"In writing fiction, the more fantastic the tale, the plainer the prose should be. Don't ask your readers to admire your words when you want them to believe your story." - Ben Bova [ more quotes ]

"SLASH"

Written by

Stephen Francis & Gus Silber



OVER A BLACK SCREEN:

We hear the tinkling of an old-fashioned MUSIC BOX. It's
playing the familiar childhood melody of "OLD MACDONALD HAD
A FARM". A small child's voice sings with the tune.

There's 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

It's night. Many yesterdays ago. We're not sure exactly when
but we can tell we're 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 can't see who -- enters... wearing LARGE BLACK
BOOTS. He's pushing a big container on wheels.

Something's inside the container -- we can't see what...
because it's covered by a ratty old TARP. It's 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 BOY's face. And then --

BLACK BOOTS throws back the tarp... revealing a tangled,
intriguing CONTRAPTION of pipes and valves and funnels.

THE BOY

peers through the bales of hay, not sure what the man's doing.
But whatever it is... it's 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 boy's eyes.

The boy's 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. A human fireball.

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

It's dark, deserted, lonely. The harvest moon is shining
overhead.

And then --

The approaching HEADLIGHTS of a soft-top convertible, whipping
up dust as it zooms along. Loud ROCK MUSIC blaring from
within.

INT. CAR - CONTINUOUS

CLOSE ON: A MASK similar to the one used in "SCREAM". It's
on the face of the DRIVER of the car. He's also wearing a
BLACK HOOD and CAPE.

He turns to look at the PRETTY YOUNG WOMAN in the passenger
seat. She's KAREN, about 18, fresh out of high school.

She's 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! I'm
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 can't help it, babe. You bring out
the monster in me.

Ray puts a hand on her exposed thigh. Karen removes it.

KAREN
Not while you're driving.

Karen pops open a beer.

RAY
Throw me one.

KAREN
Not while you're driving.

As Karen chugs her beer, Ray can't help glancing at her
cleavage.

KAREN
-- And keep your eyes on the road.

RAY
I'm admiring your costume. What
"movie" are you going as again?

KAREN
Sheena, Queen of the Jungle.

Off Ray's blank stare --

RAY
Never heard of it.

KAREN
I'm not surprised. It's 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 don't like my costume? Cool.
I'll 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
Hey... wanna see something really
scary?

Ray reaches down under the seat, taking his eyes off the
road. Before he can get any further, KAREN'S 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.

WINDSHIELD 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
blares.

INT./EXT. - CAR

Ray turns to check Karen -- she's unconscious, head back on
the seat.

RAY
Karen...? Oh, geez! Karen....?

He quickly feels her pulse. Then he puts his hand over her
heart, trying to find a heartbeat.

He pauses for a moment. He can't help himself -- his hand
moves slo-o-o-o-wly upwards, towards her breasts.

Suddenly, KAREN's eyes pop open -- and she grabs his hand
and pushes it away. She's 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. There's a little steam coming out
and the engine's hot.

RAY
(burns himself)
Ow!

KAREN
What's wrong?

RAY
Nothing. I'll have us back on the
road in no time.

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
(realizes)
Hey -- Macdonald's farm!

KAREN
Ray -- I'd 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, it's 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 it's only a harmless SCARECROW, arms outstretched on
a pole. Ray suddenly looks down, realizes he's pissing on
himself and his cape.

RAY
Dammit!!!

INT. CAR

KAREN is still sitting in the car, bopping to music on the
CD player. She preens herself, tucks her breasts into her
leopard costume, awaiting Ray's return.

EXT. CORN FIELD - NIGHT

RAY appraises the SCARECROW -- tentatively pokes him. It's
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. He shudders, pulls it
off.

Ray takes another step forward. -- Did he just hear something
in the cornfield with him -- or was it his imagination?

INT. CAR

KAREN's 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
(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
cornfield, unsettling her. KAREN (CONT'D)

KAREN
...Ray??

Still no sign of Ray. Karen's starting to get very worried.

Something's not right. And then --

A FIGURE wearing the cape and Scream Mask POPS UP next to
her -- scaring the shit out of her. Karen freaks.

KAREN
Geez! -- That wasn't funny!

The MASKED FIGURE with the cape just stands outside the car,
looking at her.

KAREN
Okay, Ray. I'm 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... isn't Ray at all.

KAREN
...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 Karen's chest!

Karen SCREAMS. She looks down at the blade. And the blood on
her bare skin. Beat.

KAREN
-- Owwww! That hurt!!!

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. She wipes herself off,
glaring.

RAY
Oh come on, Karen!

RAY starts stabbing himself in the chest to demonstrate --

RAY
It's a retractable blade! You couldn't
cut yourself if you wanted to! Look!

-- Suddenly another blade protrudes from Ray's 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 ain't a trick.

Karen SCREAMS. And screams some more. In the darkness, we
can't see who's wielding the scythe. The BLADE is pulled
out, Ray slumps to the ground, dead.

ON TWO BOOTS

-- the killer's boots. 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 she's next. She quickly LOCKS the
car doors.

Silence.

The KILLER seems to have vanished. But her WINDOW'S still
half-open!

Karen reaches out for the electric window button. She pushes
it. The window closes... closes... closes...

WHOOSH! The blade of the SCYTHE swings in at the last second,
getting caught between the glass and the frame, inches from
Karen's face.

As the unseen KILLER pulls out the scythe and the window
automatically closes -- KAREN sees her chance --

She CLIMBS into the driver's 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! Karen's about to
free the car, when --

WHOOSH! The BLADE of the scythe plunges into the rubber,
deflating the front tire with a rush of air.

KAREN'S POV - THROUGH THE WINDSHIELD

Obscured by the raised hood, she sees THE SCYTHE being raised
up -- and coming down -- straight into the engine.

There's some SPARKS -- and a SNAP OF WIRES being severed.

And the engine dies. Ditto the music.

Silence, except for Karen's hyperventilation.

And then -- a final realization comes over Karen. She...
looks up. Remembering... she's 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 something's -- 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 --

KAREN
(hysterical)
Please! I need... help!

No answer. No one's 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

It's 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. Burlap skin, jagged, stitched mouth. Cold eyes.
Cold, and... alive.

SCARECROW'S POV: looking through the burlap at Karen.

The SCARECROW raises a gleaming SCYTHE high in the air.

It swings down --

Karen screams. For the very last time.

CUT TO:

A GUY SCREAMING

-- into a microphone. We PULL BACK, revealing we're 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. A sex-bomb, primed
to detonate at any moment...

On keyboards... KEITH, 25. Black, street-wise. Attitude.

On drums & percussion... IAN, 30. Party animal.

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 there's 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
band's all-round gopher and roadie --

MAC
Carl! Where's Rod?

Carl doesn't hear. He's too busy gazing at the flip-screen
monitor of a small HAND-HELD DIGITAL VIDEO CAMERA. He's close
up on Suzie.

Mac, shouting, his voice just about drowned out by the music --

MAC (CONT'D)
Carl!

Carl snaps to attention. Sees the empty mike stand.

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. He knocks tentatively.

CARL
Uh... Hello?

VOICE FROM INSIDE
Fuck off!

CARL instantly recognizes the voice. He hesitates, and then
knocks again --

CARL
Rod? You're missing your cue!

MAN'S VOICE
No man! I'm right on it!

INT. BACKSTAGE ROOM

CLOSE ON ROD RYDER, 26, the band's cocksure, devil-may-care
lead guitarist. Talented. And doesn't care who knows it.

At the moment, he's 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
He's coming!

CARL sighs, pointing the rapidly-dying camcorder at himself --

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 Keith's 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. Rod's 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
Where's my axe?

Candy straps his Fender Stratocaster guitar around his neck.

She gazes adoringly at him --

CANDY
Kill 'em, baby.

ROD
They're as good as dead.

INT. MUSIC CLUB - MOMENTS LATER

As Mac and the band head for the SONG'S 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.

INT. DRESSING ROOM - LATER

It's after the set. The door bursts open -- the band are
tired and sweaty.

KEITH
Motherfucking soundman! I couldn't
hear myself sing!

IAN
(teasing)
I could. You sucked.

KEITH
Hey. Fuck you.

IAN
Where's Jack? Anybody seen Jack?

CARL is there too, eye glued to his CAMCORDER, panning across
the band-members. Suzie whips off her sweaty top. Carl's
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
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!

Ian finishes the whiskey, hands the empty bottle to Keith.

KEITH
(dryly)
My man.

ROD strides in.

CANDY, his groupie, is hanging onto his arm. Suzie glares at
him.

ROD
Hey, guys. Good gig.

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. SUZIE'S 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)
Where'd you come from? Groupies R
Us?

CANDY
Fuck you.

SUZIE
Fuck me? 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. He's certainly got their
attention.

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 we've got ONE week to
start acting like a professional
band.

ROD
Hey. Anyone here need lessons, just
talk to me.

SUZIE
Yeah, I'll 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. It's an action
Lara Croft would be proud of. SUZIE'S not a girl to mess
with. Rod's enjoying this.

CARL begins shooting away on his camcorder. Mac tries to
stop the ruckus.

MAC
OK. OK!

CANDY is furious at ROD'S laid back attitude.

CANDY
Bitch.

ROD
It's 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)
...That's 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
Your aunt Edith's dead.

Beat. A slight reaction from Mac. The stranger fumbles in
his pocket, pulling out a letter. He offers it to Mac.

STRANGER
It's 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
He also asked me... to give you this.

The Stranger puts something else in Mac's hand. It's a small
HAND-CARVED WOODEN FIGURE of a Scarecrow... damaged at the
base. Old... worn. Mac seems entranced by it.

STRANGER
Funeral's tomorrow afternoon. At the
farm.

As the Stranger smiles slightly, exits just as quickly as he
appeared.

Beat.

KEITH
Farm? ...What farm?

CUT TO:

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. Pensive. He holds the small wooden
figure.

ROD & CANDY, who's come along for the ride -- sit next to
Keith and Ian. Candy has her eyes closed, meditating.

They're playing some kind of "on the road" game --

KEITH
Okay. My main man. Marvin Gaye.

IAN
Easy. Gunshot. Patricide. Next.

ROD
Curt Cobain.

IAN
Shotgun. Suicide. Next?

KEITH
Wait a second. Did you say
"patricide?"

IAN
Yeah. Marvin's old man gunned him
down.

KEITH
That's not patricide. Patricide is
when you gun down your old man.

IAN
All right. "Fratricide". Minor
technical detail.

KEITH
Wrong. Fratricide is when you gun
down your brother. You're out. My
turn.

IAN
Fine. Be that way. Jim Morrison.

KEITH
Died in the bathtub... if, in fact,
he's really dead. Next.

ROD
Mama Cass.

CANDY
Who's 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
ham sandwich. 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. She turns
to the others --

SUZIE
Hey. Could you be a little more
insensitive? We're on our way to a
funeral for Crissake.

KEITH
Yeah. Our own. I don't see why we
got to go along for the ride.

IAN
Come on, dude. A day on a farm isn't
going to kill you.

MAC
...Heart attack.

Everyone looks at him.

MAC
Mama Cass died of a heart attack.
The ham sandwich is just an urban
legend.

CANDY
(to Rod)
Who's 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
My parents separated when I was just
a kid. I chose my mother. My father
chose the farm. Haven't been back
since. I've maybe talked to him twice
in twelve years.

Off Suzie's look --

MAC
My father and I don't exactly see
eye to eye.

SUZIE
About what?

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 Keith's sneakers.

IAN
New "shoes," Keith?

Keith proudly lifts up his feet, revealing a brand new pair
of --

KEITH
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
you've walked a mile in his shoes.
Then you can criticize... 'cause
you'll be a mile away... and you'll
have his shoes.

They laugh --

KEITH
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.

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.

There's 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. Smoke and flames 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 we've seen before -- "No Trespassing - J.
Macdonald".

INT. BUS

ON MAC.

...He's 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. Mac's eye finally settles on -- THE OLD BARN

There's something strangely compelling about it... something
that seems to strike a chord deep inside his memory.

This is MACDONALD'S 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.

ROD
After you... ladies.

EXT. BUS - DAY

The band members file out of the bus. They glance around the
dilapidated farm.

Candy suddenly seems concerned --

CANDY
Rod. Check out my chakras.

Rod, puzzled, stares at her body.

Candy fingers the crystals around her neck.

CANDY
They've 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
...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?

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 he's 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 ain't got a head.

Everyone stares --

BILLY BOB
Chickens! Glad you could make it. --
Name's Billy Bob.

Keith gives an "I told you so" look.

Mac shakes hands -- then looks at his palm. There's CHICKEN
BLOOD all over his hand. Billy Bob grins. He wipes the excess
blood on his apron.

BILLY BOB
Your pa's waiting for you up at the
house.

MAC
How'd he know I'd 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
I'd watch your step if I were you,
son.

KEITH
Oh yeah? Why's that?

BILLY BOB
You're standing in horseshit.

Keith looks down. Yep -- he's standing in horseshit, alright.

KEITH
Damn! These are one hundred dollar
Nikes!

IAN
I thought you said two hundred.

Billy Bob grins. Spits a globule of black tobacco right next
to Keith's 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.

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.

IAN
Perfect. No signal.

IAN peers over Carl's shoulder, sees Suzie's ass on the
screen.

IAN
That got a zoom lens?

CARL
Brace yourself.

As he "zooms" in on Suzie's 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. It seems to be 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. That's all.

Mac sighs. He turns to his left -- and --

MAC
Daaa!

He almost falls over his AUNT. Dead, laid out "in state" on
a long, OAK TABLE, candles all around her.

VOICE (O.S.)
Hold it right there. Turn around
slowly.

MAC slowly turns to see --

-- his father, JEREMIAH MACDONALD, late sixties, weathered
but strong, a man who's spent his life working hard on a
farm. He's wearing work clothes -- overalls, and yes, black
farm boots. With a crazed look in his eye, he's pointing a
shotgun straight at Mac.

MAC
What are you going to do? Shoot me?

JEREMIAH
Depends. You got some nerve intruding
on a man's 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. You invited me.

CLICK CLACK! Jeremiah pumps the shotgun, chambering a round.
Mac's unsettled. Perhaps Jeremiah's gone over the deep end --

MAC
I'm your son. And Laureen's son.

JEREMIAH
Ain't nobody mentioned that name on
this farm for 14 years. My boy was
taken from me... far as I'm concerned,
he's dead. Now, I ain't gonna ask
you again. -- Who are you?!

MAC
Joseph Macdonald... Your son.

JEREMIAH
Joseph Macdonald. Damn right, boy.
And don't you forget it.

Jeremiah lowers the shotgun, grins --

JEREMIAH
I'm just yankin' your chain!

It seems Jeremiah has an offbeat sense of humor.

JEREMIAH
Come here... I ain't gonna bite.

MAC approaches cautiously. Jeremiah grabs Mac, hugging him --

Mac's pretty awkward, but he puts up with this.

JEREMIAH
Look at you! You're 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. That's
all.

JEREMIAH
Broke her heart you never visited...
But I always said you'd come back.

Jeremiah reaches down, tenderly strokes his sister's hair.

MAC
I'll be gone again tomorrow.

JEREMIAH
...Guess it was her time to go. You
can't argue... when the good Lord
calls you home.

There's an awkward beat --

MAC
How... was she "called?"

JEREMIAH
Pardon?

MAC
Aunt Edith. How did she... die?

Jeremiah puts a PIPE in his mouth, lights it.

JEREMIAH
"Natural causes."

CUT TO:

EXT. MACDONALD GRAVEYARD - AFTERNOON

We're 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.

They'd rather be somewhere else.

Mac stands beside Suzie. She gently squeezes his hand.

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)
-- Let's 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. Head bowed, reverent, dressed in a sombre black
suit.

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 there's a
bigger turn-out.

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 didn't notice her before.

The Woman moves closer to Mac... closer... she removes the
veil. A mixture of terror and fury --

PREACHER
-- 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)
You're 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 --

OLD WOMAN
(to Jeremiah)
It's started again, hasn't it? The
harvest of blood. I know. I can feel
it. Your father's legacy of evil --

JEREMIAH
-- My daddy's dead. You and the others
saw to that.

OLD WOMAN
Yes. And burning in hell! And you're
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 Jeremiah's head. He picks up a shovel,
raising it as a weapon --

PREACHER
A time to -- holy shit!! Jeremiah --
NO!!

Mac grabs Jeremiah, struggling to keep the shovel away from
Jesse's 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 children's
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.

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 funeral's 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.
Can't say the same about the law.

As he says this, the Preacher gets in his car -- which we
now see is a SHERIFF'S SQUAD CAR. He yanks off his clerical
collar, as if it's been strangling him, puts down his bible.

He reaches on the seat and just as swiftly puts a SHERIFF'S
HAT on his head. He eyes the other band members.

PREACHER
Keep an eye on your guests. We don't
want no pot smoking musicians spoiling
things around here.

JEREMIAH
Don't worry. S'all under control.
Workin' on any big cases?

PREACHER
Nah. Things are dead quiet.

As the sheriff's car pulls out, Jeremiah watches -- his eyes
are now on the BARN some distance away.

MAC's there, pushing open the barn door. Jeremiah smiles
slightly.

INT. BARN - AFTERNOON

The BARN DOOR CREAKS open.

Exploring, MAC enters the barn by himself. It's 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 --

SOMEBODY'S LEGS.

-- clad in dirty jeans, old shoes... stretched out and partly
hidden behind a barn STALL. Someone's 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 there's
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 -- don't fear the reaper!

Beat. Mac stares, the color drained from his face.

IAN
So. When's dinner?

EXT. CORNFIELD - MAGIC HOUR

The Scarecrow, hanging alone in the field. The sun is sinking.

INT. BATHROOM - NIGHT

CANDY's 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. Then the knob TWISTS
back and forth, violently.

CUT TO:

INT. HALL WAY - SAME TIME

It's Suzie twisting the knob. It's locked. Suzie wears nothing
but a towel, impatient to shower. She bangs on the door.

SUZIE
Hey! Don't use all the hot water!

INT. BATHROOM

CANDY
Keep your shirt on! I'm 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. Suzie spins
around.

It's MAC. He moves in closer, holding her --

MAC
Ten thirty. My room. Clothing
optional.

Suzie smiles meaningfully.

SUZIE
What about Jeremiah?

MAC
Nah. Just you.

As they kiss --

Suddenly, we hear a terrible SCREAM from inside the bathroom
and --

Mac twists the door handle, still locked and -- it's 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 --

-- Candy's standing there, naked, terrified. Shaking, she
points --

CANDY
Look.

There's 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)
I'll get it.

INT. DINING ROOM - NIGHT

ON A PLATE OF WHOLE COOKED CHICKENS and MEAT... the result
of Billy Bob's handiwork.

JEREMIAH and Billy Bob are eating heartily without a care in
the world.

Mac and the others watch them.

There's a bottle of MOONSHINE. Ian takes a SIP --

-- 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)
How'd... you... make it, exactly?

Jeremiah leans closer, looks Ian straight in the eye --

JEREMIAH
Well, I could tell you... but then,
I'd have to cut your throat and gut
you like a pig.

Silence.

Jeremiah laughs. The others look at each other, smiling
tentatively --

JEREMIAH
Just yanking your chain! Old family
secret.

He looks across at Mac --

JEREMIAH
Some things are better left that
way. Right, son?

Mac ignores this. There's an awkward silence.

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

Suzie's anxious to leave the table, meet up with Mac.

Jeremiah looks wistful.

JEREMIAH
Chicken. Used to be Edith's favorite.

Beat. Jeremiah chokes up, suddenly remorseful.

BILLY BOB
(raises his glass)
To... Edith. May she rest in peace.

JEREMIAH
To... Edith.

Everyone... drinks. Suzie wants to leave.

SUZIE
Okay. Well --

Jeremiah raises his glass again --

JEREMIAH
-- and... to my... son.

Everyone settles back in again --

JEREMIAH
...The last of the Macdonalds. Who's
finally been called back home.

Jeremiah and Mac lock eyes.

JEREMIAH
Even if it is... for one day.

Everyone drinks. But it's not over yet.

JEREMIAH
And to...

CANDY
The farm?

Suzie rolls her eyes, glares at Candy. Candy smirks.

JEREMIAH
(raises his glass)
Good idea, little lady. "The farm."

IAN
To "Old Macdonald's farm" --

KEITH
"E-I, E-I, Oh --"

CRASH!!

The GLASS suddenly SHATTERS in Jeremiah's hand.

Rivulets of blood on his fingers. At first, he doesn't notice.

SUZIE
Your hand is bleeding.

JEREMIAH
...Excuse me.

Jeremiah gets up, holding his hand, goes into the kitchen.

KEITH
Damn. Whassup with that?

No one speaks at first.

BILLY BOB
You just reminded him... of Jethro.

SUZIE
Who's Jethro?

No one answers.

SUZIE
Who's Jethro?

BILLY BOB
Jethro Macdonald.

MAC
...My grandfather.

Everyone turns toward Mac. When he doesn't continue --

BILLY BOB
'Scared most people in this county
half to death. The kids used to call
him... "Crazy Old Macdonald". They'd
sing that old nursery rhyme...

CANDY
(glancing uneasily
over her shoulder)
He's 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.

IAN
What was it about him that... scared
people?

BILLY BOB
Why don't you ask Mac? -- It's his
granddaddy.

All eyes on MAC.

MAC
I don't remember...

A beat --

ROD
(flippant)
What was he... some kind of axe
murderer?

JEREMIAH (O.S.)
Why don't you ask him yourself?

Beat. Jeremiah's walked back into the room, his hand bandaged.

JEREMIAH
He's 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 hands --

JEREMIAH
My daddy was a man of vision. People
always fear what they don't
understand.

Jeremiah looks down at the urn. He's silent for a moment --

JEREMIAH
He lived for this land. And he died
for it. Rest in peace, daddy.

Slowly, Jeremiah lifts the lid off the urn. No one wants to
Look inside. Finally, Carl leans over, and --

SNEEZES... scattering ashes!

CARL
Sorry.

An awkward beat. Then

Jeremiah laughs, slaps Carl on the back --

JEREMIAH
I'm just yankin' your chain! It's an
ashtray. -- Jethro's 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. MAC'S BEDROOM - NIGHT

It used to be his grandfather's room. There are old family
photos on the wall. Creepy.

Mac stares out the window. Outside, we can see the old BARN
in the moonlight.

Is that Billy Bob going inside?

The bedroom door opens. It's Jeremiah. Mac turns away, looking
back out at the barn.

JEREMIAH
That old barn. After the fire... I
rebuilt it nail by nail. Just the
way your granddaddy would've wanted
it.

MAC
(not happy)
This is his room... isn't it?

JEREMIAH
Was. You ain't afraid of ghosts, now
are you?

MAC
I'll be fine here.

Jeremiah holds out a bound stack of envelopes.

JEREMIAH
Thought you might want these.

Mac just stares at them.

JEREMIAH
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
Well. Then... I'll leave you to it.

Jeremiah's about to exit --

JEREMIAH
You got it wrong, boy. I'm not the
monster you think.

MAC
Maybe you should tell that to the
old lady you tried to hit with the
shovel.

JEREMIAH
I wouldn't pay Jesse no mind at all.
She's just a crazy old woman. Hasn't
been right in the head since her
husband passed away.
(beat)
Wasn't much right before that,
neither.

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... don't
you worry about ol' Jesse. She won't
be bothering anyone no more.

INT. LIVING ROOM - NIGHT - LATER

Keith tries to sleep, but doesn't 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. It's still on the
mantle.

Jeremiah walks past almost unseen.

A little spooked, Keith removes his .38 SPECIAL, checks if
it's loaded --

KEITH
Yeah. That's what I'm talkin' about.

He puts it under his pillow.

INT. MAC'S BEDROOM - NIGHT

MAC's 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 there's the soft strains of tinkling MUSIC...
from a child's music box... barely discernible over the wind.
But eerie...

Mac sits up in bed. Looks out the window to --

THE OLD BARN

That's where the sound is coming from.

As Mac stares...

There's 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. Nothing.

SUZIE (O.S.)
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
Victoria's Secret.

SUZIE
It's ten-thirty. I took the clothing
option.

She gestures at her sheer nightgown.

SUZIE
Sort of.

She smiles at Mac. He gazes blankly at her --

SUZIE
Well, are you going to invite me in?
It's 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 Mac's not responding.

SUZIE
What's wrong?

MAC
This... used to be Jethro's room.
The attic.

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. He's not responding.

SUZIE
What do you want? His permission? No
problem.

She puts her fingers to her temples, a "mock seance" --

SUZIE
I'm talking to the spirit of Jethro
Macdonald. Is it okay to have sex in
your old attic with your grandson?
We'll be careful of the bed --

MAC
Let it go.

SUZIE
I bet if he were still alive, he'd
like to watch.

She caresses the bedpost --

SUZIE
Think of it... as a threesome. You.
Me. And... "Jethro."

MAC
I said that's enough!

Mac grabs her roughly, pushing her against the wall.

Suzie stares at him like he's an alien.

SUZIE
Get a life!

-- and goes out the door, SLAMMING it.

INT. BUS - NIGHT

Two figures underneath a blanket at the back of the bus.

Having sex.

It's Rod & Candy. Then we hear Carl's voice.

CARL (O.S.)
Man. That was the weirdest funeral
I've ever seen.

We MOVE to the front of the bus. IAN & CARL are chilling,
totally ignoring the Kama Sutra going on in the back.

Ian's swigging from a bottle of Jack Daniels.

CARL
He almost brained that old lady with
a shovel.

IAN
Must be a family feud, dude. You ask
me... Mac's father's 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,
who's disappointed.

IAN
I don't 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. Rod's holding a joint.

ROD
Me too.

He grins, passing it to Ian and Carl --

Ian glances out the bus window. Did he just see a figure
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
it off its hook. We get the feeling it's 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.

Jesse's outside, standing by a bonfire, engaged in a Pagan
ritual of protection.

She throws a STRAW DOLL into the fire. The flames quickly
turn it to ash.

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 farmer's overalls... and boots that we've
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?

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. Listening... trying to determine
where its prey has gone.

EXT. BACK OF FARMHOUSE - NIGHT

The SCARECROW comes out the back door.

Moonlight. Except for the crickets... and soft clucking of
chickens, it's quiet.

The Scarecrow looks around. Where did she go?

INT. CHICKEN HOUSE

It's 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. She's fooled him!

INT. CHICKEN HOUSE

JESSE relaxes ever so slightly, as the SCARECROW moves away.

HER FOOT.. touches one of the chickens! It starts clucking --

EXT. BACK OF FARMHOUSE

The SCARECROW.... whips its head around, hearing --

INT. CHICKEN HOUSE

JESSE cringes, praying she's still safe.

CRASH! The SCARECROW's inside --

The CHICKENS freak, going crazy, flapping their wings--

The SCARECROW'S 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 Jesse's 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 Rod's arms.

In the front, Ian & Carl. All asleep.

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
It's a farm, Keith. You're not
supposed to shoot the rooster.

KEITH
He started it.

SUZIE
You seen Mac? His bed hasn't 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. It's MAC. The barn
door swings open. Sunlight floods in.

Suzie's found him, Still angry from the night before, she
kicks his boot.

SUZIE
Hey --

No reaction. She bends over, shakes him --

SUZIE
Mac!

A groan from the floor. Mac raises his head, instinctively
shields his eyes against the light --

SUZIE
We're 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
How'd you get that? Playing with
your pitchfork?

MAC
Picked up one of those shears. Blade's
razor sharp. -- Where is everyone?

SUZIE
Getting ready.

MAC
Look. You want to talk about this?

SUZIE
I don't think so. Keith's about to
use the rooster for target practice.
Besides... you didn't 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
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 won't be
able to guarantee the safety of the
old Macdonald cock much longer.

Jeremiah raises an eyebrow, as Suzie exits.

JEREMIAH
Women. Can't live with 'em... can't
shoot 'em... Without good reason.

Mac half-smiles.

The SCYTHE is back where it was. A smear of blood on the
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.

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 Keith's
Nikes.

Over near the HOUSE, MAC walks up to Jeremiah, who's whittling
a piece of wood. Mac pauses, trying to figure out how to say
goodbye.

Jeremiah glances at the cut on Mac's hand. Then --

JEREMIAH
You'll be back.

MAC
I don't think so.

He holds out his hand to Mac. Reluctantly, Mac reaches out
to shake it.

Jeremiah squeezes. A drop of Mac's blood falls into the dust.

JEREMIAH
You're a Macdonald. It's 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. We're going on a "long
trip".

CANDY
(turning over a card)
Not according to these.

Mac enters the bus, sits down by Suzie. She notices his hand,
bleeding slightly.

Carl starts the bus. KEITH couldn't 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, there's a horrible grinding sound. The bus SWERVES --
and the engine CUTS out. The bus comes to rest in a thick
cloud of dirt.

INT. BUS

CARL, at the steering wheel, tries to restart it. No 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.

EXT. COUNTRY ROAD - MOMENTS LATER

The TRACTOR pulls to a halt. CARL is sitting on the back.

And in the driver's seat, with a grin on his face... Billy
Bob, 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.

SUZIE
Looks like the alternator.

CARL
Yeah. It's the alternator all right.

SUZIE
How would you know? You're looking
at my tits.
(Beat)
Jesus, Carl. Your job is to keep us
on the road!

CARL
I didn't do anything --

KEITH
Yeah. That's 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.

KEITH
What's a "little while?"

BILLY BOB
Two.. maybe three days.

Everyone groans.

KEITH
What?!! I can't fuckin' believe this!!
You mean we're 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?

They're about to go at it again --

ROD
(grins)
She's a Tarot Card Reader at a
shopping mall.

SUZIE
What a surprise. -- What about our
audition?

JEREMIAH
If you're looking to practice... why
don't you set up over there... in
the barn?

While the others appraise the barn... Mac stares at Jeremiah.

EXT. BACK OF FARM - LATER

IAN wanders up to KEITH, a bottle in hand. KEITH is standing
with his .38 in his hand in a firing stance. MAC's watching.

Irritated with the band's 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.

KEITH
Damn! You made me miss!

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!

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

BILLY BOB
Not bad. Prefer a shotgun myself.
Comes in much more handy on a farm.
(pause)
'Course, your kind wouldn't know too
much about that.

Keith bristles.

KEITH
My kind? You mean -- black people?

Billy Bob grins at him, spits.

BILLY BOB
Musicians.

EXT. BARN - DAY

CARL, the roadie, is unloading the band's equipment off the
BUS, staggering under the weight.

The others are helping, move stuff to the barn. Candy picks
up a single microphone to carry.

Jeremiah approaches Mac.

JEREMIAH
As long as you're 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
May as well. They're having a good
time shooting tin cans.

EXT. FARM - MOMENTS LATER

MAC's now reluctantly sitting next to Jeremiah on the TRACTOR.
As they head off toward the fields --

MAC'S 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 that's poked through the fence. The tractor's parked
nearby.

JEREMIAH
Feel's good, doesn't it.
(pause)
Land. A man's born on it. A man's
buried on it. In between you just
got to do what you can to make a
living. It ain't 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
Not that.

Mac glances at the handle. "Jethro Macdonald" is burned into
the handle.

Jeremiah takes out another axe. --

JEREMIAH
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
Just what I said this farm needs. A
little new blood.

EXT. BACK OF FARMHOUSE - AFTERNOON

It's getting late. Mac hasn't returned yet. Keith comes out
and the others come out of the barn.

KEITH
Guess Mac's 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 band's equipment is all set up. But the band are nowhere
to be seen. Mac's 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 --

SUZIE
Hold it, hold it. Aren't you
forgetting something, Rod?

ROD
Like what?

SUZIE
Like your guitar break.

ROD
It's coming right up. After the third
verse.

SUZIE
Second verse!

ROD
Jeez, what's the difference? Just
'cause it's rock 'n roll, doesn't
mean it's be set in stone.

Suzie looks at Mac. He looks pale.

KEITH
You wanna know the difference? The
difference is that you're screwing
up the song.

ROD
Yeah. Sure. I'm screwing up the song.
You're the one who's been two beats
behind since we kicked it off.

Mac isn't paying attention.

MAC'S... sweating, staring transfixed.

KEITH
What the fuck you talking about,
man?

SUZIE
He's right. You were behind.

But Suzie's distracted, watching Mac carefully. Max plugs
his lead into one of the mixing consoles. Blood gushes down
the perspex channels...

KEITH
Bullshit! Next thing you'll be telling
me, black man don't have rhythm!

-- and then, as Mac watches, the BLOOD is gone... just as
quickly as it appeared.

KEITH
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 you're such an expert
on music, why don't you go get your
dueling banjo and sit in on the next
song?

BILLY BOB
I ain't never played a banjo in my
life.

Billy Bob stands over Keith's electric organ... plays a burst
of Toccata and Fugue with flawless grace and precision. He
stops, grinning widely at Keith --

BILLY BOB
...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. I'm taking a
break.

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

Mac walks out, slamming the barn door. Keith looks at everyone
innocently, especially Suzie.

KEITH
...What?

EXT. FARMHOUSE - LATE AFTERNOON

Mac examines the small carved figure he received from Billy
Bob at the club. It's 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 what's going on?

Mac looks up. He's preoccupied with the stem and the damaged
figure.

MAC
You wouldn't understand.

SUZIE
You never had trouble communicating
before.

Mac pauses in his whittling. Then goes back to it.

Suzie loses it. She grabs the knife and wood from his hand.

SUZIE
What's wrong with you? Look, if you
want to bail on me, that's fine. But
not the band.

She throws the stem and the figure on the ground.

SUZIE
Keith's right. The sooner we get off
this farm... the better.

Mac watches her. He picks up the figure.

INT. LIVING ROOM - LATE AFTERNOON

ON KEITH'S 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.

Keith wakes up -- and glances at the floor. Something's
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.

He's barefoot, stepping on rocks and brambles --

KEITH
Ow! Fuck. Ow!!

INT. BARN - LATE AFTERNOON

Suzie, Carl, Rod and Candy are in the barn by their
instruments. They're 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
-- That's what I thought.

Keith removes his gun and takes off. The others look at 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. Joke's over. You've
been playin' me from jump street.
Where's my Nikes?

BILLY BOB
Nikes? What-the-hail you talkin'
about?

Billy Bob spits some tobacco... a little too close to Keith's
bare feet.

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 Bob's head.

KEITH
Listen to me, you banjo-dueling,
country ass hayseed... I want my
Nikes and I want them now!

BILLY BOB
You... think... I... stole... your...
fancy shoes? I... wouldn't... be...
caught... dead in 'em.

Keith loses it, cocks his .38 SPECIAL at Billy Bob's temple.

Billy Bob continues to smile, almost daring him to pull the
trigger --

KEITH
I'm gonna count to three. One. Two --

And a HAND GRABS KEITH, whipping him around.

KEITH'S POV:

It's MAC. He punches Keith in the face. Keith takes a swing
back, pinning Mac against the barn. Mac throws him off with
force.

Keith hits the dust. Blood trickles from his mouth. His 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! I'm done
kickin' it with cows and roosters. --
And drinking moonshine with Johnny
Cash! Senior AND Junior!

MAC
Is that right?

KEITH
Yeah, that's right! I'm outta here --
Y'all can kiss my city ass goodbye!...
I'm gone with the wind.

Keith pulls the gun out Mac's hand.

KEITH
And fuck you too. You're just as
crazy as all of 'em... "Macdonald."

It's probably the first time Keith's ever called Mac by his
last name.

MAC
(ice)
You're talking about my family.

Beat.

KEITH
...I don't even know you any more,
man.

Mac stares coldly as Keith tucks his gun in his pants.

JEREMIAH puts his hand on Mac's shoulder -- a father
comforting a son. This doesn't go unnoticed by Suzie.

As Keith storms off --

EXT. FARM HOUSE - MAGIC HOUR

VRRRRROOOOM. As an old pair of shoes kick start the DIRTBIKE.

It's Keith. Steaming mad. He's packed his things and he's
leaving.

By the house, Suzie, Carl, Ian, Rod & Candy watch grimly.

IAN
Well, there goes our record deal.

ROD
Nah. We still got Billy Bob.

He mimics Billy Bob's keyboard moves with his hands. Rod
snickers.

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

Keith's 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 wasn't there before... was it?

Burlap-stitched face. Overalls. Straw. And...

KEITH squints at it. It can't be.

Getting off his bike, he moves closer to the Scarecrow... as
we follow his gaze:

For, on the Scarecrow's feet... are Keith's Nikes.

KEITH
MotherFUCKER!!!!

Keith whips out his 38 SPECIAL... shouts into the cornfield,
pointing his gun wildly --

KEITH
You think this is funny, Billy Bob?!!

Nothing but corn, waving slightly in the breeze. Keith cocks
his pistol --

KEITH
Why don't you come on out, hillbilly,
and we'll "talk" about it?!!

No answer from the cornfield. Nothing.

KEITH
(to himself)
Yeah. Didn't think so. Fuckin'
redneck...

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. It's not coming off so easily.

He tugs on it again.

And again. Finally, he succeeds in pulling it off -- revealing --
A human foot.

KEITH
What the... f--

Keith reaches up toward the burlap Scarecrow mask.

He YANKS it off --

It's a human face.

Although Keith doesn't recognize her, we do. It's Karen, 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. Now standing behind him. And this one's
quite alive. It holds a SCYTHE in its hand.

KEITH
Yaaaaaaaaaa!

As the blade of the scythe goes into Keith's thigh like
butter.

Keith staggers backwards, falls. Unable to walk, he tries 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,
shakily aiming at the burlap face.

KEITH
You should have asked the wizard for
some brains, asshole.

Triumphant, Keith squeezes the TRIGGER and --

CLICK. Huh?

KEITH pulls the trigger again. And again.

Click. Click. Click. Nothing.

THE SCARECROW -- dramatically opens its gloved fist. ALL of
Keith's bullets slowly hit the ground.

Somehow, someone has previously removed them from Keith's
gun.

The Scarecrow HACKS Keith again with the scythe. The gun
clatters to the dirt.

Blood spurting, Keith begins crawling away. If he can just
somehow get to his dirt bike...

Taking its time, the SCARECROW advances... closer... closer.

Raises the scythe one last time...

CUT TO:

A TAROT CARD BEING TURNED OVER.

It's "The three of swords". (three swords sticking into a
bloody heart)

We REVEAL we're in --

EXT. GRAVEYARD - NIGHT

Candles are burning. Candy sits cross-legged, by herself,
doing a night reading. It's spooky. She looks at the card,
unsettled.

Suddenly, she hears footsteps and looks up.

It's SUZIE... coming into the candlelight.

The two women regard one another. Another fight?

SUZIE
Hi.

CANDY
...Hi.

SUZIE
...You any good with those?

An attempt at reconciliation. Candy half smiles, holds 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.)
You're out of your mind, man.

ROD
I am not! I'm telling you, it's worth
its weight in gold.

IAN
Let me get this straight... we're
talking about manure?

THE CAMERA FINDS --

-- Rod and Ian, leaning against the business end of a gigantic
COMBINE HARVESTER and THRESHER. It's in silhouette.

They're sharing an impressive-looking MARIJUANA spliff --

ROD
The ancient Aztecs knew how powerful
this stuff was.

IAN
(after a moment's
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, you're even smoking some of it
right now.

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 isn't bad.

ROD
Manure... is life.

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: The Empress.

SUZIE
Me?

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
Go ahead. Feel for yourself.

It's the last thing on earth Ian wants to do --

ROD
Come on, man. What kind of pussy are
you?

Ian plucks up the courage --

REVERSE ANGLE --

Ian'S 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. The BLADE draws a thin gash of BLOOD
on his wrist.

The harvester's 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.

IT'S 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 didn't see you there... this
time of night.

Billy Bob sniffs the air --

BILLY BOB
What's that funny smell?
(pause)
It smells like...

ROD
Manure.
(to Ian)
Come on. Let's 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.

CANDY
Aha. The Lovers.

SUZIE
Not lately.

Suzie reaches out to turn over the last card. Hesitates.

CANDY
That's the opposing card.

What lies ahead you will have to confront.

Suzie turns it over.

CANDY
The devil.

The candle begins to FLICKER -- suddenly goes out. The girls
are now in complete DARKNESS. In a graveyard. They gasp.

Beat.

Candy lights a match, illuminating her face. She lights a
candle.

They giggle at themselves for being scared. A bonding 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. MAC'S BEDROOM - MORNING

Mac has just got up. He looks on the dresser. There's a long
mahogany case that wasn't there before.

He stares at it.

JEREMIAH (O.S.)
Little present.

Mac turns to see Jeremiah standing in the doorway.

JEREMIAH
Go ahead. Open it.

Mac does.

Inside... is Jethro's favorite axe. It's Mac's now.

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 can't hear what they're saying, it's clear that
they're talking about Mac. Mac's become an outcast.

Mac grits his teeth. He swings the axe high again as --

We hear the SOUND of a car pulling up on the GRAVEL outside.

It's the SHERIFF'S car. GENE the Preacher is driving.

Only this time, he's wearing his Sheriff's 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
You're not going to arrest me for
it, are you?

GENE
Hell, no. But you missed a damn good
sermon. "You can't hide a wicked
heart from the eyes of the Lord."

JEREMIAH
Sounds familiar.

GENE
Book of Jeremiah.

Across the yard, the others are watching.

CARL
(puzzled)
Hey, isn't that the preacher?

SUZIE
Find out what's 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
Hell, Gene, I'm just yanking your
chain! Never saw 'em before in my
life. You know kids. Probably smashed
up daddy's car, and now they're too
afraid to go home.

Gene nods, unconvinced.

GENE
Yeah. Could be.

Gene glances over at the band, with Mac some distance away --

GENE
Thought your boy and his band were
only staying the night.

JEREMIAH
Bus broke down.

Gene nods. Then studies the others.

BOB
Where's the black fella?

JEREMIAH
He's 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 I'm going to have
to shut down that still of yours,
Jeremiah.

JEREMIAH
Well, why don't you hold these as
evidence in the meantime.

He winks, putting the bottles of moonshine in the back seat
of the sheriff's 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.

INT. BARN - CONTINUOUS

It's very dark. A little moonlight. She seems to be looking
for something. She clicks on her flashlight. The flashlight
beam hits --

THE WOODEN BARN WALLS. A spiderweb. It moves along the walls,
SUZIE hears a NOISE. Someone's 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 FIGURE's standing right behind Suzie. She gasps. Then
recognizes CARL. An odd look in his eyes.

Maybe it's 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, I'm here. What's with all the
cloak and dagger shit?

Carl offers her some of his beer. She refuses. He takes a
slug, takes his time.

CARL
There's something weird going on
here, Suzie.

SUZIE
No shit.

CARL
I'm serious. Get this. I had a careful
look at that alternator. It's clearly
been messed with... it's not wear
and tear that caused that breakdown...

SUZIE
You're saying someone's trying to
keep us on the farm...?

CARL
Not someone -- Mac.

Suzie's unsure about this.

SUZIE
Why would he do that?

Carl leans in closer.

CARL
He doesn't want us to leave.

He's been acting weird ever since we got here.

SUZIE
Come on --

CARL
Suzie, face it. The only "axe" he's
picked up since we came here... is a
real one. He doesn't give a damn
about the band anymore... or about
you.

She looks up, stung.

CARL
You deserve better.

There's a loud clatter somewhere in the barn. Suzie starts.

SUZIE
Jesus. I don't know what's wrong
with me Carl can't believe his luck.
Suzie's jumped almost into his arms.

SUZIE
..I think I'll take you up on that
beer after all.

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
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
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
Carl's shirt pocket. She pulls it out, holding it delicately
between her fingers.

SUZIE
With this?!!!

Carl groans. He's blown it.

Suzie turns to leave and notices Carl's CAMCORDER,
strategically placed on a amplifier, facing them. She stops.
The red "recording" light is on. Suzie explodes.

SUZIE
You're taping me?! You fucking
pervert!

She picks up the Camcorder, hurls it hard at Carl. It misses
him, lands on the straw.

SUZIE
I hope I broke it. Asshole.

Suzie exits, fuming, slamming the barn door. Carl picks up
the CAMCORDER, checks to see it's 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.

Someone's in there. Suzie freezes.

Suddenly -- ROD & IAN BURST through the corn.

They hold bottles of stolen moonshine, obviously pretty
wasted.

ROD
"Old Macdonald... had --"

IAN
"-- an AXE!"

IAN & ROD
"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!

IAN
Old Macdonald had some... MOONSHINE!

As they start to sing --

INT. BARN - SAME TIME

CARL's still in the barn, fiddling with his camcorder, humming
one of the band's songs.

He looks closely at the camcorder screen.

ON THE SCREEN: A PAIR OF BLACK FARM BOOTS.

We've seen them before. They're moving closer.

And the camcorder's not on play. It's recording.

CARL
Huh?

CARL blinks. He looks up from the camcorder screen, just in
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
Yaaaaaaaaa!

CUT TO:

IAN & ROD
(howling at the moon)
Awoooooooooooooo!

-- which covers the sound of Carl screaming. They're now in --

EXT. GRAVEYARD - NIGHT

Ian takes a sip of the moonshine --

ROD
Where's Mac?

SUZIE
Who knows? Just like a man... never
around when you need them.

IAN
We're here...

INT. BARN - SAME TIME

The SCARECROW swings the AXE again --

CARL narrowly avoids the blade, but backs into the band's
MIXING BOARD. It goes ON... and one of the band's 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 band's song continues in the background, punctuating the
action --

The AXE swings down at him -- and Carl BLOCKS it with the
Fender -- CRASH -- part of Ian's DRUM KIT falls over.

EXT. GRAVEYARD - NIGHT - SAME TIME

IAN
Wait a second. Did you hear that?

ROD, IAN and SUZIE pause to listen a second.

ROD
Yeah, man. You were wrong, Suze. My
solo definitely works better in the
second verse.

IAN
He's 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 SCARECROW's axe rips across Carl's ARM, drawing blood.

CARL drops what's left of the guitar --

CARL
AAAAAAAAAAAA --

EXT. GRAVEYARD - SAME TIME

SUZIE
He should turn that music down.
Jeremiah's gonna kill him.

INT. BARN - SAME TIME

CARL, bleeding, runs for the barn DOOR. If he can only get
to it in time. The Scarecrow's right BEHIND him.

CARL reaches to open the barn door from inside, when --

TWAK!

The Scarecrow's 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.

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. IAN surveys his drumkit,... 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.

SUZIE
Carl.

ROD
CARL??? Carl did this?!!

SUZIE
Last night... he tried to get it on
with me.

IAN
And...??

SUZIE
I'd 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... he's a dead man!

EXT. FARM - MACDONALD GRAVESITE (SAME TIME)

Mac's 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. Billy Bob leans over, picks
up an empty bottle of moonshine.

BILLY BOB
Come to pick out a plot for yourself?

Mac ignores him, stares at Jethro's grave.

BILLY BOB
'Course, some folks say 'ol Jethro
shouldn't have been buried up here...
with the rest of the Macdonalds.

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
Maybe you were too young to remember.

Billy Bob grins --

BILLY BOB
Maybe you don't want to remember.

MAC
What are you talking about?

BILLY BOB
'Course, it's none of my business.

MAC
Let's 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 Mac's really interested.

BILLY BOB
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.

BILLY BOB
(grins)
...Chicken blood? Who said it was...
"chicken blood"?

That landed.

BILLY BOB
Sheriff says a couple of kids are
missing. An' no one's seen Jesse for
days. You ask me... someone's carrying
on the Macdonald tradition...

Enraged, Mac GRABS Billy Bob.

BILLY BOB
Harvest should be pretty good soon....

Mac follows Billy Bob's 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. Ian holds a
baseball bat.

ROD
Carl! Oh Carrrrl!

IAN
Come out, come out wherever you are!

INT. BARN - LATE AFTERNOON

SUZIE's alone in the barn, looking for signs of Carl.

Through the mess, Suzie sees -- Carl's 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. Things getting knocked over.

We can see Carl's feet -- and someone else's. 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. That's 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. She's not thrilled about this new development.

SUZIE
Okkkay.

Suddenly --

VOICE
Is Carl down there?

Suzie's startled. She turns to see... Candy, who's just come
into the barn.

EXT. FIELD NEAR STEEL STRUCTURE - DAY

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.

JEREMIAH
You like it? Irrigation system. Your
grandaddy built it himself. Saved
the land from dying.

MAC
That's a good idea. Maybe we should
have a little "talk" about grandaddy
Jethro.

JEREMIAH
Sure. What do you want to know.

MAC
People say he was a murderer.

JEREMIAH
That's your grandfather you're talking
about!
(pause)
I... know what people say. Heard
it... all my life.

Jeremiah composes himself....

JEREMIAH
Rumors' thick as buttermilk around
these parts. Your grandaddy was a
great man.

INT. BILLY BOB'S SHACK - DAY

Billy Bob is sitting at a table in his old woodcutter shack.
There's 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 it's not just any gun. It's KEITH's gun. It belongs 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...

She listens a second, growing uneasy. No way she's staying
here alone.

CANDY (O.S.)
Suzie???

SUZIE
(to herself)
The hell with this.
(shouts)
I'm coming back up!!!

As she's about to go back up the steps --

She hears a steady DRIP, DRIP, DRIP coming from somewhere.

Whatever it is, it doesn't sound good. She can't help herself.
She's 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. But with the clear plastic sacs
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.

That's not water.

It's 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.

Suzie's in extreme shock. She's gasping, breathless into the
dark --

SUZIE
Please... Help me...

She scrambles around on all fours trying to find the torch.

She's 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 --

Keith's dead body. Arms outstretched... like a scarecrow.

WE CATCH A BRIEF GLIMPSE:

A network of pipes and feeds are inserted into Keith's body --

Right next to him, in the same manner, is Carl.

Suzie SCREAMS --

EXT. FIELD - DUSK

Mac and Jeremiah hear Suzie's screams --

EXT. FARM - DUSK

-- and so do Rod & Ian --

INT. BARN - LATER - NIGHT

Suzie is sobbing. Everyone's in various states of
incomprehension and panic. Mac SLAMS the trap door, having
just taken a look... in the barn's basement.

Rod tries to comfort Candy, who's almost catatonic, holding
her chakra crystal necklace tightly.

IAN
Fuck man! This is fucked! They're
all dead! What the fuck's going on?

JEREMIAH
I'm telling you -- that basement
hasn't been used for years. Slaves
hid there... before the civil war --

ROD
We've got to call someone -- get the
sheriff--

IAN
The Sheriff?! We don't need the
sheriff!!! We need to get the hell
out of here!

MAC
We've got to find out who did this --

ROD
No way, man -- I'm not going hunting
for a serial killer!

MAC
Shut up! Let me think.

IAN
What's to think about? We all know
what's going on!!
(points to Jeremiah)
It's him! Case closed!

JEREMIAH
-- You're saying I did this? You're
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
...I didn't 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... it's starting again, isn't
it? Someone's picking up where Jethro
left off!

JEREMIAH
-- It's 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 BOB'S SHACK - MOMENTS LATER - NIGHT

The DOOR bursts open -- as Mac, Ian, Candy, Suzie, Rod and
Jeremiah enter. Mac is holding Jeremiah's shotgun.

Billy Bob's currently not at home.

ROD
Okay. Nobody here. Let's go.

It's a messy room. Old Magazine pictures on the walls.

Almost in a trance, Candy sits down, takes out her tarot
cards.

There's an incriminating MACHETE with blood stains on the
table. Mac stares at it, picks it up.

MAC
Looks like Billy Bob's been busy.

There's a tall, brown upright CUPBOARD by the kitchen sink,
just begging to be opened.

Ian reaches out, pulling it --

SQUAWK!!!! -- Billy Bob's "pet CHICKEN" -- bursts out of the
cupboard -- flapping, squawking -- and scaring the shit out
of everybody.

Ian looks lamely at the others, he's just about wet his pants.

Suzie continues searching, opening drawers next to the sink.

Forks. Knives. Utensils. And then --

SUZIE
Oh my God.

She pulls out a .38 special from the drawer... with a pearl
handle.

SUZIE
It's... Keith's.

They look at one another. Case closed. Billy Bob's the killer.

Mac takes Keith's gun... and is about to hand the shotgun to
Jeremiah. Instead... hands it to Ian.

Jeremiah and Mac lock eyes. No trust.

Rod holds up a telephone wire.

ROD
It gets worse. He's cut all the phone
lines.

SUZIE
(to Mac)
What'll we do?

As if in answer, Candy turns over a tarot card.

It's... 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. Mac's behind the
wheel, with Suzie and Candy next to him. He's turning the
key in the ignition. The engine won't turn over.

MAC
Shit!

As they watch in silence, Mac gets out of the car, opens the
hood. He holds up the wires, that have been severed. Game
over. They're trapped.

EXT. EDGE OF FARM - NIGHT - MOMENTS LATER

Standing together, nervous. They have flashlights--

-- and they're armed to the teeth.

Ian has the SHOTGUN... Mac holds Keith's pistol. ROD holds a
pitchfork, SUZIE holds a long kitchen knife. They're armed...
except for Candy.

JEREMIAH
It's a twenty-minute walk to the
next farm. We can phone from there.
Quickest way is to cut through the
field.

Beat. No one's 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. Nobody really
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... where's Jeremiah?

He's nowhere around. Vanished.

MAC
(loud whisper)
Jeremiah?

There's a strange rustling sound of corn. Something's not
right -- even though they can still see Jeremiah's flashlight
beam.

MAC
...Shit.

As Mac, Ian, Rod and Suzie go into the next ROW of corn...

...they see Jeremiah's FLASHLIGHT -- still lit, but hanging
on an old, half-rotted SCARECROW, just rags and straw.

Jeremiah's 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 they're 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, there's a WHIRRING, WHOOSHING SOUND, coming from
among the rows of corn -- the band members duck in fear.

They're... drenched. As the sprinklers come on, Suzie, Ian,
Rod, and Mac try to escape the onslaught. Within seconds,
they're getting sprayed.

But something's 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... it's not
just water.

SUZIE
Oh my God... it's...

A moment of stunned silence.

MAC
-- it's blood.

Candy screams. The group is freaked. They flee from the field
in panic -- desperate to try to wipe the blood off.

The combine harvester parked nearby suddenly roars to life.

SUZIE
What the hell's that?

IAN
You don't 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 harm's way, just
in time. Mac tries to get away himself... but he can't.

THE HARVESTER, bearing down on him, and --

MAC dives off the path into the cornfield, the HARVESTER
close behind. He's on the ground now, and --

MAC'S 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. It's empty. She scoots inside, frantically 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. He's not going to
make it.

THE HARVESTER looms over him. He swings around, bleeding and
caught on the fence.

IAN
Fuck you in hell!!!

BLAM! BLAM!

IAN fires the SHOTGUN. The Harvester keeps on coming.

As the huge rotating motors PULL him and the fence into the
whirling blades

IAN
AAAAAAAAAAAAAAA!!!!!!!!!

He's chopped meat.

ON THE CORN

As Ian's 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 with --

THE SCARECROW. She gasps -- and then sees -- the scarecrow's
hands across the pole -- MOVING! It's the killer. And Suzie's
had enough of this shit --

SUZIE
Eat this!!!!

She kicks the scarecrow between the legs and THRUSTS her
KNIFE straight into the scarecrow's 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 scarecrow's burlap
"mask" to reveal --

Billy Bob. Duct tape over his mouth, unable to talk.

Someone's tied him up, dressed him up as the scarecrow.

As his wide dying eyes stare into hers, Suzie realizes she's
made a mistake --

SUZIE
Noooooo!!!!! I'm... sorry --

Suzie backs away, and -- sensing something, WHIRLS AROUND to
see --

Another SCARECROW. Not fastened to a pole, but standing in
front of her.

An old hat, farm overalls --and a scary cross-stitched burlap
bag over its face. It's the killer.

Before she can react, the Scarecrow's gloved HAND comes
sweeping down, a long, sharp FARM SICKLE in its hand. It
takes a chunk out of Suzie's 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. She's a strong runner. But it's a long and scary
road.

EXT. FARM ROAD - NIGHT

It's started raining.

We're 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
glaring --

He waves his arms, flagging the truck down --

ROD
Heyyy!!!!

It stutters to a halt.

The passenger door opens.

ROD
Listen -- we've --

Rod looks at the driver: a foxy-looking chick in overalls.

TRUCK DRIVER
Hey, you one of those musicians
stayin' down on Macdonald's farm?

Rod, bloody, dazed, just stares.

TRUCK DRIVER (ORWELL)
Name's 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. She's 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. It's locked --

SUZIE
...please...

And then she sees the THRESHER'S HEADLIGHTS. It's far away...
but it's coming towards the farm.

She glances over at... the barn. Possible safety.

EXT. BARN

She opens the barn DOOR... leaving a bloody handprint...

INT. BARN

Scared shitless, Suzie glances around. Is there a place to
hide?

Silence. The sound of the Thresher's gone... but there's
something else.

Footsteps. Someone -- or something's coming.

Empty-handed... she needs a weapon. She moves to the farm
implements and scythes hanging from the hooks. She selects a
SCYTHE.

But she's not tall enough! She can't pull it off the hook!

The FOOTSTEPS are getting closer. She can't remove the scythe --

Someone's now right outside the barn DOOR. SUZIE finally
manages to pull the SCYTHE down off its hook, she's got it.

THE DOOR starts to creak open, SUZIE raises the scythe above
her head to strike, she's going to really let this fucking
Scarecrow have it, and --

It's MAC. Bloodied, ripped clothing, and hurting... but alive.
They stare at one another -- Suzie's freaked, the scythe
still poised to strike --

MAC
Suzie... it's me... Mac.

She finally gets a grip. She lowers the scythe... and falls
into his arms, hugging him. Mac notices her bloody shoulder.

MAC
Suzie --

SUZIE
(a sobbing torrent)
Billy Bob's dead. -- We were wrong --
he didn't do anything. I-It's the
scarecrow --

MAC
Wait a minute --

SUZIE
I... saw him -- he tried to kill me --
he's, he's -- still -- out there --

MAC
What are --

SUZIE
HE'S STILL OUT THERE!!!

MAC
-- You're not making sense!! What
"Scarecrow"?

Suzie pauses. She looks down.

ON MAC'S LEG

He's dragging it behind him, limping slightly. There's blood
on it -- a fresh wound.

Suzie freaks. She just stabbed the Killer in the leg.

...And now Mac's leg is bleeding.

SUZIE
You're... 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 --

MAC
Suzie... No.

SUZIE
It's you. You and your father.

MAC
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 --

She raises the scythe, about to strike --

And then -- The harvester starts up again. Suzie doesn't
know what to do. She doesn't have to think too long. The
next moment --

CRASH! The WALL of the BARN cracks. The HARVESTER is ploughing
right into the BARN!!

MAC
Suzie, Come on!

They rush to the Barn Door. It's LOCKED from the outside!

They're trapped!

CRASH! The HARVESTER, headlights blazing, is chewing wood,
coming through the wall --

MAC
This way!

Mac's pulled open the basement trapdoor. Suzie's terrified.

MAC
Trust me! -- Now!

Mac grabs one of the burning kerosene lamps. Just as they
climb down the ladder --

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 they're 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
Don't look.

Above them, they can HEAR the HARVESTER -- being turned off.

Silence.

MAC shines the kerosene light around. And then --

THE TRAP DOOR... starts shaking. Someone's trying to pull it
open. The padlock seems to hold.

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. Suzie's 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. There's no other option.
The only way out.

MAC
Over here! Hurry!

Mac grabs Suzie... and together, they climb through the hole,
into --

INT. UNDERGROUND TUNNEL - CONTINUOUS

Dank and strange... there's puddles everywhere, dripping
from the irrigation pipes. Blood streaks the wall.

It's not a place you'd 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 they're now in --

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.

We're obviously in the scarecrow's domain.

Mac bolts the door behind them. Suzie looks around.

SUZIE
Jesus.

There's 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.

Keith's shoes. Jesse's straw dolls.

Mac notices a KNIFE. A weapon.

He examines it... runs a finger along the bloodied edge...

SUZIE
Mac... let's get out of here.

MAC
Don't you see? Whatever's going on...
I'm part of it.

Mac sees... the old MUSIC BOX. He opens it up.

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.

SUZIE
No. Not without you --

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". As it
does, the carved "animals" weirdly revolve... around the
main figure. Mac can't take his eyes off it.

SUZIE
Mac...?

And then...

AT THE MOUTH OF THE CAVE

a MAN, silhouetted by woods and moonlight appears.

It's Jeremiah. Unarmed. He stares at them, a strange look on
his face.

MAC
Jeremiah?

JEREMIAH sees the music box in Suzie's 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. Suzie holds her knife
out.

JEREMIAH
Give me that --

SUZIE
I said, stay back!

Jeremiah lunges. As Suzie's 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.

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? They're here. I didn't mess
up. Did I...

Beat.

JEREMIAH
...daddy.

SUZIE
(incredulous)
..."Daddy"?

MAC
(softly; to himself)
Oh my God... Jethro.

Jethro takes another menacing step towards them. The real
Old Macdonald.

MAC
The trap door. That's how he escaped
the fire...

SUZIE
(amazed; to Jeremiah)
You've 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.

Jethro's hands tighten around the axe.

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: The intent is clear:
kill her.

JEREMIAH
It's 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. Then --

FLASH IMAGE

FIRE... everywhere. In the barn --

JEREMIAH
You were there!!!

Mac struggles to remember. He's 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 Jethro's contraption
pushing through pipes and plastic sacs.

FLASH IMAGE:

Several dead bodies nearby. Murdered FARMHANDS and TRANSIENTS.
Prepared for Jethro's blood harvest and attached to his
machine.

JEREMIAH (O.S.)
That's right. You were there.

Then another series of IMAGES flood through Mac's 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)

Mac's 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 it's alright, boy!
(indicating Jethro)
He forgives you. Isn't that right,
Daddy?

Jethro grabs Mac's hand, puts it on the axe handle.

And then... with a rasping, evil voice --

JETHRO
Pick it up.

Mac looks at his "family". Sees eagerness.

Mac looks at Suzie. Sees cold fear.

JEREMIAH
If you don't do it... he will!

Mac hesitates.

Mac reaches out, touching the handle. He feels the wood...
almost caressing it. Maybe he's a Macdonald after all.

JEREMIAH
That's right.

Mac makes his decision. He can't help himself. He steps
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 Mac's other hand.

SUZIE
(terrified)
...no... Mac... p-please...

MAC
Can't 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. The
blood. Her hands encircle his, feeling the knife handle.

...and then, she looks back into Mac's eyes. They stare at
each other...

...as Mac continues to pull the KNIFE up... up... gutting
her.

Blood seeps through her clothing.

Suzie's eyes glaze over... almost as if she's accepting her
fate.

Mac lowers her to the ground... dead, never taking his eyes
off her.

He pulls the knife out, releasing Suzie's lifeless body.

Mac stands up, faces Jeremiah and Jethro. If you could see
through the scarred tissue, you might see a smile on Jethro's
lips.

Mac, almost in a trance, walks over to the wooden table.

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. It's 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. Lantern in her
hand.

MAC SWINGS the bottle of MOONSHINE, SMASHING it against the
side of Jethro's 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 we've 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
burns his own hands and face --

MAC
(softly)
Ei, ei... oh.

Mac grabs Suzie's 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. They're a mess. Coughing, 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. Wrapped in a blanket she watches as
a couple of PARAMEDICS rush to help Mac and Suzie.

ROD dazed, bleeding, but happy to see them -- and happy to
be alive. He's brought the calvary. In addition to Candy,
standing next to Rod is... ORWELL, alternator girl, watching
in amazement. She watches the fire and paramedics... better
than MTV.

ORWELL
I'd 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 it -- Dead Quiet are back in business,
like true rock 'n roll survivors. They're a leaner, meaner,
tighter band now -- their experience on the farm has given
them a tight edge they lacked before. It's the edge that
goes with stardom.

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.

There's 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
Where's Rod?

He's talking to ORWELL, who's now officially part of the
family.

MAC
Find him. Now!

EXT. BACKSTAGE - SAME TIME

Rod's 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 --

PRESS WOMAN
One last question -- how long did it
take you to write the songs for "Old
Macdonald's 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! That's all. And now their
CD's 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 Quiet's" latest Indie rock hit
fade through. And in black and white, like a music video, we --

CUT TO:

FAMILIAR WOODEN SIGN

...which reads: "Macdonald's Farm".

That's because we're 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 --

REAL ESTATE AGENT
Hi. 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
babes.

ORWELL
Mac wants us on stage. In a hurry.

ROD
I'm coming.

Rod gets ready to go on. Candy picks up his new guitar --

CANDY
Hey, honey. Don't forget your axe.

EXT. MACDONALD FARM - SAME TIME

An AXE. A real one.

...going into the chest of the Real Estate Agent. He sinks
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. She's 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. Alive and well.

Sort of.

He's survived the fire. But... like his father, his face is
horribly burned and scarred. He's 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. The music of "Old MacDonald" mixes
with the indie rock DEAD QUIET track.

He pauses to look at the surrounding cornfields. They could
use a little... nourishment.

JEREMIAH
Well Daddy... it's 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.

Let's leave him there...

For now.

THE END

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