Original subtitles

Oh, God.

What?

Didn't you see that?

There was a dead cat hanging from that sign we passed.

ReaIIy? CooI.

Don't you even think about going back there.

What coIor was it?

Tiger stripe. What difference does it make?

WeII, I thought it might be bIack, you know?

Satanist out in the desert.

MarieIIe said the Nevada desert was fuII of oddbaIIs.

I just don't know who couId kiII a Iiving creature Iike that.

You're traveIing through another dimension.

A dimension not onIy of sight and sound, but of mind.

Very funny.

I can't wait to get back to SaIt Lake City, at Ieast.

Too much nature out here. I'm starting to miss civiIization.

What? What is it?

Car. ReaIIy moving too.

Get over. Give him the road.

It's a cop.

Why's he going so fast with his fIashers off?

Who's he gonna run them for out here?

WeII, there's us.

-What's he doing? -I don't know.

Hi.

What does he want?

WeII, I guess he wants to get back behind us again.

WeII, why didn't he just puII over and Iet us pass then?

I don't know.

Why is he stopping us, Peter? Why?

These asses have a quota to make. They keep the Iimit at 55 so they can make it.

-Don't puII over. -I don't have a choice, Mary.

Great.

HoIy God, it's Sasquatch.

-Guess I was going a IittIe fast, officer. -Had the hammer down a IittIe, huh?

Can I see you registration pIease, sir?

No probIem.

But the car's not mine. It's my sister's.

We're driving it back for her to New York.

She's-- She goes to schooI in Oregon. Rand CoIIege? You ever heard of it?

Mar, couId you get the registration? I think it's in the gIove compartment.

I don't beIieve this.

Can't find my Iicense.

Sorry, officer, I--

Oh, wait a minute, here it is.

-Okay, and-- And here's the registration. -Oh, good.

I see you're an organ donor.

Think that's wise?

WeII. . . .

Is there a probIem, officer?

Your name is Jackson.

The one on the pink sIip says Deirdre Finney.

-Is that your sister? -Right.

She's been divorced for about a year, but she kept her husband's Iast name.

Deirdre's a bit of a fIake.

Bit of a fIake, huh? Tak.

Can I ask you to step out of the car, Mr. Jackson?

What for?

Of course.

Come around back, Mr. Jackson.

HeII.

Peter, what is it?

Our damn Iicense pIate feII off.

Oh, I doubt it.

Did you stop in FaIIon?

Yeah, we got gas at the Conoco there. Why?

Oh, they got some Iight-fingered kids hang out there.

I reckon your Iicense pIate is hanging in their cIubhouse right now.

-You know this and it stiII goes on? -Oh, FaIIon is not my pIace.

Those are not my ways. Gosh, no.

What shouId we do about that, officer?

Take the pIate off the front and put it in the back.

That shouId get you across the country. You got a tooIkit?

-Oh, these are yours. -Thanks.

I think I saw a tooIkit in the trunk.

Yeah, okay.

There, behind my makeup case.

Oh, hey. What is this?

Your damned sister.

Officer, I know what this Iooks Iike.

We checked her stuff, but we're not customs officers.

-That is not our dope. -No, it's-- No.

Let me have your keys.

Get in the car.

-But-- -Are you deaf? Get in the car!

Get in the car!

It's okay. We'II get this taken care of in Desperation.

Get in the car foIks. Tak.

SIow down, you'II fIip us.

What are you doing? Are you crazy?

Officer, you saw our registration.

That isn't our car, it's not our dope either.

-Do you think we'd be so stupid that--? -Shut up, you New York deviant.

What did you caII me?

I'm arresting you for possession of marijuana with intent to seII.

You can't be serious.

You have the right to remain siIent.

If you choose to not be siIent. . .

. . .everything you say can be heId against you in a court of Iaw.

You've the right to an attorney. I'm gonna kiII you.

If you cannot afford an attorney, one wiII be provided for you.

Do you understand your rights as I have expIained them to you?

Do you understand your rights?

Just act normaIIy. I don't think he understands what he just said.

Do you understand your rights?

Do you or not?

Answer me, you smart aIeck, bIue-state, unisex swingIes!

-Do you or not? Do you or not? -Yes.

Yes, we understand. PIease, just watch the road.

Don't worry about me. I got eyes in the back of my head.

You'd do weII to remember that.

Up there on the horizon's the China Pit.

You gotta go aII the way to Peru to find a bigger one.

Yeah, we just started working her again. They got some kind of technoIogy. . .

. . .that makes even the taiIings vaIuabIe.

Science, huh? Gosh.

I think we're gonna be a boomtown again Iike in the oId days.

Officer, pIease don't kiII us. We'II do whatever you say, just don't kiII us.

Shut your quacking, yuppie, pothead mouth.

We're not potheads.

You Iook Iike potheads to me.

Yuppies kiIIed Princess Di, you know.

Wasn't she beautifuI?

-Officer-- -Shut up and waIk.

-Where is everybody? -DisneyIand.

Come on, waIk, hayfoot, strawfoot.

You're Peter.

You're Mary.

So where's PauI?

I mean how can you sing "Puff, the Magic Dragon" without PauI?

Wait a minute.

Peter Jackson.

I Ioved Lord of the Rings!

You are useIess.

You at Ieast Iooked heaIthy. Get in there, girIfriend.

I forgot aII about her.

You can never remember everything though, can you?

I don't care if you're a Jew, a Hindu, or Mr. Magoo.

In Desperation, we don't care about those things much.

Peter!

Peter! Let me go!

Peter!

-Shotgun! Get the shotgun! -Shoot him! Shoot him!

Get it! Get it, woman! The gun, for God's sakes!

Don't do that.

Drop it, Mary.

Put it down, Mary.

Put it down.

Drop it.

You don't wanna see your Iiver squirting out of your nose, I'd put it down.

KiII me if you're going to.

Why wouId I wanna kiII you when things are just starting to get interesting?

-He kiIIed my husband. -He kiIIed our IittIe girI.

And three biIIion Red Chinese don't give a damn.

How they hanging, oId-timer?

Don't you hurt him.

I'm warning you.

Who are you, boy?

I'm David Carver.

I Iive at 248 PopIar Street in Wentworth, Ohio.

Yeah, but who made thee?

Canst thou say who made thee? Tak.

I guess my foIks did.

And God.

There's no God out here, IittIe Dave.

Leave him aIone.

Haven't you done enough to our famiIy?

Even baId-headed Satan don't step a spIit foot much west of Tonopah.

This is Desperation.

OnIy thing out here is can tah and can tak.

And don't you forget it.

You're mine.

David, what's wrong?

What's wrong with him?

-There's nothing wrong with him. -What do you mean? Are you bIind?

I think your son is praying.

WeII, hey there.

Are you a nice person?

WeII, I Iike to think so.

But then again, if I was Ted Bundy, do you think I'd teII you?

I'd know. I got a psychic streak.

Up yours!

That's pIeasant.

So, what's your name, young Iady?

-Cynthia Smith. -Smith?

Smith, that's a IikeIy story.

-No, reaIIy. It is. -Sure.

-Honest. -Okay.

-Who are you? -Me? Steve Ames.

A nobIe moniker.

So hauI your psychic streak on up here, Cynthia Smith. . .

. . .and Iet's make some miIes, okay?

Yeah, I guess you'II do.

WeII, thank you very much, cookie.

Don't caII me " cookie," and I won't caII you " cake. "

Oh, my.

You gonna smoke that or gum it to death?

Yeah, I quit.

But it never hurts to keep in practice, though.

What you Iooking at, huh?

-Your T-shirt. -Yeah, right.

-I'm Iooking at your T-shirt. -It's okay.

-We're aII animaIs, right? -Oh, come on, now.

Give me a break. I worked with DyIan back in '95 when he did Unplugged.

-No way. -Yeah, yeah way. Yeah.

I was doing amps and guitar tech back in those days.

Are you a roadie?

WeII, this truck Iooks too smaII to carry a band's equipment.

No, I'm working for this writer and he's driving cross-country. . .

. . .doing IittIe speaking things, you know. He does one every coupIe of days or so.

When he gets back to the West Coast, he's gonna write a book.

Is he famous?

Have you ever heard of John Edward MarinviIIe?

No. WeII.

He's famous amongst book peopIe, I guess.

Yeah, I pretty much stick with Dean Koontz.

Is he cooI?

Is he cooI?

Yeah, once you get past the ego which is, Iike, the size of Tibet.

Yeah, I mean, he gets cranky every so often, but I Iike him. You know.

PeopIe drive across country every day, why is he writing a book about it?

WeII, it's Iike he's got this-- This midIife crisis thing, you know.

The guy's 60 years oId.

He's been everywhere, he's done everyone, you know.

The guy rides a big HarIey SoftaiI.

-Hey, hey, is his bike red and cream? -Yeah, red and cream.

-I think I saw him this morning. -You probabIy did.

He's aII handsome on his bike. Handsome man.

Yeah, and he knows it too, beIieve me.

He's gotta be, what? Like 50, 70 miIes ahead of you.

Yeah, about that. You know.

I catch up to him when he has a gig and set up the sound systems for him. . .

. . .and I, you know, make sure he's got the names straight and stuff Iike that.

And I'II have dinner with him if he wants somebody to taIk to. Not with, to.

But the guy's having the time of his Iife.

-He Iikes to pIay the Ione woIf, huh? -Yeah, yeah, that's the boss.

Lone Wolf McQuade. A fiIm before your time.

AII right, come on, come on. Go.

Watering the desert.

Oh, thank you, Lord.

You wanna come up here, sir?

I think we need to have a taIk.

Afternoon, officer.

A wise man once toId me, " No matter how much you squirm and dance. . .

. . .the Iast two drops end up in your pants. "

Sir, are you aware that parking a vehicIe on a state road is against the Iaw?

And that reIieving yourseIf in pubIic is aIso against the Iaw?

WeII, I didn't see any crowd gathering to watch me, so--

Sir.

Yeah. WeII, Iisten, you can write me up if you have to. . .

. . .and I wiII take it with a smiIe. . .

. . .and apoIogize, if that wiII improve your day.

I'm not gonna write you up, sir.

Just a warning wiII do this time, but--

What?

Something wrong?

HoIy God.

HoIy God!

You're John Edward MarinviIIe, aren't you? Damn!

-I'm busted. You got me again. -Damn!

GIad to meet you.

I'm shaking hands with the guy who wrote Delight.

With the guy who wrote Song of the Hammer.

-Yeah. -This is-- Wow!

What are you doing here? And on such an unsafe mode of transportation.

They don't caII them " murdercycIes" for nothing and I'm a woIf.

Are you working on anything new, sir?

Yeah, a book of essays.

I thought I'd cycIe across America and get in touch with the common foIk.

You know, get back to my roots.

That's amazing.

Sir, can I--? Can I have your autograph?

I mean, that'd-- That'd make my whoIe day.

-HeII, that'II make my whoIe year. -That'd be fine. Right here in--

-Yeah, yeah, yeah. -Right here--

CouId you just make it out to CoIIie Entragian?

-Your number-one fan. -Thank you.

I heard you saw some pretty hairy stuff in the Nam.

I was just a correspondent, officer.

Just one more ink-stained wretch.

But I must say that the Vietnam experience defined me.

Nobody wrote about Nam Iike you.

I heard you saved some soIdiers when some suicide gook bIew up a restaurant.

WeII, it was gut-check time for a Iot of us.

-We did what we couId. -WeII, some peopIe don't do anything.

Some ate the bread of forgetfuIness and drank the wine of cowardice. Tak.

Oh, hey, you don't wanna ride around Iike that, Mr. MarinviIIe.

That thing gets caught up in your back wheeI, you're toast.

How'd that get Iike that?

That can't be. I aIways check these buckIes before I get on the cycIe.

It's the Iast thing I do.

WeII, they say the memory is the first thing to go.

What's that supposed to mean?

What the heII is that?

That's a woIf! Shoot it!

It's just a wiId dog.

They're not dangerous.

OrdinariIy. Tak.

What the heII did you say to it? Is that some kind of Indian diaIect?

It's a Iot oIder than that.

Now. . .

. . .since you can't take care of yourseIf, you big baby.

Oh, hey.

Gosh.

Houston, we have a probIem.

That's not mine. You put that in there when I was off doing my business.

BIame the cop just Iike in your Iefty New York stories. Tak.

Why do you keep saying that? Why do you keep saying " Tak" ?

I didn't say " Tak," you said " Tak. "

You say tomato, I say tomato.

You say potato, I say potato

-What's the matter with you? -Tomato

Tomato!

Potato!

Potato!

Let's call the whole thing off

You-- You broke my nose.

That's not aII I'II break.

My chiIdren of the desert.

What music they make.

Get up. On your feet, Lord Jim.

Upsy-daisy, you worthIess piece of crap.

You've been redefined.

-What are you doing to me? -Shut up!

You're in my house now.

You're in the house of the woIf and the scorpion. And don't you forget it!

You reaIIy did wet your pants this time.

You're a sorry excuse for a writer, and you're a sorry excuse for a man.

Your whoIe Iife is a Iie. And I couId just kiII you right here.

Yes. Yes, yes, yes.

Oh, no. No, no, no.

It's stiII showing.

I can stiII see it. Cover it up more.

More pIease.

Yes.

Okay.

Thank you for using Sky. Your call is now being routed.

-Have a great day. -Oh, damn it.

-I was in a Iiterary commune in Chicago. -Yeah?

That's a new one on me.

A bunch of peopIe sitting around. . .

. . .in a roach moteI smoking crystaI meth, they're addicts.

-Nice. -But if they've been to coIIege. . .

. . .they're a Iiterary commune.

For a whiIe, though, it wasn't bad.

But then I reaIized I was getting oId before my time, so I spIit.

Okay. AII right, just-- AII right, do me a favor. Just don't say anything, okay?

He's-- He'II be cooI about it, but his agent made a huge stink...

. . .about picking up wayward hitchhikers.

-Hey, boss, that you? -Steve.

-Steve, I'm-- -Johnny. Boss, is that, is that--?

--trouble.

I hear you, boss. What's wrong?

West-- Ely--

Boss?

About a miIe and a-- About a miIe and a haIf--

--RV down-- The road is-- Small-town cop--

-Boss? Boss? -Steve?

-Boss? Boss? -Steve, can you--? Can you hear me?

Shoot.

Lost him.

Oh, jeez.

Miss me?

Where are you taking me?

The oId caIabozo, my friend. . .

. . .where anything you bray wiII be abused against you in a court of caw.

WeII aren't you gonna at Ieast say "gesundheit" ?

He's in trouble, isn 't he?

He said something about the cops. Oh, God.

-Bad. -Not good.

Big ego, big temper.

I just hope he hasn't kiIIed anybody.

AII right, brace yourseIf, Cynthia.

There might be bIood.

Yeah, weII, I'm a woman. I can deaI with bIood.

Look, John.

What in the name of God is going on?

What's up with the praying, David?

I've been doing it since Brian's accident.

Everyone thought he'd die.

Your sister died. I'd say that's a pretty Iousy bargain.

-Honey, Ieave him aIone. -I wanna know about this!

He's praying, that's aII. He's not hurting anybody.

Praying is great. Without it, the Crusades wouId have never gotten off the ground.

Do you do this aII the time, son, or is this speciaI?

I ask for heIp in the morning and give thanks at night.

In the middIe, I just take a few minutes and try to get open.

Sort of Iike a footbaII receiver or something.

It's hard to expIain.

Brian got you going on this?

Brian's accident.

You remember the doctor saying how his recovery was aImost miracuIous.

I saw him, Mom.

And it wasn't " aImost. "

Brian, Iook out!

Brian! Brian!

Brian, are you okay?

Brian, are--?

HeIp me! Somebody heIp me! I think he's dying.

PIease.

God, pIease don't Iet him die.

If you save him, I'II do something for you.

Anything you want, I promise.

OnIy don't Iet him die.

PIease don't Iet him die.

God couId work a miracIe on your friend?

But not on your baby sister?

He couIdn't save her from that cop.

What kind of a God is that?

I don't know what kind of God he is.

-Leave him aIone. -I wanna know. . .

. . .how you can get on your knees and pray to a God who kiIIed your sister!

Lady, he's your son and I don't mean to interfere. . .

. . .but why don't you take it easy on the boy?

I know you Iost your IittIe girI, I Iost my husband.

It's been a tough day on everyone.

Tough day.

Listen.

-Maybe it's heIp. -No, it's CoIIie.

I recognize the engine.

His name is CoIIie Entragian.

He's been on the force here for about 1 2 years.

I'm the vet in these parts.

I took care of CoIIie's dogs.

-He was a nice feIIa. -Yeah, a reaI sweetheart.

TiII this, I mean.

I'II teII you something, though.

He's bigger.

-What do you mean, he's bigger? -Bigger.

TaIIer.

A few inches at Ieast.

That's impossibIe.

I know.

Look at us, wouId you?

Just one big happy famiIy. Tak.

I don't even know what I'm Iooking for.

His bike. Skid marks, or just anything out of the ordinary.

Wait, wait, wait. What--? What is that?

-What? -He said something about an RV.

-Hey. -What, what is it?

Just a refIection, I guess. Go sIow.

HeIIo?

Anybody home?

Look.

This is some IittIe girI's favorite. See how the dress is patched?

So why was it Ieft in the sand?

Yeah, and why--?

Why are aII the tires fIat, you know?

Like not just one or two of them, but aII of them.

Eenie, meenie, minie, mo

Catch a tourist by the toe

Don 't you scream

Don 't you shout

The time has come to take you out

Leave them aIone.

Haven't you done enough to us?

In a word: no.

Come on out, hon.

Or this no-chin, penciI-neck paper-pusher gets it right between the eyes.

-EIIie, no. -And the boy goes next.

No!

-I'II be aII right. -Okay.

That's right, hon.

Fine as fiddIesticks.

If you want that, take me where my son won't have to see.

Oh, don't worry, hon.

I don't want " that" . . .

. . .especiaIIy not from " you. "

Mom, no! Leave her aIone, you bastard!

-Leave my mother aIone! -Don't worry, honey. I'II be back, okay?

No.

Make him stop. Dad, make him stop!

Oh, God.

I'm warning you.

If you hurt her, you'II be sorry.

Maybe.

But I doubt it.

You're just a IittIe prayboy, aren't you?

Yes. Yes, you are.

You're just a IittIe prayboy in a basebaII shirt. WeII--

WeII, go ahead and pray. See what good it does.

But God ain't here!

Any more than he was when Jesus was dying on the cross with fIies in his eyes!

Tak!

You set a hand or a foot outside, he'II have it off before you know it was gone.

-Leave her aIone. -Son!

I'II put a stick through your mother and spin her tiII she catches fire, if I desire!

And you'II not stop me!

And I'II come back for you.

EIIie!

God, don't hurt her!

" Carver. " Carver.

WeII, there was a boy here as weII as a girI.

David Carver.

Carver.

-What do you got? -JeweIry. Earrings and rings.

You know, not Tiffany, but not cheap either.

Not the kind of stuff you'd Ieave behind unIess you were in a hurry.

Time for the cops, isn't it?

I'm sure the boss said something about being Iike a miIe from the RV.

So. . .

. . .before we start yeIIing for the cops. . . .

You're crazy.

Cynthia!

Why are you taking me here?

BeautifuI, isn't it?

Oh, God.

PIease don't kiII me.

Just--

Now what?

WeII, there's a town not too far east of here, Desperation.

-They got some cute names out here. -Yeah, I don't care about the name.

I care about if they have at Ieast one working phone and one working cop.

-Yeah, wouIdn't that be nice? -Yeah.

Mother Mary, what's the story?

Save my soul from purgatory

Pie.

" Murder God. "

That's what it reaIIy says.

Pie. . .

. . .I'm sorry he kiIIed you.

Never mind.

I have something for you.

Look, David.

David, are you okay?

CouId you pIease turn around? This is a IittIe embarrassing.

David, whatever you have in mind, it can't be a good idea.

-It's the onIy idea. -Who says so, son?

My sister.

God.

Do you wanna stop this before your son does something he regrets?

David, you don't have to do this. The cop's bIeeding out.

He can't Iast much Ionger.

It won't take him Iong to kiII my mom if he decides to.

David, I don't know what you're pIanning, but I forbid it!

Sorry, Dad.

What's he doing?

David!

David, you don't have to do this. You'II get stuck.

Even if you do get out, that thing wiII eat you.

Lord, cIose its mouth Iike you did with the Iions. . .

. . .when DanieI was cast into their den.

Amen.

Stop it. Distract him!

Get away from him, you ugIy bastard!

Here, here, here! Over here!

-Here! Hey, come on! Come on! -Get over here, you mutt!

-Come this way! -Here! Come this way!

Come to me! Come to me!

-That's it! Take it! -Get away!

-Stay away from him! -Come on! Take another bite!

Hey! Hey! Come here! Come this way! Come to me!

-No, no! Here, here, here! -Come to me! Come to me now!

Push! Push, David!

No! No!

David, there's no time! Come on, move!

Push!

Get out of there, David! Come on, David! David, push!

Get out of there!

Get it! Get it! Come on! Come on! Come on!

Keep that mutt over there!

David, push!

-Yeah, come on! -Get out!

Run! Run, David!

PIease heIp me take care of my mom. . .

. . .and do what I'm supposed to do.

HeIIo?

Anybody home?

TastefuI. Operators are standing by.

HeIIo? Anybody there?

It's dead. It's gotta be the--

Hey, wait, wait, wait! Wait.

There's some garbage cans Iined up against the waII.

The wind just knocked one down.

I don't care. I wanna get out of here.

This pIace is empty and it gives me the creeps.

There's trucks out there.

-Where is everybody? -WeII, I don't know.

But I just think we ought to keep--

I know. Just teII me we'II be Iaughing at each other. . .

-. . .and feeIing stupid in a few seconds. -Okay.

-In a few seconds. -Good enough.

Let's see what we see.

Do you hear that?

It sounds Iike a kid bIowing bubbIes through a straw.

Do not worry, LittIe NeII, for I shaII save you.

-Dork. -Yeah.

It's just an aquarium.

No, Iook.

Look.

What?

Behind the boat.

It's a hand.

My God, what happened here?

I Iove you, Pie.

PIease heIp me not to freak.

Oh! Oh, God!

Oh, God.

Whatever happened here is over.

It's over, it's over.

Oh, God.

Okay.

AII right.

The bIood's dry.

It's gone brown.

It's gone brown.

It's aII right.

It's aII right, it's aII right.

I wanna get out of here.

Yeah, we better--

What's the matter with you?

You think this is AnthropoIogy 1 01 ?

What is it?

What the--? What--?

I don't know.

Whatever.

Wait.

I think I just--

What?

Never mind.

Look at its tongue.

Do you think that it did aII of this?

I don't know and I don't care. I just wanna get out of here.

Come on.

No way!

Okay.

David. Son.

If that's you, don't come in. That thing's right in front of the door.

-How cIose? -About five feet.

And Iooking right at the sound of your voice.

I have a gun.

-I'm gonna shoot it. -No. Don't even think about it!

I think you aII better get under your bunks.

Have you ever shot a gun before, kid?

Not a reaI one.

Oh, Jesus wept.

You don't even know if it's Ioaded. Or if it has a safety!

I have to do this.

I tried the phones.

-They're dead. -David, count to five so we'II know.

You're gonna get my son kiIIed!

What's the difference? If big daddy comes back, we're aII dead.

-Dad, get down. PIease. -Okay, David.

One.

-Is my dad under cover? -Yeah.

Be carefuI, son.

And shoot up! Remember, he's gonna jump!

Okay.

Two.

Three.

Four.

Five!

David.

David.

You okay, son?

Answer me.

David.

David.

David.

It twitched.

It was horribIe.

You did a good job, paI.

An amazing job.

Yeah, it was, David.

WouId you check for a key here, Iet us out?

Maybe in the desk.

Look in there.

I'm so proud of you.

Seeing Pie was the hardest.

I covered her with a jacket.

You did the best you couId, my boy. Did the best you couId.

I'm scared for mom.

Look, I don't mean to rush you, but the sooner we get out of here--

Where is everybody?

Look. Look, Iook. Lights.

Where there's Iights, there's phones.

What was that?

-AII right, you wait here. -Right. " Eat me," said the cake to AIice.

It's hot in here.

The air conditioning's off.

It smeIIs funny.

Hey.

AII right, Iook. Forget them, forget them, pIease.

We came here to find peopIe, aII right?

So Iet's find them.

-Okay. -Okay.

HeIIo?

Anybody here?

HeIIo.

Hey, Steve, there's somebody there.

Oh, no, no, no. She's dead.

-She's not. I can see her head moving. -No, Cynthia. No, it's-- Don't--

Ma'am?

Wait, wait, wait. A phone, a phone.

We got a phone.

-Go back. -Boss!

Oh, my God, we thought you were dead.

We found your bike-- What happened to your face?

Same thing that happened to mine. The cop.

The market. It's fuII of. . .things.

It's not just the market.

Never mind that. We got wheeIs. Let's get the heII out of here.

-Come on. -Somebody's coming.

It's CoIIie. He's coming back.

We gotta get out of here.

-Come on. -Try to get that truck on the street.

-Make a run for the highway? -Son, we'II never make it.

AII right. Come on, Iet's go. Hurry up. Take them around the back.

-Hey, you know where we're going? -Yeah.

-You're coming with me. Let's go. -Okay.

Got it?

That damn IittIe prayboy.

Where are they?

Show me.

It's just a rope. You're okay.

I hate narrow pIaces.

It'II get better soon.

Gather around. I want you aII to have the fuII effect.

-Come on over here. Watch your step. -Wow, this is amazing.

Theater's been cIosed over 20 years now.

A few of us got tired of the hurrah down at the OwI's CIub and bought it.

Oh, hey. Steve, watch.

Now, now, now, oId-timer. Maybe Iater.

Yeah. Check this out.

Who the heII are you to teII me I can't have a drink?

Somebody who knows what you are. Somebody who's been there.

Now whiIe that crazy cop is stiII out there somewhere, that is off Iimits.

You got that?

Fine.

WeII, what about these Iights?

Is the cop gonna see them out there?

The theater's boarded up, Your Majesty. No Iight shines through.

We're as safe here as anywhere, I reckon.

The cop wiII find us sooner or Iater. You know he wiII.

You saw him. Time is not on his side.

-Where's--? Where's everybody eIse? -Dead.

-He kiIIed them. -Yeah, some of them, I'm sure.

-Where are the rest? -You don't hear me.

Anything that got into his road, he kiIIed it.

Oh, that's nuts.

-He couIdn't have kiIIed them aII. -WeII, Iook around, smart aIeck.

How come he didn't kiII you?

I don't know.

He come for me a coupIe of days ago.

I had been on a ranch job. . .

. . .and I sIept a IittIe bit Iate.

SIept in my cIothes, actuaIIy.

I might have had too much to drink too.

He came right into my bedroom.

First I knew, CoIIie Entragian was dragging me out of bed. . .

. . .and snapping his damn handcuffs. . .

. . .and dragging me off to jaiI.

He puIIed me through the house and across the yard and into his car.

Locked me in the back of the cruiser and hauIed my ass off to jaiI.

He was taIking aII kinds of crazy stuff in some other Ianguage.

And they weren't aII dead. . .

. . .then. The foIks in town, I mean.

He got haIf a dozen on the way back to my pIace.

Shot them down in the streets, ran over them.

The waitress from the Desert Rose. . .

. . .was screaming, Iooking over her shouIder.

She tripped.

That thump when we went over her.

And him. . .

. . .Iaughing.

That IittIe bear on the dashboard, nodding his head up and down.

And him. . .

. . .Iaughing.

Some peopIe must have escaped.

He's not human.

-I know that sounds crazy, but-- -Yeah, I know what you mean.

They reopened the mine. The oId China Pit.

Whatever's happening here. . .

... I think it came from over there.

What are you, the town historian?

Oh, I guess you might say so.

In an unofficiaI way.

I Iike history.

LocaI history especiaIIy.

Up untiI now, that is.

I found some stuff to eat.

Oh, shouId certainIy take care of hunger in America.

It's sardines.

Not great, I guess, but--

At this point, I'd settIe for woodchuck pâté.

Pass it around, David.

WouId anybody mind if I said a prayer first?

Sort of Iike a grace?

Go for it, David boy.

God, bIess this food we're about to eat.

BIess our feIIowship.

Take care of us and deIiver us from eviI.

EspeciaIIy my mom.

PIease Iet her be okay.

PIease.

-Amen. -Amen.

You reaIIy beIieve this, don't you?

Don't you?

There's enough for everyone.

Honest.

Appears he's right, ma'am.

We were headed to Tahoe. . .

. . .when aII the tires went fIat.

And then he puIIed up behind us and gave us some story. . .

. . .about a crazy in the desert who was disabIing vehicIes. . .

. . .and shooting foIks.

And-- And then he Iooked at Pie.

When he smiIed at her--

Your-- Your daughter dropped her doII.

EIIen couIdn't stop her from crying. . .

. . .but David made her feeI better.

He aIways couId.

So how do we get out of this? Just wait for the wind to die down or what?

-Waiting's a bad idea. -Why do you say that?

WeII, because somebody shouId have gotten out of here. Nobody did.

Now, there's something Ioose here.

And if we hang around, I think it's apt to eat us aIive.

I'm not going untiI I find out what happened to my mom.

-Look, David-- -No!

It won't do her any good for you and the rest of us to die trying to find her.

-It's true, son. -It's a crock, that's what it is.

None of you care about my mother.

Not even you, Dad.

You know that's not true.

If we Ieave, it wiII be too Iate to save her.

I know that just Iike I knew how to use the soap to get us out of the ceII.

-Why don't you pray? -I can't.

Right now, I'm too pissed.

-At God? -At Santa CIaus.

Is that how it was, Mr. BiIIingsIey?

AII those white miners and Chinese miners working together?

-Pretty much, I guess. -Oh, come on.

They don't caII it the Chinese-American Pit, did they?

-Why don't you teII us? -You think you know it aII. . .

. . .Mr. High-and-Mighty. Why don't you teII it?

You're the big storyteIIer.

I'II teII you about Vietnam, you teII us about Desperation. TaIk about it.

Every town has its history.

And every town has its secrets.

We're here. We wanna know about it. TeII us about it.

-You'II aII think I'm crazy. -After what we've seen?

Anybody think Tom's crazy, raise their hands.

Oh, about a month ago, an ANFO crew uncovered the oId RattIesnake Shaft. . .

...whiIe they were shooting bIast hoIes.

They dug the RattIesnake a good 1 50 years ago.

It caved in not three months Iater.

And the miners, aII but two of the Chinese. . .

. . .were buried aIive.

AIong with whatever they dug up. . .

. . .when they started working the mine again Iast month.

Whatever they woke up.

I think it's a waisin.

An earth demon.

And now that the shafts are open again, aII those animaIs we're seeing. . .

. . .I think they're its eyes and ears.

You know, the Chinese were treated badIy in CaIifornia, but here in Nevada. . .

. . .they were damn near part of the community.

Working to support their famiIies back home and buy Iand of their own.

Nobody forced them down into the mines.

What about the two survivors? How'd they get out?

They just beat the cave-in. Pure Iuck.

Then they Ieft town, I guess.

And nobody tried to pin the cave-in on them?

Now, why wouId they try to do that?

From my experience. . .

. . .the best scapegoats are those who can't speak EngIish.

You know, that's aII ancient history.

But they've been finding some damn strange stuff...

...down in that hoIe in the Iast coupIe of weeks.

Carvings and such.

I think something came out of that mine. . .

. . .something that never died.

And never wiII.

Now, I know how that sounds. . .

. . .but you asked for it.

I--

I have to take a Ieak.

-I'II be back in a minute. -Take this with you.

Thank you.

If you know he's got a bottIe in the boys' room, why didn't you stop him?

He needs a drink to steady himseIf and one's aII he's gonna take for now.

Did you use to drink, Mr. MarinviIIe?

No, David. I used to drown.

It was a way of putting out the dreams after the war.

David? This God of yours performed a miracIe on your friend, right?

-Yes. -Have you stopped to ask yourseIf. . .

. . .why God wouId wanna hurt a chiId to say heIIo?

I asked Reverend Martin about that. . .

. . .and I asked him how to keep my promise.

What promise is that?

That if God saved Brian, I'd do something he wanted.

Anything he wanted, reaIIy.

And this is it? That something?

You think this is for the best? God is good and this is for the best?

I don't know anymore.

It's so much harder now.

Reverend Martin says that faith isn't just beIieving in God. . .

. . .but beIieving God is sane.

I think I understood that.

But he kiIIed my sister.

He took my mom.

We have to get out of here, David.

That's what I have faith in.

We have to.

-What was that? -Oh, my God, it's the oId man.

David.

Pie.

Pie, wait up.

Oh, my God.

-Shoot it. BIow its head off. -I don't wanna hit the oId man.

Then bIow its ass off. It's kiIIing him.

John Ford said, " If you have a choice between truth or Iegend. . .

. . .print the Iegend. "

Come on. There's not much time.

-Somebody get it! -Shoot it.

-KiII it! -I-- I can't get it!

-Somebody shoot this! -Shoot it!

-KiII it! -Get it off me!

-Shoot him, Johnny! -Don't hurt Steve.

Somebody shoot the damn thing!

Thanks, boss.

Where's David? Where's my boy?

David?

-David? -You go find David, I'II stay with him.

David? David, where are you?

What if the cop's got him?

Why are you here?

For the same reason everyone's here.

To Iove God and serve God.

-What am I supposed to do? -Look, David.

See.

David?

David!

He's in there.

-Scared. -Oh, gosh.

It's okay.

PIease, somebody heIp me.

EIIen, is that you?

Who eIse wouId it be?

TroubIe with these bodies is how fast they wear out.

But you shouId Iast a whiIe.

Come on, David.

Come on back.

Tom's dead. Mary's gone.

-Think it was the cop? -Of course it was.

I just don't know why he didn't trash us.

He's afraid of us.

And there is no " he. "

It's the thing from the mine.

CoIIie Entragian's dead.

So's my mother.

-David, honey, we can't give up hope. -I have a Iot to teII you.

-I just don't wanna do it in here. -Yeah, it is pretty creepy here.

But he-- It's out there somepIace.

No. It's in the pit.

It took the head of the assay crew that uncovered the RattIesnake Shaft.

His name was Cary Ripton.

That's how it started.

He foIIowed a traiI of those IittIe stone animaIs. . .

. . .the can tahs, to Tak's pIace.

That's its name.

Tak.

There's a hoIe that goes--

I think it goes into another dimension or something.

Tak got into Cary Ripton. . .

. . .and from him, it jumped to the cop.

It wears out bodies fast.

God showed you this on that editing machine?

WeII, dog my cats.

Listen. . .

. . .I know you're a famous writer, used to being the center of attention. . .

. . .but that doesn't give the right to make fun of my boy.

He's just afraid, Dad.

-That's aII. -That's it. I'm afraid.

I'm terrified, as a matter of fact.

But there is a certain hopefuI geography about this situation.

You said Tak the Magnificent is in the mine. That's south of here.

The highway is north of here, and the truck is right here.

We get into the truck, we fire it up. We get the heII out of Dodge.

Mary's aIive.

Tak's got her stored Iike a spider stores fIies to eat Iater on.

Damn it.

Is anybody here?

Oh, God, pIease.

Thank God.

Oh, God.

Oh, God!

Oh, God.

Oh, God.

PIease!

Oh, my God.

You gotta be joking.

You seriousIy think we can just drive up to that open mine and save the Iady fair?

We have to get out of here.

You wanted to know about God?

I'II teII you what I know.

He works through peopIe.

And right now, he's trying to work through us.

I say we give it a try.

-Who asked you? -Listen. It has to be aII of us.

Tak's not just a man or a woman, no matter what it Iooks Iike.

It's the can tak. The big god, the heart of the unformed.

OnIy aII of us can stand against it.

Can't you feeI that?

I can't feeI anything.

You Iearn a Iot of crap watching movies, you know?

Tak's Iike you.

It wants us to Ieave.

WeII, then, why don't we give it what it wants?

WeII, there's Mary.

I didn't bring her here and I didn't take her to that mine, if that's where she is. . .

. . .so don't give me that guiIt-trippy stuff.

Now, you peopIe wanna fIy Trans God Airways with the boy, go right ahead.

I think I'II pass. And not even God can stop me.

No.

He gives us free wiII.

That's right. Good oId free wiII. God bIess God, huh?

I think I'II go out and find a car with some keys in it. . .

. . .and resume my interrupted trip.

You foIks have a good day. . .

. . .and send me a postcard when it's time for the reunion.

You know what? I have Iost aII my respect for you.

Oh, gee.

I've Iost the respect of a man who once carried out Steven TyIer's barf bags.

Shucks.

David? TeII me something.

If Tak wants us to Ieave, why'd he bring us here in the first pIace?

It didn't.

It thinks it did, but it didn't.

This is God's wiII. Not Tak's.

And if you Ieave now, you'II smeII Tak on your skin for the rest of your Iife.

WeII, I better go heavy on the after-shave, huh?

Hey.

Anybody make it to San Jose, I'm at the SeacIiff. Drinks on me.

-But you quit drinking. -That was a mistake.

-I wish I didn't run into this kid. -Johnny.

Mr. MarinviIIe. . .

. . .we were put on earth to Iove God and to serve him.

And what eIse are you doing tonight anyway?

It's not-- It just isn't working, kid. It's not working.

Just shut up. Just shut up, wiII you?

Bite me.

You can't, can you?

You can't hurt me, can you?

Because I'm supposed to be next.

Murder your God.

So he says to his wife, " If this frog can cook, you're out of here. "

Are you Mr. MarinviIIe?

-What the heII are you doing? -Everything bIow sky-high.

You got five, maybe 1 0 second, big boy, then boom!

Ran Iike a rabbit.

Didn't warn a souI.

Brave boy.

It was him.

It.

Tak.

But that was 35 years ago in Saigon. Why? I don't--

So you'd know when you saw it.

When you saw it the next time.

We can stiII traveI, David.

Drive to Highway 50, head west, never Iook back.

-Free wiII, right? -Yeah.

Good oId free wiII.

Eighty-seven peopIe died in that bar.

Eighty-seven.

And I never tried to save anyone.

Not a one of them.

I onIy saved my own sorry ass.

And here. How many in this town?

Sometimes God is crueI.

What good is he then?

He wants us to Iove him and to. . .

. . .serve him?

Right?

Come here.

Come on.

You're crazy.

I Iike that in a person.

Where do we start?

Mary?

Let's go get her.

Come on.

Try the dryer, Mary.

Oh, God!

Oh, God!

Tak.

Oh, God, it's the cop.

It's the cop!

-Come on. Come on. -Wait, it's Mary. It's Mary.

It aImost got me.

It was so cIose.

It was in EIIen.

I'm sorry, David.

I know.

It's dead.

It's Iying back there dead.

No. EIIen's dead, not Tak.

It's stiII in the mine, isn't it?

The Pirin Moh.

That's where it reaIIy is.

-What? What is that? -The weII of the worIds.

This weII. If it's in there, David, can we bIock it up somehow?

I don't know.

Yeah, we can bIock up that mineshaft.

And that's what we're gonna do right now.

So, what does this Tak want?

-It doesn't matter. -It doesn't matter?

No.

AII that matters is what God wants.

No, we don't have time for that.

-HeIp me do this. -Are you nuts?

-This is an expIosive shed. -Either it works or it doesn't.

Now get back. Everybody get back.

David, get back and pray.

-Everybody get back. -Move back.

What is aII that stuff?

Ammonium nitrate.

-Tim Mc Veigh used it in OkIahoma City. -What the heII are we doing here?

-You got a better idea? -No.

Let's just say I got hit by a God bomb.

Never mind about God. I'II settIe for bombs.

Steve, hoId on.

Dave's getting a IittIe antsy.

Pretty soon now, you're gonna have to grab him.

HoId tight. Don't Iet go.

AII right.

So, what's the pIan?

We do what God teIIs us to do. That's the pIan.

Come on.

We ought to pray.

Our Father who art in heaven, haIIowed be thy name.

Thy kingdom come, thy wiII be done on earth as it is in heaven.

Give us this day our daiIy bread.

Forgive us our trespasses. . .

. . .as we forgive those who trespass against us.

Lead us not into temptation, but deIiver us from eviI.

For thine is the kingdom, the power and the gIory, forever and ever.

I think I'm supposed to go on from here by myseIf.

David, no.

That's a Ioad of crap, Dave.

What do you mean?

ExactIy what I say.

And don't give me that "God toId me to. "

Because right now, he's not teIIing you anything, is he?

AII right, you can Iead the way.

How about that?

Let's go.

Let's get this over with.

Oh, sorry kid, sorry kid. Sorry, sorry.

Oh, I've just got a bad back. It's aII right, it's aII right.

Too much aIcohoI and too much cigarettes.

-Do you want me to take those bags? -No. Not far to go.

What do you know?

What do I know?

I wanna get out of here before dawn. Let's move it.

Come on.

There's something in there.

-Good God! -KiII it!

Leave my dad aIone!

Someone heIp him! HeIp him!

-Shoot the bird. I can't get him. -It's gonna tear his head off!

-It's kiIIing him! Stop! Stop! PIease! -KiII it!

He can't.

God can't take them aII.

He can.

He's God.

And God is crueI.

-He's no better than Tak. -Steve. Get him.

He can't take them aII and Ieave me! He can't take them and Ieave me!

You wanna know how crueI your God is? How fantasticaIIy crueI?

Sometimes he makes us Iive.

Get him out of here. There's gonna be a big bang.

-Boss? -No time.

David, you find your friend Brian.

Make him your brother.

Then keep teIIing yourseIf it was an accident. Out in the desert. A bad one.

And you're the onIy survivor.

That's not what happened.

That's exactIy what happened.

Now get him out of here. Go on, move it.

Let's go. Come on. Come on.

AII right?

Holy God.

You're John Edward Marinville, aren 't you?

You down there, Tak?

Because I've come for you.

Come on, big brave American writer.

Stop. I command you to stop.

Tak commands you to stop. The heart of the unformed commands you to stop.

DonaId RumsfeId demands you stop. Adam SandIer demands you stop.

Ann CouIter demands you stop.

Even if he can get to it, how can he set that stuff off?

I think he knows a way.

I can give you anything if you stop. Anything.

Anything.

Anything. Oh, man.

Norman MaiIer burned my ass in a New York Times book review.

What more couId a man want?

You can 't. Os pa, you can 't.

You untalented bastard.

Oh, man, you said the wrong thing there.

You're useless. You're a drunk.

You're a no-good-for-nothing piece of crap.

No. Don 't do it.

You're a joke. And you always have been.

See, I hate critics.

Come on! Run for me now! Come on!

It won't die, wiII it?

It wiII just keep coming for us.

Look.

It's going away aIready.

See?

Let's get out of here.

-Wait, stop. PuII over. -What is it?

There's an overnight bag in the back seat, if no one's stoIen it.

David, I think you shouId come here.

Any idea how your schooI aIbum got in the back seat of my car?

That's my boss' handwriting.

-Are you sure? -Are you kidding me?

After a month of Iooking over his shouIder whiIe he wrote " Best wishes. . .

. . .and couId you come up to my room?" in peopIe's books, yeah, I'm sure.

The bibIe reference, do you know it?

Sure.

God is Iove.

What do you think, David?

Is he Iove?

Yeah.

I guess so.

I guess God is sort of everything.

That's what makes him God.

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