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Timber Falls Movie Script

Writer(s) : Dan Kay, Tony Giglio

Genres : Horror, Thriller

Search IMDb : Timber Falls



                           TIMBER FALLS


                            Written by
                             Dan Kay


                     All Revisions written by
                           Tony Giglio



                                                     September 2006


    FADE IN:

1   INT.   TORTURE ROOM #1                                         1

    CLOSE ON - A YOUNG WOMAN'S EYE. Bloodshot blue. Her
    eyelashes tremble. A tear rolls out. She blinks.

    CLOSE ON - A filthy, coarse rope secures a dirty rag inside
    her mouth.

    CLOSE ON - The same type rope binds her ankles together.

    CLOSE ON HER HANDS - A mixture of blood, dirt.   IRON SPIKES
    ARE NAILED THROUGH HER PALMS.

    FROM ABOVE - The Young Woman, 20s, wearing a handmade dress
    with a small crest embroidered over the heart, lies nailed to
    a wooden table.

    AN OVERHEAD LIGHT BULB DIMS, CRACKLES.    OFF SCREEN: A BLOOD-
    CURDLING SCREAM cries out.

    The Young Woman's breathing intensifies.   She watches the
    light bulb, listens to the screams.

    The light bulb returns to normal. The screams stop.    Peace
    for a moment. But she knows that won't last.

2   INT.   TORTURE ROOM #2                                         2

    A YOUNG MAN, 20s, hangs by his wrists from iron shackles
    secured to the ceiling. He's bloodied, bruised... a mess.

    CLOSE ON - The end of a pair of jumper cables. They TOUCH,
    sending SPARKS into the air. Brought together by...

    A CONCEALED FIGURE. All that's visible are his hands.    His
    left hand is SEVERELY BURNED, SCARRED, while his right
    appears normal. He touches the jumper cables together
    again... SPARKS FLY.

                         YOUNG MAN
               Please-please stop. D-don't.

    The Concealed Figure ignores his pleas, connects the left
    cable to one shackle chain... and then the right side.

    ELECTRICITY SURGES THROUGH THE BODY OF THE YOUNG MAN. HIS
    BODY CONTORTS. HE SCREAMS. The lights DIM and CRACKLE.

3   INT. TORTURE ROOM #1                                           3

    CLOSE ON - The light bulb DULLS.   The screams of the Young
    Man echo through the room.

                                                                2.


    The Young Woman closes her eyes. Takes SEVERAL FAST BREATHS
    then... MUSTERS every ounce of strength in her body and...

    Her right hand TREMBLES... The Young Woman GRIMACES, in
    unbelievable agony, but then... HER RIGHT HAND INCHES UP THE
    IRON SPIKE. Slowly and painfully. PIECES OF BLOOD, SKIN and
    BONE cling to spike as the hand moves up.

    The light bulb returns again to normal.   The screams stop.

    The Young Woman gives a final hard push and...   FREES HER
    RIGHT HAND. Blood pours from the wound.

    No time to waste. She turns her attention, strength to her
    left hand... ever-so-slowly (and painfully) it moves.

4   INT.   TORTURE ROOM #2                                            4

    CLOSE ON - The jumper cable attaches to the metal and...
    ELECTRICITY SURGES THROUGH THE YOUNG MAN'S body. HE SCREAMS.

5   INT.   CABIN - TORTURE ROOM #1                                    5

    The Young Woman's left hand POPS free.    Blood oozes out.

    OFF SCREEN: SCREAMS FROM THE YOUNG MAN.

    She sits up, goes for the gag, but her fingers cramp in pain.
    Finally, she unties the knot, removes the gag. She coughs,
    tries to muffle the noise best she can.

    The SCREAMS STOP.   Lights return to normal.

    Half way free. She goes for the ropes at her ankles, unties
    them, slides off the table. She grabs a couple rags, ties
    them around her palm's wounds.

6   INT.   HALLWAY/ TORTURE ROOM #2                                   6

    The Young Woman opens the door, checks to see if the coast is
    clear. It is.

    We're at the end of a long, dark hallway (more like a tunnel,
    really). There are two more doors in the hall, one in front
    of her another to her right. The door across from her is
    slightly ajar...

    YOUNG WOMAN'S POV THRU DOOR - The Young Man dangles from the
    chains. Suddenly, the Concealed Figure appears between the
    door and the Young Man.

    The Young Woman retreats, but realizes the Concealed Figure
    has his back to her.

                                                                3.


     THE YOUNG MAN sees past the Figure, LOCKS EYES with the Young
     Woman. No hope for himself, his eyes say: Save yourself.

     The Young Woman fights back tears, mouths the words "I Love
     you". She carefully opens the door to her right, REVEAL a
     rickety set of wooden steps. She heads up, just as...

     LIGHTS FLICKER.     OFF SCREEN: The Young Man SCREAMS again.

     The Young Woman quickens her pace. The SCREAMS drown out any
     sound, until... just before she touches THE TOP STEP...

     The lights return to NORMAL.       The Young Man STOPS screaming.
     The place goes silent.

     The Young Woman's foot TOUCHES THE STEP...       A LOUD CREAK
     RINGS OUT. The Young Woman FREEZES.

7    TORTURE ROOM #2--                                                    7

     The Concealed Figure TURNS towards the sound.

8    HALLWAY, STAIRS--                                                    8

     The Young Woman holds her breath.       Did he hear her?

9    TORTURE ROOM #2--                                                    9

     A STEEL AXE/SICKLE hybrid (a scary, handmade invention),
     rusted, save for the razor sharp edge, sticks in a nearby
     wooden horse. The Concealed Figure SNATCHES the weapon.

                            YOUNG MAN
                SARAH!    RUN!

10   HALLWAY, STAIRS--                                                10

     Sarah (Young Woman) bolts up the remaining steps.

11   TORTURE ROOM #2--                                                11

     The Concealed Figure rushes for the door.      In pursuit.

                                                          SMASH CUT TO:

12   EXT.   FOREST - SUNSET                                           12

     SARAH races through the thick forest. Her bare, bloody feet
     and legs stomping over the hard dirt, branches, shrubs,
     anything in her way. Not too far behind...

     THE CONCEALED FIGURE... (the majority of him still hidden)
     follows her. WEAPON IN HAND.

                                                                 4.


     SARAH... pushes through some thick brush, but... trips,
     falls. She SCREAMS IN PAIN, grabs her foot, notices... A
     LARGE GASH ACROSS THE BOTTOM. Sarah turns, hears...

     THE CONCEALED FIGURE.. approaches in the distance.

     SARAH... wills herself up, limp/runs away.

13   EXT.   FOREST - CLEARING/CLIFF - SUNSET                       13

     Sarah exits the thick woods to discover, to her horror... SHE
     STANDS AT THE EDGE OF A CLIFF, takes a peek over the side...

     SARAH'S POV - JAGGED ROCKS and a small STREAM at the bottom,
     200 feet below. A WATERFALL flows steadily nearby.

     Before Sarah can fully digest the situation...

     THE CONCEALED FIGURE exits the forest, SPINS THE WEAPON in
     his hand. Anticipating its use.

     Sarah FREEZES in her spot. Breaths get shorter, heavier.
     Her eyes dart in every direction. What to do?

     The Concealed Figure TAKES ONE STEP FORWARD and... SARAH
     JUMPS OFF THE CLIFF. Rather that fate than the other.

     The Concealed Figure walks up to the edge, looks over...

     AT THE BOTTOM... Sarah's dead body lays twisted and bloody
     among the rocks. The waterfall crashes next to her. BLOOD
     mixes with the water turning it a deep RED.

     CUE TITLE: TIMBER FALLS...

                                                          DISSOLVE TO:

14   EXT.   HIGHWAY - WEST VIRGINIA - DAY (HELICOPTER 2ND UNIT)    14

     A black four-door VW Passat cruises the interstate.     A Gortex
     duffel is strapped to the roof.

15   I/E.   PASSAT (MOVING) - DAY                                  15

     MIKE WARREN, late 20s, with a devilish grin and looks to
     kill, sits at the wheel. Even a flashy pair of sunglasses
     can't mask the twinkle in his eye.

     SHERYL JAMES, late 20s, rides shotgun. This beauty's got it
     all: toned bod, sharp mind and a heart-stopping smile.

     An opened bag of chips sit in her lap. A couple of Diet
     Cokes in the cup-holders. She cradles a cellphone MP3
     player.

                                                   5.


                    MIKE
          Come on, hit me.

                    SHERYL
              (Flipping through tunes)
          Chill...I gotta find -- alright.

                    MIKE
          You got one?

Sheryl hits the "Play" button.

                    MIKE
          "Warning Shots", Thievery Corporation.

Mike grins.   Sheryl rolls her eyes.

                     MIKE
          Come on.   Next one.

Sheryl scrolls again, hits play.

                    MIKE
          "Bullets" by the Editors.

Sheryl frowns.   Mike grins and shoots her a wink.

                    SHERYL
          You loaded these songs. You don't
          need to be so impressed with yourself.

                    MIKE
          I know I don't have to be.

                    SHERYL
          I haven't even heard of half these
          bands.

                    MIKE
          It's called good music. You should
          try to familiarize yourself with it,
          instead of listening to the crap you
          do.

                    SHERYL
          I listen to crap?

                    MIKE
          Hurts me to be the one to tell you.

                    SHERYL
          I'm sure it does.

                                                        6.


                      MIKE
           You gotta be more like me, baby.
           Think new, fresh, cutting edge. I'm
           looking for the next Beatles, U2 or
           Radiohead.

Sheryl scans through the MP3 player, spots one and smiles.

                     SHERYL
           So, where does this band fall into
           that group?

The music starts. BOY'S DON'T CRY, "I WANT TO BE A COWBOY"
blares.

                     SHERYL
           Fresh, new or cutting edge?

Mike immediately begins to backtrack.

                     MIKE
           How'd that get on there?

                     SHERYL
           You loaded the songs.   You tell me?

                     MIKE
           Must be a mistake.

                     SHERYL
           Says here you've listened to it 86
           times.

Busted.

                     SHERYL
           Is this true? Have you always wanted
           to be a cowboy?

Sheryl spies more...

                     SHERYL
           You also got "Men Without Hats"
           greatest hits? I didn't know they
           qualified for a greatest hits album.
           Can you break me off a little "Safety
           Dance"?

Mike reaches for the MP3 player.

                     MIKE
           Okay, give me that.

The Passat speeds past a "West Virginia" state sign.

              SHOOTING SCRIPT           OCTOBER 17, 2006          7.


16   EXT.   NATIONAL PARK ENTRANCE - DAY                           16

     The sun BURNS above.   The Passat turns into the park.

17   EXT.   PARKING LOT, RANGER STATION - DAY                      17

     The Passat rolls into a dirt parking lot. Next to the lot is
     the Ranger Station.

18   INT.   RANGER BASE STATION - DAY                              18

     Maps and local artifacts adorn the walls. A display of some
     of the local animals, stuffed of course, including a giant
     bear, fill in the gaps.

     Mike and Sheryl enter. They take in the place. Mike heads
     toward the Ranger's desk while Sheryl eyes the decor.

     SAM, 65, a round-faced RANGER with a grumpy disposition, a
     hearing aid in his right ear, sits behind a desk. He
     continues working, scribbling on something as Sheryl and Mike
     wait. And wait. Then...

                          MIKE
                Good morning.

     Sam holds up a "wait a second" finger.     After a beat...

                          SAM
                Now what can I do you two for?

     Sheryl spots some fliers tacked to a bulletin board. Hiking
     gear for sale, Tour Info, National Park History, etc.

                          MIKE
                Well...ah...

                          SAM
                First time here and you're not quite
                sure where to begin.

     Sheryl grabs a National Park Information flier.

     ANGLE ON - There are pictures, an Emergency Contact
     Information, Guided Tour Info, etc.

                          SAM
                Something like that.

                          SHERYL
                Precisely like that.

     Sam stands, grabs his lower back, a recurring discomfort.     As
     he digs around for something...

        SHOOTING SCRIPT           OCTOBER 17, 2006          8.


Sheryl notices, on the board...

ANGLE ON - A flier for a young missing couple.     Below that...

ANGLE ON - A photo of a girl: "Sarah Travers"(from the
opening scene).

Sheryl studies it and shakes off any concern by locking arms
with Mike at the desk.

                    SAM
          Get you started with one of these.

Sam grabs a map and lays it out in front of the couple.

                    SAM
          How long you folks hiking for?

                      MIKE
          Two days.    Heading out early Sunday.

                    SAM
          Well, if you move at a decent clip,
          you could hit the summit by midday
          tomorrow. Should still give you time
          to take it all in and make it down.

                    SHERYL
          Any particular path?

                    SAM
          You folks experienced hikers?

                    MIKE
          We've done some ah--

                    SHERYL
              (interrupting)
          No. Nothing like this.

                    SAM
          For first-timers, I recommend either
          Willow Creek Bridge or Donner Trail.

                    SHERYL
          Donner Trail? As in "The Donner
          Party?"

                    SAM
          I'm not sure of the name's origin.
          They're the two paths we regularly
          patrol. Something happens and you're
          on one of the other trails, it might
          be awhile before we find you.

                                                     9.


                    MIKE
          Where do we camp?

                    SAM
          Unless it says not to, you can set up
          where you like. Just make sure when
          you turn in that you extinguish your
          fire. Oh, and this here's bear
          country. They're not animals to fool
          with. You see one, you head the other
          way, especially if he's feeding. If
          the bear thinks you're getting in the
          way of his food, that's all she wrote.

Sheryl warily eyes the stuffed Bear in the station.

                    SHERYL
              (Sarcastic)
          Great.

                    SAM
          You got yourself a first aid kit?

                    MIKE
          Nurse Betty here's my first aid kit.

Sam looks confused...

                    SHERYL
          Don't mind him. I'm a nurse.

                    SAM
          Good for you. The question was, do
          you have a first aid kit?

                    SHERYL
          Yes, we have a first aid kit.

                    SAM
          Great, see how easy that was.
              (Moving on)
          It's off-season, park's pretty quiet.
          Even more than usual. You may run
          into a few locals, but--

                    SHERYL
          People live up here?

                    SAM
          We have a few generations of families
          that have called these mountains home.
          Most of `em are friendly. Respect their
          land and they'll respect you.

                                                              10.


     Mike twangs and air banjos, "Dueling Banjos" from
     `Deliverance.' Sam is not amused. Sheryl fights her
     temptation to laugh.

                           MIKE
                Sorry.

                          SAM
                    (Moving on)
                Base is just outside, to the left. At
                about two miles up there'll be a
                junction where you can pick your path.

                           MIKE
                Thanks.

     Mike and Sheryl offer a smile and quickly exit.

19   EXT.   RANGER BASE STATION - DAY                              19

     Mike and Sheryl exit.     They burst out laughing.

                                                           TIME CUT TO:

20   EXT.   PARKING LOT, RANGER STATION - DAY                      20

     Mike digs through his backpack, double-checking everything.
     What he doesn't show Sheryl... wrapped in some socks: a .38
     Revolver. He tucks it discreetly away.

     Sheryl checks her bag as well. She clips a blue hikers' towel
     to her waist. Mike checks his cell phone. No service.

                          MIKE
                You getting anything?

     Sheryl checks her phone and shakes her head "no."

                          MIKE
                I'll lock them in the car.

                          SHERYL
                I'll take mine.

                           MIKE
                Why?

                          SHERYL
                Just to annoy you.

                          MIKE
                Seriously...

             SHOOTING SCRIPT           OCTOBER 17, 2006         11.


                          SHERYL
                In an emergency, I'd rather have a
                phone that may not work up there, than
                not have a phone that may work up
                there.

     Huh? Mike shakes his head, puts his phone in the glove
     compartment.

     Sheryl tucks her phone and the flier into a side pocket of
     her backpack. Zips it shut.

     ANGLE ON - Mike's keys and his Boston Red Sox key chain.
     Mike locks the door.

                          MIKE
                Okay, we all set?

                             SHERYL
                       (Excited)
                Yup.

                          MIKE
                Let's do this.

     Mike pulls on his backpack, starts walking. Sheryl doesn't
     move. She eyes their tent still resting on the car's roof.

                          SHERYL
                Hey, Einstein. What do you think,
                leave the tent or maybe take it with
                us?

     Mike swallows his pride and retreats to the car.

                           MIKE
                I was just seeing if you were paying
                attention.

     Mike comes back to the car for the tent.   Sheryl shakes her
     head and smiles.

21   EXT.   BASE TRAIL #1 - DAY                                   21

     The mountain is breathtaking.    Nature at its best.

     Mike and Sheryl have begun their ascent.

                          SHERYL
                It could be fun.

                          MIKE
                Not a chance. High School reunions
                serve only two purposes... to try to
                          (MORE)

                                                     12.

                    MIKE (cont'd)
          rehash so-called glory days if you
          were popular or to gloat if you were a
          spaz and are now filthy rich, banging
          a super-model.

                    SHERYL
          So what were you?

                     MIKE
          Me?   I was a stoner.

                    SHERYL
          So what does that mean?

                    MIKE
          How the hell am I supposed to
          remember? I was high all the time.

Sheryl swallows some water, checks her compass.

Sweat rolls down Mike's forehead, stinging his eyes. Sheryl
doesn't have that problem. She's wearing a red bandana.

                    MIKE
          Where'd you get that bandana?

                    SHERYL
          It's cute, right? I stopped by that
          Army-Navy store on Grover yesterday.
          Keeps the sweat out of your eyes.

                    MIKE
          And when you were buying it, you
          didn't think that maybe...

                    SHERYL
          Oh...well...it was the last one...

                    MIKE
          The last one?

                     SHERYL
          Yeah...

                    MIKE
          The entire Army-Navy store... sold out?

                    SHERYL
          Completely. There was some sort of
          run on bandanas at the last minute.

Sheryl stifles a CHUCKLE. Mike shakes his head, then... she
pulls out a GRAY BANDANA, hands it to him.

              SHOOTING SCRIPT               OCTOBER 17, 2006   13.


                           SHERYL
                 Here... You big baby.

      Sheryl turns, as she does... Mike pinches her behind, she
      playfully SHRIEKS, hustles away from him, but he pursues her,
      as they both CRACK UP, they spill off the trail...

      OFF THE PATH... Mike and Sheryl continue their horseplay,
      when... SHERYL LOOKS DOWN, SCREAMS!

      A BLOODY, MUTILATED FOX LAYS INSIDE A RUSTED BEAR TRAP. The
      Steel jaws of the trap have sliced the body in two. The kill
      looks fresh.

                           MIKE
                 Fucking nasty.

                           SHERYL
                 What is it?

                           MIKE
                 Looks like it's a, or was, a fox.
                 Come on.

      Mike and Sheryl head back to the path.

      ANGLE ON - The MUTILATED, BLOODY FOX.

21A   EXT.   BRIDGE ON BASE TRAIL   - DAY                         21A

      Mike and Sheryl hike over a small wooden bridge.

22    EXT.   BASE TRAIL #2 - DAY                                  22

      Mike and Sheryl reach a small clearing. There are a number of
      signs pointing toward different trails. (Donner Trail, Willow
      Creek Bridge, Timber Falls, etc.)

      Sheryl grabs the map and some water. Mike swigs some water,
      munches on trail mix, takes a peek in the guidebook.

                           SHERYL
                 What do you think?    "Cannibal" Trail
                 or the other one?

                           MIKE
                 Guidebook says a couple of these other
                 trails lead to some pretty sweet
                 views.

                           SHERYL
                 We're not Lewis and/or Clark. We're
                 gonna stick to one of the ones the
                 Ranger said.

                                                    14.


                    IDA (OS)
          You folks need some help?

IDA FOSTER, 40s, approaches, wheeling some supplies in a
handmade wagon. She is worn, haggard, but has a friendly,
smile. She wears a flannel shirt, old jeans and dirty boots.

                    MIKE
          We're just going over our options
          here.

                    IDA
          Well, take it from me, any way you
          choose, you can't go wrong.

                    SHERYL
          The Ranger at base suggested Donner
          Trail or...

                    IDA
          ...Willow Creek Bridge. I think Sam
          only knows those two trails. Well.
          Between those, I'd pick Donner Trail.
          Willow Creek will shoot you to the
          top, but there's not as much to see.
          Donner weaves through Peddler's Point,
          it's a better hike and prettier all
          around view.

                    SHERYL
              (To Mike)
          What do you think?

Then, she notices a ring on Sheryl's finger.

                    IDA
          That's a pretty ring.

                       SHERYL
          Thank you.

                    IDA
          Not your traditional wedding ring, but
          it's all the same in the Lord's eyes.
          How long have you two been wed?

Sheryl and Mike trade looks.

                    SHERYL
          Oh... we're not married.    Not yet
          anyway.

Mike shoots her a look: "not yet?"

                                                      15.


                       SHERYL
             It's a ring my father gave me for
             graduation.

                        IDA
                 (embarrassed)
             Oh, I'm sorry. You just looked like
             you was married is'all. Both so
             beautiful.
                 (Beat)
             I'm just an old fashioned silly-bird.
             I need to mind my own business.

                       SHERYL
             No, it's fine.

                        MIKE
                 (changing topics)
             Which one of those trails got the best
             clearings?

                       IDA
             Clearings? Neither will give you much
             in the way of clearings. But, there's
             another path, this one here.
                 (Points to the map)
             Timber Falls. Its got some beautiful
             vistas and one of the prettiest falls
             you'll ever see.

                       MIKE
             Sounds perfect.
                 (To Sheryl)
             Yeah?

                       IDA
             Well, I'll leave you to it. Last
             thing you need is me fussing'round
             you, taking you from your private
             time.

              SHERYL                           MIKE
Thank you.                        Yeah, thanks for the tip.

Ida walks off, but stops only a few feet away.

                       IDA
             I'm just gonna say it and go, but if
             you two were to marry... I bet the
             Lord would bless you with a happy,
             healthy and handsome child. Good luck
             and God bless you both.

                                                              16.


     Sheryl and Mike don't know how to respond.      Ida leaves.   Once
     out of earshot...

                          SHERYL
                I suddenly feel the need for
                confession.

                          MIKE
                    (Still lingering on...)
                Not yet? Love taking your shots,
                don't ya?

     Sheryl shoots him a stern, but playfully sexy, look.

                          SHERYL
                When I see an opening.

                          MIKE
                    (Checks map)
                That path she was talking about winds
                through these falls. What do you
                think?

                          SHERYL
                I think... if you get eaten by a bear
                and there isn't a Ranger around, I'm
                not carrying what's left of you down
                this mountain.

                          MIKE
                And they say romance is dead.
                    (Smiling wide)
                Timber Falls it is.

     They throw on their backpacks and head on their way.

                          MIKE
                Who's Lewis and/or Clark?

                          SHERYL
                You really were stoned through high
                school.

     As Mike and Sheryl trek up the path...

     ANGLE ON - The directional sign, "Timber Falls"

23   EXT.   TIMBER FALLS TRAIL #1 - DAY                              23

     Looking back down on the thin path. FIND - Sheryl and Mike
     continuing their trek. (SPLINTER UNIT)

     Mike maneuvers around a massive tree. He freezes. Gestures
     for Sheryl to be quiet and mouths the words, "Don't Move."

                                                      17.


Sheryl stops, startled.     Mike motions towards...

A MOUNTAIN STAG, with magnificent antlers, chews on a plant
in the distance.

Sheryl quietly slides out her digital camera.    Snaps a photo
of the animal.

The Stag stops chewing and looks at them.    After a long beat,
the Stag skips away through the trees.

Sheryl watches the animal disappear, smiles.

Mike removes his backpack and crosses to Sheryl. He helps
remove her backpack and kisses her. She kisses him back.

ANGLE ON - Sheryl's heart-shaped locket through her shirt.

                    MIKE
          You're going to lose that out here.

                    SHERYL
          It's fine. I never take it off. Not
          since you gave it to me. Betcha don't
          remember...

                    MIKE
          ...February 27, 2006.

Sheryl stares incredulously, romantically at Mike.
Speechless.

                    MIKE
          I remember every moment with you.

                    SHERYL
          I've got you so whipped.

They kiss. Sheryl climbs onto Mike's lap. He leans back,
better positioning, places his hand down, when...

                     MIKE
          OUCH!   FUCK!

Mike brings his hand back up.    BLOOD trickles out of a SMALL
CUT across his palm.

                     SHERYL
          What?

                    MIKE
          My hand... Something stuck it.

                                                             18.


     Sheryl quickly examines the cut. Mike quickly becomes
     flustered, woozy. He turns away from the wound.

                         SHERYL
               It's okay. It's not too deep.      Let me
               get the first aid kit.

     Sheryl rummages through her bag. Mike, in more psychological
     discomfort than physical, looks away wincing.

     Sheryl returns, wipes the blood away best she can.    She
     applies some peroxide...

                          MIKE
               Fuck.   That stung.

                         SHERYL
               Gotta clean the wound, baby.

24   OBSCURED POV - THROUGH TREES--                                24

     From a distance... A SICKLE BLADE enters frame, pulls a
     branch aside. Sheryl attends to Mike's wound.

     The POV narrows... solely on SHERYL.

25   TIMBER FALLS, TRAIL #1--                                      25

     Mike looks at Sheryl, a twinge of embarrassment in his eyes.

                         MIKE
               You know me and blood... we don't do
               so well.

                         SHERYL
               I know.
                   (She finishes)
               All done.

     OFF SCREEN: CRUNCH of something stepping on a thicket.

     Sheryl glances toward the sound.    Mike admires the dressing
     of the wound.

                         MIKE
               Not bad, Nightingale.     Not bad at all.

                         SHERYL
               Did you hear something?

     Mike follows her eye-line.   There's a softer CRUNCH.

                         MIKE
               It's probably the deer.

                                                       19.


                    SHERYL
          The deer went in the other direction.

Mike's demeanor suddenly becomes cold, creepy.

                    MIKE
          Maybe it's someone, or something,
          stalking us.

                       SHERYL
          Quit it.

                    MIKE
          Something inhuman watching our every
          move.

                    SHERYL
          I said, knock it off.

                    MIKE
          Something coming for you, Sheryl.

Sheryl straps on her backpack.

                    SHERYL
          Just when I think there's hope for
          you.

                       MIKE
          What?

                    SHERYL
          You're an asshole.

Sheryl walks away.

                    MIKE
          This is a joke. You're not really mad,
          are you? Sheryl...?

She turns the corner and is out of sight.

                     MIKE
          I'm sorry!
              (Under his breath)
          Unbelievable.

Mike's in disbelief.    He grabs his backpack, heads after her.

                       MIKE
          Sheryl!

He turns the corner, looks up, but doesn't see her.   The path
winds like a snake.

             SHOOTING SCRIPT           OCTOBER 17, 2006        20.


                           MIKE
                 Sheryl, wait up!

     Mike moves up the winding path.    He stops, eyes searching.
     Something's wrong.

     The path opens up. Mike can now see a hundred yards ahead,
     but... No sign of Sheryl.

                           MIKE
                     (Calls out)
                 Sheryl?! This isn't funny.

     Silence.

     Two birds SCREAM and fly from their perch overhead. Mike eyes
     the birds, then takes off.

     Mike's heart-rate increases. He moves quickly up the path, a
     steep incline. He brushes past a bush and stops. Lying just
     off the path... SHERYL'S BLUE HIKER'S TOWEL. He picks it up.

                              MIKE
                 Sheryl?!

     No reply.   His heart now POUNDING.

     Mike moving faster. Up ahead, he stops again, finds...
     SHERYL'S RED BANDANA.

                              MIKE
                 Sheryl!

     Silence.

     Mike picks up the bandana. He's flying.     He cuts through
     some tiny evergreens, off the path...

26   EXT.   JUST OFF THE TRAIL, TIMBER FALLS #1 - DAY               26

     Mike freezes when he sees... Sheryl's backpack lies against
     a tree. A few feet farther along, her cut-off jean shorts.
     Next to them... her shirt. But no Sheryl, until...

                           SHERYL (OS)
                 Good old Hansel. Following the trail
                 of bread crumbs.

     Mike turns to see Sheryl lying against a rock, wearing just
     her bra and panties. She smiles at him coyly. Mike exhales
     deeply. Relieved, but fuming.

                              MIKE
                 You bitch.

       SHOOTING SCRIPT           OCTOBER 17, 2006          21.


                    SHERYL
          Doesn't feel good to be teased, does
          it?

Okay, he had that coming.

                     MIKE
          Truce?

                     SHERYL
          Truce.

He takes her in.   She's quite a sight. He sits down next to
her. They kiss.    Then... Mike breaks the embrace.

                    MIKE
          Don't disappear on me again.

Sheryl mouths the words, "I promise."    Crosses her heart.

He leans in, they kiss again.   Soft and sweet at first.   Then
it deepens.

Sheryl rubs his chest and removes his shirt. They kiss
again. Harder this time. Their hands all over one another.

Mike slides his hand under Sheryl's panties, between her
legs. She moans softly. Sheryl unhooks her bra and is about
to remove it, when:

                    DARRYL (O.S.)
          Hey, Brody, Lonnie. Check this out.

DARRYL, 30, a skinny local with a twisted smile and LONNIE,
20's, a slob, emerge from the forest. They are followed by...

BRODY, 35, scruffy and unshaven, their ringleader. Brody
clutches a shotgun in one hand and a weathered sack in the
other.

                    DARRYL
          Looks like we got ourselves a little
          party.

Brody and Darryl ogle Sheryl. She tucks herself behind Mike,
who shifts quickly into protective mode. She snaps her bra
back closed.

                    MIKE
          We were just moving our way up the
          mountain.

                                                          22.


                    LONNIE
          You were moving your way'round more
          than just that.

Sheryl eyes her discarded clothes.   Darryl spots them too.
He grabs the shorts, SNIFFS them.

                    DARRYL
              (Referring to the smell)
          Like a peach.

Mike tries to seem relaxed and friendly.

                    BRODY
          You folks best be careful about what
          you do up here... Never know who's
          watching.

                    MIKE
          Appreciate the advice...I think we
          learned our lesson.

Brody nods as he looks them up and down.

                    LONNIE
          You city folk, ain't ya? Up from
          Charleston roughing it, seeing how the
          "other" half lives?

                    MIKE
          No, we're from Virginia, just up for a
          weekend trip. And, uh... you folks
          live up here?

Brody glances at Darryl and Lonnie, then back at Mike.

                    BRODY
          It's easy to spot the city folk. It's
          like they're trying to be friendly,
          when really they don't want to be.

                    MIKE
          I think you just startled us is all.

Sheryl looks over at...

...Lonnie sticks his tongue between his fingers, rapidly
flails it about.

Uncomfortable silence.

                                                       23.


                       MIKE
             We'll just be on our way.
                 (Re: Sheryl's shorts)
             May I have those?

A bold move from Mike.

                       DARRYL
             Finders keepers.

Long beat.    Tension high.

                       BRODY
             Darryl.

Brody concedes, gestures to Darryl to give the shorts back.

Darryl reluctantly obliges.

Mike passes them to Sheryl who slides them on. Darryl and
Lonnie soak in every inch of Sheryl as she does.

Mike takes Sheryl's hand. They make a move, but... Brody
stops them with the barrel of his shotgun.

                       BRODY
             Where you runnin' off to?

                       LONNIE
             Yeah, we just getting acquainted and
             shit.

Mike glances down at the barrel that runs across his chest.
He can no longer hide his fear.

                       MIKE
             We just want to get a little further
             along before the sun sets.

Darryl eyes the sky.    The sun beams down through the trees.

                       DARRYL
             Plenty of time'fore that.

                       MIKE
             Look. We don't want any trouble.   We
             just want to be on our way...

                       BRODY
             And why do you suppose we mean to make
             trouble?

Mike looks down at the gun.     Brody smiles a yellow smile.

       SHOOTING SCRIPT               OCTOBER 17, 2006     24.


                    BRODY
          You folks enjoy the spirits?

                       MIKE
          Excuse me?     The what?

                       DARRYL
          Spirits.

                       LONNIE
          Booze!

                      MIKE
          Sure.    Yeah.

Brody hands Darryl the shotgun and drops his sack. Brody
pulls a mason jar with clear liquid out of the sack.

                    BRODY
          Why don't you try a taste of this?

Brody unscrews the cap and offers the jar to Mike. Mike eyes
Sheryl. Clearly she doesn't think it's a good idea.

Mike accepts the jar, hesitates, then takes a sip. He
squirms, winces, but forces it down. Mike turns red and
coughs. Brody and Darryl are loving it.

                    DARRYL
          Betcha never tasted nuthin'like that?

Darryl would win that bet.

                    BRODY
          Fifty bucks.

Mike has no idea what he's talking about.

                    BRODY
          I'll sell you the jar for fifty bucks.

                    DARRYL
              (Ogles Sheryl)
          Or maybe we could do us a little
          trade.

                    MIKE
          Let me get my wallet.

Mike opens a zipper on his backpack, rummages around.

ANGLE ON - INSIDE THE BAG... the .38 Revolver.

                                                       25.


Mike thinks about grabbing it.     Sheryl shocked to see the
gun. She tenses up.

ANGLE ON - Brody.   The shotgun.

Mike thinks, then...

                    SHERYL
          Fifty bucks sounds like a bargain.
              (To Mike)
          Pay the man.

Mike reaches past the gun and grabs his wallet. He counts
out the cash, hands it to Brody. Brody smiles, hands the jar
to Mike.

                    BRODY
          Pleasure doing business with ya.     Take
          care now.

Brody nods at Mike and Sheryl, walks off down the trail.
Darryl grins at Sheryl, follows Brody.

                    LONNIE
          Should you tire of your present
          company... just holla and I'll come
          running with bells on darling.

He smiles a creepy wide smile.     He turns and catches up to
the others.

Once they are out of sight... Mike takes a moment to gather
himself. Sheryl grabs her shirt still on the ground, puts it
on.

                    MIKE
          Are you okay?

                    SHERYL
          You brought a gun?

No response.   Sheryl picks up her towel and bandana.

                    SHERYL
          Why did you bring a gun?

                    MIKE
          Same reason you brought your
          cellphone. Better to have it and not
          need it. To protect us.

                    SHERYL
          Lotta good it just did.

                                                             26.


     Sheryl turns from Mike, walks back to the path.

                          MIKE
                    (Then, call out)
                You want to go back?
                    (No response)
                Sheryl? I'm sorry.

                          SHERYL
                We should have stuck to one of the
                patrolled paths.

     Sheryl charges ahead, back to the path.

                          MIKE
                    (Under his breath)
                Fuck.

     Mike gets up, grabs his bag and follows Sheryl.

27   EXT.   MOUNTAINS - DAY (2ND UNIT)                             27

     The sun begins to set, basking the mountain range in a
     magnificent light.

28   EXT.   WATERFALL - TIMBER FALLS TRAIL #2 - DAY                28

     Mike and Sheryl move right along.     Still not speaking.

     The path forks at a BEAUTIFUL WATERFALL. Mike stops, faces
     the falls, turns to see... Sheryl behind him, catching up.
     As she does, she slips...

                          MIKE
                You alright?

                          SHERYL
                    (balances herself)
                Yeah.

     She's about to walk past him, but he reaches for Sheryl's
     hand and holds it.

                             MIKE
                I'm sorry.

                          SHERYL
                Do you know how many times I've had
                someone die on me? How many children?
                I stopped keeping count.

                          MIKE
                I thought... I wasn't thinking.       What
                do you want me to do?

                                                          27.


                    SHERYL
          Get rid of the gun.

                    MIKE
          What... now? Out here?

She holds firm.

                    MIKE
          I can't just leave it here in the
          woods, some kid could find it.

                    SHERYL
          Then get rid of the bullets now and
          when we get home, you get rid of the
          gun.

Mike thinks about it.    His instincts SCREAMING not to do
this, then...

                       SHERYL
          Please.

Mike relents. He removes his backpack, ZIPS it open.    He
pulls out the gun, opens it, spills the bullets out.

Mike WITH A DEEP BREATH, TOSSES THE BULLETS into the woods.

                    SHERYL
          Was that all of them?

                       MIKE
          Yes.

Mike steps back to Sheryl, they hug.

                       SHERYL
          Thank you.

CRACK! A strange sound, like wood snapping, startles Sheryl.
Mike turns as well. Their eyes WIDEN.

CRACK! The FIGURE emerges from the clearing, practically
landing on top of them. It's...

CLYDE, a Park Ranger, mid-50's, friendly. He's got a weed
cutter in his hands, wears a PAIR OF WORK GLOVES. He's just
as surprised to see them.

Sheryl and Mike breath a sigh and offer him a smile.

                    CLYDE
          Oh. Didn't mean to startle you folks.
          Just clearing some of the brush off
                    (MORE)

SHOOTING SCRIPT        OCTOBER 17, 2006    28.

            CLYDE (cont'd)
  the path. We had some heavy rains
  this past week, knocked some trees and
  branches down. One of the new
  recruits was supposed to do yesterday,
  but... if you want something done
  right, you gotta do it yourself.

            MIKE
  It's fine. We were led to believe
  this trail wasn't regularly patrolled.

            CLYDE
  It's not, but... It's one of my
  favorite spots, so I often find an
  excuse to swing by.

            SHERYL
  It's gorgeous.

            CLYDE
  Yup. There are a couple more falls in
  the park, but none quite so...
  inviting as this one. Now don't take
  my word for it, you can see for
  yourself... How long's your stay?

            SHERYL
  Just til Sunday.

            CLYDE
  Yeah, no. The other falls are clear on
  the other side. It would take you a
  couple nights just to get there.

            SHERYL
  Maybe next time.

            MIKE
  This is a quickie trip. Just getting
  out of the city for a couple days.

            CLYDE
  The city, huh. Which? If it's
  Charleston, I wouldn't blame ya.
  Whole place smells like feet. I gotta
  haul myself all the way down to the
  hospital there for my yearly because
  the darn HMO's rules and regulations
  won't let me visit the local Doc. Not
  my cup of tea at all, but if you like
  it there, then...

            SHERYL
  No, we're not from Charleston.

       SHOOTING SCRIPT           OCTOBER 17, 2006             29.


                     MIKE
           But apparently we look like we are.

                     SHERYL
           We live in Alexandria.   It's just
           outside of D.C.

                     CLYDE
           Oh. I've been there, few years back.
           Now that city I like. Lotta beautiful
           churches if I recall correctly. Which
           congregation do y'all belong to?

                     MIKE
           Um... Not sure. Sheryl keeps track of
           all that for us. Sheryl?

Sheryl gives Mike the "you're an asshole" look.     Then...

                     SHERYL
           Uh... We're between congregations at
           the moment.

Awkward.

                     CLYDE
           Well... I should get back to work.
           Sun'll be down soon and that path
           ain't gettin'clear on its own.

Clyde walks off, until...

                     SHERYL
           Excuse me... Sir?

Sheryl doesn't know his name.   Clyde stops, turns back.

                     CLYDE
           The name's Clyde.

                     SHERYL
           Clyde, would you recommend a nice spot
           nearby to make camp for the night?

                     CLYDE
           Be happy too... Let's see... Oh, I
           got it. "Five Corners" will be
           perfect. It's just a bit up the ways
           here, near the Lake. It's five large
           rocks which sit in a clearing with a
           view of the whole park. The rocks
           retain the heat from the day, so if
           you set up camp between them you won't
           be so cold.

                                                             30.


                          SHERYL
                Sounds perfect.

                            MIKE
                Thanks.

                          CLYDE
                Just doing my job. You have fun and
                be careful. Good evening.

     Clyde tips his cap and disappears.

29   EXT.   FIVE CORNERS - DAY                                      29

     Mike and Sheryl hike up a steep slope.      As they step through
     the woods, they look upon...

     FIVE LARGE ROCKS, arranged in an awkward semi-circle.

     They walk into the circle, take off their backpacks.

                          SHERYL
                This is incredible.

     Mike opens the tent pouch, starts removing the many parts.

                          SHERYL
                Ranger said there's a lake near by.

                            MIKE
                What?

                            SHERYL
                The lake.    I'd kill to rinse off.

     Sheryl makes a move...

                          MIKE
                Whoa. Wait a sec. It'll be dark soon.

                          SHERYL
                Where's your sense of adventure?

     She takes off.

                         MIKE
                Sher. Seriously.       Let's wait `til
                morning.

30   OBSCURED POV--                                                 30

     On SHERYL as she stops.       Looks out towards the water.

                                                              31.


     CLOSE ON - THE CONCEALED FIGURE'S EYES. Two different
     colors, with his left being void of almost all color. Also
     notice SCARRING around the left eye, there's no eyebrow and
     his skin is pale and splotchy.

     The Concealed Figure holds all his attention on...

31   FIVE CORNERS--                                              31

     Sheryl realizes he's right and walks back over to Mike.

                           SHERYL
                Fine.

     Mike stares at the many assorted parts of the tent, the sheet
     of instructions laid out. He holds one of the poles, which
     consists of separate links connected by a string. He has no
     idea where to begin.

                          SHERYL
                Do you know what you are doing?

                          MIKE
                I think its pretty obvious that I
                don't.

     Sheryl laughs.

32   EXT.   TREES, OUTSKIRTS OF FIVE CORNERS - CONTINUOUS        32

     The Concealed Figure retreats into the forest.

                                                         DISSOLVE TO:

33   EXT.   FIVE CORNERS - NIGHT                                 33

     STARS FILL THE SKY. Crickets chirp, but aside from that,
     peace and quiet reign.

     A fire CRACKLES. A tent for two has been pitched. Dirty
     pots, pans litter the area. Dinner's over and done.

     Mike and Sheryl cuddle by the fire.   A sleeping bag wrapped
     around them.

                          MIKE
                That was... the worst dinner ever.

                           SHERYL
                    (Beat)
                You cooked.

                                                               32.


                           MIKE
                Yeah, I'm aware.
                    (Beat)
                You know what would make this evening
                perfect? Moonshine. I got a whole
                jar of it. There's a sentence I never
                thought I'd say. "I have a jar of
                moonshine." Matter of fact, I've got
                enough to share with our entire
                congregation...

                          SHERYL
                ... in Charleston.

                          MIKE
                Our home city, of course. But I
                should start with you... Would you
                like some moonshine?

     Sheryl smiles, shakes her head playfully.

                          MIKE
                Then what would you like?

                          SHERYL
                I'd like to fuck you.

                          MIKE
                Not very Christian of you.

                          SHERYL
                I'm more Old Testament.

                          MIKE
                What's that mean?

                          SHERYL
                Not sure. But I think it's the
                nastier of the two books.

     Sheryl pulls Mike into her, they kiss. Strong and deep.
     Sheryl abruptly breaks the kiss, enough foreplay. She stands
     up, pulls Mike into the tent with her.

34   INT.   TENT - NIGHT                                            34

     Sheryl pulls off her sweatshirt, then the T-shirt.    Mike
     kicks off his shoes, drops his pants.

     Mike unbuttons Sheryl's jeans, tugs them off.

     Sheryl unhooks her bra, tosses it aside.    Mike slides her
     panties down her legs and off.

                                                                 33.


       Few things in life can be described as perfect.         Sheryl's
       naked body is one of them.

       Sheryl pulls Mike's boxers down, climbs on top of him.        She
       reaches down and slides Mike inside her.

       Sheryl KISSES Mike. He slides his hands around Sheryl's
       butt. Sheryl paws his chest, bites his lower lip HARD.

       The lovers move in unison.    Perfection.

35     EXT.   TENT - FIVE CORNERS - NIGHT                                 35

       Inside the tent, Mike and Sheryl continue.      Their campfire
       still burns. Suddenly...

       A SHADOW creeps into frame.    Then a BOOT.    Someone's outside
       their tent.

36     INT. TENT - NIGHT                                                  36

       Breaths get shorter, stronger. Sheryl and Mike build to
       climax. They don't/ can't notice...

       A SHADOW passes across the wall of the tent.

       The last final moments before... climax. The lovers EXHALE.
       Sheryl crashes on top of Mike. He wraps his arms tightly
       around her.

                                                               TIME CUT TO:

36 A   EXT.   TENT - NIGHT                                            36 A

       The last FLAMES on the fire slowly BURN OUT.

36 B   INT.   TENT - NIGHT                                            36 B

       Mike and Sheryl spoon, their hands and fingers messed
       together as one.

                            MIKE
                  I was good. I mean, even better than
                  usual.

                            SHERYL
                  If you don't say so...

                            MIKE
                  ... if I don't say so myself, yeah.
                  Top notch performance. What, you
                  disagree?

                                                         34.


                          SHERYL
                Nah, it was good.   Do you think I had
                anything to do...

                           MIKE
                No.   All me.

                          SHERYL
                Fine.
                    (Beat; cautious)
                I liked what the old woman said about
                us earlier.

                          MIKE
                What did she say?

                          SHERYL
                That she thought we were married.

                          MIKE
                    (Groans)
                You are relentless.

     Mike gets up, starts dressing.

                          SHERYL
                I wouldn't be a proper girlfriend if I
                didn't nag every now and then.

                          MIKE
                I get it, but it makes me feel like
                the bad guy every time. Which makes
                me feel like shit.

                          SHERYL
                I'm sorry. I didn't mean that.       Where
                are you going?

                          MIKE
                Do out there, what you did in here.

                          SHERYL
                What's that?

                          MIKE
                Put out the fire.

     Mike exits.   Sheryl lies back down, exhales in frustration.

37   EXT.   TENT - FIVE CORNERS - NIGHT                         37

     Mike, now fully dressed, pours a bucket of water over the
     campfire. In the background, bags hang from a tree (just as
     Ranger Sam asked them to do.)

                                                             35.


     A smoldering mist of smoke is all that's left of the fire.
     Mike drops the bucket, heads for the tent, when... He
     suddenly stops, notices...

     ON THE GROUND... A FRESH MUDDY FOOTPRINT.     Mike compares his
     boot to it. It's not the same size.

     Mike surveys the area. All's quiet now. But an uneasy
     feeling has crept back into his bones. Mike climbs back
     inside the tent, zips it shut.

                                                        FADE TO BLACK.

     FADE IN:

38   EXT.   FIVE CORNERS - SUNRISE                                    38

     The sun peeks over the horizon and through the clouds.     A
     BIRD crows.

39   INT.   TENT - DAY                                                39

     Sheryl's eyes SNAP open. She's nestled comfortably in Mike's
     arms. He's still asleep.

40   EXT.   TENT - FIVE CORNERS - DAY                                 40

     Sheryl, now dressed, towel in hand, bandana wrapped around
     her hair, vomits behind some trees.

     After, she takes a couple deep breaths, swishes some water in
     her mouth. A beat later, she heads off.

41   EXT.   LAKE - DAY                                                41

     Sheryl stands on the lake's shore, checks a couple times over
     both shoulders. Then, she takes her sweats and bandana off.
     Lay them on top of her towel.

     Sheryl, wearing only her locket, carefully steps into the
     water... it's cold. But nevertheless her desire to feel
     clean outweighs the temperature discomfort.

     On her own little count to three... She dunks her head below
     the water. As she drops out of sight, REVEAL--

     ON LAND, IN THE DISTANCE... THE CONCEALED FIGURE STANDS ON
     THE SHORE, WATCHES HER.

     IN THE WATER... Sheryl POPS up, turns towards land and... THE
     CONCEALED FIGURE is gone.

     Sheryl comes back to land.      She grabs her towel, dries her
     hair and pats herself dry.      She pulls on her sweatpants,

                                                             36.


     starts to tie her bandana around her head, and turns straight
     into... THE CONCEALED FIGURE.

     CLOSE ON - THE STEEL SICKLE/ AXE

     SHERYL SCREAMS.     The sound resonates over...

42   INT.   TENT - DAY                                             42

     Mike opens his eyes. Something woke him up, not exactly sure
     what. He sits up and yawns, stretches his stiff body. He's
     alone in the tent.

43   EXT.   TENT - FIVE CORNERS - DAY                              43

     Mike, now dressed, stands behind a tree, takes a piss.   He
     shudders slightly. It's cold.

     Mike finishes his business, grabs his water bottle and takes
     a long drink. He peels off the bandage from his hand. It
     looks fine today.

     He looks around, but no sign of Sheryl.

44   EXT.   LAKE - DAY                                             44

     Mike walks up to the water, looks in both directions.
     Nothing. A pang of concern registers.

     He kneels down, cups some water and splashes it over his
     face, hair. As he opens his eyes, he notices something.

     In the wash of the waves, sparkling in the sunlight. It's
     Sheryl's locket. The chain broken. He picks it up...

                          MIKE
                    (Calls out)
                Sheryl!

     Mike looks around. He's completely alone.     The blood drains
     from his face. Mike pockets the necklace.

     He starts into the water... did she drown?    Just as he gets
     knee deep...

     OFF SCREEN: A SCREAM CRIES OUT!

     Mike stops, turns back looking at the forest.

                            MIKE
                Sheryl!

     He hustles out of the water, heading for the woods.

                                                               37.


45   EXT.   WOODS NEAR STREAM - DAY                                  45

     Mike hustles through the thick patch of trees and hits the
     steep little slope. He flies up the slope but loses traction
     and slips, BANGING his knee.

                          MIKE
                Fuck!
                    (Top of his lungs)
                Sheryl!

     Mike pushes himself up, continues on.

46   EXT.   WOODS NEAR STREAM #2 - DAY                               46

     Mike's really moving now. He scoots through the first patch
     of trees and hustles down a slope.

47   EXT.   CLEARING, TIMBER FALLS TRAIL - DAY                       47

     Mike emerges from the woods, drops into a clearing.        Looking
     around wildly...

     POV OF MIKE - Has he been here before? It all looks the
     same? Not even sure which direction he just came from.

                           MIKE
                Sheryl!

     Still nothing.   Mike swallows.     What to do now?

                                                            SMASH CUT TO:

48   EXT.   WOODS #1 - OFF TIMBER FALLS TRAIL - DAY                  48

     TIGHT ON MIKE as he races through the trees.     HIS LEGS
     trample over rocks, dirt, shrubs. Then...

     Mike TRIPS, falls down HARD. He lifts his forearm to reveal
     BLOOD, SCRAPES and a LONG SHARP SPLINTER sticking out.

     The sight of it almost makes Mike puke right then and there.

     Mike grabs hold of the splinter, turns his head... takes
     about a thousand short quick breaths and... PULLS THE
     SPLINTER OUT! BLOOD SQUIRTS ACROSS HIS FACE.

     He removes the GRAY BANDANA from his back pocket, wraps it
     around his wound.

     Mike lays back, stares up into the sky.     Tries to catch his
     breath, calm down. Then...

     Faint sound of LAUGHTER.

                                                            38.


     Mike sits up.     Again, faint sound of LAUGHTER.

     Mike stands, takes a couple of steps toward the sound. MORE
     LAUGHTER. Mike's got the scent, takes off in its direction.

49   EXT.   WOODS #2, OFF TIMBER FALLS TRAIL - DAY                  49

     Mike follows the VOICES through a thick patch of trees.     He
     stops at the top and looks down.

     POV OF MIKE - Walking along the main path, obscured by the
     trees, is Darryl and Lonnie. They drink, LAUGH about
     something. Lonnie carries some fishing poles.

     Mike's about fifteen feet above them.      He narrows his focus
     in on...

     MIKE'S POV - Darryl twirling something in his hand.     It's
     Sheryl's blue hikers' towel.

     Mike turns red with fury.    He looks back down...

     MIKE'S POV - Darryl, a SHOTGUN slung around his shoulder.

     Mike looks around and spots a large pointed stick lying near
     a tree, parallel to him.

50   EXT.   TIMBER FALLS TRAIL #4 - DAY                             50

     Darryl and Lonnie continue along, until...

     OFF SCREEN: A LOUD CRACK.

     Darryl stops, turns.    Lonnie looks at Daryl.

                          LONNIE
                What is it? Hear something?

     Darryl holds his look into the woods, then...

                            DARRYL
                Nah.    It's nothing.

     Suddenly, Mike LEAPS from behind a tree, WHACKS the surprised
     Darryl across the face with the stick. Darryl drops like a
     sack of potatoes.

     Mike locks eyes with a terrified Lonnie.

                          MIKE
                Where is she!?

     Lonnie pauses, frozen.    He then takes off, disappearing
     through the trees.

                                                    39.


Darryl lies on the ground, MOANING. He pushes himself up to
his knees. BLOOD POURS from a fresh gash across his head.

Mike grabs Darryl's shotgun, aims at Darryl.

                    DARRYL
          Whoa... take it easy.

                    MIKE
          Where is she?

                      DARRYL
          Who?    What the fuck you talking about?

                    MIKE
          What did you do to her?

                    DARRYL
          I didn't fuckin' do nothing.

                    MIKE
          WHERE IS SHE?!

                    DARRYL
          I don't know!

Mike CRACKS Darryl across THE JAW with the barrel.

                    MIKE
          You have Sheryl's towel...What the
          fuck did you do to her?!

Darryl's a mess, his nose busted. He gags on blood and
teeth. Mike stares at the bloody desight that is Darryl.
Even Mike has to turn away for a moment for this. Then...

                    DARRYL
          Foun' towel.

                      MIKE
          What?

                    DARRYL
          I foun' the towel.

                    MIKE
          You found it? That's you're fucking
          story, you inbred fuck?!
              (Points gun at Darryl's head)
          Stop fucking lying or I will kill you!

                                                          40.


                    DARRYL
          Don' kill me...Please...I foun' it...
          Up...Up the paf back `dere...just a
          bit ago... fuckin'swear!

Mike's finger itches the trigger. He's turning red.
Breathing hard, heavy. Then... Mike relents. Lowers the
weapon, turns his back to Darryl, stares into the woods.

The tension fades for the moment.   But only a moment.

                     DARRYL
          Didn't think you had dat in you, city
          boy.
               (Looks at his shirt; the blood)
          Shit... I just got dis shirt.

Darryl, while Mike is distracted, seizes his opportunity,
reaches behind...

ANGLE ON - Darryl slides a POCKET KNIFE from his back pocket.

                    DARRYL
          Damn shame you lost dat fine piece
          o'ass. Something dat sweet don't
          come'round every day. Even for pretty
          folk like you.

                    MIKE
          Shut the fuck up.

ANGLE ON - Still concealed from Mike, Darryl opens the pocket
knife, the BLADE fully extended.

                    DARRYL
          You best hope you find her'fore I do.
          `cause I will enjoy tearing her ass
          apart.
              (Mike turns, faces Darryl)
          And when I'm done there, I will cut
          her eyeballs out and skull fuck her.
              (Mike simmers to a boil)
          Any luck, Brody's already beat me to
          it.

                    MIKE
          Sonofabitch!

Mike takes a step towards Darryl, when... Darryl LUNGES OUT
AT MIKE, POCKET KNIFE IN HAND.

Darryl misses with his initial swipe, but it's enough to
knock Mike down, the shotgun falls to the side.

                                                                 41.


     Darryl pins Mike to the ground, tries to dagger the knife
     into him, but Mike grabs his wrist. They struggle. Darryl
     PUSHES down, the knife INCHES CLOSER TO MIKE'S CHEST,
     until...

     Mike HEAD-BUTTS Darryl, sending the skinny Hick off him.
     Darryl rolls away in pain.

     Mike scrambles, crawls for... the shotgun.       He grabs it.

     Darryl regroups, turns around, but is met with...

     WHACK! MIKE bashes Darryl's face with the butt.        This knocks
     Darryl completely out.

     Mike stands over Darryl.     A beat.   Then...

                           MIKE
                SHERYL!

51   EXT.   MOUNTAINS - DAY (2ND UNIT)                                 51

     The morning fog has dissipated as streaks of sunlight pierce
     the cloudy skies.

52   EXT.   FIVE CORNERS - DAY                                         52

     Mike arrives back at their campsite, shotgun in tow.      He
     freezes, completely floored.

     Everything is gone. The tent, the backpacks, the mess kits,
     everything. Even the fire pit.

     Mike looks around, turning, looking...completely helpless.

     He SNAPS open the shotgun - he's got two shells.       He closes
     it, heads back into the woods.

53   OMIT                                                              53

54   EXT.   WOODS #3, TIMBER FALLS TRAILS - DAY                        54

     Mike moves deeper into the woods.      He's a mix of paranoia and
     determination.

     Mike pauses, catching his breath, when... A FEW BLOOD DROPS
     OF BLOOD LAND ON HIS FACE. Mike wipes his face, looks at the
     blood. What the fuck?

     A couple more DROPS hit him.    Mike LOOKS UP...

     A MANGLED, MUTILATED DEER HANGS IN THE TREES, secured by
     coarse thick ropes.

                                                               42.


     Mike takes a terrified step backwards, unaware...       A FEW FEET
     BEHIND HIM LAYS A RUSTED, STEEL BEAR TRAP.

     Mike, still mesmerized by the blood and the deer, continues
     backing up... getting closer to the bear trap... closer...
     his foot HOVERS OVER THE CENTER OF THE TRAP...

     SNAP! CRUNCH!    MIKE STEPS IN THE TRAP, THE JAWS CHOMP DOWN
     ON HIS LEG!

     Mike SCREAMS IN AGONY! He drops to the ground, stares at his
     leg, now a bloody mess of flesh and steel.

                            MIKE
                HELP!?!?!

     Mike writhes in pain on the ground.    His eyes watering.     The
     pain UNBEARABLE. Then...

     MIKE'S POV - Someone or thing appears, stepping from the
     forest. They come closer. THE SUN BLASTS DIRECTLY BEHIND
     The FIGURE keeping their identity hidden.

     Mike's eyelids flutter, can't determine who/what it is. The
     pain overwhelms him. He doesn't care any longer. Then...

     Ida bends down next to Mike.

                          IDA
                Michael, can you hear me?    Michael...

     Her words fade out.    He promptly PASSES OUT.

                                                           CUT TO BLACK.

     ON BLACK: A SHRIEKING WHISTLE SOUNDS.

     FADE IN:

55   INT.   IDA'S CABIN - DAY                                       55

     CLOSE ON - Mike's eyes SNAP open, dart side to side, blink.

     REVEAL - Mike lays on a ragged couch.    The place is dark and
     dusty. A glance around...

     Gaslights hang in the corners. A stack of logs rest next to
     an old fireplace. Just off the main room is a kitchen
     alcove, with a coal stove. On the stove a WHISTLING TEAPOT.

     Mike's memory slowly comes back.    He leans up when...

                            MIKE
                Ow!

                                                       43.


A sharp pain shoots through his body. Mike reaches for his
leg. The tourniquet conceals the damage. A damn towel is
wrapped around where the wound is. A bandage has replaced
the Gray Bandana on his arm.

Ida enters the cabin from the back door, into the kitchen.
She removes the teapot from the burner. The whistling stops.

                    IDA
          Look who's up.

                    MIKE
          Where am I?

                    IDA
          You're in my home, Michael. You gave
          me quite a scare. I thought I lost
          you.

Ida grabs a wet wash cloth, wrings it out over a basin and
walks back to Mike.

                    IDA
          Lucky the snap didn't break the bone,
          just bruised it. I know that's of
          little comfort now, but trust me, it's
          a good thing. That dirty trap
          however's prime for spreading
          infection, need to finish cleaning out
          that wound and then I'll get some
          "evening primrose" in you. Same stuff
          the Indian Tribes used it back in the
          day to heal, well... just about
          everything. So's do I.

Ida unwraps the tourniquet, examines the wound.

                    IDA
          Try and relax.

Ida cleans the wound.    Mike winces.   He can't watch.

                       MIKE
          Thank you.     For saving my life.

                    IDA
          You don't have to thank me. Up here,
          we take care of one another. That's
          the only way any of us survive.

                    MIKE
          Um...
              (Thinks...)
          I'm sorry, but I don't know your name.

       SHOOTING SCRIPT           OCTOBER 17, 2006      44.


                    IDA
          Oh for the sake of sunshine... how
          rude a host am I? Name's Ida Foster.

Ida moves to the kitchen, grabs a mason jar with clear
liquid. It looks just like the jar Mike bought from Brody.

                    MIKE
          Ida, I need some help.

                    IDA
          I'm moving as fast as I can, sweetie.

                    MIKE
          No, not me. It's Sheryl. My
          girlfriend. You met her with me
          yesterday. Something's happened to
          her. She was gone this morning when I
          woke up. I looked everywhere and I
          couldn't find her. We need to call
          someone. A Ranger. Somebody. We
          need to find her right away. Do you
          have a phone?

                     IDA
          I'm sorry, but I don't. Never really
          had use for one.
              (Beat)
          I do have a radio. We can call down
          to base if you'd like.

Ida comes back to the couch.

                    IDA
          After we take care of you.

                    MIKE
          I'm fine, Ida, please... if you could
          call now.

                    IDA
          You want to lose this leg? Cause
          that's what you're risking. Soon as
          we're done, I'll call. Okay?

Mike concedes.   Ida hands a second rag to Mike.

                    IDA
          Bite down on this... I ain't gonna
          lie... Lotta pain about to hit you
          sweetheart.

                                                        45.


Mike puts the rag in his mouth. Ida dips the used cloth in
the moonshine. He closes his eyes TIGHT, and... Ida applies
the moonshine to the wound.

Mike SCREAMS through the cloth.

                       IDA
          It's okay.     It's almost over.

Ida repeats. Mike SCREAMS again. His eyes water.

Ida offers her palm.    Mike opens his mouth.   The cloth falls
into her hand.

Mike BREATHES HEAVILY, coming down from the pain.

Ida crosses to the kitchen, disposes of the two wash cloths
and grabs a larger towel. She walks back to Mike and wraps
his calf with the towel.

                    IDA
          We'll get some of that primrose in you
          and you'll be good as new.

                    MIKE
          Ida? The radio. Please... Can you
          call down please?

                    IDA
          I'll take care of it right now.

Ida heads to a closed door on the far side of the room.    She
opens and enters, sure to close the door behind her.

Mike relaxes, as best he can anyway.    Until...

KNOCK, KNOCK.

                    BRODY (OS)
          Ida, you in there?!

MIKE'S POV - Through a small slit in the drapes, Brody waits
outside.

Ida exits the room, heads for the door.

                    MIKE
              (Whispers)
          He's looking for me.

                    IDA
              (Whispers; concerned)
          Why's that?

                                                        46.


                    BRODY (OS)
          Ida!

                    MIKE
              (Whispers)
          I think he had something to do with
          Sheryl going missing.

KNOCK, KNOCK.

                    IDA
              (Whispers)
          I'll take care of it.

                    BRODY (OS)
          Ida, lemme in!

                    IDA
          I'm coming!

Ida helps Mike stand, re-directs him to the kitchen alcove.
He winces all the way. She leans him up against the near
wall so that he is out of view of the door.

Ida goes to the front door, opens it halfway, revealing an
agitated Brody, shotgun in hand.

Suspicious, Brody tries to peek past Ida into the cabin.    She
doesn't budge.

                    BRODY
          What took you so long?

                    IDA
          What do you want, Brody?

                    BRODY
          I'm looking for a man hiker.

                    IDA
          This "man hiker" alone or wit someone?

                    BRODY
          He had a lady friend, but...    I'm just
          looking for him now.

ON MIKE - Listening nervously.

                    IDA
          Well, I ain't seen no one in days.

Brody glares at her. She glares right back. Brody again
tries to see past her into the cabin, but she blocks him.

                                                      47.


                    IDA
          What'd he do you for anyway?

                     BRODY
          He busted Darryl's face in with a
          shotgun. Left him a mess of blood and
          teeth. Nearly killed him.
              (Beat)
          You spot anyone you don't know, you be
          sure to find me.

                       IDA
          Fine.

Brody eyeballs Ida one last time, then leaves. Ida watches
him go, closes the door and heads to the alcove.

                    IDA
          He's gone. Brody and those boys are a
          pain in the backside. I'm sure that
          cousin of his had it coming.

Ida leads Mike back to the couch.

                    MIKE
          What did the Ranger say? Does he need
          to speak to me? When is he coming?

Ida heads back to the kitchen, grabs a mug and pours hot
water into it. She dishes a small spoonful of yellow powder
into the hot water.

                    IDA
          Sorry, I wasn't able to reach anyone.

Ida stirs the powder in as she walks back to Mike.

                    MIKE
          God damnit!

Ida pauses...then:

                    IDA
          Please don't take the Lord's name in
          vain in this house.

She GLARES LONG, COLD and HARD at Mike, until...

                       MIKE
          I'm sorry.

                    IDA
          Drink this.

                                                     48.


Ida hands him the steaming mug.    Mike's mind races.

                    MIKE
          Something's not right.

                    IDA
          I'm sure they're just on rounds and
          will be back any minute. We'll try
          them again and we'll find Sheryl.
          You'll see. She probably just took a
          wrong turn up here, ended up in the
          middle of "don't know where." Happens
          lots of times.
              (Looks to the mug)
          Please drink up, Michael, it will make
          you feel better.

Mike holds the mug, stares at the drink. He puts it to his
lips but then stops, looks at Ida. She stares at him.

Unnerved by the stare, Mike lowers the mug without sipping.

                    IDA
          What's wrong?

                    MIKE
          How did you know my name?

                     IDA
              (Confused)
          Excuse me?

                    MIKE
          Michael. You keep calling me Michael.
          You did it just now. You did before,
          just after I woke up. You called me
          Michael. Nobody calls me Michael.

                    IDA
          I'm sure you're mistaken.    You musta
          told me before.

                    MIKE
          No, I would have told you "Mike."
          Only my grandmother, who's dead, ever
          called me Michael.

                    IDA
          Well, how else could I have known your
          name?

ANGLE ON - IDA'S BOOTS.

       SHOOTING SCRIPT               OCTOBER 17, 2006    49.


                       MIKE
                 (Beat; thinks...)
             On my driver's license and credit
             cards, it says Michael. If you stole
             my wallet from the campsite... that's
             how you'd have known.

Long beat.

                       IDA
             You're accusing me of stealing your
             wallet? I saved your life. Twice.
             Why would I steal your wallet?
                 (Mike doesn't respond)
             Now, just drink your primrose...

                       MIKE
             Fuck the primrose!

Mike TOSSES the mug across the room.      It SHATTERS.

Mike lifts himself up. Despite the pain, he heads for the
room Ida went in to make the radio call.

                       IDA
             Where do you think you're going?

                       MIKE
             I want to call the Ranger myself.

                       IDA
             NO!

Ida springs to her feet, jumps in front of Mike.

                       MIKE
             I'm getting in that room, Ida.

Mike maneuvers around her, when... Ida grabs the iron fire
poker by the stove, holds it like a baseball bat.

                       IDA
             I can't let you in there.

Mike takes a step forward. Ida SWINGS the poker. Nearly
hits Mike. Mike jukes left, she SWINGS again. Misses.

                       MIKE
             Where is Sheryl, Ida?    She's in that
             room, isn't she?

                       IDA
             You sinners are all alike. I heard
             you last night. Spitting in the face
                       (MORE)

                                                                 50.

                          IDA (cont'd)
                of the Lord and his laws.      Dining on
                the sins of the flesh.

                                                           FLASH BACK TO:

56   EXT.   TENT - FIVE CORNERS - LAST NIGHT                          56

     Inside the tent, Mike and Sheryl make love.      Their campfire
     still burns. Suddenly...

     A SHADOW creeps into frame.   Then a BOOT.

     REVEAL: IDA STANDS OUTSIDE THE TENT.

                                                                BACK TO:

57   INT.   IDA'S CABIN - DAY                                         57

     Suddenly, Ida appears in a new light...

                          IDA
                You and your bitch whore girlfriend
                will atone for your sins.

     Mike LUNGES forward, grabs hold of the poker before Ida can
     swing it again.

     THEY STRUGGLE, CRASH UP AGAINST THE WALL!      The poker falls to
     the floor.

     Ida JUMPS on Mike's back, wraps her arms around his throat.

     Mike spins Ida around in circles, then SLAMS Ida up against
     the wall. The two fall to the floor.

     Mike pushes himself up, but before he can get away...

     IDA GRABS HOLD OF HIS BEAR TRAP WOUND, SQUEEZES!

     MIKE SCREAMS IN AGONY! Instinctively, Mike kicks Ida in the
     face, boot to nose. Ida's head snaps back, then falls face
     first on the floorboard.

     Mike is PANTING, glances at Ida.    She's out cold.

     Mike pushes himself up, limps to the door.      He grabs the
     handle, PUSHES IT OPEN...

58   INT.   SEWING ROOM, IDA'S CABIN - DAY                            58

     Mike enters to find a sewing machine, some yarn, an antique
     radio, but more importantly, No Sheryl. He steps over to the
     radio, when he notices...

             SHOOTING SCRIPT           OCTOBER 17, 2006       51.


     AN INCH THICK LAYER OF DUST COVERS THE RADIO. He swipes it
     with his finger. This thing hasn't been used in years.

     Mike turns, steps on a throw-rug laying in the center of the
     floor... HIS FOOT SINKS a little. Mike tests the floor board
     again. It's RICKETY. He pulls the rug out...

     REVEAL: A TRAP DOOR.   Mike grabs the latch, lifts it open.

59   INT.   TRAP DOOR STAIRCASE                                    59

     FROM BELOW... Looking up past a weathered, worn and wooden
     staircase up at Mike.

     Carefully, Mike makes his way down the steps, into...

60   INT.   CHAPEL - CABIN BASEMENT - DAY                          60

     Religious artifacts, lots of them. Crosses, photos of Jesus,
     statues of Mary, etc. Don the walls, shelves... everywhere.

     On the far side of the room... like an altar shrine...   NINE
     LARGE GLASS JARS FILLED WITH LIQUID...

     INSIDE EACH JAR - HUMAN FETUSES, all in various stages of
     development and DEFORMITY. Each jar is labelled with their
     own individual bronze nameplate (#1, MATTHEW... #2, JOHN...
     #3, PETER... #4, LUKE, etc...).

     THE LAST JAR - The fetus is closest to term, maybe 8 months
     along). The nameplate reads, "TIMOTHY."

     Mike, completely freaked out, backpedals, bumps into AN IRON
     DOOR. He turns the handle, opens it...

61   INT.   HALLWAY - IDA'S CABIN BASEMENT                         61

     It's pitch black as Mike opens the door.   Next to the door, a
     light switch... He flips it ON.

     Sounding like small gunshots, a series of overhead lights
     TURN ON illuminating a long, narrow, curved hallway. At the
     far end... THREE DOORS. (RECOGNIZE THIS FROM THE OPENING
     SCENE.) A sound. It's distant, muffled...indistinguishable.
     Mike stirs, hearing the faint, muted sound from the end of
     the hallway.

     Mike staggers, leans against the wall for support. He's
     woozy, but determined. He proceeds down the hall, towards
     the doors.

     Just as Mike passes underneath a light... POP! THE LIGHTS
     EXPLODES. SPARKS, GLASS SHOWER onto Mike. As he brushes
     himself off.

                                                               52.


     A SCREAM cries out.

                             MIKE
                Sheryl!?

     Mike moves faster, reaches the end of the hallway, faces the
     door. He turns the knob, pushes it open, and...

62   INT.   TORTURE ROOM #1 - IDA'S CABIN BASEMENT                  62

     Mike steps into the room, the light from the hall SPILLS INTO
     THE ROOM, falls across...

     Sheryl, tied to a beam that extends from the ceiling to the
     floor, a coarse rope secures a gag in her mouth. She's
     bruised with a lot of nicks and scratches.

     Sheryl and Mike's eyes lock.     Euphoria, pain all at once.

                             MIKE
                Oh my God.

     Mike runs to her, touches her face.    He checks the ropes
     tying Sheryl. They're very secure.

                          MIKE
                I need something to cut you down,
                baby.

     Sheryl tries to motion to the other side of the room.

     Mike follows her gaze... Searching wildly...       scanning the
     room... a tool bench... tools... TOOLS!

     ON A TOOL BENCH - A litany of the conventional and
     unconventional. A hammer, screw drivers, axes, a FLASHLIGHT,
     then, finally... in the middle of bunch... A HUNTER'S KNIFE.

     Mike grabs the knife, hobbles back to Sheryl.      He slides the
     blade between her cheek and the rope, SLICES.      Several tense
     moments later... the rope breaks.

     Mike tosses the rope and gag away.    They kiss.

                          MIKE
                Are you okay?

                          SHERYL
                Get me out of here.    Hurry.

     Mike starts cutting the ropes around her wrists.

                          SHERYL
                He'll be back soon.

                                                          53.


                       MIKE
           Who's he?

OFF SCREEN: A LOUD THUD resounds.    Where did it come from?

Not wanting or waiting to find out, Mike doubles the effort.

                     SHERYL
           Come on, come on, come on...

SNAP!   Finally, the ropes tear.   Sheryl's free.     Just as...

ALL THE LIGHTS SIMULTANEOUSLY GO OUT. COMPLETE AND TOTAL
DARKNESS SURROUND THE YOUNG COUPLE. Sheryl lets rip a short,
but loud SCREAM. Mike quickly silences her.

BREATHING INTENSIFIES.    Mike and Sheryl take refuge in each
other's arms. Then...

Mike remembers... on the tool bench... THE FLASHLIGHT.      He
feels around for the bench, when... WHACK.

                       MIKE
           Fuck!

He banged his injured leg on something.

                     SHERYL
               (Whispers)
           What are you doing?

Mike reaches the tool bench, feels around.    Finds it.

                     SHERYL
               (Whispers)
           Mike? Mike?

Mike TURNS ON THE FLASHLIGHT.    The beam CUTS through the
darkness and onto...

The Concealed Figure, stands face to face with Mike
brandishing his axe/sickle.

SHERYL SCREAMS!

The Concealed Figure swings the axe/sickle, slices Mike
across the forearm. BLOOD SPRAYS ACROSS THE FLOOR.

Mike YELPS in pain, drops the flashlight and knife.

                     MIKE
           Sheryl, run!

But Sheryl freezes.

             SHOOTING SCRIPT           OCTOBER 17, 2006        54.


     He comes at Mike again, but... he eludes the attack.

     Mike grabs the flashlight, the only weapon within his reach,
     and SWINGS, STRIKING THE CONCEALED FIGURE IN THE KNEE, he
     drops to the ground.

     The Concealed Figure grabs Mike by the throat, runs him as
     hard and fast as he can against a wall!

     Sheryl's frozen in fear.

     He SQUEEZES his throat harder, tighter.    Mike can't breathe.

     Mike smacks the Concealed Figure in the face, squirms, all to
     no avail, until...

     Mike JAMS his THUMB INTO HIS EYE.   He SCREAMS, DROPS Mike.
     They both fall to the floor.

     The fallen flashlight's beam illuminates Sheryl backed in the
     corner.

                          MIKE
                    (To Sheryl)
                Get the fuck out of here!    Now!

     Finally Sheryl runs out of the room...

63   INT.   HALLWAY - IDA'S CABIN BASEMENT                         63

     Sheryl feels her way out by touching the wall...

64   INT.   TORTURE ROOM #1 - IDA'S CABIN BASEMENT                 64

     As the Concealed Figure writhes in pain...

     Mike catches his breath, attempts to stand, only... his body
     buckles under the pain.

     He throws a look to the Figure, then crawls over to the tool
     bench. He pulls himself up using the bench for support. He
     haphazardly feels for a weapon... any weapon.

     He grabs a hammer, turns and...

     The Figure grabs Mike's wrist, then HEAD-BUTTS MIKE between
     the eyes. He falls to the floor. Out cold.

     The Concealed Figure holds his injured eye with one hand,
     grabs the SICKLE/AXE with the other.

                                                              55.


65   INT.   HALLWAY - IDA'S CABIN BASEMENT                            65

     Sheryl reaches the iron door, but stops.     Looks back into the
     darkness.

                          SHERYL
                Mike?
                    (No response)
                Mike?

     Still no answer. Then... Sheryl spots the light switch,
     FLIPS IT... THE LIGHTS SNAP ON!

     Suddenly, THE CONCEALED FIGURE APPEARS OUT OF THE DARKNESS!

     SHERYL SCREAMS!

     HE LUNGES FOR SHERYL, but misses.     She runs through the door,
     into...

66   INT.   CHAPEL - IDA'S CABIN - DAY                                66

     ... Sheryl rushes into the room, but trips on something.
     When she gets up, the first thing she sees... THE FETUS JARS!

     She coughs violently, almost pukes.     She stumbles, hurries up
     the trap door steps...

     A moment later...

     The Concealed Figure pops through the iron door.       For the
     first time we see the Concealed Figure wholly...

     THIS IS DEACON. Half his body scarred, burned. He stands
     well over six feet tall, muscles rippling everywhere. A
     frightful sight.

     He peers up the trap door steps, pursues Sheryl...

67   EXT.   IDA'S CABIN - DAY                                         67

     Sheryl BURSTS through the front door, running for the woods.

     Deacon exits the cabin, spots Sheryl.     Runs after her.

68   EXT.   WOODS #4 - TIMBER FALLS TRAIL - DAY                       68

     SHERYL runs as fast as she can. Breaking branches in her
     way, leaping rocks. Anything to get away from...

     DEACON follows. This is his terrain, turf.      He moves quickly
     and efficiently through the brush.

                                                              56.


     SHERYL looks back, and as she does... trips over some tree
     roots. She falls FACE FIRST INTO A GIANT PUDDLE. She pushes
     herself out of the puddle. She's soaked, but doesn't stop.
     She resumes running.

     DEACON... closing the gap.

     SHERYL, confused, scared and lost, looks around wildly.   Has
     no idea where she's going. Then suddenly she hears
     something. She looks down a slight hill...

     SHERYL'S POV - A RANGER TRUCK drives along a gravel road.

                          SHERYL
                Thank you God...
                    (At the top of her lungs)
                HELP!

     Sheryl darts down the hill, and falls out onto...

69   I/E   RANGER TRUCK/ GRAVEL MOUNTAIN ROAD - DAY              69

     The RANGER TRUCK SLAMS on the brakes, inches from running
     over Sheryl. She SLAMS her arms down on the hood.

     Clyde, startled beyond belief, looks out at Sheryl. He gets
     out of the car, goes to her. She HUGS Clyde tightly, starts
     crying. He looks at her... the blood, cuts, etc.

                          CLYDE
                Oh my stars, what happened to you?

                           SHERYL
                     (Out of breath)
                You have to help me. I was kidnapped.
                My boyfriend came... And this man's
                chasing me. He's chasing me right
                now.

                          CLYDE
                Calm down. I can't make heads or
                tails of what you're saying.

                          SHERYL
                He's coming. He's right behind me.

     Clyde looks up into the woods from where Sheryl came, but...
     all's peaceful at the moment. No Deacon.

                          CLYDE
                Look, miss, there's no one there.

                          SHERYL
                Oh my God, Mike.

                                                               57.


     ANGLE FROM DOWN THE PATH - Clyde, his back to us, consoles
     Sheryl. Deacon steps into frame. Sickle/Axe in hand. He
     starts toward Clyde and Sheryl.

                          CLYDE
                It's going to be fine, Miss. I
                promise you. Everything's going to be
                fine.

     Sheryl pries her face from Clyde's chest.

     SHERYL'S POV - Deacon's five feet behind Clyde and closing.

     SHERYL SCREAMS.   CLYDE HOLDS ONTO SHERYL.

     Off her look, Clyde turns... DEACON AND CLYDE STAND FACE TO
     FACE. The moment's frozen. For too long.

     Something's not right.

                          CLYDE
                Deacon, what's going on?    How the heck
                did she escape?

     Sheryl looks at Clyde, in shock.    Deacon lowers his head,
     ashamed.

                          CLYDE
                Want something done, gotta do it
                yourself.

     Clyde removes a black, wooden club from his belt... Sheryl
     turns, about to run, when... CLYDE CRACKS HER ACROSS THE
     BACK OF THE HEAD WITH THE CLUB.

                                                           CUT TO BLACK.

     FADE IN:

70   INT.   TORTURE ROOM #1 - DAY                                   70

     SHERYL'S POV - OUT OF FOCUS, WOBBLY. LIGHTS, a rainbow of
     FUZZY COLORS DANCE BEFORE US. Slowly, bring into focus...
     Sheryl coughs, gags on something.

     SHERYL'S POV - She lifts her arms to discover her wrists are
     tied together tightly.

     SHERYL'S POV - Ida enters the room carrying something.
     Sheryl's breath quickens. Ida walks right up to Sheryl.        She
     places a FLOWER WREATH in her hair, adjusts it to fit.

                                                               58.


                          IDA
                Perfect. Just perfect. You are
                lovely as a summer's day.
                    (Checks her watch)
                It's almost time.

     Sheryl catches her REFLECTION in a small wall mirror.

71   INT.   CHAPEL - DAY                                          71

     ANGLE ON - A ROPE looped through a hook in the ceiling.
     FOLLOW THE ROPE DOWN... PASS A PAIR OF BLOODY AND BRUISED
     HANDS, WRISTS... keep going... end on Mike.

     Mike's passed out. He dangles in the middle of the room. He
     wears an old, moth-eaten sports jacket and slacks. A rope
     gags his mouth.

     ANGLE ON - the SICKLE/AXE.   As it moves towards Mike...

     Deacon, a black ring surrounds his injured eye, steps in
     front of Mike, holds the blade CENTIMETERS from Mike's eye.

     An eye for an eye?

     Mike wakes and... immediately freaks out. He tries to shake
     loose, but can't. Deacon stares at him, but...

                           CLYDE (O.S.)
                Deacon!

     Clyde enters. He wears a long garment around his neck,
     carries a bible.

                          CLYDE
                That's enough. Get him ready.

     Deacon backs off. He undoes a slipknot on the far wall,
     which causes Mike to come CRASHING to the floor. Deacon
     lifts Mike to his feet, positions him.

     It's only now Mike gets a gander at the room.

     The FETUS JARS adorn the far wall. There's a giant WOODEN
     CROSS hanging over a makeshift altar. CANDLES anywhere and
     everywhere.

     An old phonograph, one that you CRANK to play, rests in the
     corner. Clyde places the needle down on a record, CRANKS THE
     WHEEL. The MUSIC kicks in, CLASSICAL RELIGIOUS... It's
     hollow, full of static and futz.

     Mike watches... HIS EYES OPEN WIDE, as...

                                                       59.


The iron door slowly CREAKS open.

ANGLE ON - A FILTHY PAIR OF WHITE DRESS SHOES. Ropes secure
the ankles so movement's limited to inches at a time.

Shimmying into the room, wearing a dusty, old wedding dress
and a flower wreath in her hair is Sheryl. Her wrists still
bound. Her mouth gagged.

Mike and Sheryl take each other in. Tears spring to Sheryl's
eyes. She takes another jerky step closer.

Ida is visible behind her, guides her towards Mike. She
positions her next to him so that both face the altar.

Clyde glances to Ida who silences the music.

                    CLYDE
          And Jesus answered and said unto them,
          "Each man should have his own wife,
          and each woman her own husband. The
          husband should fulfill his marital
          duty to his wife, and likewise the
          wife to her husband."

                    IDA
          Amen.

                    CLYDE
          And so, in the presence of our Lord
          Jesus Christ, I ask you Michael... and
          you Sheryl, do you accept the sacred
          covenant of marriage?

Mike and Sheryl stare at Clyde.   Neither flinch.

Clyde glances to Deacon, who immediately steps forward,
touches the sickle blade to Sheryl's throat.

                    CLYDE
          I'll ask again... Do you accept this
          covenant of marriage?

Sheryl nods immediately.   Mike nods too.

Clyde signals for Deacon to step back.   He obeys.

                    CLYDE
          Then by the power vested in me, I
          pronounce you man and wife.

Clyde signals to Ida.

                                                         60.


Ida removes Sheryl's graduation ring from her finger. She
then slides TWO TARNISHED GOLD BANDS, one on Sheryl's finger,
the other on Mike's.

Clyde unties the rope securing Mike's gag in his mouth,
removes it.

                    MIKE
          Why are you doing this? We did
          nothing to you people. Let us go!

                    CLYDE
          You may kiss the bride.

                    MIKE
          You fucking people are fucking sick!

Clyde's temper flares...

                    CLYDE
              (Stern and cold)
          Do not use that type of language in
          this house again. Now... kiss the
          bride or...
              (Gestures to Deacon)
          ... he'll cut off your lips.

Mike stares in horror at Clyde, turns to Sheryl.

                    MIKE
          I love you.

Mike kisses her briefly on the cheek.

Clyde smiles satisfied, nods to Deacon. He immediately lifts
Sheryl up and throws her over his shoulder.

                    MIKE
          What are you doing?

Deacon carries her from the room.   Sheryl CRIES.

                    MIKE
          LET HER GO! SHERYL!
              (To Clyde)
          Let her go!...Please, let her go!

Clyde pulls the ropes, hoists Mike back into a dangling
position. He secures the knot before exiting the room.

                    MIKE
          SHERYL!
              (To Ida)
                    (MORE)

                                                                   61.

                            MIKE (cont'd)
                  Please. Don't hurt her. Whatever it
                  is you want, I'll give it to you.

                            IDA
                  I know you will.

       She stuffs the gag in, secures it in place with the rope.
       She ties the knot. Perfect.

       Ida exits the room.     Mike is alone.

       Mike tries to yank his hands through the knot. His wrists
       and hands turn red, his face is flushed...the knot is too
       tight. He stops.

       Mike takes a breath and tries again. His face and hands are
       beet red. He pulls and pulls...but the rope doesn't budge.
       Mike exhales. It's no use. He dangles there, helpless.

72     EXT.   IDA'S CABIN - NIGHT                                       72

       Resting under the FULL MOON, sits the cabin.

72 A   INT.   CHAPEL - NIGHT                                          72 A

       Mike still dangles by his wrists.    Clyde enters.

       Clyde unties the end of the rope on the floor.      The rope
       UNFURLS, Mike DROPS to the ground.

       Clyde picks him up, sits him in a nearby chair. Mike's
       wrists, ankles and mouth still bound and gagged.

                            CLYDE
                  Gonna untie your mouth, now.    Have a
                  little "man to man" talk.

       Clyde undoes the gag in Mike's mouth.

                            MIKE
                  Please... It's not too late.    Let us
                  go.    We won't tell anyone.

                             CLYDE
                      (Beat)
                  How well do you know your bible,
                  Michael?

                            MIKE
                  Jesus Fucking Christ...

       Clyde SLAPS Mike across the face.

                                                                 62.


                          CLYDE
                I told you before to watch that mouth,
                mister.

                            MIKE
                Fuck you.

     Clyde PUNCHES him, not once, but twice.    He readies a third.

                          CLYDE
                You through?

     Mike spits some blood on the floor.    Nods.

                           CLYDE
                I'll ask again... how well do you know
                the bible?

                            MIKE
                Not very.

                          CLYDE
                That's okay. It's fine. That's why I
                am here... teach you the way things
                are and the way they should be.

73   INT.   TORTURE ROOM #1 - NIGHT                                   73

     Sheryl sits in a chair in the middle of the room. Still
     gagged. She wears a new outfit. A handmade dress with a
     small crest embroidered over the heart. IT'S SIMILAR TO THE
     ONE WORN BY SARAH (GIRL FROM THE OPENING SCENE OF FILM).

     Ida pulls tight the rope securing her wrists to the arms of
     the chair. Satisfied.

                          IDA
                I'll be right back.

     Ida exits the room. Deacon stands by the door.        He and
     Sheryl alone together.

     Sheryl tries not to make eye contact.

     Deacon stares at her.     Longingly.

     DEACON'S POV - On Sheryl's chest, expanding and contracting
     with every breath.

     ON DEACON - SLOWLY PUSH INTO TIGHT CLOSE UP

     DEACON'S POV - Sheryl, a heavenly glow encircles her (and her
     gag mysteriously gone), turns to Deacon. A look of calm and
     lust in her eyes.

                                                             63.


                          SHERYL
                I want you, Deacon.
                    (Jump Cut to...)
                I want you to fuck me.   Hard.

     ON DEACON - His stare deepens.

     Sheryl, the heavenly glow gone, her gag back in place.
     Watches Deacon. She squirms, cries.

74   INT.   CHAPEL - NIGHT                                      74

     Clyde sits in a chair next to Mike.

                           CLYDE
                Lord knows the will of a man gets
                tested. Cruelly most times. But the
                righteous persevere. They do what
                needs to be done, even though they
                don't want to. It's what makes a man,
                a man. Let me tell you the story of
                Judas, he was one of Jesus's apostles.
                Judas led Roman Soldiers to the
                capture and eventual death of our Lord
                Jesus Christ. And now, is supposedly
                seated next to Satan, his soul burning
                in hell forever for this sin. But I
                don't believe that's the case. I have
                my own theory. The death of Jesus was
                predicted thousands of years before
                Judas ever came along. And for the
                prophecy to be fulfilled, Jesus had to
                die. If he didn't, the gates of
                heaven couldn't be opened for mankind.
                I don't think, for an instant, Judas
                wanted to be the one, but... someone
                had to. Judas helped Jesus, so Jesus
                could die for our sins. Save us all.
                And I believe at this moment... Judas
                is in heaven, despite his sin, because
                it led to the greater good.
                    (Beat)
                Relations prior to marriage is a sin.
                You and Sheryl are sinners in the
                Lord's eyes. And because of those
                sins, your souls are damned. But Ida
                and Me, we're gonna give you a chance
                to save your souls and do the right
                thing, but... as previously stated,
                you will need to persevere and show
                the strength and will of your
                character. But you'll do it. Because
                that's what needs to be done.

                                                             64.


     Mike stares unflinching at Clyde.

75   INT.   TORTURE ROOM #1 - NIGHT                               75

     Deacon kneels before Sheryl who tries to move, but can't.

     ANGLE ON - Deacon lays his scarred hand on Sheryl's thigh.

     Sheryl squirms, but that's all she can do.       Then...

                           IDA (O.S.)
                Deacon!

     Deacon jumps up, backs off.

                          IDA
                You get away from her.    Git!   Now!

     Ida sets a tray she was carrying down, chases Deacon from the
     room. She shuts the door behind him.

                          IDA
                I'm sorry about that, Sugar.     My
                brother, he's not well.

     She retrieves the tray, brings it over closer to Sheryl.

                          IDA
                It's not all his fault. Our father
                wasn't very Christian and then there
                was the accident. Along with the
                scarring, lost use of his vocals.
                Can't speak a lick. Now, I've spoken
                to him. What happened with the others
                won't happen to you. He's promised me
                that.

     What others?   What did he do?

                          IDA
                I'm gonna take that out of your mouth
                now. I brought you some tea, got some
                primrose in it. Help you relax, get
                some rest. Okay?

     Ida unties the gag in Sheryl's mouth. She coughs a few
     times. Ida raises the mug of tea to her lips...

                          SHERYL
                Please don't do this. Please let me
                go. Please..I just want to go home.

             SHOOTING SCRIPT         OCTOBER 17, 2006             65.


                           IDA
                    (Cold)
                Drink the tea.

     Ida brings the mug to her lips again, pours some in Sheryl's
     mouth. She swallows a big gulp.

                          IDA
                That's better. Good girl.
                    (Changing topics)
                I almost forgot to ask... How does it
                feel being married?

                          SHERYL
                Why are you doing this?

                          IDA
                I thought you'd be happy about that.
                All I ever wanted out of life was two
                things... to be married and to have a
                baby. The Lord blessed me with Clyde
                and I thank Him every day for that.

     Ida pours some more tea into Sheryl.

                          IDA
                But having a baby's been...
                complicated.

76   INT.   CHAPEL - NIGHT                                          76

     Clyde walks over to the fetus jars.    Stares at them.   A
     sadness in his eyes.

                          CLYDE
                She can conceive fine... just...
                can't seem to make it all the way
                through. Timothy was the toughest...
                Made it to month eight.

     ANGLE ON - The "Timothy" Fetus jar.    The most developed of
     them all.

                          CLYDE
                City Doctor had some fancy mumbo-jumbo
                words for the condition.
                    (Beat; turns to Mike)
                Breaks my heart every time. That
                woman was born to be a mother. It's
                her calling in life. Just like you
                and Sheryl have a calling.

                          MIKE
                What exactly do you want from us?

                                                              66.


     The IRON DOOR FLIES OPEN, Deacon emerges, stands over Mike.

77   INT.   TORTURE ROOM #1 - NIGHT                                77

     Sheryl sways back and forth.     Her EYELIDS heavy.   The
     primrose "kicking in."

     Ida places her hand on Sheryl's cheek.

                          IDA
                You're young, strong... It's gonna be
                easy for you. Not like me.

                          SHERYL
                    (Barely conscious)
                Wh-what...?

                           IDA
                You're gonna have a baby, Sheryl.
                    (Beat)
                My baby.

78   INT.   HALLWAY - CABIN BASEMENT - NIGHT                       78

     Deacon drags Mike down the hall.    Clyde follows.

79   INT.   TORTURE ROOM #1 - NIGHT                                79

     The door to the room FLIES OPEN.    Deacon drags Mike inside,
     Clyde right behind them.

     To Mike's horror...

                          MIKE
                Oh my God...

     Sheryl lies unconscious on top of the table, Ida by her side.

     ANGLE ON SHERYL - Each of her limbs tied down with heavy
     rope. Her legs are spread apart.

                          MIKE
                What have you done to her?

                          IDA
                She'll be out for hours, but she's
                fine.

                          CLYDE
                Ida'll come back in a little bit,
                check to see that the deed has been
                done. If it hasn't...the next time
                you see your little lady...a piece of
                her will be missing.
                          (MORE)

             SHOOTING SCRIPT           OCTOBER 17, 2006          67.

                           CLYDE (cont'd)
                    (Cold)
                Don't test us on that one.

                          IDA
                Now, we know conception's not
                automatic. So don't feel like all the
                pressure's on right now. We're
                prepared to do this however long it
                takes. You give us the effort each
                time, eventually the magic will
                happen.

                          MIKE
                You're out of your fucking minds.

     Clyde grabs Mike's wrist, turns over his palm.    Clyde takes a
     knife from his belt, SLICES MIKE'S PALM.

     MIKE SCREAMS.   BLOOD POURS FROM THE WOUND.

                          CLYDE
                What did I tell you about the
                language?

     Ida grabs a fresh rag, wraps Mike's hand in it.

                          CLYDE
                Deacon will be right outside that
                door. The only door. This room has
                no windows and is buried twenty feet
                below ground. Cutting to the chase...
                there's no way out and you can scream
                yourself hoarse, no one will hear you.

                          IDA
                We'll let you have your privacy now.
                    (Remembers)
                Oh, almost forgot.

     Ida goes to the corner where the phonograph sits.    She cranks
     the handle, places the needle on the record.

     The record crackles, Pachelbel's "Canon" fills the room.

     Deacon, Clyde and Ida exit.   They SHUT and LOCK the door
     behind them.

80   INT.   HALLWAY - CABIN BASEMENT - NIGHT                       80

     Deacon stands by the door.    Ida and Clyde, holding hands,
     walk towards the stairs...

                          IDA
                It's gotta work this time.

                                                             68.


                             CLYDE
                It will.

                          IDA
                Promise me.
                    (Beat; he doesn't...)
                Promise me, Clyde.

                             CLYDE
                I promise.

     Clyde wraps his arm around Ida's shoulder, comforting her.

81   INT.   TORTURE ROOM #1 - IDA'S CABIN - NIGHT                  81

     Mike makes his way to the table, to Sheryl.    He pulls himself
     to his feet.

     He takes Sheryl in. She looks peaceful. He runs his good
     hand through her hair. Tears roll down his cheeks.

     Mike checks each of Sheryl's ropes.    They are all tightly
     secured.

     Mike haphazardly checks every nook and cranny of the room.
     But Clyde was right. No way out.

     Mike stares at the phonograph...    HE KICKS IT OFF THE TABLE,
     KICKS AND BASHES IT TO PIECES.

     VFX: Mike's breathing INTENSIFIES. PUSH INTO TIGHT CLOSE
     UP... His world is not caving in, it's already caved.

82   EXT.   IDA'S CABIN - NIGHT TO DAY (SPLINTER UNIT)             82

     TIME LAPSE... The night sky rapidly changes from black to
     blue. The Sun RISES...

83   INT.   TORTURE ROOM #1 - DAY                                  83

     Sheryl's head falls to the side, bumps the table.     She wakes.

     She finds Mike is passed out sitting in a chair, his hand
     holding hers.

     The door UNBOLTS, FLIES open.

     Mike comes to and glances up as Deacon storms into the room,
     drags him out screaming.

84   INT.   HALLWAY - DAY                                          84

     Ida stands just outside the doorway, lets them pass. She
     slides some surgical gloves on, shuts the door behind her.

                                                             69.


     ANGLE ON - SHERYL as the door SHUTS.

85   INT.   TORTURE ROOM #2 - DAY                                    85

     Mike, without his shirt, hangs by his wrists from iron
     shackles secured to the ceiling. (He's hooked up the same
     way the Young Man was in the opening scene of the story.)

     Deacon secures the last of the restraints.     Clyde enters,
     walks straight up to Mike...

                          CLYDE
                Was I at all unclear yesterday?

                             MIKE
                No, but...

                          CLYDE
                Did you understand what was expected
                of you?

                          MIKE
                Yes, but... How do you expect...

                          CLYDE
                Clearly you did not understand. You
                did not even attempt relations last
                evening.

                          MIKE
                What you're asking to do is sick.
                You're sick.

                          CLYDE
                You didn't have a problem when
                penetration was a sin, but when it's
                your wife, it's sick?!? Unbelievable.

     Clyde glares angrily at Mike, then heads to the door.

                          CLYDE
                You knew the rules, Michael. I warned
                you. Now, Deacon, here, will remind
                you.

     Mike turns to Deacon, who stands over the tool bench.    DOZENS
     of sharp instruments of torture lay before him.

     Clyde shuts the door on Mike.

86   INT.   MAIN ROOM - CABIN - DAY                                  86

     Clyde shuts the door.     Ida waits, helps him with his coat.

             SHOOTING SCRIPT         OCTOBER 17, 2006         70.


                          CLYDE
                I'm going to be late for work.

                          IDA
                Be home at the regular time?

     Clyde removes a set of keys from his pocket... NOTICE THE
     BOSTON RED SOX KEY CHAIN... They're Mike's keys.

                          CLYDE
                Might be a bit late. I have an errand
                that needs attending to.

     Clyde kisses Ida, exits.

87   INT.   TORTURE ROOM #2 - DAY                                 87

     Deacon stands by the TOOL BENCH, his back to Mike. Deacon
     grabs several different SCARY INSTRUMENTS OF TORTURE, tests
     them out.

     Mike tries to see what he's doing. HORRIBLE SOUNDS, METAL
     STRIKING METAL, BLADES SHARPENING, ETC.

     Deacon finally selects a weapon, turns around...

     Mike stares at Deacon who holds a CAT-O'-NINE TAILS in his
     hand. Deacon walks behind Mike...

                          MIKE
                You don't have to do this.    Come on.

     Deacon pulls his arm back, WHIPS MIKE ACROSS THE BACK.

     MIKE SCREAMS IN AGONY.

88   INT.   TORTURE ROOM #1 - DAY                                 88

     Sheryl hears MIKE'S SCREAMS, but she's in a predicament of
     her own.

     Sheryl's tied to chair. Her hand is secured to table top.
     She can't move it. Fingers separated.

                          SHERYL
                What are they doing to him?

                          IDA
                You should concern yourself with
                what's about to happen to you.

     Ida opens a SEWING BOX, but instead of needles and yarn, she
     removes a CLEAVER.

                                                            71.


     Sheryl looks at the cleaver, then... to her hand... the pinky
     finger separated and immobile.

                          SHERYL
                What are you doing, Ida?

                          IDA
                You think you're so much smarter than
                me, don't you?

                           SHERYL
                No.

                          IDA
                Yes you do. Admit it'cause I can see
                it in your eyes, darling. With your
                fancy schools and job and such.
                    (Realizes)
                You think you are better than me.

                          SHERYL
                No, I don't.

     Yes she does.

                           IDA
                    (Beat)
                Might surprise you, but I was quite
                the student back in the day. Straight
                A's. Every subject'cept for Science.
                Infuriated me how they tried to
                explain away the Lord's creations.
                Our teacher, Mr. Billings, once
                said... in the future, humans won't be
                born with a pinky finger'cause of
                evolution.
                    (Frustration building)
                Of all the... I shouted, "No! We are
                created in the Lord's image... not
                some nonsensical theory by Darwind."

     Sheryl stares at Ida, terrified would be an understatement.

                          IDA
                I suppose Mr. Billings and Mr. Darwind
                can stand up and cheer, because you,
                little lady... you're about to
                evolve.

89   INT.   TORTURE ROOM #2 - DAY                              89

     Mike dangles...   HIS BACK CUT, BRUISED AND BLOODY.

                                                         72.


                           MIKE
                No more.   Please.   No more.

     Deacon faces Mike, looks him square in the eyes. He walks
     back to the tool bench, lays the whipping device down.

     Mike breathes a touch easier, until...

     Deacon reappears, A JAR OF MOONSHINE in his hands. He dips
     one of his scarred fingers into the liquid and GENTLY touches
     a wound on Mike's body.

     The liquid stings.    Mike WINCES.

                          MIKE
                What are you going to do with that?

     ANGLE ON - MIKE'S BACK.

90   INT.   TORTURE ROOM #1 - DAY                                90

     ANGLE ON - SHERYL'S PINKY.

     Ida sits next to Sheryl.    She raises the cleaver...

                          SHERYL
                Please Ida, don't.    Don't do this.

                          IDA
                You think I want to hurt a pretty
                thing like you? Pains me, but...
                until you and your husband obey, my
                hands, much like yours, are tied.

                          SHERYL
                I know about your condition, Ida.
                It's not your fault. There are a lot
                of women that can't carry a baby full
                term. I know how much you're hurting.

     Ida takes her attention from the finger, starts to pay
     attention to Sheryl.

                          IDA
                You don't know anything about me or
                what I've gone through.

                          SHERYL
                I'm here for you now.      I'll help you.
                Please.

     Ida stares at Sheryl...    debating...

                                                             73.


91   INT.   TORTURE ROOM #2                                         91

     Deacon SPLASHES THE ENTIRE JAR OF MOONSHINE ON MIKE'S BACK.
     A BLOOD-CURDLING SCREAM RINGS OUT.

92   INT.   TORTURE ROOM #1                                         92

     Ida and Sheryl turn in the direction of the SCREAM. This
     seems to bring Ida back from wherever she was, back to the
     matter at hand...

     Ida looks into Sheryl's tear-filled eyes.

                          IDA
                You can help...       by following the
                rules.

     Ida CHOPS off Sheryl's pinky finger. Sheryl SCREAMS.

     ANGLE ON - SHERYL'S PINKY FINGER HITS THE FLOOR.

93   EXT.   SWAMP - DAY                                             93

     The SUN burns overhead.

     Clyde stands on the banks of a algae covered swamp.     He
     stares out, nervously watching.

     Brody, in his beat-up Pick-up truck, pulls to a stop.    Exits
     the truck, approaches Clyde.

                              BRODY
                Clyde!

                          CLYDE
                G'morning, Brody.

                          BRODY
                I stopped by your place the other day.

                          CLYDE
                Ida mentioned.

                          BRODY
                So have you seen or heard anything
                about that man hiker?

                           CLYDE
                    (Beat)
                In fact I have. I saw him and his
                lady leave.

                          BRODY
                When was this?

                                                          74.


                             CLYDE
                Yesterday.     Just before dusk.

                             BRODY
                Bullshit.

                          CLYDE
                Believe what you want.

     Clyde looks out at the swamp, then back to Brody, who never
     stopped staring at Clyde.

                          BRODY
                I saw their car last night in the
                parking lot at base. So they didn't
                leave, "Just before dusk."

                          CLYDE
                Well, I was down at base this
                morning... car's gone now.

                          BRODY
                Something don't feel right here,
                Clyde. Between you and Ida...

                          CLYDE
                I don't have time for this...

     He starts to walk away, but Brody grabs his wrist tightly.

                          CLYDE
                Take your hand off me, Brody.

                          BRODY
                What do you know about that hiker you
                ain't telling me?

     Brody waits a beat, then lets him go.

                          CLYDE
                I told you, Brody...    I saw them
                leave. Let it go.

     Brody watches Clyde head off. He's even more paranoid now
     than before. What Brody doesn't notice...

     ANGLE ON THE SWAMP... Just below the water, sinking, the
     outline of the back of the Passat.

94   EXT.   IDA'S CABIN - NIGHT (SPLINTER UNIT)                   94

     DARKNESS envelops the cabin.     A coyote HOWLS.

                                                                  75.


95   INT.   TORTURE ROOM #1 - NIGHT                                  95

     Sheryl on table, unconscious.     Her hand/finger bandaged.

     THE DOOR'S THROWN OPEN... Deacon throws Mike roughly to
     floor. He's tied per usual.

     NOTICE:    the back of Mike's shirt SOAKED in blood.

                           MIKE
                 How do you expect me to do this?    Like
                 this?

                           CLYDE
                 Do we need to provide you with some
                 more motivation?

                           IDA
                 You wouldn't want to put that lovely
                 bride of yours through a day like she
                 had today again, now would you?

                           MIKE
                 You'll never get away with this. We
                 have friends and family. They know
                 where we went. They'll come looking
                 for us. They'll find us!

                           CLYDE
                 That may very well be... but they
                 won't find your car.

     Clyde dangles the keys - HIS KEYS - in front of Mike.
     Deacon, Clyde and Ida leave.

     THE DOOR BOLTS, LOCKS.

     Mike limps over to Sheryl, he sees her bandaged hand.

                           MIKE
                 Oh baby, what did they do to you?   I'm
                 sorry. I'm so sorry.

                           SHERYL
                     (Without moving, barely
                      audible)
                 Are they gone?

                           MIKE
                     (Surprised)
                 Yeah. You're awake?

     Their entire conversation is no louder than a whisper.

       SHOOTING SCRIPT               OCTOBER 17, 2006   76.


Sheryl turns to face Mike...       They kiss.

                    SHERYL
          I didn't swallow that shit she gave
          me.

Sheryl spies the back of his jersey in a mirror's reflection.

                       SHERYL
          Oh my God.     Mike...

                       MIKE
          It's okay.     I'm okay.

                    SHERYL
          You're not okay. We're not okay.
          What are we gonna do?

                    MIKE
          I don't know.

Sheryl takes a moment. Thinks carefully about how exactly to
phrase this... Then...

                    SHERYL
          Maybe... we should just give them
          what they want?

                       MIKE
          What?

                    SHERYL
          If it stops them from hurting you and
          me... maybe we should...

                    MIKE
          Absolutely not. No fucking way.
          Forget the fact, that the moment you
          get pregnant, they'll kill me. Then
          the moment you give birth, you're
          dead. Beyond both of those reasons...
          ain't no fucking way I am going to
          give them our child.

Tears POUR from Sheryl.

                    MIKE
          For all my coward marriage moments...
          I've thought about our child. Is that
          stupid? I picture what he'll be
          like...

                       SHERYL
          He?

                                                             77.


                             MIKE
                 Wishful thinking. I picture your
                 heart... your eyes... And I picture
                 us, raising him. Growing old with
                 him.
                      (Beat)
                 No. Ain't no fucking way I'm going to
                 give him to them. They keep talking
                 about sins... that would be the worst
                 sin of them all.
                      (Beat)
                 I'll get us out of this, Sheryl. I
                 promise you.

95A   EXT.   IDA'S CABIN - DAY (MAIN UNIT)                        95A

      Birds CHIRP overhead.     Sunlight streaks through the clouds.

95B   INT.   CHAPEL - DAY                                         95B

      ANGLE ON - A FINE CLOTH rubs delicately, but firmly one of
      the fetus jars (Timothy).

      Ida finishes, steps off the small stool.     The jars sparkle
      and shine brightly.

      She gazes at the fetus jars with love, affection. The pain
      of lives unfulfilled weighing heavy on her strong shoulders.

      The trap door opens, Clyde comes down the steps.

      Ida turns to Clyde.     A beat...

                              CLYDE
                 It's time.

96    EXT.   MOUNTAINS - DAY (2ND UNIT)                               96

      The morning fog engulfs the mountains.

97    INT.   RANGER BASE STATION - DAY                                97

      SAM, the Ranger that greeted Mike and Sheryl, enters sipping
      a cup of coffee. EVELYN, 20s, a perky and adorable Ranger,
      works at the desk.

                           EVELYN
                 Good morning, Sam.

                           SAM
                 Ain't no better than any of the other
                 days, Evelyn, so bring the "glee" down
                 some, would ya?

                                                             78.


     Sam grabs some papers from his mailbox.   Evelyn's used to
     Sam's moods.

                          EVELYN
                Hey, Sam, do you remember a Virginia
                couple pass through here sometime
                Friday?

                          SAM
                Friday? Well...There was one couple,
                but they didn't say where they were
                from.

                          EVELYN
                Gal's mother's called three times this
                morning. Said she hasn't heard from her
                daughter since before she left and she
                didn't show up for work yesterday or
                today.

                           SAM
                She sure this was the park they were
                coming to?

                         EVELYN
                Yup. Woman's already offering up a
                reward.

                         SAM
                Damn it. Have her fax some photos up
                here. Notify patrol.

                          EVELYN
                Been a while since we had a couple go
                missing. Twelve months ago the last?

     Sam crosses to the bulletin board by the door. He studies the
     flier of the missing couple that Sheryl had noticed.

                          SAM
                    (Concerned)
                Nine.

98   OMIT (SCENE HAS BEEN MOVED - NOW 95A)                        98

99   INT.   TORTURE ROOM #1 - DAY                                 99

     Deacon enters.   Clyde and Ida are with him.

                          MIKE
                You don't have to check...   Nothing
                happened.

     Clyde and Ida are pissed.

                                                    79.


                    CLYDE
          We do appreciate your honesty,
          Michael. And believe me, we
          understand your extreme situation,
          but... Punishment's going to have to
          be handed down.

Suddenly, Clyde's walkie-talkie goes off.

                    SAM (V.O.)
          Clyde, it's Sam at base, come back.

                    CLYDE
          Go for, Clyde.

Mike screams trying to be heard while Clyde has button
pushed.

                    CLYDE
              (To Deacon and Ida)
          Restrain him.

Deacon holds Mike, while Ida grabs the gag.

                    SAM (V.O.)
          Yeah, morning, Clyde. Got a missing
          person's report. Young Couple out of
          Alexandria. We're printing up some
          flyers with their photos right now.

                    MIKE
          I told you. I told they'd be coming.

Ida shoves the gag into his mouth, ties it secure.

                    SAM (V.O.)
          When you get a chance, grab some and
          let's start circulating, huh?

Clyde throws a concerned look to Ida.

                       SAM (V.O.)
          Clyde?

                       CLYDE
          Copy that.

Clyde thinks a beat, then...

                    CLYDE
              (To Deacon)
          Get him in the other room.      Now.

Concern covers Clyde's face...

                                                                80.


99 A   EXT.   STREAM - DAY                                         99 A

       Brody washes out some mason jars. His shotgun rests against
       a nearby tree. Lonnie smokes pot from his handmade pipe.

       A walkie-talkie CRACKLES.    Evelyn approaches.

                             BRODY
                  Shit.   Get rid of the dope.

       Brody hides the jars in his satchel.      Lonnie quickly tucks
       his pipe away, fans the smoke away.

                            EVELYN
                  Morning, gentlemen.
                      (She eyes her watch)
                  Pardon me... Afternoon.

                            LONNIE
                  Evelyn, damn, hurts looking at you.
                  When you gonna give it up to me?

                            EVELYN
                  Now with a line like that, it's a
                  shocker I haven't already.

                            LONNIE
                  You stone cold tease.

                             EVELYN
                  Was wondering if either of you had
                  seen any hikers pass by in the last
                  day or so?

       Lonnie's about to respond, but Brody cuts him off...

                            BRODY
                  What's this about?

       Evelyn hands them a flier.

       ON THE FLIER - Photos of Mike and Sheryl, name, info, etc.

       Brody's eyes light up.

                            BRODY
                  These two are missing?

                            EVELYN
                  It would seem so.    Why, have you seen
                  them?

       Brody hesitates and then shakes his head "no".

                                                              81.


                           BRODY
                 You talk to Clyde about this?

                           EVELYN
                 All the Rangers are on the lookout.
                 Family's even offering up a reward.

                              BRODY
                     (Beat)
                 How much?

                              EVELYN
                 Pardon?

                           BRODY
                 How much they offering?

                           EVELYN
                 Don't exactly know.     I'm guessing it's
                 a fair amount.

                           BRODY
                 Well, me and Lonnie will keep a
                 lookout for you too. Anything we can
                 do to help.

      Evelyn begins walking off.

                           LONNIE
                 You change you mind, I'll ride you
                 raw.

      Evelyn ignores Lonnie, moves on her way.

                           LONNIE
                 It'd be the best fifteen seconds of
                 your life, darling!

      Brody watches her go.      As she disappears, he grabs his gun.

100   EXT.   IDA'S CABIN - DAY                                     100

      Clyde comes up to Ida. She stands over a bar-b-q pit, just
      your run-of-the-ordinary backyard variety ones.

                           CLYDE
                 Noose is starting to tighten, Ida.

      ANGLE ON - A GLASS JUG OF MOONSHINE

                           IDA
                 No. You promised. You promised, this
                 time, would be the time. I want that
                 baby. You promised.

              SHOOTING SCRIPT         OCTOBER 17, 2006         82.


      Ida flips open a silver lighter, SPARKS up a flame. She
      touches the flame to a piece of kindling, drops it into the
      bar-b-q.

      A FIRE ROARS TO LIFE.

                           CLYDE
                 We're gonna have to double our
                 efforts, here.

                           IDA
                 Leave that to me.

      Ida lifts THREE IRON BRANDS from a long leather bag.   She
      places the heads of the brands into the bar-b-q.

101   OMIT (SCENE HAS BEEN MOVED. NOW SCENE # 99A)                 101

102   INT.   TORTURE ROOM #1 - DAY                                 102

      Sheryl sits alone, tied, gagged and confined to a chair on
      the far end of the room.

      CLOSE ON - Behind Sheryl's back. Her bloody hands, sans one
      finger, tremble softly. Her remaining digits start to LOOSEN
      her restraints.

103   INT.   TORTURE ROOM #2 - DAY                                 103

      Mike hangs, once again. Clyde stands before him, Ida enters.
      She wheels the bar-b-q in the room.

      IN THE PIT - It's filled with hot, smoking coals. Also,
      THREE IRON BRANDS rest buried in the coals. All glow a FIERY
      ORANGE.

                           CLYDE
                 I think we have to have another... man
                 to man discussion, here, Michael.

      But unlike previous moments, Mike is not begging or pleading.
      He holds a calm demeanor.

                           CLYDE
                 Seems as though, time is now factoring
                 into our situation.

104   INT.   TORTURE ROOM #1                                       104

      Sheryl continues working the ropes, as... THE DOOR CREAKS
      OPEN. Sheryl freezes, stops working the ropes.

      Deacon enters, sickle in hand. He's calm and determined.      He
      stares at Sheryl. Sinister thoughts in mind.

                                                              83.


      QUICK CUTS DEACON'S POV: Sheryl's mouth/ chest/ legs.

      Deacon approaches Sheryl, kneels down in front of her. He
      LAYS THE SICKLE ON THE FLOOR. Sheryl eyes the weapon.

      Deacon takes something from his pocket, lifts his arms up
      towards Sheryl's head.

      She winces, expecting the worst.

      Deacon slides Sheryl's locket around her neck.     The chain
      repaired. Deacon beams with pride.

      Deacon shifts her skirt exposing more skin and places his
      hands on Sheryl's bare thighs. She twitches instinctively
      causing Deacon to squeeze her thighs TIGHTER.

      Sheryl winces in pain, stops her struggle. Locks EYES with
      Deacon. Suddenly, an aura of CALM falls over her.

      BEHIND SHERYL'S BACK... She resumes untying the knots.

      Deacon savors every moment of Sheryl. Her smell, form. He
      glides his hands up her body, past her stomach and onto her
      breasts. He GROPES them, in his own heaven.

      CLOSE ON - The knot loosens... almost there.

105   INT.   TORTURE ROOM #2 - DAY                                   105

      Ida ROTATES the brands in the bar-b-q, doing her best subtle
      intimidation.

                           CLYDE
                 We're not violent people, Michael.    It
                 pains us to pain you.

                            MIKE
                 I don't know... Seems as though
                 Deacon and yourselves get a real kick
                 out of it.

                           CLYDE
                 Now see, this is what I am talking
                 about. It's your attitude. It's the
                 disobedience, the cussing...Sooner we
                 get what we want, then no further harm
                 has to fall upon you and your wife.

                           MIKE
                 Way I see it, you need us alive. You
                 need us, period. And now that Park
                 Services and State Police are looking
                 for us, you're starting to panic,
                           (MORE)

                                                                84.

                           MIKE (cont'd)
                 knowing your whole plan's crumbling
                 down before your eyes.
                     (To Ida STRONG)
                 So you can stop spinning those fucking
                 irons thinking you're scaring me,
                 cause you're not.
                     (Beat; to both of them)
                 You're a couple of demented, sick,
                 pathetic freaks.

      Ida grabs a brand, JABS IT ONTO MIKE'S CHEST.

      MIKE SCREAMS. THE BRAND BURNS INTO HIS FLESH.     HIS EYES
      BULGE. HE VOMITS.

106   INT.   TORTURE ROOM #1 - IDA'S CABIN                          106

      Deacon TEARS open Sheryl's blouse, exposing her bra and more
      cleavage. He slides his hands over her breasts... he's in
      heaven. Sheryl doesn't resist because...

      CLOSE ON - The knot's undone.   Her hands are free.

      Deacon looks into Sheryl's eyes.    He senses something
      different. Does he know?

      Deacon pulls himself closer to Sheryl. Their faces only
      inches apart. He PULLS her gag out of her mouth, lets it
      dangle around her neck. Sheryl swallows nervously. Resists
      the urge to scream. She's frozen. Then... Deacon leans
      in... KISSES SHERYL.

      Knowing it's now or never, Sheryl KNEES DEACON IN THE BALLS.
      He falls over in agony.

      Deacon looks up at her, when... SMACK! She KICKS him right
      in the face. Sheryl springs from the chair, grabs the
      sickle, turns and...

      CRACK! Deacon, already back on his feet, PUNCHES Sheryl hard
      across the jaw. She hits the wall, then falls to the floor,
      drops the sickle.

      ANGLE ON - A SMALL POCKET KNIFE falls off a shelf in the room
      onto the floor.

      Deacon grabs the sickle, then lifts her up BY HER HAIR and
      drags her across the room.

      He throws her face/stomach down on the table top, flips her
      dress up onto her back. He slides the sickle between her ass
      and underwear and... CUTS HER PANTIES OFF IN ONE QUICK
      MOTION, SPREADS HER LEGS APART.

              SHOOTING SCRIPT           OCTOBER 17, 2006         85.


      Sheryl, still stunned from the punch, only now starts to
      realize what is happening to her.

                             SHERYL
                       (Weak, soft)
                 No.

      She tries to wiggle off table or close her legs, but Deacon's
      too strong. He grabs the back of her head, SLAMS it against
      the table, pinning it in place. With the other hand, HE
      SLIDES OFF HIS PANTS.

                             SHERYL
                       (Stronger)
                 No!

107   INT.   TORTURE ROOM #2 - IDA'S CABIN                        107

      Mike, his chest scarred, bloody, from the fresh wound,
      dangles helplessly. Vomit splashed down his body.

      Clyde and Ida look to one another...

                           CLYDE
                 What was that?

108   INT.   TORTURE ROOM #1 - DAY                                108

      Deacon slaps his left hand over her mouth, climbs on top of
      Sheryl using his weight to keep her in place. Deacon
      positions himself for penetration, when...

      Sheryl SCREAMS, but Deacon's hand muffles the cries.

      With every ounce of strength left inside her, SHERYL BITES
      DOWN ON DEACON'S HAND. He SCREAMS, falling off of her.

      CLOSE ON DEACON'S HAND - blood oozes, a large piece looks
      ripped out.

      Sheryl SPITS the small chunk of his hand out of her mouth.

      Deacon grabs the SICKLE/AXE, starts towards Sheryl...

      At the top of her lungs, SHERYL LETS LOOSE A BLOOD CURDLING
      SCREAM! And...

      Ida bursts in the room...

                            IDA
                 Deacon!   Stop right there!

      Deacon turns to Ida, stops his attack on Sheryl.

                                                              86.


                            IDA
                 Out!   Get out!

      Deacon slinks away. Sheryl curls up in a ball, emotions
      consume her. She breaks down.

109   EXT.   IDA'S CABIN - SUNSET                                 109

      The Sun sinks on the horizon...

110   INT.   TORTURE ROOM #1                                      110

      Sheryl's tied, once again, to the table. Mike tied to a
      chair, which is dragged into the room by Clyde.

      Sheryl sees Mike's burned chest.

                           CLYDE
                 This is getting out of hand, y'all.
                 Nobody wanted what just almost
                 happened to Sheryl to happen. But,
                 you keep dragging this thing out...
                 things are gonna... happen.

                           IDA
                 I sent Deacon away for a bit. He
                 knows he done wrong. You say right
                 now that you are ready to perform your
                 marital duties, then I'll keep him
                 away.

                           MIKE
                 Have you ever thought that God doesn't
                 want you to have a child? That's why
                 he fucking kills them before they're
                 born. Because you're fucking insane
                 monsters that don't deserve a child.

      Ida SLAPS Mike.

                           IDA
                 You take that back!

                               MIKE
                 No.

                           IDA
                 Take it back.

      Ida digs her hand into Mike's bear trap wound, squeezes.    But
      Mike doesn't scream or squirm. He endures the pain.

                                                       87.


                    MIKE
          Go ahead and torture me. There's
          absolutely no way I would ever give a
          child of mine to you.

                    IDA
          How very brave. Fine. I won't
          torture you.
              (Looks to Sheryl)
          I'll torture her. I can bring back
          Deacon. Let him have her. Plenty of
          other holes he can go into where a
          baby can't be made.

Ida grabs a nearby knife, walks up to Sheryl.

                     IDA
          Or maybe we can just start dicing.
          All we need is a healthy heart, brain
          and uterus. She don't need the rest
          of her fingers, or toes... or her
          nose, ears. I could carve out her eye
          right now.

Ida places the knife on top of Sheryl's cheek, just below the
eye. The tip just centimeters away from the eyeball.

                    MIKE
          No!

Ida takes the knife away, gets in Mike's face...

                    IDA
          Then you will give me my baby. My
          child, born in wedlock, saved from its
          sinner parents and raised to fear God
          and give him praise.

Sheryl starts LAUGHING. Inappropriate, but nonetheless,
She's cracking up. Has she finally cracked?

                     SHERYL
          That's why you married us? So we
          could conceive our child in wedlock?
          The fucking joke's on you... I'm
          already pregnant. Eight weeks
          yesterday.

Clyde and Ida stare disbelievingly at Sheryl.

                    IDA
          You're lying.

Mike stares in shock at Sheryl.

                                                                  88.


      In that look, Ida knows Sheryl's telling the truth.

                           SHERYL
                 I was trying to find the right time to
                 tell you.

      TEARS fill both their eyes.

                           IDA
                 No, no, no, no!    This can't be.   NO!

      Clyde grabs hold of Ida, tries to calm her down.        When...

      OFF SCREEN: A GLASS BREAKS.    It came from upstairs.

      IDA AND CLYDE SPRING INTO ACTION.     They exit the room, BOLT
      THE DOOR LOCKED.

      MIKE'S POV - THE POCKET KNIFE still on the floor.

111   EXT.   IDA'S CABIN - NIGHT                                        111

      Brody and Lonnie stand on the porch.      Brody holds a shotgun,
      Lonnie a rifle.

      Brody reaches inside the broken window, unlocks it.

                           LONNIE
                 We shouldn't just go in.      Ain't right.

      Brody slides open the window.

                           BRODY
                 I'm going in. You don't want to, then
                 don't. Check round back or something.

      Brody climbs inside.     Lonnie heads around the back.

112   INT.   TORTURE ROOM #1                                            112

      Mike ROCKS his chair back and forth, building momentum...
      Finally, the CHAIR tips over.

      He uses his feet to push himself along.      Heading for THE
      POCKETKNIFE.

113   INT.   MAIN ROOM - IDA'S CABIN - NIGHT                            113

      Brody moves through cabin, shotgun ready.      All's calm, quiet.

114   EXT.   IDA'S CABIN - NIGHT                                        114

      Lonnie walks in the back yard...    Nothing here, except.

              SHOOTING SCRIPT           OCTOBER 17, 2006            89.


      ON THE GROUND - Lonnie steps on patch of ground that's
      different than the rest.

      Lonnie peers curiously at the ground.     What's he found?

115   INT.   SEWING ROOM, IDA'S CABIN - NIGHT                        115

      Brody enters... the Trap Door in the floor is open.      He
      peers inside, then proceeds down.

116   EXT.   IDA'S CABIN - NIGHT                                     116

      Lonnie bends down, finds a handle. Lifts, REVEAL, A HIDDEN
      TRAP DOOR ENTRANCE. Lonnie peers inside...

      LONNIE'S POV - A dark staircase leads down.    At the bottom, a
      wooden door, which is closed.

                               LONNIE
                 Hello?

117   INT.   TORTURE ROOM #1                                         117

      Mike hears this...

                             MIKE
                 Help!    Down here!

118   EXT.   IDA'S CABIN - NIGHT                                     118

      Lonnie takes a step down, when...

      CLYDE APPEARS, BURIES AN AX INTO LONNIE'S HEAD.      LONNIE FALLS
      INTO THE HOLE AND DOWN THE STAIRS!

      His body crashes through the closed wooden door, into the
      hallway.

119   INT.   TORTURE ROOM #1                                         119

      MIKE'S POV - UNDER THE GAP BETWEEN THE FLOOR AND DOOR,
      Lonnie's body lands. Eyes stare at Mike.

120   INT.   CHAPEL                                                  120

      Brody stares at the FETUS JARS, "WHAT THE FUCK?"

      THE IRON DOOR SWINGS OPEN... IDA, SHOTGUN IN HAND, BLASTS
      BRODY IN THE CHEST. BLOOD FLIES ACROSS THE WALLS.

121   EXT.   IDA'S CABIN - NIGHT                                     121

      The MOON hides behind some dark clouds.

              SHOOTING SCRIPT           OCTOBER 17, 2006       90.


122   EXT.   WOODS BEHIND IDA'S CABIN - NIGHT                   122

      A giant pile of dirt. The dead body of Brody sits inside the
      makeshift grave. Ida pushes Lonnie's carcass in next.

      Clyde watches Ida, concern in his eyes.

                            CLYDE
                 Ida...   you know what we have to do?

                           IDA
                     (Already anticipating)
                 No. I can give her an abortion. Get
                 rid of the bastard child, make them
                 conceive one in wedlock. And then we
                 are right as rain.

                             CLYDE
                 Abortion?    No. That we won't do.

                           IDA
                 It'll work. Ain't no sin to abort a
                 demon.

                             CLYDE
                 Ida, writings on the wall here.
                 Michael's right. With a reward on the
                 table, do you think Brody and Lonnie
                 will be the only two coming? Gonna
                 have lots people looking for these
                 two.
                      (Beat)
                 We're gonna have to make it so no one
                 can ever find them.

                             IDA
                 No.

      Ida and Clyde.   A sadness covers their faces, especially Ida.

                           CLYDE
                 We'll find another couple, Ida.

                           IDA
                 No. You promised me, Clyde, this time
                 was the one.

                           CLYDE
                 It's too dangerous. We'll find
                 another couple. A better one.

                           IDA
                     (Long beat)
                 It's not fair.

                                                                91.


      Clyde nods.   They hug.

      A CRACKLE OF LIGHTNING followed by a ROLL OF THUNDER.

                           CLYDE
                 I'll do what needs to be done. You
                 finish up here... And watch your
                 time, rain's coming.

      Clyde hands her the shovel.      Ida nods, tosses a pile of dirt
      into the grave.

123   INT.   HALLWAY - IDA'S CABIN BASEMENT - NIGHT                  123

      Clyde walks down the hall, loads Ida's shotgun with a couple
      fresh shells.

      He unlocks, then pushes open the door to Torture Room #1.

124   INT.   TORTURE ROOM #1 - NIGHT                                 124

      Mike sits in the chair, exactly where he and Ida left him.
      Mike's head sags, he appears to be sleeping.

      Sheryl lies on the table, out cold.

      Clyde levels the shotgun to Mike's head.     But something odd
      catches Clyde's attention...

      ON THE FLOOR - Behind Mike's chair, some rope shavings,
      pieces.

                           CLYDE
                 What the...?

      Mike SPRINGS TO LIFE, GRABS CLYDE PULLS HIM IN.

      As Clyde falls into Mike's body.     The SHOTGUN FIRES
      HARMLESSLY INTO THE GROUND.

      Mike swings his hand around, PLUNGES the pocket knife into
      Clyde's neck!

      Clyde SCREAMS. The knife embedded in his neck.         He throws
      his hands to it, stumbles backwards and falls.

      Clyde tries to speak, but it comes out GURGLING and BLOODY.

                           MIKE
                 Believe me, I understand your extreme
                 situation, but... Punishment's going
                 to have to be handed down.

               SHOOTING SCRIPT           OCTOBER 17, 2006         92.


       Mike aims the shotgun at Clyde and... BOOM! The blast takes
       half of Clyde's head and neck apart. Mike stares at Clyde's
       body.

                              MIKE
                  One down.

125    EXT.   WOODS BEHIND IDA'S CABIN- NIGHT                      125

       THE RAIN STARTS...

       Ida stops, she heard the two shots. The deed done.   She
       grabs her shovel, walks back towards the cabin.

125A   INT.   TORTURE ROOM #1 - NIGHT                             125A

       ANGLE ON - The open shotgun as Mike takes out the two empty
       shells.

       Mike, now next to Clyde, feels Clyde's pockets for more
       shells, but there are none.

                              MIKE
                  Fuck.

                            SHERYL
                  What is it?

                            MIKE
                  No more ammo.

       Mike glances around the room, then spies... THE KNIFE he
       stabbed CLYDE with. He picks it up off the floor.

       OFF SCREEN: In the distance, the IRON DOOR CREAKS OPEN.

       OFF SHERYL AND MIKE'S LOOK, WE...

                                                             CUT TO:

126    INT.   HALLWAY - IDA'S CABIN BASEMENT - NIGHT               126

       Ida approaches the room, pushes open the door.

127    INT.   TORTURE ROOM #1 - NIGHT                              127

       IDA'S POV - The room is empty.   Except for...

       ANGLE ON - Clyde's dead body.

                              IDA
                  NO!

       SHOOTING SCRIPT           OCTOBER 17, 2006          93.


Ida drops by his side, cradles his body. The love of her
life is gone. Before she know what's happening, she turns...

MIKE, knife in hand, EXPLODES FROM TORTURE ROOM #2, RUNS
STRAIGHT FOR IDA, but...

Ida SWINGS THE SHOVEL, KNOCKS MIKE'S LEGS OUT FROM UNDER HIM.
He trips and falls to the floor.

Ida gets up, STOMPS DOWN ON MIKE'S HAND.   The knife drops.

FROM THE HALLWAY... Sheryl looks out, watches as...

BACK IN THE ROOM...   Ida grabs the knife, PLUNGES it deep
into Mike's calf.

                     IDA
           In for a penny, in for a pound. I
           can't save your soul now, Michael. I
           tried. I gave you a way to cleanse
           yourself of all your sins and deliver
           you to heaven... and how do you repay
           me?

Ida takes the knife, DAGGERS IT INTO MIKE'S THIGH.

                     IDA
           BY KILLING MY CLYDE?!?

SHERYL--

Spots the shovel on the floor, grabs it...

                     IDA
           There is no soul blacker than yours.
           And now, by the grace of God, I must
           deliver you to Satan myself.

Ida retracts the blade, pulls herself on top of Mike.   Ready
to stab again, when...

SHERYL SLAMS THE SHOVEL OVER IDA'S HEAD.

ANGLE ON - THE SHOVEL BLADE sprayed with blood.

Ida falls over.   Sheryl and Mike stare at her lifeless body.

Sheryl steps over Ida's legs. She takes a big step, clears
Ida's upper body...and stumbles.

Sheryl goes to Mike, wraps his arm around her, lifts him up.
But just as his foot touches the ground... A SURGE OF PAIN
CRIPPLES HIM. Mike falls back to the ground.

              SHOOTING SCRIPT                OCTOBER 17, 2006      94.


                           MIKE
                 I can't make it.

                           SHERYL
                 I'm not leaving you.

                           MIKE
                     (Thinks)
                 Clyde's walkie-talkie. It's probably
                 upstairs. Find it. Call the Ranger
                 base.
                     (Remembers)
                 My gun. See if you can find our
                 stuff. My gun's in my backpack, side
                 pocket.

                           SHERYL
                 What good's the gun?        You tossed away
                 the bullets.

      Mike turns away.   Guilt etched on his face.

                           MIKE
                 There's another box of ammo.

                              SHERYL
                 Mike...!?!

                           MIKE
                 Let's get out of this alive first,
                 then you can bitch me out, okay?

      Sheryl concedes.   She goes to the ladder, stops... turns.

      Mike looks at her.   They stare at one another.

                           MIKE
                 It's okay, baby.      Go.

      Sheryl turns, ascends the ladder.

128   INT.   MAIN ROOM - IDA'S CABIN - NIGHT                        128

      Sheryl exits the sewing room, enters...

129   INT.   CLYDE AND IDA'S BEDROOM - NIGHT                        129

      Sheryl searches the bedroom for the walkie-talkie.

      A FLASH OF LIGHTNING, illuminates... In the window, Deacon
      appears.

      Sheryl doesn't see Deacon.       She FINDS the walkie-talkie...

                                                              95.


                            SHERYL
                      (Pushes button)
                  Hello? Come in, please.      We need
                  help. Is anyone there?

                                                          INTERCUT WITH:

130   I/E    RANGER BASE STATION - NIGHT                              130

      RAIN beats against the windows, pounds the roof. Evelyn,
      with poncho, stands outside, just locking the door, when...

                            SHERYL (V.O.)
                  Please, someone? Is anyone there that
                  can help?

      SHERYL... Lowers the walkie, waits for an answer.

      EVELYN... stops. She heard something, but not sure exactly
      what. She re-enters, heads over to the CB. Just as she
      picks up the CB Mic...

      DEACON, dripping wet, appears in doorway, lunges for Sheryl.

      Sheryl screams, drops walk-talkie, as Deacon tackles her onto
      the bed. The WALKIE-TALKIE BREAKS into pieces.

      EVELYN... Pushes the "talk button" on the CB...

                            EVELYN
                  This is Ranger Base, Go again?

      SHERYL AND DEACON... The headboard SLAMS against the wall,
      causing a Crucifix to dislodge off a nail and fall onto the
      pillow by Sheryl's head.

131   INT.    HALLWAY - IDA'S CABIN BASEMENT                          131

      Mike hears Sheryl scream, realizes it must be Deacon.      He
      lifts himself up using the wall as balance.

132   INT.    CLYDE AND IDA'S BEDROOM                                 132

      Deacon strangles Sheryl with one hand.

      Sheryl's eyes BULGE out of her head, her face BEET RED.

      Deacon raises the sickle/axe into the air with the other.

      Sheryl's hand finds the Crucifix and JABS IT INTO DEACON'S
      JAW. Deacon grabs for the cross, lets go of Sheryl rolls off
      her, the bed and collapses to the floor.

                                                              96.


      Sheryl coughs, struggles for some air.      She climbs off the
      bed, runs out of the room.

133   INT.   TORTURE ROOM #2                                          133

      Mike enters, scours for a weapon.     Finds a MACHETE.

134   INT.   CLYDE AND IDA'S BEDROOM - NIGHT                          134

      Deacon YANKS the Crucifix from his jaw.      BLOOD SQUIRTS, POURS
      from the wound.

135   INT.   SEWING ROOM, CABIN - NIGHT                               135

      Sheryl runs in, screams down the trap door hole...

                               SHERYL
                 Mike!

136   INT.   HALLWAY/ TORTURE ROOM - IDA'S CABIN BASEMENT             136

      Mike exits room, passes Ida's lifeless body.     Trudges down
      the hall. Each step painful.

137   INT.   SEWING ROOM, CABIN - NIGHT                               137

      Deacon enters. One hand covers his wound, the other holds
      the sickle/axe.

      Sheryl grabs a candlestick, uses it to defend herself.

      Deacon swipes at her, but misses.

      Sheryl cracks him across jaw with candlestick... he falls,
      but GRABS ONTO SHERYL...

      THEY BOTH FALL UNCONTROLLABLY DOWN THE TRAP DOOR STEPS,
      into...

138   INT.   CHAPEL                                                   138

      Sheryl and Deacon TUMBLE, CRASH into shelf wall with the
      fetus jars. They wobble, shake, then...

      THE ENTIRE SHELF WALL CRASHES ON TOP OF SHERYL AND DEACON.

      The FETUS JARS BREAK, SPILL OUT EVERYWHERE.

      The shelf wall BLOCKS the Iron Door from opening.

139   INT.   HALLWAY - IDA'S CABIN BASEMENT                           139

      Mike looks up, hears the commotion.      It only quickens his
      pace.

                                                                  97.


                            MIKE
                 Sheryl!

      A path of blood left in Mike's wake.

140   INT.   CHAPEL                                                 140

      Sheryl shakes the cobwebs free, opens her eyes, moves her
      head slightly, just as...

      SLAM. THE SICKLE BLADE SLAMS INTO THE WOODEN FLOOR AN INCH
      AWAY FROM SHERYL'S HEAD.

      Sheryl scrambles to her feet, when...

      SQUISH. HER FOOT STEPS DOWN ON TOP OF THE SMALLEST FETUS.
      PUSS AND MUCUS OOZE OUT.

      Deacon tries to push the shelf off him.   It's heavy.   It
      moves a little.

      Sheryl limps up the trap door steps.

141   INT.   HALLWAY - IDA'S CABIN BASEMENT                         141

      Mike pushes up against the Iron Door, but it doesn't move.
      The shelf wall blocks it.

142   EXT.   IDA'S CABIN - NIGHT                                    142

      Sheryl races from the cabin.   RAIN POURING DOWN ON HER.     She
      spies...

      ANGLE ON - Moonshine jar, a lighter.    The ones Ida used
      earlier.

143   INT.   CHAPEL                                                 143

      Deacon pushes the shelves again, this time success.     He gets
      to his feet, grabs his weapon.

144   INT.   HALLWAY - IDA'S CABIN BASEMENT                         144

      Mike, with every ounce of strength left, PUSHES at the iron
      door. It budges, just a little. He PUSHES again and,
      finally, THE DOOR OPENS! Mike scrambles into the Chapel.

145   EXT.   IDA'S CABIN - NIGHT                                    145

      Deacon exits the cabin, steps off the porch. He peers into
      the rain and the darkness of the woods surrounding the cabin.
      No Sheryl anywhere.

              SHOOTING SCRIPT           OCTOBER 17, 2006        98.


                             SHERYL (O.S.)
                 Hey!

      Deacon turns, looks up...

      ON THE PORCH ROOF...

      Sheryl, a fresh tear in her dress, holds the SILVER LIGHTER
      in one hand, the moonshine jar in the other. The Moonshine
      jar has a torn length of her dress sticking out, a homemade
      Molotov Cocktail. She glares down at Deacon, lights the
      cocktail...

                           SHERYL
                 Burn in hell you sonofabitch!

      She drops it...

      THE COCKTAIL HITS. THE FLAMES CONSUME DEACON, SPREAD QUICKLY
      OVER HIS ENTIRE BODY.

      Deacon flails wildly, trying to put out the flames, stumbles
      forward, runs off towards the forest. He trips and falls
      just as he enters.

      SHERYL... the rain pouring down, stares at...

      ANGLE ON - DEACON'S BURNING CORPSE lays in the thick brush.

146   OMIT                                                       146

147   OMIT                                                       147

148   INT.   MAIN ROOM - IDA'S CABIN - NIGHT                     148

      Sheryl enters... Mike limps to her. He drops the machete,
      collapses in her arms. They hug tightly.

149   INT.   CHAPEL                                              149

      ANGLE ON - A BLOODY HAND grabs a POKER from the fireplace.

150   INT.   MAIN ROOM - IDA'S CABIN - NIGHT                     150

      Mike looks, across the room...

      IN THE MIRROR'S REFLECTION - IDA, THE BLOODY MESS THAT SHE
      IS, STEPS FROM THE SHADOWS, AN IRON FIRE POKER in her hands.

      Mike pushes Sheryl to the couch, safely away just as...   IDA
      STABS MIKE IN THE STOMACH WITH THE POKER.

      SHERYL SCREAMS. SHE RUNS TOWARDS IDA, SICKLE/AXE IN TOW...
      SHE SWINGS THE BLADE... IT SLICES THROUGH THE AIR, AND...

       SHOOTING SCRIPT           OCTOBER 17, 2006          99.


ANGLE ON - IDA'S HEAD, SEVERED AT THE NECK, HITS THE FLOOR,
ROLLS TO A STOP.

Sheryl turns away from Ida, runs to Mike's side.

Mike's a bloody mess, his life slips from him by the second.

Sheryl TEARS Mike's shirt, BLOOD POURS from his stomach.     She
finds the wound, but has nothing to stop the blood.

                    SHERYL
          You did it, baby. You saved me. You
          said you would and you did. Stay with
          me, Mike. Stay with me.

                    MIKE
              (Barely audible)
          Love you.

                    SHERYL
          Well, if you love me... Fight.    Please
          baby, fight.

She looks around wildly, spying...   A wardrobe by the
kitchen.

                    SHERYL
          I'll be back in a second, Mike.

Sheryl jumps up, races for the wardrobe.

INSIDE THE WARDROBE--

On a shelf are some towels, linens, etc.

Sheryl grabs the towels, but as she does.   She sees, on the
floor of the wardrobe... HER BACKPACK.

Sheryl quickly rummages through her backpack. She finds...
her CELLPHONE. The fliers with the emergency contact info.

                                                     JUMP CUT TO:

Sheryl drops down by Mike's side. She leans in, listens for
breath sounds, feels for his pulse, finds one. Very weak,
but it's there.

                    SHERYL
          Don't you even fucking think about
          leaving me alone.

She PRESSES THE TOWEL against his stomach wound, all the
while the phone's pressed between her ear and shoulder.

              SHOOTING SCRIPT         OCTOBER 17, 2006          100.


       The "NO SIGNAL" TONE chimes in her ear.

                            SHERYL
                  Shit.
                      (To Mike)
                  Come on, baby. Fight.

       Sheryl re-dials, only to get another NO SIGNAL TONE.

                            SHERYL
                  Oh please God.

       Sheryl raises the phone into the air.

       ON THE SCREEN - ONE SINGLE BAR POPS ON.

       Sheryl hits RE-DIAL.

       ON THE SCREEN - DIALING... DIALING... DIALING... CONNECTED.

                                                         DISSOLVE TO:

150A   OMIT                                                      150A

150B   OMIT                                                      150B

151    EXT.   IDA'S CABIN - NIGHT                                 151

       The RAIN has STOPPED. A couple of RANGERS along with a
       PARAMEDIC UNIT surround the scene.

       SHERYL... sits, completely still, a PARAMEDIC works on her
       cuts and hand. She watches as...

       THE OTHER PARAMEDICS load a gurney into the back of the
       Ambulance. A sheet covers the body. Mike's body. Once
       inside, the Ambulance's doors close.

       Sheryl watches the Ambulance pull away. She places her hand
       on her stomach. It's just the two of them now.

       EVELYN... steps from the midst of the activity, up to Sheryl.
       She leads her away from the ambulance, towards the Ranger
       truck.

                            EVELYN
                  Called your folks. There gunna meet
                  us at the hospital. Be a while since
                  they're coming in from D.C.

       The words go straight through Sheryl.   No reaction.

                                                              101.


                           EVELYN
                 Sorry, but I just have to ask... You
                 told the Sheriff there was someone in
                 on this whole thing with Clyde and
                 Ida. Big fella, scars all over him?
                     (No response)
                 Mame?

      Sheryl's eyes meet Evelyn's. She nods about to continue on,
      until she notices Evelyn's demeanor.

                            SHERYL
                 Why?   What is it?

                           EVELYN
                     (Changing topics)
                 You've had an exhausting night, why
                 don't you...

                           SHERYL
                     (Hard, cold)
                 What is it?

                           EVELYN
                 We didn't find anybody like that in
                 the yard or the house.

                           SHERYL
                     (Concern growing)
                 No. It's not possible.

      She turns, looks around, but spies nothing...

                              EVELYN
                 Calm down.     It's gunna be alright...

                           SHERYL
                 Fuck you it's gonna be alright.

      Sheryl turns to the woods, holds her look.     As if she
      knows...

152   EXT.   WOODS NEAR THE CABIN - NIGHT                          152

      In the distance... past the trees, deep into the woods.

      COME TO A REST OVER THE SHOULDER OF DEACON. Very much alive.
      He stares at the cabin for a beat, then CROSSES out of frame.

                                                           CUT TO BLACK.

                                                              FADE OUT.


                                    THE END