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Friday The 13th: Part 3 Script

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  1.  
  2.  
  3. Friday The 13th: Part 3 Script
  4.  
  5. RADIO NEWSCASTER (V.O.)
  6. (continuing)
  7. Crystal Lake in Pinehurst County,
  8.  
  9. EXT. ROADSIDE MARKET - EVENING
  10.  
  11. Shooting over a line of ruffled bushes with leaves just
  12. turning towards a rural, time-worn country market. A wide
  13. gravel parking area makes it accessible to the highway
  14. running past it, otherwise, this Mom & Pop store seems almost
  15. like a vision of times gone by.
  16.  
  17. The bushes and overgrown grass, unrestrained by any human
  18. care, strengthen the sense of isolation. The dying sun
  19. shoots its last rays through the trees behind the market.
  20.  
  21. The market has a battered second-story: the living quarters
  22. of the people running it. A truck roars by. Then silence,
  23. and then again the sound of the radio news report:
  24.  
  25. RADIO NEWSCASTER (V.O.)
  26. ...Judging from the sheer
  27. brutality of the murders, police
  28. theorize that they must have been
  29. committed by at least four
  30. persons...
  31.  
  32. EXT. THE HOUSE / STORE - ANOTHER ANGLE
  33.  
  34. Sagging clotheslines cluttered with drying laundry run across
  35. a narrow backyard, all the way to a rickety old shed. The
  36. clotheslines are supported by one solitary pole. Linen and
  37. garments billow in the rising evening breeze.
  38.  
  39. Cold, foreboding music accompanies the camera as it moves
  40. toward a pair of flapping khaki pants and an olive green
  41. workshirt hanging side by side on the line.
  42.  
  43. The radio news report grows louder as the clothing snaps
  44. directly into the lens.
  45.  
  46. RADIO NEWSCASTER (V.O.)
  47. ...The sole survivor of the
  48. massacre has been taken under
  49. heavy sedation to County Hospital
  50. in Linfield for observation.
  51. She's been unable to provide
  52. police with any clues and is being
  53. kept under round the clock guard...
  54.  
  55. HEAVY FOOTSTEPS
  56.  
  57. And then a man parts two shrouds of wet laundry, making his
  58. way back towards the house. This is HAROLD: 40ish, paunchy,
  59. unshaven and so clumsy that he hits the clothesline pole and
  60. knocks it down, burying himself under a heap of linen. A
  61. transistor radio pops out of the pocket of his threadbare
  62. shirt, still broadcasting the news. One of the upstairs
  63. windows opens with a creak, and
  64.  
  65. EDNA
  66.  
  67. Harold's wife, sticks her head out and looks into the
  68. backyard:
  69.  
  70. EDNA
  71. (loud, harsh)
  72. Goddamnit Harold! I spent all day
  73. yesterday washing your clothes and
  74. look what you're doing to 'em.
  75. Shows how much you care about me.
  76.  
  77. Harold watches her from under the pile of laundry. Then he
  78. grabs the radio, staggers up, increasing the radio's volume
  79. as he does so, to drown out the voice of his wife.
  80.  
  81. Above him, Edna raves on for a moment (we can't make out what
  82. she is saying), then furiously slams the window shut.
  83.  
  84. CUT TO:
  85.  
  86. INT. UPSTAIRS LIVING ROOM - EVENING
  87.  
  88. The room is musty and cluttered like an old attic. Edna
  89. stomps away from the window and turns her attention to the
  90. partially functional, old clunker of a black and white TV.
  91. She plops herself down onto the lumpy couch and picks up two
  92. knitting needles and returns to work on a sweater. A news
  93. report about the mass murders is being broadcast.
  94.  
  95. INSERT - TV
  96.  
  97. TELEVISION REPORTER
  98. ...A police spokesman tells
  99. Eyewitness News that authorities
  100. have been combing the area since
  101. just before dawn. Reports of
  102. cannibalism and sexual mutilation
  103. are still unconfirmed...
  104. Nevertheless, these murders are
  105. already being called the most
  106. brutal in local history.
  107.  
  108. EDNA
  109.  
  110. Leans in to adjust the long rabbit-ear antenna, spreading the
  111. ears apart for a better picture. She listens intently.
  112.  
  113. TELEVISION REPORTER
  114. The motive behind the grisly
  115. murders remains a mystery at this
  116. hour as does the identity of the
  117. killer or killers. The search
  118. continues for more bodies.
  119.  
  120. EDNA
  121. (to herself)
  122. My God, My God, My God.
  123.  
  124. TELEVISION REPORTER
  125. ...Residents of the Lake region
  126. are being urged to take extra
  127. precaution when approaching
  128. strangers and to report anything
  129. unusual to police, immediately.
  130. We'll be back with the weather
  131. forecast after this important
  132. message.
  133.  
  134. Visibly upset, Edna rises to her feet. She goes over to the
  135. door leading downstairs to the market, opens it and call out.
  136.  
  137. EDNA
  138. Harold, what're you doing down
  139. there?
  140.  
  141. No response. She rushes to the window, jerks it open and
  142. sticks her head out.
  143.  
  144. EDNA
  145. (continuing)
  146. Harold... I want to talk to you.
  147.  
  148. No answer.
  149.  
  150. EXT. BACKYARD - EDNA'S POV
  151.  
  152. of the backyard. The laundry quietly swells in the wind.
  153. For an instant, a human form is visible between layers of
  154. drying clothes. From this distance, Edna can't make out who
  155. it is.
  156.  
  157. EDNA
  158. Harold?
  159.  
  160. INT. HOUSE
  161.  
  162. Unnerved by the continuing noise of the TV, Edna goes back to
  163. shut it off. She quickly returns to the window and looks out
  164. again.
  165.  
  166. EDNA'S POV
  167.  
  168. No sign of anyone, but there is an empty span of clothesline
  169. where several articles of clothes were hung, only a second
  170. before.
  171.  
  172. INT. HOUSE
  173.  
  174. Edna runs for the apartment door.
  175.  
  176. CUT TO:
  177.  
  178. INT. MARKET - EVENING
  179.  
  180. Edna flies down the stairs and enters the store from the
  181. back. The market is dark, save does shafts of dying sunlight
  182. through the grimy front windows.
  183.  
  184. She scans the few aisles back and forth.
  185.  
  186. EDNA
  187. Harold?
  188.  
  189. A big rabbit appears from behind an arrangement of Campbell's
  190. soup cans, and stands on its hind legs on the aisle, trying
  191. to guess Edna's next move. Still calling Harold, she turns;
  192. starts at the sight of the rabbit; she grabs a tomato from
  193. the produce display, throw it at the animal.
  194.  
  195. EDNA
  196. (continuing)
  197. God Damn pest, what are you
  198. staring at?
  199.  
  200. She misses, grabs more vegetables and hurls them at the
  201. rabbit. The rabbit dodges them, and scurries away.
  202.  
  203. EXT. BACKYARD - EVENING
  204.  
  205. The sunlight is almost gone, stretching the shadows even
  206. more. In her nightgown, Edna pushed open the creaky screen
  207. door and steps out into the backyard.
  208.  
  209. Shooting towards her through the laundry flapping on the
  210. clothesline. As she touches a set of pajamas and finds out
  211. that they are still wet.
  212.  
  213. A shoulder suddenly enters the flame, and someone's
  214. silhouette blocks the screen just for a couple of seconds,
  215. before the intruder slips behind another curtain of drying
  216. clothes, revealing Edna again: she's still checking the
  217. clothes and hasn't noticed anything.
  218.  
  219. She comes to where the trousers and workshirt were, and no
  220. longer. That's a shock, but she's not quite sure that they
  221. were here in the first place, so she goes on, and starts
  222. talking to herself to fortify her ailing courage.
  223.  
  224. EDNA
  225. Christ All Mighty, Harold, you
  226. just take what's yours and leave
  227. the rest for me to do. Very
  228. considerate!
  229. (collecting the dry
  230. laundry and putting
  231. it in a basket)
  232. You could at least finished the
  233. job. Do I have to do everything
  234. around here?
  235.  
  236. Edna hears a noise and whips around. Her imagination is
  237. working overtime.
  238.  
  239. A bedsheet is swelling slowly in the breeze, taking the shape
  240. of a human body. Is anyone behind it? Ominous music...
  241.  
  242. EDNA
  243. (swallowing hard)
  244. Harold... I swear, sometimes
  245. you're such a child...
  246.  
  247. She charges forward. She rips the sheet off the line and
  248. falls in a heap with it. There is no one behind it.
  249.  
  250. She turns over and lays on her back. Above her, there's only
  251. the dark evening sky and the branches of a tree, rustling
  252. back and forth.
  253.  
  254. Edna gets up and quickly pulls the remaining laundry off the
  255. lines, tossing it into the basket. As she does, she passes
  256. near the wooden shed at the back of the store.
  257.  
  258. EXT. YARD
  259.  
  260. The shed door creak open. Edna turns around. Suddenly,
  261. there's a crashing noise from inside. That's enough for
  262. Edna... she hauls up the basket and rushes back inside the
  263. store.
  264.  
  265. CUT TO:
  266.  
  267. INT. MARKET - NIGHT
  268.  
  269. The white rabbit that gave Edna such a scare is now hopping
  270. across a row of canned goods. A man's hand enters frame and
  271. grabs the rabbit by the nape of its neck and lifts it off the
  272. shelf, into his arms.
  273.  
  274. It's Harold. He places the rabbit on his shoulder and grabs
  275. a jar of peanuts from the shelf. He twists open the vacuum-
  276. sealed jar and wolfs down a handful of its contents. With
  277. another handful, he feeds the rabbit, who sniffs and partakes.
  278.  
  279. Harold rescrews the lid and places it back on the shelf. He
  280. turns on the radio in his breast pocket. Music blares.
  281.  
  282. He grabs his broom and starts sweeping down the aisle, the
  283. rabbit remaining contentedly on his shoulder.
  284.  
  285. Harold stops at the dairy case and grabs a half-gallon jug of
  286. milk. He breaks the seal and pulls off the cap. He first
  287. offers the rabbit a taste, then gulps down a swig himself.
  288.  
  289. IN THE BACKGROUND
  290.  
  291. An unidentified face, in soft focus, peers in through the
  292. storefront window then disappears almost as quickly. Harold
  293. is unaware.
  294.  
  295. HAROLD
  296.  
  297. screws the cap back on and replaces the jug in the case.
  298.  
  299. The sound of crunching and munching.
  300.  
  301. Harold turns around. The the produce section, the cellophane
  302. packages of carrots on display are moving slightly.
  303.  
  304. He reaches in and pushes off the top few packages to reveal,
  305. underneath, another rabbit, a grey one this time, nibbling on
  306. a carrot.
  307.  
  308. He lifts the rabbit out of the case and places it on his
  309. opposite shoulder.
  310.  
  311. HAROLD
  312. (looking from one
  313. rabbit to the other)
  314. Sorry guys, it's back to the
  315. slammer before Edna make a fur
  316. coat out of ya.
  317.  
  318. On his way to the back door, Harold passes a rack of cakes
  319. and pies. He stops long enough to open a box of six
  320. chocolate-covered donuts. He takes one out and shoves it
  321. into his mouth.
  322.  
  323. Unbeknownst to Harold, a human form in shadow appears at the
  324. back door. The door is quietly pushed open. Someone is
  325. watching him.
  326.  
  327. The camera as stalker enters the store and moves slowly
  328. towards Harold, his back to us. Ominous music accompanies
  329. the approach.
  330.  
  331. Checks filled to capacity. Harold closes the package and
  332. puts it back in place on the rack, hiding it under several
  333. unopened packages.
  334.  
  335. Harold turns. The stalker is right behind him, completely
  336. startled, he jumps back and chokes on the doughnuts. The
  337. rabbits hop off his shoulders.
  338.  
  339. Unexpectedly, Harold find himself face to face... with his
  340. wife, Edna.
  341.  
  342. EDNA
  343. Didn't I feed you enough for
  344. breakfast?
  345.  
  346. Harold doesn't answer.
  347.  
  348. EDNA
  349. (continuing)
  350. The doctor said you had to lose
  351. weight, didn't he? I try to help
  352. you but you sneak food behind my
  353. back. What am I gonna do with you?
  354.  
  355. Without a word, Harold bends down to retrieve the rabbits.
  356. He scoops them up in his arms.
  357.  
  358. EDNA
  359. (continuing)
  360. And put those filthy animals back
  361. where they belong, please!
  362.  
  363. Harold exits by way of the back door.
  364.  
  365. CUT TO:
  366.  
  367. EXT. BACKYARD - NIGHT
  368.  
  369. Harold puts the grey rabbit on his shoulder, the white rabbit
  370. remains wrapped in his arms. He swallows the rest of the
  371. doughnut in his mouth as he flips a flashlight out of his
  372. back pocket and ambles across the yard.
  373.  
  374. CUT TO:
  375.  
  376. INT. SHED - NIGHT
  377.  
  378. Light filters through the cracked walls partially
  379. illuminating a variety of tools, old barrels, various odds &
  380. ends - and a rabbit hutch.
  381.  
  382. Harold flicks on the flashlight as he enters. The rabbit
  383. atop his shoulder jumps off and scurries away. The rabbit in
  384. his arms squirms and squeals. The animals sense that
  385. something is wrong.
  386.  
  387. HAROLD
  388. (stroking the white
  389. rabbit)
  390. What're you little guys so nervous
  391. about?
  392.  
  393. He scans the shed with the flashlight to locate the runaway
  394. as he tries to contain the jittery ball of fur in his arms.
  395.  
  396. The flashlight searches each corner, until the beam finally
  397. stops on:
  398.  
  399. THE RABBIT HUTCH
  400.  
  401. Music pounds hard on the soundtrack, as through the hutch
  402. grillwork we can see a mass of dead rabbits, lying one next
  403. to the other, staring up with glinting, glass eyes.
  404.  
  405. Harold stands immobilized, in a state of shock. He looks
  406. down upon the limp bodies of his beloved pets, his face
  407. turned into a sad mask of outrage. He holds onto the white
  408. rabbit even tighter.
  409.  
  410. HAROLD
  411. Who would do this...?
  412.  
  413. Trembling, Harold reaches to lift the lid of the hutch. The
  414. music throbs...
  415.  
  416. A big timber rattlesnake springs out of the hutch, mouth wide
  417. and open, twin poisonous fangs shining in the beam of the
  418. flashlight.
  419.  
  420. The music drops out as the snake's loud kiss dominates. The
  421. muscles of its dark, lean body push the deadly mouth ahead,
  422. into the lens of the camera.
  423.  
  424. Instinctively, Harold slams the hutch down, dropping his
  425. flashlight and the white rabbit. The snake hisses and spits
  426. at the camera through the wife mesh.
  427.  
  428. Literally scared shitless, Harold races out of the shed,
  429. holding his stomach with both hands.
  430.  
  431. CUT TO:
  432.  
  433. INT. STAIRWELL - NIGHT
  434.  
  435. Harold dashes through the back door, and up the stairs like
  436. a charging bull.
  437.  
  438. CUT TO:
  439.  
  440. INT. UPSTAIRS LIVING QUARTERS - NIGHT
  441.  
  442. Harold bursts through the door, crashing into his
  443. unsuspecting wife. Edna is knocked off balance and tries to
  444. hold onto him.
  445.  
  446. EDNA
  447. What happened? What's the matter?
  448.  
  449. Harold can't talk. He rubs his stomach and heads straight
  450. for the bathroom, vanishing inside.
  451.  
  452. EDNA
  453. (continuing)
  454. It's all the crap you've been
  455. stuffing yourself with.
  456.  
  457. Edna turns up the volume on the TV and plunks herself down on
  458. the couch.
  459.  
  460. She reaches for her knitting bag and empties its contents.
  461. One of her two, long, thin knitting needles is missing.
  462.  
  463. EDNA
  464. (rummaging all around
  465. her)
  466. Now where could that other needle
  467. have gone?
  468.  
  469. CUT TO:
  470.  
  471. INT. STOREROOM / BATHROOM - NIGHT
  472.  
  473. The room is a combination: storing place mostly, there are
  474. two ample cupboards facing each other, each leaning against
  475. a wall, a mess of crates and boxes lying on top of each other
  476. behind a dusty curtain... and a toilet bowl, left from the
  477. days when this was just an oversized bathroom. The toilet
  478. bowl is against the fourth wall, at an angle behind the door.
  479.  
  480. The sound of the TV filters through the door as Harold,
  481. trousers down to his knees, sits on the toilet, sighing with
  482. relief as the first bout of diarrhea is over.
  483.  
  484. He loosens his collar, wipes some sweat from his brow,
  485. reaches behind the toilet tank, and produces a hidden bottle
  486. of Whiskey.
  487.  
  488. He unscrews the cap and takes a hardy swig. He leans back
  489. and shut his eyes.
  490.  
  491. HAROLD
  492. (to himself)
  493. Those poor little creatures...
  494.  
  495. Another swig. Some of the liquor spills over his chin and he
  496. wipes it with his sleeve. His eyes wander around aimlessly,
  497. then focus on...
  498.  
  499. THE DUSTY CURTAIN
  500.  
  501. partially masking the mess of boxes and crates. It seems to
  502. ripple subtly, moved by an ever so slight movement of air,
  503. perhaps someone's breath?
  504.  
  505. Harold waits. The curtains seem still. Harold is about to
  506. relax when a brief, hollow noise is heard.
  507.  
  508. Harold tries to locate the noise, but it's over before he can
  509. tell its source. Pants around his ankles, he rises, shuffles
  510. to one of the closets. It takes some courage to yank the
  511. door open, and the camera moves fast into a...
  512.  
  513. FLAT CLOSEUP of empty shelves - nothing has touched them in
  514. a long time, except dust.
  515.  
  516. Breathing relief, Harold pulls up his pants again, just
  517. enough to be able to hobble grotesquely to the dusty curtain.
  518. He rips it apart, stares at the odd assortment of boxes and
  519. crates - empty, lifeless, and uncannily menacing because of
  520. their lifelessness.
  521.  
  522. Reassured, Harold gives the other closet a glance, almost
  523. decides against checking it - and then changes his mind, and
  524. stumbles, pants still around his ankles, towards it.
  525.  
  526. Looks like this one hasn't been opened at all for a long
  527. time. Harold tugs at the door - a creak, followed instantly
  528. by a musical stinger as a huge hand holding a meat cleaver
  529. rips into the shot, strikes Harold, imbedding the cleaver in
  530. his chest.
  531.  
  532. Harold manages a half-scream that mixes incongruously with
  533. the laughter from the TV in the living room. As the hand
  534. twists the cleaver, the scream becomes a raspy cough.
  535.  
  536. Harold stumbles backwards and crashes to the floor.
  537.  
  538. CUT TO:
  539.  
  540. INT. LIVING ROOM - NIGHT
  541.  
  542. Edna hears the crash. She turns off the television.
  543.  
  544. EDNA
  545. Harold?
  546.  
  547. No answer. She gets up from the couch and goes to the
  548. bathroom door. She listens and hears the noise of the toilet
  549. flushing and flushing, as if someone's hand never released
  550. the lever.
  551.  
  552. EDNA
  553. (rattling the door
  554. knob)
  555. Harold... what's taking you so
  556. long in there? You all right?
  557.  
  558. She pushes against the door. It doesn't budge. She looks
  559. down and notices some kind of liquid seeping out from
  560. underneath the bathroom door. She dips her fingers in it and
  561. sniffs.
  562.  
  563. EDNA
  564. (continuing)
  565. Whiskey, I thought so.
  566.  
  567. She goes over to a desk, opens a small drawer and finds a
  568. skeleton key.
  569.  
  570. She hurries back to the bathroom/storeroom door, ready to
  571. insert the key. To her shock, the door is now open a crack!
  572.  
  573. For a moment, Edna is nonplussed.
  574.  
  575. EDNA
  576. (continuing)
  577. Harold!
  578.  
  579. She pushes the door - it swings open, revealing the open
  580. closets, the boxes and crates...
  581.  
  582. INT. BATHROOM - NIGHT
  583.  
  584. Edna steps inside and inadvertently kicks the half-empty
  585. bottle of Whiskey. She picks up the bottle while the
  586. flushing noise persists maddeningly.
  587.  
  588. She turns toward the toilet, which is behind the door and
  589. screams at the sight of Harold sitting there.
  590.  
  591. HAROLD
  592.  
  593. pants down, like a grotesque dummy, blood drooling out of the
  594. corners of his mouth, the meat cleaver sticking out of his
  595. chest and one elbow stuck against the flushing handle.
  596.  
  597. The Whiskey bottle falls from Edna's hand, hits the floor and
  598. shatters.
  599.  
  600. Edna screams uncontrollably.
  601.  
  602. From behind her a huge hand enters the flame and pierces the
  603. back of her head with the previously missing knitting needle.
  604. The needle is pushed out through her mouth, right at the
  605. camera.
  606.  
  607. she gags on her own blood and slums out of frame.
  608.  
  609. CUT TO:
  610.  
  611. EXT. WORKING CLASS NEIGHBORHOOD - MORNING
  612.  
  613. A group ethnic children are playing stickball in the street,
  614. weatherworn two and three-family houses on either side of
  615. them.
  616.  
  617. A red passenger van screeches around the corner and heads
  618. down the block, slowing down as it advances on the oblivious
  619. children. The driver sounds the horn, warning of the van's
  620. approach. Most of the children scatter, but a few don't,
  621. yelling and banging on the sides of the van as it passes.
  622.  
  623. The van continues for a few yards then parallel parks in the
  624. first available space.
  625.  
  626. The driver Chris...19, blond, attractive but intense...steps
  627. down and circles around to the passenger side where two
  628. others jump out. They are Debbie...19, brown-haired,
  629. vivacious and healthy, the all-american cheerleader
  630. type...and Andy...slims, athletic and ruggedly handsome.
  631.  
  632. DEBBIE
  633. Which one is it?
  634.  
  635. CHRIS
  636. (pointing)
  637. It's the last house on the left.
  638. She lives downstairs.
  639.  
  640. Chris turns back to the van.
  641.  
  642. CHRIS
  643. (calling through
  644. window)
  645. Hey Shelly! Come on out and meet
  646. your date.
  647.  
  648. SHELLY'S VOICE
  649. (from inside van)
  650. Bring her to me!
  651.  
  652. Chris looks back at Andy and Debbie for advice.
  653.  
  654. ANDY
  655. (shrugging his
  656. shoulder)
  657. What're you gonna do?
  658.  
  659. DEBBIE
  660. Maybe this wasn't such a good idea.
  661.  
  662. Chris calls into the van once again.
  663.  
  664. CHRIS
  665. How about you two? You coming?
  666.  
  667. Two other voices shout back:
  668.  
  669. VOICES
  670. (in unison)
  671. No!
  672.  
  673. Chris throws up her hands in frustration, joining Andy and
  674. Debbie. They cross the street abreast.
  675.  
  676. CAMERA TRACKS in front of the three friends. A rotund,
  677. ominous-looking figure in a hideous, ghostly white mask
  678. springs out from around the hidden side of the van. The
  679. figure follows a safe distance behind the unsuspecting
  680. threesome, brandishing a knife.
  681.  
  682. As they walk, Andy and Debbie are locked in each other's arms
  683. and they begin to kiss. Chris looks at them and shakes her
  684. head.
  685.  
  686. CHRIS
  687. Sex, sex, sex. You guys are
  688. getting boring, you know that?
  689.  
  690. Debbie breaks the kiss, feeling a little embarrassed.
  691.  
  692. ANDY
  693. So what would a weekend in the
  694. country be without sex?
  695.  
  696. DEBBIE
  697. (stern)
  698. Cool it, Andy.
  699.  
  700. ANDY
  701. (apologetic)
  702. I didn't mean it the way it
  703. sounded...
  704.  
  705. CHRIS
  706. I know you didn't...
  707.  
  708. Little by little, the masked figure advances from behind.
  709.  
  710. CHRIS
  711. (to Andy and Debbie)
  712. Look guys, I don't want to ruin
  713. your weekend. What happened to me
  714. at the cottage happened a long time
  715. ago and I think I've worked that out.
  716. I'm all right now.
  717.  
  718. The figure draws even closer raising the knife above his head.
  719.  
  720. CHRIS
  721. (continuing)
  722. I appreciate the fact that you
  723. worry about me, but don't.
  724.  
  725. DEBBIE
  726. Okay, we won't. We'll just have
  727. fun, all agreed?
  728.  
  729. The masked figure rears back and plunges the knife into
  730. Andy's back.
  731.  
  732. ANDY
  733. Aaahhh!
  734.  
  735. The rubber knife bends in half. Andy, Debbie and Chris whirl
  736. around to face the assailant.
  737.  
  738. ANDY
  739. (continuing)
  740. Dammit Shelly! Why do you always
  741. have to be such an asshole!
  742.  
  743. SHELLY
  744. (still wearing the
  745. mask)
  746. I beg your pardon, I'm not an
  747. asshole. I'm an actor.
  748.  
  749. ANDY
  750. Same thing.
  751.  
  752. Chris and Debbie, in disgust, turn away and walk off. Andy
  753. drops back to walk with Shelly.
  754.  
  755. ANDY
  756. (paternal)
  757. Look Shelly, you're my roommate
  758. and I like you... most of the
  759. time. But you gotta stop doing
  760. these things. Now, I set this
  761. date up for you, didn't I? So
  762. don't embarrass me. When you meet
  763. this woman, just relax and be
  764. yourself.
  765.  
  766. SHELLY
  767. Would you be yourself...
  768. (ripping off mask)
  769. ...if you looked this this?
  770.  
  771. Shelly puts on a pair of unflattering prescription glasses.
  772. Although he has a pleasant face, Shelly is overweight, greasy-
  773. haired and unkempt.
  774.  
  775. Chris and Debbie lead the way for Andy and Shelly up the
  776. porch steps, to the front door of a shabby, two-family house.
  777.  
  778. Chris rings the bell. Shelly takes a few steps back. He
  779. mats down his unruly hair, tucks in his shirt and takes off
  780. his glasses. He's ready.
  781.  
  782. The door opens and a middle-aged Hispanic woman stands behind
  783. the outer screen door.
  784.  
  785. MOTHER
  786. (Spanish accent)
  787. Yes?
  788.  
  789. CHRIS
  790. (friendly)
  791. Hi, Mrs. Sanchez. I'm Chris.
  792. We've come to pick up Vera.
  793.  
  794. MOTHER
  795. (bruskly)
  796. She's not going.
  797.  
  798. She shuts the door in Chris' face. The group stands there
  799. not knowing what to do next. V.O.'s from inside the house
  800. they can hear Vera and her mother arguing in Spanish.
  801.  
  802. CHRIS
  803. What are they saying?
  804.  
  805. DEBBIE
  806. I don't know. I flunked Spanish.
  807.  
  808. They all turn to leave when suddenly the front door swings
  809. open. This time Vera, knapsack over her shoulder, ready to
  810. go, comes out onto the porch. She's a knockout...20, exotic,
  811. raven-haired beauty...in tight jeans. They turn and stare at
  812. her.
  813.  
  814. VERA
  815. (forcing a smile)
  816. Hi everybody, what're you looking
  817. at. Let's go.
  818.  
  819. Shelly, intimidated by Vera's sexy good looks, steps behind
  820. Andy and slips the mask back over his face.
  821.  
  822. CHRIS
  823. (to Vera)
  824. Is everything okay?
  825.  
  826. VERA
  827. You know, just your basic old
  828. fashioned mother problems.
  829. (changing the subject)
  830. So, where's my date?
  831.  
  832. Shelly comes out from behind Andy.
  833.  
  834. SHELLY
  835. (sheepishly)
  836. Hi.
  837.  
  838. VERA
  839. (letting her
  840. disappointment show)
  841. You're Shelly?
  842.  
  843. SHELLY
  844. I'm sorry.
  845.  
  846. Andy angrily rips the mask off Shelly's face.
  847.  
  848. DEBBIE
  849. (looking across the
  850. street)
  851. Hey! The van's on fire!
  852.  
  853. EXT. VAN
  854.  
  855. White smoke billows out of the van windows, engulfing the
  856. vehicle and the luggage tied to the top.
  857.  
  858. The whole group rushes off the porch and races to the van.
  859. The first one there, Andy, opens the passenger side door and
  860. jumps in. Chris runs around to the driver's side and does
  861. the same.
  862.  
  863. INT. VAN
  864.  
  865. Through thick, acrid smoke, Chili and her boyfriend, Chuck...
  866. Cheech and Chong lookalies...can be seen sitting in the back
  867. on the floor, each puffing away like crazy on a bong filled
  868. with Marijuana. Each wears a stereo headset that is plugged
  869. into their own Sony Walkman portable cassette players.
  870.  
  871. Andy and Chris looks at each other as if to say "I should
  872. have known."
  873.  
  874. CUT TO:
  875.  
  876. EXT. HIGHWAY - MORNING
  877.  
  878. Chris' red van speeds along the empty rural highway through
  879. the lush New England countryside.
  880.  
  881. CUT TO:
  882.  
  883. INT. VAN - MORNING
  884.  
  885. Through the driver's side window, the wind blows in on Chris
  886. and tosses her flaxen hair as she drives. Debbie sits on
  887. Andy's lap in the passenger seat - the only other seat in the
  888. van.
  889.  
  890. ANDY
  891. How much farther to the cottage?
  892.  
  893. CHRIS
  894. We could've been there already...
  895. (looking at Debbie)
  896. ...if some people didn't have to
  897. go to the bathroom every five
  898. minutes.
  899.  
  900. DEBBIE
  901. (defensive)
  902. Oh yeah...well just hope that you
  903. never get pregnant, 'cause all you
  904. do all the time is piss!
  905.  
  906. REAR OF THE VAN
  907.  
  908. Chili and Chuck are sprawled out on the floor, taking
  909. inventory of their numerous joints and bags of Marijuana.
  910.  
  911. Shelly sits cross-legged near the very back of the van,
  912. opposite Vera, who sits with her legs open. Daydreaming, she
  913. gazes upward at the sky and treetops through the back window.
  914.  
  915. Shelly can't stop staring at Vera, admiring her sexy body.
  916. Vera senses that Shelly is undressing her with his eyes and
  917. quickly turns her head around and catches him looking at her
  918. breasts. Shelly averts his eyes in embarrassment and looks
  919. over at Chuck who lights up a joint, inhales and hands it
  920. Chili.
  921.  
  922. SHELLY
  923. Is that all you two are gonna do
  924. this weekend...smoke dope?
  925.  
  926. CHUCK
  927. Why not, man? Is there a law
  928. against it?
  929.  
  930. SHELLY
  931. (persisting)
  932. There's better things to do with
  933. your life.
  934.  
  935. CHUCK
  936. (confused)
  937. Like what?
  938.  
  939. CHILI
  940. (inhaling)
  941. I can't think of anything.
  942.  
  943. She offers the joint to Shelly. He declines. Chili offers
  944. it to Vera.
  945.  
  946. VERA
  947. Sure, why not.
  948.  
  949. Vera comes forward on her hands and knees, reaching out for
  950. the joint. As she does, she inadvertently thrusts her
  951. shapely rear end almost into Shelly's face. Shelly makes no
  952. attempt to retreat from it. Actually he rather enjoys it.
  953.  
  954. VERA
  955. (as she draws on the
  956. joint)
  957. Is this stuff any good?
  958.  
  959. CHUCK
  960. Home grown, man! Of course it's
  961. good!
  962.  
  963. CHILI
  964. And it's good for you, too.
  965. Strictly organic. No
  966. preservatives, man.
  967.  
  968. Andy sniffs at the air around him filled with the aroma of
  969. good grass.
  970.  
  971. ANDY
  972. Hey, let's share the wealth with
  973. those less fortunate up front here.
  974.  
  975. Vera passes the joint to him and sits back down across from
  976. Shelly.
  977.  
  978. Shelly is rummaging through a small black suitcase. It's
  979. contents are concealed from Vera's view.
  980.  
  981. VERA
  982. (curious)
  983. What d'ya got in there?
  984.  
  985. SHELLY
  986. (very secretive)
  987. My whole world.
  988.  
  989. VERA
  990. In that little thing?
  991.  
  992. SHELLY
  993. Stick around and you'll see.
  994.  
  995. Vera turns away and looks out the back window.
  996.  
  997. We can hear the faint sounds of sirens.
  998.  
  999. EXT. HIGHWAY - DAY
  1000.  
  1001. In the distance, two police cruisers, with lights flashing,
  1002. in hot pursuit.
  1003.  
  1004. INT. VAN
  1005.  
  1006. VERA
  1007. (to the others)
  1008. Better hide that grass. It's the
  1009. cops.
  1010.  
  1011. CHRIS
  1012. (looking out her
  1013. sideview mirror)
  1014. Oh, no.
  1015.  
  1016. SHELLY
  1017. (looking out the back
  1018. window)
  1019. What are we gonna do?
  1020.  
  1021. VERA
  1022. Destroy the evidence, Pronto!
  1023.  
  1024. CHUCK
  1025. Destroy the evidence? No, man!
  1026.  
  1027. CHILI
  1028. (looking right at
  1029. Chuck)
  1030. Yes, man!
  1031.  
  1032. They all look at one another, perplexed. Vera is amused.
  1033. Without a word and simultaneously, Chili and Chuck begin to
  1034. stuff loose grass and joints into their mouths.
  1035.  
  1036. CHUCK
  1037. (mouth full)
  1038. Come on, dig in!
  1039.  
  1040. ANDY
  1041. (grabbing a bag)
  1042. Aw shit!
  1043.  
  1044. He starts to eat. Vera joins in, too. The police sirens
  1045. grow louder.
  1046.  
  1047. EXT. HIGHWAY - DAY
  1048.  
  1049. The cruisers advance.
  1050.  
  1051. INT. VAN
  1052.  
  1053. Andy grabs another bag and hands it to Chris.
  1054.  
  1055. ANDY
  1056. Here...eat.
  1057.  
  1058. CHRIS
  1059. Try me some other time. I'm
  1060. driving.
  1061.  
  1062. Andy turns to Debbie and offers up the cellophane bag.
  1063.  
  1064. ANDY
  1065. Breakfast?
  1066.  
  1067. DEBBIE
  1068. No way. We're pregnant. Remember?
  1069.  
  1070. The sirens seem to be getting closer. Chili leans in behind
  1071. Chris.
  1072.  
  1073. CHILI
  1074. You better step on it!
  1075.  
  1076. CUT TO:
  1077.  
  1078. EXT. HIGHWAY - MORNING
  1079.  
  1080. The van speeds up, but so do the police cruisers, even
  1081. narrowing the gap.
  1082.  
  1083. CUT TO:
  1084.  
  1085. EXT. VAN - MORNING
  1086.  
  1087. Chili, Chuck, Andy and Vera's cheeks are filled to capacity
  1088. with dope. Their faces are turning green. Still they
  1089. continue to stuff in more at a frantic pace.
  1090.  
  1091. Shelly holds his black suitcase tightly to his chest as he
  1092. watches out the back window with concern.
  1093.  
  1094. SHELLY
  1095. Faster! Eat faster!
  1096.  
  1097. VERA
  1098. (handing Shelly a
  1099. fistful of grass)
  1100. Why don't you help us?
  1101.  
  1102. SHELLY
  1103. (reluctant)
  1104. Uh... I guess I'm just not hungry.
  1105.  
  1106. ANDY
  1107. (mouth full)
  1108. You're always hungry!
  1109.  
  1110. To appease everybody, Shelly begins to nibble ever so
  1111. slightly on the marijuana out of Vera's hand.
  1112.  
  1113. CHRIS
  1114. They're too close. I gotta pull
  1115. the van over. Hurry up and
  1116. swallow! Everybody just be cool.
  1117.  
  1118. CUT TO:
  1119.  
  1120. EXT. HIGHWAY - MORNING
  1121.  
  1122. Chris pulls the van to the side of the road. She sticks her
  1123. head out to watch for the approaching cruisers. Much to her
  1124. surprise and everyone else's, both police cars zoom by the
  1125. van without stopping.
  1126.  
  1127. CUT TO:
  1128.  
  1129. INT. VAN - MORNING
  1130.  
  1131. A collective sigh of relief, followed by groans of regret for
  1132. what they've just done.
  1133.  
  1134. ANDY
  1135. (belching)
  1136. I think I'm gonna be sick.
  1137.  
  1138. VERA
  1139. (holding her stomach)
  1140. The line forms at the rear.
  1141.  
  1142. CHUCK
  1143. I'm gonna be sicker than all of
  1144. you, man. Now I gotta spend the
  1145. whole weekend totally straight...
  1146. (buries his head in
  1147. his hands)
  1148. I don't think I can make it, man!
  1149.  
  1150. CHILI
  1151. Chuck... look.
  1152.  
  1153. She slowly unbuttons her blouse. Everyone looks at her,
  1154. puzzled. Chuck raises his head.
  1155.  
  1156. CHUCK
  1157. (mistaking Chili's
  1158. intentions)
  1159. Not now, man!
  1160.  
  1161. Her fingers reach inside her bra -- but instead of freeing
  1162. her breasts, she pulls out a good size plastic bag of
  1163. marijuana. Chuck's mouth drops open.
  1164.  
  1165. CHILI
  1166. I'm a slow eater.
  1167.  
  1168. CHUCK
  1169. (throwing his arms
  1170. around Chili)
  1171. I love you, man!
  1172.  
  1173. He attacks her with kisses. The others laugh.
  1174.  
  1175. CUT TO:
  1176.  
  1177. EXT. ROADSIDE MARKET - MORNING
  1178.  
  1179. The two police cruisers make a sharp right into the small Mom
  1180. 'n Pop store parking lot and SCREECH to a halt.
  1181.  
  1182. A small group of curious onlookers congregate at the front
  1183. entrance of the store.
  1184.  
  1185. The cruiser lights continue to flash red and blue as the
  1186. Police Officers step out of their vehicles.
  1187.  
  1188. The Officers order the onlookers to "go home" then enter the
  1189. store.
  1190.  
  1191. Chris' red van approaches down the highway.
  1192.  
  1193. CUT TO:
  1194.  
  1195. INT. VAN - MORNING
  1196.  
  1197. Chris slows down the vehicle as she sees the flashing police
  1198. lights and ambulances. She rubber-necks to see what's
  1199. happening.
  1200.  
  1201. CHRIS' MOVING POV
  1202.  
  1203. A team of Medics carry out two heavy body bags from the store.
  1204.  
  1205. Chris watches with morbid fascination, fueling her anxieties.
  1206.  
  1207. Debbie is also looking out the window at this unpleasant
  1208. scene. She turns to see Chris and reads the concern on her
  1209. face.
  1210.  
  1211. DEBBIE
  1212. Hey, kiddo... don't let your
  1213. imagination run away with you.
  1214.  
  1215. Chris turns her attention back to the highway and drives on.
  1216.  
  1217. CUT TO:
  1218.  
  1219. EXT. HIGHWAY - MORNING
  1220.  
  1221. CLOSE SHOT on a PAIR of Scraggly Men's boots as they walk
  1222. along the edge of the highway. CAMERA TILTS UP to reveal
  1223. ABEL... 72, long stringy white hair and whiskered, skinny in
  1224. baggy clothes, weathered stern face. Like a lone star, he
  1225. ambles down the lonely highway, dragging a duffle bag.
  1226.  
  1227. The SOUND of a vehicle approaching in the distance...
  1228.  
  1229. Abel sticks out his right thumb in a hitchhiking stance. He
  1230. affects a smile and looks toward the vehicle down the road.
  1231.  
  1232. CUT TO:
  1233.  
  1234. INT. VAN - MORNING
  1235.  
  1236. The sun pours in through the windshield. Debbie shades her
  1237. eyes to get a better look at the figure up ahead.
  1238.  
  1239. DEBBIE
  1240. Would you look at that! I've
  1241. never seen a senior citizen
  1242. hitchhiker before.
  1243.  
  1244. The others in the back come forward to look.
  1245.  
  1246. ANDY
  1247. Let's give the poor old guy a
  1248. break. Pick 'im up.
  1249.  
  1250. Shelly reacts very emotionally to the suggestion.
  1251.  
  1252. SHELLY
  1253. That scarecrow? Can't you tell
  1254. how weird his is just by looking
  1255. at him.
  1256.  
  1257. VERA
  1258. Come on, Shelly. Who else is
  1259. gonna give him a lift?
  1260.  
  1261. SHELLY
  1262. Not us! He's really creepy.
  1263.  
  1264. The van is now upon the aged hitchhiker. He flashes a smile
  1265. at them: plaintive, shy, and yet somehow ominous.
  1266.  
  1267. CHUCK
  1268. (reassuring)
  1269. He looks just like my grandfather,
  1270. man. Let's give him a ride.
  1271.  
  1272. EXT. HIGHWAY - MORNING
  1273.  
  1274. The van screeches to a halt and backs up to Abel. The side
  1275. door slides open and Abel is lifted into the back.
  1276.  
  1277. The van pulls away.
  1278.  
  1279. CUT TO:
  1280.  
  1281. INT. VAN - MORNING
  1282.  
  1283. Abel settles into the back next to Shelly who studies the old
  1284. traveller with both curiosity and trepidation.
  1285.  
  1286. Chris adjusts her rearview mirror to include Abel.
  1287.  
  1288. Abel nods "hello" to one and all. They nod back.
  1289.  
  1290. ABEL
  1291. (in an eloquent
  1292. soothing voice)
  1293. You are, all of you, very kind and
  1294. generous young people to lend a
  1295. helping hand to a tired, old man.
  1296. Thank you very much. Perhaps I
  1297. can repay the kindness.
  1298.  
  1299. The civilized speaking-manner of the shabby-looking stranger
  1300. calms the layer of fear that any might have had.
  1301.  
  1302. ABEL
  1303. (continuing)
  1304. My name is Abel. And I am my
  1305. brother's keeper.
  1306.  
  1307. SHELLY
  1308. Where are you going?
  1309.  
  1310. ABEL
  1311. Going? How do you mean?
  1312.  
  1313. SHELLY
  1314. I mean, is there any place in
  1315. particular where we can drop you
  1316. off?
  1317.  
  1318. ABEL
  1319. Drop me off? How do you mean?
  1320.  
  1321. Shelly's suspicions return and he glances from Vera to Debbie
  1322. and Andy. Andy shrugs his shoulders.
  1323.  
  1324. Abel reaches into his dusty dufflebag and pulls out a very
  1325. small bundle wrapped in a scrap of cloth.
  1326.  
  1327. Chris watches via the rearview mirror. Her expression is
  1328. wary.
  1329.  
  1330. Abel unwraps the object and places it in front of Shelly's
  1331. face.
  1332.  
  1333. ABEL
  1334. (continuing)
  1335. Look what His Grace has brought me.
  1336.  
  1337. Shelly looks down at a the small, slimy, white oblong thing.
  1338.  
  1339. SHELLY
  1340. (wincing)
  1341. What is that?
  1342.  
  1343. ABEL
  1344. I found this today. There were
  1345. other pieces of the body lying
  1346. there, but I believe "he" wanted
  1347. me to have this...
  1348.  
  1349. SHELLY
  1350. (gasping)
  1351. That's an eyeball! Oh, God!
  1352.  
  1353. ABEL
  1354. "He" wanted me to warn you.
  1355. (evangelical)
  1356. Look at this, all of you!
  1357.  
  1358. He holds the eyeball out for each to view. They shrink back
  1359. away from him, cringing at the sight.
  1360.  
  1361. The eyeball is reflected in the rearview mirror. Chris is
  1362. becoming quite upset.
  1363.  
  1364. ABEL
  1365. (continuing)
  1366. See with your own eyes what I have
  1367. seen. Runaway! Go back to where
  1368. you came from... Now!!!
  1369.  
  1370. CUT TO:
  1371.  
  1372. EXT. HIGHWAY - MORNING
  1373.  
  1374. The van comes to an abrupt stop. The side door opens and the
  1375. old man is practically tossed out.
  1376.  
  1377. On the ground, Abel yells after the van as it speeds away.
  1378.  
  1379. ABEL
  1380. I warned you!
  1381.  
  1382. CUT TO:
  1383.  
  1384. EXT. ROADSIDE - MORNING
  1385.  
  1386. The van is parked on the shoulder of the highway.
  1387.  
  1388. Chris leans against a tree, her arms crossed over her chest.
  1389. She looks towards the woods, waiting.
  1390.  
  1391. In front of her face, two sneakered feet pass by. It's Andy,
  1392. walking on his hands.
  1393.  
  1394. Vera stretches her arms over her head then drops her torso
  1395. and arms to the ground, bent over.
  1396.  
  1397. VERA
  1398. Some people stretch their legs....
  1399. (looking at Andy)
  1400. Some their arms....
  1401. (looking at Shelly
  1402. eating a candy bar)
  1403. And some nothing at all.
  1404.  
  1405. From out of the woods, Debbie appears. She zips up the front
  1406. of her jeans and approaches the others. Chris and Vera
  1407. applaud.
  1408.  
  1409. DEBBIE
  1410. I can't help it.
  1411.  
  1412. Smiling, Chris puts her arms around Debbie's shoulder and the
  1413. two walk toward the van.
  1414.  
  1415. From seemingly out of nowhere, the ROAR of MOTORCYCLES is
  1416. suddenly upon them.
  1417.  
  1418. The group whisks around to find three souped-up motorcycles
  1419. bearing down on them, navigated by a manacing-looking TRIO.
  1420.  
  1421. The motorcycles head straight for them. In a panic, the
  1422. group scatters. Dust swirls as the Motorcyclists veer away
  1423. from the group and the van just in time to avert a collision.
  1424.  
  1425. As the dust settles, the group picks themselves off the
  1426. ground.
  1427.  
  1428. CHRIS
  1429. (brushing herself off)
  1430. How come there's never a cop
  1431. around when you really need one.
  1432.  
  1433. CUT TO:
  1434.  
  1435. INT. VAN - MORNING
  1436.  
  1437. Chris is still driving.
  1438.  
  1439. The others have assumed their respective positions. However,
  1440. the jovial atmosphere has degenerated due to the unsettling
  1441. series of incidents.
  1442.  
  1443. Long faces and silence prevails.
  1444.  
  1445. Then, up ahead just off the road, a pleasant surprise, for
  1446. them all.
  1447.  
  1448. CHRIS
  1449. Wake up, everybody. Revenge is
  1450. ours.
  1451. (pointing out the
  1452. front window)
  1453. Look!
  1454.  
  1455. Chris slows down the van. The group quickly moves forward
  1456. and peers out the front windshield. One by one, a smile
  1457. crosses each dour face.
  1458.  
  1459. THEIR POV - EXT. HIGHWAY - DAY
  1460.  
  1461. The Three Motorcyclists have been pulled over by a State
  1462. Trooper and are being ticketed.
  1463.  
  1464. INT. VAN
  1465.  
  1466. The van erupts into laughter and cheers.
  1467.  
  1468. EXT. HIGHWAY - DAY
  1469.  
  1470. As the van passes the powerless Cyclists, the side door
  1471. swings open and the passenger window rolls down. The group
  1472. sticks their heads out and jeers and applauds.
  1473.  
  1474. INT. VAN - DAY
  1475.  
  1476. Chris turns on the radio -- Rock 'n Roll MUSIC blares as the
  1477. lighthearted atmosphere returns.
  1478.  
  1479. EXT. HIGHWAY
  1480.  
  1481. Jauntily, the van zips down the highway.
  1482.  
  1483. CUT TO:
  1484.  
  1485. EXT. COUNTRY HIGHWAY / DIRT ROAD - DAY
  1486.  
  1487. CLOSE SHOT on a half-eaten dead rabbit lying to one side of
  1488. the dirt road. CAMERA DEEP-RACK-FOCUSES to the red van
  1489. coming up over the hilly highway.
  1490.  
  1491. The van turns off onto the dirt road and makes its way
  1492. through a wooded landscape along a winding trail. Sun
  1493. dapples through the trees.
  1494.  
  1495. CUT TO:
  1496.  
  1497. EXT. LAKESIDE COTTAGE - DAY
  1498.  
  1499. An overgrown driveway meanders among oak trees towards a
  1500. rustic two-story house. The oak trees have been there long
  1501. before the house was built -- their heavy branches hang low,
  1502. like tired arms, almost blocking the driveway.
  1503.  
  1504. The house has an elevated porch and curtained windows. It is
  1505. in relatively decent condition though weatherbeaten and
  1506. creates from the start an impression of family history.
  1507.  
  1508. There is ample parking space before the house. On the left
  1509. side of the driveway as one approaches, some thirty yards
  1510. diagonally across from the house, there is a tall red barn
  1511. with a hayloft equipped with a block and tackle (to bring up
  1512. the bales of hay into the loft's square window).
  1513.  
  1514. To the right of the house is an outhouse with a heartshaped
  1515. venthole in its wooden door.
  1516.  
  1517. To the left of the house is a large lake with a knotty old
  1518. dock and a small tree-covered island in the middle. The
  1519. whole area is surrounded by a lush landscape.
  1520.  
  1521. The SOUND of a VEHICLE approaching...
  1522.  
  1523. The CAMERA reveals this serene, idyllic panorama and PICKS UP
  1524. Chris' van as it bumps along the dirt road and slows down to
  1525. a crawl to pass over a creaky, dilapidated wooden bridge that
  1526. runs over a dried-up stream.
  1527.  
  1528. INT. HOUSE
  1529.  
  1530. The CAMERA peers OVER-THE-SHOULDER of an UNIDENTIFIABLE
  1531. FIGURE as he moves from one living room window to the other,
  1532. watching the van as it sweeps under the low branches towards
  1533. the house.
  1534.  
  1535. EXT. HOUSE
  1536.  
  1537. The van comes to a stop. Chris jumps out and looks towards
  1538. the house. A collection of memories posses her for a moment
  1539. before she reaches for the knotted rope and unties the tarp
  1540. covering the bulk of the baggage on top.
  1541.  
  1542. CHRIS
  1543. (loud so the others
  1544. can hear)
  1545. Let's bring in the luggage first,
  1546. then I'll give you a tour of the
  1547. house and the barn and then we can
  1548. hang out at the lake... All right?
  1549.  
  1550. No response. Just the distant SOUND of FEET RUNNING and
  1551. LAUGHTER.
  1552.  
  1553. Chris walks around to the other side of the van and finds the
  1554. doors left wide open and no one about. She turns to see her
  1555. friends running towards the lake, unable to resist the
  1556. splendor of the shimmering water and sun dappled landscape.
  1557.  
  1558. Debbie turns back and gestures for Chris to join them.
  1559.  
  1560. DEBBIE
  1561. Come on down!
  1562.  
  1563. CHRIS
  1564. (shaking her head)
  1565. You go ahead...
  1566.  
  1567. In the background, behind Chris, the Shadowy Figure, OUT OF
  1568. FOCUS, appears behind a curtain in the living room.
  1569.  
  1570. CHRIS
  1571. (to Debbie)
  1572. I'm gonna take my bags into the
  1573. house first and look around.
  1574.  
  1575. Chris turns toward the house. The Figure disappears from
  1576. view. Chris grabs a piece of baggage in each hand and
  1577. innocently strides up the path and porch steps to the front
  1578. door.
  1579.  
  1580. It has been a while since she has last visited the family
  1581. country home and she is actually pleased to have this moment
  1582. to herself.
  1583.  
  1584. She rifles through her handbag, comes up with the keys and
  1585. reaches for the doorknob to find that the door is already
  1586. open, ever so slightly. A look of concern flashes across
  1587. Chris' face.
  1588.  
  1589. CHRIS
  1590. (continuing)
  1591. Hello?
  1592.  
  1593. Only the distant SOUNDS of her friends by the lake can be
  1594. heard.
  1595.  
  1596. Cautiously, Chris pushes the door. Creaking, it opens wide.
  1597. She hesitates a moment then takes a step inside.
  1598.  
  1599. CHRIS
  1600. (hearing a noise)
  1601. Who's there?
  1602.  
  1603. From out of nowhere, a hand grabs Chris by the neck and pulls
  1604. her OUT OF FRAME. She SCREAMS!
  1605.  
  1606. Then the SOUNDTRACK becomes coldly SILENT...
  1607.  
  1608. CUT TO:
  1609.  
  1610. INT. LIVING ROOM / COTTAGE - DAY
  1611.  
  1612. Pinned up against the wall, Chris is being embraced and
  1613. kissed passionately by a MAN whose face is not yet visible.
  1614.  
  1615. Resisting, Chris pushes him off.
  1616.  
  1617. CHRIS
  1618. Derek... stop.
  1619.  
  1620. DEREK
  1621. Why?
  1622.  
  1623. DEREK is 23, tall, dark and virile.
  1624.  
  1625. CHRIS
  1626. You know what I've been through.
  1627. Don't ever scare me like that.
  1628.  
  1629. DEREK
  1630. I'm sorry. I just wanted to
  1631. surprise you. What can I say?
  1632.  
  1633. CHRIS
  1634. (with a smile)
  1635. You can say... "Hello, how are
  1636. you?"... for starters.
  1637.  
  1638. DEREK
  1639. (genuinely)
  1640. Hello. How are you?
  1641.  
  1642. He pulls her towards him to kiss her again.
  1643.  
  1644. CHRIS
  1645. (moving away)
  1646. You haven't changed a bit. Always
  1647. so sure of yourself. Even when we
  1648. were kids, when you wanted
  1649. something, nothing could stop you.
  1650.  
  1651. DEREK
  1652. Is that so bad?
  1653.  
  1654. CHRIS
  1655. I don't know.
  1656.  
  1657. DEREK
  1658. You're irresistible. I lose
  1659. control.
  1660.  
  1661. CHRIS
  1662. Just slow down. Let me get to
  1663. know you again. Let me get to
  1664. know this place again.
  1665.  
  1666. DEREK
  1667. Okay. There's a whole weekend
  1668. ahead of us. There's time.
  1669.  
  1670. Chris embraces Derek. Behind them, passing the porch
  1671. windows, OUT OF FOCUS, is the shadowy figure of JASON.
  1672. Neither Chris nor Derek is aware of the presence.
  1673.  
  1674. CHRIS
  1675. (breaking the embrace)
  1676. Come outside and help me with the
  1677. bags.
  1678.  
  1679. The turn and head for the front door. Jason's figure moves
  1680. away from the windows, out of sight.
  1681.  
  1682. CUT TO:
  1683.  
  1684. EXT. COTTAGE - DAY
  1685.  
  1686. Chris and Derek bound down the porch steps to the van.
  1687.  
  1688. DEREK
  1689. I'll get the bags off the top.
  1690. You get the ones inside.
  1691.  
  1692. Chris moves around to the opposite side. The sliding door
  1693. which was previously wide open is now closed.
  1694.  
  1695. CHRIS
  1696. (unsure, talking out
  1697. loud)
  1698. This door was open just a minute
  1699. ago, wasn't it?
  1700.  
  1701. DEREK (O.S.)
  1702. (from the other side
  1703. of the van)
  1704. What?
  1705.  
  1706. CHRIS
  1707. Nothing.
  1708.  
  1709. The SOUND of the others thrashing about in the lake can be
  1710. heard as Chris reaches for the handle and whisks the door
  1711. aside. Instinctively, she braces herself, but nothing jumps
  1712. out at her. Annoyed with herself for being so suspicious and
  1713. jumpy, Chris just leans in and grabs for the first bag she
  1714. sees.
  1715.  
  1716. A HAND springs INTO FRAME and wraps around Chris' wrist. She
  1717. gasps and jumps back.
  1718.  
  1719. Shelly sticks his head out the side of the van.
  1720.  
  1721. SHELLY
  1722. That's my bag. I'll take care of
  1723. it.
  1724.  
  1725. CHRIS
  1726. What're you doing in there? Why
  1727. aren't you down at the lake with
  1728. the others.
  1729.  
  1730. SHELLY
  1731. 'Cause they're skinny-dipping and
  1732. I'm not skinny enough.
  1733.  
  1734. Chris looks toward the lake.
  1735.  
  1736. CHRIS' POV
  1737.  
  1738. Andy, Debbie and Vera frolic about naked in the water. Chili
  1739. and Chuck dive off the dock, fully clothed.
  1740.  
  1741. CUT TO:
  1742.  
  1743. INT. CELLAR - DAY
  1744.  
  1745. Pitch black save for a slice of sunlight from an elevated
  1746. basement window. The door swings open. Silhouetted in the
  1747. doorway are Chili and Chuck just come from the lake, drenched
  1748. and dripping in their wet clothing.
  1749.  
  1750. CHUCK
  1751. (uneasy)
  1752. It's dark down there.
  1753.  
  1754. CHILI
  1755. That's the way it is, man.
  1756. Cellars are dark.
  1757.  
  1758. CHUCK
  1759. And Hell is hot, but I ain't goin'
  1760. down there either.
  1761.  
  1762. Chili flicks a wall switch next to her. A naked light bulb
  1763. springs to life, glowing dimly.
  1764.  
  1765. CHILI
  1766. There's nothin' to be afraid of.
  1767.  
  1768. She takes Chuck by the hand and leads him down the stairs.
  1769. Their sneakers, sodden with water, squeak and squish as they
  1770. go. Water drips from their hair and clothes, forming little
  1771. puddles that follow their every step.
  1772.  
  1773. The basement is overrun with cobwebs and spiderwebs. Rusted
  1774. gardening tools, broken bicycle parts and boxes of old toys
  1775. are strewn helter-skelter. An old washer and dryer sit just
  1776. to the left of the electrical fusebox.
  1777.  
  1778. CHILI
  1779. (continuing)
  1780. Gimme your threads, man.
  1781.  
  1782. Chuck pulls off his shirt and hands it to Chili. She rings
  1783. it out onto the floor creating a pool of water under the
  1784. fusebox.
  1785.  
  1786. As Chuck zips down his pants, Chili turns on the dryer.
  1787. Annoyingly, the dryer RATTLES and SHAKES.
  1788.  
  1789. Suddenly the light bulb goes off, plunging the twosome into
  1790. near darkness.
  1791.  
  1792. FOREBODING MUSIC enters the SOUNDTRACK...
  1793.  
  1794. CHUCK
  1795. You broke the electricity, man!
  1796.  
  1797. But yet, the dryer CLATTERS on.
  1798.  
  1799. From over by the stairs, the SOUND of a METAL OBJECT being
  1800. kicked against the door.
  1801.  
  1802. Chili and Chuck whirl around to look.
  1803.  
  1804. A rusty old roller skate bounces down the stairs and hits
  1805. bottom with a CLUNK.
  1806.  
  1807. CHUCK
  1808. (on edge)
  1809. Who's there?!
  1810.  
  1811. The door slams shut.
  1812.  
  1813. CUT TO:
  1814.  
  1815. INT. LIVING ROOM / STAIRCASE - DAY
  1816.  
  1817. Laden with his and Debbie's baggage, Andy enters the front
  1818. door, trudges to the base of the spiral staircase and looks
  1819. up.
  1820.  
  1821. ANDY
  1822. Whatever happened to equal rights
  1823. for men?
  1824.  
  1825. Chris and Debbie, unburdened by luggage, reach the second
  1826. floor landing.
  1827.  
  1828. DEBBIE
  1829. (to Andy)
  1830. Stop bitching. You can't expect
  1831. me to carry heavy things in my
  1832. condition.
  1833.  
  1834. Andy grumbles and starts up the stairs.
  1835.  
  1836. CUT TO:
  1837.  
  1838. INT. BEDROOM - DAY
  1839.  
  1840. Chris throws open the door and allows Debbie to enter first.
  1841.  
  1842. CHRIS
  1843. This was my bedroom. It's yours
  1844. for the weekend.
  1845.  
  1846. Chris walks over to the windows and separates the curtains,
  1847. flooding the room with light. She opens the windows -- a
  1848. cool breeze blows in.
  1849.  
  1850. Debbie surveys the cheerful room with antique furniture that
  1851. includes a folding. Japanese-style dressing curtain. But
  1852. there is one important element missing in this bedroom...
  1853. there's no bed.
  1854.  
  1855. DEBBIE
  1856. Uh, Chris... I don't mean to be
  1857. picky, but... where do we sleep?
  1858.  
  1859. With an impish smile, Chris goes over to the closet and pulls
  1860. out a crumpled mass of netting. She hands it to Debbie.
  1861.  
  1862. DEBBIE
  1863. (perplexed)
  1864. What's this?
  1865.  
  1866. CHRIS
  1867. Your bed.
  1868.  
  1869. DEBBIE
  1870. A hammock?
  1871.  
  1872. CHRIS
  1873. Have you ever made love in a
  1874. hammock?
  1875.  
  1876. Chris exits, closing the door behind her.
  1877.  
  1878. DEBBIE
  1879. (envisioning the
  1880. pleasant
  1881. possibilities)
  1882. Hmmm... why not?
  1883.  
  1884. Debbie begins to unravel the nylon mesh when suddenly, a gust
  1885. of wind topples over the Japanese dressing curtain. It hits
  1886. the floor with a sharp SLAP. At the same exact moment, the
  1887. door is kicked open with a BANG, SLAMMING against the
  1888. opposite wall.
  1889.  
  1890. Debbie jumps. It's Andy. He squeezes through the door with
  1891. the bulky baggage.
  1892.  
  1893. ANDY
  1894. (looking around)
  1895. Where's the bed?
  1896.  
  1897. With the back of his foot, Andy kicks the door to close it.
  1898. An instant before the door slams shut, we SEE a fleeting yet
  1899. ominous, glimpse of Jason behind Andy in the hallway.
  1900.  
  1901. CUT TO:
  1902.  
  1903. INT. MASTER BEDROOM - DAY
  1904.  
  1905. Chris in CLOSE SHOT, looks around the room, concerned about
  1906. what she sees.
  1907.  
  1908. CHRIS
  1909. (calling out)
  1910. Derek, come in here!
  1911.  
  1912. WIDER SHOT
  1913.  
  1914. including the whole room. The bed is a mess as if someone
  1915. had slept in it recently, the closets are open -- hangers on
  1916. the floor, some linen strewn about, the dresser drawers are
  1917. pulled out and left hanging.
  1918.  
  1919. Derek comes into the room carrying a box full of wooden
  1920. paddles with little rubber balls attached by a long elastic
  1921. thread.
  1922.  
  1923. DEREK
  1924. Look what I found. Remember these?
  1925.  
  1926. CHRIS
  1927. (her attention
  1928. focused elsewhere)
  1929. Did you stay here last night?
  1930.  
  1931. DEREK
  1932. (looking around)
  1933. No. I got here just before you
  1934. did.
  1935.  
  1936. CHRIS
  1937. Somebody was in here.
  1938.  
  1939. DEREK
  1940. Goldilocks and the Three Bears?
  1941.  
  1942. CHRIS
  1943. I'm serious. Doesn't this look a
  1944. little strange to you?
  1945.  
  1946. Chris begins straightening up the room, pushing in the
  1947. drawers, etc.
  1948.  
  1949. DEREK
  1950. Don't get paranoid. I'm sure your
  1951. parents left it this way last time
  1952. they were here. You know how
  1953. messy your father is. If there
  1954. was a phone here, I'd call them up
  1955. right now.
  1956.  
  1957. Derek moves over to help Chris make the bed.
  1958.  
  1959. CHRIS
  1960. You have an answer for everything,
  1961. don't you?
  1962.  
  1963. Derek shrugs his shoulders.
  1964.  
  1965. DEREK
  1966. (gentle but firm)
  1967. I just think that it's about time
  1968. you stopped looking over your
  1969. shoulder, always expecting there's
  1970. someone coming after you. That's
  1971. no way to live.
  1972.  
  1973. Chris looks at Derek thoughtfully, but unconvinced. They
  1974. finish making the bed in silence.
  1975.  
  1976. CUT TO:
  1977.  
  1978. EXT. LAKE / COTTAGE - DAY
  1979.  
  1980. Several six packs of empty beer bottles line a picnic table
  1981. which is further cluttered with half-eaten sandwiches and the
  1982. usual array of picnic goodies.
  1983.  
  1984. Shelly and Vera sits across from each other, in the midst of
  1985. a beer chugging contest. Derek, Andy and Chuck sit on either
  1986. side Shelly, encouraging him to victory. Chris, Chili and
  1987. Debbie, on either side of Vera, do likewise.
  1988.  
  1989. Vera downs her next bottle with apparent ease. Shelly balks
  1990. as another beer is thrust in front of him.
  1991.  
  1992. SHELLY
  1993. (nauseous)
  1994. No more... I can't!
  1995.  
  1996. ANDY
  1997. Yes, you can. Come on, Shelly!
  1998.  
  1999. Shelly relents and suffers the beer as it goes down. The
  2000. accomplishment is met with a pat on the back.
  2001.  
  2002. Vera, too, hesitates for a moment then chugs her beer, this
  2003. time more slowly and with a degree of difficulty.
  2004.  
  2005. Tipsy, Shelly rises to his feet.
  2006.  
  2007. SHELLY
  2008. (as if in control)
  2009. If you'll all please excuse me...
  2010.  
  2011. Shelly picks up his small black suitcase and walks off on
  2012. wobbly legs.
  2013.  
  2014. ANDY
  2015. (yelling after him)
  2016. How could you let her beat you?
  2017.  
  2018. SHELLY
  2019.  
  2020. grabs his mouth and runs past the house into the outhouse,
  2021. slamming the door behind him.
  2022.  
  2023. The SOUNDS of Shelly vomiting can be heard.
  2024.  
  2025. INT. OUTHOUSE
  2026.  
  2027. Leaning over the hole, Shelly wipes his mouth with his
  2028. sleeve. Weakened and defeated, he sits down and leans his
  2029. head back against the wall, closing his eyes.
  2030.  
  2031. An OMINOUS TONE enters the SOUNDTRACK...
  2032.  
  2033. From behind Shelly, the CAMERA MOVES past him and LOOKS OUT
  2034. from the heart-shaped venthole carved in the door.
  2035.  
  2036. From this distant vantage point, WE CAN SEE up to a second-
  2037. floor window where a shadowy figure (Jason) looks down from
  2038. behind a sheer curtain.
  2039.  
  2040. SHELLY
  2041.  
  2042. opens his eyes and listens to the others by the lake, having
  2043. fun without him. He stands up and OUT OF FRAME.
  2044.  
  2045. EXT. OUTHOUSE
  2046.  
  2047. Shelly comes out of the outhouse. Alone with his black
  2048. suitcase, he starts for the front door of the house.
  2049.  
  2050. The OMINOUS TONE returns to the SOUNDTRACK...
  2051.  
  2052. The CAMERA CRANES UP to the second-floor bedroom window where
  2053. moments before the shadowy figure stood watching. The figure
  2054. is now gone from the window. Only the curtains rustle in the
  2055. breeze.
  2056.  
  2057. The SOUND of the front door SLAMMING. Shelly is inside.
  2058.  
  2059. CUT TO:
  2060.  
  2061. INT. HOUSE - DAY
  2062.  
  2063. CAMERA is behind Shelly as he ascends the spiral staircase.
  2064. Halfway up, he HEARS a LOUD THUD. Pausing to listen, he
  2065. turns his face around, right into CAMERA. He hears nothing
  2066. further and continues up the stairs.
  2067.  
  2068. When he reaches the landing, he HEARS SCREAMING coming from
  2069. the lake. He rushes into the bedroom which faces the water.
  2070.  
  2071. INT. BEDROOM - DAY
  2072.  
  2073. It's Andy and Debbie's bedroom where the hammock is now set
  2074. up, draped with a bedspread. Shelly looks out on the lake.
  2075.  
  2076. SHELLY'S POV
  2077.  
  2078. The SCREAMING is nothing more than playful activity.
  2079.  
  2080. Suddenly, the SOUND of a window in the room SLAMMING shut.
  2081. Startled, Shelly whips around to see the window beside the
  2082. Japanese dressing curtain now closed. Dust around the window
  2083. has been unsettled. The Japanese curtain wavers. Shelly
  2084. cannot see behind it.
  2085.  
  2086. He edges over to the curtain and flings it aside. There's
  2087. nothing there. He exits.
  2088.  
  2089. INT. HALLWAY - DAY
  2090.  
  2091. He walks to his room at the far end of the corridor and
  2092. pushes on the door to open it. It doesn't budge. Leading
  2093. with his shoulder, he bashes into the door. This time it
  2094. gives. Shelly stumbles off-balance into the room (this is
  2095. the same room which looks directly down on the outhouse)!
  2096.  
  2097. A HIGH-PITCHED FOREBODING NOTE enters the SOUNDTRACK...
  2098.  
  2099. Shelly takes a long look back down the hallway as he closes
  2100. the door.
  2101.  
  2102. CAMERA HOLDS for a moment on the closed door as the MUSICAL
  2103. NOTE INTENSIFIES...
  2104.  
  2105. CUT TO:
  2106.  
  2107. EXT. LAKE / COTTAGE - DAY
  2108.  
  2109. A chilling, bloodcurdling SCREAM, from inside the house,
  2110. shatters the calm by the lake.
  2111.  
  2112. DEBBIE
  2113. What was that?
  2114.  
  2115. ANDY
  2116. (looking around at
  2117. the others)
  2118. Where's Shelly?
  2119.  
  2120. VERA
  2121. I haven't seen him.
  2122.  
  2123. DEREK
  2124. (taking control)
  2125. Come on!...
  2126.  
  2127. He leads the others in a race towards the house and up the
  2128. porch steps.
  2129.  
  2130. CUT TO:
  2131.  
  2132. INT. HOUSE - DAY
  2133.  
  2134. The group barrels into the house and assembles in the living
  2135. room at the base of the stairs.
  2136.  
  2137. DEREK
  2138. (calling out)
  2139. Shelly! Where are you?!
  2140.  
  2141. CHRIS
  2142. (shouting up the
  2143. stairs)
  2144. Are you all right, Shelly?
  2145.  
  2146. Silence.
  2147.  
  2148. DEREK
  2149. Let's spread out and check all the
  2150. rooms. Outside, too.
  2151. (to Chris)
  2152. You stay with me.
  2153.  
  2154. CHRIS
  2155. No. I can look around by myself.
  2156. I'll take the upstairs.
  2157.  
  2158. The group disperses. The CAMERA STAYS with Chris. She heads
  2159. up the spiral staircase to the second-floor landing.
  2160.  
  2161. INT. SECOND FLOOR HALLWAY
  2162.  
  2163. She looks both ways down the corridor and sees Shelly's
  2164. closed bedroom door at the end of the hall. She approaches,
  2165. tries the knob and pushes. The door is stuck. She kicks it
  2166. open with her foot. The door slams against the wall of the
  2167. room.
  2168.  
  2169. CHRIS
  2170. (before going in)
  2171. Shelly...?
  2172.  
  2173. The room is in order. Chris takes a few hesitant steps
  2174. inside, looking all around. There's no trace of him.
  2175.  
  2176. There are two closets in the room. Chris reaches out for the
  2177. nearest one and pulls open the door.
  2178.  
  2179. MUSICAL STINGER...
  2180.  
  2181. SHELLY
  2182.  
  2183. An axe imbedded in his head, and bleeding profusely, falls
  2184. forward into Chris' arms. She SHRIEKS as Shelly's lifeless
  2185. body slides down her arm and slumps to the floor. Chris
  2186. recoils, SCREAMING in horror.
  2187.  
  2188. DEREK AND VERA
  2189.  
  2190. burst into the room.
  2191.  
  2192. CHRIS
  2193. (sobbing)
  2194. He's dead... he's dead...
  2195.  
  2196. VERA
  2197. Oh, my God!
  2198.  
  2199. DEREK
  2200. (grabbing Chris and
  2201. turning her away)
  2202. Don't look! Let's just get the
  2203. hell out of here.
  2204.  
  2205. Andy and Debbie, followed by Chili and Chuck, rush into the
  2206. room. They react accordingly, except Andy. He is curiously
  2207. unaffected by the gruesome sight. He bends down over Shelly.
  2208.  
  2209. DEBBIE
  2210. Don't touch him!
  2211.  
  2212. Undaunted, Andy places his hand on Shelly's stomach... and
  2213. tickles him. Shelly springs to life, giggling uncontrollably.
  2214. The others gasp incredulously.
  2215.  
  2216. ANDY
  2217. Get up, you creep.
  2218.  
  2219. Shelly looks up at the angry mob.
  2220.  
  2221. SHELLY
  2222. (a little worried)
  2223. I guess I fooled you, huh?
  2224.  
  2225. CHRIS
  2226. (enraged)
  2227. Why you little bastard! I'll kill
  2228. you!
  2229.  
  2230. Chris jumps Shelly and pummels him with punches. The fake
  2231. axe falls from his head as Shelly fends off Chris. Derek
  2232. grabs her and pulls her off.
  2233.  
  2234. DEREK
  2235. Leave him alone. He doesn't know
  2236. any better.
  2237.  
  2238. SHELLY
  2239. It was a joke... just a joke... I
  2240. didn't mean to...
  2241.  
  2242. ANDY
  2243. (interrupting)
  2244. You never mean to.
  2245.  
  2246. Vera glares disdainfully at Shelly. She finds him pitiful.
  2247.  
  2248. VERA
  2249. I gotta get out of here. I'll go
  2250. get some more booze.
  2251.  
  2252. DEREK
  2253. (throwing her his
  2254. keys)
  2255. Here, take my VW.
  2256.  
  2257. CUT TO:
  2258.  
  2259. EXT. COTTAGE / BARN - DAY
  2260.  
  2261. The barn doors are wide open.
  2262.  
  2263. The SOUND of an ENGINE CHOKING and SPUTTERING to life. A
  2264. rusted-out, old Volkswagen Beetle CHUGS out of the barn.
  2265. Vera is driving.
  2266.  
  2267. Cleaned all of his makeup and blood, Shelly races out of the
  2268. house and runs alongside the VW, peering in at Vera.
  2269.  
  2270. SHELLY
  2271. Let me go with you! I gotta get
  2272. away from here, too.
  2273.  
  2274. Without a word, Vera zooms off, abandoning Shelly. But when
  2275. she reaches the bridge, she brakes and opens the passenger
  2276. door. Elated, Shelly bolts to the car and jumps in.
  2277.  
  2278. The VW takes off...
  2279.  
  2280. CUT TO:
  2281.  
  2282. INT. PACKAGE STORE - DAY
  2283.  
  2284. A CASHIER rings up the total as a CO-WORKER bags several six-
  2285. packs of beer, bottles of cheap champagne and assorted
  2286. munchies. Vera stands at the cash register, searching her
  2287. pockets for money.
  2288.  
  2289. CASHIER
  2290. That'll be $23.50... and we don't
  2291. accept no food stamps.
  2292.  
  2293. Vera sneers at the woman and looks down the aisles for
  2294. Shelly. She finds him leafing through a magazine rack.
  2295.  
  2296. VERA
  2297. Shelly... I need some money.
  2298. Throw me your wallet.
  2299.  
  2300. Shelly digs into his pocket, comes up with the wallet and
  2301. tosses it over to Vera.
  2302.  
  2303. She reaches up to catch it, but it hits the side of her hand
  2304. and drops to the floor.
  2305.  
  2306. Vera bends down to pick it up, but someone beats her to it.
  2307. A black hand with rings on each finger scoops the wallet up
  2308. first.
  2309.  
  2310. FOX... a Black woman outfitted in skin-tight black leather...
  2311. holds the wallet. Vera and she have an immediate and mutual
  2312. dislike for each other.
  2313.  
  2314. Flanking Fox, on either side, is ALI... a strapping Black man
  2315. with a full set of gold teeth... and LOCO... sporting a
  2316. bandana, gold earrings and leather jacket.
  2317.  
  2318. There are the three motorcyclists that our group had the run
  2319. in with on the road earlier.
  2320.  
  2321. As Fox and Vera stare at each other, Shelly comes up behind
  2322. Vera.
  2323.  
  2324. SHELLY
  2325. Is... is everything all right?
  2326.  
  2327. VERA
  2328. (looking at Fox)
  2329. Everything's gonna be fine.
  2330.  
  2331. SHELLY
  2332. (spying Fox with his
  2333. wallet)
  2334. Excuse me, but I believe that's
  2335. mine...
  2336.  
  2337. Ali and Loco leer at Shelly and surround him. They lift him
  2338. off the ground, each grabbing an arm.
  2339.  
  2340. ALI
  2341. (to Loco)
  2342. Make a wish.
  2343.  
  2344. SHELLY
  2345. (frightened)
  2346. Uh... could I buy you two a beet
  2347. or something?
  2348.  
  2349. Fox leafs through the wallet. Vera holds out her hand.
  2350.  
  2351. VERA
  2352. I'll take that, now.
  2353.  
  2354. Fox continues rummaging through the wallet. She pulls out a
  2355. prophylactic packet.
  2356.  
  2357. FOX
  2358. (reading off the foil
  2359. cover)
  2360. "A True Trojan... thin as a
  2361. shadow, strong as a horse."
  2362.  
  2363. Ali and Loco laugh and drop Shelly to the ground. He quickly
  2364. regains his feet.
  2365.  
  2366. VERA
  2367. (grabbing the packet
  2368. from Fox)
  2369. That's mine.
  2370.  
  2371. She grabs for the wallet. Fox is quick to react, pulling it
  2372. away from Vera's reach.
  2373.  
  2374. FOX
  2375. Didn't your mama teach you
  2376. manners? If you want somethin',
  2377. you ask nice!
  2378.  
  2379. Vera's jaw tightens with restraint.
  2380.  
  2381. SHELLY
  2382. (to Vera)
  2383. Please... be cool.
  2384.  
  2385. VERA
  2386. (to Fox, teeth
  2387. clenched)
  2388. May be please have the wallet.
  2389.  
  2390. FOX
  2391. You mean, "May we please have the
  2392. wallet... ma'am."
  2393.  
  2394. VERA
  2395. (holding back with
  2396. difficulty)
  2397. May we please have the wallet...
  2398. (pauses)
  2399. .... ma'am.
  2400.  
  2401. FOX
  2402. That's good. That's real nice.
  2403.  
  2404. She tosses the wallet to Vera. Ali, Loco, and Fox share a
  2405. good laugh.
  2406.  
  2407. Vera and Shelly pay for the booze, grab their packages and
  2408. exit the store.
  2409.  
  2410. The three cyclists follow after them.
  2411.  
  2412. CUT TO:
  2413.  
  2414. EXT. PACKAGE STORE - DAY
  2415.  
  2416. CAMERA TRACKS with Vera and Shelly as they head for the car.
  2417.  
  2418. In the background, Ali, Fox and Loco come out of the store.
  2419.  
  2420. SHELLY
  2421. Are they following us?
  2422.  
  2423. VERA
  2424. (looking back over
  2425. her shoulder)
  2426. Yes.
  2427.  
  2428. SHELLY
  2429. Gulp!
  2430.  
  2431. Vera and Shelly quickly stuff the back seat of the VW with
  2432. their packages. The fact that three motorcycles are parked
  2433. directly behind their car is not lost on Vera.
  2434.  
  2435. Shelly is already in the car when Vera jumps into the
  2436. driver's seat and starts the ignition. Side by side, Ali,
  2437. Fox and Loco strut deliberately towards the VW.
  2438.  
  2439. Vera throws the car into gear and hits the gas pedal. The
  2440. car lurches in reverse...
  2441.  
  2442. We HEAR the sound of metal crashing.
  2443.  
  2444. VERA
  2445.  
  2446. has deliberately back up into one of the cycles, starting a
  2447. chain reaction. The first one collides with a second. The
  2448. second collides with a third. The three motorcycles lie in
  2449. a heap.
  2450.  
  2451. SHELLY
  2452. (looking out the back
  2453. window)
  2454. Aw, shit!
  2455.  
  2456. Enraged, Alice, Fox and Loco race towards the VW and their
  2457. injured motorcycles.
  2458.  
  2459. ALI
  2460. Get 'em.
  2461.  
  2462. Vera quickly shifts gears. The car CHUGS forward and takes
  2463. off.
  2464.  
  2465. CAMERA PANS with the car as it rips past the onrushing gang,
  2466. knocking them aside, and zooms out of the parking lot.
  2467.  
  2468. CUT TO:
  2469.  
  2470. EXT. COUNTRY HIGHWAY - DAY
  2471.  
  2472. The Volkswagen Beetle rattles as it speeds past CAMERA.
  2473.  
  2474. CUT TO:
  2475.  
  2476. INT. VOLKSWAGEN - DAY
  2477.  
  2478. Shelly stretches his neck and looks out the back window.
  2479.  
  2480. VERA
  2481. See anything?
  2482.  
  2483. SHELLY
  2484. Just a dirty window.
  2485. (settles down in his
  2486. seat)
  2487. Next time, I'll know how to handle
  2488. a situation like that. Let's just
  2489. hope that "next time" isn't too
  2490. soon.
  2491.  
  2492. VERA
  2493. Stop worrying. I don't think
  2494. they'll bother to come after us.
  2495.  
  2496. The RUMBLING of motorcycles can be heard in the distance.
  2497. They both hear it. Shelly looks at Vera apprehensively.
  2498.  
  2499. VERA
  2500. (continuing)
  2501. So, I was wrong.
  2502.  
  2503. Shelly turns to look out the back window.
  2504.  
  2505. SHELLY
  2506. I don't see anything.
  2507.  
  2508. VERA
  2509. Keep looking.
  2510.  
  2511. The ROAR of motorcycles grows LOUDER as Vera floors the
  2512. accelerator.
  2513.  
  2514. CUT TO:
  2515.  
  2516. EXT. HALLWAY - DAY
  2517.  
  2518. Standing just off the road, Abel, the old doom-sayer that the
  2519. group picked up earlier, has his thumb out for a ride.
  2520.  
  2521. As the VW flies by him without stopping, Abel looks after it
  2522. with eyes that seem to know something is about to happen.
  2523.  
  2524. CUT TO:
  2525.  
  2526. INT. VW - DAY
  2527.  
  2528. VERA
  2529. (looking in her
  2530. rearview mirror at
  2531. Abel)
  2532. Not this time, old man.
  2533.  
  2534. The SOUND of approaching motorcycles grows LOUDER... closer.
  2535.  
  2536. SHELLY
  2537. (looking everywhere)
  2538. Where the hell are they? I don't
  2539. see them anywhere!
  2540.  
  2541. CLOSE UP - VERA
  2542.  
  2543. looking out the front window.
  2544.  
  2545. VERA
  2546. Holy shit!!!
  2547.  
  2548. VERA'S POV
  2549.  
  2550. Swooping over a hill, in unison, three motorcycles head
  2551. straight for them at top speed. It's Ali, Fox and Loco in
  2552. black helmets.
  2553.  
  2554. VERA AND SHELLY
  2555.  
  2556. mouths open, eyes wide with disbelief.
  2557.  
  2558. EXT. VOLKSWAGEN
  2559.  
  2560. Vera slams on the brakes. The car skids to a stop. At the
  2561. last possible moment, Fox steers her cycle deftly to the
  2562. right of the VW. Loco steers left. And, Ali jumps the car,
  2563. flying over the top.
  2564.  
  2565. As Ali lands on the highway, the three skid into a U-turn.
  2566.  
  2567. VERA AND SHELLY
  2568.  
  2569. open their eyes and look behind them. Shelly braces himself
  2570. as Vera guns the motor.
  2571.  
  2572. EXT. CAR
  2573.  
  2574. The car takes off. The motorcycles are in pursuit.
  2575.  
  2576. Ali easily catches up with the car and pulls up alongside the
  2577. driver's window. Loco creeps up on the passenger's side.
  2578. Fox moves in behind the vehicle.
  2579.  
  2580. ALI
  2581.  
  2582. smiles at Vera. The sun glints off his gold teeth.
  2583.  
  2584. VERA
  2585.  
  2586. smiles back.
  2587.  
  2588. ALI
  2589.  
  2590. whips out a heavy metal chain and smashes it through the
  2591. windshield, right at CAMERA. The windshield shatters.
  2592.  
  2593. The car swerves out of control to the right, knocking into
  2594. Loco, sending him and his cycle flying off the road.
  2595.  
  2596. As Vera regains control of the VW, Ali drops back next to Fox
  2597. behind the car.
  2598.  
  2599. Ali hands Fox the chain and signals for her to move up the
  2600. passenger side.
  2601.  
  2602. INT. VW
  2603.  
  2604. Shelly watches as Fox moves up alongside.
  2605.  
  2606. VERA
  2607. Got any good ideas?
  2608.  
  2609. SHELLY
  2610. Maybe.
  2611.  
  2612. He reaches into the back seat and pulls out a bottle of
  2613. champagne.
  2614.  
  2615. VERA
  2616. This is no time to celebrate!
  2617.  
  2618. SHELLY
  2619. Just keep your eyes on the road.
  2620.  
  2621. Waving the chain menacingly, Fox pulls up alongside Shelly's
  2622. window.
  2623.  
  2624. Quickly, Shelly unravels the seal and shakes up the champagne
  2625. bottle.
  2626.  
  2627. VERA
  2628. What're you doing?
  2629.  
  2630. SHELLY
  2631. No time to explain. Just listen.
  2632. When I yell "stop," you jam on the
  2633. brakes as hard as you can. Okay?
  2634.  
  2635. VERA
  2636. (pleased with
  2637. Shelly's initiative)
  2638. You're the boss.
  2639.  
  2640. FOX
  2641.  
  2642. hauls back with the chain and rams it through Shelly's
  2643. window, barely missing her mark.
  2644.  
  2645. SHELLY
  2646.  
  2647. shakes the bottle as he pries up the plastic cork.
  2648.  
  2649. FOX
  2650.  
  2651. rears back with the chain and readies herself to strike a
  2652. second time.
  2653.  
  2654. Shelly aims the champagne bottle out the window. With a
  2655. final flick of his thumb the cork flies out and strikes Fox
  2656. in the face -- a direct hit!
  2657.  
  2658. Fox reaches for her face and falls backwards off her cycle.
  2659.  
  2660. VERA
  2661. Bullseye!
  2662.  
  2663. SHELLY
  2664. (shouting)
  2665. Stop the car! Now!!
  2666.  
  2667. Vera jams on the brakes.
  2668.  
  2669. EXT. VW
  2670.  
  2671. The car comes to a screeching halt.
  2672.  
  2673. ANGLE ON ALI
  2674.  
  2675. shocked! Unable to stop in time or swerve out of the way,
  2676. his cycle runs right up the back of the car and flips over on
  2677. top of him.
  2678.  
  2679. The VW shifts into first gear and proceeds unimpeded. Left
  2680. in its wake are three motorcyclists sprawled out on the
  2681. highway.
  2682.  
  2683. INT. VW
  2684.  
  2685. VERA
  2686. This has been on helluva beginning
  2687. to a quiet weekend in the country.
  2688.  
  2689. SHELLY
  2690. Look at it this way... things can
  2691. only get better... Right?
  2692.  
  2693. CUT TO:
  2694.  
  2695. EXT. COTTAGE / BARN - DAY
  2696.  
  2697. The sun casts an orange glow over the landscape as it slowly
  2698. sinks in the West.
  2699.  
  2700. Andy is at one end of the porch working out -- strenuous
  2701. calisthenics. Chili and Chuck sit together on the porch
  2702. swing, opposite Andy, sharing a joint. They watch Andy's awe-
  2703. inspiring performance as they rock back and forth.
  2704.  
  2705. CHUCK
  2706. Maybe we should do some exercise.
  2707.  
  2708. CHILI
  2709. This is all the exercise I need...
  2710.  
  2711. She raises the joint to her mouth and tokes on it.
  2712.  
  2713. In the background, Debbie comes jogging out of the woods,
  2714. over to the small bridge and towards the house. Behind her,
  2715. the war-torn Volkswagen Beetle winds its way down the dirt
  2716. road. Debbie turns and jogs backwards as the car approaches.
  2717.  
  2718. Chili, Chuck and Andy see the car coming. The damage is
  2719. evident even from a distance. They run from the porch as the
  2720. VW passes Debbie and comes to a halt just in front of the
  2721. barn.
  2722.  
  2723. Chili, Chuck, Andy and Debbie surround the car. Chuck puts
  2724. his hand through the frame of the windshield and touches
  2725. Vera's face.
  2726.  
  2727. CHUCK
  2728. Where's your windshield, man?
  2729.  
  2730. DEBBIE
  2731. What happened to you guys? Are
  2732. you all right?
  2733.  
  2734. ANDY
  2735. The question is... is the beer all
  2736. right?
  2737.  
  2738. Shelly and Vera grab the bags and get out of the car. They
  2739. hand the packages to Chili and Chuck.
  2740.  
  2741. VERA
  2742. We had a slight misunderstanding
  2743. with that motorcycle gang...
  2744. (she puts her arm
  2745. around Shelly)
  2746. ... but Shelly made them see the
  2747. error of their ways.
  2748.  
  2749. SHELLY
  2750. (heroically)
  2751. It was nothing.
  2752.  
  2753. Together, Shelly and Vera head for the house. Andy and
  2754. Debbie linger by the car.
  2755.  
  2756. BARN
  2757.  
  2758. Through the musty darkness, a HULKING HAND reaches out and
  2759. stealthily pushes open the creaky barn door. It's Jason. He
  2760. peeks through the crack and watches the group.
  2761.  
  2762. DEREK AND CHRIS
  2763.  
  2764. come running out of the house. Derek is dumbfounded at the
  2765. sight of his abused and battered car.
  2766.  
  2767. DEREK
  2768. My beautiful car! What'd you do
  2769. to it?!
  2770.  
  2771. Vera and Shelly pass him on their way to the porch.
  2772.  
  2773. VERA
  2774. (hanging Derek the
  2775. keys)
  2776. We're really sorry, but it wasn't
  2777. our fault.
  2778.  
  2779. SHELLY
  2780. A few minor repairs and it'll be
  2781. as good as new.
  2782.  
  2783. Derek runs up to his car. Chris follows. Shelly and Vera go
  2784. inside the house. Chili and Chuck follow behind, carrying
  2785. the packages in.
  2786.  
  2787. The barn door slowly closes, unseen by anyone.
  2788.  
  2789. DEREK
  2790.  
  2791. examines the injuries sustained by his car.
  2792.  
  2793. DEREK
  2794. This is too painful to look at.
  2795.  
  2796. CHRIS
  2797. Why don't we drive over to the
  2798. cove and watch the sunset. It'll
  2799. mellow you out.
  2800.  
  2801. Derek considers it for a moment.
  2802.  
  2803. DEREK
  2804. Might be nice to get away from
  2805. these crazy friends of yours.
  2806.  
  2807. They jump into the car. The CAMERA PANS with the VW as it
  2808. drives off, revealing Andy and Debbie leaning against a tree,
  2809. kissing.
  2810.  
  2811. DEBBIE
  2812. Why don't we go take a swim?
  2813.  
  2814. ANDY
  2815. I don't know...
  2816.  
  2817. DEBBIE
  2818. (seductively)
  2819. We'd be all alone. We could do
  2820. anything we wanted and nobody
  2821. would see.
  2822.  
  2823. ANDY
  2824. Sounds disgusting. Let's go.
  2825.  
  2826. He grabs Debbie by the hand and runs with her towards the
  2827. lake. As they run past the van, Debbie breaks away from Andy.
  2828.  
  2829. DEBBIE
  2830. You go ahead. I'm gonna get a
  2831. blanket.
  2832.  
  2833. Andy continues to the lake, walking on his hands when he
  2834. reaches the dock.
  2835.  
  2836. VAN
  2837.  
  2838. Debbie slides open the side door and crawls inside.
  2839.  
  2840. OMINOUS MUSIC invades the SOUNDTRACK...
  2841.  
  2842. A pair of DARK BOOTED FEET approach furtively.
  2843.  
  2844. Debbie's rear end is practically sticking out as the boots
  2845. sneak around the back of the van and edge their way towards
  2846. her.
  2847.  
  2848. Abruptly, Debbie backs down out of the vehicle, blanket in
  2849. hand, and scampers away without seeing the prowler.
  2850.  
  2851. PROWLER
  2852.  
  2853. CAMERA TILTS UP from the boots to reveal... Ali, the Black
  2854. motorcyclist. He's carrying an empty gas can and a siphon.
  2855. His eyes scan the area. There's no one on sight -- Debbie is
  2856. already down by the lake.
  2857.  
  2858. He signals with his hands and out from the bushes come Loco
  2859. and Fox. They scurry over to the van and duck down next to
  2860. Ali who is unscrewing the van's gas cap.
  2861.  
  2862. FOX
  2863. Maybe we shouldn't do this, Ali.
  2864.  
  2865. LOCO
  2866. We gotta even the score, don't we?
  2867.  
  2868. ALI
  2869. (to Fox)
  2870. Nobody's gonna get hurt, baby.
  2871.  
  2872. Ali sticks the siphon down into the fuel tank and lays the
  2873. gas can on the ground below it. Loco tries to grab the
  2874. siphon from Ali.
  2875.  
  2876. LOCO
  2877. (over anxious)
  2878. Let me do it.
  2879.  
  2880. ALI
  2881. (authoritative)
  2882. I know what I'm doing.
  2883.  
  2884. Fox's attention is drawn to the barn as her cohorts continue
  2885. with the task at hand.
  2886.  
  2887. BARN
  2888.  
  2889. Fox cautiously pulls open one of the two doors. It CREAKS
  2890. loudly. She stops and looks around to see if anyone has
  2891. heard -- the coast is clear. She slips into the barn and
  2892. pulls the door closed behind her.
  2893.  
  2894. CUT TO:
  2895.  
  2896. INT. BARN - DUSK
  2897.  
  2898. Spears of fading sunlight, thick with dust, cut across the
  2899. musty interior.
  2900.  
  2901. Fox scans the premises. Her face lights up with the smile of
  2902. a child in a toy store trying to decide which area to explore
  2903. first.
  2904.  
  2905. This is your typical barn with a variety of heavy duty tools,
  2906. some rusting; saw horses; wooden benches and ladders; a horse
  2907. stall; haybins, haystacks and a second floor hayloft; and,
  2908. several storage rooms.
  2909.  
  2910. With the fascination of a street kid who has probably never
  2911. seen the inside of a barn, Fox wanders through the rustic
  2912. interior. In her high-heeled boots, she has trouble
  2913. maneuvering around on the muddy, hay covered floor.
  2914.  
  2915. As she approaches the toolshed, one of her heels sticks deep
  2916. into a sticky patch of mud and she falls forward off-balance.
  2917. To stop her fall, Fox reaches out for the toolshed handle.
  2918. She grabs it but the rotting old door tears off its hinges
  2919. and she topples to the ground -- her face landing inches away
  2920. from a pitchfork's prongs aiming upwards at her.
  2921.  
  2922. Her eyes focus on the sharp teeth of the pitchfork. Alarmed
  2923. by the close call, Fox tosses the implement away, gets up and
  2924. dusts herself off.
  2925.  
  2926. Looking skyward to the loft area, Fox moves over to its
  2927. ladder and starts up. The ladder quivers as she ascends,
  2928. apparently dislodging a bale of hay at the top and sending it
  2929. crashing towards her. (Or, was it Jason?) Fox swings her
  2930. body out of the way just in time. The bale whizzes by her
  2931. and hits the barn floor with a THUD.
  2932.  
  2933. She continues up the ladder and disappears through the loft
  2934. flooring.
  2935.  
  2936. CUT TO:
  2937.  
  2938. EXT. BARN - DUSK
  2939.  
  2940. Ali and Loco have just completed filling up one gas can and
  2941. are starting to fill the second one. Ali sticks the siphon
  2942. in his mouth and draws on it. The gas begins to flow as Loco
  2943. shoves the container into place to catch all the fluid.
  2944.  
  2945. The SOUND of Fox wailing like a wounded animal...
  2946.  
  2947. Ali and Loco spin around and look up.
  2948.  
  2949. POV OF BARN
  2950.  
  2951. Fox comes swinging out, Tarzan-like, from the hayloft on the
  2952. rope attached to the block and tackle. She's having a hell
  2953. of a good time.
  2954.  
  2955. FOX
  2956. (shouting)
  2957. Whoaaa....!
  2958.  
  2959. ALI AND LOCO
  2960.  
  2961. watch her incredulously.
  2962.  
  2963. ALI
  2964. (shouting in a loud
  2965. whisper)
  2966. Quiet, woman! Get off that thing!
  2967.  
  2968. FOX
  2969.  
  2970. disappears from view through the square opening in the loft.
  2971. A second later, she reappears, swinging out on the rope again.
  2972.  
  2973. FOX
  2974. But it feels so goooooood...!
  2975.  
  2976. She swings back and disappears from view once more.
  2977.  
  2978. ALI
  2979.  
  2980. is not pleased.
  2981.  
  2982. ALI
  2983. You're getting me pissed-off, Fox.
  2984. We got work to do.
  2985.  
  2986. BARN
  2987.  
  2988. This time the rope swings out from the loft... without Fox
  2989. attached. There's a dead silence. The rope dangles.
  2990.  
  2991. ALI
  2992. (to Loco)
  2993. Go get her out of there.
  2994.  
  2995. Loco hunches over, keeping his body low to the ground as he
  2996. high-tails it to the barn and zips inside.
  2997.  
  2998. CUT TO:
  2999.  
  3000. INT. BARN - DUSK
  3001.  
  3002. Loco advances deeper into the barn, his eyes looking
  3003. everywhere.
  3004.  
  3005. It's getting darker, minute by minute.
  3006.  
  3007. LOCO
  3008. (agitated)
  3009. Fox... where are ya!?
  3010.  
  3011. No response.
  3012.  
  3013. LOCO
  3014. (continuing)
  3015. Stop foolin' around. You're
  3016. screwin' up everything.
  3017.  
  3018. Still no response.
  3019.  
  3020. LOCO
  3021. (continuing)
  3022. Shit!
  3023.  
  3024. He hears the SOUND of banging against the wall of the loft
  3025. above him. He starts up the ladder.
  3026.  
  3027. LOCO
  3028. (continuing)
  3029. You've had it now, woman! I'm mad!
  3030.  
  3031. LOFT
  3032.  
  3033. Loco comes through the opening and steps onto the floorboard.
  3034. The deep shadows hide the corners of the loft and Loco has to
  3035. squint his eyes to see.
  3036.  
  3037. Right behind him, he hears the SOUND of the banging again. He
  3038. whips around...
  3039.  
  3040. MUSICAL STINGER...
  3041.  
  3042. In front of him, Fox's body, raised off the ground and
  3043. impaled with a pitchfork through her and into the wall.
  3044.  
  3045. Her eyes are open wide with a deathly stare while her feet
  3046. kick against the wall with final spasms of life. Blood flows
  3047. from the penetrations in her torso.
  3048.  
  3049. The horrific sight is even too much for Loco. He gags and
  3050. grasps his mouth with his hand, choking back a scream.
  3051.  
  3052. He turns to run...
  3053.  
  3054. Another MUSICAL STINGER!
  3055.  
  3056. Loco's face registers shock and horror as he runs smack into
  3057. the teeth of an onrushing pitchfork being thrust at him.
  3058.  
  3059. He cringes and gurgles up blood as the prongs are jammed
  3060. through his stomach and out his back.
  3061.  
  3062. He staggers, the pitchfork handle sticking straight out of
  3063. his gut.
  3064.  
  3065. CUT TO:
  3066.  
  3067. EXT. BARN - DUSK
  3068.  
  3069. Carrying the two jugs of gasoline, one in each hand, Ali is
  3070. just outside the barn doors. To gain entrance, he kicks on
  3071. the doors and looks around to see if anyone has heard him.
  3072. He waits for one of the two to let him in.
  3073.  
  3074. POV OF LAKE
  3075.  
  3076. Andy and Debbie frolic by the waterfall, oblivious to the
  3077. murderous goings-on.
  3078.  
  3079. ALI
  3080.  
  3081. still waiting to be let in. He kicks on the door again.
  3082.  
  3083. ALI
  3084. (loud whisper)
  3085. Loco... Fox... Open this damn door.
  3086.  
  3087. Frustrated by the lack of response from inside, Ali puts one
  3088. can down and pries open the door for himself. He fumbles his
  3089. way inside.
  3090.  
  3091. CUT TO:
  3092.  
  3093. INT. BARN - DUSK
  3094.  
  3095. Ali closes the door behind him and immediately hears
  3096. FOOTSTEPS CLOMPING around above him in the hayloft.
  3097.  
  3098. ALI
  3099. What the hell are you two doin' up
  3100. there?
  3101.  
  3102. He rages over to the ladder and looks up. His eyes widen and
  3103. mouth drops open. Directly above him, Loco, the pitchfork
  3104. still protruding from his stomach, falls through the opening
  3105. in the loft floor, right at Ali.
  3106.  
  3107. The two crash to the barn floor, together. Ali throws Loco's
  3108. body off of him and struggles to his feet. He backs away,
  3109. fixated on Loco's engorged corpse and cries out for Fox -- a
  3110. deep, moanful bellow.
  3111.  
  3112. The CAMERA DOLLIES quickly into a CLOSE SHOT on his face.
  3113. His eyes focus directly in front of him as he SCREAMS right
  3114. into CAMERA. It's Jason!
  3115.  
  3116. ALI
  3117. (trembling)
  3118. Noooo!
  3119.  
  3120. Ali turns and makes a mad dash for the door. In his panic,
  3121. he trips over one of the gas cans. Frantically, he crawls on
  3122. his hands and knees to the door.
  3123.  
  3124. He reaches to pull himself up by the door and a large monkey
  3125. wrench comes smashing down on the side of his face, bashing
  3126. in his skill. He slumps to the floor.
  3127.  
  3128. In the distance, Andy and Debbie's voices can be heard
  3129. approaching.
  3130.  
  3131. From behind Jason, the CAMERA MOVES with him to a side window
  3132. and peers out.
  3133.  
  3134. Through the window, we SEE Andy and Debbie, wrapped in the
  3135. blanket, coming up from the lake. They're wet and dripping.
  3136. Andy pulls Debbie along with him, towards the barn.
  3137.  
  3138. DEBBIE
  3139. What're you doing?
  3140.  
  3141. ANDY
  3142. We haven't looked in the barn,
  3143. yet. Let's take a look.
  3144.  
  3145. DEBBIE
  3146. (stopping)
  3147. Not now. I'm cold.
  3148.  
  3149. Andy moves right up to the grimy window. Shading his eyes,
  3150. he peeks inside. He seems to be looking right at Jason (and
  3151. CAMERA), but he apparently doesn't see him.
  3152.  
  3153. ANDY
  3154. (to Debbie)
  3155. How about a roll in the hay?
  3156.  
  3157. DEBBIE
  3158. You can play with yourself, 'cause
  3159. I'm going in the house.
  3160.  
  3161. She turns back towards the house. Andy lingers for a moment
  3162. then catches up with Debbie.
  3163.  
  3164. CUT TO:
  3165.  
  3166. INT. LIVING ROOM / HOUSE - NIGHT
  3167.  
  3168. The front door swings open, Debbie and Andy take one step
  3169. in... and duck!
  3170.  
  3171. ANDY AND DEBBIE'S POV
  3172.  
  3173. A couple of little, red rubberballs spring straight at them
  3174. (and CAMERA), retract quickly and pulsate at them again.
  3175.  
  3176. It's SHELLY, a paddleball in each hand.
  3177.  
  3178. DEBBIE
  3179. Cut it out!
  3180.  
  3181. SHELLY
  3182. Can't stop now.
  3183.  
  3184. Andy looks into the living room. Vera, Chili and Chuck are
  3185. engaged in the same child's play. Each wallops a little
  3186. rubberball in their own inimitable style.
  3187.  
  3188. VERA
  3189. (adept)
  3190. Ninety six... ninety seven...
  3191. ninety eight... ninety nine... one
  3192. hundred...
  3193.  
  3194. She continues without faltering.
  3195.  
  3196. CHUCK
  3197. (fumbling)
  3198. One hundred... ninety nine...
  3199. ninety eight...
  3200.  
  3201. He misses and tries again. Chili is hitting the ball as if
  3202. she were serving in a tennis match. It's a veritable were
  3203. ring circus.
  3204.  
  3205. ANDY
  3206. Who brought up this bright idea?
  3207.  
  3208. SHELLY
  3209. (concentrating on the
  3210. game)
  3211. We were looking for something to
  3212. keep our hands busy. It was
  3213. either this or an orgy. Vera
  3214. chose this.
  3215. (resigned)
  3216. What're ya gonna do?
  3217.  
  3218. The fireplace is raging with a full-bodied, crackling flame.
  3219. Debbie drags Andy over to the box of paddle rackets in front
  3220. of the fireplace and hands one to him.
  3221.  
  3222. DEBBIE
  3223. How about you and I whacking a
  3224. couple of balls around?
  3225.  
  3226. ANDY
  3227. If you insist.
  3228.  
  3229. They join the others. Rubberballs are flying from all
  3230. directions (at CAMERA).
  3231.  
  3232. CUT TO:
  3233.  
  3234. EXT. COVE / LAKE - NIGHT
  3235.  
  3236. Derek's VW is parked just off the road overlooking the cove
  3237. not far from the water.
  3238.  
  3239. Derek flicks on the car's headlights. They gleam right into
  3240. CAMERA.
  3241.  
  3242. CHRIS
  3243.  
  3244. is standing at the water's edge, backlit by the headlight
  3245. beams.
  3246.  
  3247. DEREK
  3248. (approaching)
  3249. Is that better?
  3250.  
  3251. Chris nods and sits on the shore, looking out at water. She
  3252. rubs the chill from her body. Derek takes off his jean
  3253. jacket and puts it around Chris' shoulders. He sits down
  3254. beside her.
  3255.  
  3256. Derek tosses pebbles across the shimmering water. Moonlight
  3257. glints like little stars off the ripples.
  3258.  
  3259. After an uncomfortable silence, Derek looks over at Chris.
  3260. Silhouetted by the light, Chris' profile is accentuated in
  3261. all its vulnerability and sensuality.
  3262.  
  3263. He puts his arm around her. She tenses up. Derek wants to
  3264. kiss her, but doesn't.
  3265.  
  3266. DEREK
  3267. You know, I'm not sure I could
  3268. live anywhere else. The nights
  3269. are always so peaceful and quiet.
  3270.  
  3271. CHRIS
  3272. It's deceiving.
  3273.  
  3274. DEREK
  3275. What do you mean?
  3276.  
  3277. CHRIS
  3278. The quiet can fool you. It fooled
  3279. me. You can never be sure of
  3280. what's out there.
  3281.  
  3282. Frustrated, Derek stands up and moves to the edge of the
  3283. water, picking up handfuls of pebbles and throwing them.
  3284.  
  3285. DEREK
  3286. (without looking at
  3287. Chris)
  3288. Why did you come back here?
  3289.  
  3290. CHRIS
  3291. (hesitating)
  3292. ... To prove something to
  3293. myself... to prove I'm stronger
  3294. than I think I am.
  3295.  
  3296. DEREK
  3297. And, what about us?
  3298.  
  3299. CHRIS
  3300. I'm here with you. Can't that be
  3301. enough for now?
  3302.  
  3303. DEREK
  3304. I don't know. I don't see you for
  3305. months on end, and when I do, you
  3306. put this wall between us. How do
  3307. I break through?
  3308.  
  3309. CHRIS
  3310. I'm trying. I'm really trying.
  3311.  
  3312. Derek sits down next to her, again. There's momentary
  3313. silence.
  3314.  
  3315. DEREK
  3316. What happened that night?
  3317.  
  3318. CHRIS
  3319. You promised you'd never ask me.
  3320.  
  3321. DEREK
  3322. After you left me that night, I
  3323. didn't see you or talk to you
  3324. again for a year. No one would
  3325. tell me anything. All I know is
  3326. what the police told me.
  3327. (leaning in to her)
  3328. We have nowhere to go unless you
  3329. let me in.
  3330. (pausing)
  3331. What happened?
  3332.  
  3333. Chris looks into Derek's eyes.
  3334.  
  3335. CUT TO:
  3336.  
  3337. INT. LIVING ROOM / HOUSE - NIGHT
  3338.  
  3339. The SOUND of a rubberball hitting the paddle racket with a
  3340. constant, even rhythm.
  3341.  
  3342. IN CLOSE-up, the CAMERA PANS the staring bored faces of
  3343. Chili, Chuck, Vera, Shelly and Debbie until it stop of the
  3344. intense, concentrating face of Andy -- the elastic and
  3345. rubberball pass his face again and again.
  3346.  
  3347. ANDY
  3348. ... One thousand twelve... one
  3349. thousand thirteen... one thousand
  3350. fourteen... What's the World's
  3351. Record for this?
  3352.  
  3353. SHELLY
  3354. According to the Guinness Book,
  3355. you passed the World's Record
  3356. several whacks ago.
  3357.  
  3358. ANDY
  3359. (genuinely excited)
  3360. I did?! I broke the world's
  3361. record.
  3362.  
  3363. CHUCK
  3364. Who cares, man?!
  3365.  
  3366. ANDY
  3367. I do.
  3368.  
  3369. He stops whacking the ball. The others sigh with relief.
  3370.  
  3371. ANDY
  3372. (continuing)
  3373. You're all just jealous.
  3374.  
  3375. SHELLY
  3376. Actually, I have no idea what the
  3377. World's Record is. I was just
  3378. kidding.
  3379.  
  3380. The others laugh.
  3381.  
  3382. ANDY
  3383. Think you're funny? Well, I'll
  3384. just have to start all over again.
  3385.  
  3386. The whole group jumps Andy and wrestles the paddle away from
  3387. him.
  3388.  
  3389. SHELLY
  3390. Well, what do we do now?
  3391.  
  3392. DEBBIE
  3393. (taking Andy by the
  3394. hand)
  3395. Come on, Champ, I think you and I
  3396. can find something to do.
  3397.  
  3398. Andy, dutifully and happily, follows Debbie up the winding
  3399. staircase.
  3400.  
  3401. CHILI
  3402. (to Chuck)
  3403. Remember that strange looking
  3404. plant we saw outside. Let's go
  3405. smoke it.
  3406.  
  3407. Chuck follows Chili out the back door.
  3408.  
  3409. Shelly looks around. Vera is the only other person in the
  3410. room. They stare at each other, then look away.
  3411.  
  3412. SHELLY
  3413. I guess that leaves you and me.
  3414.  
  3415. Awkward silence. Shelly gets a very determined look on his
  3416. face like his is going to ask Vera something he has never
  3417. asked a woman before.
  3418.  
  3419. SHELLY
  3420. (sincere)
  3421. Vera... you and I have had a
  3422. chance to really get to know one
  3423. another today. I like you... very
  3424. much. I was thinking that maybe.
  3425.  
  3426. VERA
  3427. (quickly interrupting)
  3428. Don't say any more.
  3429.  
  3430. Shelly drops his head, dejected.
  3431.  
  3432. VERA
  3433. (continuing)
  3434. I'm going outside for a few
  3435. minutes. We'll talk when I get
  3436. back.
  3437.  
  3438. She turns away and goes out the front door. Shelly moves
  3439. over to the living room window and watches her.
  3440.  
  3441. EXT. HOUSE - NIGHT
  3442.  
  3443. Vera ambles down the porch steps and when she reaches the
  3444. front walk, she surveys the surroundings and breathes deeply.
  3445.  
  3446. SHELLY - INT. LIVING ROOM
  3447.  
  3448. watches Vera stroll away. His disappointment is sketched all
  3449. over his face. He turns away from the window and moves over
  3450. to the fireplace, looking into the flame.
  3451.  
  3452. FOREBODING MUSIC...
  3453.  
  3454. Jason's dark, hulking frame moves into THE SHOT as he looks
  3455. through the window at Shelly.
  3456.  
  3457. Shelly pokes aimlessly at the hot ambers, his back to the
  3458. window, unaware of the lurking Jason.
  3459.  
  3460. CUT TO:
  3461.  
  3462. INT. BEDROOM - NIGHT
  3463.  
  3464. Andy and Debbie are locked in each other's arms in front of
  3465. the hammock.
  3466.  
  3467. ANDY
  3468. How do we do it?
  3469.  
  3470. DEBBIE
  3471. (deadpan)
  3472. First we take off our clothes,
  3473. then you get on top of me or I get
  3474. on top of you...
  3475.  
  3476. ANDY
  3477. I know how to do it. I mean, how
  3478. do we do it in the hammock?
  3479.  
  3480. Without a word, Debbie removes her top garment.
  3481.  
  3482. DEBBIE
  3483. Think you can figure it out?
  3484.  
  3485. ANDY
  3486. (staring at her
  3487. breasts)
  3488. I'll think of something.
  3489.  
  3490. He wraps his arms around Debbie and fervently kisses her.
  3491.  
  3492. CUT TO:
  3493.  
  3494. EXT. COVE / LAKE - NIGHT
  3495.  
  3496. CHRIS AND DEREK
  3497.  
  3498. sitting on shore, close together, somber. The headlight
  3499. beams have dimmed. The dark, desolate landscape looms around
  3500. them.
  3501.  
  3502. CHRIS
  3503. I had never made love to anybody
  3504. before that night. You made it so
  3505. special, I hope it would always be
  3506. like that for us.
  3507.  
  3508. The CAMERA begins to dolly slowly -- ever so slowly -- around
  3509. Derek and Chris.
  3510.  
  3511. **OPTIONAL: The following dialogue may be used as a narration
  3512. over a FLASHBACK SEQUENCE.
  3513.  
  3514. CHRIS
  3515. When you dropped me off at the
  3516. house, it was very late. My
  3517. parents were waiting up for me.
  3518. As soon as I got in the door, they
  3519. starting yelling and cursing at
  3520. me. I was so upset... I told them
  3521. I slept with you. My mothers
  3522. slapped me. That was the first
  3523. time she'd ever hit me. I
  3524. couldn't believe it. I ran out of
  3525. the house and into the woods as
  3526. fast and as far as I could run.
  3527. I was crying. They had destroyed
  3528. the most beautiful night of my
  3529. life and I wanted to punish them
  3530. for that. I decided to hide out
  3531. all night. They'd be so worried
  3532. that they'd be sorry for what they
  3533. did to me. The woods were cold and
  3534. damp from the rain. I found a dry
  3535. spot under a rotted oak tree and I
  3536. guess I fell asleep.
  3537. (takes a deep breath)
  3538. All I can remember next is being
  3539. startled out of sleep by the sound
  3540. of footsteps. I thought it was my
  3541. father so I hid behind the tree.
  3542. But the footsteps just stopped.
  3543. The woods were dark. I couldn't
  3544. see anything.
  3545. (intensifying)
  3546. I heard a cracking noise behind
  3547. me. I turned around and... and...
  3548. oh, God... there was this hideous
  3549. looking man. So grotesque he was
  3550. almost inhuman. He had a knife
  3551. and he started to slash away at
  3552. me, again and again. I was so
  3553. hysterical and I don't know how I
  3554. was able to get away. I ran and
  3555. ran, but he kept coming. He was
  3556. big but so fast. He caught me and
  3557. pulled me down to the ground and
  3558. he... he... ripped my blouse off.
  3559. I was screaming, but who could
  3560. hear me? Then... oh, God... he
  3561. dragged me by the hair along the
  3562. ground. I was kicking and
  3563. yelling. He dragged me deeper and
  3564. deeper into the woods. Oh,
  3565. please... please...
  3566.  
  3567. DEREK
  3568. (stroking her)
  3569. It's all right, you're all right.
  3570. I'm with you.
  3571.  
  3572. *OPTIONAL: End FLASHBACK SEQUENCE.
  3573.  
  3574. EXT. LAKE - NIGHT
  3575.  
  3576. CHRIS
  3577. I... I don't know what happened
  3578. after that. I must have fainted
  3579. because the next thing I knew I
  3580. would talk about it. And I never
  3581. have. Not until now. I just
  3582. wanted to forget. But I can't.
  3583. I'll never forget that horrible
  3584. face. Never.
  3585.  
  3586. The car headlights suddenly snap off.
  3587.  
  3588. CHRIS
  3589. (alarmed)
  3590. Who's there?
  3591.  
  3592. They look around. There's no one in sight.
  3593.  
  3594. DEREK
  3595. It's the battery, damnit.
  3596.  
  3597. The two run up to the car. Derek jumps in and tries to start
  3598. it. The engine WHIRS but won't turn over. Chris looks
  3599. apprehensively at Derek. He grabs a flashlight from the
  3600. glove compartment, flicks it on and gets out of the car.
  3601.  
  3602. DEREK
  3603. (taking Chris' hand)
  3604. It's no problem. We'll just walk
  3605. back.
  3606.  
  3607. Hand-in-hand, the two start down the wooded path.
  3608.  
  3609. CUT TO:
  3610.  
  3611. EXT. LAKE - NIGHT
  3612.  
  3613. CAMERA SHOOTS over the waterfall towards the dock. Vera
  3614. strolls down the wooded platform -- the old boards CREAK
  3615. beneath her.
  3616.  
  3617. Only the flowing water can be heard as a darkened,
  3618. indistinguishable FIGURE ENTERS FRAME -- directly in front of
  3619. CAMERA -- and lowers himself all the way into the lake by the
  3620. waterfall.
  3621.  
  3622. Vera rolls her pant legs up to her knees. She dangles her
  3623. long legs over the dock. Her toes break the surface of the
  3624. water, SWOOSHING it back and forth.
  3625.  
  3626. LAKE
  3627.  
  3628. Air bubbles rise to the top. Vera does not see the darkened
  3629. figure as he swims beneath the surface of the water.
  3630.  
  3631. The night is a symphony of sounds: crickets SCRATCHING en
  3632. masse, branches and leaves FLUTTERING in the evening breeze,
  3633. water LAPPING at the shore.
  3634.  
  3635. UNDERWATER POV
  3636.  
  3637. of Vera. She leans back, her arms bent behind her, her face
  3638. arched upwards.
  3639.  
  3640. VERA'S FEET
  3641.  
  3642. kick back and forth SPLASHING the water. Air bubbles mark
  3643. the trail of the approaching underwater figure.
  3644.  
  3645. Vera breathes in. The sensuous serenity deeply relaxes her.
  3646. She begins to softly sing a song form her childhood in
  3647. Spanish.
  3648.  
  3649. UNDERWATER POV
  3650.  
  3651. Vera's feet are an arms length away, kicking towards the
  3652. CAMERA LENS. She finishes her song and lays back...
  3653.  
  3654. MUSICAL STINGER!
  3655.  
  3656. The figure jumps out of the water and grabs Vera's leg and
  3657. pulls her. Vera SCREAMS and lurches forward, almost sliding
  3658. off the dock. She reaches out and clings to the side.
  3659.  
  3660. The figure holds her calves and tugs harder. Vera's grasp is
  3661. slipping. She tries to kick him off.
  3662.  
  3663. Suddenly, the figure releases her limbs and submerges
  3664. underwater.
  3665.  
  3666. Vera pulls herself back up onto the dock.
  3667.  
  3668. Clad in a black scuba suit and white faceless mask, the
  3669. rotund figure rises out of the water onto the shore. In one
  3670. hand he holds a small spear-gun. With the other, he removes
  3671. his mask. It's Shelly!
  3672.  
  3673. Vera glares at him.
  3674.  
  3675. SHELLY
  3676. You've just learned a valuable
  3677. lesson. A beautiful girl like you
  3678. should never go out in the dark
  3679. alone.
  3680.  
  3681. VERA
  3682. Damn you, Shelly!
  3683.  
  3684. Vera stomps off the dock towards him. Shelly retracts.
  3685.  
  3686. VERA
  3687. (continuing)
  3688. Why do you do these stupid things?!
  3689.  
  3690. SHELLY
  3691. (looking away)
  3692. I have to.
  3693.  
  3694. VERA
  3695. You don't "have to."
  3696.  
  3697. SHELLY
  3698. I just want you to like me.
  3699.  
  3700. VERA
  3701. I do like you. But not when you
  3702. act like a jerk.
  3703.  
  3704. SHELLY
  3705. Being a jerk is better than being
  3706. nothing.
  3707.  
  3708. VERA
  3709. I never said you were "nothing".
  3710.  
  3711. SHELLY
  3712. You don't to say it. I can tell.
  3713.  
  3714. VERA
  3715. You're wrong.
  3716.  
  3717. Shelly hangs his head and says nothing further. He just
  3718. walks off towards the house.
  3719.  
  3720. VERA
  3721. (sympathetic)
  3722. Hey... I'll be in, in a little
  3723. while. We can talk some more.
  3724.  
  3725. EXT. COTTAGE - NIGHT
  3726.  
  3727. Shelly trudges up the front walk to the porch and plops
  3728. himself down on the porch swing, still clutching the mask and
  3729. spear-gun.
  3730.  
  3731. In a contemplative mood, he slowly swings back and forth.
  3732. The taut metal chains that support the swing, vibrate and
  3733. CREAK in a steady rhythm.
  3734.  
  3735. Shelly looks down at the lake.
  3736.  
  3737. SHELLY'S SWINGING POV
  3738.  
  3739. Vera sits back down on the dock, facing away from the house.
  3740.  
  3741. SHELLY
  3742.  
  3743. is alerted to what sounds like the cry of a wounded animal
  3744. emanating from the barn. He looks over and sees a shadow
  3745. cross in front of one of the windows. The cry continues.
  3746.  
  3747. Shelly jumps off the swing and heads for the barn with his
  3748. mask and spear-gun at his side.
  3749.  
  3750. EXT. BARN - NIGHT
  3751.  
  3752. Shelly comes up to the window and looks in. It's too dark to
  3753. see anything.
  3754.  
  3755. SHELLY
  3756. (rapping on the
  3757. window)
  3758. Chuck? Chili? What're you guys
  3759. doing in there?
  3760.  
  3761. He hears RUMBLING inside, but no response. He moves to the
  3762. front doors and pries them open.
  3763.  
  3764. INT. BARN - NIGHT
  3765.  
  3766. Shelly comes in and fumbles for the light switch.
  3767.  
  3768. SHELLY
  3769. You guys doin' somethin' I
  3770. shouldn't see?
  3771.  
  3772. He finds the switch and FLICKS on the light. The very moment
  3773. the light goes on, an OWL swoops down and aims straight for
  3774. his head (and CAMERA). Shelly drops the spear-gun and the
  3775. mask to thwart off the bird with his hands. The owl flies
  3776. out of the partially open barn doors. Shelly quickly closes
  3777. them.
  3778.  
  3779. CUT TO:
  3780.  
  3781. EXT. LAKE / DOCK - NIGHT
  3782.  
  3783. Vera is pacing, back and forth, on the dock. She stops at
  3784. the far edge and peers into the water.
  3785.  
  3786. VERA'S POV
  3787.  
  3788. Floating by is a woman's bra (probably, Debbie's).
  3789.  
  3790. Vera smirks as she lies prone on the boards and reaches with
  3791. her hand, grabbing the undergarment and rescuing it from the
  3792. lake.
  3793.  
  3794. She leans back into a kneeling position and rings out the
  3795. soggy bra. Her heels dig into the rear pocket of her jeans,
  3796. pushing a wallet out of the pocket onto the dock. Vera
  3797. reaches behind her and picks it up. It's Shelly's wallet --
  3798. the one he gave her at the liquor store.
  3799.  
  3800. Leafing through the contents, Vera finds his driver's license
  3801. and a photograph of Shelly and his mother.
  3802.  
  3803. She looks around. Shelly is nowhere in sight. Assuming he
  3804. has returned to the house, she gets up to look for him -- as
  3805. she rises, her hand knocks against the dock. The wallet
  3806. slips out her her grasp and bounces into the lake.
  3807.  
  3808. VERA
  3809. (watching the wallet
  3810. sink)
  3811. That's just great!
  3812.  
  3813. After a moment of deliberation, she takes off her shoe and
  3814. plunges into the water, diving after the billfold.
  3815.  
  3816. She swims around underneath the surface, searching with her
  3817. hands. She rises for air periodically.
  3818.  
  3819. She submerges deeper than the previous attempts. Air bubbles
  3820. rising to the surface, establish her whereabouts -- a good
  3821. distance from the shore.
  3822.  
  3823. She comes up for air once more, empty-handed.
  3824.  
  3825. VERA'S POV
  3826.  
  3827. the dock. A dark figure, wearing Shelly's white mask and
  3828. holding the spear-gun, kneels at the edge of the pier.
  3829.  
  3830. From the water, at this distance, Vera easily mistakes the
  3831. figure (Jason) for Shelly.
  3832.  
  3833. VERA
  3834. (waving to the
  3835. figure, shouting)
  3836. Hey... I dropped your wallet! I'm
  3837. sorry!
  3838.  
  3839. She starts to breast stroke toward him.
  3840.  
  3841. OMINOUS MUSIC throbs on the SOUNDTRACK...
  3842.  
  3843. Jason raises the spear-gun to eye level.
  3844.  
  3845. Vera swims unknowingly toward her demise. A few yards from
  3846. the dock, she glides right into Shelly's floating wallet.
  3847.  
  3848. Jason aims the spear-gun.
  3849.  
  3850. Vera, grabbing the wallet, she treads water and raises it
  3851. triumphantly over her head for "Shelly" to see.
  3852.  
  3853. VERA
  3854. (continuing)
  3855. I found it!
  3856.  
  3857. She looks up to see the spear-gun pointed right at her head
  3858. (and CAMERA).
  3859.  
  3860. VERA
  3861. (panicked)
  3862. What're you doing? Who are you?!
  3863.  
  3864. MUSICAL STINGER!
  3865.  
  3866. Jason pulls the trigger, releasing the spear. With a WHOOSH,
  3867. the arrow penetrates Vera's skull. A look of unmitigated
  3868. disbelief on Vera's face as she sinks into the water. Blood
  3869. seeps to the surface.
  3870.  
  3871. LONG SHOT
  3872.  
  3873. of lake and dock. Jason, in the distance, his back to
  3874. CAMERA, just stands at the edge of the pier looking down into
  3875. the bloody water.
  3876.  
  3877. CAMERA PANS over to the house and CRANES UP to a second floor
  3878. bedroom window, glowing from candlelight, and peers in.
  3879.  
  3880. CUT TO:
  3881.  
  3882. INT. BEDROOM - NIGHT
  3883.  
  3884. The room is darkened save for pools of light emanating from
  3885. several candles -- one in each window, the others on the
  3886. opposite side of the room -- lending an atmosphere of warmth
  3887. and intimacy.
  3888.  
  3889. CAMERA DOLLIES IN towards the hammock which wildly rocks bath
  3890. and forth accompanied by the sounds of lovemaking.
  3891.  
  3892. Debbie and Andy are not visible in full -- only glimpses of
  3893. their naked limbs and torsos can be seen above the curved
  3894. side of the hammock. Blankets and sheets hang sloppily over
  3895. the edges to the floor.
  3896.  
  3897. CAMERA continues to DOLLY IN as the SOUNDS grow more heated
  3898. until Debbie and Andy are FRAMED in a TWO SHOT as they climax.
  3899.  
  3900. The thrashing about stops and the hammock slows down to a
  3901. gentle swaying.
  3902.  
  3903. DEBBIE
  3904. That was the best yet. Was it
  3905. you... me... or the hammock?
  3906.  
  3907. ANDY
  3908. I vote for me.
  3909.  
  3910. DEBBIE
  3911. I vote for the hammock.
  3912.  
  3913. Debbie attempts to get out of the hammock. It's not a simple
  3914. move -- she nearly falls to the floor taking Andy with it.
  3915.  
  3916. ANDY
  3917. I'm seasick. Get in or get out of
  3918. the boat.
  3919.  
  3920. Debbie gets out. She heads into the bathroom and flicks on
  3921. the light -- bright and a strain to the eyes. She turns on
  3922. the shower.
  3923.  
  3924. ANDY
  3925. (loud)
  3926. What're you doin'?
  3927.  
  3928. DEBBIE
  3929. (poking her head back
  3930. in)
  3931. I think it's called "a shower".
  3932. You might try it sometime.
  3933.  
  3934. ANDY
  3935. You're too clean for me.
  3936.  
  3937. Debbie responds by closing the door.
  3938.  
  3939. INT. STAIRCASE / HALLWAY
  3940.  
  3941. FOREBODING MUSIC pierces the SOUNDTRACK...
  3942.  
  3943. Displaying a thick-bladed machete, Jason ascends the spiral
  3944. stairs. Andy can be heard off-screen calling loudly to
  3945. Debbie in the shower.
  3946.  
  3947. ANDY (O.S.)
  3948. Hey Deb... can you hear me?
  3949.  
  3950. DEBBIE (O.S.)
  3951. (from bathroom)
  3952. Barely.
  3953.  
  3954. ANDY (O.S.)
  3955. (louder)
  3956. I'm going downstairs to get a
  3957. beer. You want one?
  3958.  
  3959. DEBBIE (O.S.)
  3960. What?
  3961.  
  3962. Jason reaches the landing at the top of the stairs and
  3963. disappears into the shadows.
  3964.  
  3965. INT. BATHROOM
  3966.  
  3967. Behind the sheer curtain, Debbie's naked silhouette can be
  3968. seen lathering herself in the shower.
  3969.  
  3970. SHOWER
  3971.  
  3972. Debbie luxuriates in the soap and hot water.
  3973.  
  3974. Distorted through the plastic curtain, the door opens.
  3975.  
  3976. Debbie remains blissfully unaware as she soaps her face. She
  3977. hears a BANGING NOISE. Her eyes are closed due to the soap
  3978. and shower spray.
  3979.  
  3980. DEBBIE
  3981. Andy?
  3982.  
  3983. No response. Concerned, Debbie turns off the water and wipes
  3984. the soap from her eyes.
  3985.  
  3986. Looking up, she sees a shadowy figure poised in front of the
  3987. curtain. Quickly, she reaches out and rips the curtain
  3988. aside...
  3989.  
  3990. Staring her in the face is a pair of men's feet and jean-
  3991. covered legs. It's Andy, walking on his hands.
  3992.  
  3993. ANDY
  3994. (upside-down)
  3995. Do you want a beer or not?
  3996.  
  3997. DEBBIE
  3998. (relieved)
  3999. Sure.
  4000.  
  4001. Andy turns himself around and handwalks out of the bathroom.
  4002.  
  4003. ANDY
  4004. I'll be back in a minute.
  4005.  
  4006. Debbie jumps out of the tub and shuts the door. She returns
  4007. to the shower and turns the water back on.
  4008.  
  4009. CUT TO:
  4010.  
  4011. INT. BEDROOM / HALLWAY - NIGHT
  4012.  
  4013. CLOSE SHOT on Andy upside-down. CAMERA MOVES with him as he
  4014. hand-steps out of the bedroom. He WHISTLES an upbeat tune as
  4015. he goes.
  4016.  
  4017. An OMINOUS TONE enters the SOUNDTRACK, a haunting counterpoint
  4018. to Andy's WHISTLING.
  4019.  
  4020. Jason's hulking frame is braced up against the wall in the
  4021. hallway corridor at the entrance to the bedroom. Andy is
  4022. unaware of Jason's presence as he hand-walks right past his
  4023. boots towards the staircase.
  4024.  
  4025. Off-screen, Debbie calls out to Andy over the SOUND of the
  4026. shower.
  4027.  
  4028. DEBBIE (O.S.)
  4029. Andy... Are you still out there?
  4030.  
  4031. At the head of the stairs, Andy stops and pivots around 180
  4032. degrees, turning head-on into Jason's boots. Surprised, he
  4033. looks up.
  4034.  
  4035. ANDY'S UPSIDE-DOWN POV
  4036.  
  4037. of Jason in Shelly's white mask. A machete is poised above
  4038. his head.
  4039.  
  4040. MUSICAL STINGER!
  4041.  
  4042. Before Andy can react, the machete is thrust down between his
  4043. legs, slicing through his upside-down body. Andy's ghastly
  4044. SCREAM reverberates as he topples backwards down the spiral
  4045. stairs.
  4046.  
  4047. Jason retrieves his body. He drags Andy's halved corpse up
  4048. the stairs and back into the bedroom, closing the door behind
  4049. him.
  4050.  
  4051. CUT TO:
  4052.  
  4053. INT. BATHROOM - NIGHT
  4054.  
  4055. With the shower running full blast, the door closed, and
  4056. HUMMING to herself, Debbie remains oblivious to the sounds of
  4057. the murderous activities. She rinses her hair and turns off
  4058. the faucet.
  4059.  
  4060. The CAMERA MOVES slowly IN CLOSE on Debbie as she steps but
  4061. of the tub and dries herself off.
  4062.  
  4063. She hears a CRASHING SOUND that seems to have come from the
  4064. bedroom. She stands still and listens.
  4065.  
  4066. DEBBIE
  4067. Andy? You can have my beer. I
  4068. don't want it.
  4069.  
  4070. Humming again, she wraps herself in her robe and swings the
  4071. bathroom door open.
  4072.  
  4073. INT. BEDROOM
  4074.  
  4075. The room is quiet, untouched. Andy is nowhere in sight.
  4076. Debbie shrugs it off, moves to the bedroom door, opens it and
  4077. sticks her head out.
  4078.  
  4079. DEBBIE
  4080. (calling downstairs)
  4081. Andy, don't bring me a beer. Do
  4082. you hear me?
  4083.  
  4084. She stays at the door for a moment listening for Andy. Behind
  4085. her, in the bedroom, Jason creeps across room. Debbie is
  4086. unaware.
  4087.  
  4088. DEBBIE
  4089. (continuing)
  4090. Andy! Answer me! I hate when you
  4091. do that.
  4092.  
  4093. She SLAMS the door shut! Peeved at Andy, she picks up a book
  4094. (Stephen King's newest novel) from a table and rolls into the
  4095. hammock top of the covers which hang all the way to the floor.
  4096.  
  4097. She settles in. The hammock sways slightly. She finds her
  4098. place in the book and playing with her damp hair, she starts
  4099. to read.
  4100.  
  4101. Quite unexpectedly from above her, a large drop of blood
  4102. falls and splatters all over the white pages of her book.
  4103. Alarmed, she touches the fluid with her finger tips,
  4104. examining it.
  4105.  
  4106. DEBBIE
  4107. (incredulous, to
  4108. herself)
  4109. Blood...?
  4110.  
  4111. She looks up at the ceiling...
  4112.  
  4113. DEBBIE'S POV
  4114.  
  4115. Wrapped around the rafters is Andy's mangled, bloodied corpse.
  4116.  
  4117. Before Debbie can SCREAM...
  4118.  
  4119. MUSICAL STINGER!
  4120.  
  4121. From beneath the hammock, hidden by the covers, Jason's hand
  4122. reaches up and around and snaps her head back down, pinning
  4123. her to the pillow.
  4124.  
  4125. The carving knife is driven through the back of her neck and
  4126. pops out the front, right at CAMERA. Blood spurts all over
  4127. Debbie's horrified face.
  4128.  
  4129. CUT TO:
  4130.  
  4131. EXT. WOODS - NIGHT
  4132.  
  4133. A flashlight beam sprays directly into the CAMERA LENS
  4134. bleaching out the FRAME.
  4135.  
  4136. Derek and Chris silently walk along the dirt road leading
  4137. back to the house. Derek holds the flashlight.
  4138.  
  4139. Their footsteps add to the cacophony of night sounds. Chris'
  4140. eyes dart about; she's becoming quite uneasy.
  4141.  
  4142. CHRIS
  4143. Could we move a little faster?
  4144.  
  4145. DEREK
  4146. Sure, just watch where you're
  4147. going.
  4148.  
  4149. They start to job. The beam from their flashlight bounces
  4150. all over the road as they run.
  4151.  
  4152. Suddenly and unwittingly, Derek strides into a pothole, twist
  4153. his ankle and falls forward. The flashlight falls from his
  4154. hand. Derek lands in the arms of a dark figure standing on
  4155. the side of the road. Derek gasps as the man clutches him.
  4156.  
  4157. Chris grabs the flashlight from the ground and shines the
  4158. light into the man's face...
  4159.  
  4160. It's Abel, the aged hitchhiker.
  4161.  
  4162. CHRIS
  4163. What're you doing out here?
  4164.  
  4165. Derek gets back on his feet. The ankle is tender.
  4166.  
  4167. DEREK
  4168. You know him?
  4169.  
  4170. CHRIS
  4171. Sort of.
  4172.  
  4173. ABEL
  4174. I'm one of the Flock as are you my
  4175. Brother and Sister.
  4176.  
  4177. DEREK
  4178. (looking askance)
  4179. Yeah... sure...
  4180. (to Chris)
  4181. I think we should be going.
  4182.  
  4183. They start to leave, but Abel blocks their path.
  4184.  
  4185. ABEL
  4186. I can't let you go.
  4187.  
  4188. DEREK
  4189. Look old man, we don't want any
  4190. trouble.
  4191.  
  4192. ABEL
  4193. Then turn around and walk away
  4194. from trouble.
  4195.  
  4196. DEREK
  4197. Come on, Chris...
  4198.  
  4199. Derek hobbles past Abel. Chris follows a moment later. Abel
  4200. looks after them as they go then up at the sky.
  4201.  
  4202. ABEL
  4203. I have done by best. I can do no
  4204. more.
  4205.  
  4206. Chris looks back at Abel as she and Derek continue down the
  4207. road.
  4208.  
  4209. CUT TO:
  4210.  
  4211. INT. KITCHEN - NIGHT
  4212.  
  4213. Chuck stands at the stove, shaking a pot of popcorn over a
  4214. lit burner. The corn kernels are actively popping as Chuck
  4215. lifts the cover off the pot, revealing the white fluffy
  4216. morsels as they fly up and out (at CAMERA). Chuck leans in
  4217. to catch them with his mouth. He captures a few though more
  4218. land on the floor. He quickly replaces the lid.
  4219.  
  4220. Chili comes in from outside with a flashlight in hand.
  4221.  
  4222. CHILI
  4223. I can't find the bong anywhere.
  4224. Can't you remember where you
  4225. dropped it?
  4226.  
  4227. CHUCK
  4228. I can't even remember what day it
  4229. is, man.
  4230.  
  4231. CHILI
  4232. It's Friday the 13th.
  4233.  
  4234. All the lights go out -- complete darkness except for the
  4235. blue fire of the lit burner. Chili SCREAMS over the sound of
  4236. the popping corn.
  4237.  
  4238. CHUCK
  4239. (alarmed)
  4240. What's the matter?!
  4241.  
  4242. CHILI
  4243. Nothin'. I was just foolin'
  4244. around.
  4245.  
  4246. CHUCK
  4247. Don't do that to me!
  4248.  
  4249. Chili flicks on the flashlight and hands it to Chuck.
  4250.  
  4251. CHILI
  4252. Here. Go down the cellar and
  4253. check the fusebox.
  4254.  
  4255. CHUCK
  4256. Will you come with me?
  4257.  
  4258. CHILI
  4259. Be a man, man.
  4260.  
  4261. Chili takes a kerosene lamp down from the window sill as
  4262. Chuck reluctantly opens the cellar door and starts down the
  4263. stairs.
  4264.  
  4265. Chili ignites the lamp's wick, illuminating the kitchen with
  4266. a yellow glow.
  4267.  
  4268. She carries the lamp over to the stove and sets it down.
  4269.  
  4270. CUT TO:
  4271.  
  4272. INT. CELLAR - NIGHT
  4273.  
  4274. Barefoot, Chuck tiptoes down into the dark, musty basement.
  4275. The flashlight beam preceeds his every step as he slowly
  4276. advances.
  4277.  
  4278. To calm his anxieties, he talks to himself, outloud.
  4279.  
  4280. CHUCK
  4281. (his eyes roving all
  4282. around)
  4283. There's nothin' to be scared of,
  4284. man. Just go over to the fusebox
  4285. and check it out. You can do
  4286. that. Yeah, sure.
  4287.  
  4288. His bare feet SLOSH in the line of the water puddles on the
  4289. cellar floor as he nears the fusebox. He raises the
  4290. flashlight at the open box -- the fuses and electrical wiring
  4291. exposed. The main switch is in the "OFF" position.
  4292.  
  4293. Chuck lifts the switch into the "ON" position. The naked
  4294. basement bulb glimmers.
  4295.  
  4296. CHUCK
  4297. (turning to go)
  4298. Whew... that's better.
  4299.  
  4300. MUSICAL STINGER!
  4301.  
  4302. Backlit and silhouetted by the bulb is Jason -- a threatening
  4303. sight.
  4304.  
  4305. Chuck is startled and scared. Before he can speak, Jason
  4306. grabs his face with both hands, lifts him off the ground and
  4307. throws him into the open fusebox.
  4308.  
  4309. Chuck's feet land in a pool of water as his hands make
  4310. contact with the exposed electrical wires. Electricity zaps
  4311. through his entire body, electrocuting him. The lights blink
  4312. on and off.
  4313.  
  4314. CUT TO:
  4315.  
  4316. INT. KITCHEN - NIGHT
  4317.  
  4318. Chili is standing at the stove shaking a second pot of
  4319. popcorn kernels. The blinking lights are an annoyance,
  4320. causing her to squint. Then, the blinking stops and the
  4321. lights go completely dead. The lantern remains the only
  4322. light source.
  4323.  
  4324. CHILI
  4325. (calling out)
  4326. What's goin' on, Chuck?!
  4327.  
  4328. There's no answer. Then abruptly, something heavy bashes
  4329. against the kitchen door.
  4330.  
  4331. CHILI
  4332. (continuing)
  4333. What's goin' on around here?
  4334. Who's there?
  4335.  
  4336. She picks up the lantern and goes to the door. She hesitates
  4337. then pulls it open.
  4338.  
  4339. MUSICAL STINGER!
  4340.  
  4341. Shelly's corpse -- his skull split open, his face and chest
  4342. bloodied -- falls into the kitchen at Chili's feet.
  4343.  
  4344. CHILI
  4345. (nonchalant)
  4346. Get up, Shelly. Stop foolin'
  4347. around.
  4348.  
  4349. She believes this to be another of Shelly's ruses. Stepping
  4350. over his body, she goes to the basement stairs and calls down
  4351. to Chuck.
  4352.  
  4353. CHILI
  4354. (continuing)
  4355. What're you doin' down there, man?
  4356.  
  4357. INT. BASEMENT
  4358.  
  4359. Holding the kerosene lamp in front of her, Chili starts down
  4360. the stairs. FOREBODING MUSIC drones on the SOUNDTRACK,
  4361. accompanying her.
  4362.  
  4363. CHILI
  4364. Chuck?
  4365.  
  4366. No answer. She stops at the bottom of the stairs and pans
  4367. the lamp from side to side.
  4368.  
  4369. MUSICAL STINGER!
  4370.  
  4371. Suddenly, as though suspended from the ceiling, Chuck's head
  4372. and shoulders flop down in front of her, his arms outstretched
  4373. and his face stark white.
  4374.  
  4375. CHILI
  4376. (trembling)
  4377. Oh, my God...
  4378. (shouting)
  4379. Help!!!
  4380.  
  4381. She turns and runs up the stairs, the kerosene lamp shaking
  4382. wildly in her hand.
  4383.  
  4384. INT. KITCHEN
  4385.  
  4386. She bolts out of the basement and stumbles over Shelly's
  4387. body, falling to the floor. She looks back at Shelly and
  4388. realizes that this is not a joke and that he is, indeed, dead.
  4389.  
  4390. She gags and, SCREAMING, grabs the still lit kerosene lamp
  4391. and scrambles to her feet. She runs into the living room.
  4392.  
  4393. CUT TO:
  4394.  
  4395. INT. LIVING ROOM - NIGHT
  4396.  
  4397. The fireplace is burning bright as Chili dashes to the base
  4398. of the spiral staircase.
  4399.  
  4400. CHILI
  4401. (looking up)
  4402. Andy! Debbie! Somebody help me!
  4403.  
  4404. Of course, no answer.
  4405.  
  4406. FIREPLACE
  4407.  
  4408. Unseen by Chili, Jason's hand reaches for a sizzling poker
  4409. left in the fire and pulls out the red-hot iron.
  4410.  
  4411. Chili swings open the front door. The CAMERA MOVES in on her
  4412. from behind. Crying, she SCREAMS out into the darkness.
  4413.  
  4414. CHILI
  4415. Vera! Chris! Where is
  4416. everybody?!!?
  4417.  
  4418. She steps out onto the --
  4419.  
  4420. EXT. PORCH - NIGHT
  4421.  
  4422. The CAMERA continues towards her from behind.
  4423.  
  4424. CHILI
  4425. (at the edge of the
  4426. steps)
  4427. Oh please, is anybody here?!
  4428.  
  4429. She looks all around. It's deathly quiet. She whips around
  4430. and runs back into the --
  4431.  
  4432. LIVING ROOM
  4433.  
  4434. right at Jason and into the scorching poker. It burns
  4435. through her blouse and fries the skin around where it
  4436. penetrates.
  4437.  
  4438. DISSOLVE TO:
  4439.  
  4440. The script ends here – the original ending was removed from
  4441. this copy and the filmed ending was not written.
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