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.
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
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
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.
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.
-- 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
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:
EXT. FARMLAND ROAD - (PRESENT DAY) - NIGHT
TITLE: 16 YEARS LATER
It's dark, deserted, lonely. The harvest moon is shining
And then --
The approaching HEADLIGHTS of a soft-top convertible, whipping
up dust as it zooms along. Loud ROCK MUSIC blaring from
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 --
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 --
I can't help it, babe. You bring out
the monster in me.
Ray puts a hand on her exposed thigh. Karen removes it.
Not while you're driving.
Karen pops open a beer.
Throw me one.
Not while you're driving.
As Karen chugs her beer, Ray can't help glancing at her
-- And keep your eyes on the road.
I'm admiring your costume. What
"movie" are you going as again?
Sheena, Queen of the Jungle.
Off Ray's blank stare --
Never heard of it.
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.
(re: the mask)
You don't like my costume? Cool.
I'll go with plan B. Which one you
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.
Hey... wanna see something really
Ray reaches down under the seat, taking his eyes off the
road. Before he can get any further, KAREN'S eyes widen in
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.
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
INT./EXT. - CAR
Ray turns to check Karen -- she's unconscious, head back on
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.
Is that all you ever think of? Suppose
I was really hurt!
Dammit, Karen -- I was just... looking
for your pulse.
-- By way of my breasts?
EXT. CORNFIELD - MOMENTS LATER
ON THE CAR HOOD
-- being opened by RAY. There's a little steam coming out
and the engine's hot.
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."
Hey -- Macdonald's farm!
Ray -- I'd like to get to the club
sometime before dawn.
Karen holds a "flyer" for a music club.
Be right back. Gotta irrigate the
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,
(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
For the first time, he casually turns to his left to see --
A SCARY FIGURE
silhouetted against the moonlight, standing next to him --
-- 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.
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.
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
Ray takes another step forward. -- Did he just hear something
in the cornfield with him -- or was it his imagination?
KAREN's a little anxious. Ray should have been back by now.
She leans out the window, trying to look past the open car
How many beers did you have, Ray?!
Beat. No answer.
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)
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.
Geez! -- That wasn't funny!
The MASKED FIGURE with the cape just stands outside the car,
looking at her.
Okay, Ray. I'm freezing. Get in the
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.
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.
-- 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.
Fake blood. Cool, huh?
Karen is like, totally unamused. She wipes herself off,
Oh come on, Karen!
RAY starts stabbing himself in the chest to demonstrate --
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
The KILLER seems to have vanished. But her WINDOW'S still
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
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.
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 --
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.
Then -- from outside, a cow MOOS --
Then a loud CHUFFING sound. A HORSE.
And then -- a few CHICKENS begin to CLUCK.
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.
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.
Where is he?
Mac steps back and shouts over the music to CARL (20), the
band's all-round gopher and roadie --
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 --
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.
VOICE FROM INSIDE
CARL instantly recognizes the voice. He hesitates, and then
knocks again --
Rod? You're missing your cue!
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.
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 sighs, pointing the rapidly-dying camcorder at himself --
Note to self: remember to recharge
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
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 --
Where's my axe?
Candy straps his Fender Stratocaster guitar around his neck.
She gazes adoringly at him --
Kill 'em, baby.
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.
Motherfucking soundman! I couldn't
hear myself sing!
I could. You sucked.
Hey. Fuck you.
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 --
Carl ducks. Suzie puts on a fresh top --
Jesus. What a bunch of useless
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.
Ian finishes the whiskey, hands the empty bottle to Keith.
ROD strides in.
CANDY, his groupie, is hanging onto his arm. Suzie glares at
Hey, guys. Good gig.
SUZIE walks over to Rod face to face --
Yeah. Great work, Rod. But next time,
it would be nice... if you could
JOIN US FOR THE ENTIRE SET!
I was getting 'warmed' up.
Rod smiles slyly at Candy. SUZIE'S had enough.
Who do you think we are, dude? Your
back up band??!!
CANDY jumps in, defiantly to Suzie --
Get off his case sweetie.
Where'd you come from? Groupies R
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
Time for a little... "feedback" guys.
That guy from Hectic Records --
-- picked tonight to come by and
watch our set.
Relax. He liked what he saw. Well,
some of it. Enough to give us a
showcase audition. One week from
Which means we've got ONE week to
start acting like a professional
Hey. Anyone here need lessons, just
talk to me.
Yeah, I'll teach you a lesson --
Suzie grabs Rod by the shirt and crotch and shoves him against
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.
CANDY is furious at ROD'S laid back attitude.
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.
(aside; to Mac)
...That's not... the record guy, is
Mac shakes his head "no", not taking his eyes off the
stranger. Then --
Mac looks him in the eye --
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.
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 --
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.
Funeral's tomorrow afternoon. At the
As the Stranger smiles slightly, exits just as quickly as he
Farm? ...What farm?
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
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 --
Okay. My main man. Marvin Gaye.
Easy. Gunshot. Patricide. Next.
Shotgun. Suicide. Next?
Wait a second. Did you say
Yeah. Marvin's old man gunned him
That's not patricide. Patricide is
when you gun down your old man.
All right. "Fratricide". Minor
Wrong. Fratricide is when you gun
down your brother. You're out. My
Fine. Be that way. Jim Morrison.
Died in the bathtub... if, in fact,
he's really dead. Next.
Who's Mama Cass?
They all stare at her.
One of the Mamas from the Mamas and
Candy looks blank.
Asphyxiation. Choked to death on a
ham sandwich. Next.
quiz show buzzer
Buzzzzzzzzzz. Sorry, wrong answer!
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 --
Hey. Could you be a little more
insensitive? We're on our way to a
funeral for Crissake.
Yeah. Our own. I don't see why we
got to go along for the ride.
Come on, dude. A day on a farm isn't
going to kill you.
Everyone looks at him.
Mama Cass died of a heart attack.
The ham sandwich is just an urban
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.
You never told us you grew up on a
Nothing to tell.
Suzie stares at him, not giving up.
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 --
My father and I don't exactly see
eye to eye.
Then why go back now?
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.
New "shoes," Keith?
Keith proudly lifts up his feet, revealing a brand new pair
Nike specials. Two hundred bucks.
Two hundred bucks?? Are you crazy?
Keith meticulously begins wiping them off with newspaper --
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 --
Speaking of which -- yo, CARL! Are
we THERE yet?!
(driving; to himself)
Like I know. Hey, Mac! Any of this
Try taking a left after the next cow
(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.
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.
...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 --
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.
You know what they say about men who
need big guns...
Hey. Some Klu Klux Klan homeboy gets
in my face, he gonna have a few extra
holes in his bedsheet.
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.
Rod grins, enjoying himself.
After you... ladies.
EXT. BUS - DAY
The band members file out of the bus. They glance around the
Candy suddenly seems concerned --
Rod. Check out my chakras.
Rod, puzzled, stares at her body.
Candy fingers the crystals around her neck.
They've gone darker. Bad vibes.
Suzie, nearby rolls her eyes.
...shoots the area with his CAMCORDER.
Note to self: Farming not a career
Beat. Carl sneezes. The others look at him.
Man, you came to the wronnng place.
Be right back. Try to stay out of
Mac moves off -- as Keith looks around.
Yeah. Maybe I can pick a little cotton
for da masta.
You got something against farm people,
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-
(joining in, smiling)
-- "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
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 --
Takes 'em a full thirty seconds to
realize they ain't got a head.
Everyone stares --
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.
Your pa's waiting for you up at the
How'd he know I'd come?
Billy Bob just grins enigmatically.
As Mac heads toward the FARM HOUSE --
Sorry 'bout your aunt.
Billy Bob picks a chicken up by its feet, getting the knife
ready, about to go back into the barn --
Billy Bob hears and turns to him.
I'd watch your step if I were you,
Oh yeah? Why's that?
You're standing in horseshit.
Keith looks down. Yep -- he's standing in horseshit, alright.
Damn! These are one hundred dollar
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
EXT. FARM - SAME TIME
Rod is picking at his guitar as Candy looks on admiringly.
SUZIE is unpacking some bags off the bus rack, unaware that
CARL is shooting her ass with his CAMCORDER.
IAN snaps off his cellphone, pissed.
Perfect. No signal.
IAN peers over Carl's shoulder, sees Suzie's ass on the
That got a zoom lens?
As he "zooms" in on Suzie's buns --
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 --
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 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 --
He almost falls over his AUNT. Dead, laid out "in state" on
a long, OAK TABLE, candles all around her.
Hold it right there. Turn around
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.
What are you going to do? Shoot me?
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 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 --
I'm your son. And Laureen's son.
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?!
Joseph Macdonald... Your son.
Joseph Macdonald. Damn right, boy.
And don't you forget it.
Jeremiah lowers the shotgun, grins --
I'm just yankin' your chain!
It seems Jeremiah has an offbeat sense of humor.
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.
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.
I came back for the funeral. That's
Broke her heart you never visited...
But I always said you'd come back.
Jeremiah reaches down, tenderly strokes his sister's hair.
I'll be gone again tomorrow.
...Guess it was her time to go. You
can't argue... when the good Lord
calls you home.
There's an awkward beat --
How... was she "called?"
Aunt Edith. How did she... die?
Jeremiah puts a PIPE in his mouth, lights it.
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
They'd rather be somewhere else.
Mac stands beside Suzie. She gently squeezes his hand.
ON THE PREACHER
...and we ask you to bestow your
blessing on this worthless band of
sinners. And so... ashes to ashes...
dust to dust...
(making a rhyme sotto
-- Let's hurry up and get back on
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
MAC watches him.
CARL surreptitiously opens the flip-screen of his camcorder
to shoot the funeral.
(quietly, to Ian)
Shit, when I die, hope there's a
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 --
-- a time to keep silent, and a time
to speak --
The woman looks Mac directly in the eye.
The devil has returned.
Mac recognizes the Old Woman (JESSE) from the lonely farm
stall on the side of the road.
You look just like him. Like Jethro.
(hard; to the woman)
You're not welcome here, Jesse.
I came to pay my respects.
And to warn you.
I want you off my land. -- Keep
(clears his throat;
trying to continue)
Er... a time to love... a time to...
It's started again, hasn't it? The
harvest of blood. I know. I can feel
it. Your father's legacy of evil --
-- My daddy's dead. You and the others
saw to that.
Yes. And burning in hell! And you're
going to join him -- wait and see!
Uh, a time to embrace... and a time
to refrain from embracing...
Get out of here. Or so help me --
Something snaps in Jeremiah's head. He picks up a shovel,
raising it as a weapon --
A time to -- holy shit!! Jeremiah --
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.
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.
Damn. White folks usually chill at
Uh, I commit Edith Macdonald to the
blessed soil of the land she knew
and cherished. 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 --
Sorry about the shovel, Eugene. Guess
I got a little carried away.
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.
Keep an eye on your guests. We don't
want no pot smoking musicians spoiling
things around here.
Don't worry. S'all under control.
Workin' on any big cases?
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
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 --
-- 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.
Mac bends over to check it out... unaware that there's
somebody else in the barn with him.
-- hanging on the wall is removed from its place.
-- 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.
Hey dude -- don't fear the reaper!
Beat. Mac stares, the color drained from his face.
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.
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.
Hey! Don't use all the hot water!
Keep your shirt on! I'm almost done!
INT. HALL WAY
(under her breath)
INT. HALL WAY
Suddenly, from behind Suzie, two HANDS grab her. Suzie spins
It's MAC. He moves in closer, holding her --
Ten thirty. My room. Clothing
Suzie smiles meaningfully.
What about Jeremiah?
Nah. Just you.
As they kiss --
Suddenly, we hear a terrible SCREAM from inside the bathroom
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
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 --
What is it?!!
Beat. As all the men stare --
(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
Mac and the others watch them.
There's a bottle of MOONSHINE. Ian takes a SIP --
-- and chokes --
Best corn liquor in the county. Make
it myself. Edith used to say: the
two hardest things to swallow... are
pride and moonshine.
I can think of a third.
Carl and Billy Bob chuckle.
(takes another sip)
How'd... you... make it, exactly?
Jeremiah leans closer, looks Ian straight in the eye --
Well, I could tell you... but then,
I'd have to cut your throat and gut
you like a pig.
Jeremiah laughs. The others look at each other, smiling
Just yanking your chain! Old family
He looks across at Mac --
Some things are better left that
way. Right, son?
Mac ignores this. There's an awkward silence.
Uh... thanks for dinner. It was
Suzie's anxious to leave the table, meet up with Mac.
Jeremiah looks wistful.
Chicken. Used to be Edith's favorite.
Beat. Jeremiah chokes up, suddenly remorseful.
(raises his glass)
To... Edith. May she rest in peace.
Everyone... drinks. Suzie wants to leave.
Okay. Well --
Jeremiah raises his glass again --
-- and... to my... son.
Everyone settles back in again --
...The last of the Macdonalds. Who's
finally been called back home.
Jeremiah and Mac lock eyes.
Even if it is... for one day.
Everyone drinks. But it's not over yet.
Suzie rolls her eyes, glares at Candy. Candy smirks.
(raises his glass)
Good idea, little lady. "The farm."
To "Old Macdonald's farm" --
"E-I, E-I, Oh --"
The GLASS suddenly SHATTERS in Jeremiah's hand.
Rivulets of blood on his fingers. At first, he doesn't notice.
Your hand is bleeding.
Jeremiah gets up, holding his hand, goes into the kitchen.
Damn. Whassup with that?
No one speaks at first.
You just reminded him... of Jethro.
No one answers.
Everyone turns toward Mac. When he doesn't continue --
'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...
over her shoulder)
He's not... still around... is he?
Died about fourteen years ago in a
fire. Knocked over a kerosene lamp
in the barn. Burnt to death...
What was it about him that... scared
Why don't you ask Mac? -- It's his
All eyes on MAC.
I don't remember...
A beat --
What was he... some kind of axe
Why don't you ask him yourself?
Beat. Jeremiah's walked back into the room, his hand bandaged.
He's sitting right behind you. -- On
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 --
My daddy was a man of vision. People
always fear what they don't
Jeremiah looks down at the urn. He's silent for a moment --
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!
An awkward beat. Then
Jeremiah laughs, slaps Carl on the back --
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 --
(muttering to himself)
Yeah. Sure. Put the black man on the
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.
That old barn. After the fire... I
rebuilt it nail by nail. Just the
way your granddaddy would've wanted
This is his room... isn't it?
Was. You ain't afraid of ghosts, now
I'll be fine here.
Jeremiah holds out a bound stack of envelopes.
Thought you might want these.
Mac just stares at them.
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.
Well. Then... I'll leave you to it.
Jeremiah's about to exit --
You got it wrong, boy. I'm not the
monster you think.
Maybe you should tell that to the
old lady you tried to hit with the
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.
Wasn't much right before that,
She was talking about... a "harvest
Old slave superstition. You sprinkle
a little blood mixed with water on
the crops, you get yourself a good
harvest... So they say.
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
Jeremiah walks past almost unseen.
A little spooked, Keith removes his .38 SPECIAL, checks if
it's loaded --
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.
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?
The flames are gone. Nothing.
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
It's ten-thirty. I took the clothing
She gestures at her sheer nightgown.
She smiles at Mac. He gazes blankly at her --
Well, are you going to invite me in?
It's cold out here!
Mac looks at her breasts --
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.
This... used to be Jethro's room.
When I was a kid... I was never
allowed up here...
Suzie moves closer --
That turns me on even more...
forbidden fruit always tastes better.
Especially... the cherry.
Suzie starts kissing Mac. He's not responding.
What do you want? His permission? No
She puts her fingers to her temples, a "mock seance" --
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 --
Let it go.
I bet if he were still alive, he'd
like to watch.
She caresses the bedpost --
Think of it... as a threesome. You.
Me. And... "Jethro."
I said that's enough!
Mac grabs her roughly, pushing her against the wall.
Suzie stares at him like he's an alien.
Get a life!
-- and goes out the door, SLAMMING it.
INT. BUS - NIGHT
Two figures underneath a blanket at the back of the bus.
It's Rod & Candy. Then we hear Carl's voice.
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.
He almost brained that old lady with
Must be a family feud, dude. You ask
me... Mac's father's a few bales
short of a haystack.
Maybe it runs in the family. Maybe
all farmers go crazy after a while.
Ian finishes the whiskey, passes the empty bottle to Carl,
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.
He grins, passing it to Ian and Carl --
Ian glances out the bus window. Did he just see a figure
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
-- 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 --
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
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.
It's a farm, Keith. You're not
supposed to shoot the rooster.
He started it.
You seen Mac? His bed hasn't been
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.
No reaction. She bends over, shakes him --
A groan from the floor. Mac raises his head, instinctively
shields his eyes against the light --
We're almost ready. What the hell
are you doing out here?
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.
How'd you get that? Playing with
Picked up one of those shears. Blade's
razor sharp. -- Where is everyone?
Look. You want to talk about this?
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 --
Strange... I can feel my old self
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.
But Jeremiah keeps his eyes leveled on Mac.
A beat. Suzie turns and looks at Mac --
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.
Women. Can't live with 'em... can't
shoot 'em... Without good reason.
The SCYTHE is back where it was. A smear of blood on the
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
KEITH is fastening the dirtbike to the back of the bus.
Sure gonna miss you boys... Need a
hand with that?
Billy Bob grins, spits tobacco a little too near Keith's
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
Jeremiah glances at the cut on Mac's hand. Then --
You'll be back.
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.
You're a Macdonald. It's in your
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 --
Let me guess. We're going on a "long
(turning over a card)
Not according to these.
Mac enters the bus, sits down by Suzie. She notices his hand,
Carl starts the bus. KEITH couldn't be happier.
Hallelujah! ...Civilization... here
(under her breath)
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.
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.
CARL, at the steering wheel, tries to restart it. No dice.
Just a dead clicking sound.
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.
(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.
Looks like the alternator.
Yeah. It's the alternator all right.
How would you know? You're looking
at my tits.
Jesus, Carl. Your job is to keep us
on the road!
I didn't do anything --
Yeah. That's just the problem.
Tell me you checked the bus before
we left, Carl.
BILLY BOB has come out of the house, walks over to them --
Just talked to Orwell down at the
garage. Says getting a new alternator
for your bus is no problem.
(pumps his fist)
Could take a little while, though.
What's a "little while?"
Two.. maybe three days.
What?!! I can't fuckin' believe this!!
You mean we're stuck in Redneck River
Valley without a ride?
None taken. The Lord works in
Mac locks eyes with Jeremiah.
Rod... I have to get back to my job.
Someone actually... employs you?
I happen to be a professional.
Which street corner?
They're about to go at it again --
She's a Tarot Card Reader at a
What a surprise. -- What about our
If you're looking to practice... why
don't you set up over there... in
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.
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.
Having fun, Keith?
BLAM! KEITH misses again.
Damn! You made me miss!
ON BILLY BOB
Leaning against a post nearby, watching. He spits tobacco
into the dust.
Want me to move 'em a little closer
KEITH turns around --
You think you can do better, "Billy
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.
Not bad. Prefer a shotgun myself.
Comes in much more handy on a farm.
'Course, your kind wouldn't know too
much about that.
My kind? You mean -- black people?
Billy Bob grins at him, spits.
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.
As long as you're stayin'... mind
giving me a hand?
Jeremiah nods to a TRACTOR nearby.
Mac motions to Carl to help Jeremiah --
Actually, I was talkin' about you.
A moment as Mac looks at his father, then looks at the band.
Mac pauses, trying to decide.
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
Feel's good, doesn't it.
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.
Mac glances at the handle. "Jethro Macdonald" is burned into
Jeremiah takes out another axe. --
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.
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.
Guess Mac's still off on the
Pissed-off, Keith spies the lone SCARECROW in the field.
He takes careful aim --
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.
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 --
...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 --
Hold it, hold it. Aren't you
forgetting something, Rod?
Like your guitar break.
It's coming right up. After the third
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.
You wanna know the difference? The
difference is that you're screwing
up the song.
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.
What the fuck you talking about,
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...
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.
Yo. "Billy Bob". Was I two beats
behind, or what?
(shaking his head)
You were a beat and a quarter behind.
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
I ain't never played a banjo in my
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 --
...but I do play some organ in church
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.
You guys figure it out. I'm taking a
Yeah. Good idea. Go milk the cows,
feed the chickens.
Mac walks out, slamming the barn door. Keith looks at everyone
innocently, especially Suzie.
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.
You wanna tell me what's going on?
Mac looks up. He's preoccupied with the stem and the damaged
You wouldn't understand.
You never had trouble communicating
Mac pauses in his whittling. Then goes back to it.
Suzie loses it. She grabs the knife and wood from his hand.
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.
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
Keith wakes up -- and glances at the floor. Something's
His expensive Nikes are gone. He gets down on his hands and
knees, feeling around under the couch.
Nope. No Nikes.
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 --
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.
Did any of you take my Nikes?
They all stare at him blankly.
-- 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 --
Okay, Farm Boy. Joke's over. You've
been playin' me from jump street.
Where's my Nikes?
Nikes? What-the-hail you talkin'
Billy Bob spits some tobacco... a little too close to Keith's
MAC and the OTHERS rush to the scene and freeze.
Keith ignores them, THROWS Billy Bob up against the fence...
and puts his .38 to Billy Bob's head.
Listen to me, you banjo-dueling,
country ass hayseed... I want my
Nikes and I want them now!
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
I'm gonna count to three. One. Two --
And a HAND GRABS KEITH, whipping him around.
It's MAC. He punches Keith in the face. Keith takes a swing
back, pinning Mac against the barn. Mac throws him off with
Keith hits the dust. Blood trickles from his mouth. His gun
Mac picks up the gun... levels it at Keith.
How does it feel, 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!
Is that right?
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.
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
You're talking about my family.
...I don't even know you any more,
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
By the house, Suzie, Carl, Ian, Rod & Candy watch grimly.
Well, there goes our record deal.
Nah. We still got Billy Bob.
He mimics Billy Bob's keyboard moves with his hands. Rod
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 whips out his 38 SPECIAL... shouts into the cornfield,
pointing his gun wildly --
You think this is funny, Billy Bob?!!
Nothing but corn, waving slightly in the breeze. Keith cocks
his pistol --
Why don't you come on out, hillbilly,
and we'll "talk" about it?!!
No answer from the cornfield. Nothing.
Yeah. Didn't think so. Fuckin'
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.
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.
As the blade of the scythe goes into Keith's thigh like
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.
You should have asked the wizard for
some brains, asshole.
Triumphant, Keith squeezes the TRIGGER and --
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
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...
A TAROT CARD BEING TURNED OVER.
It's "The three of swords". (three swords sticking into a
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,
Suddenly, she hears footsteps and looks up.
It's SUZIE... coming into the candlelight.
The two women regard one another. Another fight?
...You any good with those?
An attempt at reconciliation. Candy half smiles, holds out
the deck of cards.
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
You're out of your mind, man.
I am not! I'm telling you, it's worth
its weight in gold.
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 --
The ancient Aztecs knew how powerful
this stuff was.
(after a moment's
Cowshit? Are you sure the Aztecs
even had cows?
Rod hands him the joint, as he ponders this.
Manure is the very essence of what
we eat and who we are. Matter of
fact, you're even smoking some of it
Ian, midway through a deep puff, nods thoughtfully, and then --
HACKS and SPLUTTERS like a first-time smoker.
Are you crazy?
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 --
Hmmm. This shit isn't bad.
Manure... is life.
He takes a puff.
A beat, as they sit stoned.
What are we leaning against?
A TAROT CARD BEING TURNED OVER:
The Moon card.
INT. GRAVEYARD - NIGHT
You have a strong unfufilled desire.
Yeah. To get the hell off this farm.
No. This is something spiritual. An
She turns over another card: The Empress.
Candy smiles, turns over another card.
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
This, my friend, is the most powerful
farm machine known to man. A combine
harvester and thresher.
Ian nods thoughtfully.
So... what does it do?
It harvests! It threshes! Look at
He uses his hands to demonstrate --
Go ahead. Feel for yourself.
It's the last thing on earth Ian wants to do --
Come on, man. What kind of pussy are
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 --
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.
You boys... alright?
What the hell are you doing?!
My job. I always move the harvester
to the south field before sunrise.
You could have killed us!
Billy Bob grins at them.
Guess I didn't see you there... this
time of night.
Billy Bob sniffs the air --
What's that funny smell?
It smells like...
Come on. Let's go back to the house.
Rod shepherds Ian away --
OFF BILLY BOB, who watches with a grin on his face.
INT. GRAVEYARD - SAME TIME
Candy turns over another card.
Aha. The Lovers.
Suzie reaches out to turn over the last card. Hesitates.
That's the opposing card.
What lies ahead you will have to confront.
Suzie turns it over.
The candle begins to FLICKER -- suddenly goes out. The girls
are now in complete DARKNESS. In a graveyard. They gasp.
Candy lights a match, illuminating her face. She lights a
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.
Mac turns to see Jeremiah standing in the doorway.
Go ahead. Open it.
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.
Missed you at church this morning,
You're not going to arrest me for
it, are you?
Hell, no. But you missed a damn good
sermon. "You can't hide a wicked
heart from the eyes of the Lord."
Book of Jeremiah.
Across the yard, the others are watching.
Hey, isn't that the preacher?
Find out what's holding things up. I
want to get the hell off this farm.
You here on official business?
Gene produces a couple of small PHOTOGRAPHS from his pocket.
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
JEREMIAH looks at the PHOTOGRAPHS.
A pause. Jeremiah seems uneasy. Is that a flash of recognition
in his eyes? He hands the photographs back --
Oh yeah. These two. Buried 'em myself
last week over by the cornfield.
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.
Yeah. Could be.
Gene glances over at the band, with Mac some distance away --
Thought your boy and his band were
only staying the night.
Bus broke down.
Gene nods. Then studies the others.
Where's the black fella?
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.
You know, one day I'm going to have
to shut down that still of yours,
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 --
Should we be doing this, dude?
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.
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.
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.
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.
There's something weird going on
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...
You're saying someone's trying to
keep us on the farm...?
Not someone -- Mac.
Suzie's unsure about this.
Why would he do that?
Carl leans in closer.
He doesn't want us to leave.
He's been acting weird ever since we got here.
Come on --
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
She looks up, stung.
You deserve better.
There's a loud clatter somewhere in the barn. Suzie starts.
Jesus. I don't know what's wrong
with me Carl can't believe his luck.
Suzie's jumped almost into his arms.
..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.
I never told you this... but when I
watch you up on stage, performing...
He works his fingers up towards her neck.
Something happens to me... something
Carl reaches out, stroking her neck, moving his hand down.
Suzie closes her eyes resting her head against the coolness
of the beer bottle.
You need someone who cares for you.
Suzie opens her eyes. Carl has his lips puckered, moving
towards her -- his eyes closed romantically.
Carl, what are you doing?
You need someone who can protect
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.
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.
You're taping me?! You fucking
She picks up the Camcorder, hurls it hard at Carl. It misses
him, lands on the straw.
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.
(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
"Old Macdonald... had --"
"-- an AXE!"
IAN & ROD
They collapse into drunken laughter
"With a hack-hack here --"
"And a slash-slash there --"
-- Where have you two been?
Us? We been... moonlighting.
They burst out laughing, displaying the bottles.
He means moon shining.
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 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 --
IAN & ROD
(howling at the moon)
-- which covers the sound of Carl screaming. They're now in --
EXT. GRAVEYARD - NIGHT
Ian takes a sip of the moonshine --
Who knows? Just like a man... never
around when you need them.
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
Carl. Probably playing with himself.
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
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
Wait a second. Did you hear that?
ROD, IAN and SUZIE pause to listen a second.
Yeah, man. You were wrong, Suze. My
solo definitely works better in the
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 --
EXT. GRAVEYARD - SAME TIME
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 --
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 --
Hey Carl -- kill the music!
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
IAN, swaying on his feet, gets set to take another swig of
moonshine. Suzie grabs the bottle from him --
She swigs deeply, finishing the moonshine, as Ian and Rod
look on in amazement. She wipes her mouth with the back of
Thanks. I needed that.
She hands the empty bottle to Ian.
EXT. FARM HOUSE - DAY
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.
My head feels like a goat sat on it.
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.
My axe!!! Someone Jimi Hendrixed my
Candy puts a sympathetic hand on his shoulder.
CARL??? Carl did this?!!
Last night... he tried to get it on
I'd rather have a paper cut. This is
how he dealt with it.
Trashing our instruments??!
Someone better tell Mac.
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.
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.
Come to pick out a plot for yourself?
Mac ignores him, stares at Jethro's grave.
'Course, some folks say 'ol Jethro
shouldn't have been buried up here...
with the rest of the Macdonalds.
Hell, he was your grandfather. You
know what he did.
Mac seems puzzled. He turns to look Billy Bob in the eye --
Maybe you were too young to remember.
Billy Bob grins --
Maybe you don't want to remember.
What are you talking about?
'Course, it's none of my business.
Let's say today, we make it your
Billy Bob turns to leave -- stops. Turns around.
Why do you think your mother took
you away from this place?
Now Mac's really interested.
You ever hear of... the harvest of
Your grandfather sure believed in
it. Worked pretty good... too.
Chicken blood on the crops.
...Chicken blood? Who said it was...
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.
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
INT. BARN AREA - LATE AFTERNOON
Ian and Rod are hunting for Carl by the fence. Ian holds a
Carl! Oh Carrrrl!
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
She picks it up, switches it on. She rewinds, then presses
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 -- 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.
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.
Damn, boy. I thought you were a
Jeremiah slowly leans the shotgun against the steel structure.
Mac looks up at it.
You like it? Irrigation system. Your
grandaddy built it himself. Saved
the land from dying.
That's a good idea. Maybe we should
have a little "talk" about grandaddy
Sure. What do you want to know.
People say he was a murderer.
That's your grandfather you're talking
I... know what people say. Heard
it... all my life.
Jeremiah composes himself....
Rumors' thick as buttermilk around
these parts. Your grandaddy was a
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 --
Old Macdonald... had an axe... ei,
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
The hell with this.
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 --
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.
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
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.
Fuck man! This is fucked! They're
all dead! What the fuck's going on?
I'm telling you -- that basement
hasn't been used for years. Slaves
hid there... before the civil war --
We've got to call someone -- get the
The Sheriff?! We don't need the
sheriff!!! We need to get the hell
out of here!
We've got to find out who did this --
No way, man -- I'm not going hunting
for a serial killer!
Shut up! Let me think.
What's to think about? We all know
what's going on!!
(points to Jeremiah)
It's him! Case closed!
-- You're saying I did this? You're
saying I killed your friends?!
-- Killed them?? -- Bled them like
sheep! We were next!
Ian clenches his fists and begins moving towards 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.
...I didn't do anything...
Mac grabs the shotgun, then grabs Jeremiah --
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
-- It's not me!
Who then, Jeremiah?? -- Who?!
Beat. And then --
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.
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
There's an incriminating MACHETE with blood stains on the
table. Mac stares at it, picks it up.
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
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 --
Oh my God.
She pulls out a .38 special from the drawer... with a pearl
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.
It gets worse. He's cut all the phone
What'll we do?
As if in answer, Candy turns over a tarot card.
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.
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.
It's a twenty-minute walk to the
next farm. We can phone from there.
Quickest way is to cut through the
Beat. No one's sure who to trust.
IAN pumps his shotgun, chambering a cartridge --
EXT. CORNFIELD - NIGHT
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
They continue on for a while, in silence. Jeremiah is walking
briskly ahead, almost out of sight.
They round a corner.
Wait a second... where's Jeremiah?
He's nowhere around. Vanished.
There's a strange rustling sound of corn. Something's not
right -- even though they can still see Jeremiah's flashlight
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.
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
Oh my God... it's...
A moment of stunned silence.
-- 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.
What the hell's that?
You don't want to know.
As it revs up, COMING STRAIGHT AT THEM --
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.
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
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...
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
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
struggling, trying to untangle himself. He's not going to
THE HARVESTER looms over him. He swings around, bleeding and
caught on the fence.
Fuck you in hell!!!
IAN fires the SHOTGUN. The Harvester keeps on coming.
As the huge rotating motors PULL him and the fence into the
He's chopped meat.
ON THE CORN
As Ian's BLOOD is sprayed over the stalks, more bloody
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 --
She kicks the scarecrow between the legs and THRUSTS her
KNIFE straight into the scarecrow's chest all in one fluid
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 --
Noooooo!!!!! I'm... sorry --
Suzie backs away, and -- sensing something, WHIRLS AROUND to
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
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
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
He waves his arms, flagging the truck down --
It stutters to a halt.
The passenger door opens.
Listen -- we've --
Rod looks at the driver: a foxy-looking chick in overalls.
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
Orwell points at a cardboard box in the front of the truck
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 --
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.
She opens the barn DOOR... leaving a bloody handprint...
Scared shitless, Suzie glances around. Is there a place to
Silence. The sound of the Thresher's gone... but there's
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
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 --
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.
(a sobbing torrent)
Billy Bob's dead. -- We were wrong --
he didn't do anything. I-It's the
Wait a minute --
I... saw him -- he tried to kill me --
he's, he's -- still -- out there --
What are --
HE'S STILL OUT THERE!!!
-- You're not making sense!! What
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.
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 --
It's you. You and your father.
You brought us here. And that morning
I found you in the barn. You had
scratches on your face --
Listen to me --
You sabotaged the bus! You kept us
here... To die! First Keith, then
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!!
Suzie, Come on!
They rush to the Barn Door. It's LOCKED from the outside!
CRASH! The HARVESTER, headlights blazing, is chewing wood,
coming through the wall --
Mac's pulled open the basement trapdoor. Suzie's terrified.
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
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.
The silhouettes of "Keith" and "Carl" , still there, cast
weird shadows on the walls.
No Mac, please... I --
Above them, they can HEAR the HARVESTER -- being turned off.
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
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.
Over here! Hurry!
Mac grabs Suzie... and together, they climb through the hole,
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
We're obviously in the scarecrow's domain.
Mac bolts the door behind them. Suzie looks around.
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
Keith's shoes. Jesse's straw dolls.
Mac notices a KNIFE. A weapon.
He examines it... runs a finger along the bloodied edge...
Mac... let's get out of here.
Don't you see? Whatever's going on...
I'm part of it.
Mac sees... the old MUSIC BOX. He opens it up.
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.
Get out of here.
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.
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
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.
(raising her kitchen
Jeremiah moves closer -- and closer. Suzie holds her knife
Give me that --
I said, stay back!
Jeremiah lunges. As Suzie's about to strike, MAC GRABS her
wrist, taking the knife away.
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.
...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 --
You see? They're here. I didn't mess
up. Did I...
(softly; to himself)
Oh my God... Jethro.
Jethro takes another menacing step towards them. The real
The trap door. That's how he escaped
(amazed; to Jeremiah)
You've been... hiding him all these
years. Helping him... irrigate the
land. With blood...
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.
You know what to do.
Jeremiah gives a slight nod toward SUZIE: The intent is clear:
It's time to make amends.
Think boy. That night. The night of
the fire. At the barn. You were only
six years old.
Mac tries to think. Then --
FIRE... everywhere. In the barn --
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.
Several dead bodies nearby. Murdered FARMHANDS and TRANSIENTS.
Prepared for Jethro's blood harvest and attached to his
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 --
INT. CAVE/SHACK - NIGHT (PRESENT DAY)
Mac's stunned, dazed, finally remembering everything.
I... started the fire.
Jethro pulls off a glove. His hand is horribly burned. We
can only imagine what his face must look like.
-- But it's alright, boy!
He forgives you. Isn't that right,
Jethro grabs Mac's hand, puts it on the axe handle.
And then... with a rasping, evil voice --
Pick it up.
Mac looks at his "family". Sees eagerness.
Mac looks at Suzie. Sees cold fear.
If you don't do it... he will!
Mac reaches out, touching the handle. He feels the wood...
almost caressing it. Maybe he's a Macdonald after all.
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.
...no... Mac... p-please...
Can't help it, Suze... family sticks
Locking eyes with Suzie... Mac PLUNGES the knife into her
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
...as Mac continues to pull the KNIFE up... up... gutting
Blood seeps through her clothing.
Suzie's eyes glaze over... almost as if she's accepting her
Mac lowers her to the ground... dead, never taking his eyes
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
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.
Welcome home, boy.
Mac puts down the bottle of moonshine, wipes his mouth.
He turns towards Jeremiah and Jethro --
Actually... I was just yankin' your
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.
Hey old Macdonald...
Jeremiah and Jethro turn... to see...
A long line of fake blood down her chest. Lantern in her
MAC SWINGS the bottle of MOONSHINE, SMASHING it against the
side of Jethro's face --
...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 --
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 --
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
Jeremiah catches fire also, both of them caught in a raging
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,
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.
I almost thought for a second...
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
I'd give anything to be in a rock
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 --
He's talking to ORWELL, who's now officially part of the
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,
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
One last question -- how long did it
take you to write the songs for "Old
(counting on his
Well, after Mac and Billy Bob got
out of the hospital, and I got out
of rehab --
Four weeks! That's all. And now their
CD's number ten this week. With a
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 --
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
Hey, Rod --
A slight flicker of jealousy from Candy. Rod always gets the
Mac wants us on stage. In a hurry.
Rod gets ready to go on. Candy picks up his new guitar --
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
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.
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.
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
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...
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