FADE IN:

EXT. THE EVERGLADES -- AFTERNOON

The Florida Everglades...a seemingly endless expanse of swampwater and wild vegetation. A white flamingo glides acrossthe copper orb of the late afternoon sun, which looms closelyabove the horizon of sawgrass and cypress trees.

EXT. BEACHAM MOTEL -- AFTERNOON

A grimy twelve room motel situated like a final outpost atthe edge of an unchartered wilderness. Only two vehicles inthe parking area: an old pickup truck and a brand new hybrid.

A flashing arrow sign sits next to the lonely two lane statehighway, blinking erratically. The letters spell out thismessage: LESS THAN TWO MILES FROM GATOR COUNTRY! GET A ROOMNOW!

An overweight paraplegic boy loiters in a wheelchair underthe porch overhang near the motel office, eating a candybar. This is CHRIS BEACHAM, 12.

INT. BEACHAM MOTEL -- AFTERNOON

A shirtless teenager lounges in the flickering blue glow ofan old television, carving on a piece of wood with a grimylittle pocket knife. This is JUNIOR BEACHAM, 19. His mouthdroops open on one side, indicative of some mental deficiency. The weatherman on TV jokes about the record breaking heat.

His father, JED BEACHAM (stereotypical hick, late 40's), isasleep on the couch. Empty beer bottles litter the coffeetable, a half-empty bottle gripped loosely in his limp righthand. Finally it slips out of his fingers, rolls across hisbulging stomach, falls away.

Junior glances up as the beer bottle THUMPS to the floor. His father just SNORES louder. Junior's gaze drifts to thetelevision, where a local news program is on. The NEWSMANintones:

NEWSMAN (V.O.)An environmental organization calledthe "Glade Crusaders" showed up inWashington today to protest thecontinuing development taking placein the Florida Everglades.

They run footage of a group of environmental activists holdingup signs which read: SAVE THE GLADES! They play a soundbite from a brief interview with a FEMALE ACTIVIST.

FEMALE ACTIVIST (V.O.)Why are we here? We're here to helpsave the Everglades!

(MORE)

2.

FEMALE ACTIVIST (V.O.) (CONT'D)Humans are systematically destroyinga delicate ecosystem that took mothernature thousands of years to create. And our government is doing nothingto stop it!

Cut back to the Newsman.

NEWSMAN (V.O.)More after this.

Cut to a commercial featuring a walking, talking CARTOONGATOR.

CARTOON GATOR (V.O.)Coming to Florida this summer? Thinkyou've seen everything? Think again! Because nobody has ever seen anythinglike Gator Country!

Junior puts the finishing touches on his little carving.

INSERT -- WOOD CARVING

It's a little wooden alligator.

CARTOON GATOR (O.S.) (CONT'D)We've got it all! The swamp! Thefood! The rides! And the alligators! Right on the edge of EvergladesNational Park! Come to our grandopening this summer!

EXT. BEACHAM MOTEL -- AFTERNOON

Chris gets a cold drink out of the Coke machine near themotel office. As he POPS it open, his mother FRANKIE BEACHAMemerges from one of the rooms. She's tired and sweaty. There's a dust rag slung over her shoulder and she carries abig heavy bucket full of cleaning supplies.

FRANKIEDear lord, it's hot.

She puts the bucket down and slumps against the wall,exhausted. Chris offers her the cold drink. She takes anice long swallow.

FRANKIE (CONT'D)(gives it back)

Thanks, Chris.

CHRISLet me and Junior do the next room,Momma. You need to rest.

3.

FRANKIEThat's okay, honey, I can--

(beat)Wait a minute...I thought I told youto stay back there with Granny.

CHRISThere's so many mosquitoes back there.

FRANKIEYou go check on her right now! Neverleave her alone like that!

CHRIS(meekly)

Yes, ma'am.

Chris begins to roll away. Frankie feels a twinge of guilt.

FRANKIEChris.

Chris stops rolling. He turns to face her. She leans downand gives him a kiss. Ruffles his hair.

FRANKIE (CONT'D)Things are gonna get better for ussoon. Hang in there. Everything'sgonna change when Gator Country opens.

CHRISI hope so.

FRANKIEIt will. Now go check on Granny.

EXT. BUSHES -- AFTERNOON

A pair of twelve-year-old punks named LANCE and RONNY arecrouched behind a screen of bushes in the woods across thestreet from the Beacham Motel. Spying on Chris.

RONNY(whispers)

There he goes.

They watch Chris wheel around to the back of the motel.

LANCE(whispers)

Let's go.

EXT. POND -- AFTERNOON

Behind the motel, the land slopes down to a small reedy pond. An old woman is seated in a lawn chair facing the water. This is GRANNY. She's asleep.

4.

CLOSE ON Granny's face. Five or six mosquitoes are perchedhere, sucking her blood.

Chris rolls up alongside her. Wipes the mosquitoes away.

CHRISWake up, Granny. Come on in beforeyou get eaten alive.

In the pond, a pair of sinister reptilian eyes rise out ofthe water. Alligator.

CHRIS (CONT'D)Don't worry, Granny, I'll tell Juniorto come carry you in.

Suddenly a hand comes SLAPPING DOWN on Chris's chubbyshoulder. He lets out a startled SHOUT. Ronny and Lanceare standing there, snickering.

RONNYDid we scare you, Big Wheel?

CHRISI told you not to call me that.

LANCELighten up, will ya? We got you apresent.

Lance reveals a tarnished metal can (probably an old can ofpork and beans with the label peeled off).

RONNYMe and Lance spent all day collectingthese for you. You better like 'em.

CHRISWhat's in that can?

RONNYShow him, Lance.

Lance holds the can close to Chris's face. It's full ofliving, squirming earthworms. Chris grimaces.

CHRISGet that out of my face.

Ronny quickly grabs the front of Chris's T-shirt and stretchesout the neck opening. Lance pours in the worms.

LANCEThese are for you, Big Wheel!

Chris is a fighter; he jerks his elbow back to smash Ronny'sballs, but Ronny sees it coming and avoids it. He's luckierwith Lance -- his fist connects with Lance's crotch.

5.

Lance staggers away.

CHRISJunior! Help!

Ronny grabs the handles on the back of Chris's wheelchair.

RONNYThe retard can't help you now! Getready for a swim!

CHRISDon't you dare, Ronny!

Ronny shoves the wheelchair past Granny (still asleep), towardthe pond. Chris goes plowing through the reeds and plungesinto the water with his wheelchair. SPLASH!

The reptilian eyes we glimpsed earlier now submerge.

Ronny watches with glee as Chris splashes frantically about. He hops up and down like a little demon.

RONNYHa-ha! Swim, Big Wheel! Swim!

A hand comes SLAPPING DOWN on Ronny's shoulder. Ronny letsout a startled SHOUT as he finds himself face to face with Junior Beacham's glowering visage.

JUNIORLeave my brother alone!

Junior punches Ronny in the face. Ronny falls down with abusted lip. Junior is about to grab him and inflict morepunishment when a pine cone strikes the back of his head.

Lance stands in the distance, near a pine tree. He hurlsanother pine cone. This one hits Junior directly betweenthe eyes, leaving a bright red mark. Enough of a distractionfor Ronny to get up and run away.

LANCECome on, Ronny! Let's get out ofhere!

Junior lets out an enraged, animalistic SCREAM. He lopesoff after the two retreating boys.

CHRISJunior, wait! Come back!

Chris continues splashing frantically in the pond. He gropesdesperately for his wheelchair, uses it to keep his headabove water.

CHRIS (CONT'D)Junior! I'm gonna drown!

6.

Suddenly Chris quits splashing. He sees a dark, bumpy shapefloat past him. He freezes, petrified.

The bumpy shape floats toward the edge of the pond, whereGranny continues to doze in the lawn chair.

EXT. BEACHAM MOTEL -- AFTERNOON

Ronny and Lance go tear-assing across the highway, into thewoods on the other side. Junior goes tear-assing after them,but he doesn't make it across. We hear a HORN blare and theSCREECH of brakes...

A green truck with the Gator Country logo on the side hitsJunior Beacham, throwing him several feet through the air. He hits the pavement and rolls a few more feet beforestopping.

Frankie emerges from one of the rooms with the old cleaningrag slung over her shoulder. She sees Junior lying motionlessin the street. She SCREAMS.

EXT. POND -- AFTERNOON

Chris has stabilized himself in the water and he's no longerstruggling, but he watches in horror as the alligator slowlycrawls out of the pond.

Granny continues to doze in the lawn chair. For the firsttime since spotting the gator, Chris musters up the courageto yell.

CHRISGranny! Wake up!

Granny doesn't hear him. The alligator is completely out ofthe water now. It's a big evil-looking sonofbitch. It crawlstoward Granny.

CHRIS (CONT'D)Granny, wake up! It's gonna eat youif you don't wake up!

The gator opens its mouth and HISSES, and that's what seemsto finally wake Granny up. She rears her head groggily.

GRANNY(slurred speech)

Where's my medicine, boy...?

CHRISRun, Granny, run!

Even in her medicated state, Granny knows what an alligatorlooks like. And there's an alligator right in front of herlawn chair.

7.

CHRIS (CONT'D)Junior, help! Momma! Daddy!

INT. BEACHAM MOTEL -- AFTERNOON

Jed Beacham sits bolt upright on the couch, hearing thescreams. He quickly gets up, trips over the coffee table,knocks over the haphazard arrangement of empty beer bottles. CRASH! His head connects with the hardwood floor and he'sout cold.

EXT. POND -- AFTERNOON

Granny throws her glass of iced tea at the gator. It bouncesoff the reptile's snout. Again the gator HISSES and movescloser.

CHRISRun!

GRANNYI'm too old to run! Oh, lord!

CHRISRun! You've got to run!

Granny uses every ounce of strength she has to haul herselfout of the lawn chair. She manages to stand up. Then sheloses her balance, and hope is lost as she collapses. Herhead lands within an inch of the alligator's snout.

ZOOM IN on the gator's mouth as it opens wide, then snapsshut. CRUNCH! Screen goes black.

CUT TO:

EXT. CHICAGO SUBURB -- NIGHT

Beyond the suburban homes and suburban yards, we can see thedistant twinkle of the windy city. The Sears Tower mingleswith the stars.

TED WHITE stands in his backyard, looking at the city. He'sa handsome man in his mid-thirties. His wife, KELLY, comesup behind him. He puts his arm around her.

KELLYWhat are you doing back here? Dinner's almost ready.

TEDI'm saying goodbye to Chicago. Thiscity has been good to us.

KELLYWe could always stay.

8.

TEDNo. We're doing the right thing. I'll never make the kind of money weneed here.

KELLY(tugs his shirt)

Then say goodbye to Chicago and let'sgo eat.

INT. THE WHITE HOME -- NIGHT

The White family eats dinner in a particularly barren-lookingdining room. Seated at the table we have Ted, Kelly, theirbeautiful teenage daughter STACY, and their 11-year-old sonMIKE.

TEDTake it in, you guys. This is thelast time we'll eat dinner here.

Mike glances at the blank walls, as if searching for somesignificance and not finding any. Stacy looks depressed.

STACYI don't want to move to Florida.

KELLYStacy, it's not the end of the world.

STACYFor me it is. All my friends arehere.

MIKEI'm glad we're moving.

STACYSure you are. You don't have anyfriends.

MIKEYes I do!

TEDAll right, calm down! It's going tobe different for all of us at first,but we'll adjust. Just think -- nomore pollution, no more car jackings,no more gangs.

STACYNo more life. I've lost my appetite.

Stacy drops her fork on her plate and leaves the room.

TEDLovely.

9.

MIKEDon't worry. She'll adjust.

Kelly laughs. Ted smiles.

TEDHopefully.

INT. BEDROOM -- NIGHT

Cardboard boxes full of stuff are stacked neatly against thewall, ready to be loaded into the moving van tomorrow. Thebedroom furniture has already been removed, with the exceptionof the mattress (the headboard and footboard are gone), whereTed and Kelly lay. Ted flips through a family photo album. Kelly's head is on his shoulder.

KELLYYou and Jack were so cute.

INSERT -- PHOTOGRAPH

Two little boys standing side by side on a small pier.

BACK TO SCENE

Ted turns the page.

TEDMy brother's still cute.

INSERT -- PHOTOGRAPH

A big, bloated man with a bushy mustache. Holding a beer. This is Ted's brother.

BACK TO SCENE

Kelly rolls her eyes. Ted grins.

TED (CONT'D)It's gonna be kind of awkward livingso close to Jack again after allthese years.

KELLYWhy?

TEDWe're so different now. I'm a doctor,he runs a bait shop. I've got afamily now, he doesn't.

(closes photo album)Oh, well.

KELLYIt won't be that bad.

(MORE)

10.

KELLY (CONT'D)Like you said, Jack doesn't have afamily. Once we move there, thatwill change.

(kisses him)Let's get some sleep.

TEDI'm gonna check on the kids one moretime.

Ted gets out of bed.

INT. HALLWAY -- NIGHT

Ted pads quietly down the hall. He peeks in Stacy's room. We catch a brief glimpse of her sound asleep, her beautifulfeatures illuminated in a shaft of moonlight falling throughthe window. Ted moves down the hall to his son's room.

INT. MIKE'S ROOM -- NIGHT

The door CREAKS open far enough for Ted to peek inside. Thelights are off, but Mike is awake.

TEDYou OK, champ?

MIKEDad...

Ted moves into the room and sits on the side of the bed. Alarge poster of the United States is tacked to the wall abovethe bed.

TEDWhat's wrong?

MIKEI had a bad dream.

TEDUh-oh. About what?

MIKEA monster was chasing me. I thinkit wanted to eat me.

TEDMonster, huh? What kind?

MIKEIt looked like an alligator. Willthere be lots of gators in theEverglades, Dad?

11.

TEDThe only gators you're likely to seewill be the ones at Gator Country. Just remember: if you stay away fromthem, they'll stay away from you.

MIKEI hope so.

TEDBelieve me, champ, you are Stacy aregoing to love Florida. In a fewweeks you'll never want to come backto the city.

(ruffles his hair)Anyway, it's not the alligators youshould worry about. It's themosquitoes!

Ted pokes Mike's belly with his finger. Mike giggles. Tedbrushes the hair away from Mike's forehead, then give him agood night pat on the arm.

TED (CONT'D)Get some sleep. Have any more baddreams, spray the monster with this.

Ted reaches under the bed and comes up with a can of SprayOffInsect Repellent. The boy clutches the can like a teddybear and closes his eyes.

As Ted leaves the room, CAMERA SLOWLY MOVES IN ON the map ofthe United States above Mike's bed. Closing in on the stateof Florida. Closing in on the green section at the bottomof the peninsula. Close enough now for us to read the wordsacross the green section: THE EVERGLADES

DISSOLVE TO:

EXT. THE EVERGLADES -- DAY

The White family minivan (a hybrid, by the way) SWOOSHESPAST this sign: SEMINOLE CITY 4. They are traveling along alonely two-lane state highway. Swampy marshland on bothsides of the road.

INT. MINIVAN -- DAY

Ted looks fairly upbeat as he cruises along. Kelly is dozing. In back, Mike stares intently out at the passing scenery. Stacy is writing in a composition notebook.

MIKEThat grass looks like it's growingout of the water.

12.

TEDThat's called sawgrass. You knowyou're getting close to the Evergladeswhen you start seeing a lot of it.

(glances in rearview)Doing all right back there, Stace?

STACY(doesn't look up)

Don't interrupt my stream ofconsciousness.

MIKEDad, what's that thing?

TEDHuh?

Mike points out the side window. Ted glances over. Aboutthirty yards away, a guy glides across the sawgrass in anair boat.

TED (CONT'D)That's called an air boat. You'llbe seeing a lot of--

STACYDad, look out!

Ted looks and sees an alligator in the middle of the road!

TEDJesus Christ!

Ted jerks the wheel hard left. Mike is thrown out of hisseat and crashes into his sister, smashing her face up againstthe glass.

EXT. ROAD -- DAY

The minivan loops wildly around the alligator, missing it byinches. TIRES SQUEAL as Ted hits the brakes. The minivanSKIDS off the road onto the dangerously soggy shoulder, whereit keeps skidding and spraying mud before it topples overonto its side. SPLAT!

INT. MINIVAN -- DAY

Instant chaos within the minivan. Kelly is on top of Ted,Mike is on top of Stacy.

STACYGet off me!

MIKEI'm trying to!

13.

Kelly clambers in back with the kids, helps Mike get up. The side of Stacy's face is bright red.

Meanwhile, Ted's seat-belt is stuck. He notices a deep crackin windshield, and the windshield is holding back a bunch ofwater outside. The van seems to have fallen into a roadsidedrainage ditch. Ted jerks harder at his seat-belt buckle.

TEDUh, I might have a little problemhere.

A dark, bumpy shape crawls crawls past the muddy windshield. The alligator they almost ran over.

TED (CONT'D)Kelly, I could use some help up here!

KELLY(tugs at his seat-belt)

It's stuck!

TEDI realize that!

The crack in the windshield suddenly BREAKS OPEN, and swampwater POURS INTO the van. Right in Ted's face.

KELLYOh, my God!

Kelly tries to bodily pull Ted out of his seat, but she can'tbudge him.

In back, Stacy manages to get the side door open. She startsto lift Mike up through the opening, when suddenly a handreaches down and grabs Mike's arm!

Mike looks up, startled, as he's hoisted out of the minivanby these helping hands. The ruggedly handsome face of LOUISMCKLUSKY stares down at Stacy.

LOUISGive me your hand, girl!

Kelly and Ted continue their frantic, unsuccessful attemptsto free Ted from his seat-belt.

With Mike and Stacy out of harm's way, Louis jumps down intothe van. He pulls a wicked hunting knife out of his belt.

LOUIS (CONT'D)(to Kelly)

Stand back!

Kelly moves out of the way. Louis cuts the seat-belt withthe knife. Hauls Ted's soaked head out of the water.

14.

EXT. ROAD -- DAY

Everyone is standing on the road. A big pickup truck isparked beside the tipped-over minivan. Printed on the sideof the pickup: MCKLUSKY EXTERMINATIONS. NO BUG (OR REPTILE)IS TOO BIG.

Louis is a big, barrel chested man in his early forties. He's wearing a gator-skin cowboy hat. He reaches into asmall cooler in the cab of his truck, plucks out an icy coldcan of beer. Hands it to Stacy.

LOUISHold that against your face. It'llkeep the swelling down.

After a moment of reticence, Stacy takes the can. Gingerlypresses it against her face.

Ted sits with his butt on the road, his hair and face stillwet and streaked with mud. He looks dazed and a bitridiculous.

Kelly is on her cell phone, pacing in circles as she talks.

Mike looks at the tipped-over family minivan.

TED(very bitter)

We should have run over the goddamalligator.

LOUISI'm glad you didn't. It was just ayoungster, barely six feet long. Icaught a glimpse of it swimming awaybefore I jumped in your van.

TEDLook, I want to thank you for whatyou did. I'm Ted White.

Louis leans down and shakes his hand.

LOUISLouis McKlusky. I'm willing to betyour Jack's brother. Gonna be thenew doctor at Gator Country, I hear.

TEDThat's the arrangement. Is Jack afriend of yours?

LOUISSure. I know Jack.

Meanwhile, Mike sneaks around to the rear of Louis's pickup. A brown tarp is covering something back there.

15.

Unwisely, Mike lifts up the tarp to see what it is...

MIKE(shocked, eyes wide)

Alligator!

There's an alligator under the tarp! Mike stumbles awayfrom the pickup, trips, falls on his ass.

Ted jumps to his feet, grabs Mike under his armpits and pullshim several feet away from the truck. Louis rushes forward.

LOUIS(amused)

Easy, hoss. This ol' boy is dead.

MIKEDead--?

Louis pulls the tarp back down over the dead gator. He liftshis knee and puts his boot on the rear bumper.

LOUISThat gator is as dead as this gator.

Louis thumps the toe of his alligator skin boot.

Grinning sourly, Ted helps Mike get up. The boy brushes offhis jeans. Stacy is appalled.

STACYYou killed that poor thing just tomake a pair of boots?

Stacy takes the beer away from her face. Tosses itdisgustedly back to Louis.

LOUISMissy, the Fish and Game Commissionhired me to destroy this gator. Imight as well tell you this beforesome yahoo tries to scare you, butthis bad boy killed an old lady lastweek.

This resonates with everyone, even Kelly who's still walkingaround and yapping on her cell phone (she stops yapping andher jaw drops silently open).

Louis lifts his hands like a pastor attempting to quiet adisturbed congregation.

LOUIS (CONT'D)This was the guilty gator. No othergators are under suspicion, so relax. This sort of thing rarely happens.

16.

KELLYHow comforting.

We hear an approaching vehicle.

LOUISHere comes the wrecker.

EXT. SEMINOLE CITY -- DAY

Louis's pickup rolls into town, followed by a wrecker towingthe minivan. Seminole City is a small backwoods town, withonly one traffic light -- a blinking yellow caution signalat the intersection of Main and Second.

Stacy and Mike ride in the back of Louis's pickup. Mike issmiling; this is fun for him. Stacy looks disgusted andintimidated by the tarp-covered dead gator riding back herewith them.

Ted and Kelly ride in the front with Louis.

INT. LOUIS'S TRUCK -- DAY

Louis gestures to various sides of the road as he talks.

LOUISYou are now riding through the heartof Seminole City, folks. Thatblinking yellow signal is the onlytraffic light we've got at the moment. Once Gator Country opens, everything'sgoing to change.

TEDYou think so?

LOUISMark my words. By this time nextyear, that blinking yellow light isgoing to be replaced with a fullyloaded traffic light. Red, yellow,and green.

(gestures out window)There's the Piggly Wiggly. Don't besurprised if she's closed next year. I expect Wal-Mart to build one oftheir Supercenters here when theyfind out how many people are comingto Gator Country. That'll be allshe wrote for Piggly Wiggly.

(points out the sidewindow, past Ted'shead)

There's the post office. And uphere on the left you'll notice Jimmy'sGarage & Gas. That's where they'llbe working on your van.

17.

EXT. SEMINOLE CITY -- DAY

Right on cue, the wrecker towing the White's minivan veersinto the parking lot of the gas station. Louis's pickupcontinues on down the street.

INT. LOUIS'S TRUCK -- DAY

Louis continues to smile and gesture to various points ofinterest.

LOUISThere's a couple of fast foodestablishments up here on the right,and one more gas station.

(his smile falters)Up there on the left is the Sheriff'sOffice.

TEDJesus...

EXT. SHERIFF'S DEPARTMENT BUILDING -- DAY

They cruise past this imposing structure. It looks and feelsvery much out of place compared to the rest of the town. The Sheriff's Department building looks like it cost a fortuneto construct -- there's a dark, futuristic quality inherentin its design. Lots of big granite slabs, chrome, and darkreflecting glass. Brand new squad cars parked outside,gleaming in the sun.

There's an electronic message board standing on the brightgreen lawn in front of the building. A message that hasnothing to do with law or order scrolls across it: GATORCOUNTRY OPENS IN 31 MORE DAYS, FOLKS! GET READY!

EXT. JACK'S BAIT SHOP -- DAY

JACK BRADY, a large overweight man with a bushy mustache,steps out of the dingy little building. The sign above thedoor used to read JACK'S BAIT SHOP but the paint has beenlargely obliterated by age and weather.

The jolly gregarious fellow Jack used to be has been largelyobliterated by age and weather, but as with the sign abovehis bait shop, traces remain. He smiles broadly as the pickuptruck approaches.

Louis pulls up and parks in front of the shop. The Whitesdisembark. Mike leaps out.

MIKEThat was fun!

JACKWho are you people?

18.

TEDHi, Jack.

Jack and Ted hug in a brotherly fashion.

JACKI'm glad y'all made it here in onepiece!

LOUISTheir van didn't!

JACKKelly!

Kelly hugs Jack in a perfunctory, dutiful way.

KELLYNice to see you again, Jack.

(gestures to the kids)You remember these squirts?

Mike and Stacy grin awkwardly as Jack gazes appraisingly atthem.

JACKThey've grown! You'll be shavingsoon, Mike! You discover girls yet?

MIKEUh, no. Not yet.

JACK(to Stacy)

How 'bout you? You discover boysyet?

Stacy rolls her eyes and starts toward the old Coke machineon the side of the building. She pulls some change out ofher pocket.

TED(to Louis)

Can the guy at the garage loan us avehicle?

LOUISLet me tell you something about ol'Jimmy Wilcox. He's a certified geniuswhen it comes to working onautomobiles, but he--

JACK(quickly interrupting)

You forgetting who this man is, Louis? He's gonna be the doctor of GatorCountry!

(MORE)

19.

JACK (CONT'D)John will have 'em hooked up withthe finest transportation his moneycan buy!

Stacy puts money in the Coke machine. It won't give her thedrink. She shoves the selector button to no avail, thentries the change return lever. Nothing works.

JACK (CONT'D)(calls to her)

You have to kick it! Pretend it'syour boyfriend!

She rolls her eyes. Instead of kicking it, she PUNCHES it. Her drink is dispensed. As she pops it open, she looks upand sees--

A battered old pickup truck cruising past on the road. Twoguys are in it, in their late teens or early twenties. Theguy riding in the passenger seat looks like a real bad boy,attractive and dangerous. He stares into Stacy's eyes asthe truck cruises past.

Meanwhile Mike's curiosity has drawn him back to the rear ofLouis's pickup truck. Louis holds up the tarp and allowsMike to briefly touch the dead alligator's snout.

LOUISNever try to approach a live one.

MIKEI won't. How do they...eat people?

LOUISOne chunk at a time.

Jack banters with Ted and Kelly.

JACKReady to see your new house?

TEDI am.

KELLYHow far is it?

JACKHell, just about every place is inwalking distance in this town. Hopinto my van.

INT. JACK'S VAN -- DAY

Jack drives the White family toward their home.

20.

EXT. COUNTRY ROAD -- DAY

The van veers to the middle of the road to avoid two peoplewe recognize -- Chris and Junior Beacham. Chris rolls himselfalong in his chair, his sweaty hair plastered to his forehead. Junior tugs a Radio Flyer wagon full of beer and soda cans. He's wearing a neck brace. His shirtless chest is streakedwith grime.

INT. JACK'S VAN -- DAY

Jack acknowledges the two boys with a nod.

JACKThose are the Beacham boys. The onein the wheelchair is Chris, and theone pulling the wagon is Junior. Their family owns a little motel onthe outskirts of town.

(beat)It was their Granny that got killedby the gator.

KELLYThose poor boys. They look sopitiful.

JACKYeah, they're really counting onGator Country to revitalize theirbusiness. Their dad makes 'em goout looking for cans every day tocash in at the recycling plant. They need every penny.

STACYThat's sad.

TEDKind of makes you think about howmuch we have to be thankful for,doesn't it?

STACY(doesn't appreciateher dad's spin)

Right.

EXT. TED'S HOUSE -- DAY

Jack's old van rolls into the driveway of the White's newresidence. It's a beautiful, brand new house with a hugegreen lawn. The kind of house you'd expect a doctor to livein.

The White family climbs out of the van.

21.

MIKE(in awe)

Wow.

STACYThis is beautiful.

Kelly, almost overcome with joy and relief, hugs Tedenthusiastically.

KELLYOh, Ted! This is a dream come true!

TED(laughing)

I told you guys!

Jack leans against his van. He manages to look grudginglyhappy for them and jealous at the same time. He lights acigarette and averts his eyes from their joyful glee.

Mike tries to open the front door.

MIKEIt's locked, Dad.

Ted tosses the key to his son. Mike unlocks the front doorand goes in. We hear his FOOTFALLS on the hardwood floor.

MIKE (O.S.) (CONT'D)Come on in! This place is amazing!

Stacy sees something interesting -- a rose trellis reachingup to a second floor bedroom window. She points definitivelyto that window.

STACYThat's where I want my room.

Stacy heads inside.

KELLYOf course she does. It's got a ladderfor her boyfriends.

JACKY'all gonna be the first ones tomove into this neighborhood.

We notice that this subdivision has only been recentlyconstructed. The other houses are still empty.

JACK (CONT'D)Enjoy the quiet while it lasts. Bythis time next year, John expects tohave every one of these places sold.

22.

We hear a RUMBLING sound. Everyone turns to see the bigtractor trailer from the moving company roll to a stop atthe curb.

TEDPerfect timing.

KELLYOh, good! They're here with ourstuff!

JACKI've got to go.

TEDYou sure you don't want to come insidefor a while?

JACKNah. I'll drop by once y'all getsettled in.

TEDAll right.

Jack opens his mouth to say more, but nothing comes out. Hejust smiles, nods once, and climbs in his van. Ted watcheshis brother's van back out of the driveway. He's about towalk across the lawn to speak with the movers, when--

STACY (V.O.)DAD!

Alarmed, Ted races toward the house.

INT. TED'S HOUSE -- DAY

Ted comes bursting through the front door into the spacious,barren foyer area. He's looks around frantically, unfamiliarwith the home's layout. And from upstairs--

STACY (V.O.)Up here! Hurry!

Ted runs up the stairs.

INT. UPSTAIRS ROOM -- DAY

Stacy and Mike are standing in the middle of the empty room,looking at something disturbing. Ted hurries in.

TEDWhat's wrong?

Ted sees what his kids see. Someone has vandalized thisroom in a very unsettling way. A macabre mural completelycovers one wall, a kind of swampy version of Dante'sInferno...

23.

Sawgrass set ablaze. Bloody dismembered alligators. Men inyellow hard-hats holding pitchforks, devil tails growing outof their asses, pockets overflowing with wads of green cash. Bulldozers and steamrollers devastating the swamp. Flattenedcarcasses of dead animals in the path of destruction. Andto top it all off, a cheery happy-go-lucky billboardproclaiming: FUTURE SITE OF GATOR COUNTRY! FAMILY FUN!

Ted is shocked. Mike is horrified. Stacy lifts a shakinghand slowly to her mouth, backing away from the wall. Shestumbles out of the room, falls to her knees, throws up.

TED (CONT'D)(hurries to her side)

Stacy!

Ted kneels down beside her, wipes the residue from her lipwith his hand, then wipes the hand on his pants. Tears streamdown Stacy's face.

STACYI don't want that room anymore.

We can hear Kelly coming up the stairs.

KELLY (O.S.)You guys OK? What's going on?

Ted hugs his daughter tightly as the tears rage against hisshirt.

TEDShhh, it's going to be OK.

(to Kelly)Up here, honey.

Meanwhile, Mike continues to stare at the hellish image onthe wall. He glances toward the door as Kelly comes in. She lets out a startled YELP. Mike watches her reaction,then notices something on the wall behind the door. Somemore graffiti is smeared back there.

He pushes the door away from the wall. Written in brightred paint: SWAMP KILLERS! Wiggly little streams of painthave hardened under the letters like dried blood.

EXT. TED'S HOUSE -- NIGHT

As the moving truck drives away, we see that one of thosebrand new cruisers from the Sheriff's Department is parkedoutside.

INT. TED'S HOUSE -- NIGHT

Lots of unpacked cardboard boxes are stacked here and there,but most of the furniture is in place.

24.

Ted and Kelly are on the big couch, having a drink with theirtwo guests: SHERIFF JOHN PERKINS -- a large imposing manwith thick silver hair, about 55, seated in a chair near thecouch. And DEPUTY ANDY HUDSON -- about 35, the sheriff'sright hand man, standing near his boss and chewing gum.

SHERIFF PERKINSI can't tell you both how thrilled Iam to have you here, and how appalledI am that this travesty occurred inyour new home. You have my personalguarantee that this won't happenagain.

Ted looks skeptical.

TEDHow can you be so sure?

SHERIFF PERKINSThat artwork upstairs -- if you cancall that vandalism art -- has allthe characteristics of being thework of the same paint happy bastardI busted two weeks ago.

KELLYWhere is he now? Who is he?

SHERIFF PERKINSHe's sitting in an Oregon jail as wespeak. He was wanted in that statefor nearly killing a man who workedfor a lumber company.

TEDChrist.

SHERIFF PERKINSWe've got a term we use for nutslike him. Right, Andy?

DEPUTY HUDSONEnvironmental wacko.

SHERIFF PERKINSHe was part of a group called theGlade Crusaders. I've been dealingwith them for months. Don't payattention to their ranting and ravingshould you come across any of them,but you shouldn't come across any ofthem because I ran every last one of'em out of my town.

(smiles, winks)Our town.

25.

TEDWell, John, I appreciate your help. The house is gorgeous. I alsoappreciate this opportunity you'vegiven us.

Perkins makes a "no thanks is necessary" gesture.

SHERIFF PERKINSYou and your family are gonna betreated like royalty here. Tomorrowmorning I'm gonna have one of theWilcox boys bring y'all sometransportation.

Sheriff Perkins finishes his glass of Hawaiian Punch, setsit on a coaster. He gets up.

SHERIFF PERKINS (CONT'D)Don't forget you get the grand tourtomorrow. Try to get a good night'ssleep, you hear?

TEDLoud and clear, sheriff.

They shake hands. Andy tips his hat to Kelly, then followshis boss out of the room.

INT. TED'S HOUSE -- BEDROOM -- NIGHT

As Kelly lay sleeping, Ted slips quietly out of bed.

INT. TED'S HOUSE -- HALL -- NIGHT

Ted pads soundlessly down the dark hallway. He peeks in hisdaughter's room, then his son's room. Both asleep.

EXT. TED'S HOUSE -- BACKYARD -- NIGHT

Ted emerges from the house into the backyard. It's abeautiful, starry night. He closes his eyes and listens tothe PULSING CHIRP of millions of insects. He smiles.

Something moves suddenly in the woods beyond the yard. Wehear LEAVES RUSTLE. Ted opens his eyes and quits smiling.

He takes a step forward, squinting as he peers into theshadowy foliage where the backyard ends and the woods begin. We hear LEAVES RUSTLE again. Ted freezes.

Now we see a bush tremble and shake as something moves behindit. Ted's eyes widen...and then a turtle crawls into thebackyard. Ted lets out a sigh of relief. Grins at theturtle.

TEDHowdy, neighbor.

26.

EXT. SHADOWY ROAD -- NIGHT

The shadowy narrow road is completely deserted until Jack'svan pulls INTO FRAME. He kills the headlights and the engine.

Jack has a passenger: Junior Beacham. The two of them climbout of the van. Junior wears his neck brace, shirtless asusual. Jack holds a huge can of beer (probably Foster's),and he's obviously intoxicated.

JUNIOR(scowling)

Momma's gonna worry.

JACK(burps)

Tell her you went frog huntin' withme. Once you show her the money I'mgonna give you, she won't care whereyou went.

JUNIORWhen you gonna pay me?

JACKWhen the job's done, boy.

Far in the distance, where the black horizon of sawgrassmeets the starry sky, we can see the festive twinkle ofblinking greenish lights. It's a surreal sight...like acarnival in the middle of the swamp.

JUNIOR(points)

Look yonder.

JACKWell, well. Bastards finally gotthe electricity turned on.

The twin sparks of approaching headlights can be seen abouthalf a mile up the road. Junior raises his arm to shieldhis eyes as the glare intensifies. Jack just squints andswigs his beer.

JUNIORBright lights!

JACKRemember, Junior. Anybody asks youanything, you say you went froghunting. Got it?

JUNIORGot it.

The headlights wash over them. An unseen vehicle stops inthe middle of the road, engine idling.

27.

JACKGet the dolly out of the van. It'stime to get to work.

EXT. MCKLUSKY EXTERMINATIONS -- NIGHT

A sturdy little building near the outskirts of town, verydark and quiet at this late hour. Louis's pickup truck veersoff the road, drives around to the back of the building.

Louis's assistant, BILL (middle-aged, likeable), steps outthe back door of the shop. He's wiping his hands on a ragas the truck rolls to a stop. Louis climbs out, spins hiskeys around his index finger.

BILLTommy Appling called again. He'spissed off.

LOUISRight. What else is new?

BILLSays you didn't get rid of all thetermites last week.

LOUISAny other complaints?

BILLWell, Fred Huffman's wife called tosay the ants are back in her kitchen.

LOUISShe needs to learn to sweep the floor. Buy her one of those new fangledSwiffer mops from Piggly Wiggly. Charge the usual fee.

Louis unhooks the "airgate" from the rear of the pickup,then pulls the tarp away. Bill wanders over, taking thepaper off a stick of gum.

BILL(eyebrows rise)

Dang.

Bill puts the gum in his mouth. Four dead alligators areheaped in the bed of the truck.

LOUISGuess who killed these.

BILLWell, I reckon you.

28.

LOUISNope. And these aren't the onlyones. I'm beginning to think I'mgonna find a whole lot more.

BILLWhat's killing them?

LOUISI wish I knew.

Louis takes off his gator-skin hat, wipes sweat from hisbrow. SLAPS at a mosquito on his neck.

BILLThink the wackos are back?

LOUISOne of them is. He's staying at theBeacham Motel.

(puts hat back on)But the last thing they'd wanna dois kill any gators. It doesn't makeany sense at all.

We hear a HISS. Louis and Bill glance over at the chain-link enclosure on the other side of the yard. There's a biggator in here named Harry. He's a pet.

BILLHarry! You hungry, boy?

LOUISYou haven't fed him?

BILLI did. He's been acting funny allday.

Suddenly, something ROARS MONSTROUSLY in the night. It soundsa long way off, but it's enough to give Louis and Bill astart.

BILL (CONT'D)What was that?

Harry HISSES again. Louis's eyes widen for moment. Then hegrins.

LOUISIt's mating season.

EXT. TED'S HOUSE -- MORNING

A brand new Sports Utility Vehicle rolls into the Whitefamily's driveway, followed by the old pickup truck we sawcruise past Jack's Bait Shop yesterday.

29.

The driver parks the SUV and gets out -- and it is DONNIE,the attractive bad-boy we first spotted yesterday. Hishulking buddy, BILLY JOE, is behind the wheel of the truck.

INT. STACY'S ROOM -- MORNING

Stacy puts on her earrings as she looks out the window.

STACY'S POV -- THRU WINDOW

Donnie stands by the SUV as Ted walks across the yard tomeet him. Donnie hands Ted the keys. They shake hands.

BACK TO SCENE

Stacy smiles. She likes what she sees.

EXT. TED'S HOUSE -- MORNING

Billy Joe walks over to stand at Donnie's side as Ted admiresthe vehicle.

DONNIEIt's got a full tank of gas, Dr.White.

TEDThank you. You're Jimmy's son?

DONNIEThat's right -- my Daddy owns Jimmy'sGarage & Gas. He wanted me to letyou know the water damage wasn't asbad as he thought. You should haveyour minivan back next week.

TEDWonderful. Tell him there's no hurry. I'll be more than happy to drivearound in this baby.

DONNIEShe's a beauty, that's for sure. Mycousin Billy Joe here has an airboat, if you or your kids ever wanta free ride.

Billy Joe nods.

TEDI might take you up on that offer. They'd really enjoy that.

DONNIESounds good. We better get going.

TEDAll right.

30.

Donnie and Billy Joe climb in the truck and drive away. Wesee Stacy peering down from her bedroom window.

EXT. COUNTRY ROAD -- MORNING

Junior pushes Chris along the side of the road. Junior'sneck brace is on. It seems to get a little dirtier eachday. He's actually wearing a shirt today. It's too tight.

Billy Joe's pickup comes barreling up the road. The HORNblares, scaring the shit out of Junior (he practically jumpsout of his shoes). Donnie throws a can of soda out thewindow.

DONNIEHave a drink, Big Wheel!

The can hits Chris in the chest, spilling soda all over him. Donnie LAUGHS maniacally.

CHRISYou son-of-a-bitch!

The truck speeds away, leaving the outraged Beacham brothersbehind.

INT. SPORT UTILITY VEHICLE -- DAY

Ted cruises along, smiling like a kid with a brand new toy. Kelly records the rolling green scenery with a nice digitalvideo camera. Mike is in an excited mood. Stacy seemsperturbed.

STACYHow can you not have a guiltyconscious driving this gas guzzler,Dad?

TEDStacy, how come you're the only onewho isn't in a good mood? We'realmost there, you know.

STACYBig deal. What's so special about apark full of alligators? And whatdo I have to be in a good mood about? Where am I supposed to buy clothesin this pissant town?

KELLYSettle down, Miss Priss.

STACYDon't call me that.

Kelly smiles, points the video camera at Stacy.

31.

STACY (CONT'D)Do you want me to commit matricide?

Kelly laughs, lowers the camera. Mike isn't amused.

MIKEDon't ever joke like that.

STACYExcuse me?

MIKE(serious)

You heard me. Don't make jokes aboutkilling our mother.

Stacy starts to respond, then lets it go with a dismissiveeye roll.

Ted reaches in the glove compartment. Takes out a couple ofGator Country brochures. Hands them to the kids.

TEDTake at look at these, you two. We're almost there.

Mike opens the brochure. It unfolds into a big illustratedmap of the park. "GATOR COUNTRY" printed in bold greenletters across the bottom.

MIKEWow...this is awesome...

(jaw drops)They've got a roller coaster? Youdidn't tell me they have a rollercoaster!

TEDMike, they've got a roller coaster.

EXT. ACCESS ROAD -- DAY

The SUV veers off the highway onto the access road leadinginto the park. A hand-painted billboard (designed to resemblean old-fashioned tourist-trap advertisement) has a pictureof the talking cartoon gator from the Gator Country TVcommercials, pointing the way ahead.

The trees close in on both sides of the road, creating aglimmering green tunnel. Sunlight flickers stroboscopicallythrough gaps in the trees as the SUV glides along.

INT. SPORT UTILITY VEHICLE -- DAY

Mike removes his safety belt and leans forward to gaze throughthe windshield. His knee bumps Stacy's knee.

32.

STACYSpaz! Will you please relax?

MIKELook! Do you see? Do you see?

Mike points enthusiastically, his skinny arm jutting forwardbetween his parents.

TEDAre you getting this, hon?

KELLY(recording it)

I sure am!

MIKE'S POV -- THRU WINDSHIELD

Something can be seen through gaps in the rolling screen oftrees. Something man-made. Something big.

EXT. GATOR COUNTRY ENTRANCE -- DAY

The SUV emerges from the tunnel of trees. Our firstimpression is totally dominated by a ridiculously huge,shamelessly gaudy WELCOME TO GATOR COUNTRY sign that lookslike something you'd see outside a Las Vegas casino.

The access road leads into the main parking lot. The lotitself is enormous and mostly empty.

INT. SPORT UTILITY VEHICLE -- DAY

Ted parks the SUV, turns the key off. He claps and rubs hishands together.

TEDWe made it! Welcome to Gator Country!

STACY(staring out window)

Oh, my God. I can't believe how bigthat sign is. That's the biggestsign I've ever seen.

EXT. GATOR COUNTRY ENTRANCE -- DAY

The Whites get out of the SUV, all of them a little awe-struck. A golf cart with the Gator Country logo on the siderolls across the lot to meet them.

Sheriff Perkins is riding in it. An employee with darksunglasses and a Gator Country T-shirt is driving.

SHERIFF PERKINSWelcome, my friends! Glad to haveyou all here! What are we waitingfor? Let's do it! Hop on!

33.

Everyone climbs on the cart. It can only carry up to fivepeople, so the driver gets off and Sheriff Perkins slidesbehind the wheel.

EXT. GATOR COUNTRY -- DAY

Try to imagine Disney World's Magic Kingdom, a lavishlydesigned Goofy Golf course, a state-of-the-art zoo, plusthrow in some grungy elements you might find at any travelingfair -- visualize the integration of those components, andyou'll have a pretty good idea of the scope & style of GatorCountry.

Sheriff Perkins proudly guides the White family through hisamusement park. They are strolling along a winding brickpathway.

A white foreman wearing a spotless beige shirt oversees acrew of Cuban immigrants as they do landscaping work. TheCubans are sweating profusely in the blistering heat, butthey do their work stoically -- laying sod, planting bushes,digging holes.

KELLYThis place is magical, John.

SHERIFF PERKINSThank you, ma'am. Y'all see thatcypress tree over yonder?

Sheriff Perkins points to a large cypress tree about fiftyfeet away. It's easily the biggest, oldest tree standing inthe park.

SHERIFF PERKINS (CONT'D)That tree is the reason Gator Countryis here today.

TEDHow so?

SHERIFF PERKINSI had a pet gator when I was a boy. I was born and raised in a littleshack about two miles from here. MyDaddy hunted alligators -- there wasa big demand for gator skin bootsand briefcases and wallets. Anyway,Daddy used to drink a lot. When hegot to drinking, he'd beat me andsometimes he'd beat my Momma. Idecided to run away from home afterone of those beatings. I packed abag, told Momma goodbye, and tookoff. Had some notion I'd hitchhiketo Georgia or something. ConsideringI was only eleven at the time, itwasn't a bright idea.

34.

They walking toward the tree. Four separate winding brickpathways lead to the tree, as if the tree was the hub andthe pathways were the spokes of a wheel.

SHERIFF PERKINS (CONT'D)By the time I got to this tree, Iwas tuckered out. Already wanted togo back home. I was still sore atDaddy but I knew deep down he lovedMomma and me. I sat down under thistree and opened the bag I packed. Some bacon and cornbread was in it,and I started to eat. Then I noticedthe gator.

They are standing under the cypress tree now. A short wroughtiron fence protectively hugs the lower portion of the trunk. Four stone benches are positioned around it for people tosit and rest in the shade. There's a little commemorativeplaque here.

INSERT -- PLAQUE

It reads, "The Charlie Tree"

BACK TO SCENE

Sheriff Perkins glances at the plaque, then up at the treeitself. His eyes glaze over with memories.

SHERIFF PERKINS (CONT'D)It was just sitting there, rightover there...

(points to a spotnear a stone bench)

Not even fifteen feet away from whereI was eatin' my bacon and cornbread. I knew I might be in trouble. Icould have took off running, butgators can run faster than people.

MIKE(shocked)

They can?

SHERIFF PERKINSYes, sir. They can. I could havetried to climb the tree, I but I gotto shakin' so bad I don't think Iwould have been able to do it. ThenI decided to throw my cornbread atit. He gobbled it right up. I knewI could get away then, and I stoppedshakin' so bad. I threw it the restof my bacon and cornbread, and that'swhen I took off. When I got backhome, Daddy gave me a big hug andapologized for hittin' me.

35.

Ted smiles, listening intently to the sheriff's story. Heputs his arm around Kelly.

SHERIFF PERKINS (CONT'D)I came back to this tree the nextday. Brought more food. The gatorshowed up again, and I fed him again. Daddy had always strictly forbiddenany notions of feeding alligators orkeeping them for pets, and I neverhad no desire to do otherwise.

(touches the treetrunk, remembering)

But there was something differentabout this gator. It made me feelgood to feed it and be near it. Inamed him Charlie.

(he's actually gettingchoked up)

I kept him a secret from Daddy for along time, but I knew there was agood chance Daddy might eventuallycome across him by accident and killhim. I told him. I told him thetruth.

MIKEDid he get mad?

SHERIFF PERKINS(shakes head)

No. He was real understanding aboutit, which surprised me. Told me notto waste too much food on it, but hewasn't upset. I told him what Charlielooked like. There was a big scaron his back where a poacher had triedto hook him, and he was smaller thanmost gators his age. Daddy promisednever to kill him.

(sits down with asigh on a bench)

I came to this tree almost every dayfor almost a whole year, to feedCharlie and spend time with him. Then one day I realized I hadn'tvisited Charlie in almost a month. I stuffed a whole bunch of accumulatedleftovers in a bag and came here.

Perkins has to stop for a moment, his chin quivering. Stacyrolls her eyes (discreetly). Ted glances respectfully downat his shoes. The sheriff reels in his emotions and managesto smile.

SHERIFF PERKINS (CONT'D)Somebody killed him. He was lyinghere under our tree. Dead.

36.

Mike raises his eyebrows, asking the question without actuallysaying anything.

SHERIFF PERKINS (CONT'D)Not my Daddy. Daddy never woundedany gator he didn't kill. Probablysome poacher who didn't know whatthe hell he was doing -- I neverfound out for sure who it was. Itdidn't matter, though. My best friendwas dead.

The story resonates with Kelly, who wipes away a tear as shelistens.

SHERIFF PERKINS (CONT'D)I went home and got a shovel andburied Charlie under this tree. That's when I decided one day I wasgonna build the biggest alligatorzoo in the world. I didn't know howI'd do it, or how long it'd take,but that was the day my dream wasborn. And now that dream is areality.

The sheriff stands up, as if a huge burden has been liftedfrom his soul.

TEDJohn, that was beautiful. Thank youfor sharing that with my family. Idon't think any of us will ever forgetit.

SHERIFF PERKINSCome on, there's plenty more to see.

EXT. GATOR COUNTRY GIFT SHOP -- DAY

The Gift Shop is a building constructed near the east end ofthe park. Its architecture is designed to look like a 1920'sera drug store or barbershop.

INT. GATOR COUNTRY GIFT SHOP -- DAY

They browse around the Gift Shop. They've got the usualstuff like T-shirts, key-chains, little alligator charms toput on necklaces, cheap rubber alligator toys, even GatorCountry stationary.

A Hispanic woman named GRACIELLA is arranging a "Gator Wax"display on the checkout counter. Sheriff Perkins moseysover to the counter with Ted. He picks up a Gator Countryyo-yo and begins flicking it.

37.

SHERIFF PERKINSYou ready for opening day, MissGraciella?

GRACIELLA(absorbed in her work)

I'm always ready.

SHERIFF PERKINS(laughs)

This is Dr. White. Once we open,he's the man to call when anybodystubs their toe in here. Comprendo,seniorita?

GRACIELLASe Como No?

Perkins grins. Guides Ted toward the center of the room. Ted motions for his family to fall in behind him.

SHERIFF PERKINSGator Country isn't just aboutalligators, folks. We also haveother kinds of animals, like thesebirds.

There's an atrium in the middle of the Gift Shop, full ofexotic plants and colorful birds. An employee is inside theatrium with the birds, spraying the plants with water tokeep them looking shiny and moist. Noticing the people onthe other side of the glass barrier, the employee gentlynudges one of the birds toward his forearm. He walks up tothe glass with the bird on his arm, to the delight of theWhite family. Mike taps his finger on the glass. Kellyfilms it. Stacy rolls her eyes.

EXT. GATOR COUNTRY -- DAY

Our group continues on along a winding brick pathway, past ahedge bush trimmed in the shape of Gator Country's mascot(the cartoon gator from the commercials). The sheriff pointstoward the biggest structure in all of Gator Country: theroller coaster.

SHERIFF PERKINSThat, ladies and gentlemen, is theGreen Screamer.

MIKECan we ride it?

SHERIFF PERKINSNot today, I'm afraid. She's notquite operational yet.

(MORE)

38.

SHERIFF PERKINS (CONT'D)(sees Mike is letdown)

Don't worry, son. You and your familywill be among the first to experiencethe Green Screamer.

As they continue on, the sound of construction grows louder:the SNORING DIN of a bulldozer, workers HAMMERING nails, thehigh-pitched WHINE of electric saws. They are walking pastan area of the park that isn't finished yet. The contractorswear dark green hard-hats with "G.C." printed on the sides.

SHERIFF PERKINS (CONT'D)(talking over thenoise)

This will all be finished in anotherweek.

We see Deputy Andy Hudson approaching, holding the arm of aman whose hands are cuffed behind his back. The prisoner'sname is PALMER. He's an environmental activist in his late30s.

DEPUTY HUDSONHe was sneaking around in a workman'suniform. He was taking pictureswith his cell phone.

Hudson hands the phone over to the sheriff.

PALMERI've got a right to take thosepictures!

SHERIFF PERKINSYou don't have the right to take adump. Not in my park.

PALMER(to the White family)

I hope you people know that this manis a certified lunatic. This parkis nothing but the biggest blow tonatural life in the Everglades sinceHurricane Andrew.

SHERIFF PERKINSThe hell you say. I'm saving theswamp, you wacko.

PALMERThat's a laugh! All you care aboutis money!

SHERIFF PERKINS(to Andy)

Get him out of here!

39.

PALMERCare about the swamp? You're killingthe swamp!

Something about that remark resonates with Ted. Deputy Hudsonforcibly escorts Palmer away.

SHERIFF PERKINSThat nut's name is David Palmer. He's with that group I told you about.

TEDThe Glade Crusaders?

SHERIFF PERKINS(nods)

They try to send spies here. Besuspicious of anyone asking too manyquestions. He was probably buddieswith the creep who vandalized yourhouse. Come on.

EXT. CONFECTION STAND -- DAY

Sheriff Perkins leads the Whites to a carnival-styleconfection stand. He signals to the attendant.

SHERIFF PERKINS(to Stacy)

You ever tried alligator meat?

STACYUh, no, and I don't plan to start.

Perkins chuckles as the attendant hands him a small cardboarddish of fried alligator meat. Ted is willing to try some. He pick up one of these "gator nuggets" and takes a bite. Raises his eyebrows.

TEDThis is pretty tasty. Here, Mike. Here, hon. Stace?

STACYI'll pass, Dad.

TEDOkay, okay.

Mike and Kelly both try some.

MIKEMmmmm! Like chicken!

Perkins passes a container of dipping sauce to Mike.

SHERIFF PERKINSWe call this swamp sauce. It's spicy!

40.

KELLYJohn, I just realized something...

SHERIFF PERKINSYes, ma'am?

KELLYWell...

(laughs)We haven't seen any alligators yet!

SHERIFF PERKINS(grins)

Right this way.

EXT. BACK YARD -- DAY

A housekeeper named JOYCE hangs sheets to dry on a line. Apparently baby-sitting and cooking duties come with thehousekeeping job -- Joyce glances frequently over her shoulderat a five-year-old girl named TAMMY. The little girl ispicking blackberries, which grow in abundance along the fringeof woods at the edge of the back yard. Tammy carries a wholebasket full of berries.

JOYCEDoing all right over there, Tammy?

TAMMYYes, Miss Joyce!

ALLIGATOR'S POV -- THRU THE BUSHES

The gator crawls along the ground behind the screen offoliage, watching the little girl.

BACK TO SCENE

Tammy carries her basket of berries over to Joyce, who busilyattaches clothespins to the sheets on the line.

TAMMY (CONT'D)Look how many I got! It's too heavyto carry anymore!

JOYCEYour mother's going to be so proud! That's more than enough for us tomake the pie.

TAMMYI wanna get more!

JOYCEAll right. Set that basket down andgrab a new one.

41.

TAMMYYes, ma'am!

Tammy grabs a new basket and skips happily back to theblackberry bushes.

A phone starts RINGING. We can hear the sound drift throughthe open kitchen window.

JOYCEThat better be the bug man!

(to Tammy)Come on in! The phone's ringing!

Joyce hurries into the house. Tammy ignores her, HUMMING toherself as she plucks the berries from the bushes. She eatsabout every third berry she picks.

ALLIGATOR'S POV -- BEHIND BUSH

The gator sees the little girl on the other side of the bush. It edges closer to her reaching hand.

BACK TO SCENE

Tammy's eyes widen. She sees a big, fat blackberry. It'sway back there, deep within the tangled interior of the bush. Blackberry bushes have thorns, so you have to be very carefulwhen you reach into one.

TAMMYWow. That's a super duper big one!

CLOSE ON Tammy's small hand as she reaches into the blackberrybush. The fingertips come closer to the big berry...and,unwittingly, closer to the alligator's snout. Closer. Closer. Almost there. Almost....

ALLIGATOR'S POV

The little girl's hand hovers directly in front of it, soclose you'd think she was reaching for the gator instead ofthe berry.

BACK TO SCENE

Miss Joyce's hand comes suddenly INTO FRAME and touchesTammy's shoulder. Tammy SHRIEKS and jerks her hand out ofthe bush, causing Joyce to SHRIEK as well.

TAMMY (CONT'D)Ow!

JOYCEWhat in heaven's name--?

42.

TAMMYYou scared me and made me scratchmyself on the stickers!

(flips a switch, asyoungsters sometimesdo)

Look what I got!

Smiling, Tammy holds up the prize berry.

JOYCEThat's as big as an eyeball. Nowcome on inside. We've got enoughberries to make our pie.

They start across the yard to the house. Tammy pauses,patting the back of her head with her hand.

TAMMYMy hair clip fell out!

Tammy turns, scanning the backyard for the bright pink hairclip. Spots it next to the blackberry bush.

TAMMY (CONT'D)There it is!

JOYCEWell, go grab it. Hurry.

Tammy runs back to the bush.

ALLIGATOR'S POV

Once again, the little girl comes within inches of the gator'shiding place. Tammy reaches down, snatches the pink clipoff the ground. Again, no attack.

BACK TO SCENE

Tammy and Joyce enter the house together. Finally out ofjeopardy. The sheets Joyce attached to the line flap serenelyin the breeze and sunshine.

CAMERA MOVES IN ON the blackberry bush. Closer, closer--

CUT TO:

EXT. GATOR COUNTRY (GATOR PIT) -- DAY

--a huge alligator LUNGES UP out of the water, its jaws wideopen.

The jaws SMACK DOWN on a chunk of raw meat. Sheriff Perkinsis standing behind a railing above the alligators, tossingraw steaks down to them. The Whites watch with fascinationas the sheriff feeds the gators.

43.

MIKE(impressed, intrigued)

It swallowed that whole!

SHERIFF PERKINSThat's how they eat.

(gesturing to thearea below)

We call this the Gator Pit. This iswhere we keep 'em.

The railing they stand behind overlooks an expansive concretemoat. There's water and bushes and mud down there to simulatethe alligator's natural habitat. Probably the most strikingfeature of this moat is the sheer number of alligators wesee crawling around and basking in the sun.

TEDJesus. How many gators have you gotdown there?

MIKEThere's gotta be over a hundred!

SHERIFF PERKINSTry twenty-five hundred.

KELLYAre you serious?

(she has to say it tobelieve it)

Twenty-five hundred alligators.

SHERIFF PERKINSJust the beginning. I didn't namethis place Gator Country for nothing. As you can see, we've got the capacityto hold a whole lot more...

Sheriff Perkins indicates the Gator Pit's trajectory -- itcurves like a snake all the way through the park.

SHERIFF PERKINS (CONT'D)No matter where you go here, thegators are never far. This isn'tjust an amusement park, like Mr.Wacko claims -- this is the biggestworking alligator farm in the state.

He leads the Whites over a bridge that arches across theconcrete channel.

SHERIFF PERKINS (CONT'D)As of right now, this bridge is theonly way to get across the GatorPit.

44.

STACYPleasant thought.

SHERIFF PERKINSTwo more bridges are underconstruction.

(pauses, points down)By the way, we funnel in all thiswater directly from the swamp.

Ted SNIFFS the air above the Gator Pit. A thought seems tooccur to him, but he doesn't say anything.

EXT. PARKING LOT -- DAY

Sheriff Perkins drives the Whites back to their SUV.

SHERIFF PERKINS(driving)

This was just a sight-seeing tour,folks. Come next week, you'll getto really experience Gator Country.

The Whites get off the golf cart, carrying bags stuffed withGator Country paraphernalia and memorabilia and souvenirs. Perkins hands a card to Ted.

SHERIFF PERKINS (CONT'D)I want y'all to have dinner at theSeminole Diner. Give the waitressthis card. Order anything you wantto eat free of charge.

TEDThank you, John. We'll do that. Your park is, uh...

(beat)Well, it defies description.

EXT. RESTAURANT -- DAY

The Whites exit the Seminole Diner. Ted pats his stomachwith satisfaction.

TEDNow that was a meal.

MIKEI like Mom's food better.

KELLYWhy thank you!

Ted notices something in the parking lot of Piggly Wiggly(adjacent to the restaurant). Chris and Junior Beacham havea small table set up out there, like a kid's lemonade stand. But they are selling wooden carvings instead of lemonade. They seem to be done for the day.

45.

Junior removes the wooden figures from the table and transfersthem to the Radio Flyer wagon as Chris supervises.

TEDThe Beacham kids. Stacy, why don'tyou and Mike go introduce yourselves.

STACYAre you for real?

KELLYBe a sport. I bet they'd love toshow you and Mike around their town.

STACYWhat's to see? I can see the entiretown from right here.

(beat)And what if they're weird?

MIKEYou're weird. I'm going.

TEDLook, your mother and I are going todrive out to the see the house Jackand I grew up in. You're welcome tocome.

STACY(sighs)

Forget it. Wait up, Mike.

Stacy and Mike start off across the parking lot.

KELLYDo you think she really hates ithere?

TEDYes. But she'll get used to it.

EXT. GROCERY STORE PARKING LOT -- DAY

Stacy and Mike approach the Beacham kids. Junior adjustshis neck brace.

CHRISHi.

MIKEHi there. We just moved here.

CHRISI know. You guys don't live veryfar from our motel. I'm Chris, andthis is my brother Junior.

46.

STACYI'm Stacy. Nice to meet you.

MIKEMy name's Mike.

JUNIORWanna buy this alligator? I made itmyself.

Junior holds up one of the carvings. Incidentally, the exactsame carving he was working on at the beginning of the movie.

STACY(politely)

Wow, that's really nice, but nothanks.

Junior shrugs, drops the carving in the wagon. He picks upa can of soda and takes a drink.

MIKEWe've already got a ton of gatorstuff from Gator Country.

CHRIS(excited)

You were in Gator Country? Already?

Mike nods. Stacy looks over as her parents drive past inthe SUV. Ted TOOTS the horn. Everybody waves.

Then a moment of awkward silence, as the city kids and swampkids regard each other.

STACYIs it always so hot here?

CHRISGet something to drink. It helpsyou keep cool.

JUNIOR(extends his can)

Want some of mine?

Uncertain who Junior is offering his drink to, Mike and Stacyanswer simultaneously.

MIKE/STACYNo thanks.

CHRIS(smiles, shakes head)

They don't wanna drink after you,you big lug. Get them a couple ofnew ones.

47.

Chris begins digging in his pocket for change.

STACYWe've got the money.

(drops the quartersin Junior's hand)

Here you go. Get one for your brothertoo.

JUNIORWill do.

Junior starts toward the Coke machine which stands againstthe wall near the entrance of Piggly Wiggly.

CHRISI can show y'all some pretty neatplaces if you want.

STACYWell...I mean, I don't wanna ruinyour plans for today...

CHRISWe ain't got no plans.

STACYAll right.

A rusty pickup truck barrels into the parking lot, blaringCOUNTRY MUSIC. It rolls to a stop beside our group. Donnieand Billy Joe hop out.

CHRIS(sourly)

Terrific.

Donnie grins like he's thinking naughty thoughts.

DONNIEEntertaining our new residents,Christopher?

CHRISRight, Donnie.

(gestures blandly)Mike and Stacy, meet Donnie and BillyJoe.

Donnie gives a hat-tipping nod, but he's not wearing a hatso he just runs his hand through his thick yellow hair.

DONNIE(stares at Stacy)

Pleasure making your acquaintance.

48.

STACY(somewhat uncomfortable)

Same.

Donnie claps Billy Joe on the back.

DONNIEThis ol' boy is my right hand man. I saved his life when we were kids.

MIKEHow?

Chris rolls his eyes. He's heard this before.

DONNIETwo of us were tossin' tomatoes at ayellow jacket nest. Billy Joe got atad too close and about ten of themsuckers were on his head like flieson crap.

BILLY JOE(nods)

They stung my head.

DONNIEI ripped the little bastards out ofhis hair with my bare hands.

Donnie makes a fist and squeezes it tightly, as if simulatingthe way he crushed the yellow jackets.

DONNIE (CONT'D)Of course, my hands got stung, butthey might have killed Billy Joe ifI hadn't been there. He got stungon the head so many times, he's luckyhe didn't get brain damage.

CHRIS(under breath)

He did.

BILLY JOEI heard that, Big Wheel!

CHRIS(shrugs)

Lucky you. You're not deaf.

BILLY JOEOn account of your granny gettingkilled last week, I'm gonna let thatgo. This time. Next time you'regonna get your crippled ass kicked.

49.

STACY(appalled)

Jerk, you'll have to go through mefirst! What kind of person threatensa handicapped kid?

Donnie nudges Billy Joe playfully in the ribs.

DONNIEYeah, jerk. Back off.

(winks)Now apologize to Big Wheel. I mean,to Chris.

BILLY JOE(glowering)

Sorry.

CHRISWhatever.

DONNIEYou know, your dad said it was okayfor y'all to come on an air boatride with us.

MIKEHe did?

DONNIEEver been on one?

MIKEUh-uh.

DONNIEVirgins. Good. Hop in the truck.

STACYNot gonna happen. I refuse to ridein the back of another pickup truck.

DONNIEThere's more than enough room foryou to ride with us up front.

Junior reappears, carrying three cans of Coke. He looksbewildered by the presence of Donnie and Billy Joe.

STACY(indicates Beachams)

We already have plans with them.

DONNIEDon't worry, they can tag along too. Junior! Help your brother get inthe back of the truck.

50.

Donnie puts his arm platonically around Stacy's shoulders,leads her to the truck.

Mike looks at Chris, as if for guidance. Chris gives a littlemelancholy nod/shrug, like "what else can we do?" They lowerthe tailgate to climb in.

EXT. MCKLUSKY EXTERMINATIONS -- DAY

A used Jeep veers off the road into the gravel parking lot. Florida State University bumper sticker. An attractive youngcollege student gets out, clad in sunglasses and khaki fieldattire. She is LAURA HARRISON, 22.

INT. MCKLUSKY EXTERMINATIONS -- DAY

Laura enters the building. The walls are decorated withbeautiful photographs of the Everglades. Bill sits at thecustomer service counter, tinkering with a fishing lure.

BILL(doesn't look up fromhis project)

What's your problem?

LAURAExcuse me?

Bill glances up at her, grins.

BILLNobody ever comes around here unlessthey have a bug problem, that's all. Termites?

LAURANot exactly. Are you Mr. McKlusky?

BILLI'm Bill. Louis is out back.

LAURAIs he busy right now?

BILLNah, go on back. Right through thescreen door behind me.

LAURAThanks, Bill.

EXT. MCKLUSKY EXTERMINATIONS -- DAY

Laura steps outside through the rear screen door. Louis isback here, seated at a picnic table near a dilapidated airboat. He's jotting some notes in a spiral notebook.

51.

In the chain-link enclosure, we see Harry basking complacentlyin the sunshine.

LAURAMr. McKlusky?

LOUISThat's me. Can I help you?

LAURAMy name is Laura Harrison. I'm astudent at Florida State. I thinkyou know a former teacher of mine. Pete Turner.

LOUISSure. I know Pete.

LAURAAre you aware he's been missing forthe past six weeks?

Louis's brow furrows with concern.

EXT. SAWGRASS LAKE -- DAY

The air boat speeds along with Donnie driving. Stacy andMike are on board, the wind pushing their hair back fromtheir foreheads. They have to yell over the motor.

MIKEThis is great!

STACYIt is! I love it!

DONNIEYou ain't seen nothin' yet! Holdonto your hats!

Donnie accelerates, while Mike and Stacy WHOOP withexhilaration.

EXT. SECLUDED POND -- DAY

We find a station wagon with New York licence plates parkednear the edge of a small pond. In the middle of the pondthere's two old people in a small boat, holding fishing polesand waiting for a tug. Meet JIM and PATTY, a thoroughlydisgruntled pair in their late 60s.

Patty drops her pole in the boat, frustrated. She swats atmultiple mosquitoes. Jim seems irritated by her flailingarms -- she's causing the boat to rock.

JIMStop it.

52.

PATTYHow long do you want to keep usstranded out here?

JIMUntil I catch something.

PATTYI can't take much more of this. I'mgetting eaten alive.

With surprising speed, Jim whips a can of StayOff InsectRepellent from his breast pocket and sprays it at his wife. She's not expecting it and some gets in her mouth. She hasto lean over the side and spit.

JIMYou wanted to come to Florida, notme! This is what Florida is allabout! Sunshine and bugs!

Beyond the boat, we see the backs of two alligators skimsoundlessly across the surface of the water.

Yet another alligator crawls out of the water and wades ontoshore. It crawls behind a cluster of long weeds.

ANOTHER ANGLE, as Lance and Ronny pedal INTO FRAME on theirbicycles (these are the two little punks who dumped the wormson Chris at the beginning of the movie). Like a couple ofmischievous commandos, the boys lay their bikes behind somebushes. Then they hurry over to Jim & Patty's station wagon. They crouch down behind the car and spy on its owners.

Jim and Patty continue drifting aimlessly in the pond, totallyunaware of the alligators or the boys.

LANCE(whispers)

Let's cut their tires.

RONNY(whispers)

Yeah.

Ronny produces a small pocket knife. He goes to work on oneof the rear tires. Lances covers his mouth to stifle agiggle. As air begins HISSING out, CAMERA PANS DOWN UNDERTHE CAR...revealing the unmistakable, scary silhouette of ahidden alligator.

If you do the math, you'll realize we're dealing with atleast four alligators now.

LANCELet me do one.

53.

Ronny hands the knife to Lance. Lance pokes the tip of itinto the tire. Ronny keeps casting cautionary glances towardthe pond -- the old people remain oblivious to their presence.

GATOR'S POV -- UNDER CAR

Under the station wagon, our gator spots something verytantalizing: Ronny's exposed calf.

BACK TO SCENE

Lance pokes another hole in the tire. HISSSSS...

Meanwhile, in the pond -- something BUMPS the little boat,causing it to rotate.

JIMWhat was that?

PATTYSomething hit the boat.

Patty spots a gnarly, shiny shape beside the bow.

PATTY (CONT'D)It must have been this old log.

She reaches out to shove it away. Jim suddenly realizeswhat it is.

JIMDon't touch that!

Too late. The alligator's mouth springs wide open, thencloses on Patty's forearm. CHOMP! Before she even has achance to scream, the old woman is yanked out of the boatlike a rag doll. SPLASH!

Jim just sits there, mouth hanging open, in a state of shock. Patty isn't moving or splashing around -- she's already dead,which is a good thing since the alligator is beginning toeat her for lunch. Jim grabs his chest. He's having a heartattack.

And then the other alligator BUMPS the boat. Already on theverge of passing out, this bump is enough to make Jim fallover the side. The little boat tips completely over aselderly New Yorker falls into the water, still clutching hischest.

The boat is floating upside down now. It rotates slowly inthe water. We never see Jim again.

Meanwhile, on shore, Ronny and Lance have witnessed thisattack. They are still crouched beside the station wagon. The mischievous gleam in their eyes is gone, replaced with alook of sheer terror.

54.

Before they can react to what they've seen, the alligatorthat's been hiding under the car suddenly springs out andCHOMPS DOWN on Ronny's lower leg.

RONNY(screaming)

My leg! It's got my leg! Help!

Lances stumbles away from the station wagon, eyes wild withpanic. He doesn't know what to do. The alligator is pullingRonny under the car.

RONNY (CONT'D)Help me, Lance!

Ronny digs his fingers into the dirt as the gator drags himunder the car. The fingers dig little trenches as the boygradually disappears...his head goes under the car, then hisarms, finally his fingers, leaving behind the claw marks inthe sand.

Suddenly, the fourth alligator emerges from the bushes. Itcrawls in Lance's direction. Lance wisely hauls ass. Hepicks up his bicycle and pedals away.

For a moment it appears Lance is going to get away, but thena fifth alligator comes crawling into view -- directly inthe path of Lance's bike.

LANCENo!

He tries to swerve, but the front tire collides with thegator's bulky tail. The bicycle flips, catapulting Lancethrough the air. He lands flat on his back in the sand.

The boy doesn't move for a moment. Then his eyes flutteropen and he sits bolt upright. We can hear deeply disturbingSCREAMS emanating from under the station wagon.

The jaws of the nearest alligator CRUNCH DOWN on the bicycletire next to Lance's buttocks. Lance tries to spring to hisfeet, but something pulls him back down -- his shorts aresnagged on one of the bike pedals.

Thinking fast, he takes out his pocket knife and slashes athis shorts -- and then SCREAMS as he accidentally slasheshis upper leg.

Hurry, Lance! The gator continues eating his bicyle, andanother gator is closing in. Lance kicks off his shoes,unbuttons his shorts, wiggles out of them.

Lance finally takes off running, wearing only his T-shirtand underwear, blood flowing from his leg wound.

As Lance runs OUT OF FRAME, an eerie silence descends on thescene. The upside down boat continues drifting.

55.

A pool of blood slowly expands under the station wagon.

EXT. TED'S CHILDHOOD HOME -- DAY

A dilapidated house situated in an overgrown meadow. Theplace was boarded up several years ago. Ted stands in frontof it as Kelly snaps a picture.

KELLYHow does it feel, being back hereafter all these years?

TEDDifferent.

(wry grin)Nice to see Jack's been taking careof the place.

Apart from the constant sound of INSECTS and CHIRPING BIRDS,it's quiet here -- until an ambulance rushes past on thehighway, sirens WAILING. It is followed by two cruisersfrom the Sheriff's Department.

KELLYSomebody must be hurt.

TEDThey might need a doctor. Let's seeif we can help.

They head for the SUV.

INT. MCKLUSKY EXTERMINATIONS -- DAY

Laura stands in the office, admiring the photographs on thewall. Beautiful compositions of the natural beauty of theswamp. Louis walks over and gives her a Coke. Bill is stillsitting at the front desk, fiddling with his homemade fishinglures. We notice one of Junior's carvings next to the cashregister.

LAURADid you take all of these photographs,Mr. McKlusky? Some of these vistasare breathtakingly gorgeous.

BILLYeah, ol' Lou is a regular RobertKincaid!

LAURA(stumped)

Who--?

LOUISPut a lid on it, Bill.

(MORE)

56.

LOUIS (CONT'D)(to Laura)

Nobody's heard anything from Pete insix weeks?

LAURANo one. He spent nearly a year inthe field doing a study on alligatorhabitat, then he returned to theuniversity and spent about a monthreviewing his data. Something inthe data bothered him...

(thinking)Anyway, that was why he said he wasgoing back to the swamp. To makesome follow up observations. But hetold everybody he'd be back in aweek.

(clearly troubled)I scared something horrible happened.

Louis sits on a worktable, POPS open a root beer. He sighs,tilts his head up toward the slow-moving ceiling fan.

LOUISI ran into Pete once and a whilewhen he first came here to do hisstudy. I also bumped into him theday he was gonna drive back to FSU,and that's the last time I ever sawhim. I didn't know about him comingback here.

(to Bill)Did you?

Bill scratches his head, thinking.

BILLCome to think of it, I do seem torecall seeing him gas up at Jimmy'sstation a few weeks ago.

LOUISWhat was in the data that wasbothering him?

LAURAI'm not sure. I was in Italy whenhe did his research, and he didn'tleave much material behind at theuniversity.

LOUISPete was good with gators. He'sjust as at home in the swamp as Iam. But...accidents can happen toanybody.

(MORE)

57.

LOUIS (CONT'D)(matter of fact)

You should probably prepare yourselffor the worst, if that's the case.

LAURAI am prepared, but I've got to know. What can I do?

LOUISCheck out the cabin Pete stayed in. I sold it to Pete about two yearsago, but I've still got a spare key.

(pauses, thinking)You shouldn't go out there alone.

Suddenly, the bell JINGLES above the door, and some REDNECKhurries inside. He's breathing hard, panting like a dog.

REDNECKLouis! Come quick!

LOUISTrouble?

REDNECKGator attack!

LOUISWhere?

REDNECKSweet Lily Pond! A couple of oldpeople are hurt, and...

(swallows, chintrembling)

And a little kid.

Louis hops off the worktable, grabs his hat, and hurries outthe door. Laura walks over to the window and watches himjump in his truck. An ambulance rushes past on the highway. Louis follows it.

Bill reaches over the counter to click on a police scanner. We hear various transmissions, including:

VOICE ON SCANNER (V.O.)Ten-four. I can hear the ambulancenow, but there's nothing they cando. All three of 'em are dead.

Laura looks at Bill, her eyes wide.

BILLGood Gawd...

58.

EXT. RV PARK OFFICE -- AFTERNOON

According to the aging sign next to the highway, this placeis called SEMINOLE CITY RV PARK. An old Seminole Indianwoman puts letters on a flashing arrow sign, spelling outthis message: "PARK YOUR RV HERE WHILE YOU VISIT GATORCOUNTRY!"

The woman's husband, an Indian named GRAHAM, 62, sits on abench beside an ice machine outside a small office (whichhas a phony log-cabin facade). A card in the windowinstructs: "Check in here."

A wide, pine straw covered road curves through the woodsbehind the office, presumably leading to a clearing whereyou can park your RV or trailer.

Graham's long black hair is tied back in a ponytail. Hepulls a folded piece of paper out of his back pocket -- aflyer of some sort. Sighing dutifully (like he's beenavoiding it), he puts on his glasses and starts to read.

INSERT -- FLYER

Printed on light green paper. "Don't help Gator Countrydestroy the Everglades! Refuse to do business with peoplevisiting Gator Country! WE MUST FIGHT the reelection campaignof Sheriff John Perkins!"

BACK TO SCENE

Graham's expression conveys increasing disdain. He sets theflyer aside, takes off his glasses and rubs his eyes. Thenhears his wife GASP. He looks up to see--

Lance, stumbling down the side of the road in his underwear,dried blood on his leg.

LANCE(crying)

Please help me!

The boy is exhausted. He collapses beside the flashing arrowsign. Graham and his wife rush to the boy's aide.

EXT. SECLUDED POND -- AFTERNOON

Two men in wet-suits carry a body out of the pond. Anotherbody is being loaded into the back of a vehicle from thecounty coroner's office. Two deputies stand over Lance'smangled bicycle, pointing at it and making conversation.

Sheriff Perkins stands somberly near his cruiser, supervisingthe activity with angry eyes.

The GRINDING DIN of a wench as it lifts Jim and Patty'sstation wagon onto a flatbed truck. Ronny's body is gone,but a large puddle of dried blood remains on the ground.

59.

A deputy cordons off the area by stretching yellow crimescene tape around the perimeter.

A man wearing a white shirt and latex gloves is scanning theground for anything he might have missed. He sees something. He squats down with tweezers and a plastic bag.

CLOSE UP, as he uses the tweezers to lift a masticated fingerout of the grass. He puts it in the plastic bag.

Meanwhile, Louis is standing at the edge of the pond, staringat the water. Deputy Andy Hudson saunters up beside him.

DEPUTY HUDSONThis is sick. I've never seenanything like this in my life.

LOUISNeither have I.

DEPUTY HUDSONI'm going home. Sheriff wants youat the meeting tonight.

LOUISYeah.

DEPUTY HUDSONFind those gators, Louis. Find 'emand roast 'em alive. Jesus Christ.

Hudson walks away. Louis glances down at some strangepurplish foam sloshing up on shore, near the tip of hisalligator skin boot. He kneels down, pokes at the foam witha stick.

He lifts the stick out of the water, some of the purple foamystuff clinging to the tip. A thought seems to occur to him,and he glances over his shoulder. RACK FOCUS to the figureof Sheriff John Perkins about twenty feet away, standingwith his arms crossed, watching Louis.

Louis sighs, shakes his head, and tosses the stick in thewater.

INT. TOWN HALL -- NIGHT

The room is filled to capacity; just about everyone inSeminole City is here tonight. MAYOR CAMPBELL, a plump middleaged black man, is seated behind a long table at the frontof the room with the other town officials and council members. Everyone is talking at once.

In attendance tonight we notice: Ted and Kelly, Jed andFrankie Beacham, Jack, Bill, Laura, Graham and his wife. Sheriff Perkins and Louis are seated at the big table upfront.

60.

Mayor Campbell TAPS the microphone. The disorderly chatterdissipates.

MAYOR CAMPBELLLadies and gentlemen, we all haveone basic question: What in the worldare we going to do about all thesealligators?

REDNECK (O.S.)Kill them, that's what! Kill themall!

Impassioned murmurs of agreement from the audience.

MAYOR CAMPBELLThe question is, how many should wekill? We can't just slaughter everysingle alligator in the swamp.

The is a sensitive subject with Jed Beacham. A tear runsdown his cheek as he stands up and shouts--

JEDOh yes we can! How many more of ushave to get eaten alive before youwake up? Tell me how many!

Sheriff Perkins give a little signal nod to a couple of hisdeputies. They walk over prepared to subdue Jed, but theman is too emotionally distraught to say anything else. Hesits down, put his head on Frankie's shoulder and weeps.

LOUIS(taps the mic)

Excuse me, everybody. It's importantto emphasize the facts -- from whatwe've been able to determine so far,it seems that at least four gatorswere involved in the attack. Four.

(holds up four fingers)That's how many we'll destroy.

A man who resembles a BALD SANTA CLAUSE hops to his feet,waving his fist.

BALD SANTA CLAUSEFour my ass! Jed's right! We oughtto kill as many as we can find! Youknow how many dogs I've lost to thosereptiles? It should be open seasonon alligators!

MAYOR CAMPBELL(to Bald Santa)

Sit down. Right now.

61.

FAMILIAR VOICE (V.O.)There's not too many alligators aroundhere! There's too many people!

The man who said that rises to his feet in the middle of theaudience. It's none other than David Palmer. He had beenwearing a baseball cap and a fake mustache to conceal hisidentity, both of which he now removes.

Sheriff Perkin's eyes blaze with fury.

PALMERYou people want the bloodshed tostop? Since none of you seem willingto get the hell out of the alligator'sback yard, at least do the next bestthing...

(shoots fingervindictively at thesheriff)

Kick that son-of-a-bitch out ofoffice! He's the man most directlyresponsible for what's going on here!

SHERIFF PERKINS(furious)

Andy! Get him out of here!

Deputy Hudson and two other deputies quickly close in onPalmer. Hudson is in such a hurry to appease his enragedboss, he trips over somebody's legs and falls on his ass. The two other deputies grab Palmer, who offers no resistancebut keeps talking as they drag him toward the door.

PALMERNature only takes so much shit beforeshe starts fighting back! She foughtback in Africa with the Ebola virus! Now she's fighting back here in yourback yard! Don't you understandwhat you're doing--?

Palmer is taken outside.

MAYOR CAMPBELLFine, the sideshow is over. Let'sget back to the business at hand. There's only one man in this roomlicensed by the Fish and GameCommission to go out and destroythese alligators, and that man isLouis McKlusky. Nobody needs tohelp him or get in his way.

SHERIFF PERKINS(nods)

That's the way it works, folks.

62.

The Indian, Graham, suddenly stands up.

GRAHAMI have something to say.

A respectful silence descends over the gathering.

GRAHAM (CONT'D)We're all angry by what happenedtoday, and we have every right to beangry. The four gators must becaught. And killed.

(beat)But the man they just removed fromthe room was right about one thing. We are in their backyard. My peoplewere here long before your people,but the gators were here before anyof us. My ancestors respected thespirit of the alligator. Theyrespected that spirit's power.

In the audience, Jack rolls his eyes condescendingly.

GRAHAM (CONT'D)This truly is the gator's country.

And with that, Graham takes his seat.

The mayor looks uptight for an awkward moment, havingabsolutely no idea how to respond to Graham's remarks.

MAYOR CAMPBELL(finally)

Thank you, Graham. We'll, uh, takethat under advisement.

EXT. AIR BOAT DOCK -- NIGHT

Mike and the Beacham brothers gathered on a short woodenpier, waiting. A bloated white moon hangs overhead.

MIKEWhat's taking them so long?

CHRISWait...I think I hear it.

We hear the distinctive sound of an approaching air boat,and then it comes into view.

MIKEFinally.

As the air boat pulls up alongside the pier, Stacy hurriedlyclambers off.

63.

DONNIEWill you please take it easy?

STACYYou go to hell!

CHRIS(concerned)

Hey, what happened?

STACYHe attacked me!

Still seated in the driver's seat of the air boat, Donnieshakes his head.

DONNIEBullshit.

STACYYou tried to...

(really upset)You know what you tried to do.

MIKEDid he hurt you?

DONNIEOf course not!

(starts to climb ontopier)

Can we please talk about this?

Stacy shots him the middle finger.

STACYTalk to this.

She turns and marches away.

STACY (CONT'D)Come on, Mike! We're going home!

DONNIEDon't walk away from me!

Donnie lunges for her, grabs her shirt sleeve.

DONNIE (CONT'D)I just want to talk!

STACYYou ripped my shirt!

MIKELet go of my sister!

Mike kicks Donnie's shin.

64.

DONNIEOw! You little--

Donnie raises his hand as if to slap Mike, but Junior grabsDonnie's wrist. Shoves Donnie off the pier. SPLASH!

CHRISLet's get outta here!

In the water, Donnie splashes about and hollers:

DONNIEYou just made a big mistake! I'mgonna get y'all for this!

Stacy and Mike and the Beacham brothers reach the road beyondthe air boat dock.

EXT. TOWN HALL -- NIGHT

Ted and Kelly exit the town hall with Jack. The meeting isover and everybody is going home. The cell phone JINGLES inKelly's purse.

KELLYHello? Stacy, where are you? Where'sMike? Where? What road? All right.

(to Ted)They're fine, but they need a ride.

Kelly looks at the phone's picture display window. Shows itto Jack.

KELLY (CONT'D)(to Jack)

Do you know where this is?

Jack looks at the phone.

INSERT -- CELL PHONE DISPLAY

Digital snapshot of a pair of road signs. Nine Mile Road. Speed Limit 45.

BACK TO SCENE

Jack nods.

JACKI know exactly where that is. Tellher to stay right there and I'll gopick 'em up.

KELLY(lifts phone to ear)

Stacy, you and Mike stay put. UncleJack is coming to get you, okay?

65.

EXT. TOWN HALL PARKING AREA -- NIGHT

Louis is about to get in his truck. Laura spots him andhurries over.

LAURAAre you going after those gatorstonight?

LOUISYep.

Louis climbs in the truck, rolls the window down. He handsher a single key.

LAURAPete's cabin?

LOUIS(nods)

I should go with you.

LAURAI'll be careful. You've got work todo.

LOUISAll right. I hope you find out whathappened to Pete.

LAURAThank you. Good luck, Louis.

Louis gives an appreciative nod, then starts the truck anddrives away.

EXT. DARK ALLEY -- NIGHT

Sheriff Perkins stands before a grungy-looking group ofpoachers. They are: RICK, WES, OSCAR, and FREDDY.

SHERIFF PERKINSYou boys know what to do.

RICKKill as many gators as we can.

Perkins kicks an empty root beer can into the shadows. He'snot in a good mood.

SHERIFF PERKINSI don't need this shit happeningwith my park about to open. Theonly gators I need are the ones inGator Country.

66.

WESRelax, sheriff. We'll take care ofit.

SHERIFF PERKINSSteer clear of McKlusky. If he findsout what you're doing, he'll go overmy head and you'll get busted.

RICKCheck.

SHERIFF PERKINSAll right, well quit standing around. Go to work.

EXT. DARK ROAD -- NIGHT

A spooky little road in the boondocks. Stacy and Mike andthe Beacham brothers wait for Jack to arrive. We the seeroad signs from Stacy's cell phone snapshot.

Junior is playing some video game with Stacy's cell phone. Mike is pacing up and down the road with restless energy. Stacy sits on the pavement, hugging her knees. Chris rollsalongside her in his wheelchair.

STACYGod, this is so creepy.

CHRISI actually think it's kind of pretty. Look.

Chris points toward the horizon, where the seemingly endlessexpanse of sawgrass joins the star-filled sky. We hear thePULSING CHIRP of millions of bugs and little creatures.

STACYIn a way, I guess it is sort ofpretty.

CHRISI hope I never live anyplace else. Life sucks sometimes, but I stilllove this place.

Mike walks over and stands beside them.

MIKE(gazing at horizon)

Anything could be out there. Anything.

We hear something RUSTLE through some grass. Mike's eyeswiden portentously.

67.

STACYWhat was that?

Chris gestures for her to be quiet. He listens intently. We hear the RUSTLING sound again.

CHRISMaybe we should get moving.

MIKEWe can't. Uncle Jack is coming topick us up.

STACYWhat is it, Chris?

CHRISHow should I know?

STACYYou've lived here your whole life. You should be an expert on strangenoises.

CHRISI'm telling you, I think we shouldget moving.

That's when Junior accidentally drops Stacy's cell phone. It CRACKS against the pavement, making everyone jump.

JUNIORUh-oh. I didn't mean to.

STACYOh, terrific.

Stacy hurries over and picks it up. The cell phone is badlybroken. Her reaction is spontaneous and out of her mouthbefore she even thinks about it.

STACY (CONT'D)Thanks a lot, you klutz!

A look of instant devastation appears on Junior's face. Hisneck brace seems to prevent him from hanging his head as lowas he'd like. Stacy feels immediately guilty. Mike glaresat her.

MIKEThat was mean.

STACYAwww, I didn't mean to say that. Iknow it was an accident, Junior.

Tears flow down Junior's face. He falls to his knees infront of his brother's wheelchair.

68.

He lays his head in Chris's lap and SOBS uncontrollably. Chris pats him soothingly on the back.

CHRISEasy, bro. Easy. She didn't meanit.

Mike continues glowering at his sister.

STACY(to Mike)

What? I told him I was sorry--

Stacy's eyes fill with fear. She sees something on the roadbehind Mike.

STACY (CONT'D)Snake!

Mike glances over his shoulder. A big black snake slithersacross the road. He and Stacy take off running.

CHRISStop running away! Look!

Stacy stops running before Mike does. Headlights wash overher as Jack's pickup truck arrives.

STACYUncle Jack! Finally!

Jack leans out the driver's side window.

JACKYour mom and dad are worried sick! Get in the truck!

Stacy leans in, kisses his unshaven cheek.

STACYI never thought I'd actually be happyto see you.

JACKGee, thanks.

EXT. PROFESSOR'S CABIN -- NIGHT

Laura gets out of her Jeep and approaches the shadowydwelling. The cabin is very old. Heaps of moss hang overthe roof. She produces the key Louis gave her.

INT. PROFESSOR'S CABIN -- NIGHT

Pitch black in here as the front door CREAKS open. Laurapads her hand along the wall, searching for a switch. Shefinds it, clicks it. Nothing happens. Either the light isburned out or there's no power.

69.

LAURADamn.

She flicks on her flashlight. Moves cautiously forward.

LAURA (CONT'D)Professor Turner? Pete? Anybodyhome?

Scanning the room with the flashlight beam. A dusty couch. A dusty yet rather nice battery powered miniature television. Now the light reveals the kitchen area. A rat on the kitchentable nudges a tipped-over salt shaker.

LAURA (CONT'D)Yuck.

She proceeds down a short hallway, ducks under a large cobweb. She pushes open a door with loud, rusty hinges.

Pete used this room as his bedroom and office. The flashlightbeam slides across a desk scattered with paperwork andnotebooks. We see a keyboard, but the computer it wasattached to is gone. An actual mouse scurries across themouse pad.

Remembering something, Laura pulls a plastic stick out ofher backpack. Shakes it and CRACKS it, triggering a chemicalreaction that produces a luminous green glow (it's one ofthose short-lived glow sticks you see kids carry on Halloweennight). It provides illumination sufficient for her to turnoff the flashlight.

She looks at the bed. Crumpled, messy sheets. Somethingprotrudes from under the bed frame. A boot. She nudges itwith her shoe. Her brow furrows -- something isn't right. She reaches down, drags the boot out from under the bed.There's a severed leg in the boot.

LAURA (CONT'D)Oh...my...God...

She backs away from the bed. Turns the flashlight on, pointsit at the leg. It was hacked off or chewed off just abovethe knee -- a jagged, broken femur bone juts out of the gorystump.

And now there's a NOISE from the other room. Laura jerksthe flashlight beam toward the hallway. Her hands areshaking. She reveals a small handgun.

A moment later she emerges from the hall into the livingroom area. Gun in one hand, flashlight in the other. Therat we saw earlier continues nudging the salt shaker on thekitchen table. The shaker finally rolls over the edge andfalls to the linoleum floor.

70.

Then -- CRASH! Laura swings her flashlight beam toward thefront door, which is ajar. A couple of old fishing rods arepropped against a hat rack stand. Something is moving alongthe floor. Whatever it is, it knocks over the fishing rodsand the hat rack stand.

Laura tries to follow the crawling thing with her flashlightbeam. It moves behind the couch, where we see a tall standinglamp topple over and CRASH.

Laura holds the flashlight under her armpit and digs throughher bag. She finds another glow stick, shakes and cracksit, tosses it behind the couch. The creepy green glow throwsthe crawling thing's shadow on the wall -- the unmistakableshadow of an alligator.

The couch is between her and the door. She has to get pastit to escape. She moves cautiously forward, the hand holdingthe gun shaking more than ever.

The alligator's shadow moves, and one side of the couchSCRAPES forward across the floor. The couch hits the coffeetable near Laura's leg. An empty wine bottle falls off andSHATTERS. Laura accidentally FIRES the handgun, shoots abullet through a windowpane.

LAURA (CONT'D)Shit.

She makes a wild run for it. In an amazing display ofathletic ability, she jumps on top of the couch and thenjumps to the floor on the other side, landing perfectly. She hurries out the door.

EXT. PROFESSOR'S CABIN -- NIGHT

Laura yanks the door shut. An instant after it closes,something THUDS against it. She hurries back to her Jeep.

INT. JACK'S HOUSE -- NIGHT

Jack looks tired as he steps inside his house. He noticesan envelop on the floor. Someone slid it under the doorwhile he was away. He picks it up, opens it. Six one hundreddollar bills are inside.

A sullen, somehow guilty expression on his face, Jack pocketsthe cash and crumples the envelop in his fist.

INT. STACY'S ROOM -- NIGHT

Stacy sits in front of a mirror, pulling a towel off herhead. Her hair is wet from a recent shower. She lifts herchin and examines a red mark on her neck. It's a hickey.

STACYThat jerk.

71.

She smears concealer over the hickey. She smiles.

EXT. SAWGRASS LAKE -- NIGHT

The group of poachers hired by Sheriff Perkins drift throughthe sawgrass in a pair of quiet boats. Oscar and Rick shareone boat, Wes and Freddy share the other. All of them drunk.

WESFreddy! Where's the goddam cheese?

FREDDYI didn't touch the cheese.

WESAll right, cut the bullshit. I knowone of you bastards has the cheese.

RICKShut your face, Wes.

OSCARYo. I gotta take a shit.

RICKAre you serious?

OSCARI'm always serious about shit.

The boat slides on shore. Oscar clambers out, finds somebushes to squat behind. He drops his pants.

OSCAR (CONT'D)Throw me a beer!

Rick tosses a bottle toward the bushes. Oscar catches it.

WES(delighted)

Hey! I found the cheese!

Wes holds up a greasy-looking block of sharp cheese. Heeats it like a candy bar.

Suddenly, something BUMPS Wes and Freddy's boat. Wes dropsthe cheese in the water. PLOP!

WES (CONT'D)Damn!

FREDDYWas that a gator?

Freddy picks up a cruel-looking meat hook, peers into thedark water. The moon shimmers there like a silver coin.

Rick watches from the other boat.

72.

RICKWhat is it? Y'all got one?

Behind the bush, Oscar is bearing down. Someone should tellhim not to push so hard. He doesn't notice the alligatorjust a few feet from his bare ass.

CLOSE ON Oscar's face -- bearing down, squeezing. And thenhis eyes nearly pop out of his head and he SCREAMS at thetop of his lungs.

RICK (CONT'D)What the hell--?

OSCARMy ass! It bit me in the ass!

Rick picks up a rifle, jumps out of the boat and wades ontoshore. Oscar continues screaming bloody murder.

The screaming distracts Wes and Freddy. They aren't preparedwhen their boat gets BUMPED again. Wes falls face firstover the side. SPLASH!

FREDDYWes!

Freddy's still holding the meat hook over the edge of theboat. An alligator lunges out of the water, CHOMPS DOWN onFreddy's forearm. He SCREAMS. Drops the meat hook. Thegator yanks him out of the boat.

Meanwhile, on shore, Oscar crawls frantically away from thealligator that took a chunk out of his bloody ass. Ricktakes aim at this alligator. FIRES his rifle.

The bullet doesn't seem to do anything. The alligator crawlsforward with frightening speed. Rick FIRES again. And again,the bullet has no effect. Rick prepares to fire a thirdshot when he realizes two more alligators have crawled upbehind him. A look of wild desperation fills his face. Oscar is SCREAMING. Wes and Freddy are SPLASHING andSCREAMING in the water.

Rick makes a run for it, but Oscar reaches out with atrembling, bloody hand and manages to trip him. Rick fallsdown -- and he's history as the alligators close in on him. He SCREAMS.

Miraculously, Wes manages to survive the attack. He getsback in his boat and pulls the string to start the motor. He gets away.

EXT. GATOR COUNTRY -- NIGHT

A pair of workmen, WORKMAN #1 and WORKMAN #2, stroll throughthe darkened park. They both wear dirty, sweat stained GatorCountry T-shirts.

73.

WORKMAN #1Christ, I'm tired.

They come to a cold drink machine.

WORKMAN #2What do you want to drink?

WORKMAN #1Anything but Gatorade.

They get their drinks out of the machine. Then they wanderover to the Gator Pit. They lean on the rail and peer downat the alligators.

A nearby security camera monitors them.

INT. CONTROL ROOM -- NIGHT

CLOSE ON a monitor screen, displaying the image of the twoworkmen standing near the Gator Pit.

PULLING BACK, revealing a bank of black-and-white closedcircuit televisions (and a few color ones). There's a largecomputer console here. The myriad buttons and switches andblinking lights reminds you of NASA's mission control room.

A single security guard, a fellow with a shaved head namedDAVIS, keeps tabs on the various screens. He's also reviewingsome paperwork attached to a clipboard on his lap.

He doesn't notice one monitor in particular. CAMERA PUSHESIN on this monitor, which displays an image of the air boatdock on the outskirts of the park. A pair of figures can beseen getting out of an air boat, hurrying out of the securitycamera's range.

EXT. GATOR COUNTRY -- NIGHT

We recognize one of the intruders: David Palmer. He'saccompanied by a fellow Glade Crusader named MATT. Theymove stealthily along, carrying toolboxes. The crouch downin the shadows near a generator enclosure.

MATTI don't want anybody to get hurt.

PALMERNo one's getting hurt. Now hand mea wrench. We're gonna screw thisplace up.

EXT. SAWGRASS LAKE -- NIGHT

Louis cuts across the dark water in his boat. Two deadalligators are hooked on lines attached to the boat. Hehears a rapidly approaching MOTOR.

74.

A moment later, a boat driven by Wes speeds recklessly past. It comes within inches of crashing into Louis's boat, thenspeeds off into the night.

LOUIS(disgusted)

Drunken fool.

EXT. MCKLUSKY EXTERMINATIONS -- NIGHT

Bill carries a pail of dead fish to Harry's cage.

BILLHarry! You want a midnight snack?

Bill opens the chain-link enclosure and goes in. Harry isnowhere to be seen. He's probably hiding behind the bigbush.

BILL (CONT'D)Harry?

Bill dumps the dead fish on a big plastic tray. He KNOCKSon the side of the metal pail to attract the alligator'sattention.

BILL (CONT'D)Harry? You OK, boy?

Harry springs out of the bush and darts toward Bill, whospins around and hurries out of the cage. He quickly shutsthe gate. CLANK!

The alligator rams the chain-link gate, which bends outwardbut holds Harry back.

BILL (CONT'D)What's gotten into you?

Harry opens his big mouth, HISSES. That's when the handcomes SLAPPING DOWN on Bill's shoulder. Bill is so startled,he nearly whirls around with the pail to hit the person whotouched him. It's Laura.

BILL (CONT'D)Good Gawd, girl!

LAURAI didn't mean to scare you.

Bill notices something. Laura has been crying.

BILLWhat's wrong?

LAURAProfessor Turner. Pete. He's dead.

75.

LOUIS (O.S.)Pete isn't the only one.

Laura and Bill turn around. Louis is standing there, holdinga bloody baseball cap. It belonged to one of the poachers.

EXT. THE EVERGLADES -- MORNING

The sun rises above the sawgrass marshland.

INT. SHERIFF'S DEPARTMENT BUILDING -- DAY

Two distraught women are seated in front of Andy Hudson'sdesk. He questions them as sensitively as he can.

INT. SHERIFF'S INNER SANCTUM -- DAY

The sheriff's office is pretty grand by small town standards,sort of a redneck version of the Oval Office at the WhiteHouse. Prize fish and animal heads decorate the walls, alongwith photographs of Sheriff Perkins shaking hands with variousbig wigs and civic leaders.

Louis is seated in a leather chair in front of the desk,leaning forward with his forearms on his thighs, tapping hisfoot impatiently.

Closed circuit TV screens behind the sheriff's desk, eachscreen receiving live image feeds from various locations,including: the intersection of Main and Second, the ongoingconstruction work at Gator Country, the Gator Pit, and roomshere in the Sheriff's Department building. Perkins watchesthe monitor showing Andy question the women.

SHERIFF PERKINSRick's wife is pretty torn up.

LOUISThat's understandable. Her husbandwas.

SHERIFF PERKINSOn the other hand, Freddy's wifedoesn't look all that upset. Theyhadn't been getting along too well.

LOUISCan we get serious? What were thosemorons doing out there last night,John?

SHERIFF PERKINSHunting. What else?

LOUISThey were poaching. Poor Wes isn'ttalking, but I know somebody paidthem to go out there.

76.

SHERIFF PERKINSProbably. Be realistic, Louis. There's a whole lot of pissed offcitizens out there. After whathappened last night, there's boundto be a whole lot more.

LOUISI get the feeling that doesn't botheryou too much. The more bozos goingout and killing alligators, thebetter. Am I right?

SHERIFF PERKINS(smacks his open handdown on the desk)

There's not a goddam thing I can doabout that! And you know it!

LOUISI'm being realistic when I say theonly alligators you want around hereare the alligators you've got coopedup at Gator World.

SHERIFF PERKINSGator Country. Don't sit there andact like you didn't help pick thename of the park. You were one ofthe ones who voted against the nameGator World.

LOUIS(throws up his hands)

This is insane.

Louis gets up, heads for the door.

SHERIFF PERKINSYou know what your problem is, Louis? You care more about reptiles thanyou care about human beings.

Louis freezes. Turns to face the sheriff. Walks over andSLAPS the palms of his hands down on the desk.

LOUISThat, my friend, is utter horse shit.

Perkins motions for him to settle down.

SHERIFF PERKINSAll right, I was out of line to saythat. We're all under a lot ofstress. How many did you get lastnight?

77.

LOUIS(calming down)

Two. I got two. I'll get the othertwo today.

SHERIFF PERKINSGood. I rely on you more than youknow.

LOUISListen. How many alligators havedied at the park?

SHERIFF PERKINSWhy?

LOUISI'd be willing to bet that whateverthe exact number is, you're startingto worry.

SHERIFF PERKINSDon't beat around the bush. Are yousuggesting someone is poisoning myanimals?

LOUISI'm suggesting something is wrong. Something is killing the alligatorsin the swamp, and it isn't the workof poachers.

SHERIFF PERKINSThen what is it?

LOUISI don't know, John. I don't know.

Louis walks out. Perkins turns his attention back to themonitor screens.

EXT. JACK'S BAIT SHOP -- DAY

The White family's SUV pulls up outside.

INT. JACK'S BAIT SHOP -- DAY

A dank, grimy little shop. A shaft of weak sunlight shinesthrough the dirty windows. We find Jack seated on a stool,his back against the wall, his feet propped on the customerservice counter. He holds a beer and gazes listlessly intospace, as if he can see ahead into some abysmally bleakfuture.

Ted enters the shop with his happy family.

MIKEHi, Uncle Jack!

78.

KELLYSo this is Jack's world famous baitshop!

TEDHow you doing, big brother?

Jack's voice is thick and mirthless.

JACKWhat are you doing here?

Ted studies Jack's expression. There's something disturbingin his brother's eyes. Ted stops smiling. Kelly glancesfrivolously around the shop, still in good cheer. Mike pawswith interest through a box of wiggly rubber lures. Stacyis the only one who immediately senses the bad vibes betweenher father and her uncle.

KELLY"What are you doing here?"

(laughs)Great way to greet your family, Jack!

JACKOh? Since when are you people myfamily?

A heavy silence descends. Kelly's good mood evaporates. Mike backs away from the box of rubber worms, stands besidehis mother.

TEDHoney, take the kids outside. Rightnow.

The kids don't need any prodding. Everyone is out the door. Ted confronts Jack.

TED (CONT'D)What's your problem?

JACKAs if you give two shits. I gotlots of problems.

TEDAny time you feel like having aproblem with me, bring it on. Butdon't you ever talk that way to myfamily again.

Jack smirks defiantly, drains the remainder of his beer. Hestares at a carefully constructed beer can pyramid standingat the end of the counter.

79.

TED (CONT'D)Are you hearing me, asshole? If youever talk that way to my family again,you're gonna have to deal with me.

JACKOh, to hell with you and your goddamfamily!

Jack slings his beer across the counter, demolishing thebeer can pyramid. The empty cans collapse, CLATTERING offthe counter onto the floor. Ted watches the cans roll awayin various directions.

TEDThat was pure ignorance. Goodbye,Jack.

Ted leaves the bait shop. A moment later we hear the soundof the SUV driving away. Jack buries his face in his handsand SOBS like a baby.

EXT. MCKLUSKY EXTERMINATIONS -- DAY

Louis is showing Laura the two alligators he killed lastnight.

LOUISTell me what you make of this.

Louis rolls the gator onto its back, exposing its underside. He points out unusual purplish splotches on the belly.

LAURAI've never seen that before.

LOUISAbout a month ago, I got a call fromone of my customers. Said they hada dead gator in their backyard andwanted me to come dispose ot it. Pretty routine, except that gatorhad purple marks on its belly likethis one. I've found close to fortydead alligators since then.

LAURAAnd they all have these markings?

LOUISYes.

LAURAA disease, maybe? A virus?

80.

LOUISWhatever it is, the live ones whodevelop these spots turn extraaggressive before they die. It'slike reptile rabies.

LAURADo you have any evidence?

LOUISJohn's been doing a damn good job ofkeeping the media away. What'shappening here should be big news.

LAURAYou mean the dead alligators?

LOUISI mean the dead people. Six peoplekilled by alligators in less than amonth. That's unprecedented.

LAURAIs it?

LOUISIt's beyond unprecedented. It'sunnatural. There's only been eighteenfatal gator attacks in Florida sincethey started keeping records in 1948. Eighteen attacks spread across morethan fifty years. And now we havesix in less than a month. Something'swrong.

LAURABut what?

LOUISI think it's got something to dowith Gator Country.

EXT. PATH IN THE WOODS -- DAY

Junior Beacham tugs his Radio Flyer wagon along a littlepath in the woods. He's searching for cans but he hasn'taccumulated very many yet. The few he's found RATTLE noisilyin the wagon. His neck brace is dirtier than ever.

He comes to an abandoned camp site. We see some discardedtent poles, an empty marshmallow bag, some crumpled pagesripped from a magazine, empty spring water bottles. Junioris disappointed to find only a single aluminum can. As heleans down to pick it up, he notices something--

Luminous purple slime seeps across the ground. Looking up,he sees a trail of the purple stuff leading off into thewoods. Intrigued, he looks for the source.

81.

EXT. DILAPIDATED SHACK -- DAY

Junior emerges from some fairly thick underbrush, followingthe trail of purple slime. He comes to an old dilapidatedshack situated in a small clearing. The purple slime iscoming from this shack. Seeping out from under the door.

JUNIORI wish I could read.

Stenciled across the rotting front door: PROPERTY OF THEUNITED STATES GOVERNMENT! KEEP OUT! HAZARDOUS MATERIALS!

INT. PIGGLY WIGGLY -- DAY

We find the White family moving through the produce departmentwith a shopping cart. Stacy kind of lags behind her parentsand brother. She seems bored and frustrated. Then shenotices something--

Donnie and Billy Joe, staring at her from behind an end capdisplay. Donnie beckons her with a conspiratorial nod. Stacy returns the nod. Tells her parents--

STACYI'm gonna go find the bathroom.

KELLYOkay, sweetie.

INT. PIGGLY WIGGLY -- CEREAL AISLE -- MOMENTS LATER

Stacy meets Donnie and Billy Joe about halfway down the aisle. She SLAPS Donnie's arm.

STACYThat's for what you did to my neck.

DONNIEI accept that. Can we be friendsagain now?

STACY(sighs, rolls eye)

I guess.

Donnie smiles. Behind his back, Billy Joe surreptitiouslyplaces a five dollar bill in his open hand (apparently Donniewon the bet).

INT. PROFESSOR'S CABIN -- DAY

Louis and Laura go through the scattered paperwork andnotebooks. Laura leafs through a spiral notebook withmounting frustration.

82.

LAURAThere's nothing substantial here. And nothing recent.

Louis seems to reach a similar conclusion. He tosses ahandful of papers into the air.

LOUISWhoever took the computer also tookPete's last notebook.

Laura doesn't realize there's a centipede crawling acrossthe side of the notebook she's holding. Then she feels itcrawling across her finger.

LAURAHelp!

She throws the notebook wildly across the across the roomand SLAPS the bug away from her hand. The centipede dropsto the floor and crawls away.

Laura holds a hand over her chest, breathing hard. Sherealizes Louis is about to burst out laughing.

LAURA (CONT'D)Don't you even laugh.

Louis smiles broadly. His gaze drifts randomly around theroom. His smile falters as he spots something lying on thedusty floor.

LOUISWhat have we here?

Louis reaches down. Picks up a dusty Polaroid picture. Laura steps beside him to look at it.

INSERT -- POLAROID

It's a picture of the old shack Junior found in the woods.

LAURAWhere is that place?

LOUISSomewhere around here, from the looksof it. I don't know for sure.

EXT. JACK'S BAIT SHOP -- AFTERNOON

Jack sits in a chair outside, drinking beer. A pail besidethe chair serves as a collection bin for his empty beer cans. He looks more depressed than ever.

Suddenly something RUSTLES in the woods behind the shop. Jack nearly falls out of his chair as he turns around tolook. Something is definitely moving through the woods.

83.

Jack stands up.

JACKWho's out there? What do you want?

(drunk, paranoid)I did what you asked me to do! I'mnot giving the money back!

Junior Beacham comes stumbling out of the foliage. Heshambles toward Jack like something out of a horror show. Purple ooze is all over him, as if he fell in a puddle ofthe stuff, and it seems to be eating through his skin.

Jack is horrified. Junior falls toward him, clutching Jack'ssleeves.

JUNIORHelp me...

Junior's legs give way. His face slides down the front ofJack's shirt as he collapses, smearing it with purple slime.

JACKJunior!

Junior's eyes flutter shut.

INT. TED'S HOUSE -- AFTERNOON

Ted and Kelly are just getting back from the Piggly Wiggly. They enter the kitchen toting grocery bags as the PHONE rings. Ted answers it as he puts the eggs and milk in the fridge.

TEDHello--?

(eyes widen)All right, Jack. I'll be right there. Call an ambulance.

Ted shuts the refrigerator and hangs up the phone.

KELLYWhat's the matter?

TEDThat was Jack. One of the Beachamkids had some sort of accident athis shop.

Ted gestures for Kelly to toss him the car keys. She doesso. Ted hurries out the door.

EXT. JACK'S BAIT SHOP -- AFTERNOON

An ambulance drives away from the bait shop, presumably withJunior Beacham on board. Ted and Jack stand watching itdepart.

84.

JACKThink he'll live?

TEDI don't know, Jack.

Jack slumps against a wall. The purple stuff has dried onhis shirt.

JACKI have to tell you something. I didsomething bad. Real bad.

INT. JACK'S BAIT SHOP -- LATER

Jack and Ted are seated at a table. Jack tries to pick up ashot glass, but his hand is shaking too bad.

TEDCalm down.

JACKTell me something. Where do youthink John got the money to buildhis park?

TEDI understand he had several investors.

JACKWhy would anyone throw big moneyinto an alligator zoo in the middleof nowhere?

TEDWhat are you getting at? What'sthis got to do with the stuff Juniorstumbled into?

JACKI'll show you what he stumbled into.

EXT. DILAPIDATED SHACK -- AFTERNOON

Ted and Jack stand in front of the old shack. The door isajar, and the luminous purple slime oozes out. Ted picks upa branch, sticks it in the goo. It clings to the tip of thestick as he lifts it up.

TEDGive me the light.

Jack hands Ted a flashlight. Ted shines it into the shack. The place is stacked from floor to ceiling with rusty metalbarrels. HAZARDOUS WASTE is printed on the side of eachone. Slime leaks out of the most corroded barrels.

85.

JACKThis place has been here for a longtime. Since before we were kids. Nobody lived near here back then.

TED(shocked)

Why would the government put thiscrap here?

Jack shrugs. He had the foresight to carry a small cooleralong with them. He opens it and removes a beer.

JACKMaybe this shack was supposed to betemporary. Maybe it was a clericalerror. Maybe they decided this wasjust as good as burying the stuff.

(opens the beer)Nobody cared about the environmentback then. They thought of the swampas nature's garbage disposal. Firstthe Army came here. Then the chemicalcompanies.

TEDWhat chemical companies?

JACKCome on.

EXT. AIR BOAT DOCK -- SUNSET

Jack and Ted stand on the pier. The golden light of thesetting sun gleams on the patches of open water between thesawgrass.

JACKIt's out there. Over fifty years ofaccumulated toxic waste.

TEDWhat kind of toxic waste?

JACKAll I know for sure is you wouldn'twanna pour it over your cornflakesin the morning.

TEDJesus.

JACKThese places paid certain individualsbig money to dump their garbage.

TEDCertain individuals.

86.

JACKYou still don't get it, do you? It's John. He let them dump theirpoison here, and they paid himhandsomely for it.

TEDI find that hard to believe. NotJohn.

JACKHe's crazy, Ted. Anybody whoselifelong ambition is to build thebiggest alligator zoo in the worldhas to be crazy. The end justifiesthe means for him.

TEDSo he's been paying off McKlusky, aswell? Louis knows about this?

JACKOnly a handful of people know. Louisisn't one of them. For the last twoyears...John's been paying me todump the stuff.

Jack closes his eyes for a moment after this painfuladmission. Then he walks away, leaving Ted alone on thepier. Ted gazes out at the horizon, deeply concerned.

EXT. GATOR COUNTRY (GATOR PIT) -- TWILIGHT

Sheriff Perkins leans on the rail and looks down at themovement of alligators within the Gator Pit. A workman namedWALLACE moseys up alongside him, reviewing some notes on alittle pad.

WALLACEFour more dead ones today.

Sheriff Perkins accepts the news stoically. He gazes overat the Charlie Tree, as if for guidance.

WALLACE (CONT'D)Maybe something's wrong with thewater. We can't figure it out.

SHERIFF PERKINSStarting tomorrow, stop funneling inthe water from the swamp.

WALLACEAll right. But if we let it staystagnant too long it's gonna turninto a cesspool down there.

87.

SHERIFF PERKINSWe'll rig up a new water system. The grand opening will not bepostponed. Understood?

Wallace nods, starts to walk away. Pauses.

WALLACEBy the way, the worker who got bityesterday didn't make it.

SHERIFF PERKINSAll right.

Wallace walks away. Sheriff Perkins looks up at the darkeningsky. Andy Hudson strolls over and stands beside his boss.

DEPUTY HUDSONYou called for me, Sheriff?

SHERIFF PERKINSSomebody broke in last night. Lookslike the handy work of the GladeCrusaders. I want you to stay heretonight. Find any trespassers, shootfirst and ask questions later.

Chewing gum, Andy smiles.

INT. TED'S HOUSE -- NIGHT

Kelly cooks dinner in the kitchen. She's surprised when Tedenters the room with Jack.

KELLYWhat happened...?

TEDJunior was burned pretty badly, butI think he'll make it. Jack's goingto have dinner with us.

JACK(sheepishly)

If you don't mind, that is. I'msorry about the way I acted earlier.

KELLYOkay. We can start fresh.

(beat)I told Mike to invite Chris over.

TEDGood. That was a good thing to do.

Ted sits down at the kitchen table, takes a deep breath.

88.

TED (CONT'D)Kelly, we've got something to tellyou about--

Stacy enters the kitchen.

STACYI've got a date.

TEDA date?

STACYThat's not a problem, is it?

KELLYWhere and with who?

We hear a vehicle pull up outside. BLOWS its horn.

STACYThat's Donnie now. Gotta go!

TEDWhen will you be back?

STACYLate. Bye!

TEDLate? Wait a minute--

But she's out the door.

KELLYWhat's going on? What were you goingto tell me?

INT. MIKE'S ROOM -- NIGHT

Mike and Chris peek through the window as Stacy trots acrossthe yard to climb into Donnie's truck.

MIKEI can't believe she's giving thatjerk another chance.

CHRISShe's probably in love. Girls fallin love real easy.

(grins)I bet I know where they're going.

MIKEWhere?

89.

CHRISA friend of mine told me about thisspot where you can sneak into GatorCountry. I know that's where Donnie'staking your sister.

MIKE(light bulb moment)

I know! Let's go spy on them!

EXT. MCKLUSKY EXTERMINATIONS -- NIGHT

Louis escorts Laura to her Jeep.

LAURAWell, I'll run as many tests on thesetissue samples as I can. It couldtake a couple of weeks to find outanything.

Louis's cell phone rings. He answer it.

LOUISYeah?

(eyes widening)Sure, I'll be here. Come right over.

He clicks off the phone.

LAURABusiness call?

LOUISNo, that was Ted White. He said hewas coming over here with Jack totell me something. Something aboutthe water.

INT. DONNIE'S TRUCK -- NIGHT

Donnie turns the steering wheel, guides the truck off theroad and onto a bumpy trail.

STACYWhere are you going?

DONNIE(applying the brakes)

We walk from here, baby.

STACY(incredulous)

Walk?

Donnie kills the engine. The PULSEBEAT of INSECTS fills thedark truck.

90.

DONNIERelax. Come on.

He gets out. Stacy hesitates a moment, then she gets outtoo.

EXT. SHADOWY GROVE -- NIGHT

Donnie's truck is parked in a shadowy grove of trees. Heturns on a flashlight, shines it into the shadows. Stacystands next to him.

STACYI don't feel like going on a naturewalk.

DONNIEShhhh. I'm trying to signal them.

STACYSignal who?

Donnie flicks the light on and off. A moment later, we seetwo response flicks. Donnie smiles as three people emergefrom the shadows up ahead.

DONNIEYou already know Billy Joe. Meet myother two friends -- Candy andGilbert.

Billy Joe is joined by a couple of redneck lovebirds namedGILBERT and CANDY. They're both about 17 and not terriblyattractive. They all seem just a tad intoxicated.

CANDYHey, girl. Nice to meet you. Foryour information, Gilbert here ismine.

(giggles drunkenly)So don't try anything.

Stacy rolls her eyes. She's obviously way out of Gilbert'sleague, looks wise.

STACYRelax. He's all yours.

DONNIEYeah, Candy. You're the only onewho'd touch Gilbert's bucktoothedass with a ten foot pole.

Gilbert shoots Donnie the bird. Billy Joe laughs.

STACYIs somebody gonna tell me what we'redoing out here in the boondocks?

91.

DONNIEYou're about to find out. Let'smove it, troops. Follow me.

They make their way through the shadowy grove, theirflashlight beams bobbing up and down as they walk along.

EXT. PERIMETER FENCE -- NIGHT

A tall chain-link fence. It seems to stretch endlessly inboth directions, finally disappearing into the darkness eachway. A sign attached to the fence notifies: PROPERTY OFGATOR COUNTRY. ELECTRIFIED FENCE. DO NOT CLIMB. TRESPASSERSWILL BE PROSECUTED.

Stacy and Donnie and friends approach the fence. From theirvantage point, they can see the top portion of the rollercoaster poking above the trees.

STACYGator Country. We can't go in there.

DONNIESure we can. You've climbed a fencebefore, right?

STACYAre you out of your mind? We'll getelectrocuted.

DONNIEUh-uh. Tell her, Billy Joe.

BILLY JOEMy cousin did landscaping here. Hefound out about this section of fencethat got hit with a riding lawn mower. They had to turn the juice off inthis one section while they fixedit. Somebody forgot to turn it backon.

STACYWell, I don't know about you, but Idon't feel like going to jail.

CANDYShe might be right. Why don't wejust drive out to Sweet Lily Pondand get wasted?

GILBERTThat sounds good to me.

DONNIEWill you chickenshits relax?

(MORE)

92.

DONNIE (CONT'D)My Daddy's a good friend of SheriffPerkins. If we get caught, the worstthat'll happen is he'll scream inour faces for a while and then tellus to go home.

Billy Joe chuckles.

STACYThis entire fence looks exactly thesame. How do you know for sure whichpart won't shock us?

DONNIELook closely, babe. See where thispart doesn't match this part?

STACY(looks, shakes head)

No.

DONNIEI'll prove it to you.

Donnie abruptly grabs the chain-link fence. He immediatelystarts shaking like he's being electrocuted. Stacy GASPS. Donnie starts laughing.

DONNIE (CONT'D)There's nothing to be afraid of!

Donnie climbs the fence. Hops to the ground on the otherside.

BILLY JOECome on, y'all. Let's do it.

Billy Joe goes next. Then Gilbert and Candy. And finallyStacy. A moment later, all five of them are standing onGator Country property. They make their way toward the park.

INT. MIKE'S ROOM -- NIGHT

The lights are out. Kelly opens the door and peaks insideat the sleeping children. She smiles, closes the door.

A moment later, Mike sits up in bed. Then Chris sits up.

MIKE(whispers)

You ready?

CHRIS(whispers)

Yeah.

93.

EXT. DARK ROAD -- NIGHT

Mike pushes Chris's wheelchair down a dark road.

CHRISDo me a favor.

MIKEWhat?

CHRISIf you see a gator while we're onthis road, start pushing like hell.

MIKEWill do.

EXT. GATOR COUNTRY -- NIGHT

Deputy Andy Hudson saunters through the darkened amusementpark, chewing gum. He leans up against a light post, thumbshooked in his belt. He notices a security camera monitoringhis movement. He smiles.

INT. CONTROL ROOM -- NIGHT

Andy enters the control room. The security guard on duty,Davis, swivels around in his chair. He's eating a roastbeef sandwich on white bread.

DEPUTY HUDSONEverything quiet so far?

DAVISAbsolutely. Look for yourself.

Andy squints into the bank of monitor screens. Each screenshows images from various sectors of the park. On one ofthe monitors, Andy notices a figure walking.

DEPUTY HUDSONWho is that?

DAVIS(looks at monitor)

Oh, that's Jackson over in sectorone. He's the new guard.

DEPUTY HUDSONWhat about this guy?

Andy points to another monitor, where a man strolls throughthe park holding a stick or something. Davis glances at themonitor, waves away Hudson's concern.

DAVISDuane.

94.

DEPUTY HUDSONDuane?

DAVISHe's the custodian. Somebody has toclean up behind all those constructionworkers.

Looking more closely at the monitor, it becomes clear theman is carrying a broom. Andy sits down with a sigh.

DEPUTY HUDSONCan I get on the internet with anyof this stuff?

Davis points to a flat screen monitor, where a screen saveris repeating the same animated clip of Gator Country's mascotover and over.

DAVISRight there. Did you know I met mywife online?

DEPUTY HUDSONNo shit?

DAVISThere's a really great dating siteyou should check out. Go to www...

EXT. GATOR COUNTRY ENTRANCE -- NIGHT

The security guard we saw on the monitor earlier, JACKSON,stands outside near the main gate. The huge WELCOME TO GATORCOUNTRY sign looms overhead, all lit up. It's quite a sightas it shimmers and blinks and twinkles.

Jackson winces suddenly, like something bit him. There's atranquilizer dart sticking out of his upper leg. As hecollapses, a man rushes up behind him and catches him. Theman lowers Jackson gently to the ground. Drags him behindsome bushes.

EXT. GATOR COUNTRY -- KIDDY PARK -- NIGHT

Our group of teenage trespassers comes to a kiddy park. Ithas benches for parents to sit on and watch their kids playon monkey bars, slides, merry-go-rounds, swings, etc.Everything is painted green.

Donnie and Stacy drift over to the swing-set. Stacy sits ina swing and Donnie pushes her.

Billy Joe sits on the edge of the merry-go-round and smokesa cigarette.

Gilbert and Candy go to a bench and make out.

95.

As Donnie pushes her, Stacy gazes up at the big rollercoaster. The "Green Screamer" towers above the park.

STACYI can't wait till they get the rollercoaster working. I love rollercoasters.

DONNIEYou love going fast, is that right?

STACYSometimes.

Donnie is pushing her in a very calculated way. Each timeher butt swings toward him, he lets it bump against hiscrotch. She begins to catch on.

STACY (CONT'D)Enough of that.

She hops off the swing.

DONNIEWhat's wrong?

STACYYou know what you were doing. Can'tyou just hold my hand and pretend tobe a gentleman?

DONNIEI don't have to pretend.

He offers his hand. She takes it. They stroll along handin hand.

Gilbert and Candy are really getting hot and heavy on thebench. Candy has to put on the brakes.

CANDYStop. Bring me someplace else. Someplace really romantic.

GILBERTAll right, baby.

CANDY(calling to the others)

Gilbert and I are gonna go someplaceto be alone.

STACY(whispers to Donnie)

Good. They were making me sick.

96.

As Candy and Gilbert walk OUT OF FRAME, we see a littleinformative plaque (the sort you often see at historicallandmarks).

INSERT -- PLAQUE

It reads: Another Alligator Fun Fact! Did you know alligatorshave been around for 65 million years? They outlived thedinosaurs, and they might just outlive you!

EXT. MCKLUSKY EXTERMINATIONS -- NIGHT

Ted's SUV is parked beside Louis's pickup truck and Laura'sJeep.

INT. MCKLUSKY EXTERMINATIONS -- NIGHT

Ted stands near Laura as Louis leans toward Jack, who'ssitting down. Louis looks like a police detective in themiddle of an intense interrogation session with a suspect.

LOUISWhy did you do it?

JACK(won't make eye contact)

You know why. I needed the money. My shop was about to go under.

LOUISDestroy the swamp just to save yourlittle pissant bait shop, is thatwhat you're telling me?

JACKI know it was wrong. I can't changewhat I did. I'm trying to do theright thing now.

LOUISThe right thing might involve yougoing to jail. Do you understandthat?

JACKYes. If it comes to that.

LOUISI want you to tell some other peoplewhat you told me. Can you do that?

Jack closes his eyes. Nods. Ted is biting his lower lip,staring at the floor and shaking his head.

TEDAll for that damn park. For nothing. I uprooted my family for nothing. Jesus.

97.

LAURAThis whole area...poisoned. Someonehas got to notify the EPA.

LOUISFirst thing's first. We're gonnashut down John's park before it opens.

EXT. GATOR COUNTRY (GATOR PIT) -- NIGHT

Two men approach the Gator Pit. David Palmer is dressed inJackson's uniform. Apparently the custodian was shot with atranquilizer dart like Jackson, because Palmer's assistantMatt wears the custodian's coveralls and carries a broom.

Palmer carries a bucket of raw meat. He and Matt stare downinto the Gator Pit. There's not much movement down there. And it's dark. Pretty creepy.

MATTI can't believe we're doing this.

PALMERBelieve it.

MATTWe're actually going to pull thisoff.

PALMERLet's not get ahead of ourselves. You know the plan from this pointon, right?

MATTWe let the alligators out. Then wehead for the air boat dock.

Palmer nods. They start going through the motions theyobviously rehearsed ahead of time. Palmer tosses chunks ofmeat down to the alligators to get their attention. Mattturns a key and pulls a lever, lowering a ramp down into thethe Gator Pit.

Once the ramp is down, Palmer and Matt toss the rest of themeat on it. The alligators begin crawling up the ramp,tentatively at first, following the trail of meat.

The two Glade Crusaders stand transfixed for a moment,mesmerized by the sight of these creatures moving slowly upthe ramp. Slowly but surely closer.

PALMERWe should probably stop standinghere.

MATTI agree.

98.

PALMERWe should probably get the hell outof here now.

MATTAgain, I agree.

EXT. PARKING LOT -- NIGHT

Gator Country's parking lot is dark and mostly deserted atthis late hour. Most of the illumination comes from thetwinkling WALCOME TO GATOR COUNTRY sign looming grandly inthe distance. Mike pushes Chris across the vast expanse ofempty parking spaces.

CHRIS(whispers)

Don't get any closer to the mainentrance. They've got guards onduty there.

MIKE(whispers)

How do we get in?

CHRIS(pointing)

Head for those shrubs at the edge ofthe parking lot.

EXT. GATOR COUNTRY -- NIGHT

Gilbert chases Candy playfully along a winding brick pathway. Finally he grabs her under the Charlie Tree. As he plantswet kisses on her neck, she notices something. She pointsenthusiastically.

CANDYThere! Take me in there!

Gilbert looks up, and sees--

About forty feet away, a big concrete tunnel shaped like anopen alligator mouth. One of the walkways leads into themouth, and the sign above reads: THE GATOR CAVE.

CANDY (CONT'D)It'll be like a tunnel of love! Let's go!

They hurry toward the Gator Cave.

INT. CONTROL ROOM -- NIGHT

Deputy Andy Hudson and Davis have their eyes fixed on onemonitor, the one connected to the internet. They are amusingthemselves by participating in an online chatroom.

99.

DAVIS(laughs)

I can't believe you just asked herthat.

DEPUTY HUDSON(eyes wide with impishanticipation)

Let's see what she says...

Whatever the response is, it causes Davis and Andy to laughuproariously.

They don't see the activity taking place on the other monitorscreens. On one screen, Stacy walks along with Donnie andBilly Joe. A far more disturbing sight on the screenmonitoring the Gator Pit -- the alligators are crawling out.

Let's also take note of a high-tech sensor system above thebank of monitors. It displays an electronic map of the park,like something you'd see at NORAD. All of the alligators atGator Country were implanted with sensors, and the exactposition of each alligator shows up as a red dot on the mapdisplay. Most of the dots are clustered where they shouldbe on the map, in the Gator Pit. But an alarming number ofred dots are drifting away from the Gator Pit, spreading outinto the park.

Andy and Davis are having too much fun on the internet tonotice.

EXT. GREEN SCREAMER -- NIGHT

Stacy, Donnie, and Billy Joe approach the towering rollercoaster. It is illuminated by floodlights.

DONNIEReady for a surprise?

STACYWhat?

DONNIEBilly Joe knows how to make thisthing operate.

STACYAre you serious--?

Billy Joe blows cigarette smoke, nods. Behind her eyes, wesee Stacy's smarter half trying to talk sense to her.

DONNIEYou ready for the ride of your life?

STACYLook, guys, this is getting out ofhand. We're asking for trouble.

100.

DONNIE(turns on the charm)

Just one ride. It's something neitherof us will ever forget. It's alsosomething I've been dreaming aboutsince the first time I ever saw you.

Donnie can see Stacy's precarious resolve tilting in thedirection he wants. Sensing she only needs a nudge, he looksaround and sees some recently planted flowers. He plucksone and presents it to her.

STACY(rolls eyes)

All right.

DONNIEStart her up, Billy Joe.

Billy Joe blows smoke, drops his cigarette to the ground andsteps on it. He heads toward the control booth.

Donnie leads Stacy through a turnstile. They bypass thearea where crowds would normally have to wait in line. Thenthey duck under a chain and come to the track carts. Holdingher hand, Donnie helps Stacy step into the nearest cart andthen slides in beside her.

INT. ROLLER COASTER CONTROL HUT -- NIGHT

In the little control hut, Billy Joe starts flicking switchesand pushing buttons.

EXT. GREEN SCREAMER -- NIGHT

We hear the HUM of unseen machinery starting up. Extra tracklights come on. Stacy is clearly getting excited in spiteof herself. Donnie puts his arm around her as the cart beginsto move.

DONNIEHere we go!

EXT. GATOR CAVE -- NIGHT

Gilbert and Candy disappear within the concrete alligatormouth.

INT. GATOR CAVE -- NIGHT

Eerie green and purple lights provide the only illumination. The sound of distant DRIPPING WATER has been amplified tosimulate the sensation of walking through an actual cave.

The cave expands into a wide open area with a shimmeringpool. Little boats are attached to an underwater track,moving automatically along. The pool channels into a tunnel.

101.

CANDYThis place is magical.

She looks up at the (fake) stalagmites hanging down from theceiling. Kneeling beside the pool, she runs her fingersthrough the shimmering purple water.

GILBERTHere comes another boat. Let's getin!

They climb into the moving boat. It carries them into thetunnel. From the overhead speakers we hear a PRERECORDEDVOICE.

PRERECORDED VOICE (V.O.)Y'all hang on! Keep your hands andfeet in the boat at all times, orthey might just get bitten off!

Gilbert and Candy start kissing as the darkness enfolds them.

EXT. CONFECTION STAND -- NIGHT

The Glade Crusaders, David Palmer and Matt, stop to restbeside the confection stand. Matt winces and looks down.

MATTYuck.

He stepped on a packet of swamp sauce. He peels the packetoff his shoe and tosses it aside.

PALMERYou know they sell alligator meathere? Those butchers. They deservewhat they're getting.

Palmer produces what looks like a TV channel changer.

MATTWhat's that?

PALMERYou remember that stuff we plantedhere last night?

MATTSure, the surveillance devices.

PALMERI shouldn't have kept this from you,Matt, but those weren't surveillancedevices.

(pause)They were explosive devices.

102.

MATT(shocked)

What?

PALMERI needed your help but I knew you'dobject. I had no choice.

MATTYou calculating son-of-a-bitch. Damn right I object.

PALMERWe've got to do this. And we've gotto do it now.

MATTDo you want somebody to get hurt? We let the gators out. Let that beenough.

PALMERI'm sorry, Matt.

Palmer clicks a button on the remote. A red light beginsblinking. His finger hovers over the detonation timer.

MATTI won't let you do this.

Matt tries to grab the remote. Palmer avoids him and pullsthe pistol out of the holster on Jackson's belt. Matt freezesas Palmer points it at his nose.

PALMERWalk away, Matt. Now.

Matt slowly backs up. Then he turns around and runs away asfast as he can.

Palmer flicks the switch on the remote control.

INSERT -- EXPLOSIVES REMOTE

A digital display begins to tick off the seconds. 60. 59. 58. 57...

EXT. GATOR COUNTRY ENTRANCE -- NIGHT

The security guard, Jackson, has regained consciousness. He's been stripped down to his boxers and socks. His handsare cuffed behind his back and there's duct tape over hismouth. Looking a bit ridiculous, he rises to his feet andstumbles over to a security outpost beneath the big WELCOMETO GATOR COUNTRY sign.

Give him credit for pressing the necessary numbers and liftingthe emergency phone with his hands cuffed behind his back.

103.

He drags his face against a wall in an attempt to rub theduct tape away from his mouth. He's got a mustache and thisis exceedingly painful. He only manages to pull a smallportion of tape away from his mouth. Then he kneels down infront of the phone.

INT. CONTROL ROOM -- NIGHT

Deputy Andy Hudson and Davis continue amusing themselves onthe internet. Davis seems irritated when the emergency phonestarts BEEPING. He picks it up.

DAVISYeah, what is it?

(confused)Jackson, is that you?

Andy glances over, eyebrows raised.

DAVIS (CONT'D)(to Andy)

It's Jackson but he sounds drunk.

Suddenly Davis looks concerned.

DAVIS (CONT'D)What did you say?

Davis looks at the monitor. There we see the handcuffedJackson kneeling on the ground in his boxer shorts. Andysees it too, and he nearly falls out of his chair.

DEPUTY HUDSONHoly bastard!

DAVISJesus H. Christmas.

DEPUTY HUDSONGet the sheriff on the phone! We'vegot intruders in the park!

Davis's eyes widen with horror. He's looking above the bankof monitors, up at the sensor system. The little red dotsare expanding away from the Gator Pit.

DAVISWe have a bigger problem than that.

But before Andy even looks at the sensor system, he looks atthe other monitor screens and sees the alligators crawlingfreely about the park.

DEPUTY HUDSONThey're out! Somebody let them out!

104.

INT. SHERIFF PERKINS BEDROOM -- NIGHT

Sheriff John Perkins is sound asleep with the phone rings. He sits bolt upright in bed, clicks on the bedside lamp. Eyes squinty with sleep, he answers the phone. His thicksilver hair is messed up.

SHERIFF PERKINSWhat? What?

The sheriff's WIFE (up to this moment we didn't even know hehad a wife) flinches with fear as her husband shouts intothe phone.

SHERIFF PERKINS (CONT'D)Tell Davis to activate the emergencycontainment system! Hurry up, yougoddam stupid asshole! I'm on mygoddam way!

He SLAMS the receiver down so hard, the phone probablyreceives internal injuries. Then he puts a soothing hand onhis wife's shoulder.

SHERIFF PERKINS (CONT'D)Sorry, honey. Those damnenvironmental wackos broke into thepark and released some of the gators.

WIFEOh, my goodness.

Still wearing his pajamas, John reaches for his hat and hisgun belt.

SHERIFF PERKINSTime to shoot me some nature boys.

INT. GATOR CAVE -- NIGHT

The boat moves along the shimmering tunnel on the underwatertrack. Gilbert and Candy are making out. And now a reallyneat effect happens -- the walls of the tunnel becomepanoramic movie screens. A vivid, beautiful image appears. The Everglades at sunrise.

CANDYWow!

PRERECORDED VOICE (V.O.)(reverent tone)

Florida's Everglades. One of themost beautiful, most unique ecosystemsin the entire world. Long beforeFlorida was called Florida, theSeminole Indians inhabited this sacredland.

105.

The sunrise scene is replaced by a broad daylight scene. Bright blue sky, bright green sawgrass.

PRERECORDED VOICE (CONT'D)While the lion may be the king inAfrica, Florida has a different king. The alligator.

The scene of rolling blue sky above rolling green sawgrasssuddenly disappears -- and then it shock cuts to a close upof an alligator. The scene freeze frames as the creaturelunges at the camera, mouth open wide. Candy GASPS. Gilbertchuckles.

The boat drifts slowly down the tunnel, the scary image frozenon both sides.

PRERECORDED VOICE (CONT'D)Behold the American alligator. Thealligator is, above all else, asurvivor.

A funhouse-type scare effect comes in the form of a mechanicalgator springing out of the water beside the boat. Candy andGilbert both flinch back, then laugh as they realize it'sfake. The mechanical gator head has glowing green eyes. There's a speaker in its mouth, emitting ROARING sounds.

PRERECORDED VOICE (CONT'D)Did you know that alligators werehunted to the brink of extinction? In the nineteen fifties and sixtiesthere was a big demand for alligatorskin boots and briefcases and wallets. Congress took action in 1970 andpassed the Lacey Act into law, whichmade alligator poaching a seriousfederal crime.

Candy and Gilbert scan the water for signs of more pop-upgators.

GILBERT(points)

I see another one coming up.

Gilbert leans out of the boat and KNOCKS on the bumpy greenshape visible just beneath the surface. Then it pops up outof the water, SPLASHING them. It's another robot, its eyesglowing like the last one. Gilbert KNOCKS on its metal snout.

CANDYI don't think you're supposed totouch those things. They said keepyour hands in the boat.

106.

GILBERTIt's not like it's gonna bite me oranything. It's a machine.

CANDYKeep your hands in the boat, boy. You could get electrocuted orsomething. Touch me if you wannatouch something.

Gilbert smiles, amused by Candy's concern. He sees anothergreen bump in the water.

GILBERTThere's another one!

Almost like he can't stop himself, Gilbert compulsivelyreaches out and KNOCKS on the top of the mechanicalalligator's head. His brow furrows.

GILBERT (CONT'D)Hey. This one feels different.

The alligator lunges out of the water, its mouth wide open. This one isn't a robot. It CHOMPS DOWN on Gilbert's arm. He SCREAMS as it yanks him out of the boat.

CANDYGilbert--!

An image of dusk appears on the tunnel walls. A deep redsunset.

PRERECORDED VOICE (V.O.)A few years after the Lacey Act, thealligator population successfullyrebounded...

Gilbert continues SCREAMING, frantically splashing and kickinghis legs and flailing about with his free arm. Some of hisblood splatters across the image of sunset on the tunnelwall. The gator pulls him under water. His SCREAM turns toa GURGLE.

Candy also continues to SCREAM. She jumps out of the boatand makes a run for it, but it's difficult to run becausethe water comes up above her knees. She looses her balanceand falls forward into the water.

And that's when another one of those mechanical alligatorsSPRINGS UP out of the water. There's a SICKENING THUD as ithits Candy's forehead. She slumps over and her body goeslimp. Blood flows profusely from the head wound as she sinksslowly under water.

The mechanical alligator's eyes glow brightly.

107.

INT. CONTROL ROOM -- NIGHT

Deputy Andy Hudson and Davis continue to panic in the controlroom. Davis flips frantically through a manual of some sort. Andy's eyes dart from monitor to monitor. He's sweating.

DEPUTY HUDSONChrist, have you activated thecontainment system yet?

DAVISI can't remember how! I'm trying tolook it up!

Andy notices two people he recognizes on one of the monitors. Mike White and Chris Beacham.

DEPUTY HUDSONSon of a whore! There's the littlebastard responsible for this!

DAVISWho--?

DEPUTY HUDSONThe Beacham kid! Get the containmentsystem working! Hurry!

DAVISI'm trying to!

Andy hurries out of the room.

EXT. GREEN SCREAMER -- NIGHT

Still unaware of the alligator situation, Chris and Mikeapproach the roller coaster. They see the cart descendingdown the tracks. Stacy and Donnie are in it, their armsheld high.

MIKEI can't believe it! She's actuallyriding the roller coaster!

(envious)I wanna ride it. Maybe they'll letus ride it if we threaten to tell onthem.

That's when they hear the HISS. They glance over theirshoulders, eyes wide. Three alligators, roughly thirty feetaway, crawling in their general direction.

CHRISAlligators!

Mike takes off running. Chris pumps the wheels of his chair.

108.

CHRIS (CONT'D)Hey, don't leave me! Mike!

Mike stops, goes back. He gets behind the wheelchair andstarts pushing as fast as he can.

EXT. CONFECTION STAND -- NIGHT

A red sensor is blinking on the explosive devise planted onthe confection stand. Davis Palmer stands at a safe distance,watching the digital countdown on the remote control.

INSERT -- EXPLOSIVES REMOTE

The time ticks down...9 seconds...8 seconds...7 seconds...

BACK TO SCENE

An enormous EXPLOSION blows the shit out of the confectionstand. Fiery debris goes somersaulting through the air.

EXT. GATOR COUNTRY -- NIGHT

A series of similar EXPLOSIONS rip through the park. Thegift shop BLOWS UP. The force of the explosion knocks DeputyAndy Hudson (who was walking nearby) to the ground. We noticesome colorful feathers flutter down with the debris.

The bridge across the Gator Pit EXPLODES, collapsing downinto the pit.

Next there's an EXPLOSION near the park's primary powergenerator. Part of the wooden enclosure around the generatoris blown completely away, and the part that remains standingis engulfed in flames.

For a moment there's a complete blackout of electricity. The big WELCOME TO GATOR COUNTRY sign goes dark. Thefloodlights illuminating the roller coaster stop shining. The coaster itself loses power, stalling the cart at the topof a rise.

INT. CONTROL ROOM -- NIGHT

Everything loses power: the sensor system, the bank ofmonitors, the myriad blinking lights and switches. Thecontrol room is pitch black for a moment.

The backup power kicks in. Not everything comes back on. Most of the monitors come back, as does the sensor system. The little red dots are everywhere now.

EXT. GATOR COUNTRY GIFT SHOP -- NIGHT

Deputy Andy Hudson lifts his head slowly up from the ground. His lip is bleeding and there's a pile of broken glass inchesfrom his face. The remains of the gift shop are in flames.

109.

He's very shaky as he rises to his feet. He gazes at theflames in a kind of stupefied, dumfounded way. How couldthis have happened?

Then he hears the HISSES. He turns to see--

Six alligators crawling toward him in the flickeringfirelight. They look like prehistoric creatures from hell.

DEPUTY HUDSONOh, no...

He takes off running.

EXT. GATOR COUNTRY (GATOR PIT) -- NIGHT

Deputy Hudson arrives at the edge of the Gator Pit and findshis means of escape -- the bridge -- completely destroyed.

He turns and sees several alligators closing in on him. Helooks down in the pit. Alligators are still down there too.

Andy pulls out his gun and starts SHOOTING. In a state ofpanic, he rushes toward the alligators like a football playerwho thinks he can weave and bob his way to the end zone. Like that football player, he makes an inevitable mistake. He trips over one of the gator's tails. Drops his gun.

One gator grabs his forearm as he tries reaching for hisweapon. Another gator CHOMPS DOWN on his ankle. We hearBONES CRUNCH. Andy SCREAMS.

He's torn apart with surprising speed. A moment later, wesee one of the alligators crawl away with Andy's left arm.

INT. CONTROL ROOM -- NIGHT

Davis watches Andy's dismemberment happen on the monitor. By the time it's over, he turns around and stumbles OUT OFFRAME. We hear him throw up.

EXT. GREEN SCREAMER -- NIGHT

Stacy and Donnie remain stranded at the top of the highestrise on the roller coaster. They've got a fantastic view ofthe surrounding fires.

STACY(hollering down)

Billy Joe! We're stuck up here!

Donnie chuckles, lights a cigarette.

DONNIEMight as well make yourselfcomfortable. I reckon we're gonnabe stuck here for a spell.

110.

Stacy settles down in the seat, crosses her arms in a wayconveying extreme annoyance.

EXT. GREEN SCREAMER -- NIGHT

Billy Joe paces nervously around the control booth under theroller coaster. He's surprised when Mike and Chris suddenlyappear out of the shadows.

BILLY JOEWhat the hell are you brats doinghere? Did you blow that stuff up?

CHRISNo! Billy Joe, listen to us! Somebody let the alligators out!

BILLY JOE(increasingly concerned)

No shit--?

MIKEHe speaks the truth! There's fiveor six of 'em right back there!

Something happens inside Billy Joe's mind, some very flawedmental defense mechanism. The very reasonable concern wesee on his face is suddenly, purposely replaced withunreasonable anger. Anger toward Chris Beacham.

BILLY JOESo, Big Wheel. You think I've gotbrain damage, huh? Isn't that whatyou said to me yesterday?

Chris backs his chair slowly away from Billy Joe.

CHRISDon't do this, man. Not now.

BILLY JOEHuh? Are you telling me what to do,Big Wheel?

Billy Joe raises his foot, places it on Chris's paralyzedknees, and with great force uses his big shoe to shove theparaplegic boy. The wheelchair rolls backward and tips over,dumping Chris to the ground. Mike is shocked.

MIKEWhat are you doing? Are you crazy?

BILLY JOE(turns on Mike)

Huh? Did you say something to me?

111.

MIKEI just wanna help Chris get back inhis chair, OK?

BILLY JOENo! Not OK!

Billy Joe grabs Mike's wrist and slings the kid several feetaway.

Chris struggles with his wheelchair, trying to push it upstraight and climb into it. But before he can accomplishthis, Billy Joe walks over and steps on his hand. ChrisSCREAMS.

EXT. GREEN SCREAMER -- NIGHT

Stacy continues gazing anxiously down. The bottom portionof the coaster is lost in shadow, preventing her from seeingwhat's transpiring down there.

Donnie smokes his cigarette, gazing up at the stars. Heseems content.

STACY(shouting)

Billy Joe! What's going on?

DONNIESave your breath. That lug headmost likely hauled ass when thoseplaces blew up. Relax.

STACYIf you think I can actually relax ina situation like this, there'ssomething fundamentally wrong withyour brain.

DONNIECertain things are out of our control. If you can't deal with that, that'syour problem. The fire departmentboys are coming. Look yonder.

Sure enough, we can see some tiny red flashing lights on theinterstate highway miles away. The distinctive DIN of afire truck siren can be heard. It's distant and barelyaudible, but it's there.

STACYThey're sure a long way off.

DONNIEYep. It'll take 'em the better partof an hour to make it here.

(MORE)

112.

DONNIE (CONT'D)(leans toward her)

In the meantime, maybe we shouldmake the most of this situation.

He tries to kiss her. She shoves him away.

STACYStop it!

(sees something)Oh, God...look.

DONNIEHuh--?

They can see the alligators now, crawling through the sectionsof the park illuminated by the fires.

STACYThey're everywhere!

EXT. AIR BOAT DOCK -- NIGHT

Palmers hurries toward the air boat dock. Matt waitsanxiously on the pier.

MATTHurry up!

PALMERI'm coming! I'm coming!

MATTYou're lucky I waited for you, youson of a bitch! Now let's go!

Matt climbs on the air boat. Palmer takes a final look backat the flames licking up into the night sky above the park. He's happy.

PALMERBurn! Burn!

MATTCome on!

PALMERDon't you see that we've won? Wewon, Matt! The Everglades won! Mother Nature won!

Matt suddenly hears something. A voice in the distance.

KID'S VOICE (O.S.)Help! Somebody please help!

MATTDid you hear that? That was a kid!

113.

Now Palmer decides to hop in the air boat.

PALMERWe've got to get out of here.

MATTThere's a kid out there! Doesn'tthat mean anything to you?

Matt climbs out of the air boat, hurries away from the dockin the direction of the screams.

PALMERMatt! Get back here!

EXT. GATOR COUNTRY PHONE BOOTH -- NIGHT

Mike runs away from the Green Screamer and the advancingalligators. He doesn't get far. Alligators are everywhere. They're pretty spaced out for the most part, but there's noclear safe route of escape.

That's when he notices the phone booth. It's designed tolook old fashioned (in keeping with the park's irregular1920s era motif), with the old black Bell logo on the side. Mike gets inside it and closes the sliding glass door.

EXT. GATOR COUNTRY ENTRANCE -- NIGHT

Sheriff John Perkins SPEEDS THROUGH the park, swerving aroundthe crawling hoard of alligators (these gators mean money tohim and with the exception of running over a few protrudingtails, he successfully avoids them). The car accidentallyRAMS one of the park's many wastebaskets, knocking it severalfeet through the air and spilling napkins and empty papercups and discarded cardboard dishes containing leftover chunksof fried gator meat.

INT. JACK'S VAN -- NIGHT

Jack drives. In back, Louis and Ted and Laura seem to beconducting a council of war. There's a dead alligator onthe floorboard.

LOUISThere's something else. Two thingsare happening to these gators beforethey die. First, they becomeunusually aggressive. In thatrespect, it's like what rabies doesto a dog. Two, they develop thesepurple splotches and their skin getsa lot tougher. Watch this.

Louis picks up a meat hook and rakes it across the back ofthe dead alligator. It actually gives off a SPARK and doesn'tscratch the alligator's hide.

114.

LOUIS (CONT'D)It's some kind of toxic calcium buildup. It's also the reason they'redying.

TEDSo we're dealing with rabid,bulletproof zombie-gators. Great.

LOUISThey're not bulletproof. Their skinis just a whole hell of a lot tougherthan a normal gator's skin.

Ted's cell phone JINGLES. He answers it.

TEDWhat is it, Kelly? What? DearChrist!

(shouts to Jack)Step on it! Go faster!

LOUISWhat's wrong?

TEDMy son's there! My son's at GatorCountry! My wife just got a callfrom him and he told her he's trappedin a phone booth!

LAURATrapped--?

TEDHe says somebody sabotaged the parkand let the out the alligators.

LOUISGet this crate moving, Jack!

INT. CONTROL ROOM -- NIGHT

Sheriff John Perkins has joined Davis in the control room. He's leaning over Davis's shoulder, barking commands at him. Sweat trickles down the security guard's bald, shaven head.

SHERIFF PERKINSType in the access code! Hurry!

(even louder)Type in the goddam access code!

Davis's hands are shaking badly. He keeps referencing asheet of paper full of hastily scribbled numbers anddirections to himself.

115.

DAVISWas that dash eight, or dash ninetysix?

(squints at paper)I think that's an eight.

Enraged, the sheriff grabs the sheet and wads it up.

SHERIFF PERKINSMove! Get out of the way!

He shoves Davis out of the chair. Perkins begins punchingthe buttons and flicking the various switches.

SHERIFF PERKINS (CONT'D)Damn this thing!

The words "ACCESS CODE REQUIRED" start flashing on thecomputer screen. Sheriff Perkins SLAMS his fist down on theconsole, knocking over Davis's styrofoam cup, spilling oldcoffee on the floor.

SHERIFF PERKINS (CONT'D)Give me the access code!

DAVISUhhh...

SHERIFF PERKINSDid you forget it?

DAVISHell no, sir. It's right over here.

Davis picks up the waded up ball of paper. He uncrumples itto the best of his ability. His eyes scan the crumpledscribbles.

DAVIS (CONT'D)I know it's on here. Somewhere.

Reaching the end of his patience, Sheriff Perkins removeshis handgun from its holster. Points it at Davis.

SHERIFF PERKINSYou've got five seconds to tell methe access code.

DAVISIt's right here! Right here!

Davis places the wrinkled sheet on the console, points tothe relevant numbers. Perkins types them in. And then thisstarts flashing on the computer screen: "LOCKDOWN MODEINITIATED."

116.

EXT. GATOR COUNTRY -- NIGHT

Chain-link fences start rolling out between various structuresin the park. Some of the fences rise up directly out of theground, creating automatic "gator corrals" throughout thepark. The alligators crawl instinctively away from thesefences. One gator HISSES defiantly at it.

EXT. GATOR COUNTRY PHONE BOOTH -- NIGHT

Mike is huddled inside the phone booth, holding the phone tohis ear. INTERCUT the conversation with Kelly on the phoneat home.

MIKEThey're getting closer to the phonebooth, Mom. I'm scared.

Kelly forces herself to sound confident for her son's sake.

KELLYJust keep your foot against thatdoor. You're going to be all right. Alligators can't open doors, Mike.

MIKEIt's just like my nightmare. Theywant to eat me.

And then to Mike's amazement, a chain-link barrier comesrising up out of the ground. The nearest alligators scurryaway from it.

MIKE (CONT'D)Oh, wow!

KELLYWhat's happening, Mike?

MIKEFences! Fences are going up! Thegators are crawling away!

Kelly raises a trembling hand to her mouth as silent tearstrickle down her face.

KELLYThank God.

Mike's gaze drifts past the chain-link fence, toward theroller coaster.

MIKEMom, there's something else you needto tell Dad. Stacy's stuck on theroller coaster.

117.

Kelly is taking a drink of water as Mike tells her this. Assoon as she hears it, some water goes down her wind pipe andshe chokes. She leans over the kitchen sink, retching.

MIKE (CONT'D)Are you OK, Mom?

EXT. GREEN SCREAMER -- NIGHT

Billy Joe kicks Chris Beacham in the stomach. The paraplegicboy is sprawled on the ground, his nose and lip bloody.

BILLY JOEHad enough yet, Big Wheel? Stillthink I've got brain damage?

CHRISPlease stop...

Chris notices something crawling up behind Billy Joe. Whatever it is, it causes Chris to smile.

BILLY JOE(suspicious)

Why are you smiling?

The alligator scurries forward and bites Billy Joe's ankle. Billy Joe SCREAMS. Collapses.

Chris uses his forearms to drag himself toward his wheelchair. He uses every bit of strength he's got. He manages to pullhimself up into the wheelchair. An alligator is closing in. Chris pumps the wheels, rolls quickly away.

Meanwhile, Billy Joe is just beginning to experience whatit's like to be devoured by alligators. They tear bloodychunks of meat from his strong arms and meaty thighs. His T-shirt is RIPPED away, exposing his smooth belly.

Appropriately enough, the big redneck SCREAMS bloody murder.

BILLY JOE (CONT'D)Help me, Chris! They're killing me! Help meeeeee--!

Billy Joe's final, plaintive cry for help is abruptly silencedas his head disappears inside a hungry alligator's mouth. CHOMP! CRUNCH! RIP!

More alligators show up and a few of them SNAP at each otheras they each try to get their portion of Billy Joe's headlesscorpse.

EXT. GREEN SCREAMER -- NIGHT

At the top of the roller coaster, Stacy and Donnie gaze downdown into the shadows. They both look acutely distressed.

118.

STACYIt sounds like someone's being killeddown there.

DONNIEI know that scream. It's Billy Joe.

STACYWe have to do something!

DONNIEWhat can we do? Who knows how manyalligators are down there! You wannabecome a midnight snack?

STACYI'm not staying here another minute.

DONNIEYes. You are.

STACY(outraged)

Kiss my ass!

Stacy swings her leg over the side of the cart. There's anarrow ramp running the length of the roller coaster track,for workmen to access any area that might require maintenance. Before Stacy can get all the way out of the cart, Donniegrabs her wrist.

DONNIEIt's too dangerous!

STACYAs if staying here is safe? For allyou know, whoever planted those bombsis planning to blow up this rollercoaster next!

DONNIEI'm willing to take that chance. Sit down, damn it!

Getting an arm around her waist, he heaves her back into thecart. They grapple.

EXT. GATOR COUNTRY -- NIGHT

Jack's van BASHES THROUGH one of the chain-link barriers,speeding into the heart of the burning amusement park.

INT. JACK'S VAN -- NIGHT

Jack's eyes widen with amazement as he peers ahead throughthe windshield.

JACK'S POV -- THRU WINDSHIELD

119.

The headlights wash over the crawling hoard of alligators.

BACK TO SCENE

Behind Jack, Ted leans forward to look.

TED(sees what Jack sees)

The alligators have taken control ofGator Country.

Jack begins to slow down.

LOUISDon't stop. Step on it.

EXT. JACK'S VAN -- NIGHT

The van accelerates. VROOM! It gets pretty BUMPY as itrolls over the alligators. BU-DUMP! CRUNCH! SQUISH!

INT. JACK'S VAN -- NIGHT

Louis picks up something he brought along: an automatic highpowered rifle.

LOUISLet me out here. I'm going to havea little talk with the sheriff.

(to Ted)Get your kids. Then come back andpick me up.

Ted nods. Louis impulsively leans over and kisses Laura. Then as the van slows to a stop, Louis hops out.

EXT. GATOR COUNTRY PHONE BOOTH -- NIGHT

The van KNOCKS through another chain-link barrier and rollsto a stop beside the phone booth. Mike hurries out and jumpsin the van.

INT. CONTROL ROOM -- NIGHT

Sheriff Perkins is staring at the bank of monitor screens asLouis enters the control room. The sheriff whirls around inhis chair to face him. (FYI: Davis is writing, attemptingto copy all of his notes from the crumpled sheet onto a newsmooth sheet.)

SHERIFF PERKINSYou idiots knocked down two of mycontainment fences!

Louis steps forward, holding the automatic rifle.

120.

LOUISWe're shutting your little playgrounddown, John.

SHERIFF PERKINSWhat are you talking about?

LOUISJack told us everything.

SHERIFF PERKINSHe's crazy. He's a crazy alcoholic.

LOUISMaybe you didn't think the stuff wasdangerous. Maybe they told you itwasn't, or maybe you convincedyourself it wasn't. And maybe noneof the stuff was dangerous...on itsown. But this has been going on foryears now.

SHERIFF PERKINSYou don't know what you're talkingabout.

LOUISWhen you dump so many different kindsof toxic waste in one area for somany years, all that stuff eventuallystarts to mix together and produceeffects no one anticipated. Youstood by and let it happen.

Davis suddenly grabs the barrel of Louis's rifle. As theystruggle for control of the rifle it goes off, FIRING a bulletinto one of the monitor screens beside the sheriff. SPARKSshower down.

Louis and Davis stop struggling. They see Sheriff Perkinspointing his handgun at them -- either of them might getshot if he pulls the trigger. And he looks quite insane.

SHERIFF PERKINSDo you know how many years it tookme to get the money to build thisplace? Do you?

Louis lets Davis have his rifle. Davis levels it at Louis,but he's got the nervous expression of a man wondering ifhe's on the right side.

SHERIFF PERKINS (CONT'D)Ever since I was a kid, ever sincethat day Charlie died, it's been mydream to build a place -- a magicalplace -- right here in the swamp,

(MORE)

121.

SHERIFF PERKINS (CONT'D)where people could come with theirfamilies and enjoy themselves!

LOUISLet it go, John. It's not going tohappen.

SHERIFF PERKINSThe one thing you never understood,the thing those goddam environmentalwackos never understood, is that Ilove the swamp! I knew that if Icould get people to come here andexperience the swamp in a controlled,safe, fun environment, they'd fallin love with the swamp too!

LOUISControlled, safe, fun--?

SHERIFF PERKINSYou have to get people to love aplace before they want to save it! Gator Country was going to save theswamp! Don't you see?

LOUISI see that you're insane. Even ifpeople did flock to this place, theend result wouldn't be increasedprotection for the swamp. The finalresult would be one huge, expandingparking lot.

That's when Davis swings the rifle away from Louis and pointsit at the sheriff.

DAVISDrop the gun, boss. Enough peoplehave died.

Sheriff Perkins reaches his breaking point. He begins tocry. Tears trickle down his handsome, wrinkled features. He lowers the gun (but he's still holding it) and covers hisface with his other hand.

LOUISHe said drop it, John. On the floor.

SHERIFF PERKINS(crying)

Go ahead and kill me now, Davis. Ifailed. I failed you and your familyand everyone else who depended onme. Kill me now.

122.

DAVIS(sympathetic)

Take it easy, boss. Nobody wants tokill you. I know it wasn't entirelyyour fault, but now we've got to--

LOUISLook out!

With the greasy speed of an old gunslinger, Perkins liftshis gun and FIRES. Davis is hit, and as he falls Louis grabsthe rifle and EXCHANGES FIRE with the sheriff. More SPARKSfly from the computer console. The electrical system isdamaged and the lights blink on and off.

Like a man about to recite the Pledge of Allegiance, SheriffPerkins puts a hand over his upper chest. Then he removesthe hand and looks down at his shirt and sees a small bloodyhole right next to his badge. He lets his gun drop to thefloor. We expect him to fall, but somehow he remainsstanding.

We see that Louis took a shot in the arm, but apart fromthat he's unhurt.

LOUIS (CONT'D)Sit down, John. An ambulance willbe here soon.

SHERIFF PERKINSShut up, Louis.

Like a man in a trance, the sheriff walks past Louis and outof the room. On the floor, Davis GROANS in pain. Louiskneels down to help him.

INT. JACK'S VAN -- NIGHT

Ted hugs his son tightly.

TEDHead for the roller coaster, Jack. We've got to get Stacy.

LAURA(points out window)

Look there!

EXT. GATOR COUNTRY -- NIGHT

Matt is clinging to side of one of the chain-link fences. The alligators have him trapped up there. He is waving hisarm frantically, trying to signal the van.

MATTOver here! Over here!

The van pulls up. The door slides open. Matt gets in.

123.

INT. JACK'S VAN -- NIGHT

Matt collapses on his back on the floorboard. He noticesMike.

MATTThanks for picking me up. I heardyou calling for help and tried tocome rescue you. Some save, huh?

Suddenly everyone is thrown forward as Jack stomps on thebrakes.

EXT. JACK'S VAN -- NIGHT

The van SCREECHES to an abrupt stop, comes within inches ofrunning over Chris Beacham. The paraplegic boy is utterlyexhausted.

Matt and Ted hurriedly get out of the van and pick Chris up. Ted slides his hands under the boy's armpits and Matt carriesthe boy's paralyzed feet. They don't have time to grab thewheelchair, which Ted KICKS toward an approaching gator.

EXT. AIR BOAT DOCK -- NIGHT

Palmer stands on the pier, looking toward the burning parkwith binoculars.

PALMER(lowers binoculars)

I'm sorry, Matt.

He gets on the air boat and starts it up. A moment later,he's speeding away from the dock and the burning park.

EXT. AIR BOAT -- NIGHT

Palmer glances down and notices a big snake slithering nearhis foot. He panics. The air boat veers off course andhits a sandbar, throwing Palmer into the water.

Palmer stands up in the shallow water, soaked and completelyvulnerable. He approaches the beached air boat withtrepidation, keeping a watchful eye out for the snake. Butthen a bigger problem emerges from the bushes. An alligator.

Palmer backs away from the air boat. He's still in the water. The gator crawls into the water. Palmer begins swimming. Another gator appears in the water directly in front of him. The last thing Palmer ever sees is the gator's open mouth. CHOMP!

EXT. GREEN SCREAMER -- NIGHT

Donnie is pursuing Stacy along the little platform that runsalong the roller coaster track.

124.

DONNIEI've got you now, girl!

Donnie reaches out and grasps the back of her long hair,jerking her head painfully backward. He pulls her bodyagainst his.

DONNIE (CONT'D)I told you this was a night you werenever gonna forget!

A disgusting sight as he licks the side of her face. Thenone of his hands moves to her breast.

STACYNO!

She kicks him in the balls and shoves him away. Donnie loseshis balance and falls. He SCREAMS wildly, cartwheeling hisarms as he plummets about thirty five feet to the concretebelow. THUD!

EXT. GATOR COUNTRY -- NIGHT

Sheriff Perkins walks past the burning buildings on his wayto the Charlie Tree. A few alligators notice him and begincrawling in his direction.

The sheriff makes it to the tree. He sits down with hisback up against it. His teary eyes glimmer in the flickeringlight of burning dreams. The front of his shirt is saturatedwith blood now.

Three alligators are closing in. The sheriff manages tofind some inner peace before the end comes, and he smiles.

SHERIFF PERKINSHere I am, Charlie. I ain't gotnothing left to feed you. Exceptmyself.

He holds out his hand like he's offering it. The fingertipstouch the snout of the nearest alligator.

SHERIFF PERKINS (CONT'D)Go ahead. Eat me.

CAMERA PANS SKYWARD and a moment later the SCREAMING starts.

EXT. GREEN SCREAMER -- NIGHT

As it approaches the roller coaster, Jack's van swerves toavoid Donnie's dead body. A pair of gators find the bodyand start eating it. Stacy is crying as Ted opens the van'sside door for her to get in.

125.

INT. JACK'S VAN -- NIGHT

Ted hugs his daughter tightly as the tears rage against hisshirt.

STACY(sobbing)

It was an accident, Dad! I'm sosorry!

TEDShhh. It's gonna be OK. We're goingto get out of here now.

EXT. GATOR COUNTRY -- NIGHT

The van makes one last stop, outside the control room. Louishelps Davis get in, and then Jack steps on it.

INT. JACK'S VAN -- NIGHT

Mike gazes out the rear window as they depart Gator Country. He sees a number of gators congregated under the CharlieTree, tearing something apart.

Mike stops looking back. He's seen enough. He sits besidehis traumatized sister and puts his arm around her as Teddoes the best he can to tend to the wounded.

EXT. GATOR COUNTRY ENTRANCE -- NIGHT

The van comes tearing out of the park as the first fire trucksarrive, SIRENS WAILING in the night.

EXT. PARKING LOT -- NIGHT

The van rolls to a stop as a veritable caravan of fire trucks,ambulances, and state police cars arrive. Ted hops out ofthe van to flag down one of the ambulances.

A state police car pulls up and Jack climbs out of the van,looking exhausted and a little bit redeemed. The statePOLICEMAN lowers his window, leans his head out.

POLICEMANWhat happened in there?

JACKWe rode the rides and fed thealligators.

The flames continue to burn, licking up into the night skyabove Gator Country.

EXT. INTERSTATE REST AREA -- DAY

The White family's minivan pulls into the parking lot of therest area. Everyone gets out and heads for the rest rooms.

126.

It is a gorgeous summer day. Ted, Kelly, Mike, and Stacyseem to have recovered physically and psychologically fromtheir ordeal in Florida.

The last member of the White family to emerge from the minivanis Jack.

Ted and Kelly walk hand in hand up the pathway toward therest rooms. Ted is grinning as he glances over his shoulderat his brother.

KELLYI wonder if Jack's going to likeChicago.

TEDHe'll adjust.

As Ted kisses his wife, CAMERA PANS UP to the beautiful blueIllinois sky.

THE END.