot wound, wields a large piece of
wood as a club. Marvin has Kevin’s gun. Together, they’re
fighting a creature. It’s faltering, but not giving up yet.
Nearby, Shayla is having trouble breathing, having trouble

staying awake, having trouble doing much of anything. She's
straining to keep her eyes open. She turns her head just a
little and winces. She closes her eyes. She's not dead. Not yet
anyway.
INT - LITTLE EARL’S - KITCHEN - MEANWHILE
Kayla, holding Mikey tight against her, looks past the front of
George's truck. Marvin and Kevin are there, beating one of the
Creatures. She decides to go around the other way. But, George
Cooper is fighting his way out the driver's side door, four of
the Creatures on him. Kayla's at a loss. She returns to the
other side and tries to get past Marvin and Kevin and the
Creatures over there.
Briefly, Kevin and Marvin both look at her. The Creature they're
fighting takes advantage and leaps at them. A shot from across
the restaurant knocks it back. Marvin, Kevin and Kayla all look.
There's Dinah Wolfram, shotgun raised. Marvin fires one last
shot into the Creature, to be sure, and it stops moving.
59
KEVIN
Damn things just don't quit, do
they?
Marvin tosses the gun to Kevin. He catches it in the air and

tucks it into his pocket.
Another Creature leaps down, right onto Marvin, knocking him

down. Kevin draws the gun and fires, blowing the thing's head
into bits, splattering Marvin. Dinah comes over and fires a
couple shots into this Creature.
Kayla moves again. But, the Rather Large Creature lands right in
her way. It cranes its neck to get a look at Mikey.
RATHER LARGE CREATURE

Cute kid. Yours?
Kayla's too shocked to say anything. She shakes her head.

Then, you won't mind if I take him?
It grabs Mikey from Kayla's arms. Mikey screams and flails about
but he can't get away from the thing.
KAYLA
Mikey!
She grabs at him but the Creature knocks her back.

(calm)
Mine, now.
(yelling)
So, get back!
The Rather Large Creature leaps to the top of the truck, taking
Mikey with it.
KAYLA
Marv! Kevin!
The two men look, see what's happened and run to Kayla. Kevin
fires a couple shots at the Creature holding Mikey. Kayla hits
his arm down.
60
KAYLA
No! You'll hit Mikey.
The Rather Large Creature holds up Mikey with one thin arm that
seems too small to hold the kid's weight. It laughs.
George finally gets free of the other Creatures. He's covered in

fresh cuts, gouges and bruises. He clambers over the hood of the
truck, falls to the ground by Marvin, Kevin and Kayla. The
Creatures after him jump up onto the hood, look down at he and
the others, hiss, then look as if they're going to leap.
One small one nudges the other two with its hand and points at
Mikey dangling from the bigger Creature's hand up on the trailer.
Nearby, Shayla opens her eyes briefly. She tries to turn her
head to see Marvin, Kevin and Kayla but it hurts too much. She
winces from the pain, coughs twice and closes her eyes.
Several seconds pass.
There's some commotion from somewhere. Shayla opens her eyes,

wants to see it, but she can't move. She blinks a couple times,
coughs again. It hurts to do so. Blood comes from her mouth, her
nose. Her eyes close. Shayla tries to open them again. She
coughs, opens her eyes one last time and then dies.
The Creatures on the hood of the Mack take turns leaping for
Mikey, their mouths wide open, sharp teeth just barely missing
the kid. The bigger Creature, the one holding him, laughs at
their game. Understandably, Kayla, Kevin, Marvin and George are
shocked, disgusted, frightened. But, there's little they can do.
Kevin tries to fires his gun but it’s out of ammunition.
Dinah sees what's going on and climbs up onto the hood of the
truck, then to the roof of the cab and jumps to the trailer. She
moves toward the Creature holding Mikey. It looks over at her.

You don't want to fight me.
One of the Creatures hits its nose against Mikey's leg. Mikey
screams even more than before.
Dinah hesitates.
61
The Rather Large Creature lets go of Mikey. The Creatures that

had been playing at leaping to get him leap upon him before he's
even hit the floor. The Rather Large Creature laughs.
Dinah, taken aback, raises her shotgun.
The Rather Large Creature knocks her off the trailer to the
ground below then looks down at her.

Don't even think you have any hope
in beating us.
Across the way, away from the hisses, the laughter and the
screams, Howard still holds Ellen.
HOWARD
Everything's going to be okay,
Ell. You'll see. We'll have you
out of here in no time, get you to
a hospital, and you'll be fine.
You'll get to see those kids you
love so much, those grandkids you
cherish. Don't you worry one bit.
A piercing scream, that of Mikey as the Creatures tear him

apart, distracts Howard for a second. He looks up from Ellen.
When he looks back down, her eyes are open again, focused on
him. There's blood in them, pooled from that coming from the top
of Ellen's head. She blinks a few times. Howard wipes the blood
from her eyes with his shirt.
ELLEN
You're a good liar.
HOWARD
No, El, I'm not. You should know
that by now. I haven't been very
honest with you ever. I never told
you how much I loved you. I should
have.
Ellen shudders.
HOWARD
(crying)
62
I should have done that long

before now. I love you more than
I've ever loved anyone, Ellen. I
love you more than I ever could
love anyone else. I wake up each
morning yearning for your next
time passing through. I go to bed
each night dreaming of you. Every
breath for these past few years
has been for you. Every decision,
everything has been for you. You
make me complete, perfect. You're
my everything, my perfection, my
soul.
Ellen shudders again and dies. Howard refuses to notice.
HOWARD
I don't know why I didn't tell you
that before.
Howard watches across the way for a second. Dinah is beating a

Creature with her shotgun. Another one wails and jumps at her.
Howard looks down at Ellen. There’s no way he can’t tell she’s
dead now.
HOWARD
I'll get you out of here and we'll
get married. Okay?
His crying turns to sobs.
HOWARD
How's that sound? We'll get
married, and we'll find someplace
nice to go and live, just you and
me. We'll…
He wipes blood from Ellen's face, tears from her cheeks and from
his own.
HOWARD
We'll…
He's finding it hard to say anymore, hard to pretend Ellen's not

already dead in his arms.
63
HOWARD
Everything will be fine.
He kisses Ellen. He’s hesitant to pull away, to let his mouth

leave hers. Finally, he does so.
HOWARD
I love you, Ellen Hazelton.
Phil MacAvoy is sitting by his car. He isn’t moving. Paris’ cab

arrives and Phil turns his head slowly to look at it.
Paris stuffs explosives and ammunition into his pockets.
PARIS
Come on, Helen. Grab some stuff,
and let’s go.
HELEN
I'm not going in there.
PARIS
We've got plenty of ammo, plenty
of plastique. I think we've even
got some dynamite and some
grenades in that green box over
there.
Helen passes the green box up to him.
HELEN
You know I'm not scared of those
things.
He opens the green box. Sure enough, there are grenades and
sticks of dynamite in there. He takes some out.
PARIS
Then, what is it?
HELEN
You know what it is.
64
PARIS
Say it, Helen.
HELEN
There's people in there. I'm not
going in where there's people.
PARIS
You wanted to stay here for the
night.
HELEN
I'm sure we could have found a
back way into the motel section.
PARIS
You can't be afraid of people
Helen. You haven't got much time
left.
Instantly, he regrets saying that. Helen cries.
PARIS
I'm sorry. But, we both know
that's true. You can't just hide
in the back of my truck forever.
What did Dilden do when Prince IX
asked her to walk with him? Did
she just stay in her cave?
The story may seem unfamiliar, but Paris and Helen both know it
well.
HELEN
No. But, if the witch Hesperus had
just gone ahead and made her look
like everybody else, it would have
been a lot less painful. No one
would have laughed at her. No one
would have cowered at the sight of
her.
PARIS
Well, I'm sure those people in
there would welcome you, if you
come in with me. I think we can
save them, Helen. You can't be
65
afraid of how they might react to

you-
HELEN
-cause they've got worse in there
with them.
PARIS
That's not what I was going to say.
HELEN
You sure?
He isn't.
Helen grabs a gun then climbs into the front seat, into the
light. She’s the usual size for a twelve year old but she
suffers from neurofibromatoses. Her head is malformed, covered
with tumors and bony protrusions. There are discolored blotches
in various spots on her skin, not just on her face. The sight of
her, despite what Paris has said, WOULD frighten most people.
She grabs some sticks of dynamite, stuffs them into her pocket
then pockets a couple grenades.
HELEN
Let's go.
She gets out of the passenger side and starts toward the
building.
Paris gets out the driver side. We see the IX on his jacket
again just before he puts a long coat over it and stuffs more
ammunition and explosives into that long coat’s pockets. Then,
carrying more guns than he could probably use, he catches up to
Helen and they head toward the gaping hole in the front of
Little Earl’s together.
Damon is backed against the wall, fighting off a Creature with

his empty shotgun. Another Creature grabs a table and throws it
at Damon. Damon is hit and falls, dropping his shotgun. The
Creature he's been fighting jumps on him and tears him open.
66
Dinah has moved Rose and Timmy from the center of the room. She
sits them down at one of the intact tables.
DINAH
Stay here.
Dinah goes after a Creature that is leaping at Earl. Another

Creature blindsides her, tearing her already injured shoulder.
Blood splatters onto Rose. This wakes Rose from her stupor. She
puts Timmy down on the bench, grabs a piece of a chair and runs
at the Creature getting the best of Dinah. A few vicious hits
and the thing gets off Dinah and lunges at Rose instead. Now,
Earl shoots it. It turns on him, gets his gun from him and turns
the gun on Rose and, much to her horror, Timmy.
Earl and Dinah freeze, afraid to attack while the Gun Toting
Creature has the gun on Rose and Timmy
GUN TOTING CREATURE

That's much better. Now, stay
back. Let us do what we came to do
and we'll let you live.
ROSE
Get that gun off my son.
GUN TOTING CREATURE

Are you done?
ROSE MACAVOY
What?
It looks at Earl, at Dinah then at Rose again.
GUN TOTING CREATURE

You back off fighting us and I'll
not hurt your child.
Across the way, Kayla is on the ground, weeping, screaming,

shaken very much. Kevin and Marvin and George are keeping the
Creatures off her. Kevin's leg is bleeding again.
Suddenly, Kayla looks up.
KAYLA
Shayla!
67
She clambers to her feet, stumbles over some rubble and makes
her way to Shayla.
Marvin is the first to follow her. A second later, Kevin does

the same. George is stuck fighting alone.
Kayla falls down next to Shayla and shakes her.
KAYLA
Shay? Shay, wake up. Wake up.
Marvin pulls Kayla away a little.
MARVIN
She's dead, Kay.
KAYLA
No, she's not.
KEVIN
She is, Kay. It's probably better
that way.
Kayla looks over at the remains of Mikey Crouse. After killing

him, the Creatures just left him alone and went back to trying
to rip through the trailer. Marvin and Kevin also look.
KEVIN
How could she have gone on,
knowing her-
Kayla turns on Kevin.
KAYLA
What would you know about it?
KEVIN
I'm just saying-
KAYLA
I know what you're saying, Kevin.
And, you've no right to say any of
it.
Kayla gets up and faces Kevin.
KAYLA
68
So, shut the hell up!
KEVIN
What's your problem?
MARVIN
You stole her child, Kevin. And,
now you think you can pretend to
care about someone else's?
KEVIN
I love our son. I've loved Trevor
since before he was born. I took
him away from her because I knew
he'd be dead by now if I hadn't.
You didn't know her back then,
Marvin.
MARVIN
Enlighten me.
KEVIN
Now's not the time for-
One of the Creatures leaps at Kevin, throwing him to the floor.

Marvin moves to help then stops. Kayla sizes up the situation
and does nothing. She goes instead for Mikey Crouse's body. A
small Creature attacks her and Marvin grabs it and stomps on it
with his feet.
Meanwhile, Kevin's being beaten.
Across the way, Earl nods to the Gun Toting Creature.
EARL
Do what you came to do and
there'll be no more deaths.
The Gun Toting Creature lowers the gun. Then, surprisingly, it

hands the weapon back to Earl.
The Creature turns and screams, a high pitched wail. Every

Creature and every human (Kayla picking up Mikey's body, Marvin
stomping on the one Creature, George barely fending off an
attack, Kevin losing his fight, Eliah on the ground out of the
fight for the moment, Howard still sitting with Ellen in his
arms) turn to look at him.
69
GUN TOTING (NO LONGER) CREATURE

Enough! No more fighting. We'll
take what we came for and we'll
leave.
EARL
Just one thing.
That Creature turns around and faces Earl.

What?
EARL
What is it you came for?

In that truck is what we want.
EARL
George, open the back, let them
take it. I'll pay your boss for
whatever it is.
GEORGE
I don't believe I can do that,
Little Earl.
EARL
Why not?
ELIAH
Yeah, why not?
Kevin Erberos gets up, the Creature on him not putting up any
fight. He reaches down and tightens the makeshift tourniquet on
his leg as he speaks.
KEVIN
What's in that truck can't be
replaced, can it George?
GEORGE
I can't know for sure, but that's
the impression I got.
70
EARL
What is it?
KEVIN
Government business, isn’t it
George?
George nods.
ELIAH
What is it?
DINAH
Who cares what is it? Just give it
to them.
A VERY LARGE CREATURE, the size of a grown man, near the hole at
the front of the building speaks up now.
VERY LARGE CREATURE

What's it matter what it is? Do
you want to die?
EARL
George, open it.
GEORGE
It's not that simple.
KAYLA
Just open it, for God's sake.
ROSE
Open it.
Howard lets go of Ellen and stands up.
HOWARD
Buddy, open that trailer now, or
I'll kill you myself and take your
keys.
GEORGE
There's no keys.
George points at the electronic lock on the back of the trailer.
ELIAH
71
But, you know the code, right?
George nods.
Eliah raises his shotgun and aims it at George.
ELIAH
I intend to see my wife again,
Buddy, so open that damn trailer.
GEORGE
Gonna shoot me, Eliah? You used to
be a man of God and now you’re
gonna shoot me?
George shakes his head.
GEORGE
Well then, how will you open it?
Kevin steps to where he can see the lock.
KEVIN
I could get that lock open in no
time.
ELIAH
Looks like we don't need you
anymore, Buddy.
EARL
Last chance, Buddy.
The Very Large Creature by the entrance spreads its wings,

virtually blocking the hole left by the truck.
VERY LARGE CREATURE

If you're going to open it, open
it, now.
That Creature turns its head a little, to look behind it, a

quizzical expression on its face.
Suddenly, the Very Large Creature explodes, sending its parts

throughout the restaurant, blood and other fluids splattering on
just about everyone and everything.
72
Right behind where it just stood are Paris and Helen.
The formerly Gun Toting Creature by Earl and Dinah and Rose
looks at the spot where the larger one just was, sees Paris Hawk
and turns to face Earl.

Deal's off.
Chaos ensues.
The Creatures give up on the truck and attack the people

outright. And, the people are too easily beaten.
Paris and Helen throw lit sticks of dynamite toward the main
group of Creatures.
PARIS
Get clear, people!
Explosions rock the building, parts of Creatures fly everywhere.
George hides under his truck.
A VERY THIN CREATURE sees Helen and is taken aback.
VERY THIN CREATURE

How ugly.
HELEN
Same to you.
She shoots the thing in the face with a shotgun, then grabs a
stick of dynamite from her brother's hand and tosses it at that
Creature. The explosion blows it into pieces.
Earl grabs Rose and Timmy and directs them toward the collapsing
hallway to the motel rooms.
More explosions, and the Creatures focus their attacks on Paris

and Helen.
George, from under his truck, watches Paris in action.
Marvin grabs Kayla, now holding Mikey's body in her arms, and
drags her after Earl and the others.
73
Marvin notices George is staying behind.
MARVIN
George!
George looks. Marvin tosses him a gun. George crawls out from
under his truck and turns the gun on the Creatures and fires.
Marvin disappears with Kayla into the hallway.
Eliah is too busy fighting to follow the others, though he

clearly wants to go with them.
More explosions, more flying body parts, more splattering fluids.
One Creature gets particularly close to Paris.
HELEN
Pare!
He turns.
HELEN
Duck!
He does. She shoots right over him, knocking that Creature back
into the crumbling front wall.
PARIS
Thanks.
He turns and shoots that Creature, now. Then, he shoves some

plastique toward it. The Creature leaps away, but the plastique
sticks to it. Paris detonates it by remote, only a few feet away.
Howard Bright tries to drag Ellen toward the hallway. A Creature

grabs her feet and pulls her away. That Creature laughs, then
with limbs that seem to small and thin too hold the woman's
weight, tosses her simply into the air. Two other Creatures leap
at her in the air. Another game. It's too much for Howard.
Howard lunges at the Creature that threw Ellen, grabs it by the

neck and tears it in two. The parts flail about, the claws
lashing out but missing. The other two, now holding onto Ellen's
body, throw her aside and come at Howard.
Eliah Relliford, suddenly beset by several Creatures at once,

closes his eyes.
74
ELIAH
God, deliver me.
He opens his eyes, throws off the creatures with almost

superhuman strength and then pulls out his crucifix. He holds it
up to a Creature coming toward him.
ELIAH
Get back!
The Creature sees the crucifix and hesitates.
George, out of ammunition and seeing what Eliah’s doing, digs

out of his rather large pants pockets a small Bible and he holds
it up to the Creatures backing away.
Eliah glances over at George, smiles, then continues as before.
ELIAH
In the name of God the Father, I
command you to get back!
The Creatures takes a step back. It's wary but not quite
frightened yet. It's not going far.
Eliah moves forward, arm outstretched, crucifix leading the way.

George follows suit. The Creature backs off.
Kevin loves what he's seeing. But, he turns away from it and
heads for the back of the truck. He's limping a little. A SECOND
LARGE CREATURE jumps down by him, sees that he's going to try
opening the electronic lock and leaves him alone.
INT - LITTLE EARL’S - HALLWAY - MEANWHILE
Earl opens the door to a room in the back. It's some sort of
storage room.
He motions for people to go in.
INT - LITTLE EARL’S - STORAGE ROOM - CONTINUOUS
On all the shelves near the door are food supplies for the
restaurant, plus other assorted items for the whole place,
toiletries for the motel rooms, even some vehicle parts. Earl
holds the door open. Rose and Timmy, now on his feet, enter
75
first. Dinah goes next. As Dinah passes Earl, he reaches out and
touches her arm. She pauses in the doorway and she and Earl
exchange brief but meaningful looks. Then, she keeps moving.
Then, Marvin and Kayla, holding Mikey, enter and finally Earl
goes in himself.
By the time Earl's in, Dinah is already looking around. Earl

sees her and points toward the back of the room.
EARL
Door in the back corner, Dinah.
Dinah moves a couple boxes out of the way and opens a small
door, not tall enough for a person to walk through. In the small
closet space there are several rows of guns and numerous boxes
of ammunition.
Earl opens another small door in another corner. There are

stacks of explosives there.
DINAH
What are you going to do?
EARL
Not much choice, I'd say. That guy
out there screwed things up.
DINAH
You don't really think they were
just going to leave us alone? You
can't believe that?
EARL
I think we would have been better
off chancing that, Dinah. Now,
there isn't much of an option.
DINAH
What is that option?
EARL
Blow this place up, with them
inside.
Faces around the storage room are shocked. But, no one says
anything to stop Earl from taking out the explosives.
76
EARL
Dinah, Marvin, can you help me set
these up? We'll put them around
the restaurant, around the main
part of the building. That should
do it. Then, I'll only have to
rebuild some of it.
Timmy pulls on his mother's hand. And, he asks what they're all
dying to ask.
TIMMY
What are they, mommy?
ROSE
I don't know.
She picks up Timmy again.
ROSE
But, don't you worry a bit, 'cause-
TIMMY
'Cause Little Earl'll save us.
Earl smiles at this.
EARL
I'll do my best, Timmy.
Earl divides the explosives between Dinah and Marvin. Marvin

looks over at Timmy, then at Kayla and Mikey dead in her arms.
MARVIN
I think I might have an idea what
they are.
Everybody stops what they're doing and looks to Marvin.
MARVIN
Down in Tampa, back in '93, there
was something like this. A bunch
of Creatures the authorities could
never quite explain showed up at
an old folks home. Everybody there
would have been killed but-
77
DINAH
But, what?
MARVIN
I think they're Demons.
DINAH
What?
Earl is the only ones who seems to believe him right away.
MARVIN
Well, not Demons exactly. You see,
down in Tampa, only a couple
people were killed, a guy and his
grandson I believe, 'cause some
old black guy, a minister, started
chanting something-from the Bible
I guess it was-and they just sort
of went away. He didn't call them
Demons though. He called them
Osangels. They looked just like
that, or so I've been told. I
wasn't there myself. I just heard
about the whole thing secondhand.
DINAH
I never heard about anything like
that.
ROSE
Something like that would surely
make the national news.
EARL
No, it wouldn't. The government's
not about to let that sort of
thing go public, especially if
only a couple people died. People
die all the time at old folks
homes.
ROSE
(to Earl)
He said one was just a boy.
(to Marvin)
Right?
78
MARVIN
Yeah.
EARL
Doesn't matter. You realize what
might happen if the populace as a
whole learned what sort of things
exist out there. Whole belief
systems would collapse. People
would panic, riot, go crazy all
around.
KAYLA
Ask Kevin about it.
EARL
What?
KAYLA
Kevin works for the government,
some covert arm of it anyway. He
should know if it happened or not.
DINAH
It doesn't really matter if it
happened in Tampa back in 1993 or
not, does it? It's happening here
right now. We can all see that
much. If these things are-what was
the word?-Osangels, or Demons, or
something else altogether, even
aliens, it doesn't matter. Right
now, we've just got to figure out
how to keep them from killing all
of us.
EARL
And…
Earl looks around at the few people there with him in the
storage room.
EARL
We have got to figure out what's
inside that trailer that they want
so bad.
79
ROSE
If they are Demons, or Osangels,
how do we kill them?
EARL
Well, so far, they've been pretty
resilient, but explosives seem to
be doing the trick out there. That
guy that just arrived-I don't know
who he is or why he's here
exactly, but he's got the right
idea on how to beat them.
Earl grabs some more explosives.
Rose puts Timmy down.
EARL
Rose, Kayla-you two have got to
take guns out there and distract
those things, make sure they don't
know what the three of us-
He motions to himself, Dinah and Marvin.
EARL
-are doing.
MARVIN
I'd rather do the other part.
EARL
(to Marvin)
Fine.
(to Dinah)
Dinah, it’s you and me on the
explosives.
(to everyone)
Get what you need and let's go.
TIMMY
What about me? What do I do?
EARL
You stay back here where it's
safe, away from those things.
80
Timmy understands, nods.
Everybody crowds around the storage closets. They grab guns,

explosives and extra ammunition, whatever they think they might
need.
Rose hands a handgun to Timmy.
ROSE
Just in case. But, you be careful
with it.
Timmy smiles, eyes wide, staring at the gun she's handed him.
Rose bends down and hugs her son.
Earl watches the exchange between Rose and Timmy.
ROSE
Everything's gonna be okay, I
promise.
TIMMY
You be careful, too.
Rose notices Earl watching and smiles at him. She stands up and
looks at Earl. They exchange looks that just might seem a little
like loving or romantic stares under other circumstances. Dinah
notices, frowns and diverts her attention. Rose looks down at
Timmy again briefly then back at Earl.
ROSE
Little Earl?
EARL
What?
ROSE
Did Phil leave, or was he still
outside? I mean, is he still here
somewhere? I know he's been, well,
a bad person, but I'd never wish
those things out there on anyone,
even him.
EARL
81
(hesitant)
He's out there. He was out by your
car when we went outside.
ROSE
You think anything's happened to
him?
Earl shrugs.
EXT - LITTLE EARL’S - MEANWHILE
Phil MacAvoy nears the gaping hole at the front of the building.
Paris and Helen are visible from where he is. The Creatures are
not quite visible.
Eliah Relliford and George Cooper are herding a dozen Creatures

now toward Paris, Helen and the entryway, without any physical
contact. They simply back away from Eliah's crucifix and
George's Bible.
Howard has ceased his fight. That particular Creature (or, if

you will, Osangel) backs away from Eliah and George with the
rest of them.
By the entryway, Paris and Helen are still fighting off the
Creatures. The Creatures have abandoned the truck temporarily,
all of them not backing away from Eliah and George, are trying
to get close to Paris and Helen.
Earl enters the restaurant followed closely by Dinah. The two of

them each have an armful of explosives and a handgun tucked into
their waistbands.
Rose, Marvin and Kayla, still holding Mikey's body with one arm,
enter not far behind Earl and Dinah. They have guns raised,
though Kayla hardly seems to be up to doing anything with hers.
GEORGE
Little Earl!
EARL
Cooper? You're still alive?
GEORGE
82
Yeah. This is a motel, right? You

got Bibles back there?
Earl is already setting one of his explosives. He stops what

he’s doing and turns toward George.
EARL
Yeah, one in every room, given to
us by the-
GEORGE
Get them! They'll be more
formidable weapons right now than
those guns.
MARVIN
If these things are Demons, or
Osangels, then he may be right.
Some of the Creatures facing Paris and Helen notice Eliah and
George and give up their fight to stay clear.
One Creature brushes past Kevin and he looks up from the

electronic lock, the panel of which is open, wires dangling
every which way.
EARL
Well, looks like its working.
He looks Rose and Kayla and Marvin.
EARL
One of you, go get some Bibles.
Marvin grabs Kayla and pulls her back toward the hallway.
MARVIN
We'll go.
Earl motions for Dinah to move out. She heads for a corner
opposite him and starts setting explosives.
Rose, now on her own, heads after the Creatures backing away,
joining in with Eliah and George.
A small Creature gets around Paris and Helen, and moves to come
at them from behind. Phil MacAvoy makes the mistake of trying to
83
stop it. He kicks the thing and it turns on him, hisses and
leaps. Phil barely manages to dodge its leap then takes off
running for his car. The Creature moves to chase, but Helen
grabs it by its tail and sticks a small wad of plastique on its
back. She lets it go and it takes off after Phil. Helen reaches
for her remote detonator.
Phil runs to his car and gets in.
INT - LITTLE EARL’S - CONTINUOUS
He starts it on the first try and puts it into gear.
The Creature is half way to Phil's car. Back at the entryway,

Helen is about to hit the button to blow it up.
INT - LITTLE EARL’S - ENTRYWAY - CONTINUOUS
A FAT CREATURE pulls Helen down, grabs the remote and laughs.
Rather than do anything else, like maybe continue attacking
Helen while she's down, the Fat Creature stands there and
watches the smaller one outside, waits for it to reach Phil's
car, then hits the button itself.
The Smaller Creature, the car and Phil MacAvoy explode.
INT - LITTLE EARL’S - ENTRYWAY - CONTINUOUS
The Fat Creature, now holding the remote, laughs heartily. It

looks down at Helen.
FAT CREATURE
Hey, Ugly, let me do a few more of
those and I'll let you live.
Helen pulls out her shotgun and points it at the Fat Creature.
HELEN
Go to Hell.
The Fat Creature sticks out its tongue.

84
FAT CREATURE
Been there, done that.
The Fat Creature raises its foot to stomp on the girl. Helen
fires her gun. The Fat Creature hardly reacts. Paris, noticing
what's happening, turns around and shoves a grenade into the Fat
Creature's open mouth. Despite that in its mouth, the Fat
Creature speaks one last time.
FAT CREATURE
This oughta be good.
Paris shoves the Fat Creature away and it explodes.
Paris helps Helen up.
Over by the trailer, Kevin looks like he's close to success.
Howard Bright has found a gun somewhere. He fires on the

Creatures backing away from Eliah and George.
One BRAVE CREATURE lashes out at George, slicing right through

his leg. George falls to the ground and drops his gun. That
Brave Creature grabs the gun and turns it on George. It pulls
the trigger but the gun is out of ammunition. George starts to
get up. The Brave Creature swings the gun like a club into
George’s head. George falls back down, dazed, head bleeding.
Eliah keeps moving ahead, crucifix out.
George crawls over and grabs Dinah’s leg as she passes by.
GEORGE
Take this.
He puts the Bible in Dinah’s hand.
GEORGE
Read something from it. Anything
ought to do.
Dinah isn't too sure, but Eliah nods. Dinah positions herself
next to Eliah. She opens the Bible to a random passage and reads.
DINAH
(reading)
85
When men are brought low and you

say "lift them up," then he will
save the downcast. He will deliver
even one who is not innocent, who
will be delivered through the
cleanness of your hands. Then Job
replied…
GEORGE
Where are those other two with the
Bibles?
INT - LITTLE EARL’S - MOTEL ROOM - MEANWHILE
Marvin opens a drawer in the dresser and grabs the Bible there.
He adds it to the stack Kayla’s holding with one arm. Mikey
Crouse is in her other arm. Marvin glances at the dead boy.
KAYLA
What?
MARVIN
Nothing.
He heads out into the hall. Kayla follows.
Dinah's words seem to be working. The Creatures are not just

backing way from he but also cowering a little as they move.
DINAH
(reading)
…and fill my mouth with arguments.
I would find-
The Brave Creature with the empty gun uses it as a club to knock
the Bible from Dinah's hands. Eliah thrusts his crucifix toward
the Brave Creature and the Brave Creature takes a step back.
Dinah grabs the Bible again and reads what might not be such a
random passage.
DINAH
(reading)
"Come out of this man, you evil
spirit!" Then Jesus asked him,
"what is your name?" "My name is
86
Legion," he replied, "for we are

many."
All the Creatures in the place suddenly turn toward Dinah. She
continues.
DINAH
(reading)
And he begged Jesus again and
again not to send them out of the
area.
The Second Large Creature, the one that let Kevin try at the
truck's door, steps forward.
SECOND LARGE CREATURE

Please, I beg of you, don't send
us away.
He laughs. Dinah keeps reading.
DINAH
(reading)
A large herd of pigs was feeding
on the nearby hillside.
The Second Large Creature makes pig sounds. The other Creatures
copy him.
Earl continues setting explosives. There are no more explosions

right now, no more gunshots. Everyone is listening to Dinah.
DINAH
(reading)
The Demons begged Jesus, "send us
among the pigs; allow us to go
into them."

Please, do as much.
He laughs again. He moves toward Dinah. Eliah thrusts the

crucifix forward and the Second Large Creature backs off.
DINAH
(reading)
87
He gave them permission and the

evil spirits came out and went
into the pigs.
All the Creatures laugh now.
DINAH
(reading)
The herd, about two thousand in
number, rushed down the steep bank
into the lake and were drowned.
The Second Large Creature steps forward, ignoring Eliah and his
crucifix.

That's not true.
DINAH
(reading)
Those tending the pigs ran off and
reported this in the town and
countryside, and the people went
out to see what had happened. When
they came-

(yelling)
That's not true!
He knocks the Bible from her hand.

(yelling)
We were not drowned.
Now, all the Creatures speak in unison.
CREATURES
(speaking as one)
We simply went away, knowing our
time would come again.
The Second Large Creature steps closer to Dinah now.
CREATURES
(speaking as one)
88
We wanted to stay there, but He

wouldn't have it. And, He always
gets what He wants.
Eliah moves forward again, thrusting the crucifix toward the

Second Large Creature. The Creature does not back away this
time. Instead, he comes forward. The smaller Brave Creature
moves closer to then melts into the larger Creature. Other
Creatures from around the room move toward the larger one, each
one melting into him, the larger one growing a little bigger
with each new addition.
By the entryway, the Very Thin Creature pushes Helen out of his
way.
VERY THIN CREATURE

Out of the way, Ugly.
Kayla and Marvin come out of the hallway. Timmy has followed
them out. Upon seeing the larger Creature in the center of the
room, Kayla drops the Bibles she's holding and wraps both arms
around Mikey to protect him. Marvin just stares, wide eyed, open
mouthed. Timmy runs to his mother.
TIMMY
Mommy!
Rose drops her gun, picks up her son and hugs him tight against
her.
KEVIN
Got it!
The electronic lock pops open. The Larger Creature turns to

Kevin.
CREATURES
(speaking as one)
Open it.
Kevin lifts the handle on the door and pulls the trailer door
open.
DINAH
What's in there?
CREATURES
89
(speaking as one)
Our new body.
Inside the truck are three tables bolted to the floor. On each
table is strapped what could easily be a dead body, each covered
in a sheet. Strewn about from the crash there is a bunch of what
could be medical equipment, monitoring devices.
Kevin looks in.
KEVIN
Not aliens.
CREATURES
(speaking as one)
No, not aliens.
Dinah has now gone to Earl.
Nearly all the Creatures have melted into the larger one, now.
There are a few stragglers.
ELIAH
What are you?
CREATURES
(speaking as one)
Don't you get it, Eliah Relliford?
We are the Osangels. We are Legion.
Some of the stragglers grab hold of the few Creatures that seem
dead, and drag them toward the larger one as well.
EARL
You've got what you want.
CREATURES
(speaking as one)
That means nothing now, Earl
Madrigal. What we care to do to
you, you cannot stop. So, just be
patient and we'll get to you in
time.
A few more of the stragglers grab the dead humans and pull them
toward the large Creature as well. Needless to say, this doesn't
sit well with those still alive. Howard Bright grabs Ellen's
90
body and plays a little tug of war with a small Osangel. Kayla
nearly drops Mikey to go after Shayla's body. Marvin drops his
guns and helps hold Shayla back. Their bodies melt into the
larger Creature just as the smaller Creatures (both dead and
alive) do.
The main Creature has turned to the open truck now and is
looking inside. One massive, bulbous arm raises, it's bulging
fingers moving strangely, as if it's playing a child's game at
picking one of the covered bodies inside the trailer (eenie
meenie minie moe, that sort of thing). It's laughing as it does
this.
EARL
(hushed)
We're getting out of here.
Earl and Dinah head toward Eliah and Rose, holding Timmy.
George is still on the ground, his head and leg bleeding still
but not as badly as before.
Howard has successfully kept Ellen’s body from the Creatures.
Marvin and Kayla, still holding Mikey, fight to keep Shayla's

body.
Damon's body is dragged toward the back of the truck. Kevin

grabs hold of Damon and pulls him back. The Creature that was
dragging him turns its head toward him.
CREATURES
(speaking as one)
This one's ours, Kevin.
KEVIN
Why do you need him?
CREATURES
(speaking as one)
He is ours.
KEVIN
Why? Explain.
Kayla overhears.
91
KAYLA
Leave it alone, Kevin. For God's
sake, don't you-
CREATURES
(speaking as one)
That's okay, Kayla. We'll explain.
KEVIN
Well?
EARL
(whispering to Eliah and Rose)
Head for the entrance, slowly.
We've got this place rigged to
explode.
Eliah and Rose nod. Eliah keeps his crucifix raised. Rose holds
her whimpering son close to her. They take cautious steps toward
the gaping hole left by the truck.
CREATURES
(speaking as one)
It is not as it should be, the lot
of us forced to reside in separate
bodies. But, we've been in them
for so long, it grows harder and
harder to sustain ourselves within
one form. We tell you this next
thing only because we know that
you cannot hurt us. This form you
see right here, this one Creature-
sustaining this form hurts us. It
causes us more pain than you could
possibly imagine. But, we still
sustain it because it also
comforts us. We are Legion and we
Osangels are meant to be one.
George stands, using the side of the trailer for support.
GEORGE
And, you want a body. One you can
sustain yourselves in.
CREATURES
(speaking as one)
92
Yes.
Kevin looks into the back of the truck again, at the three
tables, the covered bodies.
KEVIN
Who are they?
Dinah reaches Marvin and Kayla and helps them yank Shayla's body
from the tiny hands of the Osangel trying to take her.
DINAH
(whispering)
Head for the entrance, you two.
This place is gonna blow.
Marvin nods, puts his arm around Kayla and urges her toward the
entrance. She won't move.
Marvin bends down, picks up Shayla Crouse's body in his arms,

then Kayla moves.
The Creature that was trying to take Shayla watches Kayla and
Marvin now, watches them leave.
CREATURES
(speaking as one)
There is a more appropriate
question, Kevin.
KEVIN
What are they?
CREATURES
(speaking as one)
Go have a look. You'll find they
are something you have not seen
before.
Kevin climbs up into the truck, goes to the body closest to the
back, pulls the cover off it.
The Creatures laugh at Kevin's shocked reaction.
CREATURES
(speaking as one)
Would you find a Demon so shocking?
93
KEVIN
A Demon?
GEORGE
A Demon?
George climbs up into the trailer.
Near the entrance, Eliah Relliford stops.
ELIAH
A Demon?
Earl, now crouched down, looks up.
EARL
That's what you came for? A
Demon's body?
The large Creature nods.
CREATURES
(speaking as one)
Even dead, the body of a Demon
could sustain us for some time.
The large Creature sniffs the air inside the truck.
CREATURES
(speaking as one)
Lucky for us, one of these is not
entirely dead.
Inside the trailer, Kevin grabs George.
KEVIN
Where'd you get these bodies?
GEORGE
Guy hired me to drive the truck.
That's all. I don't-
KEVIN
I know that. Philippe Mathilde, an
FBI Agent-he hired you. Where did
he get these?
94
George is not that surprised that Kevin knows the name of the
guy that hired him.
CREATURES
(speaking as one)
Enough chitchat.
The last of the stragglers join the Creature now. There is just
one Osangel now, one LEGION that is a dozen or so feet tall,
bulging all over, flesh writhing as if the Creatures are still
separate within the outer shell, crawling over one another,
perhaps fighting over certain positions within the body.
Eliah and Rose head for the entrance. Kayla and Marvin do the
same. Dinah reaches Howard. He picks up Ellen's body and heads
for the entrance as well. Dinah follows.
As the Osangel gives this next speech, the writhing and bulging
dies down, and the body shrinks to the size of a human.
LEGION
It is time that we claim what is
ours. We are Legion and we
Osangels deserve to exist in our
most comfortable form. We deserve
what you all think you too
deserve. And, unlike all of you,
we have the power to take what we
so deserve. That body there-
Legion gestures into the trailer.
LEGION
-will be ours in a manner of
minutes. You cannot stop us. You
cannot kill us.
KEVIN
But, you can kill us.
LEGION
And, we will.
A tentacle of sorts shoots out straight for Eliah Relliford. He

raises his crucifix and it slices right through the tentacle,
blood spurting out, splattering on Dinah Wolfram's face, into
95
her open mouth. The tentacle wraps around Eliah's neck and drags
him toward the main body. Just before he reaches the body, Earl
raises a gun and fires, severing the tentacle. Eliah scrambles
to his feet and gets away from Legion as fast as he can.
Legion looks at Earl and smiles. Then, it turns to Dinah. She's

wiping off her face with her shirt.
LEGION
How do we taste, Dinah?
DINAH
Like shit.
LEGION
Please don't lie, Miss Wolfram.
Dinah spits onto the ground. A tentacle even smaller than the
one that grabbed Irving lashes out, slaps Dinah's cheek then
returns to the main body.
LEGION
No more talk of escaping.
A hand comes up from the body, a finger gesturing for Helen to

come.
LEGION
Come here, Ugly.
PARIS
Don't go anywhere, Helen.
Paris pulls a bayonet from a coat pocket and affixes it to a

rifle that's been slung over his shoulder.
Helen doesn't budge.
LEGION
We told you to come here, little
girl.
HELEN
No.
A tentacle lashes out at her. Paris moves quickly. He pushes

Helen aside and cuts through the tentacle with his bayonet.
96
ELIAH
Try reading again!
Dinah opens up the Bible again.
DINAH
(reading)
"I have given the land into their
hands."
An arm erupts from Legion. Its hand grabs the Bible from Dinah's
hands. The arm bursts into flames and drops the book.
LEGION
No more of His lies!
Rose, with Timmy in her arms, has reached the entrance now.
Eliah Relliford steps forward, between her and Legion, crucifix
held out.
ELIAH
Go, Rose! Get out of here!
Rose moves to leave.
LEGION
Rose MacAvoy!
She stops and turns around.
ELIAH
Get out of here, Rose.
A tentacle shoots out and knocks Eliah aside.
LEGION
Out of the way, Eliah.
That tentacle stops in the air, inches from Rose and Timmy.
Slowly, gently, it forms a hand and brushes hair from Timmy's
face. The boy stares at the thing, eyes wide, completely silent.
Rose pulls Timmy back, away from the hand.
ROSE
Get your filthy hands off my boy.
97
LEGION
Rose MacAvoy. Tsk Tsk. Or should I
say Rose Gellar? You might as well
change it back, since Phil is dead.
Legion points toward the remnants of the MacAvoys' car. Rose

sees it and turns away.
LEGION
See.
TIMMY
Daddy?
Timmy begins to cry again.
Legion’s hand touches the top of the boy's head rather gently.
LEGION
There, there, Timmy. Everything
will be okay now.
ROSE
Get your hand off my son!
She pulls him away again, slaps at the tentacle with one hand.
LEGION
Don't you get it, Rose? If you
leave here alive, it is because we
wish you to do so. Until such a
thing happens, he is our boy, not
yours, for we make all the
decisions that matter around here.
His life is ours to end whenever
we may wish to end it.
Eliah steps forward, crucifix raised.
ELIAH
Get back, Satan.
LEGION
(many voices simultaneously)
Are you deaf?
We are not Satan.
98
Did we say we are Satan?

We are Osangels.
We are Legion.
Eliah holds his crucifix rather close to the tentacle by Timmy's

head. The tentacle bends away from the crucifix.
ELIAH
Whatever you are, whoever you are,
this scares you, doesn't it?
LEGION
It is a mere trinket.
ELIAH
Then take it from my hand.
Another tentacle erupts to knock the crucifix from his hand.
ELIAH
No!
The tentacle stops. Everything seems to freeze for a second,

everybody shocked by Eliah's daring.
ELIAH
If it's just a trinket, then take
it from my hand. Do not hit it
away.
EARL
Eliah stop it.
Legion looks at Earl, now pretty close to the entrance.
LEGION
Listen to your friend, Eliah.
Little Earl knows not to defy us.
Legion looks around.
LEGION
Well, to an extent, at least, he
knows not to defy us. He plans to
blow up this building around us,
but that, I suppose, can be
forgiven. He won't live long
99
enough to trigger the explosion

anyway.
At that, Earl reaches into his pocket.
A tentacle shoots out, grabs Earl's arm, tears it easily from

his body then throws it, remote trigger in hand, across the
room. Earl screams in pain.
LEGION
Now, Little Earl, leave that
trigger where it lies.
Legion turns to Rose then glances over at Helen.
LEGION
Helen Hawk, would you give your
life for this woman and her child?
HELEN
What?
LEGION
You heard us. It's a game. Don't
you like games?
HELEN
I only like games I can win.
LEGION
Well, Ugly, you can win this one
by choosing yourself over Rose and
Timmy. You choose yourself, we let
you leave here alive. Of course,
you probably won't live long, with
the neurofibromatoses as bad as it
is. If you choose Rose and Timmy,
then you join us now, you reside
in here with us, forever. Now,
choose.
HELEN
Let them go.
LEGION
100
Perhaps you assumed words we

didn't use. We never said we'd let
them go.
HELEN
But, you said-
LEGION
We gave you a choice, live or join
us.
HELEN
That's not what-
LEGION
Choose, little girl.
ELIAH
Enough of your games.
LEGION
Oh, have you had enough Eliah?
We're so sorry. You can go, then.
Just walk on out of here. We'll
let you go.
ELIAH
And, what happens to everyone else?
LEGION
What ever happened to good old
selfishness, looking out for
numero uno? Who here wants to
leave? Raise your hands.
ELIAH
It's a trick.
Cautiously, Dinah is the first to raise her hand.
LEGION
Dinah Wolfram, you can go.
Legion looks over at Eliah.
LEGION
See, no trick.
101
Dinah turns to leave. Other hands go up.
LEGION
Little Earl stays. No one else
gets to leave. First one’s first.
Hands go back down.
LEGION
Dinah, you can go, alone.
Dinah hesitates.
EARL
Go on. Go.
LEGION
Go on, Dinah. It's your last
chance.
Earl pushes Dinah with his intact arm and nearly falls over in
the process. She catches him.
DINAH
I'm not gonna leave you here like
this, Earl.
LEGION
How touching. Little Earl can take
care of himself. Now, go or stay.
But, decide now.
DINAH
I'm staying.
Earl looks down and closes his eyes.
Kayla lets out an exasperated sigh and shakes her head.
EARL
You should have gone, Dinah.
Should've got out of here when you
could.
DINAH
Not without you.
102
Legion turns back to Rose. Timmy's stopped crying.
LEGION
How's our boy doing?
ROSE
He's not your boy!
An arm erupts toward her, heading to hit her.
Earl, staunching the bleeding from his right arm stump with his
left hand starts to move that direction, but stops, realizing he
can't do anything.
Legion’s arm strikes Rose in the face. She hardly reacts.
LEGION
Used to that, are you? Maybe we
should hit harder.
ROSE
Go ahead. That won't make him your
boy.
DINAH
Shut up, woman!
ROSE
If it's gonna kill us, it's gonna
kill us. Doesn't mean we have to
let it beat us.
LEGION
Let's ask the boy. Timmy?
Timmy turns his head to look at Legion.
LEGION
How 'bout you and us make a deal,
boy? We'll let your mother leave
right this minute if you stay with
us.
TIMMY
You gonna eat me?
103
A mouth emerges on the side of Legion, a bulging tongue licking

at the lips.
LEGION
(from that new mouth only)
Yeah, yeah, yeah, yeah, gonna eat
ya.
That mouth disappears. Legion looks down at where it was and

shakes its head.
LEGION
Never. We'd never eat you, Timmy
MacAvoy. We'd love you like a son.
TIMMY
And, you'd let my mommy go?
LEGION
Of course.
Rose turns Timmy to face her.
ROSE
No, Timmy. Don't believe anything
he says.
LEGION
We wouldn't lie to you, Timmy.
ROSE
(to Legion)
Shut up!
(to Timmy)
We're getting out of here together.
TIMMY
(crying)
But, he'd let you go, mommy.
You've been hurt enough, mommy. I
believe him. He'll let you go.
LEGION
That's right. We'll let her go.
You just say the word, Timmy
MacAvoy, and we'll let your mother
go.
104
Timmy turns toward Legion and opens his mouth to speak, to agree
to the deal.
Paris interrupts.
PARIS
Why don't you just get in your new
body, kill us all and have done
with it?
Legion turns on Paris.
LEGION
Why don't you have a little
patience?
PARIS
I'm not a patient man.
LEGION
We know, my dear Paris.
PARIS
What do you know?
HELEN
Careful, Pare.
PARIS
(to Helen)
Careful as always, Helen.
(to Legion)
What do you know? Did you know we
were coming in here? Did you know
we had weapons that could hurt you?
LEGION
You think you hurt us?
Legion laughs.
LEGION
You could never hurt us, human.
PARIS
Then, why bother with us at all?
105
LEGION
Who else to play with?
Legion looks around.
LEGION
You see anyone?
PARIS
You like games?
LEGION
What do you have in mind?
PARIS
Be patient. I'll explain in a
second.
Legion’s arms come down on a pile of rubble, sending smaller

fragments and dust into the air.
LEGION
(yelling)
Explain now!
Paris looks at Legion, calm as can be.
PARIS
Why don't you have a little
patience?
Legion backs off, rebuked.
Paris goes over to Helen and leans close to whisper in her ear.
LEGION
No secrets.
PARIS
It's part of the game.
Legion backs off again, nods.
PARIS
(whispering)
106
Get to that trigger, get inside

that truck, take our explosives
and put them in there. We may not
be able to kill that thing, but we
CAN hurt it and we can destroy
that body it wants.
HELEN
(whispering)
Why don't we just make a run for
it?
PARIS
(whispering)
You think it'll allow that?
Helen shakes her head then walks away from Paris. Legion watches
her.
PARIS
Don't watch her. Watch me.
Legion keeps watching her.
Paris motions to George and Kevin to get out of the truck, for
Howard to come toward the entrance, for everyone to come toward
the entrance.
LEGION
You know, Paris Hawk, I could
absorb you now and know exactly
what you're planning.
Paris takes a step forward.
PARIS
Go ahead.
LEGION
You think that better than the
things Deputy Director Phelps
might do to you when you come back
empty handed? Maybe, maybe not. He
is pretty sadistic and very
creative.
KEVIN
107
(to Paris)
You're working for Deputy Director
Phelps?
GEORGE
Who's Deputy Director Phelps?
KEVIN
Works for the FBI. A very…
Kevin looks at Legion.
KEVIN
A very sadistic and creative guy.
Loves torturing people whenever he
gets the chance.
PARIS
And, you'd be surprised how often
he makes sure he gets that chance.
LEGION
So, you'd rather surrender to me?
PARIS
Maybe, but not until this game is
done.
LEGION
So, what's this game, already?
PARIS
I've got to explain it to them
first, make sure they understand
the stakes before I let you in on
it.
LEGION
So, it's an attempt at escape, and
you're trying to disguise it as a
game?
PARIS
Maybe. Does that make it any less
fun for you?
Legion laughs.
108
LEGION
No, not at all. Explain away.
George and Kevin, limping again, fresh blood on the wound in his
leg, have reached Paris now. The others are getting there,
except for Helen who is headed for Earl's severed arm.
KEVIN
(whispering to Paris)
What's the plan?
PARIS
(whispering)
Haven't really got one. Making
this up as I go. All I know is, we
can blow up what's inside that
truck. Maybe that'll just piss
this thing off. Maybe it will hurt
it. Maybe it will distract it long
enough for us to make a run for it.
KEVIN
That's your plan?
PARIS
(whispering)
Told you, I haven't got a plan.
George wipes some blood from his forehead.
GEORGE
What about this game?
Paris shrugs.
PARIS
Bought us a little time, didn't I?
KEVIN
Just delaying the inevitable.
PARIS
How'd you know about Phelps?
KEVIN
Now's not the time for that.
109
PARIS
Unless somebody's got a specific
plan, it might as well be.
Nobody does. The others are there now, huddled together.
KAYLA
He works for the government.
PARIS
(to Kevin)
What part?
(to Kayla)
What part?
KAYLA
(to Kevin)
What's it called, Kevin? Magic
something or other?
KEVIN
No.
PARIS
What is it, then?
KEVIN
Now isn't the time for this.
Kevin looks over at Kayla. She's still holding Mikey Crouse.
KEVIN
Kayla, put that kid down and let’s
go.
KAYLA
No. His mother's dead. I'm taking
him out of here.
KEVIN
He's dead, too.
KAYLA
No, he's not. And, what would you
know about kids, anyway?
110
KEVIN
I've raised one. I made a life for
me and Trevor. I didn't wander the
country then hang out at a truck
stop for six years selling my body.
Marvin moves forward, putting himself between Kevin and Kayla.
MARVIN
How'd you know how long she's been
here? I thought you didn't even
know she worked here.
KEVIN
Oh, I knew she worked here,
Marvin. But, I didn't stop here on
purpose tonight, so don't get
angry on me again.
DINAH
Not now, guys.
MARVIN
Just give us a minute, Dinah.
Marvin moves toward Kevin. Dinah grabs Marvin and turns him to
face Legion again, reminding him what's going on.
DINAH
You forget about that thing?
Kevin's got to have the last word.
KEVIN
Wouldn't have come here if I'd
been able to do otherwise. Seems
she's worse off mentally now than
she was back when I knew her.
Marvin turns back toward Kevin.
MARVIN
What's that supposed to mean?
KEVIN
Just look at her, Marvin. She's
been working as a prostitute, and
111
from the look of her arms she's

still using just as many drugs as
she was then, and she's holding a
dead baby for God's sake, thinking
it's still alive.
Earl looks up, still dazed.
EARL
Why don't you shut up?
KEVIN
'Cause we're all maybe about to
die, and I don't want to shut up,
Little Earl. And, don't think you
can make me, either. You're not
that menacing anymore, with only
one arm.
KAYLA
Kevin, shut up.
KEVIN
Kayla, go play with your new baby
or inject yourself with something.
Maybe, you can take Marvin here to
a room out back and have one last
quickie.
Now, Marvin really attacks Kevin. He launches at him and knocks

him back into a pile of rubble. Kevin laughs through it all, as
if enjoying it.
Helen returns with the remote. Paris looks up and sees Legion
was watching her the whole time and knows exactly what she went
to get.
LEGION
That won't do you any good, Paris.
You've got to see that by now.
Kevin fights back now. Howard and George move to pull Kevin and
Marvin apart.
PARIS
I know that. But, you can't fault
me for trying.
112
Legion watches Kevin and Marvin now, an amused look on its face.
LEGION
No, we guess we can't.
Howard grabs Marvin and pulls him off Kevin. George gets in the
way so Kevin can't get up and go after them. Marvin spins around
and hits Howard back.
Unfortunately for Howard, that puts him a little too close to

Legion. Tentacles burst out, envelop the cook and pull him into
the larger body.
MARVIN
No! I'm so sorry. It was an
accident. I'm sorry.
KEVIN
Who you apologizing to, Marvin?
He's dead and gone already.
Marvin spins back around and attacks Kevin again. George is

knocked down.
LEGION
There's no game, is there, Paris?
PARIS
Yes, there is.
LEGION
Let us rephrase.
Howard's head emerges next to Legion’s.
LEGION
(using Howard's voice)
I heard your conversation, Paris.
There's no game.
PARIS
Then, kill us already.
Howard's head disappears into the shoulder.
LEGION
113
Not just yet. You people are funny.
Legion points at Kevin and Marvin.
LEGION
Especially those two.
Helen heads for the truck, but not too directly or she'd pass
within inches of Legion. This time, she isn't watched.
EARL
You want a game, Legion?
LEGION
You call us by name. How nice.
EARL
Do you want to play a game or not?
A tentacle holding a revolver appears before Earl.
LEGION
Okay, our choice. You take this
gun, hold it to your head and pull
the trigger. It fires, you die. It
doesn't, we let you all go.
DINAH
How many bullets are in there?
The tentacle forms two hands, opens the gun and shows that
there's only one bullet. It spins the cylinder, pushes it back
into the gun and hands it to Earl.
LEGION
Go ahead, do it.
ELIAH
How do we know it's not a trick?
LEGION
What sort of trick? We just showed
you, there's only one bullet.
ELIAH
Maybe you spun it just right, so
the bullet is next.
114
LEGION
(to Eliah)
Maybe.
(to Earl)
Open it and spin it yourself.
(to Eliah)
How's that?
Earl can't manage to open it with one hand. In fact, he's hardly
able to pull his hand away from the stump of his arm for more
than a second. Legion realizes this and shakes its head.
LEGION
That just won't do. Eliah, you
take the gun.
Kevin and Marvin are still fighting. Howard and George are still
trying to pull them apart.
ELIAH
I'm not shooting myself.
LEGION
One in six chance of that, Eliah.
The odds are in your favor.
Eliah doesn't move.
LEGION
Okay, fine. You hold it, but you
don't have to point it at your own
head. You hold it to Little Earl's
head.
ELIAH
No.
LEGION
You want to die now or in a few
minutes, Eliah?
ELIAH
What kind of choice is that?
LEGION
115
You play our game now, we'll let

you live at least a few more
minutes and we'll kill you
quickly, painlessly. You refuse,
we'll kill you now but we'll take
it slow.
Earl, unable to hold the gun any longer, drops it.
Eliah, without even thinking, picks it up. He looks at Earl.

Earl nods.
ELIAH
I can't.
LEGION
One in six, Eliah Relliford. One
in six.
EARL
End this, Eliah.
Eliah raises the gun, opens it, spins the cylinder himself then
hits it shut.
DINAH
No, you can't do this.
EARL
Let him, Dinah. It's your only
chance right now.
Eliah puts the gun to Earl's head.
Marvin and Kevin stop fighting and watch Eliah and Earl. George
and Howard pull them part.
In the back of the truck, her bag of explosives unloaded, Helen

watches Eliah and Earl.
Paris takes the remote trigger from Earl’s severed arm.
Still, Eliah doesn't pull the trigger. His hand shakes.
LEGION
Pull the trigger, Eliah.
116
A tentacle slides across the floor, grabs Ellen Hazelton's body

and starts pulling her toward Legion’s main body.
Another tentacle grabs Shayla's body.
ELIAH
Stop those tentacles.
They stop.
LEGION
What tentacles?
ELIAH
I do this thing, you leave those
last two bodies alone.
Legion says nothing.
ELIAH
Deal?
Still, Legion says nothing.
ELIAH
Deal?
LEGION
Would you make a deal with the
Devil?
ELIAH
You said yourself, you're not the
Devil.
LEGION
Maybe we're worse. Now, pull the
trigger.
EARL
Pull it, Eliah. I trust you.
ELIAH
Trust doesn't matter here, Earl.
EARL
117
Well, how good's your luck? Mine's

great.
LEGION
Pull the trigger.
Eliah pulls the trigger and blows a hole through Earl Madrigal's
head. Earl falls to the floor. Eliah drops to his knees,
weeping, screaming, wailing.
Dinah screams and runs over to Earl.
Legion pulls Ellen and Shayla into its body. A tentacle shoots
out and grabs hold of Earl.
Eliah attacks that tentacle.
ELIAH
You leave him alone!
LEGION
Or?
Helen jumps down from inside the trailer.
HELEN
Or we blow up your new body before
you've even had a chance to road
test it.
Legion turns to face her.
LEGION
Hey Ugly. Now, what was that?
Helen gestures at the explosives.
HELEN
Our game now, Legion.
LEGION
You don't really think you've won
with that move, Helen, do you?
HELEN
I think we've bought a way out of
here. That's all that matters.
118
LEGION
Go ahead and destroy it. We'll
find another.
Paris raises the remote triggers, his and Earl's.
PARIS
Give us a minute, and I'll hit the
button.
LEGION
I could kill you all now.
HELEN
Then, go ahead and do it. Kill us
all.
LEGION
Shut up, little girl.
HELEN
Or what?
LEGION
You die first.
HELEN
Look at me.
She gestures at her face.
HELEN
I'm gonna die anyway.
(to everybody)
Get out of here, now.
(to Paris)
Pare, give me the remotes.
Helen puts out her hands. Paris takes out his sawed off shotgun
then tosses one remote to his sister. Expectedly, a tentacle
shoots out to catch the remote, but Paris stops it with a
shotgun blast. Helen catches that remote.
PARIS
You sure about this, Helen?
119
She nods.
George looks down at Kevin and Marvin. They haven't gone back to
fighting. They're just sitting next to each other on the rubble,
watching.
GEORGE
No, Helen. I got us into this.
I'll stick around while everybody
leaves.
HELEN
Let me, George.
George turns to Paris.
GEORGE
Mr Hawk, she's your sister right?
Paris nods.
GEORGE
Well, get her out of here. Tonight
is not her night to die.
HELEN
Yes it is.
GEORGE
No, Helen, it isn't. I don't know
how much time you've got left, but
you do have some. Go make the most
of it.
HELEN
How? Look at me, Buddy Cooper.
It's not like I can go out and do
all the things anybody else can
do. You want me to go sit in the
back of my brother's truck? 'Cause
that's about all I do anymore. I
don't have a life. Not even the
life you've got, which I tell you
is not much of one. But, I've seen
you in your truck out there on the
road. You enjoy the hell out of
120
it. I don't know how that is, but

I can see that it is.
Eliah stands up from by Earl's body. Legion’s tentacle drags him

away.
ELIAH
Helen, is it? You've got time.
That's something some people don't
have.
Eliah gestures at Earl.
ELIAH
You don't have to sacrifice
yourself to save us.
HELEN
I want to.
Rose glances over at Paris. He's looking down, hiding the fact
he's crying.
ROSE
Mr Hawk?
He looks up, wipes tears from his eyes.
ROSE
You can't let her do this.
Dinah, kneeling by Earl, looks up, her eyes full of tears.
DINAH
No more.
HELEN
Throw me the other remote, Pare.
ROSE
She's your sister. You can't let
her do this.
PARIS
It's her life.
He tosses the remote. Legion doesn't even try to catch this one.
121
HELEN
Pare, I'm sorry.
PARIS
Let's go, people.
George heads over to the truck.
Marvin gets up and grabs Paris.
MARVIN
What the hell is wrong with you?
PARIS
Get your hands off me.
MARVIN
That's your little sister, for
Christ's sake. You can't-
PARIS
I can. If she wants to stay, if
she wants to kill herself, then so
be it.
MARVIN
You-
ROSE
Don't you even care about her?
Paris turns rather abruptly toward Rose.
PARIS
I've taken care of her for a long
time now. Don't even… Don’t ask
that.
ROSE
That's not an answer.
LEGION
Come on people. Enough of this.
Make your exits and let's get on
with this.
122
Rose turns toward Legion.
ROSE
Shut up.
HELEN
All of you just leave already.
George reaches the truck.
Kevin gets up and tightens the tourniquet on his leg.
Paris looks around at the others. Timmy has his head on Rose's
shoulder, but its turned just enough that he's looking back at
Paris. Kayla is holding Mikey Crouse tight against her, rocking
him a little. She's looking at Paris, too. Eliah, standing
again, is holding his crucifix in one hand. Both his hands are
shaking. He's staring at Paris as well. Dinah is also staring at
Paris. Even Kevin, still sitting on the rubble, is looking at
him.
PARIS
What am I supposed to do?
GEORGE
Helen, give me the remotes.
Helen doesn't give them to George. She's waiting to see what her
brother's going to do.
No one has answered Paris' question, so he turns and walks

around Legion to the back of the truck. As he nears his sister,
she starts crying.
PARIS
Helen, let's get out of here.
HELEN
Why?
PARIS
You've got nothing to prove here.
You know that. You can save all
these people, but what will that
matter, with you gone?
LEGION
123
Will you people just figure out

what you're doing, already?
Paris, without looking, fires with his sawed off shotgun into
Legion.
PARIS
(to Legion)
Shut up.
(to Helen)
I don't want to lose you just yet.
HELEN
You're gonna lose me soon enough.
PARIS
You know that's not guaranteed.
With surgery, there's still a
chance.
HELEN
How great a chance, Pare? I can do
this, now, do something good.
PARIS
For these people, Helen? Why? You
don't know these people. You don't
know any people. You said
yourself, you spend all your time
in my truck. Why should you make
any gesture to save people who,
under other circumstances,
probably wouldn't even look at you
twice?
LEGION
Just let Ugly blow up already.
PARIS
(to Legion)
She's not ugly.
(to Helen)
You're not. Sometimes I can't help
but think you're maybe the most
beautiful thing I've ever seen.
124
Paris reaches out and touches Helen's face, one of the larger
deformities.
PARIS
There's so much more to you than
this.
GEORGE
Give me the remotes, Helen.
She doesn't exactly hand them to George, but she doesn't stop
him when he takes them from her hands.
PARIS
Let's get out of here.
Paris grabs her hand. Helen rather suddenly wraps her arms
around him.
LEGION
Isn't this nice?
GEORGE
Shut up, Legion.
DINAH
Come on, people. Let's go.
Dinah takes one last look then heads out. Rose, still carrying
Timmy, grabs Kayla's hand and tries to pull her toward the way
out. Kayla doesn't move. Rose goes ahead without her.
MARVIN
Kayla, come on.
Kayla looks at him, a confused look.
She looks down at Mikey. She's shaking a little now.
MARVIN
Kayla?
Kevin gets up.
KEVIN
Kayla, let's go.
125
MARVIN
You stay away from her.
Kevin raises his hands, a mock surrender.
KEVIN
She's gonna need help getting out
of here. Excuse me if I wanted to-
MARVIN
Just stay away, Kevin.
Kevin backs away then turns and heads over the rubble and
outside.
MARVIN
Kayla, let's go.
He reaches out and touches her and she flinches. She backs away
from him.
She looks around the place.
KAYLA
Where's Shay?
(to Mikey)
Where's mommy?
MARVIN
Shayla's dead, Kay.
Kayla ignores him and keeps looking around.
Paris and Helen head for the entrance.
Eliah stares at Legion, fascinated, horrified, entranced.
Marvin grabs Kayla's arm. She nearly drops Mikey and pulls away
from Marvin.
KAYLA
You trying to make me drop him?
MARVIN
No, Kay. Let's go outside. Maybe
Shayla's out there.
126
Kayla considers this, then shakes her head.
KAYLA
I would have seen her leave.
EXT - LITTLE EARL’S - MEANWHILE
Dinah, Rose and Timmy are a safe distance from the building.
Rose can't help but look at what's left of her car, her husband.
Paris sees Marvin and Kayla.
PARIS
You two, let's go.
MARVIN
We'll be along soon enough. You go
ahead.
Paris thinks about it then heads out. Helen hesitates a little

longer.
HELEN
What's her name-Kayla?
Marvin nods.
HELEN
Kayla, it's time to go.
MARVIN
It's no use.
KAYLA
Gotta find Shay, first. Then, we
can go.
Marvin shakes his head.
MARVIN
Shayla's dead.
HELEN
Kayla, that's Shayla's little boy,
isn't it? What's his name?
127
Kayla stops looking around and turns to face Helen. She's a

little shocked by what she sees and doesn't try to hide it.
KAYLA
What's wrong with you?
HELEN
What's his name, Kayla?
KAYLA
Mikey, Mikey Crouse.
Kayla looks around again.
KAYLA
Or is it Trevor?
Kayla looks closely at Mikey now.
KAYLA
Something's wrong.
MARVIN
What is it?
KAYLA
Something's wrong with Trevor?
HELEN
Why don't you take him outside and
we'll have a look at him, see
what's wrong.
Legion climbs into the trailer. Helen notices.
HELEN
We haven't got much time.
KAYLA
Trevor, wake up! Wake up!
Marvin puts his arms around Kayla.
MARVIN
Let's go.
128
KAYLA
(panicked)
Something's wrong. Something's
wrong with Trevor.
GEORGE
Just pick her up or something,
Marv, and get out of here.
Marvin does just that. He picks up Kayla and carries her over
the rubble and out.
Helen heads out.
Eliah finally leaves.
Eliah stops pretty close to the building and looks back.
LEGION
Don’t turn to salt on my account,
Relliford.
Kayla doesn't want to be carried. She wriggles out of Marvin's

arms and falls to the floor, dropping Mikey.
She hurries to pick the child up and realizes finally that he's
dead. She looks up at Marvin, hatred in her gaze.
KAYLA
You killed him!
MARVIN
No, Kay!
HELEN
Let's go.
Kayla lunges at Marvin and hits him with both fists, one of
those desperate and pitiful attacks, the kind that hurts her
more than it hurts him. Marvin stops her easily, holding her
wrists in his hands.
KAYLA
129
Let go of me!
MARVIN
No! We're getting out of here.
KAYLA
I'm going nowhere with you!
She tears her wrists from his grip, steps away from him. Marvin
realizes a second too late which direction she's headed.
MARVIN
No, Kay! Stop!
Still facing Marvin, she backs a little too close to the back of
the truck and tentacles shoot out of Legion, lash around her and
yank her back.
George holds up the remotes.
GEORGE
Stop it!
LEGION
Go ahead. You'll die, too.
MARVIN
No, no, no.
Legion envelops Kayla.
GEORGE
Get out of here, Marv!
Marvin stumbles backward over the rubble but doesn't quite fall.
Helen, still pretty close, grabs him and helps him.
GEORGE
Just us, now.
LEGION
You know, maybe we'll use your
body instead. We think you might
be able to handle us.
130
George holds up the remotes, as threatening a gesture as he can

manage.
LEGION
No, this body will do much better.
Legion moves farther into the trailer, toward the tables.
LEGION
Go ahead and blow this place up,
whenever you want. We can find
another body, and you'll be dead.
George climbs up into the truck.
LEGION
So, you're prepared to die on the
chance it might hurt us?
GEORGE
Actually, no, I'm not.
LEGION
No?
Legion turns its head and looks back at George. A rather large
tentacle erupts from Legion's chest and spreads over the second
table.
LEGION
I win.
GEORGE
No, Legion, I don't think so.
George reaches behind him, grabs hold of the back door and pulls
one half shut as he leaps out of the truck. Landing, he hits the
second half shut. This leaves him outside the trailer, the doors
shut, Legion inside.
LEGION
(many voices simultaneously)
No!
You can't do this.
You can't win!
No!
We are Legion.
131
We cannot die.
No!
George takes off running, stumbles over some rubble, but keeps
going.
George reaches the gaping hole left by his truck, triggers both
remotes and dives for the ground.
Rose, Timmy, Kevin, Dinah, Paris, Helen and Marvin are all
together, watching.
The place explodes.
Eliah Relliford, much closer to the building, is knocked back to

the ground by the blast.
George stays down, lets fire and rubble pass over him.
LATER
The smoke clears. What's left of Little Earl's Truck Stop is in

flames. Eliah gets up, dazed. His head is bleeding or has been.
He puts a hand to his head and pulls it away quickly when
touching it hurts. He looks around. The others are all still
together. George is just getting up.
ELIAH
Are you okay?
GEORGE
Are you? Your head’s bleeding, you
know.
ELIAH
I think it's dried already.
George is covered in scrapes and dust and soot, everything

dirty. He looks a mess. He heads for the group of survivors.
Eliah stays where he is.
GEORGE
You coming?
ELIAH
132
I think I'll stay for a while,

make sure the thing's dead.
George sees that Eliah's still holding his crucifix. His hand is
bloody now, though, as if his fall made the crucifix cut into
his palm, which is exactly what happened.
GEORGE
You sure?
Eliah nods.
GEORGE
And, if it's not dead?
Eliah shrugs.
George gives him an odd look then heads for the others.
Eliah's left behind, watching the burning building. He just

stands there, unmoving, watching, waiting.
FADE OUT

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LITTLE EARL’S

EXT - HIGHWAY - NIGHT

A Mack truck with panoramic front view and a refrigerated

INT - PARIS’ CAB - CONTINUOUS

PARIS HAWK, a good looking man in his late twenties, drives.

The Mack truck is visible through the windshield. Paris keeps

EXT - HIGHWAY – CONTINUOUS

The two trucks drive on.

INT - MACK TRUCK - CONTINUOUS

GEORGE COOPER, an overweight man, drives. He's noticeably tired,

He switches the station. He finds the beginning of a heavy metal

He starts moving to the song, suddenly a whole lot more awake

George turns up the radio, blocking out the CB.

INT - PARIS’ CAB - CONTINUOUS

Helen, still hidden in the shadows, sits up.

EXT - HIGHWAY - CONTINUOUS

George's truck speeds around a Payne Oil truck.

INT - PAYNE OIL TRUCK - CONTINUOUS

Driving that Payne Oil truck is DAMON VASQUEZ, a guy with

INT - ELIAH’S CAB - CONTINUOUS

ELIAH RELLIFORD, a somber, well dressed man, drives. There’s a

INT - PAYNE OIL TRUCK - CONTINUOUS

INT - KEVIN’S CAR - CONTINUOUS

A nondescript car. KEVIN ERBEROS-older than he looks and he

Kevin speeds around Damon's truck.

INT - MACK TRUCK - CONTINUOUS

George is still rocking out to the music, speeding on down the

INT - PARIS CAB - CONTINUOUS

EXT - HIGHWAY - LATER

Up ahead of the Mack is a car with trailer.

INT - CAR WITH TRAILER - CONTINUOUS

PHIL MACAVOY drives. His wife, ROSE MACAVOY sits in the

Timmy sits up.

George's Mack truck speeds around the MacAvoys’ car.

In the backseat, Timmy, realizing his parents are probably about

EXT - HIGHWAY - CONTINUOUS

INT - PARIS’ CAB - CONTINUOUS

Paris leans forward over the steering wheel.

EXT - HIGHWAY - CONTINUOUS

Kevin’s car speeds around the MacAvoys' car.

INT - KEVIN’S CAR - CONTINUOUS

Glancing briefly at the MacAvoys fighting, Kevin shakes his

I'll be in Tampa next month. I'll

EXT - HIGHWAY - LATER

George’s Mack truck is virtually on its own, save Paris' truck

INT - MACK TRUCK - CONTINUOUS

Something hits his windshield and hits it hard. George slams on

EXT - MACK TRUCK - CONTINUOUS

INT - PARIS’ CAB - CONTINUOUS

Paris slams his foot on the brakes. Through the windshield,

INT - KEVIN’S CAR - CONTINOUS

Kevin stops his car rather easily. He watches to see what

EXT - HIGHWAY - CONTINUOUS

The Mack and Paris’ cab come to complete stops.

INT - MACK TRUCK - CONTINUOUS

George lets out a sigh of relief then opens his door.

EXT - MACK TRUCK - CONTINUOUS

George gets out and looks at the front. The windshield is

There's movement below the cab. The FIRST CREATURE, a hideous

George quickly climbs back into the cab.

INT - MACK TRUCK - CONTINUOUS

George climbs back out.

EXT - MACK TRUCK - CONTINUOUS

George doesn't look up. In fact, he hardly seems surprised at

Little Earl's

Little Earl's