Jeepers Creepers as an Incest Metaphor
I think if anyone watches this film critically; and is familiar with sociological and cultural taboos of sex; myth & symbol; psychology and Freud; - they will clearly see that Jeepers Creepers is about incest.
I have not seen Jeepers Creepers 2, I have no idea what it is supposed to be about, other than an attempt to make more money - so symbolism and metaphor evident in Jeepers Creepers 1 might not be applicable to Jeepers Creepers 2.
A trained student of psychology could probably write an entire 20-page essay on this, but i will give a short briefing.
Remember now, that it is the brother who says to his sister in an effort to convince her to investigate what was being deposited in the pipe, something to the effect of: what if it were you? wouldn't you want me to see if you were ok?
In a conventional real-time horror-thriller, or just dealing with common sense, this is a poor excuse to go back to investigate the pipe, considering what has happened. But for the type of psychological thriller the director/writer was attempting to craft, this is a perfect reason why they go back.
The Creeper is merely a symbolic manifestation of the boy's unconscious sexual desire for his sister. After the Daarry falls into the pipe; the movie ceases to be an actual real-time thriller, and becomes a dark subconscious fantasy; which in all likelihood occurs in the boys head - perhaps even possibly even as he lays unconscious on the floor of the underground (the realm of the subconscious).
This idea is enforced when we see the brother for the first time after he has emerged from the dark underground nightmare he had been wandering in. He scares his sister who had been sitting in their car and proceeds to stare menacingly in at his sister from the outside of the car window; as a delusional crazy rapist might. We are to led to believe that this is Darry's freaked out reaction to what it was he was witnessing in the underground, but in fact, this is Darry without his 'Jungian mask' of what a younger brother is supposed to be. The Creeper is in fact Darry.
We also see how Darry is threatened by the male policeman they encounter at the bar and who attempts to escort them to wherever it was they were going. This is why the 'Creeper' beheads this man; and then proceeds to take the head; make out with it - and then bite out it's tongue - it is an exhibition in psychological emasculation. Don't forget Darry's pestering curiousity over what had happened to his sister and her boyfriend at the beginning of the film as they were driving before the pipe.
Think about it, isn't it slightly unconventional that the writer would make the two protagonists in this film siblings? In a conventional slasher/monster flick these two would certainly not have been a brother and sister - perhaps two friends, where the underlying sexual chemistry would seem almost normal, but this was a conscious choice by the writer to craft a film with dark underlying themes not apparently obvious upon viewing.
In the end, this sexual desire takes over Darry, in a metaphorical sense.
He cannot handle the sexual feelings towards his sister - so the Creeper takes him away, and 'consumes him' (BEATINU).
As in the Greek Myth of Oedipus - who had plucked out his own eyes upon realizing he had been involved in an incestuous relationship, Darry also has his 'eyes removed' in a somewhat abstract way, as those who have seen the end will know. This symbolizes Darry's realization of what it is he wants. The chilling aspect of this, is that the Creeper (Darry's subconscious) then walks behind what's left of Darry's shell, his Jungian Mask - and the holes of his eyes are replaced by the very human looking eyes of 'The Creeper.' This would lead me to believe that Darry in fact now realizes what it is his subconscious has struggled with all along. The Creeper is now fully awakened within Darry. The Creeper is no longer a demon of the deep subconcious of a teenage boy - the teenage boy is now a sociological Creeper: He is now conscious of his sexual affections towards his sister.
The police, symbolic of society, cannot shoot the demon. Society is impotent when it comes to killing demons of the subconscious.
Even Darry's name, which is short for Darius, can be seen as a hint to the true nature of this film. Darry is named after the Persian emperors Darius II and Darius III (defeated by Alexander the Great) who had each been married to their half-sisters.
There are many other symbolic allusions, most particularly with the pipe. If Freud had seen this film, he might take the two siblings at the pipe as a metaphorical incestuous scene of sexual intercourse, but there is too much to get into over all of this.
So, in short, this film is not about a boogeyman, it is not about shooting up the demon, it is about a young boy deeply bothered by a sociologically and culturally taboo sexual desire towards his sister.