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TWITCH
Written by
D. Westfall
[email protected]
EXT. WOODS - NIGHT
Somewhere deep in the woods.
We're floating above a bottomless pit. Looking down into the

inky darkness beyond.
An eerie silence hangs in the air. Something tells us we

shouldn't be here.
We wanna leave but can't.
Instead, we move closer the pit. As if something is pulling

us down. Closer and closer. Until we're inside.
Surrounded by black.
We get the sense that we're not alone. Something else is in

here with us - we hear it faintly at first then louder as
we're pulled down deeper - hissing.
Followed by CLACK, CLACK, CLACK. Something otherworldly,

vicious. Growing louder and louder and --
SMASH TO:
INT. MINIVAN - DAY
Closed eyes snap open. Dilated pupils, constricting.
GEMMA, 25, looks around, disoriented. Skin sallow, eyes

hollow, hair a tangled mess. She looks over at the driver.
DANIEL, 34, black eye, split lip, needs a shave and a bath.
GEMMA
(Southern accent)
Where are we?
Daniel turns down a dirt driveway. In this old minivan, it's

a rough ride.
EXT. CABIN - CONTINUOUS
A grim looking cabin. Isolated, surrounded by dying trees.

Dry leaves blanket the ground. The grass is brittle and
brown.
It's late-summer. A terrible drought has destroyed most of

the land.
2.
Daniel parks, gets out.
He takes a moment to stretch his legs and gather his

bearings. So much is expressed in his face alone - sorrow,
regret, fear.
A man with a whole world to lose.
Gemma climbs out of the minivan, struggling to her feet.

Every move is made difficult by the fact that she's
pregnant, very pregnant, ready to give birth any day now.
A dingy bandage is wrapped around her left wrist.
She has that same miserable look on her face as Daniel.
These two have been through some bad shit. And things are
only gonna get worse from here.
DANIEL
(re: cabin)
Used to be my dad's.
Gemma looks uneasy.
DANIEL (cont'd)
Don't worry, no one else knows about
it. We're safe here.
He reaches in the backseat and grabs a duffle bag, slinging

it over his shoulder.
Gemma spots a small wooden outhouse. Daniel clocks her look.
DANIEL (cont'd)
Sorry about that.
He helps her to the porch, up the rickety steps.
The cabin looks worse up close. The wood rotting in places.

Floorboards groaning with each step.
Daniel reaches up and feels around the top of the door

frame, eventually finding the house key.
INT. CABIN - MOMENTS LATER
Dust and cobwebs.
Gemma lingers by the front door taking in the place.

3.
A taxidermy deer head. Rifled musket mounted on the wall. An

old wood burning stove. A saggy sofa and an antique rocking
chair.
This place is rustic and battered. No electricity or running

water.
DANIEL
Come on.
Daniel guides her toward the one and only bedroom, passing
by an open doorway to the bathroom - where there's a trough
bathtub and of course no toilet.
Gemma frowns.
They make it to the
BEDROOM
Small and bare.
A bed, which looks flat and hard, covered in a dusty

blanket. A window. A bedside table. Nothing else.
Daniel yanks the blanket off the bed and shakes out the
dust.
Gemma stifles a cough.
DANIEL (cont'd)
Sorry.
He places the blanket back on the bed, smoothing out the

wrinkles, he gestures: sit.
Gemma hesitates, then sits. The bed groans under her weight.
INT. KITCHEN AREA - MOMENTS LATER
A kitchen drawer is pulled open. Inside: a windup

flashlight, a box of matches, a first-aid kit.
Daniel grabs the flashlight.
INT. BASEMENT - MOMENTS LATER
Dank and dark.
The steps creak as Daniel descends.

4.
The beam of the flashlight sweeps through the darkness,

spotlighting different objects: several kerosene lanterns
and bottles of kerosene, a roll of duct tape, two fishing
poles.
And finally a toolbox.
Just what Daniel was looking for.
INT. BEDROOM - LATER
Gemma sits on the bed, lost in troubled thoughts. A kick

from the baby brings her back to reality. She winces in
pain, touching her belly.
Another kick, harder. Gemma grits her teeth.
From the living room, a faint pounding sound. Gemma listens.
INT. LIVING ROOM - CONTINUOUS
A hammer SLAMS into a nail.
Daniel is nailing all the windows shut. The toolbox lying

open at his feet. There's a spot of BLOOD on the tip of his
shoe.
His or someone else's?
Gemma appears from the hallway, watching Daniel for a

moment. Then, another kick from the baby. She groans.
Daniel stops and glances back at her.
DANIEL
You okay?
GEMMA
What're we gonna eat?
DANIEL
Check the cabinets, my dad always had
something lying around.
Gemma goes to check the
KITCHEN AREA
There's a kitchen island separating the kitchen from the

living room. A small dining table set for two.
5.
A few iron pots and pans hanging from hooks on the wall. And
lastly, an antique pantry.
Daniel pounds away in the background while Gemma searches

the kitchen island.
Rifling through the dusty drawers, she discovers most are

empty, until she finds -- utensils and a kitchen knife. Her
eyes linger on the knife.
DANIEL (cont'd)
Find anything?
Gemma shuts the drawer and keeps looking, discovering a few

cans of beans and a handful of MREs in the pantry. She grabs
an MRE (MEALS READY TO EAT).
DANIEL
What'd you find?
She holds up the MRE halfheartedly.
LATER
Gemma bows her head in prayer at the dinner table while

Daniel looks on.
As she opens her mouth to give grace --
LATER
Chewing. Swallowing. Empty food wrappers.
Daniel and Gemma are eating MREs. It's not a great meal but
they're starving.
DANIEL
We'll low lay a while then I'll get
us some real food. Used to be a store
up the road from here.
GEMMA
When?
DANIEL
After a while.
GEMMA
What's that mean? How long's 'a
while'?
Daniel doesn't say.

6.
GEMMA (cont'd)
And when he finds us, what then?
DANIEL
He won't. Finish your food.
GEMMA
He's probably on his way right now.
Daniel rubs his forehead, growing irritated.
GEMMA (cont'd)
He won't stop till he finds us, and
he will, he'll come and he'll --
Daniel SLAMS his fist down on the table, alarming Gemma.
DANIEL
He won't.
Gemma quiets, shrinking down in her seat like a scolded

child. Daniel takes a sharp breath and exhales.
DANIEL (cont'd)
Sorry.
An uncomfortable silence.
They continue eating.
Eventually Gemma speaks up.
GEMMA
Is there any water?
EXT. BEHIND THE CABIN - LATER
A cast iron water pump.
Gemma regards it with dismay. Daniel offers her an empty

cooking pot.
DANIEL
You hold and I pump?
Gemma takes the pot, examining it first. Looks clean. She

starts to bring it under the spout but then --
DANIEL (cont'd)
Wait.
7.
When he pumps the handle, rusty-red water comes out of the

spout. He keeps pumping till it's clear.
He nods: Okay.
Gemma holds the pot under the spout while Daniel pumps. The
sound of running water makes Gemma have to pee.
DANIEL (cont'd)
Wanna use the bathroom while we're
out here?
Gemma glances at the outhouse. She doesn't wanna go in there

but what choice does she have?
INT. OUTHOUSE - MOMENTS LATER
Cramped and stifling. Gemma sits on the wooden toilet

covering her nose. Flies buzzing around. The summer heat
makes everything worse.
EXT. BEHIND THE CABIN - CONTINUOUS
Daniel gulps down water from the pot, spilling some of it.
He wipes his mouth and sets the pot on the ground when
something near the cabin draws his eye.
A bulky mass hidden under tarp.
MOMENTS LATER
Daniel pulls off the tarp to find a stack of firewood. And a

RUSTY AX.
He stares at the ax.
GEMMA (O.S.)
We should clean up.
Daniel turns to see Gemma approaching. He throws the tarp

over the wood, hiding the ax beneath it.
He seems nervous.
Gemma scrutinizes him, suspicious.
GEMMA
What?
DANIEL
I'll grab the pot.
8.
He goes to fetch the pot. Gemma glances at the firewood,

then back to Daniel.
INT. CABIN - NIGHT
Burning wood crackles in the stove. The cooking pot sits on

top heating up.
A couple lanterns have been placed throughout the cabin. In

normal circumstances the lighting might seem romantic. But
in this instance, it's eerie.
Shadows moves across the walls, stretching and twisting as

if they're alive.
Daniel sticks his finger in the pot, testing the temperature

of the water.
Meanwhile.
IN THE BATHROOM
Gemma waits in the trough tub, naked. She winces as she

peels the dressing from her wrist, some of the gauze clings
to dry blood.
Once its removed, she examines her wrist.
Running a finger along a newly STITCHED WOUND - the stitches

are ugly and crude, mended by an amateur; the cut deep and
long, close to the vein.
A creak from the hallway.
Gemma turns to see Daniel standing in the doorway with the

pot.
On the bedside table, a lantern emits a low hissing noise.
Gemma lies in bed staring at the lantern's flame, her face

aglow. It's hard to know what she's thinking.
Across the room.
Daniel kneels on the floor, hidden in shadow, searching for

something in the duffle bag.
A moment later.
9.
A jangling sound.
Gemma tenses, recognizing the sound. She sits up.
GEMMA
Daniel?
When Daniel steps into the light she sees that he's holding
HANDCUFFS.
GEMMA (cont'd)
Don't, please. I won't do anything, I
swear, I promise.
Daniel stares down at her, an ominous glow thrown across his

face by the lantern.
GEMMA (cont'd)
Please, please...
Daniel's face hardens.
Gemma can see no amount of pleading will work. She

relinquishes her right wrist, which is uninjured.
As Daniel snaps one cuff to her wrist and the other to the
bedpost --
CUT TO:
DARKNESS. SILENCE.
Then -- FOUR GUNSHOTS ring out. Quick and panicked.
Long seconds pass.
One more BANG. Closer.
Followed by moaning, clanging.
GEMMA'S POV: her eyes flutter open. Her vision is blurry at

first as her eyes struggle to adjust to the dark. She can
barely make out her surroundings. She's in a different
bedroom. A shadowy figure looms in the doorway. She gasps,
frightened, trying to pull away but a handcuff keeps her
locked in place. The figure charges - it's Daniel, frantic
and terrified.
CUT TO:
10.
INT. BEDROOM - MORNING
Gemma shoots awake. Handcuffs clanging against the bedpost.
It takes her a second to realize where she is.
She looks at Daniel's side of the bed - empty.
EXT. PORCH - CONTINUOUS
Daniel sits on the porch. A REVOLVER in his hand. He checks

the chamber. Only one bullet left.
He stares out at the surrounding woods, worried.
INT. CABIN - LATER
Beans bubble in a pot on the stove.
Daniel stirs the beans while Gemma sets the table. They're
both sweating from the heat.
LATER
Daniel and Gemma eat in silence.
Gemma fans herself with the neckline of her shirt. Her eyes
drift to the musket mounted on the wall. Daniel follows her
gaze.
DANIEL
It's just for show. Apparently it's a
family heirloom. My dad probably got
it at an auction.
(re: deer head)
Got that at a yard sale.
A beat.
GEMMA
If you don't think he'll come then
why'd you nail all the windows shut?
Daniel doesn't answer.
GEMMA (cont'd)
You think I'm gonna run away or
somethin'? Like I'd fit through one
of them windows anyway. Where would I
even go?
11.
Still, nothing from Daniel.
GEMMA (cont'd)
It's too hot, I'm dyin'.
Daniel is silent. He keeps eating.
Gemma stares down at the bowl of beans - looks disgusting,

like beetles in mud. Her face blanches.
EXT. OUTHOUSE - LATER
Daniel stands outside the outhouse while Gemma retches

inside.
INT. OUTHOUSE - CONTINUOUS
Gemma finishes throwing up, wipes her mouth and leans back.
Red clouds the corner of her eye - a broken blood vessel.
INT. CABIN - BEDROOM - LATER
The bed squeaks as Gemma moves around trying to get

comfortable. But she can't. Her belly is a burden and the
heat is unbearable.
She gives up and lies flat on her back. Eyes cast up at the
ceiling.
A moment later.
Daniel appears with a fishing pole.
DANIEL
I'll get us some real food.
Gemma brightens. Finally some good news.
Daniel gestures at the handcuffs hanging around the bedpost.
DANIEL (cont'd)
I'll need to.
Gemma's face falls.

12.
EXT. WOODED PATH - LATER
Dry leaves crunch beneath Daniel's feet as he walks down a

wooded path. He stops, wipes sweat from his brow.
Up ahead, there's a fork in the path.
He considers which path to take.
After a moment, he heads to the right.
INT. CABIN - LATER
Dust dances in the light.
It's quiet, until -- clang, clang.
IN THE BEDROOM
The handcuffs clang against the bedpost as Gemma sits up in

bed wiping sweat from her face.
GEMMA
(muttering)
Leave me here, asshole...
A faint noise.
Gemma goes still, listening.
What is that?
It sounds like...hissing. Coming from somewhere else in the

cabin. Then -- CLACK, CLACK, CLACK.
Gemma's eyes go wide.
GEMMA (cont'd)
No...
CLACK, CLACK, CLACK - it sounds closer. Right outside the

door.
Gemma squeezes her eyes shut.
GEMMA (cont'd)
The light of God surrounds me. The
love of God enfolds me. The power of
God protects me...
CLACK, CLACK, CLACK - even closer now. In this room.

13.
Gemma peeks one eye open and gasps. Someone is standing at

the foot of the bed but we never see who.
We stay on Gemma.
GEMMA (cont'd)
(stunned)
Beth-Anne? What're you doin' here?
What happened? The others - where are
they?
No response.
Gemma shifts, wary.
GEMMA (cont'd)
How'd you find us?
Finally Beth-Anne responds: CLACK, CLACK, CLACK.
GEMMA (cont'd)
NO!
CLACK, CLACK, CLACK.
Gemma kicks and squirms, the handcuffs clanging against the

bedpost.
CLANG - CLANG - CLANG!
EXT. LAKE - LATER
Pebbles shift underfoot.
Daniel stands by the water fishing.
The drought has caused a receding shoreline.
In a small pile beside him is everything he's snagged so

far: nothing but trash.
He catches his reflection in the water.
For a second, it's as if he doesn't recognize himself.
Something tugs on his line.
EXT. WOODS - LATER
Evening sun. Dusty orange sky.

14.
Daniel walks through the woods.
Water drip, drip, dripping from a dead fish on his line.
Suddenly he stops. Frozen in place. His mind blank.
His eyes drift to the fish he's holding, surprised to see it

there. He looks around, baffled.
It's as if he doesn't know where he is, who he is.
After a moment, he steps forward and --
EXT. WOODS - NIGHT
The sun is gone. Replaced by moonlight and crickets.
Daniel wanders, scared.
DANIEL
(calling out)
Hello? Anybody?
Only the crickets answer.
DANIEL (cont'd)
Dad?! Where are you? Dad?!
His demeanor is strange, different, like a frightened little

boy. He cowers, on the verge of tears.
DANIEL (cont'd)
Dad?! Please!
This time, a response:
GEMMA (O.C.)
(faint)
HELP! SOMEBODY! DANIEL!
And just like that, he snaps out of it. He runs toward her
voice.
INT. CABIN - LATER
A lantern illuminates Daniel and Gemma's unsettled faces as

they eat dinner in silence.
Gemma pokes at her food with her fork.

15.
GEMMA
She was here.
Daniel looks over at her.
DANIEL
I checked the whole cabin, and
outside, it's just us.
GEMMA
(a serious look)
It was her.
DANIEL
They don't know where we are.
GEMMA
You think I'm lyin'?
DANIEL
I think you're...
GEMMA
What.
DANIEL
Confused.
Gemma scoffs.
GEMMA
What took you so long? Where were
you?
DANIEL
Getting you dinner, it'd be nice if
you tried it.
GEMMA
Thought I heard your voice.
DANIEL
I worked hard for that fish, Gem, eat
it.
Gemma scrutinizes him.
GEMMA
Didn't I hear you?
DANIEL
The baby, Gemma, eat.
16.
Gemma's nostrils flare. She stuffs the fish in her mouth all
at once like a petulant child then cocks her head and
glares: How's that?
Daniel holds her gaze, unmoved.
Gemma spits the fish back onto her plate.
GEMMA
Water.
Daniel shakes his head and gets up to go.
EXT. BEHIND THE CABIN - LATER
At the water pump, the empty cooking pot sits under the
spout.
As Daniel pumps, rusty red water spurts out.
This time, the water doesn't clear up. Instead it gets

redder and redder.
Like blood gushing from a ruptured vein.
Splashing into the pot.
Daniel pumps faster and faster.
Breaking a sweat.
Water splashes, redder and redder.
Filling the bucket.
Until -- drip, drip, drip.
The well's gone dry.
Daniel frowns.
INT. CABIN - CONTINUOUS
Using the table for support, Gemma struggles to her feet.

She eyes the musket for a beat before heading to the kitchen
island.
Yanking one of the drawers open, she reaches inside and

snatches the kitchen knife. Shuts the drawer. Eyes the front
door.
17.
All clear.
She waddles down the hallway to the
BEDROOM
Just as she hides the knife under her pillow, Daniel can be
heard returning.
GEMMA
I'm tired, I'm goin' to bed!
She waits for a response.
DANIEL (O.S.)
Fine.
Gemma sits on the bed, relieved.
IN THE LIVING ROOM
Daniel sits on the sofa, stressed.
EXT. CABIN - DAY
Sizzling sun. Shimmering heat waves.
Daniel emerges from the cabin and heads toward the minivan.
Gemma can be heard from the bedroom:
GEMMA (O.S.)
Don't leave me here, please, let me
come with you! Take me with you!
INT. CABIN - BEDROOM - CONTINUOUS
Handcuffed to the bedpost, Gemma squirms and screams:
GEMMA
Daniel, wait!
She listens as Daniel drives off.
Silence.
She pulls the knife from under her pillow.

18.
INT. MINIVAN - MOVING
Daniel drives down a desolate dirt road. An old country song

plays on the radio.
Gemma sits up in bed, wielding the knife, calling out:
GEMMA
Beth-Anne?!
Silence.
She listens carefully.
She's alone.
She eyes her stitched wrist.
A dark thought.
EXT. COOPER'S GENERAL STORE - LATER
Daniel's minivan pulls up outside a small general store. An

American Flag hangs out front. A 'Homemade Jam' sign taped
to the window.
INT. COOPER'S GENERAL STORE - MOMENTS LATER
A bell above the door rings as Daniel enters.
A middle-aged fellow, GENE, pops his head out from his

office behind the register:
GENE
Howdy. How ya doin'? Let me know if
ya need anythin'.
Daniel nods. He grabs a basket and disappears down an aisle.

A tv plays faintly in the background.
The bed squeaks and groans as Gemma moves around.
Gripping the knife in her cuffed hand.
She uses it to rip out her stitches.

19.
One by one.
The wound starts to reopen.
INT. COOPER'S GENERAL STORE - CONTINUOUS
Daniel browses a rack of trashy tabloid magazines with

headlines like: Teenager Possessed by DEMON; Global Warming
is a HOAX; Sinkhole in Brazil is direct MOUTH TO HELL; Woman
Pregnant with ANTI-CHRIST.
His eyes linger on that last magazine. Woman Pregnant with

Anti-Christ.
Blood oozes from the cut in Gemma's wrist, dribbling down

her arm and onto the bed. Leaving behind streaks of red.
With her thumb and index finger, she spreads the wound open.
Clenching her jaw, pushing through the pain, her eyes wild
and deranged.
She examines the cut closely. Attempting to see something

beyond it...something inside.
But what?
Her eyes go wide.
She's found it, whatever she's looking for. But we don't

see. We see only her reaction.
One of relief.
A stack of homemade strawberry jam. Red and chunky.
Daniel grabs a jar and adds it to his mountain of groceries,

which have taken over the entire counter.
Piles of canned food. Bags of rice and beans. Several jugs

of water.
It looks like he's preparing for the end of the world.
Daniel can hear the tv coming from Gene's office, only

catching bits and pieces:
20.
NEWSCASTER (O.S.)
(tv)
...gruesome scene at a farmhouse
where ten bodies were discovered...
The volume is turned down. Gene emerges from his office.

With the door partly open, Daniel is able to catch a glimpse
of the tv. Gene shuts the door.
GENE
Sorry 'bout that.
He looks over Daniel's groceries.
GENE (cont'd)
Whoa boy. You preparin' for the end
of the world or what? I got a store
left?
Gene grins. Daniel doesn't.
GENE (cont'd)
Rough night?
Off Daniel's confusion, Gene gestures at Daniel's black eye

and split lip.
DANIEL
Took a fall. What was that on the tv?
GENE
Oh, some crazy cult nonsense. As you
could prolly guess, ain't good news.
DANIEL
Mind if I listen, just while you're
ringing up?
GENE
Pretty grim stuff.
DANIEL
Just the same.
Gene shrugs. He opens his office door just wide enough for
Daniel to see the tv.
ON TV: a charred farmhouse. Police and yellow tape. A short

distance from the house, a red barn can be seen still
intact.
21.
Blood on the sheets.
Gemma lies on her back, eyes cast up the ceiling, a

delirious smile on her pale face.
NEWSCASTER (V.O.)
Authorities say five of the bodies
found inside the home, one woman and
four men, died from gunshot wounds.
While the bodies of five women, who
were discovered in the barn, had been
mutilated.
Blood seeps from her wound, only part of it has reopened.

Still, she needs to wrap it, now.
She blinks and snaps out of it.
With her free hand, she grabs a pillow and works to remove
the cover. Smearing blood everywhere.
She bites down on one corner of the pillow cover while

pulling on the opposite end of the pillow, trying to get it
free.
Eventually she gets it off.
With the pillow cover still in her mouth, she tries to wrap
her wound.
Daniel's eyes are locked on the tv.
NEWSCASTER (O.S.)
Police have yet to disclose if the
owner of the property, Paul Sewell,
was among the deceased.
Daniel swallows the lump in his throat.
GENE (O.S.)
Ten percent off.
Daniel looks at Gene: Huh?
Gene waves a store coupon.

22.
GENE
Next Wednesday, ten percent off your
entire purchase.
DANIEL
(distracted)
Yeah, okay, whatever.
Gene puts the coupon in Daniel's bag. He studies Daniel's

face a moment, recognizing him.
GENE
Well I'll be. You're Jack Dunlap's
kid, ain't ya?
Daniel looks at Gene again: Huh?
GENE (cont'd)
I knew I recognized ya. Boy do you
look just like him, same face, same
hairline. I remember you when you
were bout yay high.
(beat)
Y'all stayin' up at the cabin? Ain't
seen Jack in a minute. What's he up
to?
DANIEL
I don't know what you're talking
about.
GENE
Danny, right? Little Danny?
DANIEL
NO.
Gene is taken aback by Daniel's tone.
DANIEL (cont'd)
I don't know what you're going on
about. I don't know no Jack and I'm
not "little Danny". Can you finish
ringing up my fucking groceries?
Gene bristles, and continues ringing up the groceries.
DANIEL (cont'd)
(embarrassed)
Sorry.
23.
INT. MINIVAN - MOVING
Daniel white-knuckles the steering wheel, on the verge of

losing his shit.
Fuck it. He loses it. Punching the steering wheel. Screaming

at the top of his lungs. Punching and screaming till he runs
outta steam.
He takes a deep breath, exhales.
Settling down.
He focuses on the road ahead.
Just then -- a CHARRED FIGURE appears on the road.
Daniel screams.
Swerves.
Slamming the brakes.
The minivan skids across the road.
Striking a pot hole.
EXT. DESOLATE ROAD - CONTINUOUS
The minivan sits in the middle of the road.
A moment of stillness.
Daniel slowly gets out.
Looking around.
The charred figure is gone.
He examines the minivan.
Two blown tires.
MOMENTS LATER
The minivan, now parked roadside.
Up ahead, Daniel walks down the road carrying as many

groceries as he can manage.
24.
EXT. WOODED DRIVEWAY - LATER
Daniel walks up the long driveway. Exhausted, drenched in

sweat. The bags seem to grow heavier with each step.
The cabin comes into view.
Suddenly the bottom of a grocery bag rips open, dumping

canned food onto the ground.
DANIEL
Shit.
He considers the spilled cans.
Whatever.
He moves on, leaving them behind.
INT. CABIN - LATER
The front door opens and Daniel lumbers in.
DANIEL
I'm back.
It's quiet.
Daniel unloads the groceries on the kitchen island.
DANIEL (cont'd)
Gemma?
No response.
We follow behind him as he moves down the hallway.
DANIEL (cont'd)
Hey.
As he approaches the bedroom door, dread takes hold.
DANIEL (cont'd)
Gemma?
He opens the door --
IN THE BEDROOM
Blood, all over the sheets.
Gemma is slumped on the bed. Unconscious or dead?

25.
Daniel pats her face.
DANIEL (cont'd)
Gemma, hey, Gemma?
He sees the bloody pillow cover wrapped around her wrist.
DANIEL (cont'd)
Gemma, Gem, Gem...
Finally Gemma stirs.
The mattress is bare and blood-stained.
The bloody sheets lie in a pile on the porch.
The first-aid kit lies open in the middle of the table.
Gemma's arm rests on the table as Daniel pulls needle and

thread through her skin.
Stitch by stitch, Gemma winces. Her lips are pale. Dark

circles under her eyes.
Something inside the first-aid kit catches her eye: a bottle

of prescription pills, partially hidden under alcohol wipes.
Her eyes linger on the pill bottle.
Daniel doesn't notice. He's solely focused on fixing her

wound.
LATER
A spoon dips into a jar of strawberry jam.
Daniel brings the spoon to Gemma's lips. She dodges it.
DANIEL
You need sugar.
Daniel insists. Gemma snatches the spoon. Fresh gauze now

wrapped around her wrist.
26.
GEMMA
I can do it, I'm not a baby.
She tries the jam. It's good. Really good.
GEMMA (cont'd)
How'd you pay for all this?
DANIEL
Paul didn't get everything I had. We
gotta take it easy though till I can
figure some stuff out.
She reaches for more but Daniel intercepts.
DANIEL (cont'd)
I said take it easy.
Gemma grabs the jar and dips her spoon in.
LATER
The jam jar is nearly empty.
Gemma sits in her chair, uncomfortably full and a little

sick, the corners of her mouth stained red.
She glances at the front door as it closes.
The setting sun casts long shadows across the ground.
Daniel walks down the driveway.
INT. CABIN - KITCHEN AREA - CONTINUOUS
Gemma grabs the bottle of pills from the first-aid kit,

reading the label.
GEMMA
Oxycodone Hydrocholoride...Evelyn
Stowe.
Evelyn Stowe? Gemma doesn't recognize the name.
She tries to twist off the lid, but it won't budge.

27.
EXT. WOODED DRIVEWAY - CONTINUOUS
Daniel kneels and starts gathering the canned food he

dropped earlier when --
A twig snaps.
He looks up.
Leaves rustle.
Something's out there in the woods.
The lid finally pops off and blue pills burst forth like
confetti, spilling and bouncing across the floor.
Gemma kneels with difficulty and starts gathering the pills.
Daniel rises.
Scanning the trees, trying to find the source of the sound.
A quiet moment.
Another twig snaps.
Daniel grabs the gun from the back of his waistband.
More leaves rustle - closer.
Panicked hands grasping at pills.
Finger hovering over the trigger.
Daniel waits.
The tension building.
Building...building...
An emaciated deer appears.

28.
Daniel sighs, relieved.
After a moment, the deer runs off.
Gemma rises, carefully and quickly dumping the pills back

into the bottle. Pocketing a few.
She glances out the window. Daniel's coming.
Hurry, hurry.
She puts the bottle back where she found it - under the
alcohol wipes in the first-aid kit - and shuts the lid just
as the door opens and Daniel walks in.
They both look a little flustered.
Gemma tries to hide her nerves.
GEMMA
Not much left.
Daniel doesn't understand.
She motions at the jam jar.
Daniel doesn't react. He moves on.
Gemma relaxes.
She doesn't realize she missed a pill.
There - under the kitchen island.
EXT. CABIN - NIGHT
Moonlight shines down on the cabin.
Daniel stands at the window, his troubled face lit by the

pale moonlight, looking out at the dark woods. Expecting to
see someone.
But no one's there.
It's just him and Gemma, who's out cold, handcuffed to the
bed once again.
29.
CUT TO:
EXT. FIELD - DAY - PAST
A breeze blows through tall grass.
Gemma and Daniel sit on the grass, handcuffed to each other.

Two awkward and giddy strangers meeting for the first time.
Their attraction undeniable.
They look different - clean cut, dressed in all white.
DANIEL
(re: handcuffs)
Everyone does it, good way to get to
know each other fast.
GEMMA
Let's play a game - twenty questions.
Another way to get to know each other
fast. Always worked when I changed
schools and fosters, lot of those.
(beat)
First question: why're you here?
Daniel takes a moment.
GEMMA (cont'd)
The quicker you answer, the more
honest you are. Pretend there's a ten
second timer.
DANIEL
Alright. My dad died - cancer. We
were estranged till he got sick. But
then it was too late.
GEMMA
You regret it, not bein' there
sooner?
DANIEL
Sometimes. But if he didn't get sick
at all, we probably would've kept on
living like the other never existed.
In the end I was there, but I wasn't,
not really, ya know? He never knew
me, and I didn't know him.
Gemma thinks about that.

30.
DANIEL (cont'd)
That's why I'm here. I wanna know
people and I want them to know me.
(beat)
What about you? Why're you here?
GEMMA
I got tired of feelin' like an
outsider in every room I was in.
CUT TO:
INT. CABIN - BEDROOM - MORNING - PRESENT
A shaft of light from the window falls across Daniel's

sleeping face. He's sitting up in bed, arms crossed, having
fallen asleep that way.
Gemma looks up at him, watching him sleep.
He looks peaceful, handsome. Even with the black eye and

split lip.
For a brief moment the attraction she once had for him
returns.
Until she sees his lip twitch.
And her face goes cold.
INT. CABIN - DAY
The fang of a can opener bites into a can of chili.
Fingers carefully peel back the jagged lid of the can. A

sharp edge pricks skin, drawing blood.
Daniel winces. A dot of blood on the tip of his finger.
The rocking chair creaks as Gemma gently rocks back and

forth. Frail, tired, deep in thought.
GEMMA
His smile wasn't real.
She glances at Daniel.
GEMMA (cont'd)
It never reached his eyes. I
should've known he weren't right.
(MORE)
31.
GEMMA (cont'd)
I lived with a couple guys like that.
Ignored the red flags every time.
Daniel isn't sure how to react.
Gemma meets his gaze a beat, then averts her eyes to the
window, where she notices something outside.
She gets up, goes to the window.
GEMMA (cont'd)
Where's the car?
She looks back at him.
Daniel dumps the chili into a pot.
DANIEL
It broke down.
He goes to put the pot on the stove.
DANIEL (cont'd)
I got a lot to do today, I'll leave
water.
Gemma turns back to the window, a grim look on her face.
SNAP - Gemma's wrist is handcuffed to the bedpost.
GEMMA
(re: handcuffs)
How long're we gonna do this for?
DANIEL
Till I can trust you. I can't let you
hurt yourself or the baby.
He leaves a plastic cup of water on the bedside table and

goes.
Gemma listens as his footsteps fade. Her mind stirs. How's

she gonna escape?
From high above: we see Daniel walking through the woods.

32.
Carrying the bloody sheets in his arms. He stops when he

reaches the fork in the path.
He considers which path to take. Confused.
After a moment, he heads to the left.
The handcuffs clang against the bedpost as Gemma twists and

pulls, trying to get her wrist free - there's some room but
not enough to slip her hand out.
She gives up, sweat dripping down her face.
A thought occurs.
She grabs the plastic cup of water and pours it down her
handcuffed wrist. Maybe she could slip it out when it's wet?
She twists and pulls. And twists and pulls. Still, no go.
For a moment she just sits there, feeling dumb.
Then, she eyes her thumb. If she dislocates it, maybe she
could slip her hand out...
EXT. CLIFF - LATER
A breeze blows through Daniel's hair as he stands at the

edge of a cliff looking down at the lake below.
GEMMA (V.O.)
Lord, I reach out to you for your
guidance. Please show me which way to
turn. Calm my anxious thoughts, come
speak into my mind.
An unease comes over Daniel, it seems he went the wrong way.
Thumb bent back, Gemma is trying to dislocate it.
GEMMA
Strengthen me as I falter and feel
weary. May I feel strength rising up
within my heart.
33.
Bending it further and further back. She's beginning to feel

the pain.
GEMMA (cont'd)
I trust that you are with me, no
matter where I go, or what I decide
to do. You journey with me always.
She takes a deep breath. Gathering all her strength. She

twists and bends her thumb back further and further,
until -- she stops.
She can't do it. She gives up.
Rage fills her face.
She opens her mouth to scream --
EXT. LAKE - LATER
Red clouds the water as Daniel kneels by the lake cleaning

the tainted sheets.
Scrubbing and scrubbing, trying to get out as much blood as

he can when suddenly --
The hair on the back of his neck stands straight up. Dread
creeps in. The feeling of being watched. He looks up.
Across the lake.
A charred figure stands at the edge of the water. Face

blackened. Skin melted and hanging off, exposing bone. The
whites of its eyes prominent, like two beaming pearls,
staring right at Daniel.
This is the same figure Daniel saw on the road.
He rises, terrified, but unable to look away.
The figure holds Daniel's gaze.
FLASH TO
A dark room. A WOMAN, hidden in shadow, aims a gun directly

at us.
WOMAN
Are you one of them?
In the blink of an eye, the woman is yelling and waving the

gun around.
34.
In another blink, the woman is lying crumpled on the floor

in a pool of her own blood. She's pregnant.
BACK TO SCENE
A gust of wind blows.
The sheets slip from Daniel's fingers and into the water.
Drifting away with the current.
Daniel stumbles back, nearly slipping on the rocks. He runs

away.
Across the lake, the figure is gone.
Heavy breathing. Chest heaving.
Gemma has stopped screaming. Her lungs can't take any more.
Her eyes drift to the blood stain on the mattress.
A thought.
She reaches in her pocket and takes out FOUR BLUE PAIN
PILLS.
Her eyes harden with resolve. She knows exactly what she has
to do next.
INT. CABIN - EVENING
Daniel sits slumped on the sofa drowning in his thoughts.
Gemma leans against the pantry searching for tonight's meal.

She seems strangely chipper.
GEMMA
I'll make dinner tonight.
DANIEL
I'm not hungry.
GEMMA
Come on. Let me do somethin' nice for
you for once. Think of it as a 'thank
you' for savin' me.
35.
DANIEL
(barking)
I said I'm not hungry.
Gemma bristles, voice going cold:
GEMMA
I gotta pee.
EXT. CABIN - MOMENTS LATER
The sun sits low in the sky.
The front door opens. Daniel emerges first and helps Gemma
out. She pulls away.
GEMMA
I can do it.
Daniel backs off. He stays behind on the porch, watching as

she stomps off toward the outhouse.
INT. OUTHOUSE - MOMENTS LATER
Gemma pees.
She stares at the outhouse floor and all the dark spots and
streaks left over the years. A Jackson Pollock of piss and
shit stains.
It's not until she looks up that she sees a PAIR OF EYES
staring at her through the wooden slats.
Daniel scans the woods from the porch.
GEMMA (O.S.)
GO AWAY.
Daniel glances at the outhouse, baffled. He goes to

investigate when -- a different voice draws him back.
He turns, listens.
It's coming from inside the cabin.

36.
Eyes, peering through the slats.
GEMMA
Hey, pervert, I said go away.
The eyes move away. Footsteps circle the outhouse.
A moment later, a woman's voice:
WOMAN'S VOICE
Gemma, listen to me. Can you hear me?
They're not who they say they are.
GEMMA
...Beth-Anne?
Gemma gets up and peers through the slats. What she sees on
the other side stuns her - it's not the cabin.
But a dark room. The same one she was in when Daniel came to
save her.
A blurry figure stands there in the dark.
Multiple voices can be heard coming from inside the cabin -

two men.
Daniel cups his hands against the glass of the living room
window, peering inside to find --
HIMSELF, in a different room, similar to a therapist's

office. Sitting opposite is PAUL SEWELL, 40s, clean-cut and
handsome - looks like a preacher, or a con-man.
Gemma, face pressed to the slats.
BETH-ANNE (O.S.)
I know you've seen it - the twitch,
they all got it. Like part of them's
fighting for control.
Daniel watches the other him.

37.
Through the window: THERAPY ROOM
DANIEL #2 is in a hypnotherapy session with PAUL SEWELL. A

metronome ticks in the background.
Tick, tick, tick.
Daniel #2's eyes are closed, his head lolls.
PAUL
Tell me your worst memory.
DANIEL #2
...My dad used to take me fishing at
his cabin during the summer, I hated
it there, and one day he left me
behind. I got lost in the woods, I
was only eight, and I was out there
for hours, out in the dark calling
for him.
PAUL
And he didn't come? He didn't save
you?
DANIEL #2
...He was passed out. He left so he
could go get high.
Paul takes that in.
PAUL
You told the others your father died
of cancer. But he didn't, did he?
A beat. Daniel #2 shakes his head: No.
PAUL (cont'd)
And you weren't with him at the end,
were you?
Daniel #2 shakes his head again: No.
PAUL (cont'd)
You say you want people to know you
but how can they if you're not
willing to show the real you. I
believe this urge to keep yourself
hidden stems from a deep seated self-
hatred and this need for control, to
have control over yourself and
others. Do you hate yourself, Daniel?
38.
A beat. Daniel #2 nods: Yes.
PAUL (cont'd)
You don't need to anymore. You can
let it go. Let that old you go. I can
free you. Is that what you want?
Daniel #2 nods again: Yes.
PAUL (cont'd)
Open yourself up, Daniel. Listen to
me, really listen...
He leans in close and whispers something in Daniel #2's ear.

Then leans back in his seat.
PAUL (cont'd)
Tell me more about the cabin.
ON THE PORCH
Daniel backs away from the window as a terrible realization

sinks in; Paul knows where they are.
A tear rolls down Gemma's cheek.
BETH-ANNE (O.S.)
I'm getting us outta here, I'll come
back for you.
GEMMA
Wait.
Daniel sits on the porch step, his head in his hands. Gemma
emerges from the outhouse, rattled.
Daniel looks over at her.
Neither says a word.
INT. CABIN - NIGHT
Dark outside but the room is dimly lit by the glow of a

solitary lantern.
39.
Gemma is in the kitchen opening canned food: beans, corn,

tomatoes, spam.
Dumping them all into an empty pot.
She glances at the living room window where Daniel can be

seen pacing back and forth on the porch.
With the coast clear, she takes a blue pill from her pocket.
Considers. Takes out the rest.
Four little blue pills lying in a row on the counter.
Using a spoon she crushes them into powder. Then sprinkles

the powder over the food.
As she stirs --
Floorboards groan under Daniel's feet as he paces back and

forth on the porch.
Thoughts thundering in his head. Why is he only remembering

his session with Paul now? And what the hell did Paul
whisper in his ear?
Suddenly he stops at the edge of the porch.
Looking off into nowhere, his eyes vacant.
The sound of summer insects buzzes in his ears. Growing

louder and louder and --
The front door opens. Gemma pokes her head out.
Everything sounds normal again.
GEMMA
I made dinner.
Daniel just stands there.
GEMMA (cont'd)
Hey. Hello, Daniel, you okay?
Daniel snaps out of it.
GEMMA (cont'd)
Dinner. I made some anyway. It'd be
nice if you tried it.
40.
Dinner looks terrible. Slimy and lumpy and gross.
When Daniel pokes it it seems to bubble and burp.
GEMMA
Try it, it's Mexican.
Daniel hesitates, then takes a bite. It tastes odd, bitter.

And crunchy.
DANIEL
What is that? It's...crunchy.
GEMMA
Oh, that's crackers. I didn't have
tortilla chips so I had to improvise.
It's good, right?
Daniel tries to hide his disgust.
DANIEL
Really good. Love it.
(beat)
I'm not really hungry though.
GEMMA
I knew it, I'm horrible, I can't do
anythin' right, I'm gonna be a
terrible mother.
DANIEL
No, no, no - it's good, like, really
good and interesting.
GEMMA
You hate it.
Daniel forces down a few more bites. It takes a lot of

effort to swallow.
He smiles. Spam between his teeth.
DANIEL
Mmm-mmm, excellent. You're gonna be a
great mother. The best, I know it.
GEMMA
Really?
41.
DANIEL
Oh yeah, definitely, one hundred
percent.
Gemma brightens. She gestures: eat more.
Daniel reluctantly obliges. Gemma observes him a moment.
GEMMA
Is there anythin' you wanna tell me?
You seem...I dunno. More nervous than
usual.
Daniel shakes his head, shrugs: no.
GEMMA (cont'd)
If we're gonna be a family we gotta
be honest with each other. That's
what good families are supposed to
be.
(pause)
So be honest. I been wondering
somethin'. How'd we get away?
Daniel feels strange. He has cotton-mouth.
DANIEL
...We got away, that's all that
matters.
GEMMA
But, details, I need details.
Daniel clears his throat, feels his face. Is his tongue

numb?
GEMMA (cont'd)
I'll tell you what I remember, and
maybe you can help me fill in the
blanks. I was really out of it,
drugged up, so it's all a little
jumbled but...
(beat)
I remember Beth-Anne comin' into my
room that night. She said we were
gonna go, she was gonna come back for
me, help me. But then.
Her face goes cold.
GEMMA (cont'd)
You came back instead.
42.
Daniel's sweating now. He blinks hard, can't see straight.

He's woozy. Something's definitely wrong.
Now he sees - Gemma hasn't touched any of her food.
DANIEL
What'd you do?
GEMMA
What'd I do?
(exploding)
What'd you do?!
Daniel flinches.
GEMMA (cont'd)
Why were you so sure Beth-Anne was
never here?
DANIEL
(struggling to stand)
I need water.
As he attempts to make his way to a jug of water on the

kitchen island --
GEMMA
You wanna know what she told me?
-- he collapses onto the floor.
GEMMA (cont'd)
They're not men of God.
His vision blurs. He sees the blue pill under the kitchen
island. Oh shit.
GEMMA (cont'd)
They're not even human.
And he's OUT.
MOMENTS LATER
Daniel lies crumpled on the floor, unconscious.
Gemma searches his pockets for the car keys. Where the hell
are they? Not in his front pockets.
She rolls him over and finds the gun tucked in the back of
his waistband.
With careful hands, she removes it, putting it aside.

43.
She searches his remaining pockets.
No keys.
QUICK SHOTS (Gemma places the lantern in various locations):
- Gemma, rifling through the duffle bag. She finds the

handcuff key.
- The handcuffs are removed from the bedpost.
- Daniel's hands are handcuffed.
- Gemma, searching through drawers. All sharp utensils have

been removed. No car keys.
- Pantry. No car keys.
- Under the bed. No car keys.
- Under the sofa. No car keys.
- In the basement. A light goes on. Gemma looks around. She

spots a roll of duct tape. No car keys. She grabs the duct
tape.
- Gemma duct tapes Daniel's ankles together.
END QUICK SHOTS
Gemma sits on the sofa, exhausted and defeated. Gun in hand.

The lantern has been placed on the kitchen island.
Daniel moans and stirs on the floor, starting to come to.
DANIEL
(mumbling)
Gemma...
Gemma lets out an exasperated sigh. She pushes herself up,

goes to the kitchen island and --
DANIEL (cont'd)
Gem...
-- dumps water on his head.
Daniel coughs and squirms, fighting against the handcuffs

and duct tape.
He looks up at Gemma, who looms over him, an ominous glow

thrown across her face by the lantern.
44.
DANIEL (cont'd)
Please. Gemma, let me go. You need to
let me go.
She raises the gun.
Daniel goes still.
GEMMA
What are you?
DANIEL
Gemma. Listen to me. You're not
thinking straight. The trauma, the
pregnancy, it's messing with your
head --
GEMMA
WHAT ARE YOU! WHAT DID YOU DO THEM!
Daniel flinches.
Gemma places the gun on the kitchen island. Grabs the half-
empty jug of water and prays over it.
GEMMA (cont'd)
Blessed are you, Lord, all-powerful
God --
DANIEL
What're you doing?
GEMMA
-- who in Christ, the living water of
salvation, blessed and transformed
us. Grant that when we are sprinkled
with this water --
DANIEL
Stop. This is ridiculous.
GEMMA
-- or make use of it, we will be
refreshed inwardly by the power of
the Holy Spirit and continue to walk
in the new life we received at
Baptism.
DANIEL
You can't make Holy Water, you're not
a Priest --
Gemma dumps water on his face.

45.
Daniel spits and squirms and gags.
Gemma watches, waiting for him to go up in flames or melt.

But he doesn't.
He just lies there, wet and coughing.
DANIEL (cont'd)
Beth-Anne was crazy, she lost her
mind. She shot them, not me.
FLASH TO:
INT. FARMHOUSE - BEDROOM - NIGHT
Daniel, asleep in bed.
The room is pitch black save for a small high window.
Daniel jolts awake at the sound of four gunshots.
He looks around, disoriented.
A moment of silence, stillness.
He sits frozen in bed.
A moment later.
The door bursts open.
A pregnant woman lumbers in. It's Beth-Anne. We never see

her face, she's always in shadow.
DANIEL
...Beth-Anne?
She raises the gun. Daniel shrinks back.
BETH-ANNE
Are you one of them?
This is the woman we saw earlier in Daniel's memories.
DANIEL
What're you doing?
BETH-ANNE
I'm taking Gemma with me, we're
getting the fuck outta here. Where's
the keys?
46.
DANIEL
...keys?
BETH-ANNE
The handcuffs!
Daniel eyes the gun.
DANIEL
Where'd you get that? Where is
everyone? Where's Paul?
BETH-ANNE
He's one of them, he's one of them,
he's --
DANIEL
BETH-ANNE.
He stands, keeping his distance. Beth-Anne steps back, her

hand is shaking so hard she might accidentally pull the
trigger.
DANIEL (cont'd)
Take a deep breath. Calm down. Where
is everyone?
BETH-ANNE
Dead! They're all dead!
Daniel is rocked by this.
BETH-ANNE (cont'd)
(crying)
Their bellies, they were open...their
babies, they were...
DANIEL
Beth-Anne, listen to me. We need to
find Gemma and we need to go. Right
now.
Beth-Anne sniffles, trembling.
DANIEL (cont'd)
Give me the gun.
He reaches out. He can see that Beth-Anne is about to relent

but then --
BETH-ANNE
You're one of them! You're one of
them!
47.
She moves to pull the trigger -- Daniel pounces.
He tries to wrestle the gun from her hand as she screams and
fights back - KNOCKING him in the face with the gun - he
won't let go.
Her elbow catches his eye.
Still, they both hold on for dear life.
Until -- BANG.
She crumples to the floor.
Daniel stands there, petrified.
Gripping the gun in his trembling hand.
A spot of blood on the tip of his shoe.
BACK TO:
INT. CABIN - NIGHT
Daniel, face riddled with guilt.
DANIEL
It was an accident.
(shaken)
I went and found the key and that's
when I saw...
FLASH TO:
INT. FARMHOUSE - NIGHT
A lone figure staggers down a long, dark hallway. It's

Daniel. He looks like he might throw up or already has.
He's carrying a jug of gasoline. Pouring it out as he goes.
EXT. FARMHOUSE - LATER
Flames reflected in tear-filled eyes.
We stay on Daniel, face aglow, watching as the farmhouse

burns.
He looks to the red barn, conflicted. Starts to move toward

it when --
48.
A shadowy figure emerges from the barn.
Daniel turns and runs away.
BACK TO:
INT. CABIN - NIGHT
Gemma's pallid face.
DANIEL (O.S.)
He's still alive.
In a daze, Gemma shuffles away.
We follow behind her as she makes her way down the hallway.
DANIEL (O.S.) (cont'd)

You have to let me go!
She makes it to
THE BEDROOM
Sits on the bed, her mind reeling.

He knows where we are, he's coming!
Off Gemma, eyes filled with dread --
EXT. DESOLATE ROAD - CONTINUOUS
A single pair of headlights appear on the road like two

beastly eyes glowing in the night.
INT. PAUL'S CAR - MOVING
Paul Sewell drives.
Scruffy but still handsome, wearing jeans and a thrift store

t-shirt. He looks less clean-cut, do-good preacher, more
restless vagabond.
He spots Daniel's minivan abandoned beside the road.

49.
EXT. MINIVAN - CONTINUOUS
Paul pulls up behind. Kills the engine but leaves the

headlights on. Gets out.
As he approaches the minivan, he clocks the two flat tires.
He slides the side door open, finding all the groceries

Daniel left behind.
Rummaging through the bags, dumping shit onto the floor, he

discovers -- the coupon for Cooper's General Store.
INT. COOPER'S GENERAL STORE - LATER
Music fills the store.
Gene sweeps and sings along to an old country song playing

on the radio. He has a great voice, could've been a country
music star in another life.
The store's closed: door locked; shades drawn.
As the music swells and the chorus hits, headlights appear

outside.
Gene turns to look.
The lantern has been left burning on the kitchen island.
On the floor, Daniel strains against his binds, trying to

stay quiet as he turns over onto his stomach.
Using his forearms, he pulls himself across the floor.
Toward the sofa.
INT. GENE'S OFFICE - LATER
A small tv, desk, landline telephone, and a poster of Dolly

Parton on the wall.
Gene enters, followed by Paul. Paul eyes Dolly.
GENE
(re: phone)
Just there.
50.
PAUL
Thanks.
Paul moves for the phone while Gene stays by the door.
PAUL (cont'd)
My friend Danny's gone missing, found
his car broke down up a ways. Must've
walked to his dad's cabin.
Gene thinks about that. So he was right, it was 'Little

Danny' that he saw.
Paul dials the phone, glancing at Gene. Gene takes the hint
and goes.
Paul hangs up.
Nearing the sofa - inching closer and closer - Daniel pulls

himself with increasing difficulty.
He wants to give up.
But he can't, must keep going.
Finally he reaches the sofa. Lifts a cushion. There's the

kitchen knife.
Gene finishes sweeping when Paul comes out of the office.
GENE
Any luck?
Paul frowns, disappointed.
PAUL
Hey, thanks for letting me use your
phone. Sorry for barging in like
this, I'm just really worried about
my friend. He's in a bad way if you
know what I mean.
He moves for the door.
GENE
Your friend's name Daniel Dunlap by
chance?
51.
Paul turns back.
PAUL
(feigning surprise)
You know Danny?
GENE
Was just here yesterday, bad way's
right, looked pretty beat up. Told me
he wasn't him though.
PAUL
Sounds about right. Probably outta
his mind on God knows what. Which is
exactly why I need find him. He
doesn't know when to stop, too much
like his old man.
GENE
Yeh, I know Jack. Good fella, but,
yeh, I know exactly whatchu mean. Me
and him, we spent some time up at his
cabin, had some wild times back when
we both had a lot more life left in
us.
He shakes his head, amused.
GENE (cont'd)
Some nights I can't remember, some
nights I don't want to.
PAUL
Yeh, me and Danny had plenty of
those. He always went a little harder
though, got to the point where I
couldn't keep up and didn't want to.
A sad look crosses Gene's face. He misses being young and

reckless.
PAUL (cont'd)
So you know where Jack's cabin is?
GENE
Give or take. I'm sure I could find
it when the sun's up.
PAUL
Well. That changes things.
Before Gene can react -- Paul attacks.

52.
Knife ripping at duct tape.
Daniel, now seated on the sofa, saws away at the tape around
his ankles, desperately trying to free himself.
The duct tape starts to break.
He's getting closer. He saws faster.
Sawing and sawing, duct tape ripping apart.
Suddenly, a sharp pain SHOOTS through his brain. He gasps in

pain. Dropping the knife.
It hits the floor with a thud.
He leans back on the sofa. Eyes shut tight. The pain is

UNBEARABLE.
It feels like his head might fucking explode. He opens his

mouth to scream but then --
The pain stops just as suddenly as it came.
He opens his eyes, baffled. What the hell was that about?
GEMMA (O.S.)
What're you doin'?
Daniel looks over his shoulder to see Gemma standing in the

hallway.
INT. PAUL'S CAR - MOVING
Paul drives - lip swollen, face scratched up - Gene put up

one helluva fight.
Uptown Girl by Billy Joel plays on the radio. Paul sings

along.
PAUL
Uptown girl, she's been living in her
uptown world...
A faint thumping sound can be heard coming from the trunk.
Paul turns up the radio to drown it out.

53.
EXT. WOODS - LATER
The sky is dark and cloudy. Nothing for miles but trees and
quiet.
And the harsh glow of headlights.
Coming from Paul's car, parked in the middle of a small

clearing.
As Paul moves to open the trunk --
Gemma wraps duct tape around Daniel's ankles. More tape than
last time and much tighter.
DANIEL
Ow.
Gemma finishes and climbs to her feet.
Daniel looks up at her. She looks back.
Neither says a word. Gemma puts out the light. Darkness.
INT. WOODS - CONTINUOUS
Silhouetted against the car headlights, Paul and Gene look

like they're kissing.
But they're not. Something else is happening here.
Something much more sinister.
But we don't see. We focus only on Gene's feet - twitching -

as Paul lifts him into the air. Off Gene's feet, we --
CUT TO:
EXT. CABIN - MORNING
The sun rises.
INT. CABIN - LIVING ROOM - CONTINUOUS
Sunlight reaches through the window, stretching across the

floor to Daniel, asleep and tied up.
54.
He stirs and wakes, groggy and hungover from the drugs. His
entire body hurts. He rolls flat on his back.
Footsteps approach.
From Daniel's POV (everything is upside down): Gemma enters

the room wearing a flowy white summer dress. She looks like
she did when he first met her. Minus the pregnant belly.
His heart aches for her and what could've been.
GEMMA
Let's play a game.
She pulls the rocking chair over so it faces him. She sits
down and now Daniel sees the knife in her hand.
GEMMA (cont'd)
Twenty questions. If you are who you
say you are then this oughta be no
problem.
DANIEL
Gemma, enough. Listen to yourself.
Beth-Anne was crazy, she --
GEMMA
Was right. I saw the twitch.
DANIEL
...twitch?
GEMMA
First question: what's your dad's
name?
DANIEL
We don't have time for this.
Gemma brandishes the knife.
GEMMA
Should I cut you open and see what I
find?
DANIEL
Jack.
GEMMA
Full name.
DANIEL
Dunlap.
55.
GEMMA
Middle name?
DANIEL
...none.
Gemma nods: correct.
GEMMA
And how'd he die? You lied to me once
only to confess the truth later. So
tell me - what's the truth?
Daniel takes a beat too long.
GEMMA (cont'd)
Ten, nine, eight --
DANIEL
...drug overdose.
Correct.
GEMMA
Next question: what's your mom's
name?
Daniel opens his mouth to say but nothing comes out.
GEMMA (cont'd)
Ten, nine, eight...
The name is somewhere in Daniel's mind. But he can't find

it. Why can't he find it?
GEMMA (cont'd)
...seven, six, five...
As Gemma rocks back and forth in the rocking chair, it

groans and creaks like a rusty pendulum, making Daniel even
more nervous.
GEMMA (cont'd)
...four, three, two...
Daniel searches his mind. Why can't he remember his own

mother's name?!
GEMMA (cont'd)
...two and a half...two and three
quarters...BEEEEP!
Daniel is at a loss.
56.
Gemma stops rocking.
GEMMA (cont'd)
Evelyn Stowe.
DANIEL
...I was gonna say that.
GEMMA
Why didn't you?
DANIEL
...I'm nervous.
Gemma studies him.
GEMMA
Evelyn Stowe's a name I found on a
bottle of pills your dad most likely
stole.
(beat)
Your mom's name was Wendy. She died
when you was three.
Daniel doesn't know how to take that. Is Gemma lying? He

can't tell. Why can't he remember his own mother's name?
GEMMA (cont'd)
You're him. But not really. Not
completely.
This revelation is too much for Daniel to bear.
DANIEL
I'm me. I'm Daniel. I'm me. I'm --
GEMMA
HEY.
Daniel flinches.
GEMMA (cont'd)
The game's not over yet.
EXT. WOODS - CONTINUOUS
Sunlight peeks through the trees, falling across Gene's

motionless body, beaten and bloody from last night's fight.
A breeze sweeps over him. He bolts upright, gasping for air.

His eyes dart around.
57.
There's Paul, only a few feet away, his blood-caked mouth

twisted in a wide scream, body stiff with rigor mortis,
lifeless eyes peering right at Gene.
Gene's unfazed.
EXT. WOODS - LATER
GEMMA (V.O.)
What'd Beth-Anne mean when she said
their bellies were open?
Paul's lifeless body is being dragged across the ground.
DANIEL
Gemma, untie me, you gotta let me go.
GEMMA
TELL ME.
The grim look on Daniel's face disturbs Gemma.
GEMMA (cont'd)
What was she talkin' about?
After a moment, Daniel opens his mouth to say --
Paul's lifeless face.
He's lying in a ditch. As his face is covered with leaves

and dirt --
Gemma's mouth hangs open.
GEMMA
...mutilated?
Daniel doesn't know what else to say.
Gemma gets up out of the rocking chair.

58.
GEMMA (cont'd)
Give me the keys, tell me where the
van is.
DANIEL
It's too far, it's got flat tires.
GEMMA
I thought you said it broke down?
DANIEL
It -- that doesn't matter. You can't
make it.
GEMMA
Where're the keys?
When he doesn't answer she threatens him with the knife.
DANIEL
The glove compartment.
Gemma leaves the knife on the kitchen island and shuffles

down the hallway, disappearing from sight.
DANIEL (cont'd)
Let me go. You can't make it. Not
like -- the way you are.
GEMMA (O.S.)
I'll manage. I'll find the road and
hitch a ride. Shouldn't be too hard
considerin'.
She returns with the gun.
DANIEL
And if it's Paul that picks you up?
Gemma hadn't considered that.
DANIEL (cont'd)
Let me go. There's a man at the
store, he knew my dad, was buddies
with him, maybe he can help.
GEMMA
Why should I trust you?
DANIEL
You have the gun. If I try anything
then shoot me.
59.
Gemma considers.
Suddenly the broken blood vessel in her eye begins to

spread.
DANIEL (cont'd)
Gemma...
Before she can register the concern in Daniel's voice -- she

grips her belly in pain.
GEMMA
AHHHH!
DANIEL
Gemma!
Gemma falls to her knees. The gun slides across the floor.
Only a few feet from Daniel.
With a trembling hand, Gemma yanks up her shirt.
Her belly bubbles and bulges.
Whatever is inside is trying to get out.
Daniel watches in horror as --
Gemma throws her head back, opening her mouth wide, a

terrible sound emerges: clack, clack, CLACK.
EXT. WOODS - LATER
Gene pops the trunk to Paul's car. He grabs a rag and cleans
off his dirty hands.
Gemma's body convulses on the floor.
Legs kicking. Arms flailing.
Until -- her body goes stiff and stops moving.
DANIEL
Gemma?
Gemma lies motionless.
Daniel eyes the gun. Then Gemma. Then the gun again.
60.
Which one does he go for?
Daniel wiggles his way over to Gemma.
DANIEL (cont'd)
Gemma?!
She moans.
Daniel is relieved.
LATER
Gemma sits on the sofa. One eye now completely red. She has
the gun again.
Daniel looks up at her from the floor.
DANIEL (cont'd)
I don't know what's happening to me,
but whatever it is, I'm still me, I
still have control. Let me help you.
She doesn't look at him. When she speaks, her voice is

raspy:
GEMMA
I knew, part of me always did, even
from the beginning, somethin' weren't
right. But I ignored it, for a while
I did, I really did, cause I wanted
to believe God really did choose me,
chose all of us.
A tear rolls down her cheek.
GEMMA (cont'd)
But the sounds, those terrible
sounds...I kept hearin' them sounds.
And I realized, it's comin' from
inside me. I felt it, not the love of
God, but somethin' else, slithering
around under my skin, tryin' to take
over...
She looks at him.
GEMMA (cont'd)
I was never tryin' to kill myself. I
was just tryin' to see. I'm still me.
I'm still human.
(grave)
And I wanna keep it that way.
61.
With difficulty, she gets up and moves to the kitchen

island. Where the knife waits.
She grabs it.
DANIEL
What're you doing?
She hikes up her dress and brings the knife to her belly.
DANIEL (cont'd)
NO. STOP.
Gemma pauses.
DANIEL (cont'd)
Just -- wait, please, wait. What if,
if, I'm hypnotized or something and
that's why I can't remember? He
fucked with my head, your head, all
our heads. For all we know we could
be hallucinating.
GEMMA
Four months pregnant, this is what
someone looks like? This baby ain't
normal.
DANIEL
Maybe it's all real, but what if it's
not? Let me help you. I can -- we
can -- go to a hospital, something,
anything. We can figure this out,
together.
Gemma considers.
DANIEL (cont'd)
Or we can wait for Paul.
EXT. WOODS - LATER
From high above: we see a tiny figure running through the

woods.
It's Gene.
EXT. CABIN - LATER
The door opens. Daniel emerges with his hands up. Gemma
follows him out, gun trained on him.
62.
DANIEL
You have one bullet left, make it
count. Lock the door and stay inside,
no matter what.
And with that, he takes off. Gemma watches him go.
A short distance away, Gene hides behind a tree.
Gemma locks the door.
EXT. DESOLATE ROAD - LATER
Daniel sprints down the road.
EXT. CABIN - LATER
Gene creeps toward the cabin.
INT. CABIN - LIVING ROOM - LATER
Gemma sits in the rocking chair facing the window. Gun

resting on her lap. Ready and waiting for Paul.
ANGLE ON: the knife and first-aid kit lying on the kitchen
island.
Meanwhile...
IN THE BEDROOM
It's quiet. Afternoon sunlight illuminating floating dust

motes.
A faint sound interrupts the silence. Coming from over by

the window.
It's Gene, trying to open the window from the outside, to

avail.
Eventually he sees the nails, and retreats.
Off that empty window --

63.
EXT. COOPER'S GENERAL STORE - LATER
The store window. Shades drawn and twisted.
Daniel arrives. Sweaty and out of breath. He eyes the store.
The front door is slightly ajar.
Immediately, he knows something's wrong.
Distorted music plays through cracked speakers from the

radio, now lying on the floor.
The bell above the door rings as Daniel steps in. He looks
around, alarmed.
The place is a wreck.
DANIEL
Hello?
No response.
He cautiously steps further into the store. Glass crunching

beneath his feet.
The floor is covered in broken glass and a sticky red

substance.
Blood?
Daniel kneels down to get a closer look. Running his finger

through the red mess, he smells it first then tastes it.
It's strawberry jam.
Tapping feet. Wiggling in her seat. Gemma really has to pee.
EXT. CABIN - MOMENTS LATER
The sunlight is fading fast. Not long now before night

comes.
Gemma stands at the edge of the porch, scanning the trees.
No sign of Paul.
64.
She grips the gun.
And waddles toward the outhouse, making it half way

before --
GEMMA
AHHHH.
She grips her stomach, doubling over in pain. Dropping the

gun onto the ground.
Somewhere nearby - a twig SNAPS.
Gemma goes still.
Moving quick, Daniel dodges trees and fallen branches.
Gemma stands still. So focused on the woods - and whoever or

whatever might be lurking out there - she doesn't realize
there's blood trickling down her legs.
She listens carefully.
Leaves rustle.
She snatches the gun from the ground.
Heads back toward the porch.
Another twig breaks.
She snaps around, gun drawn.
GEMMA
Who's there?!
After a moment, Gene steps out from behind a tree.
GENE
Gemma? I'm here to help you. Daniel
sent me. I work at the store down the
road. I brought my truck, it's at the
bottom of the hill.
Gemma narrows her eyes.

65.
GEMMA
Where's Daniel?
He looks at her bloody legs, horrified.
GENE
Oh my god. We gotta get you to a
hospital.
GEMMA
Where's Daniel?!
GENE
Miss, you're bleedin'. We really
oughta get you to a doctor.
Gemma looks down. And now she sees the blood seeping through
the front of her white dress and down her legs.
She blanches.
Gene eases forward.
GENE (cont'd)
Miss, you need help.
Gemma stands frozen, unsure of what to do.
Gene takes another step closer.
GEMMA
STOP. I'll shoot.
But he doesn't stop. He keeps coming.
GEMMA (cont'd)
Stop!
Closer and closer.
GEMMA (cont'd)
STOP.
Just about to reach her when --
Gemma brings the gun to her belly.
Gene stops.
They lock eyes.
Neither moves. Neither speaks.

66.
Finally:
GENE
I know you don't wanna hurt that
baby, Gemma. It's what you always
wanted, isn't it? A family.
Gemma shakes her head, tears streaming down her face.
GENE (cont'd)
Let me help you and the baby.
GEMMA
You killed them. You'll do the same
to me.
GENE
I was trying to save them. Their
bodies couldn't handle it, the babies
didn't make it.
GEMMA
...and me? I'm different?
Gene smiles.
GENE
You are. You made it longer than all
the rest. You're exceptional.
Gemma wavers. Exceptional? She's never been called that

before.
GENE (cont'd)
You don't have to be alone anymore. I
can help you. Put the gun down.
He takes a step closer.
A GUNSHOT rings out.
Daniel stops cold.
Birds flutter from the trees.
Gene falls to the ground - screaming and writhing - shot in

the leg.
67.
Gemma tosses the gun aside. Adrenaline pumping through her

veins. She waddles off, disappearing into the woods.
Daniel runs as fast as he can.
Gene fights through the pain and pushes himself up.
Dragging his leg, he follows after Gemma.
Gemma stumbles through the woods. Eyes wild and terrified.
Daniel arrives at the cabin. Sees the gun on the ground.
DANIEL
Gemma?!
Daniel scrambles in.
DANIEL
Gemma?!
No sign of her.
He hurries to the kitchen island, pulls open the drawer --
Gemma leans against a tree for support. Her adrenaline is

fading. The pain growing.
FURTHER BEHIND
Gene limps along, slow but steady. Following a trail of

blood.
EVEN FURTHER BEHIND

68.
Daniel follows the same trail. He's brought the ax along.
GEMMA
takes a shaky breath.
GENE (O.S.)
(faint)
Gemma, listen to me, you need me if
you wanna survive this!
Gemma grits her teeth and keeps moving.
DANIEL
stops and looks around, trying to locate where Gene's voice

just came from.
GENE
leans against a tree. Blood soaking through his jeans. He

sees that he, too, has left his own blood trail. Shit.
He rips off a piece of his shirt - using it to dress his

wound - he looks up to see Daniel appear in the distance. He
clocks the ax in Daniel's hand. SHIT.
He quickly limps off before --
DANIEL
hasn't seen Gene. He continues following the blood trail.
GEMMA
wanders. Can't go on, has to stop again. She hides behind a

big tree.
DANIEL
stops when he sees the blood trail branching off into two
separate directions. He looks around, bewildered.
GEMMA
takes a deep breath, exhales. She has a moment of respite

before -- footsteps approach.
She covers her mouth, trying not to scream.
Is it Gene or Daniel?
Whoever it is, they're closing the distance.

69.
Growing closer and closer.
She has to decide: run or hide?
Run or hide? Run or hide?
In a moment of panic, she runs
DANIEL (O.S.)
Gemma!
glancing over her shoulder
her foot catches a rock
and
she goes tumbling
DOWN A HILL
tumbling and TUMBLING
DOWN
SLAMMING into a fallen tree
and she's OUT.

BLACK
No sound.
A mangled body falls in slow motion through darkness as if

through water.
Then another body. And another. An endless flood of bodies

tossed into the void.
Pull out to reveal -- the pit.
BACK TO SCENE
Night has fallen. Crickets sing.
Gemma lies on the ground. Unconscious or dead?
Long seconds pass.
Footsteps approach. A shadowy figure appears.

70.

(hushed)
Gemma.
Daniel checks her pulse. Relieved. She's alive.
DANIEL
(gently shakes her)
Gemma?
Gemma moans.
INT. CABIN - LATER
A hand reaches up and removes the musket from the mount.
Daniel carries the musket off toward the bedroom but first
stops to grab something from the pantry.
ANGLE ON: the kitchen island, the knife and first-aid kit
are gone.
INT. BEDROOM - CONTINUOUS
A lantern on the bedside table illuminates Gemma as she sits

in bed. Dazed and drained. Her white dress now stained.
Daniel comes in, gives her the musket.
GEMMA
Thought it didn't work.
DANIEL
He doesn't know that.
He offers her a spoon and the rest of the strawberry jam,

which isn't much.
DANIEL (cont'd)
Sugar?
Gemma gladly takes the jam.
DANIEL (cont'd)
I don't know how you're still
alive...all that blood. You sure
you're okay?
GEMMA
I don't fall that easy.
71.
Daniel manages a smile.
GEMMA (cont'd)
You got a nice one, ya know, always
thought so. Your smile - it's real.
Daniel blushes. He starts to go but stops in the doorway.

Looking back at Gemma as if he wants to say something.
GEMMA (cont'd)
What?
He hesitates.
GEMMA (cont'd)
What.
DANIEL
I love you.
Gemma doesn't know what to say. Daniel has never said those
words before. Not to her or anyone else.
He nervously taps the wall.
DANIEL (cont'd)
And...okay.
Embarrassed, he quickly leaves. Gemma is dumbfounded.
EXT. PORCH - LATER
Daniel sits on the porch with the ax lying across his lap,
wind-up flashlight in hand. Going over what he said.
DANIEL
(sotto)
And okay? And okay.
He sighs, feeling dumb.
The light from the flashlight is beginning to die. He winds

it up when -- he hears a sound.
Coming from the woods.
He listens carefully.
What is that?
It sounds like faint hissing.

72.
Gemma yawns and blinks hard, trying to fight off sleep. But
her eyelids are growing heavier with each passing second.
It's only a matter of time...
EXT. PORCH - CONTINUOUS
The beam of the flashlight searches the trees around the

cabin.
Daniel stands at the edge of the porch with the wind-up

flashlight in one hand. The ax in the other.
A gust of wind blows through the trees.
Daniel squints, seeing something out there in the dark. He

points the flashlight.
ON the flashlight's blinding light --
INT. CABIN - BASEMENT - CONTINUOUS
A figure moves in the dark.
The basement door opens, briefly letting in a little light,

revealing the the first-aid kit lying open on the floor.
Along with a pile of bloody gauze and used alcohol wipes.
Gemma's head lolls. She's asleep. So deep in her slumber,

she doesn't hear the door creak open.
Doesn't hear as someone slips into the room.
Or notice the shadow that looms.
It's Gene, standing there, watching her sleep.
The kitchen knife in his grip.
Daniel stands at the edge of the treeline. Peering into the

inky darkness beyond.
73.
In the blink of an eye, all emotion leaves his face.
His lip twitches.
The ax and wind-up flashlight fall from his hands.
And off he goes, pulled away by some invisible force, into

the woods.
Swallowed up by black.
EXT. WOODS - MOMENTS LATER
The light from the cabin fades behind Daniel as he travels

deeper into the woods.
Deeper into the darkness.
In some kind of trance.
He stops when he reaches a clearing.
Standing frozen.
The clouds part and moonlight shines down, illuminating

Daniel's vacant face.
He's staring at something. But we don't see it, not yet. We

hear only the tick, tick, tick of the metronome in the
background.
Gemma snaps awake. She looks around, sensing the presence of

another.
But no one's there.
She eyes the door - open a crack.
Didn't she close it?
She climbs out of bed.
Tick, tick, tick...
Emotions slowly begin to fill Daniel's face - shock,

confusion, fear.
74.
And now we see what he sees.
A version of himself and Paul, back in the hypnotherapy

session. But instead of being in a room, they're seated in
their chairs in the middle of the clearing.
Moonlight spotlighting them like two actors on a stage.
Daniel inches closer.
PAUL
Do you hate yourself, Daniel?
Daniel #2 nods slowly: Yes.
PAUL (cont'd)
You don't need to anymore. You can
let it go. Let that old you go. I can
free you. Is that what you want?
A pause. Daniel #2 nods again: Yes.
PAUL (cont'd)
Open yourself up, Daniel. Listen to
me, really listen...
Daniel is standing right beside them now.
Paul leans in close and whispers something in Daniel #2's

ear. This time, with a closer look, Daniel is able to see
as...
A TINY RED WORM darts from Paul's mouth and into Daniel #2's
ear, disappearing into his ear canal.
Daniel staggers back in shock.
A hand reaches out, grabbing the wind-up flashlight from the

ground.
The light from the flashlight is weak, nearly dead.
Gemma puts the musket aside and winds up the flashlight.

Searching the darkness.
No sign of Daniel.
75.
Paul and Daniel #2 have gone. It's just Daniel now, left
alone in the dark, reeling.
His heart pounding in his chest.
This clearing looks familiar to us - it's where Paul brought

Gene earlier.
There's Paul's tire tracks in the dirt, just over yonder.
And not too far from there - lying in a ditch, covered with
leaves - is Paul's body.
But Daniel doesn't know.
Suddenly a sound pulls him from his thoughts. Footsteps from

behind.
Daniel snaps around --
The handle of the ax SMASHES HIM IN THE FACE.
FLASH TO
In a moonlit field, Daniel and Gemma are making love for the
first time, while a group of eleven dark figures encircle
them. Watching.
Paul among them.
BACK TO SCENE
Daniel moans. Drifting in and out of consciousness. Nose

busted and bleeding.
Gene is dragging Daniel across the ground.
DANIEL
...what'd you do to me?
GENE
Lead me in the right path, O Lord, or
my enemies will conquer me. Make your
way plain for me to follow.
(beat)
You got a little piece of me, Daniel,
now it's time for the rest.
Daniel struggles but he's too weak and dazed to put up much
of a fight.
76.
DANIEL
DEMON.
GENE
No such thing as demons. Or God or
the devil, heaven or hell. Just
something humans made up. Religion's
a good diversion.
DANIEL
What do you want?!
Gene stops here. Gets down and straddles Daniel.
ELSEWHERE IN THE WOODS
Gemma walks through the dark woods, looking for Daniel,

flashlight in hand.
GENE (V.O.)
To survive, like all living things,
to pass on my genes.
She stops and looks around. The woods seem to go on forever.

She looks back at the cabin - nothing but a dot of light in
the distance.
If she keeps going, she could get lost.
Meanwhile...
BACK WITH DANIEL AND GENE
GENE
Your species won't last forever, look
around, you know that. It's time for
something new.
Daniel's face crumbles as Gene's words sink in.
Gene leans down close, sneering.
GENE (cont'd)
You didn't really believe it was
yours, did you?
Daniel opens his mouth to scream --
INT. CABIN - LATER
Silence. Gemma sits on the sofa with the musket. Face

riddled with guilt.
77.
INT. CABIN - EARLY MORNING
Blue morning light bleeds through the window.
Gemma has fallen asleep sitting upright on the sofa. Musket

lying across her lap. All is still and quiet until -- the
front door can be heard opening.
We stay on Gemma's sleeping face as someone enters the cabin

and quietly approaches. It's not until they're standing
right in front of her that Gemma finally stirs and wakes.
She stifles a scream.
Daniel stares down at her, face swollen and bruised, holding

the ax in his hands. Blood dripping from the blade.
EXT. WOODS - LATER
Daniel treks through the woods, followed by Gemma.
Wind rustles the trees. Birds sing. It's peaceful.
They reach the clearing.
Daniel goes over to a ditch. Where a pile of leaves and dirt

appear to be covering something. After Daniel clears away
the leaves and dirt, he beckons Gemma over.
Gemma hesitates, then goes over. Looking in the ditch to

find --
Paul's dead body. Along with Gene's decapitated head.
Gemma throws up.
INT. CABIN - LATER
Water fills a glass.
Daniel is in the kitchen pouring water into a glass while

Gemma sits on the sofa, lost in thought.
DANIEL
We can raise the baby here, it's the
perfect place. When he gets old
enough I can take him fishing.
Gemma doesn't say anything.
DANIEL (cont'd)
We should start thinking of names.
78.
A beat.
Gemma gives him a look.
GEMMA
You seem...happy.
DANIEL
I am. Aren't you? It's over.
Gemma scoffs.
GEMMA
For who? I'll end up like the rest.
Daniel comes over and gives Gemma the glass of water.
DANIEL
Here, you need to stay hydrated.
Gemma gulps it down.
DANIEL (cont'd)
You won't. You're not like them.
You're exceptional.
Gemma tenses. Exceptional. Isn't that what Paul said?
She looks up at Daniel. He gives her a smile - but it

doesn't quite reach his eyes.
Gemma's heart sinks. Daniel isn't Daniel.
She finishes off the glass and gives it to Daniel.
GEMMA
I gotta pee.
INT. OUTHOUSE - LATER
Gemma waves flies away as they buzz around her face.
DANIEL (O.S.)
You okay in there?
GEMMA
Fine.
She searches the outhouse for anything to use as a weapon.

Of course, there's nothing.
79.
DANIEL (O.S.)
You sure you're okay?
Gemma tries to stall.
GEMMA
How you feel? Any different?
DANIEL (O.S.)
...I'm thinking more clear now, now
that's he's not in my head anymore. I
feel like myself again.
GEMMA
What d'ya think he was? Some kinda
demon, alien?
A long beat.
DANIEL (O.S.)
It doesn't matter. Whatever he was,
he's gone now.
Gemma emerges from the outhouse.
GEMMA
We don't know that though. Not for
sure, sure.
DANIEL
You saw him yourself.
GEMMA
But we don't even know what he is.
What he's capable of.
He guides her back toward the cabin.
DANIEL
Let's get you to bed, you need to
rest.
Gemma glances around.
GEMMA
What'd you do with the ax? What if he
comes back and finds it?
DANIEL
He won't.
80.
He helps her up the porch steps. He can feel her resistance

as they reach the door.
DANIEL (cont'd)
It's okay, I'll protect you.
Gemma relents and goes inside.
Gemma eyes the musket - now back on the wall mount.
GEMMA
Please, can I have it? I'd feel
better if I had it.
She motions at the musket.
GEMMA (cont'd)
Like a security blanket.
Daniel ushers her toward the bedroom.
DANIEL
Come on.
Reluctantly, Gemma goes.
INT. BEDROOM - MOMENTS LATER
Daniel helps Gemma into bed.
GEMMA
Jack. Let's call the baby Jack.
Daniel considers. Yeah, he likes that. Baby Jack.
GEMMA (cont'd)
Please, Daniel, the musket?
Daniel considers it.
MOMENTS LATER
Gemma sits in bed with the musket, eyeing Daniel who stands
nearby with the handcuffs.
GEMMA (cont'd)
Don't you trust me? I trust you.
Daniel frowns, feeling torn.

81.
Gemma caresses her belly.
GEMMA (cont'd)
You wanna listen to your baby?
Yes, he does. He sets the handcuffs down on the bedside

table and joins Gemma in bed. Gemma relaxes a little.
He places his ear to Gemma's belly, listening to his unborn

child.
It's a strange, intimate moment.
He looks up at Gemma and she looks back. There's a pain

behind her smile - a fear.
He can tell she's hiding something. But what?
She swallows the lump in her throat.
GEMMA (cont'd)
Can I have another glass of water?
After a moment, Daniel goes to fetch another glass, leaving

the bedroom door open. We follow behind him as he makes his
way
DOWN THE HALLWAY
and into
THE KITCHEN
He fills a glass.
Turns and heads back to the
HALLWAY
He stops.
The bedroom door is closed.
DANIEL
Gemma...?
Silence.
He creeps closer.
The tension building with each step as he nears the door.
Closer and closer.

82.
His hand reaches for the doorknob.
As he eases open the door --
Gemma SWINGS the musket like a baseball bat - KNOCKING

Daniel in the head with the butt - he staggers back.
The glass of water SHATTERS on the floor.
Gemma swings again but Daniel blocks the musket with his
hands.
DANIEL (cont'd)
Stop, Gemma, STOP.
They struggle for control.
Slipping on the wet floor.
Gemma pushes the musket away causing Daniel to slip and

fall.
She runs off.
EXT. WOODED PATH - MOMENTS LATER
From high above: we see a tiny figure running through the

woods.
It's Gemma. She has no idea where she's going. But she's
going as fast as she can.
Suddenly she doubles over in pain --
GEMMA
AHHHH.
It takes her a second then she gathers strength and

continues on.
Up ahead, she sees the fork in the path.
She looks between the paths. Panicking. Which way does she
go?!
DANIEL (O.S.)
(not that far away)
Gemma?!
A thought occurs.
She eyes the gauze on her wrist.

83.
NOT MUCH FURTHER BEHIND
Daniel lumbers down the path. Blood trickling down his

forehead. Gripping the ax in his hand.
DANIEL
Gemma, come back, I'm not the enemy!
He stops, looks around.
No sign of Gemma.
DANIEL (cont'd)
What's wrong with you? You're being
paranoid!
He waits and listens.
There's nothing but the wind.
He continues on.
Eventually reaching the fork in the path.
He looks down each path when something to the right catches

his eye.
A piece of Gemma's gauze, stuck to a twig.
EXT. LAKE - LATER
Daniel looks around.
DANIEL
Gemma?!
Behind him is a cliff wall.
He stares out at the calm water. No way is Gemma out there

hiding below the surface.
A sharp pain suddenly throbs in his head.
DANIEL (cont'd)
Ahhh!
He drops the ax, gripping the sides of his head with both
hands.
84.
DANIEL (cont'd)
(through gritted
teeth)
Stop, fuck.
He stumbles back. Nearing the cliff wall.
He throws his head back, opening his mouth wide, as if part

of him is fighting to emerge:
DANIEL (cont'd)
(strained)
Kill me! End it! Kill me!
He fights with himself for a moment longer until -- he snaps

out of it.
Regaining his composure. As if nothing happened.
He grabs the ax from the ground.
DANIEL (cont'd)
(calmly)
Gemma, I know you're out here. Come
home.
A long silence.
GEMMA (O.S.)
Hey!
Daniel turns and looks up.
A shape appears at the edge of the cliff. It's Gemma. She

looks like she might jump!
DANIEL
Gemma, stop! Please. Listen to me.
You're not thinking straight. The
trauma, the pregnancy, it's messing
with your head.
She backs away, disappearing from sight.
Daniel sighs, relieved.
A moment later.
Another shape appears.
Before Daniel can react -- Gemma pushes a LARGE ROCK over

the edge.
85.
SMASH!
Into Daniel's head.
An explosion of blood and brains.
His body falls to the ground.
Dead.
ON THE CLIFF
A breeze blows through Gemma's hair as she stares at

Daniel's limp body below.
Her breath catches. Tears glistening in her eyes.
GEMMA
(softly)
I'm sorry.
The baby kicks hard in response.
Gemma winces in pain, touching her belly. She turns to go

when -- a sound pulls her back.
She peers over the edge of the cliff.
Daniel's body convulses on the ground below.
Legs kicking. Arms flailing.
A second later.
Something BURSTS from his stomach.
Gemma watches in disbelief.
GEMMA (cont'd)
No...
We catch a glimpse of --
The tail of a LARGE RED WORM-LIKE CREATURE as it slithers

into the water, disappearing from sight.
Gemma just stands there, shocked.
Heavy footsteps.
86.
Gemma plods along. Weak and in pain.
She sees the cabin through the trees.
Gemma emerges from the treeline.
Each step forward is a huge feat.
She grits her teeth.
There's the door.
Only a few more feet.
So close.
It's right there.
She cries out in pain.
The baby is coming. Right now. No stopping it.
Gemma stumbles through the door, falling to her knees.
Her breaths rapid.
Pupils dilated like two giant black holes.
She sees the blue pill under the kitchen island.
Crawls for it.
Fingernails clawing at the floorboards.
As she reaches for the pill, she screams in agony and --
SMASH TO:
EXT. CABIN - DAY
Time has passed. The cabin looks worse, ready to crumble at

the next big wind.
The surrounding trees are long dead. Now just sun-baked

husks.
87.
But there's a garden, filled with drought-resistant

vegetables: peppers, black-eyed peas, sweet potatoes, corn.
SUPERIMPOSE: THREE YEARS LATER
The door flies open.
A young girl emerges. This is BETH. She's twice the size of

a three year old, looks closer to six.
She grips a fishing pole.
Gemma appears behind her, also holding a fishing pole.
GEMMA
Ready or what?
Beth hurries down the steps. Gemma turns and locks the door
before following after Beth.
GEMMA (cont'd)
Hey, wait for me!
EXT. LAKE - LATER
The lake has receded even more. The water is murky.
Gemma and Beth stand by the water fishing.
In a small pile beside them is everything they've snagged so

far: nothing but trash.
Beth glances over her shoulder, spotting something.
Gemma doesn't notice. She's too busy reeling in more trash.

She sighs, shaking her head.
Suddenly something tugs on Beth's line.
BETH
Momma!
Gemma puts her fishing pole aside and goes to help Beth.
They reel it in together.
Behind them, a figure stands at the edge of the cliff.

88.
A knife cuts into a dead fish's belly, revealing parasites

inside.
Gemma kneels over the fish, examining its guts. Not

surprised by what she's found.
She throws it away.
INT. CABIN - NIGHT
A lantern illuminates Gemma and Beth as they sit at the

table preparing to eat dinner. Spam and peas.
Gemma looks over at Beth.
GEMMA
Me or you?
Beth smiles and clasps her hands together, bowing her head
in prayer. As she opens her mouth to give grace --
On the bedside table, the lantern emits a low hissing noise.
Beth lies in bed staring at the lantern's flame, her face

aglow. It's hard to know what she's thinking.
Gemma joins her in bed.
GEMMA
Blanket or no blanket?
Beth shakes her head: no.
Gemma gives her daughter a kiss on the forehead. Then

reaches over and puts out the light.
They lie in silence for a moment.
BETH
Momma?
GEMMA
Yes, baby?
A beat.
89.
BETH
Nevermind.
Beth shuts her eyes. Gemma turns away and looks to the
window - still nailed shut.
Nothing but darkness beyond.
CUT TO:
FLASHES OF MEMORIES, FROM GEMMA'S POV:
- Daniel and Gemma, meeting for the first time, handcuffed

to each other on the grass.
- Daniel and Gemma, laughing together.
- Daniel and Gemma, dancing together.
- Daniel and Gemma, kissing under the stars.
- Daniel comforting Gemma as she cries.
- Daniel, standing in the bedroom doorway at the farmhouse,

watching as Paul handcuffs Gemma to the bed.
- Daniel handcuffing Gemma to the bed at the cabin.
- Daniel's smashed head.
BACK TO:
INT. CABIN - BEDROOM - NIGHT
Gemma's eyes snap open. She looks up at --
Beth, who kneels over her. She's in some kind of trance.

Only the whites of her eyes showing. Hands pressed to
Gemma's ears.
GEMMA
BETH.
Beth snaps out of it and lowers her hands.
GEMMA (cont'd)
(angry)
What'd I tell you about that? My
memories are mine, not yours.
Beth lies back down on the bed, turning away.

90.
Gemma looks at her daughter, shaken.
EXT. CABIN - DAY
A small hand plucks a pepper from the vine.
Beth examines the pepper - not quite ripe. She gobbles it

down anyway.
Someone appears behind her, looming over her like a dark

storm cloud, blocking out the sun.
Beth goes still, caught.
BETH
Sorry, momma.
She turns to look.
It's not her momma but an elderly woman. This is KAY.
Beth staggers back.
KAY
Sorry, darlin', didn't mean to spook
ya. I'm Kay.
Beth stares up at Kay, almost like she recognizes her.
KAY (cont'd)
Is your momma home?
Beth shyly looks away.
KAY (cont'd)
I just -- I need your help, could
really use it.
Kay smiles weakly, wiping sweat from her brow.
KAY (cont'd)
Maybe you got a phone inside?
Beth is quiet.
Kay seems a little out of it, a little ill.
Gemma appears from behind the house carrying a jug of water.

She startles when she sees Kay.
GEMMA (O.S.)
Beth, come here.
91.
Beth runs over to her mother.
Kay sways slightly --
KAY
I could really use...
-- and faints.
Gemma and Beth stand there, dumbfounded.
EXT. CABIN - LATER
As the sun sets, shadows come to life.
Kay is passed out in Gemma and Beth's bed. Beth peeks

through a crack in the door, watching Kay sleep.
GEMMA (O.S.)
Leave her.
Beth shuts the door.
INT. CABIN - KITCHEN AREA - LATER
A single lantern burns as Gemma and Beth prepare dinner.

Opening MREs, arranging the food on their plates in an
effort to make it look like a real home-cooked meal.
Beth prepares a third plate. Gemma gives her a look.
GEMMA
She ain't stayin'.
Before Beth can protest --
GEMMA (cont'd)
We don't know her.
BETH
I do, her name's Kay.
(off Gemma's look)
She told me. Plus, I seen her before.
Gemma raises a brow.
BETH (cont'd)
I'm not lying.
92.
GEMMA
She ain't --
Gemma and Beth look up.
It's Kay. She gives an awkward wave.
BETH
Dinner's ready.
Gemma shoots Beth a scowl. But Beth is too busy smiling at

Kay to notice.
LATER
Gemma, Beth, and Kay are eating dinner together. Since there
aren't enough seats at the table, Gemma sits in the rocking
chair.
Beth watches Kay's every move with utter fascination. It's

obvious she's never met another person besides her mother
before.
Kay eyes the rocking chair.
KAY
(lighthearted)
I take it you don't get many guests.
Gemma gives a thin smile.
KAY (cont'd)
Thanks for helping me, sharin' this
fine meal, I'm real grateful. I
didn't catch y'all's names. I'm Kay.
BETH
My name's Beth, that's momma.
GEMMA
Anne.
(suspicious)
What're you doin' all the way out
here?
KAY
You want the short version or the
long one?
(MORE)
93.
KAY (cont'd)
(off Gemma's look)
Short one it is. I should've known
better than to take my beater on the
road. But, what can I say, I felt
this overwhelmin' urge to seize the
day, carpe diem. I'm on a trip to see
the Grand Canyon. And, as you can
see, ain't goin' so grand.
(to Beth)
You ever seen the Grand Canyon
before?
Beth doesn't even know what that is.
KAY (cont'd)
Well, you got plenty of time left.
Me, I don't got much life left in me
so now's --
GEMMA
Closest mechanic's fifteen miles.
Should take you 'bout five hours.
Kay is taken aback by Gemma's bluntness.
KAY
Probably longer. Got a bad knee.
Maybe I could use your phone and call
for a ride?
BETH
We don't got a phone.
KAY
I see. Y'all really off the grid. I
get it, I respect it.
She struggles to stand.
KAY (cont'd)
I thank you for the hospitality.
BETH
Wait, don't go.
Gemma shoots Beth a look.
BETH (cont'd)
(hushed)
There's monsters out there.
Kay looks at Gemma. Then back to Beth.

94.
KAY
Don't worry about me, darlin', I'm
tough. Those monsters oughta be the
scared ones.
She winks at Beth.
Beth tugs Gemma's shirt sleeve.
BETH
Please, momma, just one night. Can
she, please, please?
Beth pleads with her eyes.
Gemma hates seeing her daughter like this. She scrutinizes

Kay, who seems pitiful, old, harmless.
GEMMA
He won't be open this late anyway.
You'll take the room and we'll sleep
out here.
KAY
I can't put you out like that.
GEMMA
You'll take the room. You'll leave
when the sun's up.
KAY
Thank you, really, thanks.
Beth grins, pleased.
EXT. CABIN - LATER
A calm, beautiful night. Stars light up the sky like a sea

of hope diamonds.
Gemma and Beth are snuggled up on the sofa in the dark.
GEMMA
About last night --
BETH
I'm sorry, momma.
Gemma gives her a serious look.

95.
GEMMA
If you do it again, we'll have to
sleep in different rooms. Is that
what you want?
BETH
No, momma.
Beth sniffles, tears in her eyes.
BETH (cont'd)
I just wanted to see him.
Gemma hugs her daughter.
GEMMA
I know, baby.
They lie in silence for a moment. Gemma shuts her eyes.
BETH
What's the Grand Canyon?
GEMMA
Um, a bunch of pretty rocks.
BETH
You been there?
GEMMA
...no. Seen it in pictures.
BETH
Can we go?
GEMMA
...one day.
A long beat.
BETH
Momma?
GEMMA
Go to sleep, baby.
BETH
Kay's funny like daddy.
GEMMA
What d'ya mean?
96.
BETH
She makes funny faces.
Gemma opens her eyes. A hint of fear grows on her face. She
looks at her daughter.
GEMMA
Like how?
Beth hesitates. Gemma seems upset.
GEMMA (cont'd)
You're not in trouble. I just wanna
know. I think it's funny too.
Beth considers.
After a moment, she twitches her lip.
A shadow appears over Kay as she sleeps.
A quiet moment passes.
Kay's nose wrinkles, smelling something. She stirs and wakes

to find --
Gemma looming over her.
Kay moves to get up but a handcuff keeps her locked in

place.
KAY
What the hell.
Gemma says nothing. Her expression dark.
Panic washes over Kay's face as she recognizes the smell in

the air.
KAY (cont'd)
Please.
Pulling at the handcuffs.
KAY (cont'd)
Please, don't, I'll go, I'll go.
And now we see, a trail of liquid on the floor. We follow it

out of the bedroom and
97.
DOWN THE HALLWAY
into
THE LIVING ROOM
Where several lanterns are burning.
We turn and head out the door.
On the porch: empty bottles of kerosene.
INT. MINIVAN - CONTINUOUS
The minivan is hidden behind a copse of trees.
Beth waits in the passenger's seat, peering out window, only

able to see part of the cabin.
Kay pleads for her life.
KAY
Please, I got grandkids. Don't do
this, you don't gotta do this. What
d'ya want?
Gemma just stares. Searching for the twitch in Kay's lip.

But she doesn't see it.
KAY (cont'd)
Money, you want money? You in trouble
with the law? Not my business. Never
saw you or your girl. I'm gone, gone.
Gemma is silent.
KAY (cont'd)
(sobbing)
Please, I wanna see my grandkids
again.
Gemma studies Kay's face, conflicted. Where's the twitch?
KAY (cont'd)
Please. Don't do this. Please, Gemma,
don't do this.
98.
Gemma's face goes cold.
GEMMA
I told you my name was Anne.
Kay holds Gemma's gaze.
KAY
That's what I said. Anne.
They stare at each other for a long moment.
Gemma leaves.
We follow behind her --
KAY (O.S.)
Wait, Anne, let me go! My grandkids,
please!
DOWN THE HALLWAY
KAY (O.S.) (cont'd)

Please, I don't wanna die!
INTO THE LIVING ROOM
Gemma grabs one of the lanterns and --
KAY (O.S.) (cont'd)

Think about your daughter! You want
her to see this?!
-- heads out the door.
Gemma shuts the door and hurries down the steps. She turns
back, looking at the cabin one last time.
As she lifts the lantern --
Kay twists and pulls at the handcuffs. No luck. Only one way
out.
She dislocates her thumb.
KAY
AHHHH!
99.
Pulling her hand through the cuff. Just as she frees

herself --
The lantern hits the ground.
A trail of flames travel up the steps --
Kay moves down the hallway just as flames and smoke engulf
the cabin.
Hot and suffocating.
She retreats to the
BEDROOM
Tries to open the window but it won't budge.
She sees the nails. FUCK!
Flames reflected in rage-filled eyes.
We stay on Gemma, her face aglow, watching as the cabin

burns.
Kay can be heard banging on the window, screaming:
KAY (O.S.)
I didn't do anything, please! Help
me!
Gemma turns and walks away, leaving the cabin and Kay's
agonized screams behind.
KAY (O.S.) (cont'd)

Don't leave me! Please! Come back!
INT/EXT. MINIVAN - CONTINUOUS
Beth waits, looking out the window. She can see the
flickering glow of the fire through the trees.
Gemma gets in.

100.
BETH
Momma?
Gemma sits there, quiet for a long time. Finally:
GEMMA
Let's go see the Grand Canyon.
She starts the engine.
CUT TO:
EXT. CABIN - DAY
Time has passed. Nothing left of the cabin but a charred

shell. The earth scorched. Surrounding trees reduced to
blackened spires.
Dust and ashes.
In the middle of the living room, part of the floor has

collapsed.
Into the basement.
And beyond.
Forming a bottomless pit.
As we PUSH IN on the pit, we hear a familiar sound -

hissing. Followed by CLACK, CLACK, CLACK. Growing louder and
louder as we're swallowed up by...
BLACK.

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TWITCH

Somewhere deep in the woods.

We're floating above a bottomless pit. Looking down into the

An eerie silence hangs in the air. Something tells us we

We wanna leave but can't.

Instead, we move closer the pit. As if something is pulling

We get the sense that we're not alone. Something else is in

Followed by CLACK, CLACK, CLACK. Something otherworldly,

INT. MINIVAN - DAY

Closed eyes snap open. Dilated pupils, constricting.

GEMMA, 25, looks around, disoriented. Skin sallow, eyes

Daniel turns down a dirt driveway. In this old minivan, it's

EXT. CABIN - CONTINUOUS

A grim looking cabin. Isolated, surrounded by dying trees.

It's late-summer. A terrible drought has destroyed most of

Daniel parks, gets out.

He takes a moment to stretch his legs and gather his

A man with a whole world to lose.

Gemma climbs out of the minivan, struggling to her feet.

A dingy bandage is wrapped around her left wrist.

She has that same miserable look on her face as Daniel.

Gemma looks uneasy.

He reaches in the backseat and grabs a duffle bag, slinging

Gemma spots a small wooden outhouse. Daniel clocks her look.

He helps her to the porch, up the rickety steps.

The cabin looks worse up close. The wood rotting in places.

Daniel reaches up and feels around the top of the door

INT. CABIN - MOMENTS LATER

Dust and cobwebs.

Gemma lingers by the front door taking in the place.

A taxidermy deer head. Rifled musket mounted on the wall. An

This place is rustic and battered. No electricity or running

They make it to the

Small and bare.

A bed, which looks flat and hard, covered in a dusty

Gemma stifles a cough.

He places the blanket back on the bed, smoothing out the

INT. KITCHEN AREA - MOMENTS LATER

A kitchen drawer is pulled open. Inside: a windup

Daniel grabs the flashlight.

INT. BASEMENT - MOMENTS LATER

Dank and dark.

The steps creak as Daniel descends.

The beam of the flashlight sweeps through the darkness,

And finally a toolbox.

Just what Daniel was looking for.

INT. BEDROOM - LATER

Gemma sits on the bed, lost in troubled thoughts. A kick

Another kick, harder. Gemma grits her teeth.

From the living room, a faint pounding sound. Gemma listens.

INT. LIVING ROOM - CONTINUOUS

A hammer SLAMS into a nail.

Daniel is nailing all the windows shut. The toolbox lying

His or someone else's?

Gemma appears from the hallway, watching Daniel for a

Daniel stops and glances back at her.

Gemma goes to check the

There's a kitchen island separating the kitchen from the

Daniel pounds away in the background while Gemma searches