SLASH Written by Stephen Francis & Gus Silber

OVER A BLACK SCREEN: We hear the tinkling of an old-fashioned MUSIC BOX. Its playing the familiar childhood melody of "OLD MACDONALD HAD A FARM". A small childs voice sings with the tune. Theres something a little eerie and dissonant about it. In the background, we hear the sound of FARM ANIMALS...a COW mooing, a HORSE neighing, and so on. FADE IN: INT. OLD BARN - NIGHT Its night. Many yesterdays ago. when Were not sure exactly

- but we can tell were in the past. A LITTLE BOY, six years old, is sitting next to some bales of hay. An old-fashioned OIL-BURNING LANTERN is next to him, casting flickering shadows on the walls. And now we see where the tune is coming from: The boy staring into a rustic, hand-carved music box. The boy HEARS something. Turning off the music, he scuttles behind some bales of hay to hide. THE BARN DOOR creaks slowly open. Someone --we cant see who -- enters...wearing LARGE BLACK BOOTS. Hes pushing a big container on wheels. Somethings inside the container -- we cant see what... because its covered by a ratty old TARP. Its pushed closer...its wheels SQUEAKING. HOLD on the BOY. In his hiding place. Worried. Very worried.

The CONTAINER stops -- right in front of the bales of hay. Inches from the BOYs face. And then--BLACK BOOTS throws back the tarp... revealing a tangled, intriguing CONTRAPTION of pipes and valves and funnels. The BOY

2. -- peers through the bales of hay, not sure what the mans doing. But whatever it is....its horrific. Something

red..and sticky gushes through the valves and pipes..going into the funnel, sticking into the plastic sac. The boy pulls back in fright --snapping a piece off the music box...causing it to PLAY again. The boy is terrified.

BLACK BOOTS ....turns toward the source of the music. A look of sheer horror in the boys eyes. The boys trembling hands scramble to cover the music box. To stop it. To quiet it somehow. BLACK BOOTS ---advances. Closer, closer -- The boy tries to crawl away -deserting the music box still playing. A gloved HAND reaches out, grabbing his ankle. The boy struggles. A LANTERN falls, immediately setting fire to the surrounding straw. A horrible scream of rage -- as the black boots catch fire. The man writhes. Screaming. The fire spreads everywhere. The boy, terrified, tries to scramble out through a loose plank in the barn wall... The fire rages on. The screaming continues. SMASH CUT TO: BEGIN TITLES EXT. - FARMLAND ROAD -(PRESENT DAY)- NIGHT TITLE: 16 YEARS LATER Its dark, deserted, lonely. overhead. And then -The approaching HEADLIGHTS of a soft-top convertible, whipping up dust as it zooms along. Loud ROCK MUSIC blaring The harvest moon is shining A human fireball.

3. from within. INT - CAR - CONTINUOUS CLOSE ON: A MASK similar to the one used in "SCREAM". Its on the face of the DRIVER of the car. Hes also wearing a BLACK HOOD and CAPE. He turns to look at the PRETTY YOUNG WOMAN in the passenger seat. Shes KAREN, about 18, fresh out of high school. Shes wearing a skimpy BIKINI with a leopard-skin pattern, a necklace of ANIMAL CLAWS, and not much else. She rubs her goose-pimply arms -KAREN Jeez, close that window, Ray! Im freezing in here. --And take off that stupid mask. He whips off his mask, and tucks it underneath his cape. Meet RAY, about 20, athletic, a bit of a prankster. He leers at Karen -RAY I cant help it, babe. You bring out the monster in me. Ray puts a hand on her exposed thigh. Karen removes it.

KAREN Not while youre driving. Karen pops open a beer. RAY Throw me one. KAREN Not while youre driving. As Karen chugs her beer, Ray cant help glancing at her cleavage. KAREN (CONTD) --And keep your eyes on the road. RAY Im admiring your costume. What "movie" are you going as again?

4. KAREN Sheena, Queen of the Jungle. Off Rays blank stare -RAY Never heard of it. KAREN Im not surprised. Its got a body count of zero. And no one goes around in a stupid mask, hacking innocent people to death. RAY (re: the mask) You dont like my costume? Cool. Ill go with plan B. Which one you like better? With one hand on the wheel, Ray holds up two other masks -The white SHAPE face from the "Halloween" series...and a HOCKEY MASK from "Friday the 13th". Karen rolls her eyes. RAY (CONTD) Hey...wanna see something really scary? Ray reaches down under the seat, taking his eyes off the road. Before he can get any further, KARENS eyes widen in terror-KAREN Watch out!!! As she GRABS the steering wheel -EXT - FARMLAND ROAD - NIGHT A COW, standing dumbly in the middle of the road. The car swerves wildly, knocking over a signpost -EXT - ROAD (CORNFIELD) - CONTINUOUS ---as it careens off to the side of the road. WINDSHEILD POV: Rows and rows of CORN smashing against the glass. Finally, the car comes to rest in the middle of the FIELD. Clouds of dust reflected in the headlight beams. The HORN

5. blares. INT/EXT - CAR Ray turns to check Karen--shes unconscious, head back on the seat. RAY Karen...? Oh, geez! Karen....? He quickly feels her pulse. her Then he puts his hand over

heart, trying to find a heartbeat. He pauses for a moment. He cant help himself -- his hand moves slo-o-o-o-wly upwards, towards her breasts. Suddenly, KARENs eyes pop open -- and she grabs his hand and pushes it away. Shes been playing possum. KAREN Is that all you ever think of? Suppose I was really hurt! RAY Dammit, Karen--- I was just...looking for your pulse. KAREN --By way of my breasts? She huffs. RAY Sit tight. EXT - CORNFIELD - MOMENTS LATER ON THE CAR HOOD ---being opened by RAY. and the engines hot. RAY (burns himself) Ow! KAREN Whats wrong? RAY Nothing. Ill have us back on the road in no time. Theres a little steam coming out

6. RAY looks down and sees the smashed wooden SIGN, stuck in the RADIATOR GRILLE. He eases it out -The sign reads..."No trespassing -- J. Macdonald." RAY (CONTD) (realizes) Hey -- Macdonalds farm! KAREN Ray---Id like to get to the club sometime before dawn. Karen holds a "flyer" for a music club. RAY Be right back. Gotta irrigate the corn. We STAY WITH RAY-as he walks deeper into -EXT. - CORN FIELD - CONTINUOUS Lit by the moon and shafts of the car headlights, its eerie, quiet...scary. RAY (singing to himself) --Old Macdonald had a farm, e-i-e-io...and on that farm, he ---almost ran over a cow ---e-i, e-i, ohhhhh-Looking for a place to pee, Ray turns a corner surrounded by a wall of corn. He unzips his fly, and swaying, relieves himself in a wide arc. For the first time, he casually turns to his left to see-A SCARY FIGURE silhouetted against the moonlight, standing next to him-RAY (startled) --Jesus!!! --But its only a harmless SCARECROW, arms outstretched on a pole. Ray suddenly looks down, realizes hes pissing on himself and his cape.

7. RAY (CONTD) Dammit!!! INT. - CAR KAREN is still sitting in the car, bopping to music on the CD player. She preens herself, tuck her breasts into her leopard costume, awaiting Rays return. EXT - CORN FIELD - NIGHT RAY appraises the SCARECROW --tentatively pokes him. made of straw. RAY Fuckin scarecrow. He takes a piece of straw, puts it in his mouth. He turns around, going back to the car, moving past the corn field. Suddenly, RAY halts -- something pulls him backwards! We HEAR a ripping sound. Ray slowly turns around to see -HIS CAPE -- caught on a piece of WIRE. it off. He shudders, pulls Its

Ray takes another step forward. --Did he just hear something in the cornfield with him -- or was it his imagination? INT - CAR KARENs a little anxious. Ray should have been back by now. She leans out the window, trying to look past the open car HOOD. KAREN (calls out) How many beers did you have, Ray?! Beat. No answer. KAREN (CONTD) (calls out) Raymond..?!! No answer. Karen turns the music off. She peers out the

window, the open hood obscuring her view. Still no sign of Ray. FLAP FLAP FLAP -- several nightjar BIRDS flutter out of the

8. cornfield, unsettling her. KAREN (CONTD) .........Ray?? Still no sign of Ray. Somethings not right. Karens starting to get very worried. And then--

A FIGURE wearing the cape and Scream Mask POPS UP next to her - scaring the shit out of her. Karen freaks. Geez! KAREN (CONTD) ---That wasnt funny!

The MASKED FIGURE with the cape just stands outside the car, looking at her. KAREN (CONTD) Okay, Ray. Im freezing. Get in the car. The MASKED FIGURE stands there, unmoving, by her open window. Just staring. A feeling of unease washes over Karen. Maybe this figure.......isnt Ray at all. KAREN (CONTD) ..Ray...? And then, the MASKED FIGURE raises his arm -- and we see a shiny, long-bladed KNIFE clenched in his fist. The FIGURE brings the BLADE down, PLUNGING it through the open window--and into Karens chest! Karen SCREAMS. blood on her bare skin. She looks down at the blade. Beat. KAREN (CONTD) That hurt!!! And the

--Owwww!

The Masked Figure "pulls out" the retractable KNIFE blade, and takes off his mask. It is indeed...Ray. Always the joker. He squeezes the knife handle by way of demonstration...a little fake "blood" comes out of the blade. RAY Fake blood. Cool, huh? Karen is like, totally unamused. glaring. She wipes herself off,

9. RAY (CONTD) Oh come on, Karen! RAY starts stabbing himself in the chest to demonstrate-RAY (CONTD) Its a retractable blade! You couldnt cut yourself if you wanted to! Look! ---Suddenly another blade protrudes from Rays chest. A REAL one. A long-handled farm SCYTHE has swung around -hitting him in the back, the cold blade RIPPING through him. A thin stream of blood drips from his surprised lips. This definitely aint a trick. Karen SCREAMS. we And screams some more. In the darkness,

cant see whos wielding the scythe. out, Ray slumps to the ground, dead. ON TWO BOOTS --the killers boots.

The BLADE is pulled

Black farm boots. The blade of the

SCYTHE dangles down next to them. The boots begin walking around to the other side of the car. IN THE CAR KAREN freaks, realizing shes next. car doors. Silence. The KILLER seems to have vanished. half-open! Karen reaches out for the electric window button. pushes it. The window closes.....closes...closes..... WHOOSH! The blade of the SCYTHE swings in at the last She But her WINDOWS still She quickly LOCKS the

second, getting caught between the glass and the frame, inches from Karens face. As the unseen KILLER pulls out the scythe and the window automatically closes---KAREN sees her chance--

10. She CLIMBS into the drivers seat, hitting the RADIO -the MUSIC comes back on, LOUD. Karen turns the ignition key. The ENGINE turns over immediately. She just might escape-ON THE TIRES They SPIN in the ditch trying to get traction. And then---the FRONT TIRES grab the dirt! to free the car, when---WHOOSH! Karens about

The BLADE of the scythe plunges into the rubber,

deflating the front tire with a rush of air. KARENs POV - THROUGH THE WINDSHIELD Obscured by the raised hood, she sees THE SCYTHE being raised up -- and coming down -- straight into the engine. Theres some SPARKS-- and a SNAP OF WIRES being severed. And the engine dies. Ditto the music.

Silence, except for Karens hyperventilation. And then------a final realization comes over Karen. She ...looks up. Remembering....shes in a convertible -and the top is made of CANVAS. And then---The SCYTHE .....sweeps down in a deadly arc, tearing through the TOP of the car, almost slicing her ear off. A GASH opens on her bare arm. Karen SCREAMS. She KICKS open the CAR DOOR---and stumbles into-EXT - CORN FIELD - NIGHT KAREN runs ...for her life. And runs some more. And someone--or somethings-- following her. EXT - EDGE OF CORNFIELD - NIGHT Out of breath, Karen sees a light up ahead. AN OLD FARMHOUSE. People. A telephone. Safety.

EXT - FARM HOUSE - NIGHT She frantically bangs on the door, trying to force it open--

11. KAREN (hysterical) Please! I need...help! No answer. No ones home.

Hurt and bleeding, Karen turns to her right -- and sees -An Old BARN. A place to hide.

EXT - BARN - NIGHT With as much stealth as she can, Karen pushes open the old, creaky barn door. She leaves a BLOODY HANDPRINT on the door-INT - BARN - NIGHT Its deathly quiet. Moonlight shining on bales of hay, glinting on farm implements. Silence. Then -- from outside, a cow MOOS -Then a loud CHUFFING sound. A HORSE.

And then -- a few CHICKENS begin to CLUCK. KAREN Shhh...SHHHH -The animals seems to be jittery, nervous. The HORSE whinnies loudly. The COW moos again. KAREN puts her hands to her ears, trying to block out the unholy chorus -She backs away -A FIGURE is behind her. She backs into it and swings around to see-A SCARECROW. eyes. Burlap skin, jagged, stitched mouth. Cold

Cold, and... alive. SCARECROWS POV: looking through the burlap at Karen.

The SCARECROW raises a gleaming SCYTHE high in the air. It swings down --

12. Karen screams. For the very last time. CUT TO: A GUY SCREAMING ---into a microphone. We PULL BACK, revealing were at a--

INT - MUSIC CLUB - NIGHT The kind of smoky dive. Some of the audience members are wearing Halloween masks and/or costumes. On stage, several beats away from the big time, a hungry, hard-working rock band. Ladies and gentlemen, meet Dead Quiet: On guitar and lead vocals...JOSEPH "MAC" MACDONALD, 24. Charismatic, driven. With a dark side. The leader. On bass guitar...SUZIE, 24. Hot, punky. primed to detonate at any moment.. On keyboards...KEITH, 25. A sex-bomb,

Black, street-wise. Attitude. Party animal.

On drums & percussion...IAN, 30.

At the moment, Mac is singing his heart out, sharing the mike with SUZIE, drawing on her sexual energy. Meanwhile, Keith keeps glancing over at the side of the STAGE, as if waiting for someone to appear. Looks as if theres a band member missing. Keith shouts over to Mac. KEITH Where is he? Mac steps back and shouts over the music to CARL (20), the bands all-round gopher and roadie-Carl! MAC Wheres Rod?

Carl doesnt hear. Hes too busy gazing at the flip-screen monitor of a small HAND-HELD DIGITAL VIDEO CAMERA. Hes close up on Suzie. Mac, shouting, his voice just about drowned out by the music MAC (CONTD) Carl! Carl snaps to attention. Sees the empty mike stand.

13. As the band continues playing, we FOLLOW CARL, still armed with his CAMCORDER, into -INT - BACKSTAGE HALLWAY Carl stops in front of a closed DOOR. tentatively. CARL Uh....Hello? VOICE FROM INSIDE Fuck off! CARL instantly recognizes the voice. He hesitates, and then knocks again -Rod? CARL Youre missing your cue! MANS VOICE Im right on it! He knocks

No man! INT. BACKSTAGE ROOM

CLOSE ON ROD RYDER, 26, the bands cocksure, devil-may-care lead guitarist. Talented. And doesnt care who knows it. At the moment, hes slouching in a chair with his shirt unbuttoned. CANDY, a foxy babe with a passion for new age philosophy and musicians -- is sitting on his lap, her tongue down his throat. BACK TO: INT BACKSTAGE HALLWAY CARL can hear MOANING coming from inside. He grins. Stealthily, he stands on tiptoe and reaches out as high he can, aiming the camcorder through the clear pane of GLASS at the top of the door. He looks up at the angled flip-screen, hoping to catch a glimpse of the action. But all he sees is a flashing "BATTERY" icon on the screen. Then nothing. Damn! CARL Rod! CANDY Hes coming! CARL sighs, pointing the rapidly-dying camcorder at himself --

14. CARL Note to self: remember to recharge battery. INT - MUSIC CLUB - NIGHT The BAND continues to play, doing the best they can. An unimpressed audience member hurls a BEER-BOTTLE at the stage. It just misses Keiths head. Keith is furious, ready to explode. He gets up from his seat, fists clenched around his drumsticks. Mac gives him a look - "stay cool." He backs down. BACK TO: INT BACKSTAGE ROOM - NIGHT ROD and CANDY have finished. Candy has progressed from half undressed, to half-dressed. Rods in no real hurry to get on stage. He checks his hair in the mirror, and deftly buttons up his shirt. Then he looks around -ROD Wheres my axe? Candy straps his Fender Stratocaster guitar around his neck. She gazes adoringly at him -CANDY Kill em, baby. ROD Theyre as good as dead. INT MUSIC CLUB - MOMENTS LATER As Mac and the band head for the SONGS crescendo, ROD walks a tad unsteadily on stage. Perfect timing. He announces his presence with a blistering guitar break. The AUDIENCE perk up a little. Some cheers, some whistles. The band members glare at Rod.

15. INT - DRESSING ROOM - LATER Its after the set. The door bursts open -- the band are tired and sweaty. KEITH Motherfucking soundman! I couldnt hear myself sing! IAN (teasing) I could. You sucked. KEITH Hey. Fuck you. IAN Wheres Jack? Anybody seen Jack? CARL is there too, eye glued to his CAMCORDER, panning across the band-members. Suzie whips off her sweaty top. Carls eyes widen as he zooms in on her naked breasts. She catches sight of CARL, and hurls her top at him -SUZIE Pervert! Carl ducks. Suzie puts on a fresh top -SUZIE (CONTD) Jesus. What a bunch of useless zombies. KEITH Who? Us?! SUZIE (grinning) The audience! IAN (distracted) Jack! There you are, buddy! We see IAN grabbing a half-full bottle of liquor from a mess of items on a table. JACK DANIELS. He swigs. Keith holds out his hand for some. KEITH (enthusiastic) My man!

16. Ian finishes the whiskey, hands the empty bottle to Keith. KEITH (CONTD) (dryly) My man. ROD strides in. CANDY, his groupie, is hanging onto his arm. at him. Hey, guys. ROD Good gig. Suzie glares

SUZIE walks over to Rod face to face -SUZIE Yeah. Great work, Rod. But next time, it would be nice ....if you could JOIN US FOR THE ENTIRE SET! ROD I was getting warmed up. Rod smiles slyly at Candy. SUZIES had enough.

SUZIE Who do you think we are, dude? Your back up band??!! CANDY jumps in, defiantly to Suzie -CANDY Get off his case sweetie. SUZIE (to Candy) Whered you come from? Groupies R Us? CANDY Fuck you. Fuck me? SUZIE Fuck YOU!!

Rod grins, enjoying the attention, when--SKREEEEEEEEECH!!! --- The sound of GUITAR FEEDBACK, like nails on a blackboard. MAC, electric GUITAR in hand. The guitar is plugged into a small but powerful practice amp. attention. Hes certainly got their

17. MAC Time for a little.. "feedback" guys. That guy from Hectic Records -SUZIE Yeah? MAC --picked tonight to come by and watch our set. KEITH Shit! MAC Relax. He liked what he saw. Well, some of it. Enough to give us a showcase audition. One week from today. KEITH Yes! MAC Which means weve got ONE week to start acting like a professional band. ROD Hey. Anyone here need lessons, just talk to me. SUZIE Yeah, Ill teach you a lesson -Suzie grabs Rod by the shirt and crotch and shoves him against the wall. CANDY tries to grab SUZIE by the hair. SUZIE holds her away at arms length, whilst pinning ROD to the wall. Its an action Lara Croft would be proud of. SUZIES not a girl to mess with. Rods enjoying this. CARL begins shooting away on his camcorder. stop the ruckus. MAC OK. OK! CANDY is furious at RODS laid back attitude. CANDY Bitch. Mac tries to

18. ROD Its OK baby. And then----they all become aware of a new presence. A STRANGER is standing in the doorway. Unshaven, dressed in farm clothes and black boots. Out of place in the city. KEITH (aside; to Mac) ...Thats not.. the record guy, is it? Mac shakes his head "no", not taking his eyes off the stranger. Then-STRANGER Joseph Macdonald? Mac looks him in the eye-STRANGER (CONTD) Your aunt Ediths dead. Beat. A slight reaction from Mac. The stranger fumbles in his pocket, pulling out a letter. He offers it to Mac. STRANGER (CONTD) Its from your father. Mac hesitates. Then he takes the letter, glances at

it...then crumples it. The Stranger smiles slightly,almost as if he expected it. And then-STRANGER (CONTD) He also asked me..to give you this. The Stranger puts something else in Macs hand. Its a small HAND-CARVED WOODEN FIGURE of a Scarecrow... damaged at the base. Old...worn. Mac seems entranced by it.

STRANGER (CONTD) Funerals tomorrow afternoon. At the farm. As the Stranger smiles slightly, exits just as quickly as he appeared. Beat. Farm? KEITH ..What farm? CUT TO:

19. EXT - COUNTRY ROAD - DAY An old, beat-up SCHOOL BUS, with the name "Dead Quiet" emblazoned across it, traveling down a dusty road. Equipment and luggage fastened on top. Pinioned to the back of the

bus, a rough-and-ready-looking OFF-ROAD MOTORBIKE. INT - BUS - CONTINUOUS CARL is driving, looking a little lost as he veers his way over the rough and tumble country road. He holds the letter with directions to the farm Mac ripped up, now taped together. Mac is sitting alone. figure. ROD & CANDY, whos come along for the ride -- sit next to Keith and Ian. Candy has her eyes closed, meditating. Pensive. He holds the small wooden

Theyre playing some kind of "on the road" game -Okay. Gaye. Easy. Next. KEITH My main man. Marvin

IAN Gunshot. Patricide.

ROD Curt Cobain. IAN Shotgun. Suicide. Next?

KEITH Wait a second. Did you say "patricide?" IAN Yeah. Marvins old man gunned him down. KEITH Thats not patricide. Patricide is when you gun down your old man. IAN All right. "Fratricide". Minor technical detail.

20. KEITH Wrong. Fratricide is when you gun down your brother. Youre out. My turn. IAN Fine. Be that way. Morison. Jim

KEITH Died in the bathtub...if, in fact, hes really dead. Next. ROD Mama Cass. CANDY Whos Mama Cass? They all stare at her. ROD One of the Mamas from the Mamas and the Papas. Candy looks blank. KEITH Asphyxiation. Choked to death on a hamsandwich. Next. ROD (triumphant; makes quiz show buzzer sound) Buzzzzzzzzzz. Sorry, wrong answer! KEITH Chicken sandwich? ROD (loudly) Bzzzzzzzzzt! KEITH Fuck you! Who cares what sandwich the bitch was eating? Suzie looks at Mac, sitting a few rows behind them. turns to the others-SUZIE Hey. Could you be a little more insensitive? Were on our way to a funeral for Crissake. She

21. KEITH Yeah. Our own. I dont see why we got to go along for the ride. IAN Come on, dude. A day on a farm isnt going to kill you. MAC ...Heart attack. Everyone looks at him. MAC (CONTD) Mama Cass died of a heart attack. The ham sandwich is just an urban legend. CANDY (to Rod) Whos the Mamas and the Papas? EXT - FARM LAND ROAD- DAY The BUS cruises along, getting deeper into farmland territory. INT. BUS - DAY Suzie sits down next to Mac. SUZIE You never told us you grew up on a farm. MAC Nothing to tell. Suzie stares at him, not giving up. MAC (CONTD) ..My parents separated when I was just a kid. I chose my mother. My father chose the farm. Havent been back since. Ive maybe talked to him twice in twelve years. Off Suzies look-MAC (CONTD) My father and I dont exactly see eye to eye. SUZIE About what?

22. MAC Name something. SUZIE Then why go back now? MAC Still trying to figure it out myself. Beat. Mac glances down at the wooden figure in his hand.

ON IAN AND KEITH Ian accidentally steps on Keiths sneakers. IAN New "shoes," Keith? Keith proudly lifts up his feet, revealing a brand new pair ofKEITH Nike specials. Two hundred bucks. IAN Two hundred bucks?? Are you crazy? Keith meticulously begins wiping them off with newspaper-KEITH Hey. Never criticize a man till youve walked a mile in his shoes. Then you can criticize...cause youll be a mile away...and youll have his shoes. They laugh-KEITH (CONTD) Speaking of which--yo, CARL! Are we THERE yet?! CARL (driving; to himself) Like I know. Hey, Mac! Any of this look familiar?? MAC Try taking a left after the next cow pasture.

23. KEITH (mutters, to Ian) Yeah. That sounds good. "Hang a left at the first cow patty, then make a right when you see porky pig". Mac grins slightly, looks out the window, to see-EXT -SIDE OF THE ROAD An OLD WOMAN, standing at a rundown STALL, outside a modest FARM HOUSE. Some corn dolls, pumpkins, and dry husks of

maize are hanging up on display. Next to her stands a short farmhand, her brother. MAC catches her gaze. Theres something intense and very unsettling about the way her eyes lock on to his. CUT TO: EXT - FARM LAND - LATER WIDE on a large FIELD as the bus passes by. A BURNING stack of diseased crops. crackling, rising to the sky. The bus continues, past-A long shot of a SCARECROW, distant and alone in a field. And then -- the BUS rises over a small hill....revealing an old wooden sign weve seen before -- "No Trespassing - J. Macdonald". INT. BUS ON MAC. ...Hes finally come "home". EXT. FARM PROPERTY -DAY Getting closer, the BUS passes a scraggly menagerie of FARMYARD ANIMALS. Cows, horses, goats, chickens. Finally, it pulls up to a cluster of SHEDS and COOPS and farm BUILDINGS. Macs eye finally settles on -- THE OLD BARN Smoke and flames

24. Theres something strangely compelling about it...something that seems to strike a chord deep inside his memory. This is MACDONALDS FARM. Maybe this was a prosperous farm once. But once was a long time ago. The BUS pulls up and stops in the yard between the farmhouse and barn. The DOORS whoosh open-INT - BUS KEITH and IAN exchange a somewhat nervous glance as they gaze out the window. As the band get their things, moving to get off the bus, KEITH pulls down a duffle bag and draws out a pearl handed 38. SPECIAL. Suzie notices the gun. SUZIE You know what they say about men who need big guns... KEITH Hey. Some Klu Klux Klan homeboy gets in my face, he gonna have a few extra holes in his bedsheet. SUZIE (teasing) Down boy. KEITH Who you callin "boy?" Smirking, Keith moves down the aisle. As Suzie and Candy wait to exit the bus, they shoot daggers at each other. CANDY (low) Bitch. SUZIE (low) Slut. CANDY Witch. SUZIE Tramp. Rod grins, enjoying himself.

25. ROD After you....ladies. EXT. - BUS - DAY The band members file out of the bus. the dilapidated farm. Candy suddenly seems concerned -Rod. CANDY Check out my chakras. They glance around

Rod, puzzled, stares at her body. Candy fingers the crystals around her neck. CANDY (CONTD) Theyve gone darker. Bad vibes. Suzie, nearby rolls her eyes. CARL ...shoots the area with his CAMCORDER. CARL Note to self: Farming not a career option. Beat. Carl sneezes. The others look at him.

CARL (CONTD) ..Hay fever. IAN Man, you came to the wronnng place. MAC Be right back. Try to stay out of trouble. Mac moves off -- as Keith looks around. KEITH Yeah. Maybe I can pick a little cotton for da masta. SUZIE You got something against farm people, Keith?

26. KEITH Not at all. They lynched my ancestors, they smell like manure, they have sex with their relatives... and they all have two first names: "Bobby-Joe"-IAN (joining in, smiling) "Peggy-Sue"--KEITH ---"Billy-Jean"-Mac walks up to the barn. He seems strangely hesitant.

Slowly, he reaches out his hand. Then he freezes -As he notices a BLOODY HANDPRINT on the door. We recognize it as the handprint of the girl who was murdered last night. Just then, the BARN DOOR creaks open, revealing... THE STRANGER that everyone recognizes as the one who delivered the note backstage. Only now hes wearing a blood stained apron, black farm boots and in his left hand....a KNIFE...dripping with blood. The Stranger holds up the knife--grins-STRANGER Takes em a full thirty seconds to realize they aint got a head. Everyone stares-BILLY BOB Chickens! Glad you could make it. --Names Billy Bob. Keith gives an "I told you so" look. Mac shakes hands --then looks at his palm. BLOOD all over his hand. excess blood on his apron. Billy Bob grins. Theres CHICKEN He wipes the

27. BILLY BOB (CONTD) Your pas waiting for you up at the house. MAC Howd he know Id come? Billy Bob just grins enigmatically. As Mac heads toward the FARM HOUSE -BILLY BOB Sorry bout your aunt. Billy Bob picks a chicken up by its feet, getting the knife ready, about to go back into the barn-KEITH Great. Billy Bob hears and turns to him. BILLY BOB Id watch your step if I were you, son. Oh yeah? KEITH Whys that?

BILLY BOB Youre standing in horseshit. Keith looks down. Yep -- hes standing in horseshit, alright. KEITH Damn! These are one hundred dollar Nikes! IAN I thought you said two hundred. Billy Bob grins. next to Keiths shoes. EXT -FARM HOUSE (FRONT ENTRANCE) - MOMENTS LATER MAC stops, eyeing the house. It sighs and creaks with a life of its own. As he opens the screen door to go inside-INT - LIVING ROOM - CONTINUOUS Mac glances around. Shades pulled down, dark and musty furniture. Stuffed animal heads on the walls. A spiderweb in the corner. Spits a globule of black tobacco right

28. EXT. FARM - SAME TIME Rod is picking at his guitar as Candy looks on admiringly. SUZIE is unpacking some bags off the bus rack, unaware that CARL is shooting her ass with his CAMCORDER. IAN snaps off his cellphone, pissed. Perfect. IAN No signal.

IAN peers over Carls shoulder, sees Suzies ass on the screen. IAN (CONTD) That got a zoom lense? CARL Brace yourself. As he "zooms" in on Suzies buns-SUZIE Will you guys quit jerking off and give me a hand here! As they grin and help her unload the bus, Ian unloads a box full of Jack Daniels bottles--IAN Hiya Jack. INT. FARM LIVING ROOM - SAME TIME Mac is wandering around the room, uneasy. Suddenly, he hears a flapping noise. coming from behind a closed door. MAC ...Jeremiah? Mac pushes open the door to-INT - A DIMLY-LIT SPARE ROOM - CONTINUOUS CLOSE ON MAC As he walks into the dark, smaller room, he looks to his right to see-A SHUTTER...flapping slightly from the wind. Mac sighs. He turns to his left -- and -Thats all. It seems to be

29. MAC Daaa! He almost falls over his AUNT. on Dead, laid out "in state"

a long, OAK TABLE, candles all around her. VOICE (O.C) Hold it right there. Turn around slowly. MAC slowly turns to see---- his father, JEREMIAH MACDONALD, late sixties, weathered but strong, a man whos spent his life working hard on a farm. Hes wearing work clothes - overalls, and yes, black farm boots. With a crazed look in his eye, hes pointing a shotgun straight at Mac. MAC What are you going to do? Shoot me? JEREMIAH Depends. You got some nerve intruding on a mans grief. I bet I could pull this trigger right now and call it justifiable homicide. Now: who are you? MAC You know who I am. invited me. You

CLICK CLACK! Jeremiah pumps the shotgun, chambering a round. Macs unsettled. Perhaps Jeremiahs gone over the deep end-MAC (CONTD) Im your son. And Laureens son. JEREMIAH Aint nobody mentioned that name on this farm for 14 years. My boy was taken from me... far as Im concerned, hes dead. Now, I aint gonna ask you again. -- Who are you?! MAC Joseph Macdonald... Your son.

30. JEREMIAH Joseph Macdonald. Damn right, boy. And dont you forget it. Jeremiah lowers the shotgun, grins-JEREMIAH (CONTD) Im just yankin your chain! It seems Jeremiah has an offbeat sense of humor. JEREMIAH (CONTD) Come here...I aint gonna bite. MAC approaches cautiously. him-Jeremiah grabs Mac, hugging

Macs pretty awkward, but he puts up with this. JEREMIAH (CONTD) Look at you! Youre a dead ringer for your grandpa, God rest his soul. If he could only see you now. Mac looks at Edith. A wave of remorse washes over him.

MAC I came back for the funeral. Thats all. JEREMIAH Broke her heart you never visited. ..But I always said youd come back. Jeremiah reaches down, tenderly strokes his sisters hair. MAC Ill be gone again tomorrow. JEREMIAH ..Guess it was her time to go. You cant argue...when the good Lord calls you home. Theres an awkward beat -MAC How...was she "called?" JEREMIAH Pardon? MAC Aunt Edith. How did she...die?

31. Jeremiah puts a PIPE in his mouth, lights it. JEREMIAH "Natural causes." CUT TO: EXT - MACDONALD GRAVEYARD - AFTERNOON Were in a small family graveyard on a HILL by the farmhouse, where Macdonalds have been buried for centuries. A PREACHER stands nearby, conducting the service for Edith. He stands between Billy Bob and Jeremiah. Two three LOCALS from the village have also come to pay their respects. A few feet away are the rest of the band, standing awkwardly. Theyd rather be somewhere else. Mac stands beside Suzie. ON THE PREACHER PREACHER ..and we ask you to bestow your blessing on this worthless band of sinners. And so....ashes to ashes...dust to dust.. KEITH (making a rhyme sotto voce) --Lets hurry up and get back on the bus. PREACHER We are here to honor the memory of Edith Macdonald...and deliver her to her eternal rest. ON JEREMIAH. black suit. Head bowed, reverent, dressed in a sombre She gently squeezes his hand.

MAC watches him. CARL surreptitiously opens the flip-screen of his camcorder to shoot the funeral. KEITH (quietly, to Ian) Shit, when I die, hope theres a bigger turn-out.

32. PREACHER To everything there is a season, a time to be born a time to die. A time to kill...and a time to heal... As the Preacher talks, Mac suddenly sees----a WOMAN, dressed in black, with a veil over her face. Odd. He didnt notice her before.

The Woman moves closer to Mac....closer...she removes the veil. A mixture of terror and fury-PREACHER (CONTD) --a time to keep silent, and a time to speak-The woman looks Mac directly in the eye. WOMAN The devil has returned. Mac recognizes the Old Woman (JESSE) from the lonely farm stall on the side of the road. MAC I...pardon...? JESSE You look just like him. Like Jethro. JEREMIAH (hard; to the woman) Youre not welcome here, Jesse. JESSE I came to pay my respects. (beat) And to warn you. JEREMIAH I want you off my land. -Keep reading, Reverend. PREACHER (clears his throat; trying to continue) Er...a time to love...a time to ..hate--

33. OLD WOMAN (to Jeremiah) Its started again, hasnt it? The harvest of blood. I know. I can feel it. Your fathers legacy of evil-JEREMIAH --My daddys dead. You and the others saw to that. OLD WOMAN Yes. And burning in hell! And youre going to join him--wait and see! PREACHER Uh, a time to embrace..and a time to refrain from embracing.... JEREMIAH Get out of here. Or so help me-Something snaps in Jeremiahs head. raising it as a weapon-He picks up a shovel,

PREACHER A time to--holy shit!! Jeremiah--NO!! Mac grabs Jeremiah, struggling to keep the shovel away from Jesses head. Candy screams. CARL seizes the moment, taping the action with his camcorder. JESSE stands her ground. Looks coldly at Mac.

JESSE (to Mac) The sins of the fathers shall be visited upon their childrens children. And the sword shall be made drunk with their blood. She spits on the ground, walking away. Mac releases his hold on Jeremiah. KEITH (low) Damn. White folks usually chill at funerals.

34. PREACHER (quickly) Uh, I commit Edith Macdonald to the blessed soil of the land she knew and cherished. Amen. OTHERS Amen. The PREACHER nods to Billy Bob, who gently takes the shovel from Mac. He spits on his palms, rubs them together. As the first pile of dirt hits the coffin-EXT - FARM (NEAR THE GRAVESIDE) - LATER The funerals over. As the others walk down the hill,

Jeremiah is shaking hands with the PREACHER -JEREMIAH Sorry about the shovel, Eugene. Guess I got a little carried away. PREACHER The lord forgives your sins Jeremiah. Cant say the same about the law. As he says this, the Preacher gets in his car---which we now see is a SHERIFFS SQUAD CAR. He yanks off his clerical collar, as if its been strangling him, puts down his bible. He reaches on the seat and just as swiftly puts a SHERIFFS HAT on his head. He eyes the other band members. PREACHER (CONTD) Keep an eye on your guests. We dont want no pot smoking musicians spoiling things around here. JEREMIAH Dont worry. Sall under control. Workin on any big cases? Nah. PREACHER Things are dead quiet.

As the sheriffs car pulls out, Jeremiah watches -- his eyes are now on the BARN some distance away. MACs there, pushing open the barn door. slightly. Jeremiah smiles

35. INT. BARN - AFTERNOON The BARN DOOR CREAKS open. Exploring, MAC enters the barn by himself. Its a big, run down structure that has seen better harvests. Hanging up is an impressive array of scythes, axes, hoes, and sickles. Simple, functional FARM IMPLEMENTS - but the light gives their blades a sudden edge of menace. The afternoon sunlight filters through the wooden slats, hitting a pile of straw, dust rising up from it. Then.....MAC notices something -SOMEBODYS LEGS. -- clad in dirty jeans, old shoes...stretched out and partly hidden behind a barn STALL. Someones sitting there, quietly biding their time. MAC moves closer. And closer. Until he sees -A raggedy old SCARECROW, propped up against the stall. Harmless. Mac bends over to check it out ... unaware that theres somebody else in the barn with him. A SCYTHE --hanging on the wall is removed from its place. MAC --is still looking at the old scarecrow, when-WHOOSH! -- The deadly blade comes sweeping down, slicing the air near him. Mac spins around to see-IAN, scythe in hand, stoned, doing "Kung Fu" moves. IAN Hey dude -- dont fear the reaper! Beat. Mac stares, the color drained from his face. IAN (CONTD) So. Whens dinner?

36. EXT. -CORNFIELD -MAGIC HOUR The Scarecrow, hanging alone in the field. sinking. INT -BATHROOM -NIGHT CANDYs going to take a shower. She looks around the bathroom. Something creepy about it. She takes off her robe, turns on the shower. Gets under the water. It feels good. ON THE DOORKNOB It starts to turn. Slowly at first. back and forth, violently. Then the knob TWISTS CUT TO: INT. HALL WAY -SAME TIME Its Suzie twisting the knob. Its locked. Suzie wears nothing but a towel, impatient to shower. She bangs on the door. SUZIE Hey! Dont use all the hot water! INT. BATHROOM CANDY Keep your shirt on! almost done! INT. HALL WAY SUZIE (under her breath) Bitch. INT. BATHROOM CANDY Bitch. INT. HALL WAY Suddenly, from behind Suzie, two HANDS grab her. spins around. Its MAC. He moves in closer, holding her-Suzie Im The sun is

37. MAC Ten thirty. My room. Clothing optional. Suzie smiles meaningfully. SUZIE What about Jeremiah? Nah. As they kiss--Suddenly, we hear a terrible SCREAM from inside the bathroom and-Mac twists the door handle, still locked and-its an old door, so he easily forces it open and they rush in to the bathroom, and-INT BATHROOM-CONTINUOUS --Mac throws aside the shower curtain, and---Candys standing there, naked, terrified. points-CANDY Look. Theres a medium-sized SPIDER high up on the wall. Mac and Suzie stand there, incredulous. Rod, Ian and Carl rush into the bathroom-ROD What is it?!! SUZIE (pissed) Spider. Beat. As all the men stare-CARL (enjoying the view) Ill get it. INT. DINING ROOM - NIGHT ON A PLATE OF WHOLE COOKED CHICKENS and MEAT...the result of Billy Bobs handiwork. JEREMIAH and Billy Bob are eating heartily without a care in the world. Shaking, she MAC Just you.

38. Mac and the others watch them. Theres a bottle of MOONSHINE. -- and chokes-JEREMIAH Best corn liquor in the county. Make it myself. Edith used to say: the two hardest things to swallow...are pride and moonshine. CANDY I can think of a third. Carl and Billy Bob chuckle. IAN (takes another sip) Howd...you...make it, exactly? Jeremiah leans closer, looks Ian straight in the eye -JEREMIAH Well, I could tell you...but then, Id have to cut your throat and gut you like a pig. Silence. Jeremiah laughs. tentatively-The others look at each other, smiling Ian takes a SIP--

JEREMIAH (CONTD) Just yanking your chain! Old family secret. He looks across at Mac -JEREMIAH (CONTD) Some things are better left that way. Right, son? Mac ignores this. Theres an awkward silence. It

SUZIE Uh...thanks for dinner. was delicious.

Suzies anxious to leave the table, meet up with Mac. Jeremiah looks wistful. JEREMIAH Chicken. Used to be Ediths favorite.

39. Beat. Jeremiah chokes up, suddenly remorseful. BILLY BOB (raises his glass) To...Edith. May she rest in peace. JEREMIAH To...Edith. Everyone... drinks. Okay. Suzie wants to leave. SUZIE Well--

Jeremiah raises his glass again -JEREMIAH --and..... to my...son. Everyone settles back in again-JEREMIAH (CONTD) ...The last of the Macdonalds. Whosfinally been called back home. Jeremiah and Mac lock eyes. JEREMIAH (CONTD) Even if it is... for one day. Everyone drinks. But its not over yet. JEREMIAH (CONTD) And to.... CANDY The farm? Suzie rolls her eyes, glares at Candy. JEREMIAH (raises his glass) Good idea, little lady. "The farm." IAN To "Old Macdonalds farm" -KEITH "E-I, E-I, Oh --" CRASH!! The GLASS suddenly SHATTERS in Jeremiahs hand. Rivulets of blood on his fingers. At first, he doesnt Candy smirks.

40. notice. SUZIE Your hand is bleeding. JEREMIAH ...Excuse me. Jeremiah gets up, holding his hand, goes into the kitchen. Damn. KEITH Whassup with that?

No one speaks at first. BILLY BOB You just reminded him...of Jethro. SUZIE Whos Jethro? No one answers. SUZIE (CONTD) Whos Jethro? BILLY BOB Jethro Macdonald. MAC ...My grandfather. Everyone turns toward Mac. When he doesnt continue---

BILLY BOB Scared most people in this county halfto death. The kids used to call him... "Crazy Old Macdonald". Theyd sing that old nursery rhyme... CANDY (glancing uneasily over her shoulder) Hes not...still around...is he? BILLY BOB Died about fourteen years ago in a fire. Knocked ...over a kerosene lamp in the barn. Burnt to death ... SUZIE Jesus.

41. IAN What was it about him that...scared people? BILLY BOB Why dont you ask Mac? -Its his granddaddy. All eyes on MAC. MAC I dont remember... A beat -ROD (flippant) What was he...some kind of axe murderer? JEREMIAH (O.S.) Why dont you ask him yourself? Beat. Jeremiahs walked back into the room, his hand bandaged. JEREMIAH (CONTD) Hes sitting right behind you. --On the mantle. Everyone turns around. A decorative cremation URN is indeed sitting on the mantle. Jeremiah picks it up. He holds the urn tenderly in his handsJEREMIAH (CONTD) My daddy was a man of vision. People always fear what they dont understand. Jeremiah looks down at the urn. Hes silent for a moment -JEREMIAH (CONTD) He lived for this land. And he died for it. Rest in peace, daddy. Slowly, Jeremiah lifts the lid off the urn. to look inside. Finally, Carl leans over, and-No one wants

SNEEZES..scattering ashes!

42. CARL Sorry. An awkward beat. Then

Jeremiah laughs, slaps Carl on the back -JEREMIAH Im just yankin your chain! Its an ashtray. --Jethros buried right there across the field with the rest of the family. ...Cigar? Jeremiah pulls out a handful of cigars offering them to everyone, as we-EXT. FARMHOUSE -NIGHT Things are...well, dead quiet. Except for an electric BUG ZAPPER. Purple, glowing. We hear a "ZAP" as several bugs meet their maker. We can hear CRICKETS in the darkness. INT -LIVING ROOM -NIGHT -LATER Keith, sitting on the COUCH, wearing only his underwear, removing his expensive Nikes. Then he lies down, covers himself with a thin farm blanket, and tries to get comfortable -KEITH (muttering to himself) Yeah. Sure. Put the black man on the couch... INT - MACS BEDROOM - NIGHT It used to be his grandfathers room. family photos on the wall. Creepy. Mac stares out the window. BARN in the moonlight. Is that Billy Bob going inside? The bedroom door opens. Its Jeremiah. looking back out at the barn. Mac turns away, There are old

Outside, we can see the old

43. JEREMIAH That old barn. After the fire...I rebuilt it nail by nail. Just the way your granddaddy wouldve wanted it. MAC (not happy) This is his room...isnt it? JEREMIAH Was. You aint afraid of ghosts, now are you? MAC Ill be fine here. Jeremiah holds out a bound stack of envelopes. JEREMIAH Thought you might want these. Mac just stares at them. JEREMIAH (CONTD) Just so you know. After your mother took you away, I wrote you. She returned every one of em. Mac makes no move to take them. Instead, Jeremiah places them on the table. JEREMIAH (CONTD) Well. Then... Ill leave you to it. Jeremiahs about to exit-JEREMIAH (CONTD) You got it wrong, boy. Im not the monster you think. MAC Maybe you should tell that to the old lady you tried to hit with the shovel. JEREMIAH I wouldnt pay Jesse no mind at all. Shes just a crazy old woman. Hasnt been right in the head since her husband passed away. (beat) Wasnt much right before that, neither.

44. MAC She was talking about...a "harvest of blood"... Beat. JEREMIAH Old slave superstition. You sprinkle a little blood mixed with water on the crops, you get yourself a good harvest... So they say. MAC "Blood?" Beat. JEREMIAH Chicken blood. -Anyway..dont you worry about ol Jesse. She wont be bothering anyone no more. INT -LIVING ROOM -NIGHT -LATER Keith tries to sleep, but doesnt look comfortable. He looks up at the shadowed wall next to him. Animal heads, stuffed by a taxidermist, stare back at him. He looks at the urn containing cigars. Its still on the mantle. Jeremiah walks past almost unseen. A little spooked, Keith removes his .38 SPECIAL, checks if its loaded-KEITH Yeah. Thats what Im talkin about. He puts it under his pillow. INT. MACS BEDROOM -NIGHT MACs in a restless sleep on top of the bed. The wind has

blown the letters around the room. He wakes suddenly. Disoriented, he runs his hand on the wall above his head, feeling the rough texture of stained wallpaper. From outside theres the soft strains of tinkling MUSIC...from a childs music box...barely discernible over the wind. But eerie...

45. Mac sits up in bed. THE OLD BARN Thats where the sound is coming from. As Mac stares... Theres a soft flicker of light from inside the barn...The flicker grows stronger...are those flames coming out under the barn doors? KNOCK KNOCK. The flames are gone. Mac? With a jolt, Mac looks to the door. He opens the door, a bit shaken. Suzie stands outside, in a sexy nightgown. Just a whisper of satin and chiffon. Very Victorias Secret. SUZIE (CONTD) Its ten-thirty. I took the clothing option. She gestures at her sheer nightgown. SUZIE (CONTD) Sort of. She smiles at Mac. He gazes blankly at her -SUZIE (CONTD) Well, are you going to invite me in? Its cold out here! Mac looks at her breasts--MAC I can see that. She steps inside. Mac shuts the door. Suzie wastes no time. She locks him in a passionate clinch. They kiss. But Macs not responding. SUZIE Whats wrong? MAC This...used to be Jethros room. The attic. Nothing. SUZIE (O.S.) Looks out the window to --

46. SUZIE So? MAC When I was a kid...I was never allowed up here... Suzie moves closer-SUZIE That turns me on even more...forbidden fruit always tastes better. Especially...the cherry. Suzie starts kissing Mac. Hes not responding.

SUZIE (CONTD) What do you want? His permission? No problem. She puts her fingers to her temples, a "mock seance"-SUZIE (CONTD) Im talking to the spirit of Jethro Macdonald. Is it okay to have sex in your old attic with your grandson? Well be careful of the bed-MAC Let it go. SUZIE I bet if he were still alive, hed like to watch. She caresses the bedpost-SUZIE (CONTD) Think of it ..as a threesome. You. Me. And.. "Jethro." MAC I said thats enough! Mac grabs her roughly, pushing her against the wall. Suzie stares at him like hes an alien. SUZIE Get a life! --and goes out the door, SLAMMING it.

47. INT -BUS -NIGHT Two figures underneath a blanket at the back of the bus. Having sex. Its Rod & Candy. Then we hear Carls voice.

CARL (O.S.) Man. That was the weirdest funeral Ive ever seen. We MOVE to the front of the bus. IAN & CARL are chilling, totally ignoring the Kama Sutra going on in the back. Ians swigging from a bottle of Jack Daniels. CARL (CONTD) He almost brained that old lady with a shovel. IAN Must be a family feud, dude. You ask me...Macs fathers a few bales short of a haystack. CARL Maybe it runs in the family. Maybe all farmers go crazy after a while. Ian finishes the whiskey, passes the empty bottle to Carl, whos disappointed. IAN I dont know. I could get used to life on a farm. A cloud of SMOKE blows past Ian. REVEAL ROD & CANDY, post-coital and now standing right behind them, naked and wrapped in a blanket. Rods holding a joint. ROD Me too. He grins, passing it to Ian and Carl-Ian glances out the bus window. pass by? INT -BARN -NIGHT CLOSE ON the row of hanging FARM IMPLEMENTS, inside the barn. A gloved HAND reaches out -- and selects the SCYTHE, pulling Did he just see a figure

48. it off its hook. We get the feeling its not going to be used ....for harvesting corn tonight. EXT - SMALL FARMHOUSE - NIGHT A modest FARM HOUSE in the vicinity of the Macdonald farm. It belongs to JESSE, the old woman we saw at the funeral. Jesses outside, standing by a bonfire, engaged in a Pagan ritual of protection. She throws a STRAW DOLL into the fire. turn it to ash. The flames quickly

She sprinkles some sort of SPICE on the fire. It FLARES up wildly, with the force of a photographic flash. And as it does -A FIGURE is suddenly visible...standing on the other side of the bonfire. The intruder wears a grotesque burlap -stitched mask over its head. Dressed in farmers overalls...and boots that weve seen before. --a hellish human SCARECROW. -- And in its hand....the long curved blade of a SCYTHE. The blade of the Reaper. JESSE ..starts backing away, her eyes fixed tight on the SCARECROW, a look of fear and possibly recognition on her face---And she turns and runs. Into the house-INT SMALL FARMHOUSE (LIVING ROOM)-CONTINUOUS Breathing sharply, JESSE SLAMS the FRONT DOOR, locking it and leaning against it. Safe only for a moment, because CRASH -- the blade of the SCYTHE rips through the wood..inches from her face. JESSE screams. She runs towards the KITCHEN, as the SOUND of splintering wood rings out and-INT -KITCHEN JESSE frantically searches drawers for a weapon. A knife?

49. INT -LIVING ROOM THE front WINDOW PANE breaks open -- A hand reaches in to open the latch. Jesse runs -- the SCARECROW is now inside. On the walls of the house: Straw dolls, symbols and other

hand-made articles of protection. The SCARECROW slices at them with the scythe, cutting them to shreds. Then the Scarecrow stops. where its prey has gone. Listening...trying to determine

EXT -BACK OF FARMHOUSE -NIGHT The SCARECROW comes out the back door. Moonlight. Except for the crickets...and soft clucking of

chickens, its quiet. The Scarecrow looks around. INT - CHICKEN HOUSE Its a long structure with hundreds upon hundreds of chickens - a real chicken nightmare. JESSE crouches inside the structure, terrified, trying not to make a sound. Through the small SLATS, we can see the SCARECROW walking slowly past. EXT BACK OF FARMHOUSE -CONTINUOUS The SCARECROW pauses, then starts to head away towards the cornfield. Shes fooled him! INT -CHICKEN HOUSE JESSE relaxes ever so slightly, as the SCARECROW moves away. HER FOOT..touches one of the chickens! EXT -BACK OF FARMHOUSE The SCARECROW....whips its head around, hearing-INT -CHICKEN HOUSE JESSE cringes, praying shes still safe. CRASH! The SCARECROWs inside -It starts clucking-Where did she go?

50. The CHICKENS freak, going crazy, flapping their wings-The SCARECROWS boots trample on EGGS, smashing them. A chaos of chickens and feathers, trampled eggs and crazy pecking. Still crouching,JESSE desperately raises her hands to ward off the blade -She screams -The blade, sticky through the mist of chicken blood and feathers, slices the air in a shiny arc -And comes to rest with a sickening thump in Jesses chest. As her blood drains out --The blade swings again, and again -EXT - FARM - SUNRISE The red and orange flare of the rising sun. INT. BUS -SUNRISE Candy in Rods arms. In the front, Ian & Carl. COCK A DOODLE DO! -- a ROOSTER crows. INT. LIVING ROOM -SUNRISE KEITH wakes up, opens one eye, hung-over, not happy about the rooster. INT -FARM HOUSE PASSAGE- LATER SUZIE, now dressed, walks down the passage. The ROOSTER crows again, as Suzie walks into-INT -LIVING ROOM -CONTINUOUS KEITH is up, hung-over and standing in his underwear, aiming his .38 Special through the window. Suzie groans. SUZIE Its a farm, Keith. Youre not supposed to shoot the rooster. KEITH He started it. All asleep.

51. SUZIE You seen Mac? His bed hasnt been slept in. KEITH (beat) What?! You mean ..I slept on this couch for nothing?! INT - BARN - MORNING A figure sprawled on a bed of hay. Head to the side, legs and arms akimbo. No sign of movement. Its MAC. The barn door swings open. Sunlight floods in. Suzies found him, Still angry from the night before, she kicks his boot. SUZIE Hey -No reaction. She bends over, shakes him-SUZIE (CONTD) Mac! A groan from the floor. Mac raises his head, instinctively shields his eyes against the light -SUZIE (CONTD) Were almost ready. What the hell are you doing out here? MAC I ...heard something...came in here last night. Must have gone to sleep. He clutches his head in agony. Slowly, he sits up, brushing some hay from his clothes. His hand is cut. SUZIE Howd you get that? Playing with your pitchfork? MAC Picked up one of those shears. Blades razor sharp. --Where is everyone? SUZIE Getting ready. MAC Look. You want to talk about this?

52. SUZIE I dont think so. Keiths about to use the rooster for target practice. Besides...you didnt seem too interested last night. Mac pulls her down on top of him -MAC Strange...I can feel my old self coming back... SUZIE Mmmm - so can I... A-HEM. Someone clears their throat.

Mac and Suzie look up to see Jeremiah standing in the doorway. Frustrated, Suzie gets up. SUZIE (CONTD) Morning Jeremiah. But Jeremiah keeps his eyes leveled on Mac. JEREMIAH Mornin. A beat. Suzie turns and looks at Mac -SUZIE Better get a move on. Or I wont be able to guarantee the safety of the old Macdonald cock much longer. Jeremiah raises an eyebrow, as Suzie exits. JEREMIAH Women. Cant live with em...cant shoot em. ..Without good reason. Mac half-smiles. The SCYTHE is back where it was. blade. EXT. FARM - MORNING Jeremiah sits in an old wooden chair on the porch, whittling a small piece of wood with a pocket KNIFE. The BAND MEMBERS are getting ready to leave, getting on the bus. A smear of blood on the

53. KEITH is fastening the dirtbike to the back of the bus. BILLY BOB Sure gonna miss you boys. ..Need a hand with that? Billy Bob grins, spits tobacco a little too near Keiths Nikes. Over near the HOUSE, MAC walks up to Jeremiah, whos whittling a piece of wood. Mac pauses, trying to figure out how to say goodbye. Jeremiah glances at the cut on Macs hand. ThenJEREMIAH Youll be back. MAC I dont think so. He holds out his hand to Mac. Reluctantly, Mac reaches out to shake it. Jeremiah squeezes. dust. JEREMIAH Youre a Macdonald. in your blood. INT -BUS -MORNING THE BAND MEMBERS ...take their seats. Candy is already sitting by herself, turning over a deck of Tarot Cards. As Suzie moves past her-SUZIE (dryly) Let me guess. Were going on a "long trip". CANDY (turning over a card) Not according to these. Mac enters the bus, sits down by Suzie. hand, bleeding slightly. She notices his Its A drop of Macs blood falls into the

54. Carl starts the bus. KEITH couldnt be happier. KEITH Hallelujah! ...Civilization...here I come! SUZIE (under her breath) Amen. THEIR POV: THE FARM

--Through the windows of the bus, receding into the distance. Jeremiah just stares. Billy Bob waves and grins. In response, looking through the window, KEITH gives him the finger. Billy Bob smiles, and gives him the finger back. MAC, alone in his seat, glances down at the cut on his hand. CUT TO: EXT -COUNTRY ROAD -MORNING -MOMENTS LATER Churning up dust, the BUS thunders down the bumpy country road, a few miles from the farmhouse. Rock music blaring. Suddenly, theres a horrible grinding sound. The bus SWERVES - and the engine CUTS out. thick cloud of dirt. INT -BUS CARL, at the steering wheel, tries to restart it. dice. Just a dead clicking sound. CANDY Is it supposed to do that? The others glare at her. EXT -COUNTRY ROAD - MORNING -LATER The broken-down BUS on the side of the road, with its HOOD up. Sitting in the dirt, hot and bothered, the BAND are lounging around, waiting for Carl to return with help. Then, in the distance, almost like a mirage -A TRACTOR, slowly making its way towards them. No The bus comes to rest in a

55. EXT -COUNTRY ROAD - MOMENTS LATER The TRACTOR pulls to a halt. CARL is sitting on the back. And in the drivers seat, with a enjoying the moment. BILLY BOB (especially to Keith) Long time...no see. EXT -MACDONALD FARM -LATER The BUS has been towed back to the farm. Suzie and Carl are looking under the hood. The others are gathered around. grin on his face...Billy Bob,

SUZIE Looks like the alternator. CARL Yeah. Its the alternator all right. SUZIE How would you know? Youre looking at my tits. (Beat) Jesus, Carl. Your job is to keep us on the road! CARL I didnt do anything--KEITH Yeah. Thats just the problem. MAC Tell me you checked the bus before we left, Carl. BILLY BOB has come out of the house, walks over to them-BILLY BOB Just talked to Orwell down at the garage. Says getting a new alternator for your bus is no problem. KEITH (pumps his fist) Alright! BILLY BOB Could take a little while, though.

56. KEITH Whats a "little while?" BILLY BOB Two.. maybe three days. Everyone groans. KEITH What?!! I cant fuckin believe this!! You mean were stuck in Redneck River Valley without a ride? (to Jeremiah) No offense. JEREMIAH None taken. The Lord works in mysterious ways. Mac locks eyes with Jeremiah. CANDY (whining) Rod....I have to get back to my job. SUZIE Someone actually ...employs you? CANDY I happen to be a professional. SUZIE Which street corner? Theyre about to go at it again -ROD (grins) Shes a Tarot Card Reader at a shopping mall. SUZIE What a surprise. --What about our audition? JEREMIAH If youre looking to practice...why dont you set up over there.....in the barn? While the others appraise the barn..Mac stares at Jeremiah.

57. EXT - BACK OF FARM - LATER IAN wanders up to KEITH, a bottle in hand. standing KEITH is

with his .38 in his hand in a firing stance. MACs watching. Irritated with the bands time wasting. BLAM! As KEITH pulls the trigger, we see -Several TIN CANS, placed on a FENCE as targets. A TIN CAN goes flying. Keith shoots again. Suzie walks up behind Keith. SUZIE (sarcastic) Having fun, Keith? BLAM! KEITH misses again. Damn! ON BILLY BOB Leaning against a post nearby, watching. He spits tobacco into the dust. BILLY BOB Want me to move em a little closer for ya? KEITH turns around -KEITH You think you can do better, "Billy Bob"?? Billy Bob grins. Walks over to Keith, who puts the gun in his hand. Billy Bob "hefts" it for a second -- and then in one deft, effortless MOTION -BANG! BANG! BANG! KEITH You made me miss!

Three cans are blasted off the fence post. Billy Bob grins, pleased with himself. He hands the gun back to Keith.

58. BILLY BOB -- Not bad. Prefer a shotgun myself. Comes in much more handy on a farm. (pause) Course, your kind wouldnt know too much about that. Keith bristles. My kind? people? KEITH You mean -- black

Billy Bob grins at him, spits. BILLY BOB Musicians. EXT - BARN - DAY CARL, the roadie, is unloading the bands equipment off the BUS, staggering under the weight. The others are helping, move stuff to the barn. picks up a single microphone to carry. Jeremiah approaches Mac. JEREMIAH ..As long as youre stayin...mind giving me a hand? Jeremiah nods to a TRACTOR nearby. MAC Carl! Mac motions to Carl to help Jeremiah-JEREMIAH (to Mac) Actually, I was talkin about you. A moment as Mac looks at his father, then looks at the band. Mac pauses, trying to decide. JEREMIAH (CONTD) May as well. Theyre having a good time shooting tin cans. EXT. FARM -MOMENTS LATER MACs now reluctantly sitting next to Jeremiah on the TRACTOR. As they head off toward the fields-Candy

59. MACs POV FROM THE MOVING TRACTOR --passing by the band members, deserting them. Keith exchanges a "how could he do this?" look with Suzie. Mac turns away. EXT. MIDDLE OF FIELD - DAY JEREMIAH and MAC are hard at work -- trying to remove a tree branch thats poked through the fence. nearby. JEREMIAH Feels good, doesnt it. (pause) Land. A mans born on it. A mans buried on it. In between you just got to do what you can to make a living. It aint easy... Mac has his shirt off, sweating in the sun. He reaches down to the pile of tools nearby, picks up a sharp AXE, about to swing it. Jeremiah grabs the axe handle suddenly. JEREMIAH (CONTD) Not that. Mac glances at the handle. into the handle. "Jethro Macdonald" is burned The tractors parked

Jeremiah takes out another axe.-JEREMIAH (CONTD) Try this one... Mac takes it, and with a sure hand, chops off the branch. Jeremiah watches proudly. Even Mac seems a little pleased with himself. JEREMIAH (CONTD) Just what I said this farm needs. A little new blood.

60. EXT -BACK OF FARMHOUSE -AFTERNOON Its getting late. Mac hasnt returned yet. out and the others come out of the barn. KEITH Guess Macs still off on the "hayride". Pissed-off, Keith spies the lone SCARECROW in the field. He takes careful aim-BLAM! THE SCARECROW is hit, slumps over on its post. EXT. -BARN -MAGIC HOUR -LATER Finally returning from the field, Jeremiah stops the tractor by the barn. Mac looks at Jeremiah, the beginning of a strange bond forming between them. Mac pushes open the barn door. INT. BARN The bands equipment is all set up. But the band are nowhere to be seen. Macs missed the practice. Leaving Mac alone, Jeremiah drives the tractor toward the back of the house-A SCARECROW ...starting to stand up in the sun. We PULL BACK, REVEALING-EXT. FIELD -MORNING JEREMIAH is in the cornfield, FIXING the Scarecrow that Keith shot. He hoists it up, affixing to a pole. He looks over his shoulder, hearing, LOUD ROCK MUSIC, coming from...THE BARN. INT. BARN - DAY The BAND....are attempting to play an upbeat rock number. Billy Bob and Candy are their "audience". Mac is playing rhythm guitar, but he seems to have something else on his mind. Suzie looks across at him, perturbed. Then something else distracts her. She holds up her hand, stops the music -Keith comes

61. SUZIE Hold it, hold it. Arent you forgetting something, Rod? ROD Like what? SUZIE Like your guitar break. ROD Its coming right up. After the third verse. SUZIE Second verse! ROD Jeez, whats the difference? Just cause its rock n roll, doesnt mean its be set in stone. Suzie looks at Mac. He looks pale. KEITH You wanna know the difference? The difference is that youre screwing up the song. ROD Yeah. Sure. Im screwing up the song. Youre the one whos been two beats behind since we kicked it off. Mac isnt paying attention. MACS ...sweating, staring transfixed. KEITH What the fuck you talking about, man? SUZIE Hes right. You were behind. But Suzies distracted, watching Mac carefully. his lead into one of the mixing consoles. down the perspex channels... Max plugs

Blood gushes

62. KEITH Bullshit! Next thing youll be telling me, black man dont have rhythm! --and then, as Mac watches, the BLOOD is gone...just as quickly as it appeared. KEITH (CONTD) Yo. "Billy Bob". Was I two beats behind, or what? BILLY BOB (shaking his head) Nope. KEITH See? BILLY BOB You were a beat and a quarter behind. KEITH Fuck you! If youre such an expert on music, why dont you go get your dueling banjo and sit in on the next song? BILLY BOB I aint never played a banjo in my life. Billy Bob stands over Keiths electric organ..plays a burst of Toccata and Fugue with flawless grace and precision. He stops, grinning widely at Keith-BILLY BOB (CONTD) ...but I do play some organ in church on Sundays. Mac looks at the cut on his hand. It looks worse. He takes his guitar off. It hits the ground with a SQUELCH of FEEDBACK. MAC (sour) You guys figure it out. taking a break.

Im

KEITH Yeah. Good idea. Go milk the cows, feed the chickens.

63. Mac walks out, slamming the barn door. everyone innocently, especially Suzie. KEITH (CONTD) ...What? EXT. FARMHOUSE - LATE AFTERNOON Mac examines the small carved figure he received from Billy Bob at the club. Its slightly burnt, with the stem snapped off. He picks at the stem with a small penknife and looks around and picks up a piece of wood which he examines and starts to whittle. Suzie walks up to find Mac. She watches him whittling a small piece of wood, trying to fit a stem onto the figure. SUZIE You wanna tell me whats going on? Mac looks up. Hes preoccupied with the stem and the damaged figure. MAC You wouldnt understand. SUZIE You never had trouble communicating before. Mac pauses in his whittling. Suzie loses it. Then goes back to it. Keith looks at

She grabs the knife and wood from his hand. SUZIE (CONTD) Whats wrong with you? Look, if you want to bail on me, thats fine. But not the band.

She throws the stem and the figure on the ground. SUZIE (CONTD) Keiths right. The sooner we get off this farm...the better. Mac watches her. He picks up the figure.

INT. LIVING ROOM -LATE AFTERNOON ON KEITHS GUN --resting on a table. KEITH, in his socks, is taking a nap on the couch. Suddenly, we hear a loud MOOOOOOOO, from a cow.

64. Keith wakes up -- and glances at the floor. Somethings missing. His expensive Nikes are gone. He gets down on his hands and knees, feeling around under the couch. Nope. No Nikes. KEITH Shit!! Keith grabs his gun, heading out--EXT -FARM- LATE AFTERNOON KEITH walks across the yard, gun in hand, really pissed. Hes barefoot, stepping on rocks and brambles -Ow! Fuck. KEITH Ow!!

INT - BARN - LATE AFTERNOON Suzie, Carl, Rod and Candy are in the barn by their instruments. Theyre listening to a track they recorded earlier, on their MIXING-DESK. KEITH bursts in, a volcano about to explode. He has the .38 tucked in his belt. KEITH Did any of you take my Nikes? They all stare at him blankly. KEITH (CONTD) --Thats what I thought. Keith removes his gun and takes off. one another. This could be trouble. EXT -BACK OF FARMHOUSE -LATE AFTERNOON Billy Bob is hoeing the garden by the side of the house. Suddenly--KEITH comes out of nowhere -KEITH Okay, Farm Boy. Jokes over. Youve been playin me from jump street. Wheres my Nikes? BILLY BOB Nikes? What-the-hail you talkin about? Billy Bob spits some tobacco....a little too close to Keiths bare feet. The others look at

65. MAC and the OTHERS rush to the scene and freeze. MAC Keith! Keith ignores them, THROWS Billy Bob up against the fence...and puts his .38 to Billy Bobs head. KEITH Listen to me, you banjodueling, country ass hayseed ...I want my Nikes and I want them now! BILLY BOB You...think...I...stole...your...fancy shoes? I ..wouldnt.. be ..caught ..dead in em. Keith loses it, cocks his .38 SPECIAL at Billy Bobs temple. Billy Bob continues to smile, almost daring him to pull the triggerKEITH Im gonna count to three. One. Two--And a HAND GRABS KEITH, whipping him around. KEITHS POV: Its MAC. He punches Keith in the face. swing back, pinning Mac against the barn. with force. Keith hits the dust. gun goes flying. Mac picks up the gun...levels it at Keith. MAC How does it feel, Keith? KEITH Fuck you! Fuck all of you! Im done kickin it with cows and roosters. --And drinking moonshine with Johnny Cash! Senior AND Junior! Keith takes a

Mac throws him off His

Blood trickles from his mouth.

66. MAC Is that right? KEITH Yeah, thats right! Im outta here- Yall can kiss my city ass goodbye!...Im gone with the wind. Keith pulls the gun out Macs hand. KEITH (CONTD) And fuck you too. Youre just as crazy as all of em..."Macdonald." Its probably the first time Keiths ever called Mac by his last name. MAC (ice) Youre talking about my family. Beat. KEITH ...I dont even know you any more, man. Mac stares coldly as Keith tucks his gun in his pants. JEREMIAH puts his hand on Macs shoulder--a father comforting a son. This doesnt go unnoticed by Suzie. As Keith storms off-EXT -FARM HOUSE - MAGIC HOUR VRRRRROOOOM. As an old pair of shoes kick start the DIRTBIKE. Its Keith. Steaming mad. hes leaving. Hes packed his things and

By the house, Suzie, Carl, Ian, Rod & Candy watch grimly. IAN Well, there goes our record deal. Nah. ROD We still got Billy Bob.

He mimics Billy Bobs keyboard moves with his hands. Rod snickers.

67. Keith PEELS OUT on the bike, leaving the bus--and the farm behind in a cloud of dust. EXT. FARMLAND ROAD -DUSK The light of a DIRT-BIKE cutting like a blade through the growing darkness. The harvest moon overhead. On the bike, KEITH, speeds furiously away from the farm. He opens the throttle as the wind whips at his face. EXT. -FURTHER DOWN THE ROAD -MOMENTS LATER Keiths making good time on the bike. Something catches his eye by the SIDE OF THE ROAD. He hits the brake, stopping the dirtbike suddenly in a cloud of dust. ON THE SIDE OF THE ROAD: He sees a SCARECROW. Perched on two pieces of wood in front of the cornfield. It wasnt there before....was it? Burlap-stitched face. KEITH squints at it. Overalls. Straw. And.....

It cant be.

Getting off his bike, he moves closer to the Scarecrow...as we follow his gaze: For, on the Scarecrows feet..........are Keiths Nikes. KEITH MotherFUCKER!!!! Keith whips out his 38 SPECIAL... shouts into the cornfield, pointing his gun wildly -KEITH (CONTD) You think this is funny, Billy Bob?!! Nothing but corn, waving slightly in the breeze. cocks his pistol-KEITH (CONTD) Why dont you come on out, hillbilly, and well "talk" about it?!! No answer from the cornfield. Nothing. Keith

KEITH (CONTD) (to himself) Yeah. Didnt think so. Fuckin redneck...

68. Keith tucks the gun in his belt. He starts to remove his

three hundred dollar Nikes from the Scarecrow. He pulls on the right shoe. He tugs on it again. And again. Finally, he succeeds in pulling it off--revealing-- A human foot. KEITH (CONTD) What the...f--Keith reaches up toward the burlap Scarecrow mask. He YANKS it off -Its a human face. Although Keith doesnt recognize her, we do. one of the teenagers who was murdered earlier. Keith turns around to scream into the night -- when he comes face to face with-Another SCARECROW. ones quite alive. Now standing behind him. And this Its Karen, Its not coming off so easily.

It holds a SCYTHE in its hand. KEITH (CONTD) Yaaaaaaaaaa!

As the blade of the scythe goes into Keiths thigh like butter. Keith staggers backwards, falls. to crawl backwards...and away. The Scarecrow watches, almost studying its prey. And in his terror and pain, Keith remembers.....his pistol!! He might just survive this after all. He removes it from his belt, summoning all his courage. The Scarecrow calmly watches, as Keith raises the pistol, Unable to walk, he tries

69. shakily aiming at the burlap face. KEITH (CONTD) You should have asked the wizard for some brains, asshole. Triumphant, Keith squeezes the TRIGGER and-CLICK. Huh? And again.

KEITH pulls the trigger again. Click. Click. Click. Nothing.

THE SCARECROW--dramatically opens its gloved fist. of Keiths bullets slowly hit the ground.

ALL

Somehow, someone has previously removed them from Keiths gun. The Scarecrow HACKS Keith again with the scythe. gun clatters to the dirt. Blood spurting, Keith begins crawling away. just somehow get to his dirt bike... The

If he can

Taking its time, the SCARECROW advances...closer...closer. Raises the scythe one last time.... CUT TO: A TAROT CARD BEING TURNED OVER. Its "The three of swords". a bloody heart) We REVEAL were in-EXT. GRAVEYARD - NIGHT Candles are burning. Candy sits cross-legged, by herself, doing a night reading. Its spooky. She looks at the card, unsettled. Suddenly, she hears footsteps and looks up. Its SUZIE...coming into the candlelight. The two women regard one another. SUZIE Hi. Another fight? (three swords sticking into

70. CANDY ...Hi. SUZIE ..You any good with those? An attempt at reconciliation. out the deck of cards. CANDY Shuffle. EXT. CORNFIELD - NIGHT WE PAN SLOWLY ACROSS --- Rows of corn, illuminated by the bright light of the harvest moon. Amidst the chirping of cicadas, we hear familiar voices -IAN (O.S.) Youre out of your mind, man. ROD I am not! Im telling you, its worth its weight in gold. IAN Let me get this straight...were talking about manure? THE CAMERA FINDS --- Rod and Ian, leaning against the business end of a gigantic COMBINE HARVESTER and THRESHER. Its in silhouette. Theyre sharing an impressive-looking MARIJUANA spliff -ROD The ancient Aztecs knew how powerful this stuff was. IAN (after a moments thought) Cowshit? Are you sure the Aztecs even had cows? Rod hands him the joint, as he ponders this. ROD Manure is the very essence of what we eat and who we are. Matter of fact, youre even smoking some of it right now. Candy half smiles, holds

71. Ian, midway through a deep puff, nods thoughtfully, and then HACKS and SPLUTTERS like a first-time smoker. IAN Are you crazy? ROD Sprinkled a pinch of manure in there just before I rolled it. Rod grins. Ian contemplates the joint, eyes Rod

suspiciously, draws on it again -IAN Hmmm. This shit isnt bad. Manure He takes a puff. A beat, as they sit stoned. IAN What are we leaning against? CUT TO: A TAROT CARD BEING TURNED OVER: The Moon card. INT. GRAVEYARD-NIGHT CANDY You have a strong unfufilled desire. SUZIE Yeah. To get the hell off this farm. CANDY No. This is something spiritual. An ambition. SUZIE The band. She turns over another card: Me? The Empress. ROD ...is life.

SUZIE (CONTD)

72. Candy smiles, turns over another card. CANDY The ten of Swords. EXT. CORNFIELD - NIGHT - MINUTES LATER Rod and Ian are exploring the innards of the COMBINE HARVESTER, peering at the blades and rollers. They look almost like...swords. ROD This, my friend, is the most powerful farm machine known to man. A combine harvester and thresher. Ian nods thoughtfully. IAN So...what does it do? ROD It harvests! It threshes! Look at these blades. He uses his hands to demonstrate -ROD(CONTD) Go ahead. Feel for yourself. Its the last thing on earth Ian wants to do -ROD (CONTD) Come on, man. What kind of pussy are you? Ian plucks up the courage -REVERSE ANGLE -IanS HAND, slowly...getting closer... poking through the front of the harvester. Getting even closer to the sharp blades.... Then, just as he touches the BLADE -WHOOMPH!!! The COMBINE HARVESTER ENGINE STARTS UP. Ian withdraws his hand --just IN THE NICK OF TIME as the Harvester Roars to Life. BLOOD on his wrist. The BLADE draws a thin gash of

73. The harvesters HEADLIGHTS snap on, blazing, its ENGINE roaring -- Rod and Ian are trapped in the beams of light, like scared rabbits. And then, the engine is CUT, dying. A SILHOUETTE walks out

in front of the headlights, directly in front of them. Its BILLY BOB. BILLY BOB You boys ...alright? IAN (furious) What the hell are you doing?! BILLY BOB My job. I always move the harvester to the south field before sunrise. ROD You could have killed us! Billy Bob grins at them. BILLY BOB Guess I didnt see you there ...this time of night. Billy Bob sniffs the air-BILLY BOB (CONTD) Whats that funny smell? (pause) It smells like.... ROD Manure. (to Ian) Come on. Lets go back to the house. Rod shepherds Ian away-IAN Asshole. OFF BILLY BOB, who watches with a grin on his face. INT. GRAVEYARD-SAME TIME Candy turns over another card.

74. CANDY Aha. The Lovers. SUZIE Not lately. Suzie reaches out to turn over the last card. CANDY Thats the opposing card. What lies ahead you will have to confront. Suzie turns it over. CANDY (CONTD) The devil. The candle begins to FLICKER --- suddenly goes out. girls are now in complete DARKNESS. gasp. Beat. Candy lights a match, illuminating her face. She lights a candle. They giggle at themselves for being scared. moment. EXT. FARM HOUSE - MORNING The rooster, crowing loudly at the break of the day. INT - FARM (LIVING-ROOM) - SAME TIME The couch is empty. No Keith. The rooster - his sunrise nemesis - has outlived him. INT. MACS BEDROOM -MORNING Mac has just got up. He looks on the dresser. long mahogany case that wasnt there before. He stares at it. JEREMIAH (O.S.) Little present. Mac turns to see Jeremiah standing in the doorway. Go ahead. JEREMIAH (CONTD) Open it. Theres a A bonding In a graveyard. The They Hesitates.

75. Mac does. Inside...is Jethros favorite axe. EXT. - FARM - AFTERNOON The axe, raised high, and then cutting a deep gash into a heavy block of wood. Mac is hard at work, chopping firewood. He stops for a moment, wipes his brow, and looks across at the farmhouse, where he sees -THE REST OF THE BAND -- Rod, Ian, Suzie, and Carl - are standing together, talking. And not about the weather. Although we cant hear what theyre saying, its clear that theyre talking about Mac. Macs become an outcast. Its Macs now.

Mac grits his teeth. He swings the axe high again as-We hear the SOUND of a car pulling up on the GRAVEL outside. Its the SHERIFFS car. GENE the Preacher is driving.

Only this time, hes wearing his Sheriffs hat. All dressed in khaki, with a gun on his hip. Hearing the car, Jeremiah steps out of the farmhouse and walks onto the driveway. The sheriff gets out of the car. JEREMIAH Gene. GENE Missed you at church this morning, Jeremiah. JEREMIAH Youre not going to arrest me for it, are you? GENE Hell, no. But you missed a damn good sermon. "You cant hide a wicked heart from the eyes of the Lord." JEREMIAH Sounds familiar. GENE Book of Jeremiah.

76. Across the yard, the others are watching. CARL (puzzled) Hey, isnt that the preacher? SUZIE Find out whats holding things up. I want to get the hell off this farm. ON JEREMIAH JEREMIAH You here on official business? Gene produces a couple of small PHOTOGRAPHS from his pocket. SHERIFF Couple a teenagers from the next county went missin last week on their way to a concert. Parents think something might have happened to em. Take a look. Maybe you seen em before. JEREMIAH looks at the PHOTOGRAPHS. A pause. Jeremiah seems uneasy. Is that a flash of recognition in his eyes? He hands the photographs back -JEREMIAH Oh yeah. These two. Buried em myself last week over by the cornfield. Gene blinks. JEREMIAH (CONTD) Hell, Gene, Im just yanking your chain! Never saw em before in my life. You know kids. Probably smashed up daddys car, and now theyre too afraid to go home. Gene nods, unconvinced. GENE Yeah. Could be. Gene glances over at the band, with Mac some distance away --

77. GENE (CONTD) Thought your boy and his band were only staying the night. JEREMIAH Bus broke down. Gene nods. Then studies the others. BOB Wheres the black fella? JEREMIAH Hes been axed. From the band. EXT. WOODED AREA -DUSK A small, rusty old shed, hidden amongst the trees and undergrowth, some distance from the main property. The door opens. Jeremiah emerges, carrying two bottles of moonshine, with Gene in tow. GENE You know, one day Im going to have to shut down that still of yours, Jeremiah. JEREMIAH Well, why dont you hold these as evidence in the meantime. He winks, putting the bottles of moonshine in the back seat of the sheriffs car, parked nearby. ON IAN & ROD Behind a clump of bushes, observing them -IAN Should we be doing this, dude? ROD Metaphysical question, man. EXT BARN - NIGHT SUZIE...all alone, walks to the old barn. Standing in the shadows...is Billy Bob. He watches her.

Suzie pushes open the barn door, going inside.

78. INT -BARN -CONTINUOUS Its very dark. A little moonlight. She seems to be looking for something. She clicks on her flashlight. flashlight beam hits-The

THE WOODEN BARN WALLS. A spiderweb. It moves along the walls, SUZIE hears a NOISE. Someones in the barn with her. SUZIE Anybody here? She WHIPS the flashlight beam to her right to reveal-SOME OLD RUSTY FARM IMPLEMENTS hanging from the ceiling. One is a farm machete. The tools swing slightly in the breeze. Or did someone push them? A FIGUREs standing right behind Suzie. She gasps. Then recognizes CARL. An odd look in his eyes. Maybe its just the beam of the flashlight, but he appears suddenly menacing and sinister. SUZIE Dammit, Carl!!!! CARL Sorry. He lights a match, and touches it to the fuse of a KEROSENE LAMP. Shadows flicker on the walls. Carl smiles, thrilled to have Suzie to himself. SUZIE Okay, Im here. Whats with all the cloak and dagger shit? Carl offers her some of his beer. slug, takes his time. CARL Theres something weird going on here, Suzie. SUZIE No shit. She refuses. He takes a

79. CARL Im serious. Get this. I had a careful look at that alternator. Its clearly been messed with...its not wear and tear that caused that breakdown... SUZIE Youre saying someones trying to keep us on the farm...? CARL Not someone - Mac. Suzies unsure about this. SUZIE Why would he do that? Carl leans in closer. CARL He doesnt want us to leave. Hes been acting weird ever since we got here. SUZIE Come on-CARL Suzie, face it. The only "axe" hes picked up since we came here...is a real one. He doesnt give a damn about the band anymore...or about you. She looks up, stung. CARL (CONTD) You deserve better. Theres a loud clatter somewhere in the barn. SUZIE Jesus. I dont know whats wrong with me Carl cant believe his luck. his arms. Suzies jumped almost into Suzie starts.

SUZIE (CONTD) ..I think Ill take you up on that beer after all.

80. She downs a long swig as Carl watches, his arm inching around her body. He begins stroking her arm. CARL I never told you this...but when I watch you up on stage, performing... He works his fingers up towards her neck. CARL (CONTD) Something happens to me...something deep inside... Carl reaches out, stroking her neck, moving his hand down. Suzie closes her eyes resting her head against the coolness of the beer bottle. CARL (CONTD) You need someone who cares for you. Suzie opens her eyes. Carl has his lips puckered, moving towards her - his eyes closed romantically. SUZIE Carl, what are you doing? CARL You need someone who can protect you, Suzie. Suzie stops Carl with her hand on his chest. She feels the shape in his pocket - a foil-wrapped condom, visible through Carls shirt pocket. She pulls it out, holding it delicately between her fingers. SUZIE With this?!!! Carl groans. Hes blown it.

Suzie turns to leave and notices Carls CAMCORDER, strategically placed on a amplifier, facing them. She stops. The red "recording" light is on. Suzie explodes. SUZIE (CONTD) Youre taping me?! You fucking pervert! She picks up the Camcorder, hurls it hard at Carl. misses him, lands on the straw. SUZIE (CONTD) I hope I broke it. Asshole. It

81. Suzie exits, fuming, slamming the barn door. Carl picks up

the CAMCORDER, checks to see its still working-The FLIP-SCREEN lights up. Whew.

CARL (into the lens) Note to self: Next time put condom in back pocket. EXT. FARM -NIGHT Suzie, having come from the barn, stops, hears movement in the corn field. Someones in there. Suzie freezes.

Suddenly -- ROD & IAN BURST through the corn. They hold bottles of stolen moonshine, wasted. ROD "Old Macdonald...had --" IAN "-- an AXE!" ROD & IAN "E-I-E-I-Ohhh!" They collapse into drunken laughter IAN "With a hack-hack here --" ROD "And a slash-slash there --" IAN Hi Suze. SUZIE --Where have you two been? ROD Us? We been ....moonlighting. They burst out laughing, displaying the bottles. IAN He means moon shining. ROD Harvest moonshining! obviously pretty

82. IAN Old Macdonald had some..MOONSHINE! As they start to sing-INT. BARN -SAME TIME CARLs still in the barn, fiddling with his camcorder, humming one of the bands songs. He looks closely at the camcorder screen. ON THE SCREEN: A PAIR OF BLACK FARM BOOTS.

Weve seen them before. Theyre moving closer. And the camcorders not on play. CARL Huh? CARL blinks. in He looks up from the camcorder screen, just Its recording.

time to see-- THE SCARECROW ..bigger than life, right in front of him, swinging an AXE -Carl DUCKS in the nick of time-The camcorder goes flying, landing on some straw; CARL is freaking out, diving for his life. The AXE whizzes past him-CARL (CONTD) Yaaaaaaaaa! CUT TO: IAN & ROD (howling at the moon) Awoooooooooooooo! --which covers the sound of Carl screaming. in-EXT. GRAVEYARD-NIGHT Ian takes a sip of the moonshine-ROD Wheres Mac? Theyre now

83. SUZIE Who knows? Just like a man..never around when you need them. IAN Were here.... INT -BARN -SAME TIME The SCARECROW swings the AXE again-CARL narrowly avoids the blade, but backs into the bands MIXING BOARD. It goes ON....and one of the bands SONGS

starts playing through a loud speaker. THE SCARECROW stops a second, reacting -EXT -GRAVEYARD -SAME TIME Suzie, Ian and Rod suddenly HEAR the MUSIC coming from the barn-SUZIE Carl. Probably playing with himself. BACK TO: INT -BARN-SAME TIME As the SCARECROW moves closer, CARL picks up a Fender Stratocaster guitar. He holds it by the body, using the neck of the guitar as his weapon. The bands song continues in the background, punctuating the action -The AXE swings down at him -- and Carl BLOCKS it with the Fender--CRASH----part of Ians DRUM KIT falls over. EXT -GRAVEYARD- NIGHT -SAME TIME IAN Wait a second. that? Did you hear

ROD, IAN and SUZIE pause to listen a second.

84. ROD Yeah, man. You were wrong, Suze. My solo definitely works better in the second verse. IAN Hes right. Nice guitar break. INT BARN-SAME TIME SMASH! The guitar BREAKS against the wall, as Carl swings it, missing the Scarecrow, and splintering into pieces. The SCARECROWs axe rips across Carls ARM, drawing blood. CARL drops whats left of the guitar -CARL AAAAAAAAAAAA-EXT GRAVEYARD -SAME TIME SUZIE He should turn that music down. Jeremiahs gonna kill him. INT -BARN -SAME TIME CARL, bleeding, runs for the barn DOOR. to it in time. If he can only get

The Scarecrows right BEHIND him.

CARL reaches to open the barn door from inside, when -TWAK! The Scarecrows axe plunges into his back. EXT - GRAVEYARD - SAME TIME Ian, Rod, and Suzie are still sitting in the graveyard, giggling. Suzie shouts out to the night -SUZIE Hey Carl -- kill the music! INT -BARN A gloved hand calmly reaches out...and flicks the switch. The red light goes out. The MUSIC dies. And so does Carl.

85. EXT -FARM- SAME TIME SUZIE, ROD & IAN Thank you!!! IAN, swaying on his feet, gets set to take another swig of moonshine. Suzie grabs the bottle from him -IAN Hey! She swigs deeply, finishing the moonshine, as Ian and Rod look on in amazement. She wipes her mouth with the back of her hand. SUZIE Thanks. I needed that. She hands the empty bottle---- to Ian. EXT FARM HOUSE -DAY Establishing. INT -BARN -DAY The cock crows. ROD, CANDY, IAN and SUZIE push open the barn door. Ian and Rod are especially hung-over from the night before. ROD (hung over) My head feels like a goat sat on it. CANDY (you dick) I wonder why. Suddenly, they all FREEZE, staring in amazement. The place has been TRASHED. now strewn around the ground. Rod picks up his smashed guitar. ROD My axe!!! Someone Jimi Hendrixed my axe!!! Candy puts a sympathetic hand on his shoulder. IAN surveys his drumkit, ...

86. SUZIE Carl. CARL??? ROD Carl did this?!!

SUZIE Last night..he tried to get it on with me. IAN And..?? SUZIE Id rather have a paper cut. This is how he dealt with it. IAN Trashing our instruments??! ROD Someone better tell Mac. SUZIE Why bother? IAN When I find Carl...hes a dead man! EXT - FARM - MACDONALD GRAVESITE (SAME TIME) Macs there...staring at the Macdonald tombstones. A voice interrupts him. BILLY BOB Heard from Orwell down at the garage. Alternator should be here by the end of the day. Mac nods. Not really interested. picks up an empty bottle of moonshine. BILLY BOB (CONTD) Come to pick out a plot for yourself? Mac ignores him, stares at Jethros grave. BILLY BOB (CONTD) Course, some folks say ol Jethro shouldnt have been buried up here...with the rest of the Macdonalds. Billy Bob leans over,

87. MAC Meaning? BILLY BOB Hell, he was your grandfather. You know what he did. Mac seems puzzled. He turns to look Billy Bob in the eye -BILLY BOB (CONTD) Maybe you were too young to remember. Billy Bob grins -BILLY BOB (CONTD) Maybe you dont want to remember. MAC What are you talking about? BILLY BOB Course, its none of my business. MAC Lets say today, we make it your business. Billy Bob turns to leave -- stops. Turns around.

BILLY BOB Why do you think your mother took you away from this place? Now Macs really interested. BILLY BOB (CONTD) You ever hear of ...the harvest of blood? MAC (disdainfully) Superstition. BILLY BOB Your grandfather sure believed in it. Worked pretty good...too. MAC Chicken blood on the crops.

88. BILLY BOB (grins) ...Chicken blood? Who said it was.. "chicken blood"? That landed. BILLY BOB (CONTD) Sheriff says a couple of kids are missing. An no ones seen Jesse for days. ..You ask me... someones carrying on the Macdonald tradition.. Enraged, Mac GRABS Billy Bob. BILLY BOB (CONTD) Harvest should be pretty good soon.... Mac follows Billy Bobs look. In the middle of the corn is the derelict steel structure - dry, shriveled corn rustling all around it. He loosens his grip on Billy Bob....and walks back down the hill. INT -BARN AREA -LATE AFTERNOON Ian and Rod are hunting for Carl by the fence. a baseball bat. Carl! ROD Oh Carrrrl! Ian holds

IAN Come out, come out wherever you are! INT.BARN -LATE AFTERNOON SUZIEs alone in the barn, looking for signs of Carl. Through the mess, Suzie sees -- Carls camcorder, lying on its side. She picks it up, switches it on. She rewinds, then presses "play". ON THE CAMCORDER SCREEN: A blur of images, shot from a low angle. Some kind of struggle going on, drowned out to the sound of blaring rock music. We Things getting knocked over.

89. can see Carls feet --and someone elses. In a pair of black farm boots. SUZIE ....Carl.... SUZIE --fast-forwards--to see: ON THE CAMCORDER SCREEN: A gloved HAND reaches toward the ground and pulls open what looks like a TRAP DOOR in the barn floor. Thats all -- then the camcorder goes to STATIC. SUZIE looks around, zeroing in on the exact location. She brushes the hay away -- revealing -- the edge of a hidden trap door! She pulls the metal ring. It opens-and as she looks down into it. REVERSE ANGLE -LOOKING UP AT SUZIE Her face peering over the edge, tentatively looking into darkness. Shes not thrilled about this new development. SUZIE Okkkay. Suddenly-VOICE Is Carl down there? Suzies startled. come into the barn. EXT. FIELD NEAR STEEL STRUCTURE - DAY She turns to see..... Candy, whos just

Jeremiah seems to be checking out part of the steel structure. Suddenly Mac appears through the cornstalks.

Jeremiah whirls, training his shotgun on him. JEREMIAH Damn, boy. I thought you were a gopher. Jeremiah slowly leans the shotgun against the steel structure. Mac looks up at it.

90. JEREMIAH (CONTD) it? Irrigation Your grandaddy himself. Saved from dying.

You like system. built it the land

MAC Thats a good idea. Maybe we should have a little "talk" about grandaddy Jethro. Sure. know. JEREMIAH What do you want to

MAC People say he was a murderer. JEREMIAH Thats your grandfather youre talking about! (pause) I...know what people say. Heard it .. all my life. Jeremiah composes himself.... JEREMIAH (CONTD) ..Rumors thick as buttermilk around these parts. Your grandaddy..was a great man. INT. BILLY BOBS SHACK - DAY

Billy Bob is sitting at a table in his old woodcutter shack. Theres a row of bullets standing upended on the table in front of him. He takes a deep swig of moonshine. He lifts a gun and starts to load the chamber. But its not just any gun. Its KEITHs gun. to Billy Bob now. As he loads the bullets-BILLY BOB Old Macdonald...had an axe..ei, ei oh... INT. BARN -SAME TIME Candy holds the ladder as Suzie descends down, down into-INT - SECRET BASEMENT - SAME TIME SUZIE is at the base of the ladder. She aims the beam of her flashlight at some old tools..pieces of farm equipment... It belongs

91. She listens a second, growing uneasy. No way shes staying here alone. CANDY (O.S.) Suzie??? SUZIE (to herself) The hell with this. (shouts) Im coming back up!!! As shes about to go back up the steps-She hears a steady DRIP, DRIP, DRIP coming from somewhere. Whatever it is, it doesnt sound good. She cant help herself. Shes got to look. Steeling herself, she slowly shines her FLASHLIGHT, revealing--Rusty old irrigation PIPES - part of some bigger primitive contraption. Like the contraption we saw before the fire. More tangled now, and rusty. sacs But with the clear plastic

and clear pipes still ready for use. Suzie leans back, pressing against a lever. The machine

chokes to life, driven by the thunderous sound of a powerful pump. INT.BARN-CONTINUOUS Candy hears the strange noise, growing unnerved-CANDY Suzie...? INT -SECRET BASEMENT -CONTINUOUS Suzie, transfixed by the sight of the macabre machine coming to life, liquid gushing through the pipes and valves. Thats not water. Its BLOOD. Suzie jerks the torchlight to the source of the thunderous sound above her. She throws herself back, dropping her torch. Blackness - And the chaos of the machine rattling, sucking and pumping. And Suzie gasping for breath in the dark.

92. Suzies in extreme shock. the dark Please. SUZIE ..Help me... Shes gasping, breathless into

She scrambles around on all fours trying to find the torch. Shes got it in her shaking hands with the beam still off. She forces herself to shine the torch up to the source of the pipes...and sees-Keiths dead body. Arms outstretched...like a scarecrow. We catch a brief glimpse: A network of pipes and feeds are inserted into Keiths body Right next to him, in the same manner, is Carl. Suzie SCREAMS-EXT. FIELD - DUSK

Mac and Jeremiah hear Suzies screams-EXT. -FARM -DUSK --and so do Rod & Ian -INT -BARN -LATER -NIGHT Suzie is sobbing. Everyones in various states of incomprehension and panic. Mac SLAMS the trap door, having just taken a look...in the barns basement. Rod tries to comfort Candy, whos almost catatonic, holding her chakra crystal necklace tightly. IAN Fuck man! This is fucked! Theyre all dead! What the fucks going on? JEREMIAH Im telling you--that basement hasnt been used for years. Slaves hid there.. before the civil war-ROD Weve got to call someone-get the sheriff--

93. IAN The Sheriff?! We dont need the sheriff!!! We need to get the hell out of here! MAC Weve got to find out who did this-ROD No way, man--Im not going hunting for a serial killer! Shut up! MAC Let me think. about? We going on!! Jeremiah) closed!

IAN Whats to think all know whats (points to Its him! Case

JEREMIAH --Youre saying I did this? Youre saying I killed your friends?! IAN --Killed them?? ---Bled them like sheep! We were next! Ian clenches his fists and begins moving towards Jeremiah. JEREMIAH If I wanted you dead...I could kill you right now! Jeremiah points his shotgun directly at Ian -Ian freezes. Jeremiah lowers it slightly. JEREMIAH (CONTD) ...I didnt do anything... Mac grabs the shotgun, then grabs Jeremiah-MAC Then who?! Because someone wants another blood harvest. With human blood, Jeremiah! Just like Jethro! Who did he kill back then, Jeremiah? Farmhands? Transients? People no one would miss? "Crazy Old Macdonald!" But now..its starting again, isnt it? (MORE)

94. MAC (CONTD) Someones picking up where Jethro left off! JEREMIAH --Its not me! MAC (raging) Who then, Jeremiah?? --Who?! Beat. And then-SUZIE Has anyone seen ...Billy Bob? Mac loosens his hold on Jeremiah. Good question. Where the heck is Billy Bob?

INT -BILLY BOBS SHACK -MOMENTS LATER-NIGHT The DOOR bursts open -- as Mac, Ian, Candy, Suzie, Rod and Jeremiah enter. Mac is holding Jeremiahs shotgun. Billy Bobs currently not at home. Okay. Its a messy room. ROD Nobody here. Lets go.

Old Magazine pictures on the walls.

Almost in a trance, Candy sits down, takes out her tarot cards. Theres an incriminating MACHETE with blood stains on the table. Mac stares at it, picks it up. MAC Looks like "Billy Bobs".. been busy. Theres a tall, brown upright CUPBOARD by the kitchen sink, just begging to be opened. Ian reaches out, pulling it-SQUAWK!!!! --- Billy Bobs "pet CHICKEN"--bursts out of the cupboard--- flapping, squawking--- and scaring the shit out of everybody. Ian looks lamely at the others, hes just about wet his pants.

95. Suzie continues searching, opening drawers next to the sink. Forks. Knives. Utensils. Oh my God. She pulls out a .38 special from the drawer....with a pearl handle. SUZIE (CONTD) Its....Keiths. They look at one another. Case closed. killer. Billy Bobs the And then---

SUZIE

MAC takes Keiths gun...and is about to hand the shotgun to Jeremiah. Instead... hands it to Ian. No trust.

Jeremiah and Mac lock eyes.

Rod holds up a telephone wire. ROD It gets worse. Hes cut all the phone lines. SUZIE (to Mac) Whatll we do? As if in answer, Candy turns over a tarot card. Its .... Death. Not exactly what Mac wants to see right now. He shoots out his arm, knocking the deck---the cards flutter to the floor. INT/EXT - PICKUP TRUCK -NIGHT Ian, Rod, and Jeremiah sit in the back. Macs behind the wheel, with Suzie and Candy next to him. Hes turning the key in the ignition. The engine wont turn over. MAC Shit! As they watch in silence, Mac gets out of the car, opens the hood. over. He holds up the wires, that have been severed. Theyre trapped. Game

96. EXT -EDGE OF FARM -NIGHT -MOMENTS LATER Standing together, nervous. They have flashlights--

-- and theyre armed to the teeth. Ian has the SHOTGUN...Mac holds Keiths pistol. ROD holds a pitchfork, SUZIE holds a long kitchen knife. Theyre armed...except for Candy. JEREMIAH Its a twenty-minute walk to the next farm. We can phone from there. Quickest way is to cut through the field. Beat. No ones sure who to trust. MAC (to Jeremiah) After you. CLICK-CLACK! IAN pumps his shotgun, chambering a cartridge-EXT -CORNFIELD -NIGHT HIGH ANGLE Jeremiah in front, Mac at the back, Suzie, Ian and Rod in the middle, walking through the cornfield. trusting anyone else. Their flashlights cast eerie beams across the moonlit cornfield. They continue on for a while, in silence. Jeremiah is walking briskly ahead, almost out of sight. They round a corner. ROD Wait a second...wheres Jeremiah? Hes nowhere around. Vanished. Nobody really

MAC (loud whisper) Jeremiah?

97. Theres a strange rustling sound of corn. Somethings not right -- even though they can still see Jeremiahs flashlight beam. MAC (CONTD) ..Shit. As Mac, Ian, Rod and Suzie go into the next ROW of corn... ...they see Jeremiahs FLASHLIGHT -- still lit, but hanging on an old, half-rotted SCARECROW, just rags and straw. Jeremiahs gone! SUZIE Oh god. MAC removes the flashlight from the old scarecrow. Sweeping

the area, training his gun on the empty rows of corn. And then suddenly theyre BATHED IN BLINDING LIGHT! They

shield their eyes, momentarily disoriented and blinded. Two old, powerful lights at the top of the steel structure have switched on. Suddenly, theres a WHIRRING, WHOOSHING SOUND, coming from among the rows of corn -- the band members duck in fear. Theyre...drenched. As the sprinklers come on, Suzie, Ian, Rod, and Mac try to escape the onslaught. Within seconds, theyre getting sprayed. But somethings wrong -- water sparkles red in the light. Suzie feels the sticky, warm sensation on her hand. Suddenly her hands and face are covered in red....its not just water. SUZIE (CONTD) Oh my God...its.. A moment of stunned silence. MAC - its blood. Candy screams. The group is freaked. They flee from the

field in panic - desperate to try to wipe the blood off.

98. The combine harvester parked nearby suddenly roars to life. SUZIE What the hells that? IAN You dont want to know. As it revs up, COMING STRAIGHT AT THEM--MAC Run!!!!!!! Ian turns tail and sprints for his life - in one direction, alone. SUZIE is frozen like a deer in the headlights. THE HARVESTER is bearing down on them, and-MAC PUSHES SUZIE into the cornfield, out of harms way, just in time. Mac tries to get away himself...but he cant.

THE HARVESTER, bearing down on him, and-MAC dives off the path into the cornfield, the HARVESTER close behind. Hes on the ground now, and-MACS POV: THE HARVESTER Huge, looming about to run him over. SUZIE Mac!!! Maaaaac! No answer. Then all is quiet. EXT -A ROW OF CORN -SAME TIME CANDY, now alone, stumbles blindly along the rows of corn. She just might make it. Lightning flares in the sky.

Up ahead, camouflaged by corn, she sees a CAR! A convertible...with the top slashed. Been sitting there for days. The windows are dusty -Maybe the keys are in it!

Candy scrambles closer, whips open the front door and sees -Nothing. Its empty. She scoots inside, frantically

99. looking for the keys. She hears someone coming...and slinks down...hiding. EXT -ANOTHER PART OF THE CORNFIELD-NIGHT Ian is lost in the maze of corn, separated from the group. Has he escaped? Suddenly -- to his right -- the HEADLIGHTS come on -- and the HARVESTER revs up again -coming straight for him. IAN runs for his life, coming to the end of the corn row --and falls against ------a BARBED WIRE FENCE. He clambers over the fence cutting himself on barbed wire as he does so. ON THE HARVESTER Coming closer.... ON IAN... struggling, trying to untangle himself. make it. THE HARVESTER looms over him. and caught on the fence. He swings around, bleeding Hes not going to

IAN Fuck you in hell!!! BLAM! BLAM! The Harvester keeps on coming.

IAN fires the SHOTGUN.

As the huge rotating motors PULL him and the fence into the whirling blades IAN AAAAAAAAAAAAAAA!!!!!!!!! Hes chopped meat. ON THE CORN As Ians BLOOD is sprayed over the stalks, more bloody "irrigation"-EXT -STILL ANOTHER PART OF THE CORNFIELD -NIGHT SUZIE blindly continues on -- and comes face to face withTHE SCARECROW. She gasps -- and then sees -Its the

the scarecrows hands across the pole -- MOVING!

100. killer. And Suzies had enough of this shit-SUZIE Eat this!!!! She kicks the scarecrow between the legs and THRUSTS her KNIFE straight into the scarecrows chest all in one fluid move. And she sees: Blood. Coming from the wound. She pulls the knife out. And hears a low moaning. She whips off the scarecrows burlap "mask" to reveal-Billy Bob. Duct tape over his mouth, unable to talk. Someones tied him up, dressed him up as the scarecrow. As his wide dying eyes stare into hers, Suzie realizes shes made a mistake-SUZIE (CONTD) Noooooo!!!!! Im .... sorry-Suzie backs away, and --sensing something, WHIRLS AROUND to see-Another SCARECROW. in front of her. Not fastened to a pole, but standing

An old hat, farm overalls --and a scary cross-stitched burlap bag over its face. Its the killer. Before she can react, the Scarecrows gloved HAND comes sweeping down, a long, sharp FARM SICKLE in its hand. It takes a chunk out of Suzies shoulder. The Scarecrow swings a second time. SUZIE avoids the blow anticipating and dropping back. She stabs the Scarecrow in the LEG!! It buys her a few seconds....as she turns and runs....for her life. Shes a strong runner. But its a long and scary road. EXT - FARM ROAD - NIGHT Its started raining. Were looking at the road that runs alongside the cornfield. The sound of rustling in the rows of corn, and -Rod, scratched, bleeding, comes crawling out --- he just manages to stand on his feet on the edge of the road as an old FARM-TRUCK heads in his direction, headlights

101. glaring -He waves his arms, flagging the truck down -ROD Heyyy!!!! It stutters to a halt. The passenger door opens. ROD (CONTD) Listen--weve-Rod looks at the driver: a foxy-looking chick in overalls.

TRUCK DRIVER Hey, you one of those musicians stayin down on Macdonalds farm? Rod, bloody, dazed, just stares. TRUCK DRIVER (ORWELL) (CONTD) Names Orwell. Got yer alternator right here. Orwell points at a cardboard box in the front of the truck ORWELL Say. You need a lift or somethin? Rod manages a grin. Shes a lifesaver. As he jumps in--

EXT -FARMHOUSE-NIGHT-MOMENTS LATER. Bleeding, SUZIE has made her way back to the front door of the farmhouse. She pounds on the door. SUZIE ..please... And then she sees the THRESHERS HEADLIGHTS. away...but its coming towards the farm. She glances over at.....the barn. EXT. BARN She opens the barn DOOR...leaving a bloody handprint... INT. BARN Scared shitless, Suzie glances around. to hide? Is there a place Its far Its locked--

Possible safety.

102. Silence. The sound of the Threshers gone....but theres

something else. Footsteps. Someone -- or somethings coming. She moves to the farm She

Empty-handed...she needs a weapon.

implements and scythes hanging from the hooks. selects a SCYTHE. But shes not tall enough!

She cant pull it off the hook! She cant remove the

The FOOTSTEPS are getting closer. scythe--

Someones now right outside the barn DOOR. SUZIE finally manages to pull the SCYTHE down off its hook, shes got it. THE DOOR starts to creak open, SUZIE raises the scythe above her head to strike, shes going to really let this fucking Scarecrow have it, and-Its MAC. alive. Bloodied, ripped clothing, and hurting...but They stare at one another--Suzies freaked, the

scythe still poised to strike-MAC Suzie...its me....Mac. She finally gets a grip. She lowers the scythe...and falls into his arms, hugging him. Mac notices her bloody shoulder. MAC (CONTD) Suzie-SUZIE (a sobbing torrent) Billy Bobs dead. --We were wrong--he didnt do anything. I-Its the scarecrow-MAC Wait a minute-SUZIE I ..saw him--he tried to kill me--hes, hes-still --out there-MAC What are--

103. SUZIE HES STILL OUT THERE!!! MAC --Youre not making sense!! What "Scarecrow"? Suzie pauses. ON MACS LEG Hes dragging it behind him, limping slightly. blood on it - a fresh wound. Suzie freaks. She just stabbed the Killer in the leg. ...And now Macs leg is bleeding. SUZIE Youre....limping. MAC I hurt my leg. Diving away from the Harvester---it almost got me. Suzie stares at him. Suzie picks up the scythe again, backing up, not taking her eyes off Mac-Suzie. Its you. father. No-SUZIE You brought us here. And that morning I found you in the barn. You had scratches on your face-MAC -Listen to me-SUZIE --You sabotaged the bus! You kept us here. ..To die! First Keith, then Carl-MAC Suzie-MAC (CONTD) ..No. SUZIE You and your MAC Theres She looks down.

104. She raises the scythe, about to strike--And then -- The harvester starts up again. Suzie doesnt know what to do. She doesnt have to think too long. The next moment ---CRASH! The WALL of the BARN cracks. ploughing right into the BARN!! MAC (CONTD) Suzie, Come on! They rush to the Barn Door. Theyre trapped! CRASH! The HARVESTER, headlights blazing, is chewing wood, coming through the wallMAC (CONTD) This way! Macs pulled open the basement trapdoor. MAC (CONTD) Trust me! ---Now! Mac grabs one of the burning kerosene lamps. climb down the ladder-Just as they Suzies terrified. Its LOCKED from the outside! The HARVESTER is

CRASH! The HARVESTER has entered the barn, wood flying everywhere-INT -SECRET BASEMENT (BARN) -MOMENTS LATER MAC and SUZIE are now down under the barn. Mac slides the bolt on the trap door, locking them down there. At least theyre safe for the moment. But........... The silhouettes of "Keith" and "Carl" , still there, cast weird shadows on the walls. SUZIE No Mac, please...I--MAC Dont look. Above them, they can HEAR the HARVESTER --being turned off. Silence. MAC shines the kerosene light around. And then--

105. THE TRAP DOOR...starts shaking. it open. The padlock seems to hold. Someones trying to pull

But then --- THE HIGH-PITCHED WHINE of a power-driven CHAINSAW. The TRAP DOOR rattles --and a CHAINSAW BLADE jabs through. Someone...or something....is CUTTING through the trap door to get to them! The blade of the chainsaw is carving the trap door into pieces. SUZIE Mac!!!! A section of the trapdoor falls in. Suzies transfixed by

the macabre figure of the scarecrow she can see in the gap. Mac has found a LARGE HOLE in the wall behind a series of PIPES. Big enough to fit through. option. The only way out. Over here! MAC Hurry! Theres no other

Mac grabs Suzie...and together, they climb through the hole, into-INT -UNDERGROUND TUNNEL -CONTINUOUS Dank and strange...theres puddles everywhere, dripping from the irrigation pipes. Blood streaks the wall. Its not a place youd want to be. They cast a glance over their shoulders. Is someone following them? They can hear loud hammering - perhaps someone shouting "Mac" like a wounded animal. They move faster....as the tunnel twists and turns. ---Finally coming to: A BOLTED DOOR. They unbolt the door. Mac holds the kerosene lamp high, REVEALING theyre now in --

106. INT -AN OLD CAVE/SHACK -NIGHT -CONTINUOUS An old stone shack built over the mouth of a natural cavern. The pipes on the cave roof feed up through the roof into the irrigation system. Were obviously in the scarecrows domain. Mac bolts the door behind them. SUZIE Jesus. Theres some beat up old-style furniture...a pile of straw that could be a bed. A bottle of moonshine. Hanging up are strange totems and talismans made of corn husks. Other objects hard to see in the shadows. Something about it bespeaks insanity. There are objects on an old table: souvenirs from all the murders. Keiths shoes. Jesses straw dolls. A weapon. Suzie looks around.

Mac notices a KNIFE.

He examines it...runs a finger along the bloodied edge... SUZIE (CONTD) Mac...lets get out of here. MAC Dont you see? Whatevers going on....Im part of it. Mac sees ....the old MUSIC BOX. SUZIE Mac-And for the first time, we see inside it. A circle of hand-carved figures of FARM ANIMALS, cow, pig, horse...in a circle. In the center...is an empty slot. Something is missing. MAC Get out of here. No. SUZIE Not without you--He opens it up.

107. He reaches in his pocket, takes out the wooden scarecrow figure...and clicks it into place. The music box begins to play. ...an eerie rendition of "Old MacDonald Had a Farm". it As

does, the carved "animals" weirdly revolve... around the main figure. Mac cant take his eyes off it. SUZIE (CONTD) Mac...? And then... AT THE MOUTH OF THE CAVE a MAN, silhouetted by woods and moonlight appears. Its Jeremiah. Unarmed. He stares at them, a strange look on his face. MAC Jeremiah? JEREMIAH sees the music box in Suzies hands -- and takes a step toward her. Mac just stands there.

Suzie freaks, grabs the KNIFE off the table in front of Mac. SUZIE (raising her kitchen knife) K-Keep away.. Jeremiah moves closer--and closer. out. JEREMIAH Give me that-SUZIE I said, stay back! Jeremiah lunges. As Suzies about to strike, MAC GRABS her wrist, taking the knife away. MAC No! Jeremiah reaches out....taking the music box from Suzie. Jeremiah looks up, pleased. As if waiting for something. Suzie holds her knife

108. The music box winds down, stopping. And then...from outside...the sound of footsteps. Someone else walks into the room. The Scarecrow. ..Burlap stitched mask, overalls, gloves. And in his right hand -- a familiar axe. He looks at Mac and Suzie...then Jeremiah. Mac and Suzie stare, with a mixture of horror and amazement. The Scarecrow ...takes one menacing step forward. And then -JEREMIAH You see? Theyre here. I didnt mess up. Did I.... Beat. JEREMIAH (CONTD) ....daddy. SUZIE (incredulous) ......"Daddy"? MAC (softly; to himself) Oh my God. .....Jethro. Jethro takes another menacing step towards them. Old Macdonald. MAC (CONTD) The trap door. Thats how he escaped the fire... SUZIE (amazed; to Jeremiah) Youve been...hiding him all these years. Helping him...irrigate the land. With blood... JEREMIAH Well, you know what they say. ...To make a good omlette...you got to break a few eggs. Jethros hands tighten around the axe. The real

109. AND --THWAK! JETHRO brings down the AXE, embedding it not in Mac--but in an old wooden table in front of him. On the handle he can see: "Jethro Macdonald". A silent communication passes from Jethro to Jeremiah. JEREMIAH (to Mac) You know what to do. Jeremiah gives a slight nod toward SUZIE: clear: kill her. JEREMIAH (CONTD) Its time to make amends. MAC (weakly) Amends..? JEREMIAH Think boy. That night. The night of the fire. At the barn. You were only six years old. MAC I-Mac tries to think. FLASH IMAGE FIRE...everywhere. In the barn-Then-The intent is

JEREMIAH You were there!!! Mac struggles to remember. Hes torn, conflicted -Then -- suddenly-QUICK FLASH IMAGE - MEMORY - FROM SCENE ONE Young Mac...hiding in the barn. The Music Box. JETHRO in the shadows. But now...we reveal other things: BLOOD...drip, drip, dripping. From Jethros contraptionpushing through pipes and plastic sacs.

110. FLASH IMAGE: Several dead bodies nearby. Murdered FARMHANDS and TRANSIENTS. Prepared for Jethros blood harvest and attached to his machine. JEREMIAH (O.S.) Thats right. You were there. Then another series of IMAGES flood through Macs memory: As young six year-old MAC tries to get away, his ankle is GRABBED by Jethro. Terrified, trying to escape, young Mac reaches out -grabs the LANTERN and throws it at Jethro. It explodes, engulfing Jethro in flames.. ...turning him into a human fireball. Mac scrambles away-BACK TO: INT. CAVE/SHACK -NIGHT (PRESENT DAY) Macs stunned, dazed, finally remembering everything. MAC I ..started the fire. Jethro pulls off a glove. His hand is horribly burned. We

can only imagine what his face must look like. JEREMIAH --But its alright, boy! (indicating Jethro) He forgives you. Isnt that right, Daddy? Jethro grabs Macs hand, puts it on the axe handle. And then...with a rasping, evil voice-JETHRO Pick it up. Mac looks at his "family". Mac looks at Suzie. Sees eagerness.

Sees cold fear.

JEREMIAH If you dont do it...he will! Mac hesitates. Mac reaches out, touching the handle. He feels the

111. wood...almost caressing it. all. JEREMIAH (CONTD) Thats right. Mac makes his decision. He cant help himself. He steps Maybe hes a Macdonald after

towards Suzie. Her eyes grow wide with terror. He tenderly touches her hair. His hand moves around to the back of her neck. Pure tenderness. And then---Suzie sees the KNIFE in Macs other hand. SUZIE (terrified) ...no...Mac...p-please... MAC Cant help it, Suze...family sticks together... Locking eyes with Suzie...Mac PLUNGES the knife into her abdomen. In total disbelief, Suzie looks down..at the knife. blood. The

Her hands encircle his, feeling the knife handle. They stare at

...and then, she looks back into Macs eyes. each other.....

...as Mac continues to pull the KNIFE up..up...gutting her. Blood seeps through her clothing. Suzies eyes glaze over...almost as if shes accepting her fate. Mac lowers her to the ground....dead, never taking his eyes off her. He pulls the knife out, releasing Suzies lifeless body. MAC stands up, faces Jeremiah and Jethro. If you could see through the scarred tissue, you might see a smile on Jethros lips. MAC, almost in a trance, walks over to the wooden table.

112. He picks up an open bottle of MOONSHINE. Mac takes a huge swig to steady his nerves. JETHRO Welcome.. home, boy. Mac puts down the bottle of moonshine, wipes his mouth. Beat. He turns towards Jeremiah and Jethro-MAC Actually...I was just yankin your chain... MAC holds up the knife. With a slight grin, he pushes down on the retractable blade. Its the fake knife from the opening sequence. Kept as a souvenir by Jethro. Then-VOICE Hey old Macdonald... Jeremiah and Jethro turn ...to see.... SUZIE. A long line of fake blood down her chest. hand. MAC SWINGS the bottle of MOONSHINE, SMASHING it against the side of Jethros face-SUZIE ...you just bought the farm. SUZIE HURLS THE LANTERN --it hits the moonshine-soaked straw and WHOOSH! Jethro EXPLODES into flames, covering his entire body. He emits a weird, strangled cry...the only sound weve heard him make-JEREMIAH Daddeeeeeeee! Frantic, a dutiful son til the end, Jeremiah tries to help his father, putting out the flames, ignoring the fire that Lantern in her

113. burns his own hands and face-MAC (softly) Ei, ei.....oh. Mac grabs Suzies hand and they make a run for the cave entrance. They look back to see--

JEREMIAH grappling with JETHRO, trying to extinguish his flames. Jeremiah catches fire also, both of them caught in a raging inferno--EXT -CAVE ENTRANCE -NIGHT -MOMENTS LATER As smoke and fire pours out of the cave/shack....Suzie stumbles out, helping Mac. bloody, exhausted. And then -The fire reaches the old MOONSHINE STILL. It explodes, sending flames and debris shooting into the air. Mac and Suzie, helping each other, stumble out of the way. They collapse on the ground, dazed....but alive. SUZIE I almost thought for a second... MAC Never. He holds her tight. As we PULL BACK slowly, they look back at the raging inferno inside the cave. Around them, reflections of RED and BLUE LIGHTS now -The SHERIFF is on the scene. An AMBULANCE as well. Candy has made it alive. as Wrapped in a blanket she watches Theyre a mess. Coughing,

a couple of PARAMEDICS rush to help Mac and Suzie. ROD dazed, bleeding, but happy to see them -- and happy to be

114. alive. Hes brought the calvary.

In addition to Candy, standing next to Rod is ... ORWELL, the alternator girl, watching in amazement. fire and paramedics....better than MTV. ORWELL Id give anything to be in a rock band. ROD just looks at her, entranced EXT - CONCERT HALL - MAGIC HOUR Several months later. Throngs of people, enjoying the music. A big stage. And on itDead Quiet are back survivors. Theyre their experience on they lacked before. in business, like true rock n roll a leaner, meaner, tighter band now the farm has given them a tight edge Its the edge that goes with stardom. She watches the

MAC is at the mike, singing his heart out once again. SUZIE is still pumping the bass, alive with energy and passion. She looks at MAC. They smile at each other. Theres a new guy on drums, taking the place of IAN. No keyboard player. But someone else seems to be missing. As the song moves into a bridge, Mac looks off-stage -MAC Wheres Rod? Hes talking to ORWELL, whos now officially part of the family. MAC (CONTD) Find him. Now! EXT -BACKSTAGE -SAME TIME Rods standing in a backstage area, looking clean, sober, and ready to rock. With him, straightening out his costume, is Candy. Rod is signing a COMPACT DISC of his new album for a WOMAN with a notebook in her hand, and a PRESS PASS pinned to her tee-shirt --

115. PRESS WOMAN One last question -- how long did it take you to write the songs for "Old Macdonalds Farm"? ROD (counting on his fingers) Well, after Mac and Billy Bob got out of the hospital, and I got out of rehab -CANDY Four weeks! Thats all. And now their CDs number ten this week. With a bullet. Candy kisses Rod, just as a PHOTOGRAPHER snaps a photo. FLASH! The picture FREEZE-FRAMES...turning into a black and white still. We hear "Dead Quiets" latest Indie rock hit fade through. And in black and white, like a music video, weCUT TO: A FAMILIAR WOODEN SIGN ..which reads: "Macdonalds Farm".

Thats because were back at-EXT. MACDONALD FARM -NIGHT (SAME TIME) A REAL ESTATE AGENT, his rental car parked nearby the entrance, is hammering another sign: "Property For Sale."

Using a rock, he whacks the sign into the soil. Suddenly, HEADLIGHTS illuminate him. He turns to look,

squinting, shielding his eyes, trying to see the driver-Hi. REAL ESTATE AGENT Can I help you?

INT. BACKSTAGE AREA (CONCERT HALL) -SAME TIME ORWELL Hey, Rod -ROD Hey baby. A slight flicker of jealousy from Candy. Rod always gets the

116. babes. ORWELL Mac wants us on stage. a hurry. ROD Im coming. Rod gets ready to go on. Candy picks up his new guitar-In

CANDY Hey, honey. Dont forget your axe. EXT. MACDONALD FARM -SAME TIME An AXE. A real one. He sinks

..going into the chest of the Real Estate Agent. to his knees, dying. EXT - CONCERT HALL (STAGE) - SAME TIME

Rod, guitar held high, strides on stage to tumultuous applause. ORWELL follows him, taking her place behind the organ. Shes in the band now, too. Keyboards.

Rod winks at Candy, watching from the wings. Suzie is amused, at the slight jealousy between Candy and Orwell. As Rod launches into a blistering guitar solo, Mac & Suzie share a moment. For Dead Quiet, business --and life...has never been better. EXT -FARM -SAME TIME The dead body of the Real Estate Agent is lowered into the back of an old PICK-UP TRUCK. Then the AXE --with the initials "J. Macdonald." carved on it -is put back in the mahogany case. We PULL BACK TO REVEAL -Jeremiah Macdonald. Sort of. Alive and well.

117. Hes survived the fire. But...like his father, his face is horribly burned and scarred. Hes wearing overalls and gloves. In the back of the truck is an assortment of deadly FARM IMPLEMENTS...scythes, knives, etc. ...and the music box...slightly blackened from the fire. JEREMIAH slots the small carved figure into place. MacDonald" The music of "Old

mixes with the indie rock DEAD QUIET track. He pauses to look at the surrounding cornfields. could use a little ...nourishment. JEREMIAH Well Daddy....its harvest time. Jeremiah puts on the SCARECROW mask. He then reaches down....and uproots the "For Sale" sign, tossing it away. Jeremiah starts up the truck, ....ready to carry on the family tradition. It is indeed, harvest time. HOLD on the PICK-UP...as it pulls away, traveling down the dirt road...and into the farmland night. Lets leave him there... For now. THE END They