FADE IN:

TITLE AND CREDITS

A piercing high note is sustained on the soundtrack as the

main title, "CRYSTAL JAPAN" speeds straight at the audience

in 3-D and seems to jump right out at them.

The opening credits follow. Ominous theme music fills the

soundtrack, growing darker and more dissonant.

The theme music slowly dissolves into the sound of a radio

news broadcast, as the credits continue to unfold.

RADIO NEWSCASTER (V.O.)

...and I'm Ed Harris with the KLTZ

Early Morning Report.

Theme music out.

RADIO NEWSCASTER (V.O.)

(continuing)

Crystal Lake in Pinehurst County,

the scene of several unsolved

deaths years ago, is tragically

back in the top of the news this

morning. Police have uncovered

the remains of eight, as yet,

unidentified persons in a gruesome

and baffling story of mass

murder...

End credits.

CUT TO:

EXT. ROADSIDE MARKET - EVENING

Shooting over a line of ruffled bushes with leaves just

turning towards a rural, time-worn country market. A wide

gravel parking area makes it accessible to the highway

running past it, otherwise, this Mom & Pop store seems almost

like a vision of times gone by.

The bushes and overgrown grass, unrestrained by any human

care, strengthen the sense of isolation. The dying sun

shoots its last rays through the trees behind the market.

The market has a battered second-story: the living quarters

of the people running it. A truck roars by. Then silence,

and then again the sound of the radio news report:

RADIO NEWSCASTER (V.O.)

...Judging from the sheer

brutality of the murders, police

theorize that they must have been

committed by at least four

persons...

EXT. THE HOUSE / STORE - ANOTHER ANGLE

Sagging clotheslines cluttered with drying laundry run across

a narrow backyard, all the way to a rickety old shed. The

clotheslines are supported by one solitary pole. Linen and

garments billow in the rising evening breeze.

Cold, foreboding music accompanies the camera as it moves

toward a pair of flapping khaki pants and an olive green

workshirt hanging side by side on the line.

The radio news report grows louder as the clothing snaps

directly into the lens.

RADIO NEWSCASTER (V.O.)

...The sole survivor of the

massacre has been taken under

heavy sedation to County Hospital

in Linfield for observation.

She's been unable to provide

police with any clues and is being

kept under round the clock guard...

HEAVY FOOTSTEPS

And then a man parts two shrouds of wet laundry, making his

way back towards the house. This is HAROLD: 40ish, paunchy,

unshaven and so clumsy that he hits the clothesline pole and

knocks it down, burying himself under a heap of linen. A

transistor radio pops out of the pocket of his threadbare

shirt, still broadcasting the news. One of the upstairs

windows opens with a creak, and

EDNA

Harold's wife, sticks her head out and looks into the

backyard:

EDNA

(loud, harsh)

Goddamnit Harold! I spent all day

yesterday washing your clothes and

look what you're doing to 'em.

Shows how much you care about me.

Harold watches her from under the pile of laundry. Then he

grabs the radio, staggers up, increasing the radio's volume

as he does so, to drown out the voice of his wife.

Above him, Edna raves on for a moment (we can't make out what

she is saying), then furiously slams the window shut.

CUT TO:

INT. UPSTAIRS LIVING ROOM - EVENING

The room is musty and cluttered like an old attic. Edna

stomps away from the window and turns her attention to the

partially functional, old clunker of a black and white TV.

She plops herself down onto the lumpy couch and picks up two

knitting needles and returns to work on a sweater. A news

report about the mass murders is being broadcast.

INSERT - TV

TELEVISION REPORTER

...A police spokesman tells

Eyewitness News that authorities

have been combing the area since

just before dawn. Reports of

cannibalism and sexual mutilation

are still unconfirmed...

Nevertheless, these murders are

already being called the most

brutal in local history.

EDNA

Leans in to adjust the long rabbit-ear antenna, spreading the

ears apart for a better picture. She listens intently.

TELEVISION REPORTER

The motive behind the grisly

murders remains a mystery at this

hour as does the identity of the

killer or killers. The search

continues for more bodies.

EDNA

(to herself)

My God, My God, My God.

TELEVISION REPORTER

...Residents of the Lake region

are being urged to take extra

precaution when approaching

strangers and to report anything

unusual to police, immediately.

We'll be back with the weather

forecast after this important

message.

Visibly upset, Edna rises to her feet. She goes over to the

door leading downstairs to the market, opens it and call out.

EDNA

Harold, what're you doing down

there?

No response. She rushes to the window, jerks it open and

sticks her head out.

EDNA

(continuing)

Harold... I want to talk to you.

No answer.

EXT. BACKYARD - EDNA'S POV

of the backyard. The laundry quietly swells in the wind.

For an instant, a human form is visible between layers of

drying clothes. From this distance, Edna can't make out who

it is.

EDNA

Harold?

INT. HOUSE

Unnerved by the continuing noise of the TV, Edna goes back to

shut it off. She quickly returns to the window and looks out

again.

EDNA'S POV

No sign of anyone, but there is an empty span of clothesline

where several articles of clothes were hung, only a second

before.

INT. HOUSE

Edna runs for the apartment door.

CUT TO:

INT. MARKET - EVENING

Edna flies down the stairs and enters the store from the

back. The market is dark, save does shafts of dying sunlight

through the grimy front windows.

She scans the few aisles back and forth.

EDNA

Harold?

A big rabbit appears from behind an arrangement of Campbell's

soup cans, and stands on its hind legs on the aisle, trying

to guess Edna's next move. Still calling Harold, she turns;

starts at the sight of the rabbit; she grabs a tomato from

the produce display, throw it at the animal.

EDNA

(continuing)

God Damn pest, what are you

staring at?

She misses, grabs more vegetables and hurls them at the

rabbit. The rabbit dodges them, and scurries away.

EXT. BACKYARD - EVENING

The sunlight is almost gone, stretching the shadows even

more. In her nightgown, Edna pushed open the creaky screen

door and steps out into the backyard.

Shooting towards her through the laundry flapping on the

clothesline. As she touches a set of pajamas and finds out

that they are still wet.

A shoulder suddenly enters the flame, and someone's

silhouette blocks the screen just for a couple of seconds,

before the intruder slips behind another curtain of drying

clothes, revealing Edna again: she's still checking the

clothes and hasn't noticed anything.

She comes to where the trousers and workshirt were, and no

longer. That's a shock, but she's not quite sure that they

were here in the first place, so she goes on, and starts

talking to herself to fortify her ailing courage.

EDNA

Christ All Mighty, Harold, you

just take what's yours and leave

the rest for me to do. Very

considerate!

(collecting the dry

laundry and putting

it in a basket)

You could at least finished the

job. Do I have to do everything

around here?

Edna hears a noise and whips around. Her imagination is

working overtime.

A bedsheet is swelling slowly in the breeze, taking the shape

of a human body. Is anyone behind it? Ominous music...

EDNA

(swallowing hard)

Harold... I swear, sometimes

you're such a child...

She charges forward. She rips the sheet off the line and

falls in a heap with it. There is no one behind it.

She turns over and lays on her back. Above her, there's only

the dark evening sky and the branches of a tree, rustling

back and forth.

Edna gets up and quickly pulls the remaining laundry off the

lines, tossing it into the basket. As she does, she passes

near the wooden shed at the back of the store.

EXT. YARD

The shed door creak open. Edna turns around. Suddenly,

there's a crashing noise from inside. That's enough for

Edna... she hauls up the basket and rushes back inside the

store.

CUT TO:

INT. MARKET - NIGHT

The white rabbit that gave Edna such a scare is now hopping

across a row of canned goods. A man's hand enters frame and

grabs the rabbit by the nape of its neck and lifts it off the

shelf, into his arms.

It's Harold. He places the rabbit on his shoulder and grabs

a jar of peanuts from the shelf. He twists open the vacuum-

sealed jar and wolfs down a handful of its contents. With

another handful, he feeds the rabbit, who sniffs and partakes.

Harold rescrews the lid and places it back on the shelf. He

turns on the radio in his breast pocket. Music blares.

He grabs his broom and starts sweeping down the aisle, the

rabbit remaining contentedly on his shoulder.

Harold stops at the dairy case and grabs a half-gallon jug of

milk. He breaks the seal and pulls off the cap. He first

offers the rabbit a taste, then gulps down a swig himself.

IN THE BACKGROUND

An unidentified face, in soft focus, peers in through the

storefront window then disappears almost as quickly. Harold

is unaware.

HAROLD

screws the cap back on and replaces the jug in the case.

The sound of crunching and munching.

Harold turns around. The the produce section, the cellophane

packages of carrots on display are moving slightly.

He reaches in and pushes off the top few packages to reveal,

underneath, another rabbit, a grey one this time, nibbling on

a carrot.

He lifts the rabbit out of the case and places it on his

opposite shoulder.

HAROLD

(looking from one

rabbit to the other)

Sorry guys, it's back to the

slammer before Edna make a fur

coat out of ya.

On his way to the back door, Harold passes a rack of cakes

and pies. He stops long enough to open a box of six

chocolate-covered donuts. He takes one out and shoves it

into his mouth.

Unbeknownst to Harold, a human form in shadow appears at the

back door. The door is quietly pushed open. Someone is

watching him.

The camera as stalker enters the store and moves slowly

towards Harold, his back to us. Ominous music accompanies

the approach.

Checks filled to capacity. Harold closes the package and

puts it back in place on the rack, hiding it under several

unopened packages.

Harold turns. The stalker is right behind him, completely

startled, he jumps back and chokes on the doughnuts. The

rabbits hop off his shoulders.

Unexpectedly, Harold find himself face to face... with his

wife, Edna.

EDNA

Didn't I feed you enough for

breakfast?

Harold doesn't answer.

EDNA

(continuing)

The doctor said you had to lose

weight, didn't he? I try to help

you but you sneak food behind my

back. What am I gonna do with you?

Without a word, Harold bends down to retrieve the rabbits.

He scoops them up in his arms.

EDNA

(continuing)

And put those filthy animals back

where they belong, please!

Harold exits by way of the back door.

CUT TO:

EXT. BACKYARD - NIGHT

Harold puts the grey rabbit on his shoulder, the white rabbit

remains wrapped in his arms. He swallows the rest of the

doughnut in his mouth as he flips a flashlight out of his

back pocket and ambles across the yard.

CUT TO:

INT. SHED - NIGHT

Light filters through the cracked walls partially

illuminating a variety of tools, old barrels, various odds &

ends - and a rabbit hutch.

Harold flicks on the flashlight as he enters. The rabbit

atop his shoulder jumps off and scurries away. The rabbit in

his arms squirms and squeals. The animals sense that

something is wrong.

HAROLD

(stroking the white

rabbit)

What're you little guys so nervous

about?

He scans the shed with the flashlight to locate the runaway

as he tries to contain the jittery ball of fur in his arms.

The flashlight searches each corner, until the beam finally

stops on:

THE RABBIT HUTCH

Music pounds hard on the soundtrack, as through the hutch

grillwork we can see a mass of dead rabbits, lying one next

to the other, staring up with glinting, glass eyes.

Harold stands immobilized, in a state of shock. He looks

down upon the limp bodies of his beloved pets, his face

turned into a sad mask of outrage. He holds onto the white

rabbit even tighter.

HAROLD

Who would do this...?

Trembling, Harold reaches to lift the lid of the hutch. The

music throbs...

A big timber rattlesnake springs out of the hutch, mouth wide

and open, twin poisonous fangs shining in the beam of the

flashlight.

The music drops out as the snake's loud kiss dominates. The

muscles of its dark, lean body push the deadly mouth ahead,

into the lens of the camera.

Instinctively, Harold slams the hutch down, dropping his

flashlight and the white rabbit. The snake hisses and spits

at the camera through the wife mesh.

Literally scared shitless, Harold races out of the shed,

holding his stomach with both hands.

CUT TO:

INT. STAIRWELL - NIGHT

Harold dashes through the back door, and up the stairs like

a charging bull.

CUT TO:

INT. UPSTAIRS LIVING QUARTERS - NIGHT

Harold bursts through the door, crashing into his

unsuspecting wife. Edna is knocked off balance and tries to

hold onto him.

EDNA

What happened? What's the matter?

Harold can't talk. He rubs his stomach and heads straight

for the bathroom, vanishing inside.

EDNA

(continuing)

It's all the crap you've been

stuffing yourself with.

Edna turns up the volume on the TV and plunks herself down on

the couch.

She reaches for her knitting bag and empties its contents.

One of her two, long, thin knitting needles is missing.

EDNA

(rummaging all around

her)

Now where could that other needle

have gone?

CUT TO:

INT. STOREROOM / BATHROOM - NIGHT

The room is a combination: storing place mostly, there are

two ample cupboards facing each other, each leaning against

a wall, a mess of crates and boxes lying on top of each other

behind a dusty curtain... and a toilet bowl, left from the

days when this was just an oversized bathroom. The toilet

bowl is against the fourth wall, at an angle behind the door.

The sound of the TV filters through the door as Harold,

trousers down to his knees, sits on the toilet, sighing with

relief as the first bout of diarrhea is over.

He loosens his collar, wipes some sweat from his brow,

reaches behind the toilet tank, and produces a hidden bottle

of Whiskey.

He unscrews the cap and takes a hardy swig. He leans back

and shut his eyes.

HAROLD

(to himself)

Those poor little creatures...

Another swig. Some of the liquor spills over his chin and he

wipes it with his sleeve. His eyes wander around aimlessly,

then focus on...

THE DUSTY CURTAIN

partially masking the mess of boxes and crates. It seems to

ripple subtly, moved by an ever so slight movement of air,

perhaps someone's breath?

Harold waits. The curtains seem still. Harold is about to

relax when a brief, hollow noise is heard.

Harold tries to locate the noise, but it's over before he can

tell its source. Pants around his ankles, he rises, shuffles

to one of the closets. It takes some courage to yank the

door open, and the camera moves fast into a...

FLAT CLOSEUP of empty shelves - nothing has touched them in

a long time, except dust.

Breathing relief, Harold pulls up his pants again, just

enough to be able to hobble grotesquely to the dusty curtain.

He rips it apart, stares at the odd assortment of boxes and

crates - empty, lifeless, and uncannily menacing because of

their lifelessness.

Reassured, Harold gives the other closet a glance, almost

decides against checking it - and then changes his mind, and

stumbles, pants still around his ankles, towards it.

Looks like this one hasn't been opened at all for a long

time. Harold tugs at the door - a creak, followed instantly

by a musical stinger as a huge hand holding a meat cleaver

rips into the shot, strikes Harold, imbedding the cleaver in

his chest.

Harold manages a half-scream that mixes incongruously with

the laughter from the TV in the living room. As the hand

twists the cleaver, the scream becomes a raspy cough.

Harold stumbles backwards and crashes to the floor.

CUT TO:

INT. LIVING ROOM - NIGHT

Edna hears the crash. She turns off the television.

EDNA

Harold?

No answer. She gets up from the couch and goes to the

bathroom door. She listens and hears the noise of the toilet

flushing and flushing, as if someone's hand never released

the lever.

EDNA

(rattling the door

knob)

Harold... what's taking you so

long in there? You all right?

She pushes against the door. It doesn't budge. She looks

down and notices some kind of liquid seeping out from

underneath the bathroom door. She dips her fingers in it and

sniffs.

EDNA

(continuing)

Whiskey, I thought so.

She goes over to a desk, opens a small drawer and finds a

skeleton key.

She hurries back to the bathroom/storeroom door, ready to

insert the key. To her shock, the door is now open a crack!

For a moment, Edna is nonplussed.

EDNA

(continuing)

Harold!

She pushes the door - it swings open, revealing the open

closets, the boxes and crates...

INT. BATHROOM - NIGHT

Edna steps inside and inadvertently kicks the half-empty

bottle of Whiskey. She picks up the bottle while the

flushing noise persists maddeningly.

She turns toward the toilet, which is behind the door and

screams at the sight of Harold sitting there.

HAROLD

pants down, like a grotesque dummy, blood drooling out of the

corners of his mouth, the meat cleaver sticking out of his

chest and one elbow stuck against the flushing handle.

The Whiskey bottle falls from Edna's hand, hits the floor and

shatters.

Edna screams uncontrollably.

From behind her a huge hand enters the flame and pierces the

back of her head with the previously missing knitting needle.

The needle is pushed out through her mouth, right at the

camera.

she gags on her own blood and slums out of frame.

CUT TO:

EXT. WORKING CLASS NEIGHBORHOOD - MORNING

A group ethnic children are playing stickball in the street,

weatherworn two and three-family houses on either side of

them.

A red passenger van screeches around the corner and heads

down the block, slowing down as it advances on the oblivious

children. The driver sounds the horn, warning of the van's

approach. Most of the children scatter, but a few don't,

yelling and banging on the sides of the van as it passes.

The van continues for a few yards then parallel parks in the

first available space.

The driver Chris...19, blond, attractive but intense...steps

down and circles around to the passenger side where two

others jump out. They are Debbie...19, brown-haired,

vivacious and healthy, the all-american cheerleader

type...and Andy...slims, athletic and ruggedly handsome.

DEBBIE

Which one is it?

CHRIS

(pointing)

It's the last house on the left.

She lives downstairs.

Chris turns back to the van.

CHRIS

(calling through

window)

Hey Shelly! Come on out and meet

your date.

SHELLY'S VOICE

(from inside van)

Bring her to me!

Chris looks back at Andy and Debbie for advice.

ANDY

(shrugging his

shoulder)

What're you gonna do?

DEBBIE

Maybe this wasn't such a good idea.

Chris calls into the van once again.

CHRIS

How about you two? You coming?

Two other voices shout back:

VOICES

(in unison)

No!

Chris throws up her hands in frustration, joining Andy and

Debbie. They cross the street abreast.

CAMERA TRACKS in front of the three friends. A rotund,

ominous-looking figure in a hideous, ghostly white mask

springs out from around the hidden side of the van. The

figure follows a safe distance behind the unsuspecting

threesome, brandishing a knife.

As they walk, Andy and Debbie are locked in each other's arms

and they begin to kiss. Chris looks at them and shakes her

head.

CHRIS

Sex, sex, sex. You guys are

getting boring, you know that?

Debbie breaks the kiss, feeling a little embarrassed.

ANDY

So what would a weekend in the

country be without sex?

DEBBIE

(stern)

Cool it, Andy.

ANDY

(apologetic)

I didn't mean it the way it

sounded...

CHRIS

I know you didn't...

Little by little, the masked figure advances from behind.

CHRIS

(to Andy and Debbie)

Look guys, I don't want to ruin

your weekend. What happened to me

at the cottage happened a long time

ago and I think I've worked that out.

I'm all right now.

The figure draws even closer raising the knife above his head.

CHRIS

(continuing)

I appreciate the fact that you

worry about me, but don't.

DEBBIE

Okay, we won't. We'll just have

fun, all agreed?

The masked figure rears back and plunges the knife into

Andy's back.

ANDY

Aaahhh!

The rubber knife bends in half. Andy, Debbie and Chris whirl

around to face the assailant.

ANDY

(continuing)

Dammit Shelly! Why do you always

have to be such an asshole!

SHELLY

(still wearing the

mask)

I beg your pardon, I'm not an

asshole. I'm an actor.

ANDY

Same thing.

Chris and Debbie, in disgust, turn away and walk off. Andy

drops back to walk with Shelly.

ANDY

(paternal)

Look Shelly, you're my roommate

and I like you... most of the

time. But you gotta stop doing

these things. Now, I set this

date up for you, didn't I? So

don't embarrass me. When you meet

this woman, just relax and be

yourself.

SHELLY

Would you be yourself...

(ripping off mask)

...if you looked this this?

Shelly puts on a pair of unflattering prescription glasses.

Although he has a pleasant face, Shelly is overweight, greasy-

haired and unkempt.

Chris and Debbie lead the way for Andy and Shelly up the

porch steps, to the front door of a shabby, two-family house.

Chris rings the bell. Shelly takes a few steps back. He

mats down his unruly hair, tucks in his shirt and takes off

his glasses. He's ready.

The door opens and a middle-aged Hispanic woman stands behind

the outer screen door.

MOTHER

(Spanish accent)

Yes?

CHRIS

(friendly)

Hi, Mrs. Sanchez. I'm Chris.

We've come to pick up Vera.

MOTHER

(bruskly)

She's not going.

She shuts the door in Chris' face. The group stands there

not knowing what to do next. V.O.'s from inside the house

they can hear Vera and her mother arguing in Spanish.

CHRIS

What are they saying?

DEBBIE

I don't know. I flunked Spanish.

They all turn to leave when suddenly the front door swings

open. This time Vera, knapsack over her shoulder, ready to

go, comes out onto the porch. She's a knockout...20, exotic,

raven-haired beauty...in tight jeans. They turn and stare at

her.

VERA

(forcing a smile)

Hi everybody, what're you looking

at. Let's go.

Shelly, intimidated by Vera's sexy good looks, steps behind

Andy and slips the mask back over his face.

CHRIS

(to Vera)

Is everything okay?

VERA

You know, just your basic old

fashioned mother problems.

(changing the subject)

So, where's my date?

Shelly comes out from behind Andy.

SHELLY

(sheepishly)

Hi.

VERA

(letting her

disappointment show)

You're Shelly?

SHELLY

I'm sorry.

Andy angrily rips the mask off Shelly's face.

DEBBIE

(looking across the

street)

Hey! The van's on fire!

EXT. VAN

White smoke billows out of the van windows, engulfing the

vehicle and the luggage tied to the top.

The whole group rushes off the porch and races to the van.

The first one there, Andy, opens the passenger side door and

jumps in. Chris runs around to the driver's side and does

the same.

INT. VAN

Through thick, acrid smoke, Chili and her boyfriend, Chuck...

Cheech and Chong lookalies...can be seen sitting in the back

on the floor, each puffing away like crazy on a bong filled

with Marijuana. Each wears a stereo headset that is plugged

into their own Sony Walkman portable cassette players.

Andy and Chris looks at each other as if to say "I should

have known."

CUT TO:

EXT. HIGHWAY - MORNING

Chris' red van speeds along the empty rural highway through

the lush New England countryside.

CUT TO:

INT. VAN - MORNING

Through the driver's side window, the wind blows in on Chris

and tosses her flaxen hair as she drives. Debbie sits on

Andy's lap in the passenger seat - the only other seat in the

van.

ANDY

How much farther to the cottage?

CHRIS

We could've been there already...

(looking at Debbie)

...if some people didn't have to

go to the bathroom every five

minutes.

DEBBIE

(defensive)

Oh yeah...well just hope that you

never get pregnant, 'cause all you

do all the time is piss!

REAR OF THE VAN

Chili and Chuck are sprawled out on the floor, taking

inventory of their numerous joints and bags of Marijuana.

Shelly sits cross-legged near the very back of the van,

opposite Vera, who sits with her legs open. Daydreaming, she

gazes upward at the sky and treetops through the back window.

Shelly can't stop staring at Vera, admiring her sexy body.

Vera senses that Shelly is undressing her with his eyes and

quickly turns her head around and catches him looking at her

breasts. Shelly averts his eyes in embarrassment and looks

over at Chuck who lights up a joint, inhales and hands it

Chili.

SHELLY

Is that all you two are gonna do

this weekend...smoke dope?

CHUCK

Why not, man? Is there a law

against it?

SHELLY

(persisting)

There's better things to do with

your life.

CHUCK

(confused)

Like what?

CHILI

(inhaling)

I can't think of anything.

She offers the joint to Shelly. He declines. Chili offers

it to Vera.

VERA

Sure, why not.

Vera comes forward on her hands and knees, reaching out for

the joint. As she does, she inadvertently thrusts her

shapely rear end almost into Shelly's face. Shelly makes no

attempt to retreat from it. Actually he rather enjoys it.

VERA

(as she draws on the

joint)

Is this stuff any good?

CHUCK

Home grown, man! Of course it's

good!

CHILI

And it's good for you, too.

Strictly organic. No

preservatives, man.

Andy sniffs at the air around him filled with the aroma of

good grass.

ANDY

Hey, let's share the wealth with

those less fortunate up front here.

Vera passes the joint to him and sits back down across from

Shelly.

Shelly is rummaging through a small black suitcase. It's

contents are concealed from Vera's view.

VERA

(curious)

What d'ya got in there?

SHELLY

(very secretive)

My whole world.

VERA

In that little thing?

SHELLY

Stick around and you'll see.

Vera turns away and looks out the back window.

We can hear the faint sounds of sirens.

EXT. HIGHWAY - DAY

In the distance, two police cruisers, with lights flashing,

in hot pursuit.

INT. VAN

VERA

(to the others)

Better hide that grass. It's the

cops.

CHRIS

(looking out her

sideview mirror)

Oh, no.

SHELLY

(looking out the back

window)

What are we gonna do?

VERA

Destroy the evidence, Pronto!

CHUCK

Destroy the evidence? No, man!

CHILI

(looking right at

Chuck)

Yes, man!

They all look at one another, perplexed. Vera is amused.

Without a word and simultaneously, Chili and Chuck begin to

stuff loose grass and joints into their mouths.

CHUCK

(mouth full)

Come on, dig in!

ANDY

(grabbing a bag)

Aw shit!

He starts to eat. Vera joins in, too. The police sirens

grow louder.

EXT. HIGHWAY - DAY

The cruisers advance.

INT. VAN

Andy grabs another bag and hands it to Chris.

ANDY

Here...eat.

CHRIS

Try me some other time. I'm

driving.

Andy turns to Debbie and offers up the cellophane bag.

ANDY

Breakfast?

DEBBIE

No way. We're pregnant. Remember?

The sirens seem to be getting closer. Chili leans in behind

Chris.

CHILI

You better step on it!

CUT TO:

EXT. HIGHWAY - MORNING

The van speeds up, but so do the police cruisers, even

narrowing the gap.

CUT TO:

EXT. VAN - MORNING

Chili, Chuck, Andy and Vera's cheeks are filled to capacity

with dope. Their faces are turning green. Still they

continue to stuff in more at a frantic pace.

Shelly holds his black suitcase tightly to his chest as he

watches out the back window with concern.

SHELLY

Faster! Eat faster!

VERA

(handing Shelly a

fistful of grass)

Why don't you help us?

SHELLY

(reluctant)

Uh... I guess I'm just not hungry.

ANDY

(mouth full)

You're always hungry!

To appease everybody, Shelly begins to nibble ever so

slightly on the marijuana out of Vera's hand.

CHRIS

They're too close. I gotta pull

the van over. Hurry up and

swallow! Everybody just be cool.

CUT TO:

EXT. HIGHWAY - MORNING

Chris pulls the van to the side of the road. She sticks her

head out to watch for the approaching cruisers. Much to her

surprise and everyone else's, both police cars zoom by the

van without stopping.

CUT TO:

INT. VAN - MORNING

A collective sigh of relief, followed by groans of regret for

what they've just done.

ANDY

(belching)

I think I'm gonna be sick.

VERA

(holding her stomach)

The line forms at the rear.

CHUCK

I'm gonna be sicker than all of

you, man. Now I gotta spend the

whole weekend totally straight...

(buries his head in

his hands)

I don't think I can make it, man!

CHILI

Chuck... look.

She slowly unbuttons her blouse. Everyone looks at her,

puzzled. Chuck raises his head.

CHUCK

(mistaking Chili's

intentions)

Not now, man!

Her fingers reach inside her bra -- but instead of freeing

her breasts, she pulls out a good size plastic bag of

marijuana. Chuck's mouth drops open.

CHILI

I'm a slow eater.

CHUCK

(throwing his arms

around Chili)

I love you, man!

He attacks her with kisses. The others laugh.

CUT TO:

EXT. ROADSIDE MARKET - MORNING

The two police cruisers make a sharp right into the small Mom

'n Pop store parking lot and SCREECH to a halt.

A small group of curious onlookers congregate at the front

entrance of the store.

The cruiser lights continue to flash red and blue as the

Police Officers step out of their vehicles.

The Officers order the onlookers to "go home" then enter the

store.

Chris' red van approaches down the highway.

CUT TO:

INT. VAN - MORNING

Chris slows down the vehicle as she sees the flashing police

lights and ambulances. She rubber-necks to see what's

happening.

CHRIS' MOVING POV

A team of Medics carry out two heavy body bags from the store.

Chris watches with morbid fascination, fueling her anxieties.

Debbie is also looking out the window at this unpleasant

scene. She turns to see Chris and reads the concern on her

face.

DEBBIE

Hey, kiddo... don't let your

imagination run away with you.

Chris turns her attention back to the highway and drives on.

CUT TO:

EXT. HIGHWAY - MORNING

CLOSE SHOT on a PAIR of Scraggly Men's boots as they walk

along the edge of the highway. CAMERA TILTS UP to reveal

ABEL... 72, long stringy white hair and whiskered, skinny in

baggy clothes, weathered stern face. Like a lone star, he

ambles down the lonely highway, dragging a duffle bag.

The SOUND of a vehicle approaching in the distance...

Abel sticks out his right thumb in a hitchhiking stance. He

affects a smile and looks toward the vehicle down the road.

CUT TO:

INT. VAN - MORNING

The sun pours in through the windshield. Debbie shades her

eyes to get a better look at the figure up ahead.

DEBBIE

Would you look at that! I've

never seen a senior citizen

hitchhiker before.

The others in the back come forward to look.

ANDY

Let's give the poor old guy a

break. Pick 'im up.

Shelly reacts very emotionally to the suggestion.

SHELLY

That scarecrow? Can't you tell

how weird his is just by looking

at him.

VERA

Come on, Shelly. Who else is

gonna give him a lift?

SHELLY

Not us! He's really creepy.

The van is now upon the aged hitchhiker. He flashes a smile

at them: plaintive, shy, and yet somehow ominous.

CHUCK

(reassuring)

He looks just like my grandfather,

man. Let's give him a ride.

EXT. HIGHWAY - MORNING

The van screeches to a halt and backs up to Abel. The side

door slides open and Abel is lifted into the back.

The van pulls away.

CUT TO:

INT. VAN - MORNING

Abel settles into the back next to Shelly who studies the old

traveller with both curiosity and trepidation.

Chris adjusts her rearview mirror to include Abel.

Abel nods "hello" to one and all. They nod back.

ABEL

(in an eloquent

soothing voice)

You are, all of you, very kind and

generous young people to lend a

helping hand to a tired, old man.

Thank you very much. Perhaps I

can repay the kindness.

The civilized speaking-manner of the shabby-looking stranger

calms the layer of fear that any might have had.

ABEL

(continuing)

My name is Abel. And I am my

brother's keeper.

SHELLY

Where are you going?

ABEL

Going? How do you mean?

SHELLY

I mean, is there any place in

particular where we can drop you

off?

ABEL

Drop me off? How do you mean?

Shelly's suspicions return and he glances from Vera to Debbie

and Andy. Andy shrugs his shoulders.

Abel reaches into his dusty dufflebag and pulls out a very

small bundle wrapped in a scrap of cloth.

Chris watches via the rearview mirror. Her expression is

wary.

Abel unwraps the object and places it in front of Shelly's

face.

ABEL

(continuing)

Look what His Grace has brought me.

Shelly looks down at a the small, slimy, white oblong thing.

SHELLY

(wincing)

What is that?

ABEL

I found this today. There were

other pieces of the body lying

there, but I believe "he" wanted

me to have this...

SHELLY

(gasping)

That's an eyeball! Oh, God!

ABEL

"He" wanted me to warn you.

(evangelical)

Look at this, all of you!

He holds the eyeball out for each to view. They shrink back

away from him, cringing at the sight.

The eyeball is reflected in the rearview mirror. Chris is

becoming quite upset.

ABEL

(continuing)

See with your own eyes what I have

seen. Runaway! Go back to where

you came from... Now!!!

CUT TO:

EXT. HIGHWAY - MORNING

The van comes to an abrupt stop. The side door opens and the

old man is practically tossed out.

On the ground, Abel yells after the van as it speeds away.

ABEL

I warned you!

CUT TO:

EXT. ROADSIDE - MORNING

The van is parked on the shoulder of the highway.

Chris leans against a tree, her arms crossed over her chest.

She looks towards the woods, waiting.

In front of her face, two sneakered feet pass by. It's Andy,

walking on his hands.

Vera stretches her arms over her head then drops her torso

and arms to the ground, bent over.

VERA

Some people stretch their legs....

(looking at Andy)

Some their arms....

(looking at Shelly

eating a candy bar)

And some nothing at all.

From out of the woods, Debbie appears. She zips up the front

of her jeans and approaches the others. Chris and Vera

applaud.

DEBBIE

I can't help it.

Smiling, Chris puts her arms around Debbie's shoulder and the

two walk toward the van.

From seemingly out of nowhere, the ROAR of MOTORCYCLES is

suddenly upon them.

The group whisks around to find three souped-up motorcycles

bearing down on them, navigated by a manacing-looking TRIO.

The motorcycles head straight for them. In a panic, the

group scatters. Dust swirls as the Motorcyclists veer away

from the group and the van just in time to avert a collision.

As the dust settles, the group picks themselves off the

ground.

CHRIS

(brushing herself off)

How come there's never a cop

around when you really need one.

CUT TO:

INT. VAN - MORNING

Chris is still driving.

The others have assumed their respective positions. However,

the jovial atmosphere has degenerated due to the unsettling

series of incidents.

Long faces and silence prevails.

Then, up ahead just off the road, a pleasant surprise, for

them all.

CHRIS

Wake up, everybody. Revenge is

ours.

(pointing out the

front window)

Look!

Chris slows down the van. The group quickly moves forward

and peers out the front windshield. One by one, a smile

crosses each dour face.

THEIR POV - EXT. HIGHWAY - DAY

The Three Motorcyclists have been pulled over by a State

Trooper and are being ticketed.

INT. VAN

The van erupts into laughter and cheers.

EXT. HIGHWAY - DAY

As the van passes the powerless Cyclists, the side door

swings open and the passenger window rolls down. The group

sticks their heads out and jeers and applauds.

INT. VAN - DAY

Chris turns on the radio -- Rock 'n Roll MUSIC blares as the

lighthearted atmosphere returns.

EXT. HIGHWAY

Jauntily, the van zips down the highway.

CUT TO:

EXT. COUNTRY HIGHWAY / DIRT ROAD - DAY

CLOSE SHOT on a half-eaten dead rabbit lying to one side of

the dirt road. CAMERA DEEP-RACK-FOCUSES to the red van

coming up over the hilly highway.

The van turns off onto the dirt road and makes its way

through a wooded landscape along a winding trail. Sun

dapples through the trees.

CUT TO:

EXT. LAKESIDE COTTAGE - DAY

An overgrown driveway meanders among oak trees towards a

rustic two-story house. The oak trees have been there long

before the house was built -- their heavy branches hang low,

like tired arms, almost blocking the driveway.

The house has an elevated porch and curtained windows. It is

in relatively decent condition though weatherbeaten and

creates from the start an impression of family history.

There is ample parking space before the house. On the left

side of the driveway as one approaches, some thirty yards

diagonally across from the house, there is a tall red barn

with a hayloft equipped with a block and tackle (to bring up

the bales of hay into the loft's square window).

To the right of the house is an outhouse with a heartshaped

venthole in its wooden door.

To the left of the house is a large lake with a knotty old

dock and a small tree-covered island in the middle. The

whole area is surrounded by a lush landscape.

The SOUND of a VEHICLE approaching...

The CAMERA reveals this serene, idyllic panorama and PICKS UP

Chris' van as it bumps along the dirt road and slows down to

a crawl to pass over a creaky, dilapidated wooden bridge that

runs over a dried-up stream.

INT. HOUSE

The CAMERA peers OVER-THE-SHOULDER of an UNIDENTIFIABLE

FIGURE as he moves from one living room window to the other,

watching the van as it sweeps under the low branches towards

the house.

EXT. HOUSE

The van comes to a stop. Chris jumps out and looks towards

the house. A collection of memories posses her for a moment

before she reaches for the knotted rope and unties the tarp

covering the bulk of the baggage on top.

CHRIS

(loud so the others

can hear)

Let's bring in the luggage first,

then I'll give you a tour of the

house and the barn and then we can

hang out at the lake... All right?

No response. Just the distant SOUND of FEET RUNNING and

LAUGHTER.

Chris walks around to the other side of the van and finds the

doors left wide open and no one about. She turns to see her

friends running towards the lake, unable to resist the

splendor of the shimmering water and sun dappled landscape.

Debbie turns back and gestures for Chris to join them.

DEBBIE

Come on down!

CHRIS

(shaking her head)

You go ahead...

In the background, behind Chris, the Shadowy Figure, OUT OF

FOCUS, appears behind a curtain in the living room.

CHRIS

(to Debbie)

I'm gonna take my bags into the

house first and look around.

Chris turns toward the house. The Figure disappears from

view. Chris grabs a piece of baggage in each hand and

innocently strides up the path and porch steps to the front

door.

It has been a while since she has last visited the family

country home and she is actually pleased to have this moment

to herself.

She rifles through her handbag, comes up with the keys and

reaches for the doorknob to find that the door is already

open, ever so slightly. A look of concern flashes across

Chris' face.

CHRIS

(continuing)

Hello?

Only the distant SOUNDS of her friends by the lake can be

heard.

Cautiously, Chris pushes the door. Creaking, it opens wide.

She hesitates a moment then takes a step inside.

CHRIS

(hearing a noise)

Who's there?

From out of nowhere, a hand grabs Chris by the neck and pulls

her OUT OF FRAME. She SCREAMS!

Then the SOUNDTRACK becomes coldly SILENT...

CUT TO:

INT. LIVING ROOM / COTTAGE - DAY

Pinned up against the wall, Chris is being embraced and

kissed passionately by a MAN whose face is not yet visible.

Resisting, Chris pushes him off.

CHRIS

Derek... stop.

DEREK

Why?

DEREK is 23, tall, dark and virile.

CHRIS

You know what I've been through.

Don't ever scare me like that.

DEREK

I'm sorry. I just wanted to

surprise you. What can I say?

CHRIS

(with a smile)

You can say... "Hello, how are

you?"... for starters.

DEREK

(genuinely)

Hello. How are you?

He pulls her towards him to kiss her again.

CHRIS

(moving away)

You haven't changed a bit. Always

so sure of yourself. Even when we

were kids, when you wanted

something, nothing could stop you.

DEREK

Is that so bad?

CHRIS

I don't know.

DEREK

You're irresistible. I lose

control.

CHRIS

Just slow down. Let me get to

know you again. Let me get to

know this place again.

DEREK

Okay. There's a whole weekend

ahead of us. There's time.

Chris embraces Derek. Behind them, passing the porch

windows, OUT OF FOCUS, is the shadowy figure of JASON.

Neither Chris nor Derek is aware of the presence.

CHRIS

(breaking the embrace)

Come outside and help me with the

bags.

The turn and head for the front door. Jason's figure moves

away from the windows, out of sight.

CUT TO:

EXT. COTTAGE - DAY

Chris and Derek bound down the porch steps to the van.

DEREK

I'll get the bags off the top.

You get the ones inside.

Chris moves around to the opposite side. The sliding door

which was previously wide open is now closed.

CHRIS

(unsure, talking out

loud)

This door was open just a minute

ago, wasn't it?

DEREK (O.S.)

(from the other side

of the van)

What?

CHRIS

Nothing.

The SOUND of the others thrashing about in the lake can be

heard as Chris reaches for the handle and whisks the door

aside. Instinctively, she braces herself, but nothing jumps

out at her. Annoyed with herself for being so suspicious and

jumpy, Chris just leans in and grabs for the first bag she

sees.

A HAND springs INTO FRAME and wraps around Chris' wrist. She

gasps and jumps back.

Shelly sticks his head out the side of the van.

SHELLY

That's my bag. I'll take care of

it.

CHRIS

What're you doing in there? Why

aren't you down at the lake with

the others.

SHELLY

'Cause they're skinny-dipping and

I'm not skinny enough.

Chris looks toward the lake.

CHRIS' POV

Andy, Debbie and Vera frolic about naked in the water. Chili

and Chuck dive off the dock, fully clothed.

CUT TO:

INT. CELLAR - DAY

Pitch black save for a slice of sunlight from an elevated

basement window. The door swings open. Silhouetted in the

doorway are Chili and Chuck just come from the lake, drenched

and dripping in their wet clothing.

CHUCK

(uneasy)

It's dark down there.

CHILI

That's the way it is, man.

Cellars are dark.

CHUCK

And Hell is hot, but I ain't goin'

down there either.

Chili flicks a wall switch next to her. A naked light bulb

springs to life, glowing dimly.

CHILI

There's nothin' to be afraid of.

She takes Chuck by the hand and leads him down the stairs.

Their sneakers, sodden with water, squeak and squish as they

go. Water drips from their hair and clothes, forming little

puddles that follow their every step.

The basement is overrun with cobwebs and spiderwebs. Rusted

gardening tools, broken bicycle parts and boxes of old toys

are strewn helter-skelter. An old washer and dryer sit just

to the left of the electrical fusebox.

CHILI

(continuing)

Gimme your threads, man.

Chuck pulls off his shirt and hands it to Chili. She rings

it out onto the floor creating a pool of water under the

fusebox.

As Chuck zips down his pants, Chili turns on the dryer.

Annoyingly, the dryer RATTLES and SHAKES.

Suddenly the light bulb goes off, plunging the twosome into

near darkness.

FOREBODING MUSIC enters the SOUNDTRACK...

CHUCK

You broke the electricity, man!

But yet, the dryer CLATTERS on.

From over by the stairs, the SOUND of a METAL OBJECT being

kicked against the door.

Chili and Chuck whirl around to look.

A rusty old roller skate bounces down the stairs and hits

bottom with a CLUNK.

CHUCK

(on edge)

Who's there?!

The door slams shut.

CUT TO:

INT. LIVING ROOM / STAIRCASE - DAY

Laden with his and Debbie's baggage, Andy enters the front

door, trudges to the base of the spiral staircase and looks

up.

ANDY

Whatever happened to equal rights

for men?

Chris and Debbie, unburdened by luggage, reach the second

floor landing.

DEBBIE

(to Andy)

Stop bitching. You can't expect

me to carry heavy things in my

condition.

Andy grumbles and starts up the stairs.

CUT TO:

INT. BEDROOM - DAY

Chris throws open the door and allows Debbie to enter first.

CHRIS

This was my bedroom. It's yours

for the weekend.

Chris walks over to the windows and separates the curtains,

flooding the room with light. She opens the windows -- a

cool breeze blows in.

Debbie surveys the cheerful room with antique furniture that

includes a folding. Japanese-style dressing curtain. But

there is one important element missing in this bedroom...

there's no bed.

DEBBIE

Uh, Chris... I don't mean to be

picky, but... where do we sleep?

With an impish smile, Chris goes over to the closet and pulls

out a crumpled mass of netting. She hands it to Debbie.

DEBBIE

(perplexed)

What's this?

CHRIS

Your bed.

DEBBIE

A hammock?

CHRIS

Have you ever made love in a

hammock?

Chris exits, closing the door behind her.

DEBBIE

(envisioning the

pleasant

possibilities)

Hmmm... why not?

Debbie begins to unravel the nylon mesh when suddenly, a gust

of wind topples over the Japanese dressing curtain. It hits

the floor with a sharp SLAP. At the same exact moment, the

door is kicked open with a BANG, SLAMMING against the

opposite wall.

Debbie jumps. It's Andy. He squeezes through the door with

the bulky baggage.

ANDY

(looking around)

Where's the bed?

With the back of his foot, Andy kicks the door to close it.

An instant before the door slams shut, we SEE a fleeting yet

ominous, glimpse of Jason behind Andy in the hallway.

CUT TO:

INT. MASTER BEDROOM - DAY

Chris in CLOSE SHOT, looks around the room, concerned about

what she sees.

CHRIS

(calling out)

Derek, come in here!

WIDER SHOT

including the whole room. The bed is a mess as if someone

had slept in it recently, the closets are open -- hangers on

the floor, some linen strewn about, the dresser drawers are

pulled out and left hanging.

Derek comes into the room carrying a box full of wooden

paddles with little rubber balls attached by a long elastic

thread.

DEREK

Look what I found. Remember these?

CHRIS

(her attention

focused elsewhere)

Did you stay here last night?

DEREK

(looking around)

No. I got here just before you

did.

CHRIS

Somebody was in here.

DEREK

Goldilocks and the Three Bears?

CHRIS

I'm serious. Doesn't this look a

little strange to you?

Chris begins straightening up the room, pushing in the

drawers, etc.

DEREK

Don't get paranoid. I'm sure your

parents left it this way last time

they were here. You know how

messy your father is. If there

was a phone here, I'd call them up

right now.

Derek moves over to help Chris make the bed.

CHRIS

You have an answer for everything,

don't you?

Derek shrugs his shoulders.

DEREK

(gentle but firm)

I just think that it's about time

you stopped looking over your

shoulder, always expecting there's

someone coming after you. That's

no way to live.

Chris looks at Derek thoughtfully, but unconvinced. They

finish making the bed in silence.

CUT TO:

EXT. LAKE / COTTAGE - DAY

Several six packs of empty beer bottles line a picnic table

which is further cluttered with half-eaten sandwiches and the

usual array of picnic goodies.

Shelly and Vera sits across from each other, in the midst of

a beer chugging contest. Derek, Andy and Chuck sit on either

side Shelly, encouraging him to victory. Chris, Chili and

Debbie, on either side of Vera, do likewise.

Vera downs her next bottle with apparent ease. Shelly balks

as another beer is thrust in front of him.

SHELLY

(nauseous)

No more... I can't!

ANDY

Yes, you can. Come on, Shelly!

Shelly relents and suffers the beer as it goes down. The

accomplishment is met with a pat on the back.

Vera, too, hesitates for a moment then chugs her beer, this

time more slowly and with a degree of difficulty.

Tipsy, Shelly rises to his feet.

SHELLY

(as if in control)

If you'll all please excuse me...

Shelly picks up his small black suitcase and walks off on

wobbly legs.

ANDY

(yelling after him)

How could you let her beat you?

SHELLY

grabs his mouth and runs past the house into the outhouse,

slamming the door behind him.

The SOUNDS of Shelly vomiting can be heard.

INT. OUTHOUSE

Leaning over the hole, Shelly wipes his mouth with his

sleeve. Weakened and defeated, he sits down and leans his

head back against the wall, closing his eyes.

An OMINOUS TONE enters the SOUNDTRACK...

From behind Shelly, the CAMERA MOVES past him and LOOKS OUT

from the heart-shaped venthole carved in the door.

From this distant vantage point, WE CAN SEE up to a second-

floor window where a shadowy figure (Jason) looks down from

behind a sheer curtain.

SHELLY

opens his eyes and listens to the others by the lake, having

fun without him. He stands up and OUT OF FRAME.

EXT. OUTHOUSE

Shelly comes out of the outhouse. Alone with his black

suitcase, he starts for the front door of the house.

The OMINOUS TONE returns to the SOUNDTRACK...

The CAMERA CRANES UP to the second-floor bedroom window where

moments before the shadowy figure stood watching. The figure

is now gone from the window. Only the curtains rustle in the

breeze.

The SOUND of the front door SLAMMING. Shelly is inside.

CUT TO:

INT. HOUSE - DAY

CAMERA is behind Shelly as he ascends the spiral staircase.

Halfway up, he HEARS a LOUD THUD. Pausing to listen, he

turns his face around, right into CAMERA. He hears nothing

further and continues up the stairs.

When he reaches the landing, he HEARS SCREAMING coming from

the lake. He rushes into the bedroom which faces the water.

INT. BEDROOM - DAY

It's Andy and Debbie's bedroom where the hammock is now set

up, draped with a bedspread. Shelly looks out on the lake.

SHELLY'S POV

The SCREAMING is nothing more than playful activity.

Suddenly, the SOUND of a window in the room SLAMMING shut.

Startled, Shelly whips around to see the window beside the

Japanese dressing curtain now closed. Dust around the window

has been unsettled. The Japanese curtain wavers. Shelly

cannot see behind it.

He edges over to the curtain and flings it aside. There's

nothing there. He exits.

INT. HALLWAY - DAY

He walks to his room at the far end of the corridor and

pushes on the door to open it. It doesn't budge. Leading

with his shoulder, he bashes into the door. This time it

gives. Shelly stumbles off-balance into the room (this is

the same room which looks directly down on the outhouse)!

A HIGH-PITCHED FOREBODING NOTE enters the SOUNDTRACK...

Shelly takes a long look back down the hallway as he closes

the door.

CAMERA HOLDS for a moment on the closed door as the MUSICAL

NOTE INTENSIFIES...

CUT TO:

EXT. LAKE / COTTAGE - DAY

A chilling, bloodcurdling SCREAM, from inside the house,

shatters the calm by the lake.

DEBBIE

What was that?

ANDY

(looking around at

the others)

Where's Shelly?

VERA

I haven't seen him.

DEREK

(taking control)

Come on!...

He leads the others in a race towards the house and up the

porch steps.

CUT TO:

INT. HOUSE - DAY

The group barrels into the house and assembles in the living

room at the base of the stairs.

DEREK

(calling out)

Shelly! Where are you?!

CHRIS

(shouting up the

stairs)

Are you all right, Shelly?

Silence.

DEREK

Let's spread out and check all the

rooms. Outside, too.

(to Chris)

You stay with me.

CHRIS

No. I can look around by myself.

I'll take the upstairs.

The group disperses. The CAMERA STAYS with Chris. She heads

up the spiral staircase to the second-floor landing.

INT. SECOND FLOOR HALLWAY

She looks both ways down the corridor and sees Shelly's

closed bedroom door at the end of the hall. She approaches,

tries the knob and pushes. The door is stuck. She kicks it

open with her foot. The door slams against the wall of the

room.

CHRIS

(before going in)

Shelly...?

The room is in order. Chris takes a few hesitant steps

inside, looking all around. There's no trace of him.

There are two closets in the room. Chris reaches out for the

nearest one and pulls open the door.

MUSICAL STINGER...

SHELLY

An axe imbedded in his head, and bleeding profusely, falls

forward into Chris' arms. She SHRIEKS as Shelly's lifeless

body slides down her arm and slumps to the floor. Chris

recoils, SCREAMING in horror.

DEREK AND VERA

burst into the room.

CHRIS

(sobbing)

He's dead... he's dead...

VERA

Oh, my God!

DEREK

(grabbing Chris and

turning her away)

Don't look! Let's just get the

hell out of here.

Andy and Debbie, followed by Chili and Chuck, rush into the

room. They react accordingly, except Andy. He is curiously

unaffected by the gruesome sight. He bends down over Shelly.

DEBBIE

Don't touch him!

Undaunted, Andy places his hand on Shelly's stomach... and

tickles him. Shelly springs to life, giggling uncontrollably.

The others gasp incredulously.

ANDY

Get up, you creep.

Shelly looks up at the angry mob.

SHELLY

(a little worried)

I guess I fooled you, huh?

CHRIS

(enraged)

Why you little bastard! I'll kill

you!

Chris jumps Shelly and pummels him with punches. The fake

axe falls from his head as Shelly fends off Chris. Derek

grabs her and pulls her off.

DEREK

Leave him alone. He doesn't know

any better.

SHELLY

It was a joke... just a joke... I

didn't mean to...

ANDY

(interrupting)

You never mean to.

Vera glares disdainfully at Shelly. She finds him pitiful.

VERA

I gotta get out of here. I'll go

get some more booze.

DEREK

(throwing her his

keys)

Here, take my VW.

CUT TO:

EXT. COTTAGE / BARN - DAY

The barn doors are wide open.

The SOUND of an ENGINE CHOKING and SPUTTERING to life. A

rusted-out, old Volkswagen Beetle CHUGS out of the barn.

Vera is driving.

Cleaned all of his makeup and blood, Shelly races out of the

house and runs alongside the VW, peering in at Vera.

SHELLY

Let me go with you! I gotta get

away from here, too.

Without a word, Vera zooms off, abandoning Shelly. But when

she reaches the bridge, she brakes and opens the passenger

door. Elated, Shelly bolts to the car and jumps in.

The VW takes off...

CUT TO:

INT. PACKAGE STORE - DAY

A CASHIER rings up the total as a CO-WORKER bags several six-

packs of beer, bottles of cheap champagne and assorted

munchies. Vera stands at the cash register, searching her

pockets for money.

CASHIER

That'll be $23.50... and we don't

accept no food stamps.

Vera sneers at the woman and looks down the aisles for

Shelly. She finds him leafing through a magazine rack.

VERA

Shelly... I need some money.

Throw me your wallet.

Shelly digs into his pocket, comes up with the wallet and

tosses it over to Vera.

She reaches up to catch it, but it hits the side of her hand

and drops to the floor.

Vera bends down to pick it up, but someone beats her to it.

A black hand with rings on each finger scoops the wallet up

first.

FOX... a Black woman outfitted in skin-tight black leather...

holds the wallet. Vera and she have an immediate and mutual

dislike for each other.

Flanking Fox, on either side, is ALI... a strapping Black man

with a full set of gold teeth... and LOCO... sporting a

bandana, gold earrings and leather jacket.

There are the three motorcyclists that our group had the run

in with on the road earlier.

As Fox and Vera stare at each other, Shelly comes up behind

Vera.

SHELLY

Is... is everything all right?

VERA

(looking at Fox)

Everything's gonna be fine.

SHELLY

(spying Fox with his

wallet)

Excuse me, but I believe that's

mine...

Ali and Loco leer at Shelly and surround him. They lift him

off the ground, each grabbing an arm.

ALI

(to Loco)

Make a wish.

SHELLY

(frightened)

Uh... could I buy you two a beet

or something?

Fox leafs through the wallet. Vera holds out her hand.

VERA

I'll take that, now.

Fox continues rummaging through the wallet. She pulls out a

prophylactic packet.

FOX

(reading off the foil

cover)

"A True Trojan... thin as a

shadow, strong as a horse."

Ali and Loco laugh and drop Shelly to the ground. He quickly

regains his feet.

VERA

(grabbing the packet

from Fox)

That's mine.

She grabs for the wallet. Fox is quick to react, pulling it

away from Vera's reach.

FOX

Didn't your mama teach you

manners? If you want somethin',

you ask nice!

Vera's jaw tightens with restraint.

SHELLY

(to Vera)

Please... be cool.

VERA

(to Fox, teeth

clenched)

May be please have the wallet.

FOX

You mean, "May we please have the

wallet... ma'am."

VERA

(holding back with

difficulty)

May we please have the wallet...

(pauses)

.... ma'am.

FOX

That's good. That's real nice.

She tosses the wallet to Vera. Ali, Loco, and Fox share a

good laugh.

Vera and Shelly pay for the booze, grab their packages and

exit the store.

The three cyclists follow after them.

CUT TO:

EXT. PACKAGE STORE - DAY

CAMERA TRACKS with Vera and Shelly as they head for the car.

In the background, Ali, Fox and Loco come out of the store.

SHELLY

Are they following us?

VERA

(looking back over

her shoulder)

Yes.

SHELLY

Gulp!

Vera and Shelly quickly stuff the back seat of the VW with

their packages. The fact that three motorcycles are parked

directly behind their car is not lost on Vera.

Shelly is already in the car when Vera jumps into the

driver's seat and starts the ignition. Side by side, Ali,

Fox and Loco strut deliberately towards the VW.

Vera throws the car into gear and hits the gas pedal. The

car lurches in reverse...

We HEAR the sound of metal crashing.

VERA

has deliberately back up into one of the cycles, starting a

chain reaction. The first one collides with a second. The

second collides with a third. The three motorcycles lie in

a heap.

SHELLY

(looking out the back

window)

Aw, shit!

Enraged, Alice, Fox and Loco race towards the VW and their

injured motorcycles.

ALI

Get 'em.

Vera quickly shifts gears. The car CHUGS forward and takes

off.

CAMERA PANS with the car as it rips past the onrushing gang,

knocking them aside, and zooms out of the parking lot.

CUT TO:

EXT. COUNTRY HIGHWAY - DAY

The Volkswagen Beetle rattles as it speeds past CAMERA.

CUT TO:

INT. VOLKSWAGEN - DAY

Shelly stretches his neck and looks out the back window.

VERA

See anything?

SHELLY

Just a dirty window.

(settles down in his

seat)

Next time, I'll know how to handle

a situation like that. Let's just

hope that "next time" isn't too

soon.

VERA

Stop worrying. I don't think

they'll bother to come after us.

The RUMBLING of motorcycles can be heard in the distance.

They both hear it. Shelly looks at Vera apprehensively.

VERA

(continuing)

So, I was wrong.

Shelly turns to look out the back window.

SHELLY

I don't see anything.

VERA

Keep looking.

The ROAR of motorcycles grows LOUDER as Vera floors the

accelerator.

CUT TO:

EXT. HALLWAY - DAY

Standing just off the road, Abel, the old doom-sayer that the

group picked up earlier, has his thumb out for a ride.

As the VW flies by him without stopping, Abel looks after it

with eyes that seem to know something is about to happen.

CUT TO:

INT. VW - DAY

VERA

(looking in her

rearview mirror at

Abel)

Not this time, old man.

The SOUND of approaching motorcycles grows LOUDER... closer.

SHELLY

(looking everywhere)

Where the hell are they? I don't

see them anywhere!

CLOSE UP - VERA

looking out the front window.

VERA

Holy shit!!!

VERA'S POV

Swooping over a hill, in unison, three motorcycles head

straight for them at top speed. It's Ali, Fox and Loco in

black helmets.

VERA AND SHELLY

mouths open, eyes wide with disbelief.

EXT. VOLKSWAGEN

Vera slams on the brakes. The car skids to a stop. At the

last possible moment, Fox steers her cycle deftly to the

right of the VW. Loco steers left. And, Ali jumps the car,

flying over the top.

As Ali lands on the highway, the three skid into a U-turn.

VERA AND SHELLY

open their eyes and look behind them. Shelly braces himself

as Vera guns the motor.

EXT. CAR

The car takes off. The motorcycles are in pursuit.

Ali easily catches up with the car and pulls up alongside the

driver's window. Loco creeps up on the passenger's side.

Fox moves in behind the vehicle.

ALI

smiles at Vera. The sun glints off his gold teeth.

VERA

smiles back.

ALI

whips out a heavy metal chain and smashes it through the

windshield, right at CAMERA. The windshield shatters.

The car swerves out of control to the right, knocking into

Loco, sending him and his cycle flying off the road.

As Vera regains control of the VW, Ali drops back next to Fox

behind the car.

Ali hands Fox the chain and signals for her to move up the

passenger side.

INT. VW

Shelly watches as Fox moves up alongside.

VERA

Got any good ideas?

SHELLY

Maybe.

He reaches into the back seat and pulls out a bottle of

champagne.

VERA

This is no time to celebrate!

SHELLY

Just keep your eyes on the road.

Waving the chain menacingly, Fox pulls up alongside Shelly's

window.

Quickly, Shelly unravels the seal and shakes up the champagne

bottle.

VERA

What're you doing?

SHELLY

No time to explain. Just listen.

When I yell "stop," you jam on the

brakes as hard as you can. Okay?

VERA

(pleased with

Shelly's initiative)

You're the boss.

FOX

hauls back with the chain and rams it through Shelly's

window, barely missing her mark.

SHELLY

shakes the bottle as he pries up the plastic cork.

FOX

rears back with the chain and readies herself to strike a

second time.

Shelly aims the champagne bottle out the window. With a

final flick of his thumb the cork flies out and strikes Fox

in the face -- a direct hit!

Fox reaches for her face and falls backwards off her cycle.

VERA

Bullseye!

SHELLY

(shouting)

Stop the car! Now!!

Vera jams on the brakes.

EXT. VW

The car comes to a screeching halt.

ANGLE ON ALI

shocked! Unable to stop in time or swerve out of the way,

his cycle runs right up the back of the car and flips over on

top of him.

The VW shifts into first gear and proceeds unimpeded. Left

in its wake are three motorcyclists sprawled out on the

highway.

INT. VW

VERA

This has been on helluva beginning

to a quiet weekend in the country.

SHELLY

Look at it this way... things can

only get better... Right?

CUT TO:

EXT. COTTAGE / BARN - DAY

The sun casts an orange glow over the landscape as it slowly

sinks in the West.

Andy is at one end of the porch working out -- strenuous

calisthenics. Chili and Chuck sit together on the porch

swing, opposite Andy, sharing a joint. They watch Andy's awe-

inspiring performance as they rock back and forth.

CHUCK

Maybe we should do some exercise.

CHILI

This is all the exercise I need...

She raises the joint to her mouth and tokes on it.

In the background, Debbie comes jogging out of the woods,

over to the small bridge and towards the house. Behind her,

the war-torn Volkswagen Beetle winds its way down the dirt

road. Debbie turns and jogs backwards as the car approaches.

Chili, Chuck and Andy see the car coming. The damage is

evident even from a distance. They run from the porch as the

VW passes Debbie and comes to a halt just in front of the

barn.

Chili, Chuck, Andy and Debbie surround the car. Chuck puts

his hand through the frame of the windshield and touches

Vera's face.

CHUCK

Where's your windshield, man?

DEBBIE

What happened to you guys? Are

you all right?

ANDY

The question is... is the beer all

right?

Shelly and Vera grab the bags and get out of the car. They

hand the packages to Chili and Chuck.

VERA

We had a slight misunderstanding

with that motorcycle gang...

(she puts her arm

around Shelly)

... but Shelly made them see the

error of their ways.

SHELLY

(heroically)

It was nothing.

Together, Shelly and Vera head for the house. Andy and

Debbie linger by the car.

BARN

Through the musty darkness, a HULKING HAND reaches out and

stealthily pushes open the creaky barn door. It's Jason. He

peeks through the crack and watches the group.

DEREK AND CHRIS

come running out of the house. Derek is dumbfounded at the

sight of his abused and battered car.

DEREK

My beautiful car! What'd you do

to it?!

Vera and Shelly pass him on their way to the porch.

VERA

(hanging Derek the

keys)

We're really sorry, but it wasn't

our fault.

SHELLY

A few minor repairs and it'll be

as good as new.

Derek runs up to his car. Chris follows. Shelly and Vera go

inside the house. Chili and Chuck follow behind, carrying

the packages in.

The barn door slowly closes, unseen by anyone.

DEREK

examines the injuries sustained by his car.

DEREK

This is too painful to look at.

CHRIS

Why don't we drive over to the

cove and watch the sunset. It'll

mellow you out.

Derek considers it for a moment.

DEREK

Might be nice to get away from

these crazy friends of yours.

They jump into the car. The CAMERA PANS with the VW as it

drives off, revealing Andy and Debbie leaning against a tree,

kissing.

DEBBIE

Why don't we go take a swim?

ANDY

I don't know...

DEBBIE

(seductively)

We'd be all alone. We could do

anything we wanted and nobody

would see.

ANDY

Sounds disgusting. Let's go.

He grabs Debbie by the hand and runs with her towards the

lake. As they run past the van, Debbie breaks away from Andy.

DEBBIE

You go ahead. I'm gonna get a

blanket.

Andy continues to the lake, walking on his hands when he

reaches the dock.

VAN

Debbie slides open the side door and crawls inside.

OMINOUS MUSIC invades the SOUNDTRACK...

A pair of DARK BOOTED FEET approach furtively.

Debbie's rear end is practically sticking out as the boots

sneak around the back of the van and edge their way towards

her.

Abruptly, Debbie backs down out of the vehicle, blanket in

hand, and scampers away without seeing the prowler.

PROWLER

CAMERA TILTS UP from the boots to reveal... Ali, the Black

motorcyclist. He's carrying an empty gas can and a siphon.

His eyes scan the area. There's no one on sight -- Debbie is

already down by the lake.

He signals with his hands and out from the bushes come Loco

and Fox. They scurry over to the van and duck down next to

Ali who is unscrewing the van's gas cap.

FOX

Maybe we shouldn't do this, Ali.

LOCO

We gotta even the score, don't we?

ALI

(to Fox)

Nobody's gonna get hurt, baby.

Ali sticks the siphon down into the fuel tank and lays the

gas can on the ground below it. Loco tries to grab the

siphon from Ali.

LOCO

(over anxious)

Let me do it.

ALI

(authoritative)

I know what I'm doing.

Fox's attention is drawn to the barn as her cohorts continue

with the task at hand.

BARN

Fox cautiously pulls open one of the two doors. It CREAKS

loudly. She stops and looks around to see if anyone has

heard -- the coast is clear. She slips into the barn and

pulls the door closed behind her.

CUT TO:

INT. BARN - DUSK

Spears of fading sunlight, thick with dust, cut across the

musty interior.

Fox scans the premises. Her face lights up with the smile of

a child in a toy store trying to decide which area to explore

first.

This is your typical barn with a variety of heavy duty tools,

some rusting; saw horses; wooden benches and ladders; a horse

stall; haybins, haystacks and a second floor hayloft; and,

several storage rooms.

With the fascination of a street kid who has probably never

seen the inside of a barn, Fox wanders through the rustic

interior. In her high-heeled boots, she has trouble

maneuvering around on the muddy, hay covered floor.

As she approaches the toolshed, one of her heels sticks deep

into a sticky patch of mud and she falls forward off-balance.

To stop her fall, Fox reaches out for the toolshed handle.

She grabs it but the rotting old door tears off its hinges

and she topples to the ground -- her face landing inches away

from a pitchfork's prongs aiming upwards at her.

Her eyes focus on the sharp teeth of the pitchfork. Alarmed

by the close call, Fox tosses the implement away, gets up and

dusts herself off.

Looking skyward to the loft area, Fox moves over to its

ladder and starts up. The ladder quivers as she ascends,

apparently dislodging a bale of hay at the top and sending it

crashing towards her. (Or, was it Jason?) Fox swings her

body out of the way just in time. The bale whizzes by her

and hits the barn floor with a THUD.

She continues up the ladder and disappears through the loft

flooring.

CUT TO:

EXT. BARN - DUSK

Ali and Loco have just completed filling up one gas can and

are starting to fill the second one. Ali sticks the siphon

in his mouth and draws on it. The gas begins to flow as Loco

shoves the container into place to catch all the fluid.

The SOUND of Fox wailing like a wounded animal...

Ali and Loco spin around and look up.

POV OF BARN

Fox comes swinging out, Tarzan-like, from the hayloft on the

rope attached to the block and tackle. She's having a hell

of a good time.

FOX

(shouting)

Whoaaa....!

ALI AND LOCO

watch her incredulously.

ALI

(shouting in a loud

whisper)

Quiet, woman! Get off that thing!

FOX

disappears from view through the square opening in the loft.

A second later, she reappears, swinging out on the rope again.

FOX

But it feels so goooooood...!

She swings back and disappears from view once more.

ALI

is not pleased.

ALI

You're getting me pissed-off, Fox.

We got work to do.

BARN

This time the rope swings out from the loft... without Fox

attached. There's a dead silence. The rope dangles.

ALI

(to Loco)

Go get her out of there.

Loco hunches over, keeping his body low to the ground as he

high-tails it to the barn and zips inside.

CUT TO:

INT. BARN - DUSK

Loco advances deeper into the barn, his eyes looking

everywhere.

It's getting darker, minute by minute.

LOCO

(agitated)

Fox... where are ya!?

No response.

LOCO

(continuing)

Stop foolin' around. You're

screwin' up everything.

Still no response.

LOCO

(continuing)

Shit!

He hears the SOUND of banging against the wall of the loft

above him. He starts up the ladder.

LOCO

(continuing)

You've had it now, woman! I'm mad!

LOFT

Loco comes through the opening and steps onto the floorboard.

The deep shadows hide the corners of the loft and Loco has to

squint his eyes to see.

Right behind him, he hears the SOUND of the banging again. He

whips around...

MUSICAL STINGER...

In front of him, Fox's body, raised off the ground and

impaled with a pitchfork through her and into the wall.

Her eyes are open wide with a deathly stare while her feet

kick against the wall with final spasms of life. Blood flows

from the penetrations in her torso.

The horrific sight is even too much for Loco. He gags and

grasps his mouth with his hand, choking back a scream.

He turns to run...

Another MUSICAL STINGER!

Loco's face registers shock and horror as he runs smack into

the teeth of an onrushing pitchfork being thrust at him.

He cringes and gurgles up blood as the prongs are jammed

through his stomach and out his back.

He staggers, the pitchfork handle sticking straight out of

his gut.

CUT TO:

EXT. BARN - DUSK

Carrying the two jugs of gasoline, one in each hand, Ali is

just outside the barn doors. To gain entrance, he kicks on

the doors and looks around to see if anyone has heard him.

He waits for one of the two to let him in.

POV OF LAKE

Andy and Debbie frolic by the waterfall, oblivious to the

murderous goings-on.

ALI

still waiting to be let in. He kicks on the door again.

ALI

(loud whisper)

Loco... Fox... Open this damn door.

Frustrated by the lack of response from inside, Ali puts one

can down and pries open the door for himself. He fumbles his

way inside.

CUT TO:

INT. BARN - DUSK

Ali closes the door behind him and immediately hears

FOOTSTEPS CLOMPING around above him in the hayloft.

ALI

What the hell are you two doin' up

there?

He rages over to the ladder and looks up. His eyes widen and

mouth drops open. Directly above him, Loco, the pitchfork

still protruding from his stomach, falls through the opening

in the loft floor, right at Ali.

The two crash to the barn floor, together. Ali throws Loco's

body off of him and struggles to his feet. He backs away,

fixated on Loco's engorged corpse and cries out for Fox -- a

deep, moanful bellow.

The CAMERA DOLLIES quickly into a CLOSE SHOT on his face.

His eyes focus directly in front of him as he SCREAMS right

into CAMERA. It's Jason!

ALI

(trembling)

Noooo!

Ali turns and makes a mad dash for the door. In his panic,

he trips over one of the gas cans. Frantically, he crawls on

his hands and knees to the door.

He reaches to pull himself up by the door and a large monkey

wrench comes smashing down on the side of his face, bashing

in his skill. He slumps to the floor.

In the distance, Andy and Debbie's voices can be heard

approaching.

From behind Jason, the CAMERA MOVES with him to a side window

and peers out.

Through the window, we SEE Andy and Debbie, wrapped in the

blanket, coming up from the lake. They're wet and dripping.

Andy pulls Debbie along with him, towards the barn.

DEBBIE

What're you doing?

ANDY

We haven't looked in the barn,

yet. Let's take a look.

DEBBIE

(stopping)

Not now. I'm cold.

Andy moves right up to the grimy window. Shading his eyes,

he peeks inside. He seems to be looking right at Jason (and

CAMERA), but he apparently doesn't see him.

ANDY

(to Debbie)

How about a roll in the hay?

DEBBIE

You can play with yourself, 'cause

I'm going in the house.

She turns back towards the house. Andy lingers for a moment

then catches up with Debbie.

CUT TO:

INT. LIVING ROOM / HOUSE - NIGHT

The front door swings open, Debbie and Andy take one step

in... and duck!

ANDY AND DEBBIE'S POV

A couple of little, red rubberballs spring straight at them

(and CAMERA), retract quickly and pulsate at them again.

It's SHELLY, a paddleball in each hand.

DEBBIE

Cut it out!

SHELLY

Can't stop now.