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FADE IN: TITLE AND CREDITS A piercing high note is sustained on the soundtrack as the main title, "CRYSTAL JAPAN" speeds straight at the audience in 3-D and seems to jump right out at them. The opening credits follow. Ominous theme music fills the soundtrack, growing darker and more dissonant. The theme music slowly dissolves into the sound of a radio news broadcast, as the credits continue to unfold. RADIO NEWSCASTER (V.O.) ...and I'm Ed Harris with the KLTZ Early Morning Report. Theme music out. RADIO NEWSCASTER (V.O.) (continuing) Crystal Lake in Pinehurst County, the scene of several unsolved deaths years ago, is tragically back in the top of the news this morning. Police have uncovered the remains of eight, as yet, unidentified persons in a gruesome and baffling story of mass murder... End credits. CUT TO: EXT. ROADSIDE MARKET - EVENING Shooting over a line of ruffled bushes with leaves just turning towards a rural, time-worn country market. A wide gravel parking area makes it accessible to the highway running past it, otherwise, this Mom & Pop store seems almost like a vision of times gone by. The bushes and overgrown grass, unrestrained by any human care, strengthen the sense of isolation. The dying sun shoots its last rays through the trees behind the market. The market has a battered second-story: the living quarters of the people running it. A truck roars by. Then silence, and then again the sound of the radio news report: RADIO NEWSCASTER (V.O.) ...Judging from the sheer brutality of the murders, police theorize that they must have been committed by at least four persons... EXT. THE HOUSE / STORE - ANOTHER ANGLE Sagging clotheslines cluttered with drying laundry run across a narrow backyard, all the way to a rickety old shed. The clotheslines are supported by one solitary pole. Linen and garments billow in the rising evening breeze. Cold, foreboding music accompanies the camera as it moves toward a pair of flapping khaki pants and an olive green workshirt hanging side by side on the line. The radio news report grows louder as the clothing snaps directly into the lens. RADIO NEWSCASTER (V.O.) ...The sole survivor of the massacre has been taken under heavy sedation to County Hospital in Linfield for observation. She's been unable to provide police with any clues and is being kept under round the clock guard... HEAVY FOOTSTEPS And then a man parts two shrouds of wet laundry, making his way back towards the house. This is HAROLD: 40ish, paunchy, unshaven and so clumsy that he hits the clothesline pole and knocks it down, burying himself under a heap of linen. A transistor radio pops out of the pocket of his threadbare shirt, still broadcasting the news. One of the upstairs windows opens with a creak, and EDNA Harold's wife, sticks her head out and looks into the backyard: EDNA (loud, harsh) Goddamnit Harold! I spent all day yesterday washing your clothes and look what you're doing to 'em. Shows how much you care about me. Harold watches her from under the pile of laundry. Then he grabs the radio, staggers up, increasing the radio's volume as he does so, to drown out the voice of his wife. Above him, Edna raves on for a moment (we can't make out what she is saying), then furiously slams the window shut. CUT TO: INT. UPSTAIRS LIVING ROOM - EVENING The room is musty and cluttered like an old attic. Edna stomps away from the window and turns her attention to the partially functional, old clunker of a black and white TV. She plops herself down onto the lumpy couch and picks up two knitting needles and returns to work on a sweater. A news report about the mass murders is being broadcast. INSERT - TV TELEVISION REPORTER ...A police spokesman tells Eyewitness News that authorities have been combing the area since just before dawn. Reports of cannibalism and sexual mutilation are still unconfirmed... Nevertheless, these murders are already being called the most brutal in local history. EDNA Leans in to adjust the long rabbit-ear antenna, spreading the ears apart for a better picture. She listens intently. TELEVISION REPORTER The motive behind the grisly murders remains a mystery at this hour as does the identity of the killer or killers. The search continues for more bodies. EDNA (to herself) My God, My God, My God. TELEVISION REPORTER ...Residents of the Lake region are being urged to take extra precaution when approaching strangers and to report anything unusual to police, immediately. We'll be back with the weather forecast after this important message. Visibly upset, Edna rises to her feet. She goes over to the door leading downstairs to the market, opens it and call out. EDNA Harold, what're you doing down there? No response. She rushes to the window, jerks it open and sticks her head out. EDNA (continuing) Harold... I want to talk to you. No answer. EXT. BACKYARD - EDNA'S POV of the backyard. The laundry quietly swells in the wind. For an instant, a human form is visible between layers of drying clothes. From this distance, Edna can't make out who it is. EDNA Harold? INT. HOUSE Unnerved by the continuing noise of the TV, Edna goes back to shut it off. She quickly returns to the window and looks out again. EDNA'S POV No sign of anyone, but there is an empty span of clothesline where several articles of clothes were hung, only a second before. INT. HOUSE Edna runs for the apartment door. CUT TO: INT. MARKET - EVENING Edna flies down the stairs and enters the store from the back. The market is dark, save does shafts of dying sunlight through the grimy front windows. She scans the few aisles back and forth. EDNA Harold? A big rabbit appears from behind an arrangement of Campbell's soup cans, and stands on its hind legs on the aisle, trying to guess Edna's next move. Still calling Harold, she turns; starts at the sight of the rabbit; she grabs a tomato from the produce display, throw it at the animal. EDNA (continuing) God Damn pest, what are you staring at? She misses, grabs more vegetables and hurls them at the rabbit. The rabbit dodges them, and scurries away. EXT. BACKYARD - EVENING The sunlight is almost gone, stretching the shadows even more. In her nightgown, Edna pushed open the creaky screen door and steps out into the backyard. Shooting towards her through the laundry flapping on the clothesline. As she touches a set of pajamas and finds out that they are still wet. A shoulder suddenly enters the flame, and someone's silhouette blocks the screen just for a couple of seconds, before the intruder slips behind another curtain of drying clothes, revealing Edna again: she's still checking the clothes and hasn't noticed anything. She comes to where the trousers and workshirt were, and no longer. That's a shock, but she's not quite sure that they were here in the first place, so she goes on, and starts talking to herself to fortify her ailing courage. EDNA Christ All Mighty, Harold, you just take what's yours and leave the rest for me to do. Very considerate! (collecting the dry laundry and putting it in a basket) You could at least finished the job. Do I have to do everything around here? Edna hears a noise and whips around. Her imagination is working overtime. A bedsheet is swelling slowly in the breeze, taking the shape of a human body. Is anyone behind it? Ominous music... EDNA (swallowing hard) Harold... I swear, sometimes you're such a child... She charges forward. She rips the sheet off the line and falls in a heap with it. There is no one behind it. She turns over and lays on her back. Above her, there's only the dark evening sky and the branches of a tree, rustling back and forth. Edna gets up and quickly pulls the remaining laundry off the lines, tossing it into the basket. As she does, she passes near the wooden shed at the back of the store. EXT. YARD The shed door creak open. Edna turns around. Suddenly, there's a crashing noise from inside. That's enough for Edna... she hauls up the basket and rushes back inside the store. CUT TO: INT. MARKET - NIGHT The white rabbit that gave Edna such a scare is now hopping across a row of canned goods. A man's hand enters frame and grabs the rabbit by the nape of its neck and lifts it off the shelf, into his arms. It's Harold. He places the rabbit on his shoulder and grabs a jar of peanuts from the shelf. He twists open the vacuum- sealed jar and wolfs down a handful of its contents. With another handful, he feeds the rabbit, who sniffs and partakes. Harold rescrews the lid and places it back on the shelf. He turns on the radio in his breast pocket. Music blares. He grabs his broom and starts sweeping down the aisle, the rabbit remaining contentedly on his shoulder. Harold stops at the dairy case and grabs a half-gallon jug of milk. He breaks the seal and pulls off the cap. He first offers the rabbit a taste, then gulps down a swig himself. IN THE BACKGROUND An unidentified face, in soft focus, peers in through the storefront window then disappears almost as quickly. Harold is unaware. HAROLD screws the cap back on and replaces the jug in the case. The sound of crunching and munching. Harold turns around. The the produce section, the cellophane packages of carrots on display are moving slightly. He reaches in and pushes off the top few packages to reveal, underneath, another rabbit, a grey one this time, nibbling on a carrot. He lifts the rabbit out of the case and places it on his opposite shoulder. HAROLD (looking from one rabbit to the other) Sorry guys, it's back to the slammer before Edna make a fur coat out of ya. On his way to the back door, Harold passes a rack of cakes and pies. He stops long enough to open a box of six chocolate-covered donuts. He takes one out and shoves it into his mouth. Unbeknownst to Harold, a human form in shadow appears at the back door. The door is quietly pushed open. Someone is watching him. The camera as stalker enters the store and moves slowly towards Harold, his back to us. Ominous music accompanies the approach. Checks filled to capacity. Harold closes the package and puts it back in place on the rack, hiding it under several unopened packages. Harold turns. The stalker is right behind him, completely startled, he jumps back and chokes on the doughnuts. The rabbits hop off his shoulders. Unexpectedly, Harold find himself face to face... with his wife, Edna. EDNA Didn't I feed you enough for breakfast? Harold doesn't answer. EDNA (continuing) The doctor said you had to lose weight, didn't he? I try to help you but you sneak food behind my back. What am I gonna do with you? Without a word, Harold bends down to retrieve the rabbits. He scoops them up in his arms. EDNA (continuing) And put those filthy animals back where they belong, please! Harold exits by way of the back door. CUT TO: EXT. BACKYARD - NIGHT Harold puts the grey rabbit on his shoulder, the white rabbit remains wrapped in his arms. He swallows the rest of the doughnut in his mouth as he flips a flashlight out of his back pocket and ambles across the yard. CUT TO: INT. SHED - NIGHT Light filters through the cracked walls partially illuminating a variety of tools, old barrels, various odds & ends - and a rabbit hutch. Harold flicks on the flashlight as he enters. The rabbit atop his shoulder jumps off and scurries away. The rabbit in his arms squirms and squeals. The animals sense that something is wrong. HAROLD (stroking the white rabbit) What're you little guys so nervous about? He scans the shed with the flashlight to locate the runaway as he tries to contain the jittery ball of fur in his arms. The flashlight searches each corner, until the beam finally stops on: THE RABBIT HUTCH Music pounds hard on the soundtrack, as through the hutch grillwork we can see a mass of dead rabbits, lying one next to the other, staring up with glinting, glass eyes. Harold stands immobilized, in a state of shock. He looks down upon the limp bodies of his beloved pets, his face turned into a sad mask of outrage. He holds onto the white rabbit even tighter. HAROLD Who would do this...? Trembling, Harold reaches to lift the lid of the hutch. The music throbs... A big timber rattlesnake springs out of the hutch, mouth wide and open, twin poisonous fangs shining in the beam of the flashlight. The music drops out as the snake's loud kiss dominates. The muscles of its dark, lean body push the deadly mouth ahead, into the lens of the camera. Instinctively, Harold slams the hutch down, dropping his flashlight and the white rabbit. The snake hisses and spits at the camera through the wife mesh. Literally scared shitless, Harold races out of the shed, holding his stomach with both hands. CUT TO: INT. STAIRWELL - NIGHT Harold dashes through the back door, and up the stairs like a charging bull. CUT TO: INT. UPSTAIRS LIVING QUARTERS - NIGHT Harold bursts through the door, crashing into his unsuspecting wife. Edna is knocked off balance and tries to hold onto him. EDNA What happened? What's the matter? Harold can't talk. He rubs his stomach and heads straight for the bathroom, vanishing inside. EDNA (continuing) It's all the crap you've been stuffing yourself with. Edna turns up the volume on the TV and plunks herself down on the couch. She reaches for her knitting bag and empties its contents. One of her two, long, thin knitting needles is missing. EDNA (rummaging all around her) Now where could that other needle have gone? CUT TO: INT. STOREROOM / BATHROOM - NIGHT The room is a combination: storing place mostly, there are two ample cupboards facing each other, each leaning against a wall, a mess of crates and boxes lying on top of each other behind a dusty curtain... and a toilet bowl, left from the days when this was just an oversized bathroom. The toilet bowl is against the fourth wall, at an angle behind the door. The sound of the TV filters through the door as Harold, trousers down to his knees, sits on the toilet, sighing with relief as the first bout of diarrhea is over. He loosens his collar, wipes some sweat from his brow, reaches behind the toilet tank, and produces a hidden bottle of Whiskey. He unscrews the cap and takes a hardy swig. He leans back and shut his eyes. HAROLD (to himself) Those poor little creatures... Another swig. Some of the liquor spills over his chin and he wipes it with his sleeve. His eyes wander around aimlessly, then focus on... THE DUSTY CURTAIN partially masking the mess of boxes and crates. It seems to ripple subtly, moved by an ever so slight movement of air, perhaps someone's breath? Harold waits. The curtains seem still. Harold is about to relax when a brief, hollow noise is heard. Harold tries to locate the noise, but it's over before he can tell its source. Pants around his ankles, he rises, shuffles to one of the closets. It takes some courage to yank the door open, and the camera moves fast into a... FLAT CLOSEUP of empty shelves - nothing has touched them in a long time, except dust. Breathing relief, Harold pulls up his pants again, just enough to be able to hobble grotesquely to the dusty curtain. He rips it apart, stares at the odd assortment of boxes and crates - empty, lifeless, and uncannily menacing because of their lifelessness. Reassured, Harold gives the other closet a glance, almost decides against checking it - and then changes his mind, and stumbles, pants still around his ankles, towards it. Looks like this one hasn't been opened at all for a long time. Harold tugs at the door - a creak, followed instantly by a musical stinger as a huge hand holding a meat cleaver rips into the shot, strikes Harold, imbedding the cleaver in his chest. Harold manages a half-scream that mixes incongruously with the laughter from the TV in the living room. As the hand twists the cleaver, the scream becomes a raspy cough. Harold stumbles backwards and crashes to the floor. CUT TO: INT. LIVING ROOM - NIGHT Edna hears the crash. She turns off the television. EDNA Harold? No answer. She gets up from the couch and goes to the bathroom door. She listens and hears the noise of the toilet flushing and flushing, as if someone's hand never released the lever. EDNA (rattling the door knob) Harold... what's taking you so long in there? You all right? She pushes against the door. It doesn't budge. She looks down and notices some kind of liquid seeping out from underneath the bathroom door. She dips her fingers in it and sniffs. EDNA (continuing) Whiskey, I thought so. She goes over to a desk, opens a small drawer and finds a skeleton key. She hurries back to the bathroom/storeroom door, ready to insert the key. To her shock, the door is now open a crack! For a moment, Edna is nonplussed. EDNA (continuing) Harold! She pushes the door - it swings open, revealing the open closets, the boxes and crates... INT. BATHROOM - NIGHT Edna steps inside and inadvertently kicks the half-empty bottle of Whiskey. She picks up the bottle while the flushing noise persists maddeningly. She turns toward the toilet, which is behind the door and screams at the sight of Harold sitting there. HAROLD pants down, like a grotesque dummy, blood drooling out of the corners of his mouth, the meat cleaver sticking out of his chest and one elbow stuck against the flushing handle. The Whiskey bottle falls from Edna's hand, hits the floor and shatters. Edna screams uncontrollably. From behind her a huge hand enters the flame and pierces the back of her head with the previously missing knitting needle. The needle is pushed out through her mouth, right at the camera. she gags on her own blood and slums out of frame. CUT TO: EXT. WORKING CLASS NEIGHBORHOOD - MORNING A group ethnic children are playing stickball in the street, weatherworn two and three-family houses on either side of them. A red passenger van screeches around the corner and heads down the block, slowing down as it advances on the oblivious children. The driver sounds the horn, warning of the van's approach. Most of the children scatter, but a few don't, yelling and banging on the sides of the van as it passes. The van continues for a few yards then parallel parks in the first available space. The driver Chris...19, blond, attractive but intense...steps down and circles around to the passenger side where two others jump out. They are Debbie...19, brown-haired, vivacious and healthy, the all-american cheerleader type...and Andy...slims, athletic and ruggedly handsome. DEBBIE Which one is it? CHRIS (pointing) It's the last house on the left. She lives downstairs. Chris turns back to the van. CHRIS (calling through window) Hey Shelly! Come on out and meet your date. SHELLY'S VOICE (from inside van) Bring her to me! Chris looks back at Andy and Debbie for advice. ANDY (shrugging his shoulder) What're you gonna do? DEBBIE Maybe this wasn't such a good idea. Chris calls into the van once again. CHRIS How about you two? You coming? Two other voices shout back: VOICES (in unison) No! Chris throws up her hands in frustration, joining Andy and Debbie. They cross the street abreast. CAMERA TRACKS in front of the three friends. A rotund, ominous-looking figure in a hideous, ghostly white mask springs out from around the hidden side of the van. The figure follows a safe distance behind the unsuspecting threesome, brandishing a knife. As they walk, Andy and Debbie are locked in each other's arms and they begin to kiss. Chris looks at them and shakes her head. CHRIS Sex, sex, sex. You guys are getting boring, you know that? Debbie breaks the kiss, feeling a little embarrassed. ANDY So what would a weekend in the country be without sex? DEBBIE (stern) Cool it, Andy. ANDY (apologetic) I didn't mean it the way it sounded... CHRIS I know you didn't... Little by little, the masked figure advances from behind. CHRIS (to Andy and Debbie) Look guys, I don't want to ruin your weekend. What happened to me at the cottage happened a long time ago and I think I've worked that out. I'm all right now. The figure draws even closer raising the knife above his head. CHRIS (continuing) I appreciate the fact that you worry about me, but don't. DEBBIE Okay, we won't. We'll just have fun, all agreed? The masked figure rears back and plunges the knife into Andy's back. ANDY Aaahhh! The rubber knife bends in half. Andy, Debbie and Chris whirl around to face the assailant. ANDY (continuing) Dammit Shelly! Why do you always have to be such an asshole! SHELLY (still wearing the mask) I beg your pardon, I'm not an asshole. I'm an actor. ANDY Same thing. Chris and Debbie, in disgust, turn away and walk off. Andy drops back to walk with Shelly. ANDY (paternal) Look Shelly, you're my roommate and I like you... most of the time. But you gotta stop doing these things. Now, I set this date up for you, didn't I? So don't embarrass me. When you meet this woman, just relax and be yourself. SHELLY Would you be yourself... (ripping off mask) ...if you looked this this? Shelly puts on a pair of unflattering prescription glasses. Although he has a pleasant face, Shelly is overweight, greasy- haired and unkempt. Chris and Debbie lead the way for Andy and Shelly up the porch steps, to the front door of a shabby, two-family house. Chris rings the bell. Shelly takes a few steps back. He mats down his unruly hair, tucks in his shirt and takes off his glasses. He's ready. The door opens and a middle-aged Hispanic woman stands behind the outer screen door. MOTHER (Spanish accent) Yes? CHRIS (friendly) Hi, Mrs. Sanchez. I'm Chris. We've come to pick up Vera. MOTHER (bruskly) She's not going. She shuts the door in Chris' face. The group stands there not knowing what to do next. V.O.'s from inside the house they can hear Vera and her mother arguing in Spanish. CHRIS What are they saying? DEBBIE I don't know. I flunked Spanish. They all turn to leave when suddenly the front door swings open. This time Vera, knapsack over her shoulder, ready to go, comes out onto the porch. She's a knockout...20, exotic, raven-haired beauty...in tight jeans. They turn and stare at her. VERA (forcing a smile) Hi everybody, what're you looking at. Let's go. Shelly, intimidated by Vera's sexy good looks, steps behind Andy and slips the mask back over his face. CHRIS (to Vera) Is everything okay? VERA You know, just your basic old fashioned mother problems. (changing the subject) So, where's my date? Shelly comes out from behind Andy. SHELLY (sheepishly) Hi. VERA (letting her disappointment show) You're Shelly? SHELLY I'm sorry. Andy angrily rips the mask off Shelly's face. DEBBIE (looking across the street) Hey! The van's on fire! EXT. VAN White smoke billows out of the van windows, engulfing the vehicle and the luggage tied to the top. The whole group rushes off the porch and races to the van. The first one there, Andy, opens the passenger side door and jumps in. Chris runs around to the driver's side and does the same. INT. VAN Through thick, acrid smoke, Chili and her boyfriend, Chuck... Cheech and Chong lookalies...can be seen sitting in the back on the floor, each puffing away like crazy on a bong filled with Marijuana. Each wears a stereo headset that is plugged into their own Sony Walkman portable cassette players. Andy and Chris looks at each other as if to say "I should have known." CUT TO: EXT. HIGHWAY - MORNING Chris' red van speeds along the empty rural highway through the lush New England countryside. CUT TO: INT. VAN - MORNING Through the driver's side window, the wind blows in on Chris and tosses her flaxen hair as she drives. Debbie sits on Andy's lap in the passenger seat - the only other seat in the van. ANDY How much farther to the cottage? CHRIS We could've been there already... (looking at Debbie) ...if some people didn't have to go to the bathroom every five minutes. DEBBIE (defensive) Oh yeah...well just hope that you never get pregnant, 'cause all you do all the time is piss! REAR OF THE VAN Chili and Chuck are sprawled out on the floor, taking inventory of their numerous joints and bags of Marijuana. Shelly sits cross-legged near the very back of the van, opposite Vera, who sits with her legs open. Daydreaming, she gazes upward at the sky and treetops through the back window. Shelly can't stop staring at Vera, admiring her sexy body. Vera senses that Shelly is undressing her with his eyes and quickly turns her head around and catches him looking at her breasts. Shelly averts his eyes in embarrassment and looks over at Chuck who lights up a joint, inhales and hands it Chili. SHELLY Is that all you two are gonna do this weekend...smoke dope? CHUCK Why not, man? Is there a law against it? SHELLY (persisting) There's better things to do with your life. CHUCK (confused) Like what? CHILI (inhaling) I can't think of anything. She offers the joint to Shelly. He declines. Chili offers it to Vera. VERA Sure, why not. Vera comes forward on her hands and knees, reaching out for the joint. As she does, she inadvertently thrusts her shapely rear end almost into Shelly's face. Shelly makes no attempt to retreat from it. Actually he rather enjoys it. VERA (as she draws on the joint) Is this stuff any good? CHUCK Home grown, man! Of course it's good! CHILI And it's good for you, too. Strictly organic. No preservatives, man. Andy sniffs at the air around him filled with the aroma of good grass. ANDY Hey, let's share the wealth with those less fortunate up front here. Vera passes the joint to him and sits back down across from Shelly. Shelly is rummaging through a small black suitcase. It's contents are concealed from Vera's view. VERA (curious) What d'ya got in there? SHELLY (very secretive) My whole world. VERA In that little thing? SHELLY Stick around and you'll see. Vera turns away and looks out the back window. We can hear the faint sounds of sirens. EXT. HIGHWAY - DAY In the distance, two police cruisers, with lights flashing, in hot pursuit. INT. VAN VERA (to the others) Better hide that grass. It's the cops. CHRIS (looking out her sideview mirror) Oh, no. SHELLY (looking out the back window) What are we gonna do? VERA Destroy the evidence, Pronto! CHUCK Destroy the evidence? No, man! CHILI (looking right at Chuck) Yes, man! They all look at one another, perplexed. Vera is amused. Without a word and simultaneously, Chili and Chuck begin to stuff loose grass and joints into their mouths. CHUCK (mouth full) Come on, dig in! ANDY (grabbing a bag) Aw shit! He starts to eat. Vera joins in, too. The police sirens grow louder. EXT. HIGHWAY - DAY The cruisers advance. INT. VAN Andy grabs another bag and hands it to Chris. ANDY Here...eat. CHRIS Try me some other time. I'm driving. Andy turns to Debbie and offers up the cellophane bag. ANDY Breakfast? DEBBIE No way. We're pregnant. Remember? The sirens seem to be getting closer. Chili leans in behind Chris. CHILI You better step on it! CUT TO: EXT. HIGHWAY - MORNING The van speeds up, but so do the police cruisers, even narrowing the gap. CUT TO: EXT. VAN - MORNING Chili, Chuck, Andy and Vera's cheeks are filled to capacity with dope. Their faces are turning green. Still they continue to stuff in more at a frantic pace. Shelly holds his black suitcase tightly to his chest as he watches out the back window with concern. SHELLY Faster! Eat faster! VERA (handing Shelly a fistful of grass) Why don't you help us? SHELLY (reluctant) Uh... I guess I'm just not hungry. ANDY (mouth full) You're always hungry! To appease everybody, Shelly begins to nibble ever so slightly on the marijuana out of Vera's hand. CHRIS They're too close. I gotta pull the van over. Hurry up and swallow! Everybody just be cool. CUT TO: EXT. HIGHWAY - MORNING Chris pulls the van to the side of the road. She sticks her head out to watch for the approaching cruisers. Much to her surprise and everyone else's, both police cars zoom by the van without stopping. CUT TO: INT. VAN - MORNING A collective sigh of relief, followed by groans of regret for what they've just done. ANDY (belching) I think I'm gonna be sick. VERA (holding her stomach) The line forms at the rear. CHUCK I'm gonna be sicker than all of you, man. Now I gotta spend the whole weekend totally straight... (buries his head in his hands) I don't think I can make it, man! CHILI Chuck... look. She slowly unbuttons her blouse. Everyone looks at her, puzzled. Chuck raises his head. CHUCK (mistaking Chili's intentions) Not now, man! Her fingers reach inside her bra -- but instead of freeing her breasts, she pulls out a good size plastic bag of marijuana. Chuck's mouth drops open. CHILI I'm a slow eater. CHUCK (throwing his arms around Chili) I love you, man! He attacks her with kisses. The others laugh. CUT TO: EXT. ROADSIDE MARKET - MORNING The two police cruisers make a sharp right into the small Mom 'n Pop store parking lot and SCREECH to a halt. A small group of curious onlookers congregate at the front entrance of the store. The cruiser lights continue to flash red and blue as the Police Officers step out of their vehicles. The Officers order the onlookers to "go home" then enter the store. Chris' red van approaches down the highway. CUT TO: INT. VAN - MORNING Chris slows down the vehicle as she sees the flashing police lights and ambulances. She rubber-necks to see what's happening. CHRIS' MOVING POV A team of Medics carry out two heavy body bags from the store. Chris watches with morbid fascination, fueling her anxieties. Debbie is also looking out the window at this unpleasant scene. She turns to see Chris and reads the concern on her face. DEBBIE Hey, kiddo... don't let your imagination run away with you. Chris turns her attention back to the highway and drives on. CUT TO: EXT. HIGHWAY - MORNING CLOSE SHOT on a PAIR of Scraggly Men's boots as they walk along the edge of the highway. CAMERA TILTS UP to reveal ABEL... 72, long stringy white hair and whiskered, skinny in baggy clothes, weathered stern face. Like a lone star, he ambles down the lonely highway, dragging a duffle bag. The SOUND of a vehicle approaching in the distance... Abel sticks out his right thumb in a hitchhiking stance. He affects a smile and looks toward the vehicle down the road. CUT TO: INT. VAN - MORNING The sun pours in through the windshield. Debbie shades her eyes to get a better look at the figure up ahead. DEBBIE Would you look at that! I've never seen a senior citizen hitchhiker before. The others in the back come forward to look. ANDY Let's give the poor old guy a break. Pick 'im up. Shelly reacts very emotionally to the suggestion. SHELLY That scarecrow? Can't you tell how weird his is just by looking at him. VERA Come on, Shelly. Who else is gonna give him a lift? SHELLY Not us! He's really creepy. The van is now upon the aged hitchhiker. He flashes a smile at them: plaintive, shy, and yet somehow ominous. CHUCK (reassuring) He looks just like my grandfather, man. Let's give him a ride. EXT. HIGHWAY - MORNING The van screeches to a halt and backs up to Abel. The side door slides open and Abel is lifted into the back. The van pulls away. CUT TO: INT. VAN - MORNING Abel settles into the back next to Shelly who studies the old traveller with both curiosity and trepidation. Chris adjusts her rearview mirror to include Abel. Abel nods "hello" to one and all. They nod back. ABEL (in an eloquent soothing voice) You are, all of you, very kind and generous young people to lend a helping hand to a tired, old man. Thank you very much. Perhaps I can repay the kindness. The civilized speaking-manner of the shabby-looking stranger calms the layer of fear that any might have had. ABEL (continuing) My name is Abel. And I am my brother's keeper. SHELLY Where are you going? ABEL Going? How do you mean? SHELLY I mean, is there any place in particular where we can drop you off? ABEL Drop me off? How do you mean? Shelly's suspicions return and he glances from Vera to Debbie and Andy. Andy shrugs his shoulders. Abel reaches into his dusty dufflebag and pulls out a very small bundle wrapped in a scrap of cloth. Chris watches via the rearview mirror. Her expression is wary. Abel unwraps the object and places it in front of Shelly's face. ABEL (continuing) Look what His Grace has brought me. Shelly looks down at a the small, slimy, white oblong thing. SHELLY (wincing) What is that? ABEL I found this today. There were other pieces of the body lying there, but I believe "he" wanted me to have this... SHELLY (gasping) That's an eyeball! Oh, God! ABEL "He" wanted me to warn you. (evangelical) Look at this, all of you! He holds the eyeball out for each to view. They shrink back away from him, cringing at the sight. The eyeball is reflected in the rearview mirror. Chris is becoming quite upset. ABEL (continuing) See with your own eyes what I have seen. Runaway! Go back to where you came from... Now!!! CUT TO: EXT. HIGHWAY - MORNING The van comes to an abrupt stop. The side door opens and the old man is practically tossed out. On the ground, Abel yells after the van as it speeds away. ABEL I warned you! CUT TO: EXT. ROADSIDE - MORNING The van is parked on the shoulder of the highway. Chris leans against a tree, her arms crossed over her chest. She looks towards the woods, waiting. In front of her face, two sneakered feet pass by. It's Andy, walking on his hands. Vera stretches her arms over her head then drops her torso and arms to the ground, bent over. VERA Some people stretch their legs.... (looking at Andy) Some their arms.... (looking at Shelly eating a candy bar) And some nothing at all. From out of the woods, Debbie appears. She zips up the front of her jeans and approaches the others. Chris and Vera applaud. DEBBIE I can't help it. Smiling, Chris puts her arms around Debbie's shoulder and the two walk toward the van. From seemingly out of nowhere, the ROAR of MOTORCYCLES is suddenly upon them. The group whisks around to find three souped-up motorcycles bearing down on them, navigated by a manacing-looking TRIO. The motorcycles head straight for them. In a panic, the group scatters. Dust swirls as the Motorcyclists veer away from the group and the van just in time to avert a collision. As the dust settles, the group picks themselves off the ground. CHRIS (brushing herself off) How come there's never a cop around when you really need one. CUT TO: INT. VAN - MORNING Chris is still driving. The others have assumed their respective positions. However, the jovial atmosphere has degenerated due to the unsettling series of incidents. Long faces and silence prevails. Then, up ahead just off the road, a pleasant surprise, for them all. CHRIS Wake up, everybody. Revenge is ours. (pointing out the front window) Look! Chris slows down the van. The group quickly moves forward and peers out the front windshield. One by one, a smile crosses each dour face. THEIR POV - EXT. HIGHWAY - DAY The Three Motorcyclists have been pulled over by a State Trooper and are being ticketed. INT. VAN The van erupts into laughter and cheers. EXT. HIGHWAY - DAY As the van passes the powerless Cyclists, the side door swings open and the passenger window rolls down. The group sticks their heads out and jeers and applauds. INT. VAN - DAY Chris turns on the radio -- Rock 'n Roll MUSIC blares as the lighthearted atmosphere returns. EXT. HIGHWAY Jauntily, the van zips down the highway. CUT TO: EXT. COUNTRY HIGHWAY / DIRT ROAD - DAY CLOSE SHOT on a half-eaten dead rabbit lying to one side of the dirt road. CAMERA DEEP-RACK-FOCUSES to the red van coming up over the hilly highway. The van turns off onto the dirt road and makes its way through a wooded landscape along a winding trail. Sun dapples through the trees. CUT TO: EXT. LAKESIDE COTTAGE - DAY An overgrown driveway meanders among oak trees towards a rustic two-story house. The oak trees have been there long before the house was built -- their heavy branches hang low, like tired arms, almost blocking the driveway. The house has an elevated porch and curtained windows. It is in relatively decent condition though weatherbeaten and creates from the start an impression of family history. There is ample parking space before the house. On the left side of the driveway as one approaches, some thirty yards diagonally across from the house, there is a tall red barn with a hayloft equipped with a block and tackle (to bring up the bales of hay into the loft's square window). To the right of the house is an outhouse with a heartshaped venthole in its wooden door. To the left of the house is a large lake with a knotty old dock and a small tree-covered island in the middle. The whole area is surrounded by a lush landscape. The SOUND of a VEHICLE approaching... The CAMERA reveals this serene, idyllic panorama and PICKS UP Chris' van as it bumps along the dirt road and slows down to a crawl to pass over a creaky, dilapidated wooden bridge that runs over a dried-up stream. INT. HOUSE The CAMERA peers OVER-THE-SHOULDER of an UNIDENTIFIABLE FIGURE as he moves from one living room window to the other, watching the van as it sweeps under the low branches towards the house. EXT. HOUSE The van comes to a stop. Chris jumps out and looks towards the house. A collection of memories posses her for a moment before she reaches for the knotted rope and unties the tarp covering the bulk of the baggage on top. CHRIS (loud so the others can hear) Let's bring in the luggage first, then I'll give you a tour of the house and the barn and then we can hang out at the lake... All right? No response. Just the distant SOUND of FEET RUNNING and LAUGHTER. Chris walks around to the other side of the van and finds the doors left wide open and no one about. She turns to see her friends running towards the lake, unable to resist the splendor of the shimmering water and sun dappled landscape. Debbie turns back and gestures for Chris to join them. DEBBIE Come on down! CHRIS (shaking her head) You go ahead... In the background, behind Chris, the Shadowy Figure, OUT OF FOCUS, appears behind a curtain in the living room. CHRIS (to Debbie) I'm gonna take my bags into the house first and look around. Chris turns toward the house. The Figure disappears from view. Chris grabs a piece of baggage in each hand and innocently strides up the path and porch steps to the front door. It has been a while since she has last visited the family country home and she is actually pleased to have this moment to herself. She rifles through her handbag, comes up with the keys and reaches for the doorknob to find that the door is already open, ever so slightly. A look of concern flashes across Chris' face. CHRIS (continuing) Hello? Only the distant SOUNDS of her friends by the lake can be heard. Cautiously, Chris pushes the door. Creaking, it opens wide. She hesitates a moment then takes a step inside. CHRIS (hearing a noise) Who's there? From out of nowhere, a hand grabs Chris by the neck and pulls her OUT OF FRAME. She SCREAMS! Then the SOUNDTRACK becomes coldly SILENT... CUT TO: INT. LIVING ROOM / COTTAGE - DAY Pinned up against the wall, Chris is being embraced and kissed passionately by a MAN whose face is not yet visible. Resisting, Chris pushes him off. CHRIS Derek... stop. DEREK Why? DEREK is 23, tall, dark and virile. CHRIS You know what I've been through. Don't ever scare me like that. DEREK I'm sorry. I just wanted to surprise you. What can I say? CHRIS (with a smile) You can say... "Hello, how are you?"... for starters. DEREK (genuinely) Hello. How are you? He pulls her towards him to kiss her again. CHRIS (moving away) You haven't changed a bit. Always so sure of yourself. Even when we were kids, when you wanted something, nothing could stop you. DEREK Is that so bad? CHRIS I don't know. DEREK You're irresistible. I lose control. CHRIS Just slow down. Let me get to know you again. Let me get to know this place again. DEREK Okay. There's a whole weekend ahead of us. There's time. Chris embraces Derek. Behind them, passing the porch windows, OUT OF FOCUS, is the shadowy figure of JASON. Neither Chris nor Derek is aware of the presence. CHRIS (breaking the embrace) Come outside and help me with the bags. The turn and head for the front door. Jason's figure moves away from the windows, out of sight. CUT TO: EXT. COTTAGE - DAY Chris and Derek bound down the porch steps to the van. DEREK I'll get the bags off the top. You get the ones inside. Chris moves around to the opposite side. The sliding door which was previously wide open is now closed. CHRIS (unsure, talking out loud) This door was open just a minute ago, wasn't it? DEREK (O.S.) (from the other side of the van) What? CHRIS Nothing. The SOUND of the others thrashing about in the lake can be heard as Chris reaches for the handle and whisks the door aside. Instinctively, she braces herself, but nothing jumps out at her. Annoyed with herself for being so suspicious and jumpy, Chris just leans in and grabs for the first bag she sees. A HAND springs INTO FRAME and wraps around Chris' wrist. She gasps and jumps back. Shelly sticks his head out the side of the van. SHELLY That's my bag. I'll take care of it. CHRIS What're you doing in there? Why aren't you down at the lake with the others. SHELLY 'Cause they're skinny-dipping and I'm not skinny enough. Chris looks toward the lake. CHRIS' POV Andy, Debbie and Vera frolic about naked in the water. Chili and Chuck dive off the dock, fully clothed. CUT TO: INT. CELLAR - DAY Pitch black save for a slice of sunlight from an elevated basement window. The door swings open. Silhouetted in the doorway are Chili and Chuck just come from the lake, drenched and dripping in their wet clothing. CHUCK (uneasy) It's dark down there. CHILI That's the way it is, man. Cellars are dark. CHUCK And Hell is hot, but I ain't goin' down there either. Chili flicks a wall switch next to her. A naked light bulb springs to life, glowing dimly. CHILI There's nothin' to be afraid of. She takes Chuck by the hand and leads him down the stairs. Their sneakers, sodden with water, squeak and squish as they go. Water drips from their hair and clothes, forming little puddles that follow their every step. The basement is overrun with cobwebs and spiderwebs. Rusted gardening tools, broken bicycle parts and boxes of old toys are strewn helter-skelter. An old washer and dryer sit just to the left of the electrical fusebox. CHILI (continuing) Gimme your threads, man. Chuck pulls off his shirt and hands it to Chili. She rings it out onto the floor creating a pool of water under the fusebox. As Chuck zips down his pants, Chili turns on the dryer. Annoyingly, the dryer RATTLES and SHAKES. Suddenly the light bulb goes off, plunging the twosome into near darkness. FOREBODING MUSIC enters the SOUNDTRACK... CHUCK You broke the electricity, man! But yet, the dryer CLATTERS on. From over by the stairs, the SOUND of a METAL OBJECT being kicked against the door. Chili and Chuck whirl around to look. A rusty old roller skate bounces down the stairs and hits bottom with a CLUNK. CHUCK (on edge) Who's there?! The door slams shut. CUT TO: INT. LIVING ROOM / STAIRCASE - DAY Laden with his and Debbie's baggage, Andy enters the front door, trudges to the base of the spiral staircase and looks up. ANDY Whatever happened to equal rights for men? Chris and Debbie, unburdened by luggage, reach the second floor landing. DEBBIE (to Andy) Stop bitching. You can't expect me to carry heavy things in my condition. Andy grumbles and starts up the stairs. CUT TO: INT. BEDROOM - DAY Chris throws open the door and allows Debbie to enter first. CHRIS This was my bedroom. It's yours for the weekend. Chris walks over to the windows and separates the curtains, flooding the room with light. She opens the windows -- a cool breeze blows in. Debbie surveys the cheerful room with antique furniture that includes a folding. Japanese-style dressing curtain. But there is one important element missing in this bedroom... there's no bed. DEBBIE Uh, Chris... I don't mean to be picky, but... where do we sleep? With an impish smile, Chris goes over to the closet and pulls out a crumpled mass of netting. She hands it to Debbie. DEBBIE (perplexed) What's this? CHRIS Your bed. DEBBIE A hammock? CHRIS Have you ever made love in a hammock? Chris exits, closing the door behind her. DEBBIE (envisioning the pleasant possibilities) Hmmm... why not? Debbie begins to unravel the nylon mesh when suddenly, a gust of wind topples over the Japanese dressing curtain. It hits the floor with a sharp SLAP. At the same exact moment, the door is kicked open with a BANG, SLAMMING against the opposite wall. Debbie jumps. It's Andy. He squeezes through the door with the bulky baggage. ANDY (looking around) Where's the bed? With the back of his foot, Andy kicks the door to close it. An instant before the door slams shut, we SEE a fleeting yet ominous, glimpse of Jason behind Andy in the hallway. CUT TO: INT. MASTER BEDROOM - DAY Chris in CLOSE SHOT, looks around the room, concerned about what she sees. CHRIS (calling out) Derek, come in here! WIDER SHOT including the whole room. The bed is a mess as if someone had slept in it recently, the closets are open -- hangers on the floor, some linen strewn about, the dresser drawers are pulled out and left hanging. Derek comes into the room carrying a box full of wooden paddles with little rubber balls attached by a long elastic thread. DEREK Look what I found. Remember these? CHRIS (her attention focused elsewhere) Did you stay here last night? DEREK (looking around) No. I got here just before you did. CHRIS Somebody was in here. DEREK Goldilocks and the Three Bears? CHRIS I'm serious. Doesn't this look a little strange to you? Chris begins straightening up the room, pushing in the drawers, etc. DEREK Don't get paranoid. I'm sure your parents left it this way last time they were here. You know how messy your father is. If there was a phone here, I'd call them up right now. Derek moves over to help Chris make the bed. CHRIS You have an answer for everything, don't you? Derek shrugs his shoulders. DEREK (gentle but firm) I just think that it's about time you stopped looking over your shoulder, always expecting there's someone coming after you. That's no way to live. Chris looks at Derek thoughtfully, but unconvinced. They finish making the bed in silence. CUT TO: EXT. LAKE / COTTAGE - DAY Several six packs of empty beer bottles line a picnic table which is further cluttered with half-eaten sandwiches and the usual array of picnic goodies. Shelly and Vera sits across from each other, in the midst of a beer chugging contest. Derek, Andy and Chuck sit on either side Shelly, encouraging him to victory. Chris, Chili and Debbie, on either side of Vera, do likewise. Vera downs her next bottle with apparent ease. Shelly balks as another beer is thrust in front of him. SHELLY (nauseous) No more... I can't! ANDY Yes, you can. Come on, Shelly! Shelly relents and suffers the beer as it goes down. The accomplishment is met with a pat on the back. Vera, too, hesitates for a moment then chugs her beer, this time more slowly and with a degree of difficulty. Tipsy, Shelly rises to his feet. SHELLY (as if in control) If you'll all please excuse me... Shelly picks up his small black suitcase and walks off on wobbly legs. ANDY (yelling after him) How could you let her beat you? SHELLY grabs his mouth and runs past the house into the outhouse, slamming the door behind him. The SOUNDS of Shelly vomiting can be heard. INT. OUTHOUSE Leaning over the hole, Shelly wipes his mouth with his sleeve. Weakened and defeated, he sits down and leans his head back against the wall, closing his eyes. An OMINOUS TONE enters the SOUNDTRACK... From behind Shelly, the CAMERA MOVES past him and LOOKS OUT from the heart-shaped venthole carved in the door. From this distant vantage point, WE CAN SEE up to a second- floor window where a shadowy figure (Jason) looks down from behind a sheer curtain. SHELLY opens his eyes and listens to the others by the lake, having fun without him. He stands up and OUT OF FRAME. EXT. OUTHOUSE Shelly comes out of the outhouse. Alone with his black suitcase, he starts for the front door of the house. The OMINOUS TONE returns to the SOUNDTRACK... The CAMERA CRANES UP to the second-floor bedroom window where moments before the shadowy figure stood watching. The figure is now gone from the window. Only the curtains rustle in the breeze. The SOUND of the front door SLAMMING. Shelly is inside. CUT TO: INT. HOUSE - DAY CAMERA is behind Shelly as he ascends the spiral staircase. Halfway up, he HEARS a LOUD THUD. Pausing to listen, he turns his face around, right into CAMERA. He hears nothing further and continues up the stairs. When he reaches the landing, he HEARS SCREAMING coming from the lake. He rushes into the bedroom which faces the water. INT. BEDROOM - DAY It's Andy and Debbie's bedroom where the hammock is now set up, draped with a bedspread. Shelly looks out on the lake. SHELLY'S POV The SCREAMING is nothing more than playful activity. Suddenly, the SOUND of a window in the room SLAMMING shut. Startled, Shelly whips around to see the window beside the Japanese dressing curtain now closed. Dust around the window has been unsettled. The Japanese curtain wavers. Shelly cannot see behind it. He edges over to the curtain and flings it aside. There's nothing there. He exits. INT. HALLWAY - DAY He walks to his room at the far end of the corridor and pushes on the door to open it. It doesn't budge. Leading with his shoulder, he bashes into the door. This time it gives. Shelly stumbles off-balance into the room (this is the same room which looks directly down on the outhouse)! A HIGH-PITCHED FOREBODING NOTE enters the SOUNDTRACK... Shelly takes a long look back down the hallway as he closes the door. CAMERA HOLDS for a moment on the closed door as the MUSICAL NOTE INTENSIFIES... CUT TO: EXT. LAKE / COTTAGE - DAY A chilling, bloodcurdling SCREAM, from inside the house, shatters the calm by the lake. DEBBIE What was that? ANDY (looking around at the others) Where's Shelly? VERA I haven't seen him. DEREK (taking control) Come on!... He leads the others in a race towards the house and up the porch steps. CUT TO: INT. HOUSE - DAY The group barrels into the house and assembles in the living room at the base of the stairs. DEREK (calling out) Shelly! Where are you?! CHRIS (shouting up the stairs) Are you all right, Shelly? Silence. DEREK Let's spread out and check all the rooms. Outside, too. (to Chris) You stay with me. CHRIS No. I can look around by myself. I'll take the upstairs. The group disperses. The CAMERA STAYS with Chris. She heads up the spiral staircase to the second-floor landing. INT. SECOND FLOOR HALLWAY She looks both ways down the corridor and sees Shelly's closed bedroom door at the end of the hall. She approaches, tries the knob and pushes. The door is stuck. She kicks it open with her foot. The door slams against the wall of the room. CHRIS (before going in) Shelly...? The room is in order. Chris takes a few hesitant steps inside, looking all around. There's no trace of him. There are two closets in the room. Chris reaches out for the nearest one and pulls open the door. MUSICAL STINGER... SHELLY An axe imbedded in his head, and bleeding profusely, falls forward into Chris' arms. She SHRIEKS as Shelly's lifeless body slides down her arm and slumps to the floor. Chris recoils, SCREAMING in horror. DEREK AND VERA burst into the room. CHRIS (sobbing) He's dead... he's dead... VERA Oh, my God! DEREK (grabbing Chris and turning her away) Don't look! Let's just get the hell out of here. Andy and Debbie, followed by Chili and Chuck, rush into the room. They react accordingly, except Andy. He is curiously unaffected by the gruesome sight. He bends down over Shelly. DEBBIE Don't touch him! Undaunted, Andy places his hand on Shelly's stomach... and tickles him. Shelly springs to life, giggling uncontrollably. The others gasp incredulously. ANDY Get up, you creep. Shelly looks up at the angry mob. SHELLY (a little worried) I guess I fooled you, huh? CHRIS (enraged) Why you little bastard! I'll kill you! Chris jumps Shelly and pummels him with punches. The fake axe falls from his head as Shelly fends off Chris. Derek grabs her and pulls her off. DEREK Leave him alone. He doesn't know any better. SHELLY It was a joke... just a joke... I didn't mean to... ANDY (interrupting) You never mean to. Vera glares disdainfully at Shelly. She finds him pitiful. VERA I gotta get out of here. I'll go get some more booze. DEREK (throwing her his keys) Here, take my VW. CUT TO: EXT. COTTAGE / BARN - DAY The barn doors are wide open. The SOUND of an ENGINE CHOKING and SPUTTERING to life. A rusted-out, old Volkswagen Beetle CHUGS out of the barn. Vera is driving. Cleaned all of his makeup and blood, Shelly races out of the house and runs alongside the VW, peering in at Vera. SHELLY Let me go with you! I gotta get away from here, too. Without a word, Vera zooms off, abandoning Shelly. But when she reaches the bridge, she brakes and opens the passenger door. Elated, Shelly bolts to the car and jumps in. The VW takes off... CUT TO: INT. PACKAGE STORE - DAY A CASHIER rings up the total as a CO-WORKER bags several six- packs of beer, bottles of cheap champagne and assorted munchies. Vera stands at the cash register, searching her pockets for money. CASHIER That'll be $23.50... and we don't accept no food stamps. Vera sneers at the woman and looks down the aisles for Shelly. She finds him leafing through a magazine rack. VERA Shelly... I need some money. Throw me your wallet. Shelly digs into his pocket, comes up with the wallet and tosses it over to Vera. She reaches up to catch it, but it hits the side of her hand and drops to the floor. Vera bends down to pick it up, but someone beats her to it. A black hand with rings on each finger scoops the wallet up first. FOX... a Black woman outfitted in skin-tight black leather... holds the wallet. Vera and she have an immediate and mutual dislike for each other. Flanking Fox, on either side, is ALI... a strapping Black man with a full set of gold teeth... and LOCO... sporting a bandana, gold earrings and leather jacket. There are the three motorcyclists that our group had the run in with on the road earlier. As Fox and Vera stare at each other, Shelly comes up behind Vera. SHELLY Is... is everything all right? VERA (looking at Fox) Everything's gonna be fine. SHELLY (spying Fox with his wallet) Excuse me, but I believe that's mine... Ali and Loco leer at Shelly and surround him. They lift him off the ground, each grabbing an arm. ALI (to Loco) Make a wish. SHELLY (frightened) Uh... could I buy you two a beet or something? Fox leafs through the wallet. Vera holds out her hand. VERA I'll take that, now. Fox continues rummaging through the wallet. She pulls out a prophylactic packet. FOX (reading off the foil cover) "A True Trojan... thin as a shadow, strong as a horse." Ali and Loco laugh and drop Shelly to the ground. He quickly regains his feet. VERA (grabbing the packet from Fox) That's mine. She grabs for the wallet. Fox is quick to react, pulling it away from Vera's reach. FOX Didn't your mama teach you manners? If you want somethin', you ask nice! Vera's jaw tightens with restraint. SHELLY (to Vera) Please... be cool. VERA (to Fox, teeth clenched) May be please have the wallet. FOX You mean, "May we please have the wallet... ma'am." VERA (holding back with difficulty) May we please have the wallet... (pauses) .... ma'am. FOX That's good. That's real nice. She tosses the wallet to Vera. Ali, Loco, and Fox share a good laugh. Vera and Shelly pay for the booze, grab their packages and exit the store. The three cyclists follow after them. CUT TO: EXT. PACKAGE STORE - DAY CAMERA TRACKS with Vera and Shelly as they head for the car. In the background, Ali, Fox and Loco come out of the store. SHELLY Are they following us? VERA (looking back over her shoulder) Yes. SHELLY Gulp! Vera and Shelly quickly stuff the back seat of the VW with their packages. The fact that three motorcycles are parked directly behind their car is not lost on Vera. Shelly is already in the car when Vera jumps into the driver's seat and starts the ignition. Side by side, Ali, Fox and Loco strut deliberately towards the VW. Vera throws the car into gear and hits the gas pedal. The car lurches in reverse... We HEAR the sound of metal crashing. VERA has deliberately back up into one of the cycles, starting a chain reaction. The first one collides with a second. The second collides with a third. The three motorcycles lie in a heap. SHELLY (looking out the back window) Aw, shit! Enraged, Alice, Fox and Loco race towards the VW and their injured motorcycles. ALI Get 'em. Vera quickly shifts gears. The car CHUGS forward and takes off. CAMERA PANS with the car as it rips past the onrushing gang, knocking them aside, and zooms out of the parking lot. CUT TO: EXT. COUNTRY HIGHWAY - DAY The Volkswagen Beetle rattles as it speeds past CAMERA. CUT TO: INT. VOLKSWAGEN - DAY Shelly stretches his neck and looks out the back window. VERA See anything? SHELLY Just a dirty window. (settles down in his seat) Next time, I'll know how to handle a situation like that. Let's just hope that "next time" isn't too soon. VERA Stop worrying. I don't think they'll bother to come after us. The RUMBLING of motorcycles can be heard in the distance. They both hear it. Shelly looks at Vera apprehensively. VERA (continuing) So, I was wrong. Shelly turns to look out the back window. SHELLY I don't see anything. VERA Keep looking. The ROAR of motorcycles grows LOUDER as Vera floors the accelerator. CUT TO: EXT. HALLWAY - DAY Standing just off the road, Abel, the old doom-sayer that the group picked up earlier, has his thumb out for a ride. As the VW flies by him without stopping, Abel looks after it with eyes that seem to know something is about to happen. CUT TO: INT. VW - DAY VERA (looking in her rearview mirror at Abel) Not this time, old man. The SOUND of approaching motorcycles grows LOUDER... closer. SHELLY (looking everywhere) Where the hell are they? I don't see them anywhere! CLOSE UP - VERA looking out the front window. VERA Holy shit!!! VERA'S POV Swooping over a hill, in unison, three motorcycles head straight for them at top speed. It's Ali, Fox and Loco in black helmets. VERA AND SHELLY mouths open, eyes wide with disbelief. EXT. VOLKSWAGEN Vera slams on the brakes. The car skids to a stop. At the last possible moment, Fox steers her cycle deftly to the right of the VW. Loco steers left. And, Ali jumps the car, flying over the top. As Ali lands on the highway, the three skid into a U-turn. VERA AND SHELLY open their eyes and look behind them. Shelly braces himself as Vera guns the motor. EXT. CAR The car takes off. The motorcycles are in pursuit. Ali easily catches up with the car and pulls up alongside the driver's window. Loco creeps up on the passenger's side. Fox moves in behind the vehicle. ALI smiles at Vera. The sun glints off his gold teeth. VERA smiles back. ALI whips out a heavy metal chain and smashes it through the windshield, right at CAMERA. The windshield shatters. The car swerves out of control to the right, knocking into Loco, sending him and his cycle flying off the road. As Vera regains control of the VW, Ali drops back next to Fox behind the car. Ali hands Fox the chain and signals for her to move up the passenger side. INT. VW Shelly watches as Fox moves up alongside. VERA Got any good ideas? SHELLY Maybe. He reaches into the back seat and pulls out a bottle of champagne. VERA This is no time to celebrate! SHELLY Just keep your eyes on the road. Waving the chain menacingly, Fox pulls up alongside Shelly's window. Quickly, Shelly unravels the seal and shakes up the champagne bottle. VERA What're you doing? SHELLY No time to explain. Just listen. When I yell "stop," you jam on the brakes as hard as you can. Okay? VERA (pleased with Shelly's initiative) You're the boss. FOX hauls back with the chain and rams it through Shelly's window, barely missing her mark. SHELLY shakes the bottle as he pries up the plastic cork. FOX rears back with the chain and readies herself to strike a second time. Shelly aims the champagne bottle out the window. With a final flick of his thumb the cork flies out and strikes Fox in the face -- a direct hit! Fox reaches for her face and falls backwards off her cycle. VERA Bullseye! SHELLY (shouting) Stop the car! Now!! Vera jams on the brakes. EXT. VW The car comes to a screeching halt. ANGLE ON ALI shocked! Unable to stop in time or swerve out of the way, his cycle runs right up the back of the car and flips over on top of him. The VW shifts into first gear and proceeds unimpeded. Left in its wake are three motorcyclists sprawled out on the highway. INT. VW VERA This has been on helluva beginning to a quiet weekend in the country. SHELLY Look at it this way... things can only get better... Right? CUT TO: EXT. COTTAGE / BARN - DAY The sun casts an orange glow over the landscape as it slowly sinks in the West. Andy is at one end of the porch working out -- strenuous calisthenics. Chili and Chuck sit together on the porch swing, opposite Andy, sharing a joint. They watch Andy