Friday The 13th Part 3: Partial Unused Shooting Script

(aka "Crystal Japan")

Written by Martin Kitrosser and Carol Watson

(c) 1982 Paramount Pictures


              TITLE AND CREDITS

              A piercing high note is sustained on the soundtrack as the
              main title, "CRYSTAL JAPAN" speeds straight at the audience
              in 3-D and seems to jump right out at them.

              The opening credits follow.  Ominous theme music fills the
              soundtrack, growing darker and more dissonant.

              The theme music slowly dissolves into the sound of a radio
              news broadcast, as the credits continue to unfold.

                                  RADIO NEWSCASTER (V.O.)
                        ...and I'm Ed Harris with the KLTZ
                        Early Morning Report.

              Theme music out.

                                  RADIO NEWSCASTER (V.O.)
                        Crystal Lake in Pinehurst County,
                        the scene of several unsolved
                        deaths years ago, is tragically
                        back in the top of the news this
                        morning.  Police have uncovered
                        the remains of eight, as yet,
                        unidentified persons in a gruesome
                        and baffling story of mass

              End credits.

                                                       CUT TO:


              Shooting over a line of ruffled bushes with leaves just
              turning towards a rural, time-worn country market.  A wide
              gravel parking area makes it accessible to the highway
              running past it, otherwise, this Mom & Pop store seems almost
              like a vision of times gone by.

              The bushes and overgrown grass, unrestrained by any human
              care, strengthen the sense of isolation.  The dying sun
              shoots its last rays through the trees behind the market.

              The market has a battered second-story: the living quarters
              of the people running it.  A truck roars by.  Then silence,
              and then again the sound of the radio news report:

                                  RADIO NEWSCASTER (V.O.)
                        ...Judging from the sheer
                        brutality of the murders, police
                        theorize that they must have been
                        committed by at least four


              Sagging clotheslines cluttered with drying laundry run across
              a narrow backyard, all the way to a rickety old shed.  The
              clotheslines are supported by one solitary pole.  Linen and
              garments billow in the rising evening breeze.

              Cold, foreboding music accompanies the camera as it moves
              toward a pair of flapping khaki pants and an olive green
              workshirt hanging side by side on the line.

              The radio news report grows louder as the clothing snaps
              directly into the lens.

                                  RADIO NEWSCASTER (V.O.)
                        ...The sole survivor of the
                        massacre has been taken under
                        heavy sedation to County Hospital
                        in Linfield for observation.
                        She's been unable to provide
                        police with any clues and is being
                        kept under round the clock guard...

              HEAVY FOOTSTEPS

              And then a man parts two shrouds of wet laundry, making his
              way back towards the house.  This is HAROLD: 40ish, paunchy,
              unshaven and so clumsy that he hits the clothesline pole and
              knocks it down, burying himself under a heap of linen.  A
              transistor radio pops out of the pocket of his threadbare
              shirt, still broadcasting the news.  One of the upstairs
              windows opens with a creak, and


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

                               (loud, harsh)
                        Goddamnit Harold!  I spent all day
                        yesterday washing your clothes and
                        look what you're doing to 'em.
                        Shows how much you care about me.

              Harold watches her from under the pile of laundry.  Then he
              grabs the radio, staggers up, increasing the radio's volume
              as he does so, to drown out the voice of his wife.

              Above him, Edna raves on for a moment (we can't make out what
              she is saying), then furiously slams the window shut.

                                                       CUT TO:


              The room is musty and cluttered like an old attic.  Edna
              stomps away from the window and turns her attention to the
              partially functional, old clunker of a black and white TV.
              She plops herself down onto the lumpy couch and picks up two
              knitting needles and returns to work on a sweater.  A news
              report about the mass murders is being broadcast.

              INSERT - TV

                                  TELEVISION REPORTER
                        ...A police spokesman tells
                        Eyewitness News that authorities
                        have been combing the area since
                        just before dawn.  Reports of
                        cannibalism and sexual mutilation
                        are still unconfirmed...
                        Nevertheless, these murders are
                        already being called the most
                        brutal in local history.


              Leans in to adjust the long rabbit-ear antenna, spreading the
              ears apart for a better picture.  She listens intently.

                                  TELEVISION REPORTER
                        The motive behind the grisly
                        murders remains a mystery at this
                        hour as does the identity of the
                        killer or killers.  The search
                        continues for more bodies.

                               (to herself)
                        My God, My God, My God.

                                  TELEVISION REPORTER
                        ...Residents of the Lake region
                        are being urged to take extra
                        precaution when approaching
                        strangers and to report anything
                        unusual to police, immediately.
                        We'll be back with the weather
                        forecast after this important

              Visibly upset, Edna rises to her feet.  She goes over to the
              door leading downstairs to the market, opens it and call out.

                        Harold, what're you doing down

              No response.  She rushes to the window, jerks it open and
              sticks her head out.

                        Harold... I want to talk to you.

              No answer.

              EXT. BACKYARD - EDNA'S POV

              of the backyard.  The laundry quietly swells in the wind.
              For an instant, a human form is visible between layers of
              drying clothes.  From this distance, Edna can't make out who
              it is.


              INT. HOUSE

              Unnerved by the continuing noise of the TV, Edna goes back to
              shut it off.  She quickly returns to the window and looks out

              EDNA'S POV

              No sign of anyone, but there is an empty span of clothesline
              where several articles of clothes were hung, only a second

              INT. HOUSE

              Edna runs for the apartment door.

                                                       CUT TO:

              INT. MARKET - EVENING

              Edna flies down the stairs and enters the store from the
              back.  The market is dark, save does shafts of dying sunlight
              through the grimy front windows.

              She scans the few aisles back and forth.


              A big rabbit appears from behind an arrangement of Campbell's
              soup cans, and stands on its hind legs on the aisle, trying
              to guess Edna's next move.  Still calling Harold, she turns;
              starts at the sight of the rabbit; she grabs a tomato from
              the produce display, throw it at the animal.

                        God Damn pest, what are you
                        staring at?

              She misses, grabs more vegetables and hurls them at the
              rabbit.  The rabbit dodges them, and scurries away.

              EXT. BACKYARD - EVENING

              The sunlight is almost gone, stretching the shadows even
              more.  In her nightgown, Edna pushed open the creaky screen
              door and steps out into the backyard.

              Shooting towards her through the laundry flapping on the
              clothesline.  As she touches a set of pajamas and finds out
              that they are still wet.

              A shoulder suddenly enters the flame, and someone's
              silhouette blocks the screen just for a couple of seconds,
              before the intruder slips behind another curtain of drying
              clothes, revealing Edna again:  she's still checking the
              clothes and hasn't noticed anything.

              She comes to where the trousers and workshirt were, and no
              longer.  That's a shock, but she's not quite sure that they
              were here in the first place, so she goes on, and starts
              talking to herself to fortify her ailing courage.

                        Christ All Mighty, Harold, you
                        just take what's yours and leave
                        the rest for me to do.  Very
                               (collecting the dry
                                laundry and putting
                                it in a basket)
                        You could at least finished the
                        job.  Do I have to do everything
                        around here?

              Edna hears a noise and whips around.  Her imagination is
              working overtime.

              A bedsheet is swelling slowly in the breeze, taking the shape
              of a human body.  Is anyone behind it?  Ominous music...

                               (swallowing hard)
                        Harold... I swear, sometimes
                        you're such a child...

              She charges forward.  She rips the sheet off the line and
              falls in a heap with it.  There is no one behind it.

              She turns over and lays on her back.  Above her, there's only
              the dark evening sky and the branches of a tree, rustling
              back and forth.

              Edna gets up and quickly pulls the remaining laundry off the
              lines, tossing it into the basket.  As she does, she passes
              near the wooden shed at the back of the store.

              EXT. YARD

              The shed door creak open.  Edna turns around.  Suddenly,
              there's a crashing noise from inside.  That's enough for
              Edna... she hauls up the basket and rushes back inside the

                                                       CUT TO:

              INT. MARKET - NIGHT

              The white rabbit that gave Edna such a scare is now hopping
              across a row of canned goods.  A man's hand enters frame and
              grabs the rabbit by the nape of its neck and lifts it off the
              shelf, into his arms.

              It's Harold.  He places the rabbit on his shoulder and grabs
              a jar of peanuts from the shelf.  He twists open the vacuum-
              sealed jar and wolfs down a handful of its contents.  With
              another handful, he feeds the rabbit, who sniffs and partakes.

              Harold rescrews the lid and places it back on the shelf.  He
              turns on the radio in his breast pocket.  Music blares.

              He grabs his broom and starts sweeping down the aisle, the
              rabbit remaining contentedly on his shoulder.

              Harold stops at the dairy case and grabs a half-gallon jug of
              milk.  He breaks the seal and pulls off the cap.  He first
              offers the rabbit a taste, then gulps down a swig himself.

              IN THE BACKGROUND

              An unidentified face, in soft focus, peers in through the
              storefront window then disappears almost as quickly.  Harold
              is unaware.


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

              The sound of crunching and munching.

              Harold turns around.  The the produce section, the cellophane
              packages of carrots on display are moving slightly.

              He reaches in and pushes off the top few packages to reveal,
              underneath, another rabbit, a grey one this time, nibbling on
              a carrot.

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

                               (looking from one
                                rabbit to the other)
                        Sorry guys, it's back to the
                        slammer before Edna make a fur
                        coat out of ya.

              On his way to the back door, Harold passes a rack of cakes
              and pies.  He stops long enough to open a box of six
              chocolate-covered donuts.  He takes one out and shoves it
              into his mouth.

              Unbeknownst to Harold, a human form in shadow appears at the
              back door.  The door is quietly pushed open.  Someone is
              watching him.

              The camera as stalker enters the store and moves slowly
              towards Harold, his back to us.  Ominous music accompanies
              the approach.

              Checks filled to capacity.  Harold closes the package and
              puts it back in place on the rack, hiding it under several
              unopened packages.

              Harold turns.  The stalker is right behind him, completely
              startled, he jumps back and chokes on the doughnuts.  The
              rabbits hop off his shoulders.

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

                        Didn't I feed you enough for

              Harold doesn't answer.

                        The doctor said you had to lose
                        weight, didn't he?  I try to help
                        you but you sneak food behind my
                        back.  What am I gonna do with you?

              Without a word, Harold bends down to retrieve the rabbits.
              He scoops them up in his arms.

                        And put those filthy animals back
                        where they belong, please!

              Harold exits by way of the back door.

                                                       CUT TO:

              EXT. BACKYARD - NIGHT

              Harold puts the grey rabbit on his shoulder, the white rabbit
              remains wrapped in his arms.  He swallows the rest of the
              doughnut in his mouth as he flips a flashlight out of his
              back pocket and ambles across the yard.

                                                       CUT TO:

              INT. SHED - NIGHT

              Light filters through the cracked walls partially
              illuminating a variety of tools, old barrels, various odds &
              ends - and a rabbit hutch.

              Harold flicks on the flashlight as he enters.  The rabbit
              atop his shoulder jumps off and scurries away.  The rabbit in
              his arms squirms and squeals.  The animals sense that
              something is wrong.

                               (stroking the white
                        What're you little guys so nervous

              He scans the shed with the flashlight to locate the runaway
              as he tries to contain the jittery ball of fur in his arms.

              The flashlight searches each corner, until the beam finally
              stops on:

              THE RABBIT HUTCH

              Music pounds hard on the soundtrack, as through the hutch
              grillwork we can see a mass of dead rabbits, lying one next
              to the other, staring up with glinting, glass eyes.

              Harold stands immobilized, in a state of shock.  He looks
              down upon the limp bodies of his beloved pets, his face
              turned into a sad mask of outrage.  He holds onto the white
              rabbit even tighter.

                        Who would do this...?

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

              A big timber rattlesnake springs out of the hutch, mouth wide
              and open, twin poisonous fangs shining in the beam of the

              The music drops out as the snake's loud kiss dominates.  The
              muscles of its dark, lean body push the deadly mouth ahead,
              into the lens of the camera.

              Instinctively, Harold slams the hutch down, dropping his
              flashlight and the white rabbit.  The snake hisses and spits
              at the camera through the wife mesh.

              Literally scared shitless, Harold races out of the shed,
              holding his stomach with both hands.

                                                       CUT TO:

              INT. STAIRWELL - NIGHT

              Harold dashes through the back door, and up the stairs like
              a charging bull.

                                                       CUT TO:


              Harold bursts through the door, crashing into his
              unsuspecting wife.  Edna is knocked off balance and tries to
              hold onto him.

                        What happened?  What's the matter?

              Harold can't talk.  He rubs his stomach and heads straight
              for the bathroom, vanishing inside.

                        It's all the crap you've been
                        stuffing yourself with.

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

              She reaches for her knitting bag and empties its contents.
              One of her two, long, thin knitting needles is missing.

                               (rummaging all around
                        Now where could that other needle
                        have gone?

                                                       CUT TO:


              The room is a combination:  storing place mostly, there are
              two ample cupboards facing each other, each leaning against
              a wall, a mess of crates and boxes lying on top of each other
              behind a dusty curtain... and a toilet bowl, left from the
              days when this was just an oversized bathroom.  The toilet
              bowl is against the fourth wall, at an angle behind the door.

              The sound of the TV filters through the door as Harold,
              trousers down to his knees, sits on the toilet, sighing with
              relief as the first bout of diarrhea is over.

              He loosens his collar, wipes some sweat from his brow,
              reaches behind the toilet tank, and produces a hidden bottle
              of Whiskey.

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

                               (to himself)
                        Those poor little creatures...

              Another swig.  Some of the liquor spills over his chin and he
              wipes it with his sleeve.  His eyes wander around aimlessly,
              then focus on...

              THE DUSTY CURTAIN

              partially masking the mess of boxes and crates.  It seems to
              ripple subtly, moved by an ever so slight movement of air,
              perhaps someone's breath?

              Harold waits.  The curtains seem still.  Harold is about to
              relax when a brief, hollow noise is heard.

              Harold tries to locate the noise, but it's over before he can
              tell its source.  Pants around his ankles, he rises, shuffles
              to one of the closets.  It takes some courage to yank the
              door open, and the camera moves fast into a...

              FLAT CLOSEUP of empty shelves - nothing has touched them in
              a long time, except dust.

              Breathing relief, Harold pulls up his pants again, just
              enough to be able to hobble grotesquely to the dusty curtain.
              He rips it apart, stares at the odd assortment of boxes and
              crates - empty, lifeless, and uncannily menacing because of
              their lifelessness.

              Reassured, Harold gives the other closet a glance, almost
              decides against checking it - and then changes his mind, and
              stumbles, pants still around his ankles, towards it.

              Looks like this one hasn't been opened at all for a long
              time.  Harold tugs at the door - a creak, followed instantly
              by a musical stinger as a huge hand holding a meat cleaver
              rips into the shot, strikes Harold, imbedding the cleaver in
              his chest.

              Harold manages a half-scream that mixes incongruously with
              the laughter from the TV in the living room.  As the hand
              twists the cleaver, the scream becomes a raspy cough.

              Harold stumbles backwards and crashes to the floor.

                                                       CUT TO:

              INT. LIVING ROOM - NIGHT

              Edna hears the crash.  She turns off the television.


              No answer.  She gets up from the couch and goes to the
              bathroom door.  She listens and hears the noise of the toilet
              flushing and flushing, as if someone's hand never released
              the lever.

                               (rattling the door
                        Harold... what's taking you so
                        long in there?  You all right?

              She pushes against the door.  It doesn't budge.  She looks
              down and notices some kind of liquid seeping out from
              underneath the bathroom door.  She dips her fingers in it and

                        Whiskey, I thought so.

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

              She hurries back to the bathroom/storeroom door, ready to
              insert the key.  To her shock, the door is now open a crack!

              For a moment, Edna is nonplussed.


              She pushes the door - it swings open, revealing the open
              closets, the boxes and crates...

              INT. BATHROOM - NIGHT

              Edna steps inside and inadvertently kicks the half-empty
              bottle of Whiskey.  She picks up the bottle while the
              flushing noise persists maddeningly.

              She turns toward the toilet, which is behind the door and
              screams at the sight of Harold sitting there.


              pants down, like a grotesque dummy, blood drooling out of the
              corners of his mouth, the meat cleaver sticking out of his
              chest and one elbow stuck against the flushing handle.

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

              Edna screams uncontrollably.

              From behind her a huge hand enters the flame and pierces the
              back of her head with the previously missing knitting needle.
              The needle is pushed out through her mouth, right at the

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

                                                       CUT TO:


              A group ethnic children are playing stickball in the street,
              weatherworn two and three-family houses on either side of

              A red passenger van screeches around the corner and heads
              down the block, slowing down as it advances on the oblivious
              children.  The driver sounds the horn, warning of the van's
              approach.  Most of the children scatter, but a few don't,
              yelling and banging on the sides of the van as it passes.

              The van continues for a few yards then parallel parks in the
              first available space.

              The driver Chris...19, blond, attractive but intense...steps
              down and circles around to the passenger side where two
              others jump out.  They are Debbie...19, brown-haired,
              vivacious and healthy, the all-american cheerleader
              type...and Andy...slims, athletic and ruggedly handsome.

                        Which one is it?

                        It's the last house on the left.
                        She lives downstairs.

              Chris turns back to the van.

                               (calling through
                        Hey Shelly!  Come on out and meet
                        your date.

                                  SHELLY'S VOICE
                               (from inside van)
                        Bring her to me!

              Chris looks back at Andy and Debbie for advice.

                               (shrugging his
                        What're you gonna do?

                        Maybe this wasn't such a good idea.

              Chris calls into the van once again.

                        How about you two?  You coming?

              Two other voices shout back:

                               (in unison)

              Chris throws up her hands in frustration, joining Andy and
              Debbie.  They cross the street abreast.

              CAMERA TRACKS in front of the three friends.  A rotund,
              ominous-looking figure in a hideous, ghostly white mask
              springs out from around the hidden side of the van.  The
              figure follows a safe distance behind the unsuspecting
              threesome, brandishing a knife.

              As they walk, Andy and Debbie are locked in each other's arms
              and they begin to kiss.  Chris looks at them and shakes her

                        Sex, sex, sex.  You guys are
                        getting boring, you know that?

              Debbie breaks the kiss, feeling a little embarrassed.

                        So what would a weekend in the
                        country be without sex?

                        Cool it, Andy.

                        I didn't mean it the way it

                        I know you didn't...

              Little by little, the masked figure advances from behind.

                               (to Andy and Debbie)
                        Look guys, I don't want to ruin
                        your weekend.  What happened to me
                        at the cottage happened a long time
                        ago and I think I've worked that out.
                        I'm all right now.

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

                        I appreciate the fact that you
                        worry about me, but don't.

                        Okay, we won't.  We'll just have
                        fun, all agreed?

              The masked figure rears back and plunges the knife into
              Andy's back.


              The rubber knife bends in half.  Andy, Debbie and Chris whirl
              around to face the assailant.

                        Dammit Shelly!  Why do you always
                        have to be such an asshole!

                               (still wearing the
                        I beg your pardon, I'm not an
                        asshole.  I'm an actor.

                        Same thing.

              Chris and Debbie, in disgust, turn away and walk off.  Andy
              drops back to walk with Shelly.

                        Look Shelly, you're my roommate
                        and I like you... most of the
                        time.  But you gotta stop doing
                        these things.  Now, I set this
                        date up for you, didn't I?  So
                        don't embarrass me.  When you meet
                        this woman, just relax and be

                        Would you be yourself...
                               (ripping off mask)
                        ...if you looked this this?

              Shelly puts on a pair of unflattering prescription glasses.
              Although he has a pleasant face, Shelly is overweight, greasy-
              haired and unkempt.

              Chris and Debbie lead the way for Andy and Shelly up the
              porch steps, to the front door of a shabby, two-family house.

              Chris rings the bell.  Shelly takes a few steps back.  He
              mats down his unruly hair, tucks in his shirt and takes off
              his glasses.  He's ready.

              The door opens and a middle-aged Hispanic woman stands behind
              the outer screen door.

                               (Spanish accent)

                        Hi, Mrs. Sanchez.  I'm Chris.
                        We've come to pick up Vera.

                        She's not going.

              She shuts the door in Chris' face.  The group stands there
              not knowing what to do next.  V.O.'s from inside the house
              they can hear Vera and her mother arguing in Spanish.

                        What are they saying?

                        I don't know.  I flunked Spanish.

              They all turn to leave when suddenly the front door swings
              open.  This time Vera, knapsack over her shoulder, ready to
              go, comes out onto the porch.  She's a knockout...20, exotic,
              raven-haired tight jeans.  They turn and stare at

                               (forcing a smile)
                        Hi everybody, what're you looking
                        at.  Let's go.

              Shelly, intimidated by Vera's sexy good looks, steps behind
              Andy and slips the mask back over his face.

                               (to Vera)
                        Is everything okay?

                        You know, just your basic old
                        fashioned mother problems.
                               (changing the subject)
                        So, where's my date?

              Shelly comes out from behind Andy.


                               (letting her
                                disappointment show)
                        You're Shelly?

                        I'm sorry.

              Andy angrily rips the mask off Shelly's face.

                               (looking across the
                        Hey!  The van's on fire!

              EXT. VAN

              White smoke billows out of the van windows, engulfing the
              vehicle and the luggage tied to the top.

              The whole group rushes off the porch and races to the van.
              The first one there, Andy, opens the passenger side door and
              jumps in.  Chris runs around to the driver's side and does
              the same.

              INT. VAN

              Through thick, acrid smoke, Chili and her boyfriend, Chuck...
              Cheech and Chong lookalies...can be seen sitting in the back
              on the floor, each puffing away like crazy on a bong filled
              with Marijuana.  Each wears a stereo headset that is plugged
              into their own Sony Walkman portable cassette players.

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

                                                       CUT TO:

              EXT. HIGHWAY - MORNING

              Chris' red van speeds along the empty rural highway through
              the lush New England countryside.

                                                       CUT TO:

              INT. VAN - MORNING

              Through the driver's side window, the wind blows in on Chris
              and tosses her flaxen hair as she drives.  Debbie sits on
              Andy's lap in the passenger seat - the only other seat in the

                        How much farther to the cottage?

                        We could've been there already...
                               (looking at Debbie)
                        ...if some people didn't have to
                        go to the bathroom every five

                        Oh yeah...well just hope that you
                        never get pregnant, 'cause all you
                        do all the time is piss!

              REAR OF THE VAN

              Chili and Chuck are sprawled out on the floor, taking
              inventory of their numerous joints and bags of Marijuana.

              Shelly sits cross-legged near the very back of the van,
              opposite Vera, who sits with her legs open.  Daydreaming, she
              gazes upward at the sky and treetops through the back window.

              Shelly can't stop staring at Vera, admiring her sexy body.
              Vera senses that Shelly is undressing her with his eyes and
              quickly turns her head around and catches him looking at her
              breasts.  Shelly averts his eyes in embarrassment and looks
              over at Chuck who lights up a joint, inhales and hands it

                        Is that all you two are gonna do
                        this weekend...smoke dope?

                        Why not, man?  Is there a law
                        against it?

                        There's better things to do with
                        your life.

                        Like what?

                        I can't think of anything.

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

                        Sure, why not.

              Vera comes forward on her hands and knees, reaching out for
              the joint.  As she does, she inadvertently thrusts her
              shapely rear end almost into Shelly's face.  Shelly makes no
              attempt to retreat from it.  Actually he rather enjoys it.

                               (as she draws on the
                        Is this stuff any good?

                        Home grown, man!  Of course it's

                        And it's good for you, too.
                        Strictly organic.  No
                        preservatives, man.

              Andy sniffs at the air around him filled with the aroma of
              good grass.

                        Hey, let's share the wealth with
                        those less fortunate up front here.

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

              Shelly is rummaging through a small black suitcase. It's
              contents are concealed from Vera's view.

                        What d'ya got in there?

                               (very secretive)
                        My whole world.

                        In that little thing?

                        Stick around and you'll see.

              Vera turns away and looks out the back window.

              We can hear the faint sounds of sirens.

              EXT. HIGHWAY - DAY

              In the distance, two police cruisers, with lights flashing,
              in hot pursuit.

              INT. VAN

                               (to the others)
                        Better hide that grass.  It's the

                               (looking out her
                                sideview mirror)
                        Oh, no.

                               (looking out the back
                        What are we gonna do?

                        Destroy the evidence, Pronto!

                        Destroy the evidence?  No, man!

                               (looking right at
                        Yes, man!

              They all look at one another, perplexed.  Vera is amused.
              Without a word and simultaneously, Chili and Chuck begin to
              stuff loose grass and joints into their mouths.

                               (mouth full)
                        Come on, dig in!

                               (grabbing a bag)
                        Aw shit!

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

              EXT. HIGHWAY - DAY

              The cruisers advance.

              INT. VAN

              Andy grabs another bag and hands it to Chris.


                        Try me some other time.  I'm

              Andy turns to Debbie and offers up the cellophane bag.


                        No way.  We're pregnant.  Remember?

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

                        You better step on it!

                                                       CUT TO:

              EXT. HIGHWAY - MORNING

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

                                                       CUT TO:

              EXT. VAN - MORNING

              Chili, Chuck, Andy and Vera's cheeks are filled to capacity
              with dope.  Their faces are turning green.  Still they
              continue to stuff in more at a frantic pace.

              Shelly holds his black suitcase tightly to his chest as he
              watches out the back window with concern.

                        Faster!  Eat faster!

                               (handing Shelly a
                                fistful of grass)
                        Why don't you help us?

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

                               (mouth full)
                        You're always hungry!

              To appease everybody, Shelly begins to nibble ever so
              slightly on the marijuana out of Vera's hand.

                        They're too close.  I gotta pull
                        the van over.  Hurry up and
                        swallow!  Everybody just be cool.

                                                       CUT TO:

              EXT. HIGHWAY - MORNING

              Chris pulls the van to the side of the road.  She sticks her
              head out to watch for the approaching cruisers.  Much to her
              surprise and everyone else's, both police cars zoom by the
              van without stopping.

                                                       CUT TO:

              INT. VAN - MORNING

              A collective sigh of relief, followed by groans of regret for
              what they've just done.

                        I think I'm gonna be sick.

                               (holding her stomach)
                        The line forms at the rear.

                        I'm gonna be sicker than all of
                        you, man.  Now I gotta spend the
                        whole weekend totally straight...
                               (buries his head in
                                his hands)
                        I don't think I can make it, man!

                        Chuck... look.

              She slowly unbuttons her blouse.  Everyone looks at her,
              puzzled.  Chuck raises his head.

                               (mistaking Chili's
                        Not now, man!

              Her fingers reach inside her bra -- but instead of freeing
              her breasts, she pulls out a good size plastic bag of
              marijuana.  Chuck's mouth drops open.

                        I'm a slow eater.

                               (throwing his arms
                                around Chili)
                        I love you, man!

              He attacks her with kisses.  The others laugh.

                                                       CUT TO:


              The two police cruisers make a sharp right into the small Mom
              'n Pop store parking lot and SCREECH to a halt.

              A small group of curious onlookers congregate at the front
              entrance of the store.

              The cruiser lights continue to flash red and blue as the
              Police Officers step out of their vehicles.

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

              Chris' red van approaches down the highway.

                                                       CUT TO:

              INT. VAN - MORNING

              Chris slows down the vehicle as she sees the flashing police
              lights and ambulances.  She rubber-necks to see what's

              CHRIS' MOVING POV

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

              Chris watches with morbid fascination, fueling her anxieties.

              Debbie is also looking out the window at this unpleasant
              scene.  She turns to see Chris and reads the concern on her

                        Hey, kiddo... don't let your
                        imagination run away with you.

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

                                                       CUT TO:

              EXT. HIGHWAY - MORNING

              CLOSE SHOT on a PAIR of Scraggly Men's boots as they walk
              along the edge of the highway.  CAMERA TILTS UP to reveal
              ABEL... 72, long stringy white hair and whiskered, skinny in
              baggy clothes, weathered stern face.  Like a lone star, he
              ambles down the lonely highway, dragging a duffle bag.

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

              Abel sticks out his right thumb in a hitchhiking stance.  He
              affects a smile and looks toward the vehicle down the road.

                                                       CUT TO:

              INT. VAN - MORNING

              The sun pours in through the windshield.  Debbie shades her
              eyes to get a better look at the figure up ahead.

                        Would you look at that!  I've
                        never seen a senior citizen
                        hitchhiker before.

              The others in the back come forward to look.

                        Let's give the poor old guy a
                        break.  Pick 'im up.

              Shelly reacts very emotionally to the suggestion.

                        That scarecrow?  Can't you tell
                        how weird his is just by looking
                        at him.

                        Come on, Shelly.  Who else is
                        gonna give him a lift?

                        Not us!  He's really creepy.

              The van is now upon the aged hitchhiker.  He flashes a smile
              at them:  plaintive, shy, and yet somehow ominous.

                        He looks just like my grandfather,
                        man.  Let's give him a ride.

              EXT. HIGHWAY - MORNING

              The van screeches to a halt and backs up to Abel.  The side
              door slides open and Abel is lifted into the back.

              The van pulls away.

                                                       CUT TO:

              INT. VAN - MORNING

              Abel settles into the back next to Shelly who studies the old
              traveller with both curiosity and trepidation.

              Chris adjusts her rearview mirror to include Abel.

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

                               (in an eloquent
                                soothing voice)
                        You are, all of you, very kind and
                        generous young people to lend a
                        helping hand to a tired, old man.
                        Thank you very much.  Perhaps I
                        can repay the kindness.

              The civilized speaking-manner of the shabby-looking stranger
              calms the layer of fear that any might have had.

                        My name is Abel.  And I am my
                        brother's keeper.

                        Where are you going?

                        Going?  How do you mean?

                        I mean, is there any place in
                        particular where we can drop you

                        Drop me off?  How do you mean?

              Shelly's suspicions return and he glances from Vera to Debbie
              and Andy.  Andy shrugs his shoulders.

              Abel reaches into his dusty dufflebag and pulls out a very
              small bundle wrapped in a scrap of cloth.

              Chris watches via the rearview mirror.  Her expression is

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

                        Look what His Grace has brought me.

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

                        What is that?

                        I found this today.  There were
                        other pieces of the body lying
                        there, but I believe "he" wanted
                        me to have this...

                        That's an eyeball!  Oh, God!

                        "He" wanted me to warn you.
                        Look at this, all of you!

              He holds the eyeball out for each to view.  They shrink back
              away from him, cringing at the sight.

              The eyeball is reflected in the rearview mirror.  Chris is
              becoming quite upset.

                        See with your own eyes what I have
                        seen.  Runaway!  Go back to where
                        you came from... Now!!!

                                                       CUT TO:

              EXT. HIGHWAY - MORNING

              The van comes to an abrupt stop.  The side door opens and the
              old man is practically tossed out.

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

                        I warned you!

                                                       CUT TO:

              EXT. ROADSIDE - MORNING

              The van is parked on the shoulder of the highway.

              Chris leans against a tree, her arms crossed over her chest.
              She looks towards the woods, waiting.

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

              Vera stretches her arms over her head then drops her torso
              and arms to the ground, bent over.

                        Some people stretch their legs....
                               (looking at Andy)
                        Some their arms....
                               (looking at Shelly
                                eating a candy bar)
                        And some nothing at all.

              From out of the woods, Debbie appears.  She zips up the front
              of her jeans and approaches the others.  Chris and Vera

                        I can't help it.

              Smiling, Chris puts her arms around Debbie's shoulder and the
              two walk toward the van.

              From seemingly out of nowhere, the ROAR of MOTORCYCLES is
              suddenly upon them.

              The group whisks around to find three souped-up motorcycles
              bearing down on them, navigated by a manacing-looking TRIO.

              The motorcycles head straight for them.  In a panic, the
              group scatters.  Dust swirls as the Motorcyclists veer away
              from the group and the van just in time to avert a collision.

              As the dust settles, the group picks themselves off the

                               (brushing herself off)
                        How come there's never a cop
                        around when you really need one.

                                                       CUT TO:

              INT. VAN - MORNING

              Chris is still driving.

              The others have assumed their respective positions.  However,
              the jovial atmosphere has degenerated due to the unsettling
              series of incidents.

              Long faces and silence prevails.

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

                        Wake up, everybody.  Revenge is
                               (pointing out the
                                front window)

              Chris slows down the van.  The group quickly moves forward
              and peers out the front windshield.  One by one, a smile
              crosses each dour face.

              THEIR POV - EXT. HIGHWAY - DAY

              The Three Motorcyclists have been pulled over by a State
              Trooper and are being ticketed.

              INT. VAN

              The van erupts into laughter and cheers.

              EXT. HIGHWAY - DAY

              As the van passes the powerless Cyclists, the side door
              swings open and the passenger window rolls down.  The group
              sticks their heads out and jeers and applauds.

              INT. VAN - DAY

              Chris turns on the radio -- Rock 'n Roll MUSIC blares as the
              lighthearted atmosphere returns.

              EXT. HIGHWAY

              Jauntily, the van zips down the highway.

                                                       CUT TO:


              CLOSE SHOT on a half-eaten dead rabbit lying to one side of
              the dirt road.  CAMERA DEEP-RACK-FOCUSES to the red van
              coming up over the hilly highway.

              The van turns off onto the dirt road and makes its way
              through a wooded landscape along a winding trail.  Sun
              dapples through the trees.

                                                       CUT TO:


              An overgrown driveway meanders among oak trees towards a
              rustic two-story house.  The oak trees have been there long
              before the house was built -- their heavy branches hang low,
              like tired arms, almost blocking the driveway.

              The house has an elevated porch and curtained windows.  It is
              in relatively decent condition though weatherbeaten and
              creates from the start an impression of family history.

              There is ample parking space before the house. On the left
              side of the driveway as one approaches, some thirty yards
              diagonally across from the house, there is a tall red barn
              with a hayloft equipped with a block and tackle (to bring up
              the bales of hay into the loft's square window).

              To the right of the house is an outhouse with a heartshaped
              venthole in its wooden door.

              To the left of the house is a large lake with a knotty old
              dock and a small tree-covered island in the middle.  The
              whole area is surrounded by a lush landscape.

              The SOUND of a VEHICLE approaching...

              The CAMERA reveals this serene, idyllic panorama and PICKS UP
              Chris' van as it bumps along the dirt road and slows down to
              a crawl to pass over a creaky, dilapidated wooden bridge that
              runs over a dried-up stream.

              INT. HOUSE

              FIGURE as he moves from one living room window to the other,
              watching the van as it sweeps under the low branches towards
              the house.

              EXT. HOUSE

              The van comes to a stop.  Chris jumps out and looks towards
              the house.  A collection of memories posses her for a moment
              before she reaches for the knotted rope and unties the tarp
              covering the bulk of the baggage on top.

                               (loud so the others
                                can hear)
                        Let's bring in the luggage first,
                        then I'll give you a tour of the
                        house and the barn and then we can
                        hang out at the lake... All right?

              No response.  Just the distant SOUND of FEET RUNNING and

              Chris walks around to the other side of the van and finds the
              doors left wide open and no one about.  She turns to see her
              friends running towards the lake, unable to resist the
              splendor of the shimmering water and sun dappled landscape.

              Debbie turns back and gestures for Chris to join them.

                        Come on down!

                               (shaking her head)
                        You go ahead...

              In the background, behind Chris, the Shadowy Figure, OUT OF
              FOCUS, appears behind a curtain in the living room.

                               (to Debbie)
                        I'm gonna take my bags into the
                        house first and look around.

              Chris turns toward the house.  The Figure disappears from
              view.  Chris grabs a piece of baggage in each hand and
              innocently strides up the path and porch steps to the front

              It has been a while since she has last visited the family
              country home and she is actually pleased to have this moment
              to herself.

              She rifles through her handbag, comes up with the keys and
              reaches for the doorknob to find that the door is already
              open, ever so slightly.  A look of concern flashes across
              Chris' face.


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

              Cautiously, Chris pushes the door.  Creaking, it opens wide.
              She hesitates a moment then takes a step inside.

                               (hearing a noise)
                        Who's there?

              From out of nowhere, a hand grabs Chris by the neck and pulls
              her OUT OF FRAME.  She SCREAMS!

              Then the SOUNDTRACK becomes coldly SILENT...

                                                       CUT TO:

              INT. LIVING ROOM / COTTAGE - DAY

              Pinned up against the wall, Chris is being embraced and
              kissed passionately by a MAN whose face is not yet visible.

              Resisting, Chris pushes him off.

                        Derek... stop.


              DEREK is 23, tall, dark and virile.

                        You know what I've been through.
                        Don't ever scare me like that.

                        I'm sorry.  I just wanted to
                        surprise you.  What can I say?

                               (with a smile)
                        You can say... "Hello, how are
                        you?"... for starters.

                        Hello.  How are you?

              He pulls her towards him to kiss her again.

                               (moving away)
                        You haven't changed a bit.  Always
                        so sure of yourself.  Even when we
                        were kids, when you wanted
                        something, nothing could stop you.

                        Is that so bad?

                        I don't know.

                        You're irresistible.  I lose

                        Just slow down.  Let me get to
                        know you again.  Let me get to
                        know this place again.

                        Okay.  There's a whole weekend
                        ahead of us.  There's time.

              Chris embraces Derek.  Behind them, passing the porch
              windows, OUT OF FOCUS, is the shadowy figure of JASON.
              Neither Chris nor Derek is aware of the presence.

                               (breaking the embrace)
                        Come outside and help me with the

              The turn and head for the front door.  Jason's figure moves
              away from the windows, out of sight.

                                                       CUT TO:

              EXT. COTTAGE - DAY

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

                        I'll get the bags off the top.
                        You get the ones inside.

              Chris moves around to the opposite side.  The sliding door
              which was previously wide open is now closed.

                               (unsure, talking out
                        This door was open just a minute
                        ago, wasn't it?

                                  DEREK (O.S.)
                               (from the other side
                                of the van)


              The SOUND of the others thrashing about in the lake can be
              heard as Chris reaches for the handle and whisks the door
              aside.  Instinctively, she braces herself, but nothing jumps
              out at her.  Annoyed with herself for being so suspicious and
              jumpy, Chris just leans in and grabs for the first bag she

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

              Shelly sticks his head out the side of the van.

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

                        What're you doing in there?  Why
                        aren't you down at the lake with
                        the others.

                        'Cause they're skinny-dipping and
                        I'm not skinny enough.

              Chris looks toward the lake.

              CHRIS' POV

              Andy, Debbie and Vera frolic about naked in the water.  Chili
              and Chuck dive off the dock, fully clothed.

                                                       CUT TO:

              INT. CELLAR - DAY

              Pitch black save for a slice of sunlight from an elevated
              basement window.  The door swings open.  Silhouetted in the
              doorway are Chili and Chuck just come from the lake, drenched
              and dripping in their wet clothing.

                        It's dark down there.

                        That's the way it is, man.
                        Cellars are dark.

                        And Hell is hot, but I ain't goin'
                        down there either.

              Chili flicks a wall switch next to her.  A naked light bulb
              springs to life, glowing dimly.

                        There's nothin' to be afraid of.

              She takes Chuck by the hand and leads him down the stairs.
              Their sneakers, sodden with water, squeak and squish as they
              go.  Water drips from their hair and clothes, forming little
              puddles that follow their every step.

              The basement is overrun with cobwebs and spiderwebs.  Rusted
              gardening tools, broken bicycle parts and boxes of old toys
              are strewn helter-skelter.  An old washer and dryer sit just
              to the left of the electrical fusebox.

                        Gimme your threads, man.

              Chuck pulls off his shirt and hands it to Chili.  She rings
              it out onto the floor creating a pool of water under the

              As Chuck zips down his pants, Chili turns on the dryer.
              Annoyingly, the dryer RATTLES and SHAKES.

              Suddenly the light bulb goes off, plunging the twosome into
              near darkness.

              FOREBODING MUSIC enters the SOUNDTRACK...

                        You broke the electricity, man!

              But yet, the dryer CLATTERS on.

              From over by the stairs, the SOUND of a METAL OBJECT being
              kicked against the door.

              Chili and Chuck whirl around to look.

              A rusty old roller skate bounces down the stairs and hits
              bottom with a CLUNK.

                               (on edge)
                        Who's there?!

              The door slams shut.

                                                       CUT TO:


              Laden with his and Debbie's baggage, Andy enters the front
              door, trudges to the base of the spiral staircase and looks

                        Whatever happened to equal rights
                        for men?

              Chris and Debbie, unburdened by luggage, reach the second
              floor landing.

                               (to Andy)
                        Stop bitching.  You can't expect
                        me to carry heavy things in my

              Andy grumbles and starts up the stairs.

                                                       CUT TO:

              INT. BEDROOM - DAY

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

                        This was my bedroom.  It's yours
                        for the weekend.

              Chris walks over to the windows and separates the curtains,
              flooding the room with light.  She opens the windows -- a
              cool breeze blows in.

              Debbie surveys the cheerful room with antique furniture that
              includes a folding.  Japanese-style dressing curtain.  But
              there is one important element missing in this bedroom...
              there's no bed.

                        Uh, Chris... I don't mean to be
                        picky, but... where do we sleep?

              With an impish smile, Chris goes over to the closet and pulls
              out a crumpled mass of netting.  She hands it to Debbie.

                        What's this?

                        Your bed.

                        A hammock?

                        Have you ever made love in a

              Chris exits, closing the door behind her.

                               (envisioning the
                        Hmmm... why not?

              Debbie begins to unravel the nylon mesh when suddenly, a gust
              of wind topples over the Japanese dressing curtain.  It hits
              the floor with a sharp SLAP.  At the same exact moment, the
              door is kicked open with a BANG, SLAMMING against the
              opposite wall.

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

                               (looking around)
                        Where's the bed?

              With the back of his foot, Andy kicks the door to close it.
              An instant before the door slams shut, we SEE a fleeting yet
              ominous, glimpse of Jason behind Andy in the hallway.

                                                       CUT TO:

              INT. MASTER BEDROOM - DAY

              Chris in CLOSE SHOT, looks around the room, concerned about
              what she sees.

                               (calling out)
                        Derek, come in here!

              WIDER SHOT

              including the whole room.  The bed is a mess as if someone
              had slept in it recently, the closets are open -- hangers on
              the floor, some linen strewn about, the dresser drawers are
              pulled out and left hanging.

              Derek comes into the room carrying a box full of wooden
              paddles with little rubber balls attached by a long elastic

                        Look what I found.  Remember these?

                               (her attention
                                focused elsewhere)
                        Did you stay here last night?

                               (looking around)
                        No.  I got here just before you

                        Somebody was in here.

                        Goldilocks and the Three Bears?

                        I'm serious.  Doesn't this look a
                        little strange to you?

              Chris begins straightening up the room, pushing in the
              drawers, etc.

                        Don't get paranoid.  I'm sure your
                        parents left it this way last time
                        they were here.  You know how
                        messy your father is.  If there
                        was a phone here, I'd call them up
                        right now.

              Derek moves over to help Chris make the bed.

                        You have an answer for everything,
                        don't you?

              Derek shrugs his shoulders.

                               (gentle but firm)
                        I just think that it's about time
                        you stopped looking over your
                        shoulder, always expecting there's
                        someone coming after you.  That's
                        no way to live.

              Chris looks at Derek thoughtfully, but unconvinced.  They
              finish making the bed in silence.

                                                       CUT TO:

              EXT. LAKE / COTTAGE - DAY

              Several six packs of empty beer bottles line a picnic table
              which is further cluttered with half-eaten sandwiches and the
              usual array of picnic goodies.

              Shelly and Vera sits across from each other, in the midst of
              a beer chugging contest.  Derek, Andy and Chuck sit on either
              side Shelly, encouraging him to victory.  Chris, Chili and
              Debbie, on either side of Vera, do likewise.

              Vera downs her next bottle with apparent ease.  Shelly balks
              as another beer is thrust in front of him.

                        No more... I can't!

                        Yes, you can.  Come on, Shelly!

              Shelly relents and suffers the beer as it goes down.  The
              accomplishment is met with a pat on the back.

              Vera, too, hesitates for a moment then chugs her beer, this
              time more slowly and with a degree of difficulty.

              Tipsy, Shelly rises to his feet.

                               (as if in control)
                        If you'll all please excuse me...

              Shelly picks up his small black suitcase and walks off on
              wobbly legs.

                               (yelling after him)
                        How could you let her beat you?


              grabs his mouth and runs past the house into the outhouse,
              slamming the door behind him.

              The SOUNDS of Shelly vomiting can be heard.

              INT. OUTHOUSE

              Leaning over the hole, Shelly wipes his mouth with his
              sleeve.  Weakened and defeated, he sits down and leans his
              head back against the wall, closing his eyes.

              An OMINOUS TONE enters the SOUNDTRACK...

              From behind Shelly, the CAMERA MOVES past him and LOOKS OUT
              from the heart-shaped venthole carved in the door.

              From this distant vantage point, WE CAN SEE up to a second-
              floor window where a shadowy figure (Jason) looks down from
              behind a sheer curtain.


              opens his eyes and listens to the others by the lake, having
              fun without him.  He stands up and OUT OF FRAME.

              EXT. OUTHOUSE

              Shelly comes out of the outhouse.  Alone with his black
              suitcase, he starts for the front door of the house.

              The OMINOUS TONE returns to the SOUNDTRACK...

              The CAMERA CRANES UP to the second-floor bedroom window where
              moments before the shadowy figure stood watching.  The figure
              is now gone from the window.  Only the curtains rustle in the

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

                                                       CUT TO:

              INT. HOUSE - DAY

              CAMERA is behind Shelly as he ascends the spiral staircase.
              Halfway up, he HEARS a LOUD THUD.  Pausing to listen, he
              turns his face around, right into CAMERA.  He hears nothing
              further and continues up the stairs.

              When he reaches the landing, he HEARS SCREAMING coming from
              the lake.  He rushes into the bedroom which faces the water.

              INT. BEDROOM - DAY

              It's Andy and Debbie's bedroom where the hammock is now set
              up, draped with a bedspread.  Shelly looks out on the lake.

              SHELLY'S POV

              The SCREAMING is nothing more than playful activity.

              Suddenly, the SOUND of a window in the room SLAMMING shut.
              Startled, Shelly whips around to see the window beside the
              Japanese dressing curtain now closed.  Dust around the window
              has been unsettled.  The Japanese curtain wavers.  Shelly
              cannot see behind it.

              He edges over to the curtain and flings it aside.  There's
              nothing there.  He exits.

              INT. HALLWAY - DAY

              He walks to his room at the far end of the corridor and
              pushes on the door to open it.  It doesn't budge.  Leading
              with his shoulder, he bashes into the door.  This time it
              gives.  Shelly stumbles off-balance into the room (this is
              the same room which looks directly down on the outhouse)!


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

              CAMERA HOLDS for a moment on the closed door as the MUSICAL
              NOTE INTENSIFIES...

                                                       CUT TO:

              EXT. LAKE / COTTAGE - DAY

              A chilling, bloodcurdling SCREAM, from inside the house,
              shatters the calm by the lake.

                        What was that?

                               (looking around at
                                the others)
                        Where's Shelly?

                        I haven't seen him.

                               (taking control)
                        Come on!...

              He leads the others in a race towards the house and up the
              porch steps.

                                                       CUT TO:

              INT. HOUSE - DAY

              The group barrels into the house and assembles in the living
              room at the base of the stairs.

                               (calling out)
                        Shelly!  Where are you?!

                               (shouting up the
                        Are you all right, Shelly?


                        Let's spread out and check all the
                        rooms.  Outside, too.
                               (to Chris)
                        You stay with me.

                        No.  I can look around by myself.
                        I'll take the upstairs.

              The group disperses.  The CAMERA STAYS with Chris.  She heads
              up the spiral staircase to the second-floor landing.


              She looks both ways down the corridor and sees Shelly's
              closed bedroom door at the end of the hall.  She approaches,
              tries the knob and pushes.  The door is stuck.  She kicks it
              open with her foot.  The door slams against the wall of the

                               (before going in)

              The room is in order.  Chris takes a few hesitant steps
              inside, looking all around.  There's no trace of him.

              There are two closets in the room.  Chris reaches out for the
              nearest one and pulls open the door.

              MUSICAL STINGER...


              An axe imbedded in his head, and bleeding profusely, falls
              forward into Chris' arms.  She SHRIEKS as Shelly's lifeless
              body slides down her arm and slumps to the floor.  Chris
              recoils, SCREAMING in horror.

              DEREK AND VERA

              burst into the room.

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

                        Oh, my God!

                               (grabbing Chris and
                                turning her away)
                        Don't look!  Let's just get the
                        hell out of here.

              Andy and Debbie, followed by Chili and Chuck, rush into the
              room.  They react accordingly, except Andy.  He is curiously
              unaffected by the gruesome sight.  He bends down over Shelly.

                        Don't touch him!

              Undaunted, Andy places his hand on Shelly's stomach... and
              tickles him.  Shelly springs to life, giggling uncontrollably.
              The others gasp incredulously.

                        Get up, you creep.

              Shelly looks up at the angry mob.

                               (a little worried)
                        I guess I fooled you, huh?

                        Why you little bastard!  I'll kill

              Chris jumps Shelly and pummels him with punches.  The fake
              axe falls from his head as Shelly fends off Chris.  Derek
              grabs her and pulls her off.

                        Leave him alone.  He doesn't know
                        any better.

                        It was a joke... just a joke... I
                        didn't mean to...

                        You never mean to.

              Vera glares disdainfully at Shelly.  She finds him pitiful.

                        I gotta get out of here.  I'll go
                        get some more booze.

                               (throwing her his
                        Here, take my VW.

                                                       CUT TO:

              EXT. COTTAGE / BARN - DAY

              The barn doors are wide open.

              The SOUND of an ENGINE CHOKING and SPUTTERING to life.  A
              rusted-out, old Volkswagen Beetle CHUGS out of the barn.
              Vera is driving.

              Cleaned all of his makeup and blood, Shelly races out of the
              house and runs alongside the VW, peering in at Vera.

                        Let me go with you!  I gotta get
                        away from here, too.

              Without a word, Vera zooms off, abandoning Shelly.  But when
              she reaches the bridge, she brakes and opens the passenger
              door.  Elated, Shelly bolts to the car and jumps in.

              The VW takes off...

                                                       CUT TO:

              INT. PACKAGE STORE - DAY

              A CASHIER rings up the total as a CO-WORKER bags several six-
              packs of beer, bottles of cheap champagne and assorted
              munchies.  Vera stands at the cash register, searching her
              pockets for money.

                        That'll be $23.50... and we don't
                        accept no food stamps.

              Vera sneers at the woman and looks down the aisles for
              Shelly.  She finds him leafing through a magazine rack.

                        Shelly... I need some money.
                        Throw me your wallet.

              Shelly digs into his pocket, comes up with the wallet and
              tosses it over to Vera.

              She reaches up to catch it, but it hits the side of her hand
              and drops to the floor.

              Vera bends down to pick it up, but someone beats her to it.
              A black hand with rings on each finger scoops the wallet up

              FOX... a Black woman outfitted in skin-tight black leather...
              holds the wallet.  Vera and she have an immediate and mutual
              dislike for each other.

              Flanking Fox, on either side, is ALI... a strapping Black man
              with a full set of gold teeth... and LOCO... sporting a
              bandana, gold earrings and leather jacket.

              There are the three motorcyclists that our group had the run
              in with on the road earlier.

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

                        Is... is everything all right?

                               (looking at Fox)
                        Everything's gonna be fine.

                               (spying Fox with his
                        Excuse me, but I believe that's

              Ali and Loco leer at Shelly and surround him.  They lift him
              off the ground, each grabbing an arm.

                               (to Loco)
                        Make a wish.

                        Uh... could I buy you two a beet
                        or something?

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

                        I'll take that, now.

              Fox continues rummaging through the wallet.  She pulls out a
              prophylactic packet.

                               (reading off the foil
                        "A True Trojan... thin as a
                        shadow, strong as a horse."

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

                               (grabbing the packet
                                from Fox)
                        That's mine.

              She grabs for the wallet.  Fox is quick to react, pulling it
              away from Vera's reach.

                        Didn't your mama teach you
                        manners? If you want somethin',
                        you ask nice!

              Vera's jaw tightens with restraint.

                               (to Vera)
                        Please... be cool.

                               (to Fox, teeth
                        May be please have the wallet.

                        You mean, "May we please have the
                        wallet... ma'am."

                               (holding back with
                        May we please have the wallet...
                        .... ma'am.

                        That's good.  That's real nice.

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

              Vera and Shelly pay for the booze, grab their packages and
              exit the store.

              The three cyclists follow after them.

                                                       CUT TO:

              EXT. PACKAGE STORE - DAY

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

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

                        Are they following us?

                               (looking back over
                                her shoulder)


              Vera and Shelly quickly stuff the back seat of the VW with
              their packages.  The fact that three motorcycles are parked
              directly behind their car is not lost on Vera.

              Shelly is already in the car when Vera jumps into the
              driver's seat and starts the ignition.  Side by side, Ali,
              Fox and Loco strut deliberately towards the VW.

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

              We HEAR the sound of metal crashing.


              has deliberately back up into one of the cycles, starting a
              chain reaction.  The first one collides with a second.  The
              second collides with a third.  The three motorcycles lie in
              a heap.

                               (looking out the back
                        Aw, shit!

              Enraged, Alice, Fox and Loco race towards the VW and their
              injured motorcycles.

                        Get 'em.

              Vera quickly shifts gears.  The car CHUGS forward and takes

              CAMERA PANS with the car as it rips past the onrushing gang,
              knocking them aside, and zooms out of the parking lot.

                                                       CUT TO:

              EXT. COUNTRY HIGHWAY - DAY

              The Volkswagen Beetle rattles as it speeds past CAMERA.

                                                       CUT TO:

              INT. VOLKSWAGEN - DAY

              Shelly stretches his neck and looks out the back window.

                        See anything?

                        Just a dirty window.
                               (settles down in his
                        Next time, I'll know how to handle
                        a situation like that.  Let's just
                        hope that "next time" isn't too

                        Stop worrying.  I don't think
                        they'll bother to come after us.

              The RUMBLING of motorcycles can be heard in the distance.
              They both hear it.  Shelly looks at Vera apprehensively.

                        So, I was wrong.

              Shelly turns to look out the back window.

                        I don't see anything.

                        Keep looking.

              The ROAR of motorcycles grows LOUDER as Vera floors the

                                                       CUT TO:

              EXT. HALLWAY - DAY

              Standing just off the road, Abel, the old doom-sayer that the
              group picked up earlier, has his thumb out for a ride.

              As the VW flies by him without stopping, Abel looks after it
              with eyes that seem to know something is about to happen.

                                                       CUT TO:

              INT. VW - DAY

                               (looking in her
                                rearview mirror at
                        Not this time, old man.

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

                               (looking everywhere)
                        Where the hell are they?  I don't
                        see them anywhere!

              CLOSE UP - VERA

              looking out the front window.

                        Holy shit!!!

              VERA'S POV

              Swooping over a hill, in unison, three motorcycles head
              straight for them at top speed. It's Ali, Fox and Loco in
              black helmets.

              VERA AND SHELLY

              mouths open, eyes wide with disbelief.

              EXT. VOLKSWAGEN

              Vera slams on the brakes.  The car skids to a stop.  At the
              last possible moment, Fox steers her cycle deftly to the
              right of the VW.  Loco steers left. And, Ali jumps the car,
              flying over the top.

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

              VERA AND SHELLY

              open their eyes and look behind them.  Shelly braces himself
              as Vera guns the motor.

              EXT. CAR

              The car takes off.  The motorcycles are in pursuit.

              Ali easily catches up with the car and pulls up alongside the
              driver's window.  Loco creeps up on the passenger's side.
              Fox moves in behind the vehicle.


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


              smiles back.


              whips out a heavy metal chain and smashes it through the
              windshield, right at CAMERA.  The windshield shatters.

              The car swerves out of control to the right, knocking into
              Loco, sending him and his cycle flying off the road.

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

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

              INT. VW

              Shelly watches as Fox moves up alongside.

                        Got any good ideas?


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

                        This is no time to celebrate!

                        Just keep your eyes on the road.

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

              Quickly, Shelly unravels the seal and shakes up the champagne

                        What're you doing?

                        No time to explain.  Just listen.
                        When I yell "stop," you jam on the
                        brakes as hard as you can.  Okay?

                               (pleased with
                                Shelly's initiative)
                        You're the boss.


              hauls back with the chain and rams it through Shelly's
              window, barely missing her mark.


              shakes the bottle as he pries up the plastic cork.


              rears back with the chain and readies herself to strike a
              second time.

              Shelly aims the champagne bottle out the window.  With a
              final flick of his thumb the cork flies out and strikes Fox
              in the face -- a direct hit!

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


                        Stop the car!  Now!!

              Vera jams on the brakes.

              EXT. VW

              The car comes to a screeching halt.

              ANGLE ON ALI

              shocked!  Unable to stop in time or swerve out of the way,
              his cycle runs right up the back of the car and flips over on
              top of him.

              The VW shifts into first gear and proceeds unimpeded.  Left
              in its wake are three motorcyclists sprawled out on the

              INT. VW

                        This has been on helluva beginning
                        to a quiet weekend in the country.

                        Look at it this way... things can
                        only get better... Right?

                                                       CUT TO:

              EXT. COTTAGE / BARN - DAY

              The sun casts an orange glow over the landscape as it slowly
              sinks in the West.

              Andy is at one end of the porch working out -- strenuous
              calisthenics.  Chili and Chuck sit together on the porch
              swing, opposite Andy, sharing a joint.  They watch Andy's awe-
              inspiring performance as they rock back and forth.

                        Maybe we should do some exercise.

                        This is all the exercise I need...

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

              In the background, Debbie comes jogging out of the woods,
              over to the small bridge and towards the house.  Behind her,
              the war-torn Volkswagen Beetle winds its way down the dirt
              road.  Debbie turns and jogs backwards as the car approaches.

              Chili, Chuck and Andy see the car coming. The damage is
              evident even from a distance.  They run from the porch as the
              VW passes Debbie and comes to a halt just in front of the

              Chili, Chuck, Andy and Debbie surround the car.  Chuck puts
              his hand through the frame of the windshield and touches
              Vera's face.

                        Where's your windshield, man?

                        What happened to you guys?  Are
                        you all right?

                        The question is... is the beer all

              Shelly and Vera grab the bags and get out of the car.  They
              hand the packages to Chili and Chuck.

                        We had a slight misunderstanding
                        with that motorcycle gang...
                               (she puts her arm
                                around Shelly)
                        ... but Shelly made them see the
                        error of their ways.

                        It was nothing.

              Together, Shelly and Vera head for the house.  Andy and
              Debbie linger by the car.


              Through the musty darkness, a HULKING HAND reaches out and
              stealthily pushes open the creaky barn door.  It's Jason.  He
              peeks through the crack and watches the group.

              DEREK AND CHRIS

              come running out of the house.  Derek is dumbfounded at the
              sight of his abused and battered car.

                        My beautiful car!  What'd you do
                        to it?!

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

                               (hanging Derek the
                        We're really sorry, but it wasn't
                        our fault.

                        A few minor repairs and it'll be
                        as good as new.

              Derek runs up to his car.  Chris follows.  Shelly and Vera go
              inside the house.  Chili and Chuck follow behind, carrying
              the packages in.

              The barn door slowly closes, unseen by anyone.


              examines the injuries sustained by his car.

                        This is too painful to look at.

                        Why don't we drive over to the
                        cove and watch the sunset.  It'll
                        mellow you out.

              Derek considers it for a moment.

                        Might be nice to get away from
                        these crazy friends of yours.

              They jump into the car.  The CAMERA PANS with the VW as it
              drives off, revealing Andy and Debbie leaning against a tree,

                        Why don't we go take a swim?

                        I don't know...

                        We'd be all alone.  We could do
                        anything we wanted and nobody
                        would see.

                        Sounds disgusting.  Let's go.

              He grabs Debbie by the hand and runs with her towards the
              lake.  As they run past the van, Debbie breaks away from Andy.

                        You go ahead.  I'm gonna get a

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


              Debbie slides open the side door and crawls inside.

              OMINOUS MUSIC invades the SOUNDTRACK...

              A pair of DARK BOOTED FEET approach furtively.

              Debbie's rear end is practically sticking out as the boots
              sneak around the back of the van and edge their way towards

              Abruptly, Debbie backs down out of the vehicle, blanket in
              hand, and scampers away without seeing the prowler.


              CAMERA TILTS UP from the boots to reveal... Ali, the Black
              motorcyclist.  He's carrying an empty gas can and a siphon.
              His eyes scan the area.  There's no one on sight -- Debbie is
              already down by the lake.

              He signals with his hands and out from the bushes come Loco
              and Fox.  They scurry over to the van and duck down next to
              Ali who is unscrewing the van's gas cap.

                        Maybe we shouldn't do this, Ali.

                        We gotta even the score, don't we?

                               (to Fox)
                        Nobody's gonna get hurt, baby.

              Ali sticks the siphon down into the fuel tank and lays the
              gas can on the ground below it.  Loco tries to grab the
              siphon from Ali.

                               (over anxious)
                        Let me do it.

                        I know what I'm doing.

              Fox's attention is drawn to the barn as her cohorts continue
              with the task at hand.


              Fox cautiously pulls open one of the two doors.  It CREAKS
              loudly.  She stops and looks around to see if anyone has
              heard -- the coast is clear.  She slips into the barn and
              pulls the door closed behind her.

                                                       CUT TO:

              INT. BARN - DUSK

              Spears of fading sunlight, thick with dust, cut across the
              musty interior.

              Fox scans the premises.  Her face lights up with the smile of
              a child in a toy store trying to decide which area to explore

              This is your typical barn with a variety of heavy duty tools,
              some rusting; saw horses; wooden benches and ladders; a horse
              stall; haybins, haystacks and a second floor hayloft; and,
              several storage rooms.

              With the fascination of a street kid who has probably never
              seen the inside of a barn, Fox wanders through the rustic
              interior.  In her high-heeled boots, she has trouble
              maneuvering around on the muddy, hay covered floor.

              As she approaches the toolshed, one of her heels sticks deep
              into a sticky patch of mud and she falls forward off-balance.
              To stop her fall, Fox reaches out for the toolshed handle.
              She grabs it but the rotting old door tears off its hinges
              and she topples to the ground -- her face landing inches away
              from a pitchfork's prongs aiming upwards at her.

              Her eyes focus on the sharp teeth of the pitchfork.  Alarmed
              by the close call, Fox tosses the implement away, gets up and
              dusts herself off.

              Looking skyward to the loft area, Fox moves over to its
              ladder and starts up.  The ladder quivers as she ascends,
              apparently dislodging a bale of hay at the top and sending it
              crashing towards her.  (Or, was it Jason?)  Fox swings her
              body out of the way just in time.  The bale whizzes by her
              and hits the barn floor with a THUD.

              She continues up the ladder and disappears through the loft

                                                       CUT TO:

              EXT. BARN - DUSK

              Ali and Loco have just completed filling up one gas can and
              are starting to fill the second one.  Ali sticks the siphon
              in his mouth and draws on it.  The gas begins to flow as Loco
              shoves the container into place to catch all the fluid.

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

              Ali and Loco spin around and look up.

              POV OF BARN

              Fox comes swinging out, Tarzan-like, from the hayloft on the
              rope attached to the block and tackle.  She's having a hell
              of a good time.


              ALI AND LOCO

              watch her incredulously.

                               (shouting in a loud
                        Quiet, woman!  Get off that thing!


              disappears from view through the square opening in the loft.
              A second later, she reappears, swinging out on the rope again.

                        But it feels so goooooood...!

              She swings back and disappears from view once more.


              is not pleased.

                        You're getting me pissed-off, Fox.
                        We got work to do.


              This time the rope swings out from the loft... without Fox
              attached.  There's a dead silence.  The rope dangles.

                               (to Loco)
                        Go get her out of there.

              Loco hunches over, keeping his body low to the ground as he
              high-tails it to the barn and zips inside.

                                                       CUT TO:

              INT. BARN - DUSK

              Loco advances deeper into the barn, his eyes looking

              It's getting darker, minute by minute.

                        Fox... where are ya!?

              No response.

                        Stop foolin' around.  You're
                        screwin' up everything.

              Still no response.


              He hears the SOUND of banging against the wall of the loft
              above him.  He starts up the ladder.

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


              Loco comes through the opening and steps onto the floorboard.
              The deep shadows hide the corners of the loft and Loco has to
              squint his eyes to see.

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

              MUSICAL STINGER...

              In front of him, Fox's body, raised off the ground and
              impaled with a pitchfork through her and into the wall.

              Her eyes are open wide with a deathly stare while her feet
              kick against the wall with final spasms of life.  Blood flows
              from the penetrations in her torso.

              The horrific sight is even too much for Loco.  He gags and
              grasps his mouth with his hand, choking back a scream.

              He turns to run...

              Another MUSICAL STINGER!

              Loco's face registers shock and horror as he runs smack into
              the teeth of an onrushing pitchfork being thrust at him.

              He cringes and gurgles up blood as the prongs are jammed
              through his stomach and out his back.

              He staggers, the pitchfork handle sticking straight out of
              his gut.

                                                       CUT TO:

              EXT. BARN - DUSK

              Carrying the two jugs of gasoline, one in each hand, Ali is
              just outside the barn doors.  To gain entrance, he kicks on
              the doors and looks around to see if anyone has heard him.
              He waits for one of the two to let him in.

              POV OF LAKE

              Andy and Debbie frolic by the waterfall, oblivious to the
              murderous goings-on.


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

                               (loud whisper)
                        Loco... Fox... Open this damn door.

              Frustrated by the lack of response from inside, Ali puts one
              can down and pries open the door for himself.  He fumbles his
              way inside.

                                                       CUT TO:

              INT. BARN - DUSK

              Ali closes the door behind him and immediately hears
              FOOTSTEPS CLOMPING around above him in the hayloft.

                        What the hell are you two doin' up

              He rages over to the ladder and looks up.  His eyes widen and
              mouth drops open.  Directly above him, Loco, the pitchfork
              still protruding from his stomach, falls through the opening
              in the loft floor, right at Ali.

              The two crash to the barn floor, together.  Ali throws Loco's
              body off of him and struggles to his feet.  He backs away,
              fixated on Loco's engorged corpse and cries out for Fox -- a
              deep, moanful bellow.

              The CAMERA DOLLIES quickly into a CLOSE SHOT on his face.
              His eyes focus directly in front of him as he SCREAMS right
              into CAMERA.  It's Jason!


              Ali turns and makes a mad dash for the door.  In his panic,
              he trips over one of the gas cans.  Frantically, he crawls on
              his hands and knees to the door.

              He reaches to pull himself up by the door and a large monkey
              wrench comes smashing down on the side of his face, bashing
              in his skill.  He slumps to the floor.

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

              From behind Jason, the CAMERA MOVES with him to a side window
              and peers out.

              Through the window, we SEE Andy and Debbie, wrapped in the
              blanket, coming up from the lake.  They're wet and dripping.
              Andy pulls Debbie along with him, towards the barn.

                        What're you doing?

                        We haven't looked in the barn,
                        yet.  Let's take a look.

                        Not now.  I'm cold.

              Andy moves right up to the grimy window.  Shading his eyes,
              he peeks inside.  He seems to be looking right at Jason (and
              CAMERA), but he apparently doesn't see him.

                               (to Debbie)
                        How about a roll in the hay?

                        You can play with yourself, 'cause
                        I'm going in the house.

              She turns back towards the house.  Andy lingers for a moment
              then catches up with Debbie.

                                                       CUT TO:

              INT. LIVING ROOM / HOUSE - NIGHT

              The front door swings open, Debbie and Andy take one step
              in... and duck!

              ANDY AND DEBBIE'S POV

              A couple of little, red rubberballs spring straight at them
              (and CAMERA), retract quickly and pulsate at them again.

              It's SHELLY, a paddleball in each hand.

                        Cut it out!

                        Can't stop now.

              Andy looks into the living room.  Vera, Chili and Chuck are
              engaged in the same child's play.  Each wallops a little
              rubberball in their own inimitable style.

                        Ninety six... ninety seven...
                        ninety eight... ninety nine... one

              She continues without faltering.

                        One hundred... ninety nine...
                        ninety eight...

              He misses and tries again.  Chili is hitting the ball as if
              she were serving in a tennis match.  It's a veritable were
              ring circus.

                        Who brought up this bright idea?

                               (concentrating on the
                        We were looking for something to
                        keep our hands busy.  It was
                        either this or an orgy.  Vera
                        chose this.
                        What're ya gonna do?

              The fireplace is raging with a full-bodied, crackling flame.
              Debbie drags Andy over to the box of paddle rackets in front
              of the fireplace and hands one to him.

                        How about you and I whacking a
                        couple of balls around?

                        If you insist.

              They join the others.  Rubberballs are flying from all
              directions (at CAMERA).

                                                       CUT TO:

              EXT. COVE / LAKE - NIGHT

              Derek's VW is parked just off the road overlooking the cove
              not far from the water.

              Derek flicks on the car's headlights.  They gleam right into


              is standing at the water's edge, backlit by the headlight

                        Is that better?

              Chris nods and sits on the shore, looking out at water.  She
              rubs the chill from her body.  Derek takes off his jean
              jacket and puts it around Chris' shoulders.  He sits down
              beside her.

              Derek tosses pebbles across the shimmering water.  Moonlight
              glints like little stars off the ripples.

              After an uncomfortable silence, Derek looks over at Chris.
              Silhouetted by the light, Chris' profile is accentuated in
              all its vulnerability and sensuality.

              He puts his arm around her.  She tenses up.  Derek wants to
              kiss her, but doesn't.

                        You know, I'm not sure I could
                        live anywhere else.  The nights
                        are always so peaceful and quiet.

                        It's deceiving.

                        What do you mean?

                        The quiet can fool you.  It fooled
                        me.  You can never be sure of
                        what's out there.

              Frustrated, Derek stands up and moves to the edge of the
              water, picking up handfuls of pebbles and throwing them.

                               (without looking at
                        Why did you come back here?

                        ... To prove something to
                        myself... to prove I'm stronger
                        than I think I am.

                        And, what about us?

                        I'm here with you.  Can't that be
                        enough for now?

                        I don't know.  I don't see you for
                        months on end, and when I do, you
                        put this wall between us.  How do
                        I break through?

                        I'm trying.  I'm really trying.

              Derek sits down next to her, again.  There's momentary

                        What happened that night?

                        You promised you'd never ask me.

                        After you left me that night, I
                        didn't see you or talk to you
                        again for a year.  No one would
                        tell me anything.  All I know is
                        what the police told me.
                               (leaning in to her)
                        We have nowhere to go unless you
                        let me in.
                        What happened?

              Chris looks into Derek's eyes.

                                                       CUT TO:

              INT. LIVING ROOM / HOUSE - NIGHT

              The SOUND of a rubberball hitting the paddle racket with a
              constant, even rhythm.

              IN CLOSE-up, the CAMERA PANS the staring bored faces of
              Chili, Chuck, Vera, Shelly and Debbie until it stop of the
              intense, concentrating face of Andy -- the elastic and
              rubberball pass his face again and again.

                        ... One thousand twelve... one
                        thousand thirteen... one thousand
                        fourteen... What's the World's
                        Record for this?

                        According to the Guinness Book,
                        you passed the World's Record
                        several whacks ago.

                               (genuinely excited)
                        I did?!  I broke the world's

                        Who cares, man?!

                        I do.

              He stops whacking the ball.  The others sigh with relief.

                        You're all just jealous.

                        Actually, I have no idea what the
                        World's Record is.  I was just

              The others laugh.

                        Think you're funny?  Well, I'll
                        just have to start all over again.

              The whole group jumps Andy and wrestles the paddle away from

                        Well, what do we do now?

                               (taking Andy by the
                        Come on, Champ, I think you and I
                        can find something to do.

              Andy, dutifully and happily, follows Debbie up the winding

                               (to Chuck)
                        Remember that strange looking
                        plant we saw outside.  Let's go
                        smoke it.

              Chuck follows Chili out the back door.

              Shelly looks around.  Vera is the only other person in the
              room.  They stare at each other, then look away.

                        I guess that leaves you and me.

              Awkward silence.  Shelly gets a very determined look on his
              face like his is going to ask Vera something he has never
              asked a woman before.

                        Vera... you and I have had a
                        chance to really get to know one
                        another today.  I like you... very
                        much.  I was thinking that maybe.

                               (quickly interrupting)
                        Don't say any more.

              Shelly drops his head, dejected.

                        I'm going outside for a few
                        minutes.  We'll talk when I get

              She turns away and goes out the front door.  Shelly moves
              over to the living room window and watches her.

              EXT. HOUSE - NIGHT

              Vera ambles down the porch steps and when she reaches the
              front walk, she surveys the surroundings and breathes deeply.

              SHELLY - INT. LIVING ROOM

              watches Vera stroll away.  His disappointment is sketched all
              over his face.  He turns away from the window and moves over
              to the fireplace, looking into the flame.

              FOREBODING MUSIC...

              Jason's dark, hulking frame moves into THE SHOT as he looks
              through the window at Shelly.

              Shelly pokes aimlessly at the hot ambers, his back to the
              window, unaware of the lurking Jason.

                                                       CUT TO:

              INT. BEDROOM - NIGHT

              Andy and Debbie are locked in each other's arms in front of
              the hammock.

                        How do we do it?

                        First we take off our clothes,
                        then you get on top of me or I get
                        on top of you...

                        I know how to do it.  I mean, how
                        do we do it in the hammock?

              Without a word, Debbie removes her top garment.

                        Think you can figure it out?

                               (staring at her
                        I'll think of something.

              He wraps his arms around Debbie and fervently kisses her.

                                                       CUT TO:

              EXT. COVE / LAKE - NIGHT

              CHRIS AND DEREK

              sitting on shore, close together, somber.  The headlight
              beams have dimmed.  The dark, desolate landscape looms around

                        I had never made love to anybody
                        before that night. You made it so
                        special, I hope it would always be
                        like that for us.

              The CAMERA begins to dolly slowly -- ever so slowly -- around
              Derek and Chris.

              **OPTIONAL:  The following dialogue may be used as a narration
                           over a FLASHBACK SEQUENCE.

                        When you dropped me off at the
                        house, it was very late.  My
                        parents were waiting up for me.
                        As soon as I got in the door, they
                        starting yelling and cursing at
                        me.  I was so upset... I told them
                        I slept with you.  My mothers
                        slapped me.  That was the first
                        time she'd ever hit me.  I
                        couldn't believe it.  I ran out of
                        the house and into the woods as
                        fast and as far as I could run.
                        I was crying.  They had destroyed
                        the most beautiful night of my
                        life and I wanted to punish them
                        for that.  I decided to hide out
                        all night.  They'd be so worried
                        that they'd be sorry for what they
                        did to me.  The woods were cold and
                        damp from the rain.  I found a dry
                        spot under a rotted oak tree and I
                        guess I fell asleep.
                               (takes a deep breath)
                        All I can remember next is being
                        startled out of sleep by the sound
                        of footsteps.  I thought it was my
                        father so I hid behind the tree.
                        But the footsteps just stopped.
                        The woods were dark.  I couldn't
                        see anything.
                        I heard a cracking noise behind
                        me.  I turned around and... and...
                        oh, God... there was this hideous
                        looking man.  So grotesque he was
                        almost inhuman.  He had a knife
                        and he started to slash away at
                        me, again and again.  I was so
                        hysterical and I don't know how I
                        was able to get away.  I ran and
                        ran, but he kept coming.  He was
                        big but so fast.  He caught me and
                        pulled me down to the ground and
                        he... he... ripped my blouse off.
                        I was screaming, but who could
                        hear me?  Then... oh, God... he
                        dragged me by the hair along the
                        ground.  I was kicking and
                        yelling.  He dragged me deeper and
                        deeper into the woods.  Oh,
                        please... please...

                               (stroking her)
                        It's all right, you're all right.
                        I'm with you.


              EXT. LAKE - NIGHT

                        I... I don't know what happened
                        after that.  I must have fainted
                        because the next thing I knew I
                        would talk about it.  And I never
                        have.  Not until now.  I just
                        wanted to forget.  But I can't.
                        I'll never forget that horrible
                        face.  Never.

              The car headlights suddenly snap off.

                        Who's there?

              They look around.  There's no one in sight.

                        It's the battery, damnit.

              The two run up to the car.  Derek jumps in and tries to start
              it.  The engine WHIRS but won't turn over.  Chris looks
              apprehensively at Derek.  He grabs a flashlight from the
              glove compartment, flicks it on and gets out of the car.

                               (taking Chris' hand)
                        It's no problem.  We'll just walk

              Hand-in-hand, the two start down the wooded path.

                                                       CUT TO:

              EXT. LAKE - NIGHT

              CAMERA SHOOTS over the waterfall towards the dock.  Vera
              strolls down the wooded platform -- the old boards CREAK
              beneath her.

              Only the flowing water can be heard as a darkened,
              indistinguishable FIGURE ENTERS FRAME -- directly in front of
              CAMERA -- and lowers himself all the way into the lake by the

              Vera rolls her pant legs up to her knees.  She dangles her
              long legs over the dock.  Her toes break the surface of the
              water, SWOOSHING it back and forth.


              Air bubbles rise to the top.  Vera does not see the darkened
              figure as he swims beneath the surface of the water.

              The night is a symphony of sounds:  crickets SCRATCHING en
              masse, branches and leaves FLUTTERING in the evening breeze,
              water LAPPING at the shore.

              UNDERWATER POV

              of Vera.  She leans back, her arms bent behind her, her face
              arched upwards.

              VERA'S FEET

              kick back and forth SPLASHING the water.  Air bubbles mark
              the trail of the approaching underwater figure.

              Vera breathes in.  The sensuous serenity deeply relaxes her.
              She begins to softly sing a song form her childhood in

              UNDERWATER POV

              Vera's feet are an arms length away, kicking towards the
              CAMERA LENS.  She finishes her song and lays back...

              MUSICAL STINGER!

              The figure jumps out of the water and grabs Vera's leg and
              pulls her.  Vera SCREAMS and lurches forward, almost sliding
              off the dock.  She reaches out and clings to the side.

              The figure holds her calves and tugs harder.  Vera's grasp is
              slipping.  She tries to kick him off.

              Suddenly, the figure releases her limbs and submerges

              Vera pulls herself back up onto the dock.

              Clad in a black scuba suit and white faceless mask, the
              rotund figure rises out of the water onto the shore.  In one
              hand he holds a small spear-gun.  With the other, he removes
              his mask.  It's Shelly!

              Vera glares at him.

                        You've just learned a valuable
                        lesson.  A beautiful girl like you
                        should never go out in the dark

                        Damn you, Shelly!

              Vera stomps off the dock towards him.  Shelly retracts.

                        Why do you do these stupid things?!

                               (looking away)
                        I have to.

                        You don't "have to."

                        I just want you to like me.

                        I do like you.  But not when you
                        act like a jerk.

                        Being a jerk is better than being

                        I never said you were "nothing".

                        You don't to say it.  I can tell.

                        You're wrong.

              Shelly hangs his head and says nothing further.  He just
              walks off towards the house.

                        Hey... I'll be in, in a little
                        while.  We can talk some more.

              EXT. COTTAGE - NIGHT

              Shelly trudges up the front walk to the porch and plops
              himself down on the porch swing, still clutching the mask and

              In a contemplative mood, he slowly swings back and forth.
              The taut metal chains that support the swing, vibrate and
              CREAK in a steady rhythm.

              Shelly looks down at the lake.


              Vera sits back down on the dock, facing away from the house.


              is alerted to what sounds like the cry of a wounded animal
              emanating from the barn.  He looks over and sees a shadow
              cross in front of one of the windows.  The cry continues.

              Shelly jumps off the swing and heads for the barn with his
              mask and spear-gun at his side.

              EXT. BARN - NIGHT

              Shelly comes up to the window and looks in.  It's too dark to
              see anything.

                               (rapping on the
                        Chuck?  Chili?  What're you guys
                        doing in there?

              He hears RUMBLING inside, but no response.  He moves to the
              front doors and pries them open.

              INT. BARN - NIGHT

              Shelly comes in and fumbles for the light switch.

                        You guys doin' somethin' I
                        shouldn't see?

              He finds the switch and FLICKS on the light.  The very moment
              the light goes on, an OWL swoops down and aims straight for
              his head (and CAMERA).  Shelly drops the spear-gun and the
              mask to thwart off the bird with his hands.  The owl flies
              out of the partially open barn doors.  Shelly quickly closes

                                                       CUT TO:

              EXT. LAKE / DOCK - NIGHT

              Vera is pacing, back and forth, on the dock.  She stops at
              the far edge and peers into the water.

              VERA'S POV

              Floating by is a woman's bra (probably, Debbie's).

              Vera smirks as she lies prone on the boards and reaches with
              her hand, grabbing the undergarment and rescuing it from the

              She leans back into a kneeling position and rings out the
              soggy bra.  Her heels dig into the rear pocket of her jeans,
              pushing a wallet out of the pocket onto the dock.  Vera
              reaches behind her and picks it up.  It's Shelly's wallet --
              the one he gave her at the liquor store.

              Leafing through the contents, Vera finds his driver's license
              and a photograph of Shelly and his mother.

              She looks around.  Shelly is nowhere in sight.  Assuming he
              has returned to the house, she gets up to look for him -- as
              she rises, her hand knocks against the dock.  The wallet
              slips out her her grasp and bounces into the lake.

                               (watching the wallet
                        That's just great!

              After a moment of deliberation, she takes off her shoe and
              plunges into the water, diving after the billfold.

              She swims around underneath the surface, searching with her
              hands.  She rises for air periodically.

              She submerges deeper than the previous attempts.  Air bubbles
              rising to the surface, establish her whereabouts -- a good
              distance from the shore.

              She comes up for air once more, empty-handed.

              VERA'S POV

              the dock.  A dark figure, wearing Shelly's white mask and
              holding the spear-gun, kneels at the edge of the pier.

              From the water, at this distance, Vera easily mistakes the
              figure (Jason) for Shelly.

                               (waving to the
                                figure, shouting)
                        Hey... I dropped your wallet!  I'm

              She starts to breast stroke toward him.

              OMINOUS MUSIC throbs on the SOUNDTRACK...

              Jason raises the spear-gun to eye level.

              Vera swims unknowingly toward her demise.  A few yards from
              the dock, she glides right into Shelly's floating wallet.

              Jason aims the spear-gun.

              Vera, grabbing the wallet, she treads water and raises it
              triumphantly over her head for "Shelly" to see.

                        I found it!

              She looks up to see the spear-gun pointed right at her head
              (and CAMERA).

                        What're you doing?  Who are you?!

              MUSICAL STINGER!

              Jason pulls the trigger, releasing the spear.  With a WHOOSH,
              the arrow penetrates Vera's skull.  A look of unmitigated
              disbelief on Vera's face as she sinks into the water.  Blood
              seeps to the surface.

              LONG SHOT

              of lake and dock.  Jason, in the distance, his back to
              CAMERA, just stands at the edge of the pier looking down into
              the bloody water.

              CAMERA PANS over to the house and CRANES UP to a second floor
              bedroom window, glowing from candlelight, and peers in.

                                                       CUT TO:

              INT. BEDROOM - NIGHT

              The room is darkened save for pools of light emanating from
              several candles -- one in each window, the others on the
              opposite side of the room -- lending an atmosphere of warmth
              and intimacy.

              CAMERA DOLLIES IN towards the hammock which wildly rocks bath
              and forth accompanied by the sounds of lovemaking.

              Debbie and Andy are not visible in full -- only glimpses of
              their naked limbs and torsos can be seen above the curved
              side of the hammock.  Blankets and sheets hang sloppily over
              the edges to the floor.

              CAMERA continues to DOLLY IN as the SOUNDS grow more heated
              until Debbie and Andy are FRAMED in a TWO SHOT as they climax.

              The thrashing about stops and the hammock slows down to a
              gentle swaying.

                        That was the best yet.  Was it
                        you... me... or the hammock?

                        I vote for me.

                        I vote for the hammock.

              Debbie attempts to get out of the hammock.  It's not a simple
              move -- she nearly falls to the floor taking Andy with it.

                        I'm seasick.  Get in or get out of
                        the boat.

              Debbie gets out.  She heads into the bathroom and flicks on
              the light -- bright and a strain to the eyes.  She turns on
              the shower.

                        What're you doin'?

                               (poking her head back
                        I think it's called "a shower".
                        You might try it sometime.

                        You're too clean for me.

              Debbie responds by closing the door.

              INT. STAIRCASE / HALLWAY

              FOREBODING MUSIC pierces the SOUNDTRACK...

              Displaying a thick-bladed machete, Jason ascends the spiral
              stairs.  Andy can be heard off-screen calling loudly to
              Debbie in the shower.

                                  ANDY (O.S.)
                        Hey Deb... can you hear me?

                                  DEBBIE (O.S.)
                               (from bathroom)

                                  ANDY (O.S.)
                        I'm going downstairs to get a
                        beer. You want one?

                                  DEBBIE (O.S.)

              Jason reaches the landing at the top of the stairs and
              disappears into the shadows.

              INT. BATHROOM

              Behind the sheer curtain, Debbie's naked silhouette can be
              seen lathering herself in the shower.


              Debbie luxuriates in the soap and hot water.

              Distorted through the plastic curtain, the door opens.

              Debbie remains blissfully unaware as she soaps her face.  She
              hears a BANGING NOISE.  Her eyes are closed due to the soap
              and shower spray.


              No response.  Concerned, Debbie turns off the water and wipes
              the soap from her eyes.

              Looking up, she sees a shadowy figure poised in front of the
              curtain.  Quickly, she reaches out and rips the curtain

              Staring her in the face is a pair of men's feet and jean-
              covered legs.  It's Andy, walking on his hands.

                        Do you want a beer or not?


              Andy turns himself around and handwalks out of the bathroom.

                        I'll be back in a minute.

              Debbie jumps out of the tub and shuts the door.  She returns
              to the shower and turns the water back on.

                                                       CUT TO:

              INT. BEDROOM / HALLWAY - NIGHT

              CLOSE SHOT on Andy upside-down.  CAMERA MOVES with him as he
              hand-steps out of the bedroom.  He WHISTLES an upbeat tune as
              he goes.

              An OMINOUS TONE enters the SOUNDTRACK, a haunting counterpoint
              to Andy's WHISTLING.

              Jason's hulking frame is braced up against the wall in the
              hallway corridor at the entrance to the bedroom.  Andy is
              unaware of Jason's presence as he hand-walks right past his
              boots towards the staircase.

              Off-screen, Debbie calls out to Andy over the SOUND of the

                                  DEBBIE (O.S.)
                        Andy... Are you still out there?

              At the head of the stairs, Andy stops and pivots around 180
              degrees, turning head-on into Jason's boots.  Surprised, he
              looks up.

              ANDY'S UPSIDE-DOWN POV

              of Jason in Shelly's white mask.  A machete is poised above
              his head.

              MUSICAL STINGER!

              Before Andy can react, the machete is thrust down between his
              legs, slicing through his upside-down body.  Andy's ghastly
              SCREAM reverberates as he topples backwards down the spiral

              Jason retrieves his body.  He drags Andy's halved corpse up
              the stairs and back into the bedroom, closing the door behind

                                                       CUT TO:

              INT. BATHROOM - NIGHT

              With the shower running full blast, the door closed, and
              HUMMING to herself, Debbie remains oblivious to the sounds of
              the murderous activities.  She rinses her hair and turns off
              the faucet.

              The CAMERA MOVES slowly IN CLOSE on Debbie as she steps but
              of the tub and dries herself off.

              She hears a CRASHING SOUND that seems to have come from the
              bedroom.  She stands still and listens.

                        Andy?  You can have my beer.  I
                        don't want it.

              Humming again, she wraps herself in her robe and swings the
              bathroom door open.

              INT. BEDROOM

              The room is quiet, untouched.  Andy is nowhere in sight.
              Debbie shrugs it off, moves to the bedroom door, opens it and
              sticks her head out.

                               (calling downstairs)
                        Andy, don't bring me a beer.  Do
                        you hear me?

              She stays at the door for a moment listening for Andy.  Behind
              her, in the bedroom, Jason creeps across room.  Debbie is

                        Andy!  Answer me!  I hate when you
                        do that.

              She SLAMS the door shut!  Peeved at Andy, she picks up a book
              (Stephen King's newest novel) from a table and rolls into the
              hammock top of the covers which hang all the way to the floor.

              She settles in.  The hammock sways slightly.  She finds her
              place in the book and playing with her damp hair, she starts
              to read.

              Quite unexpectedly from above her, a large drop of blood
              falls and splatters all over the white pages of her book.
              Alarmed, she touches the fluid with her finger tips,
              examining it.

                               (incredulous, to

              She looks up at the ceiling...

              DEBBIE'S POV

              Wrapped around the rafters is Andy's mangled, bloodied corpse.

              Before Debbie can SCREAM...

              MUSICAL STINGER!

              From beneath the hammock, hidden by the covers, Jason's hand
              reaches up and around and snaps her head back down, pinning
              her to the pillow.

              The carving knife is driven through the back of her neck and
              pops out the front, right at CAMERA.  Blood spurts all over
              Debbie's horrified face.

                                                       CUT TO:

              EXT. WOODS - NIGHT

              A flashlight beam sprays directly into the CAMERA LENS
              bleaching out the FRAME.

              Derek and Chris silently walk along the dirt road leading
              back to the house.  Derek holds the flashlight.

              Their footsteps add to the cacophony of night sounds.  Chris'
              eyes dart about; she's becoming quite uneasy.

                        Could we move a little faster?

                        Sure, just watch where you're

              They start to job.  The beam from their flashlight bounces
              all over the road as they run.

              Suddenly and unwittingly, Derek strides into a pothole, twist
              his ankle and falls forward.  The flashlight falls from his
              hand.  Derek lands in the arms of a dark figure standing on
              the side of the road.  Derek gasps as the man clutches him.

              Chris grabs the flashlight from the ground and shines the
              light into the man's face...

              It's Abel, the aged hitchhiker.

                        What're you doing out here?

              Derek gets back on his feet.  The ankle is tender.

                        You know him?

                        Sort of.

                        I'm one of the Flock as are you my
                        Brother and Sister.

                               (looking askance)
                        Yeah... sure...
                               (to Chris)
                        I think we should be going.

              They start to leave, but Abel blocks their path.

                        I can't let you go.

                        Look old man, we don't want any

                        Then turn around and walk away
                        from trouble.

                        Come on, Chris...

              Derek hobbles past Abel.  Chris follows a moment later.  Abel
              looks after them as they go then up at the sky.

                        I have done by best.  I can do no

              Chris looks back at Abel as she and Derek continue down the

                                                       CUT TO:

              INT. KITCHEN - NIGHT

              Chuck stands at the stove, shaking a pot of popcorn over a
              lit burner.  The corn kernels are actively popping as Chuck
              lifts the cover off the pot, revealing the white fluffy
              morsels as they fly up and out (at CAMERA).  Chuck leans in
              to catch them with his mouth.  He captures a few though more
              land on the floor.  He quickly replaces the lid.

              Chili comes in from outside with a flashlight in hand.

                        I can't find the bong anywhere.
                        Can't you remember where you
                        dropped it?

                        I can't even remember what day it
                        is, man.

                        It's Friday the 13th.

              All the lights go out -- complete darkness except for the
              blue fire of the lit burner.  Chili SCREAMS over the sound of
              the popping corn.

                        What's the matter?!

                        Nothin'.  I was just foolin'

                        Don't do that to me!

              Chili flicks on the flashlight and hands it to Chuck.

                        Here.  Go down the cellar and
                        check the fusebox.

                        Will you come with me?

                        Be a man, man.

              Chili takes a kerosene lamp down from the window sill as
              Chuck reluctantly opens the cellar door and starts down the

              Chili ignites the lamp's wick, illuminating the kitchen with
              a yellow glow.

              She carries the lamp over to the stove and sets it down.

                                                       CUT TO:

              INT. CELLAR - NIGHT

              Barefoot, Chuck tiptoes down into the dark, musty basement.
              The flashlight beam preceeds his every step as he slowly

              To calm his anxieties, he talks to himself, outloud.

                               (his eyes roving all
                        There's nothin' to be scared of,
                        man.  Just go over to the fusebox
                        and check it out.  You can do
                        that.  Yeah, sure.

              His bare feet SLOSH in the line of the water puddles on the
              cellar floor as he nears the fusebox.  He raises the
              flashlight at the open box -- the fuses and electrical wiring
              exposed.  The main switch is in the "OFF" position.

              Chuck lifts the switch into the "ON" position.  The naked
              basement bulb glimmers.

                               (turning to go)
                        Whew... that's better.

              MUSICAL STINGER!

              Backlit and silhouetted by the bulb is Jason -- a threatening

              Chuck is startled and scared.  Before he can speak, Jason
              grabs his face with both hands, lifts him off the ground and
              throws him into the open fusebox.

              Chuck's feet land in a pool of water as his hands make
              contact with the exposed electrical wires.  Electricity zaps
              through his entire body, electrocuting him.  The lights blink
              on and off.

                                                       CUT TO:

              INT. KITCHEN - NIGHT

              Chili is standing at the stove shaking a second pot of
              popcorn kernels.  The blinking lights are an annoyance,
              causing her to squint.  Then, the blinking stops and the
              lights go completely dead.  The lantern remains the only
              light source.

                               (calling out)
                        What's goin' on, Chuck?!

              There's no answer.  Then abruptly, something heavy bashes
              against the kitchen door.

                        What's goin' on around here?
                        Who's there?

              She picks up the lantern and goes to the door.  She hesitates
              then pulls it open.

              MUSICAL STINGER!

              Shelly's corpse -- his skull split open, his face and chest
              bloodied -- falls into the kitchen at Chili's feet.

                        Get up, Shelly.  Stop foolin'

              She believes this to be another of Shelly's ruses.  Stepping
              over his body, she goes to the basement stairs and calls down
              to Chuck.

                        What're you doin' down there, man?

              INT. BASEMENT

              Holding the kerosene lamp in front of her, Chili starts down
              the stairs.  FOREBODING MUSIC drones on the SOUNDTRACK,
              accompanying her.


              No answer.  She stops at the bottom of the stairs and pans
              the lamp from side to side.

              MUSICAL STINGER!

              Suddenly, as though suspended from the ceiling, Chuck's head
              and shoulders flop down in front of her, his arms outstretched
              and his face stark white.

                        Oh, my God...

              She turns and runs up the stairs, the kerosene lamp shaking
              wildly in her hand.

              INT. KITCHEN

              She bolts out of the basement and stumbles over Shelly's
              body, falling to the floor.  She looks back at Shelly and
              realizes that this is not a joke and that he is, indeed, dead.

              She gags and, SCREAMING, grabs the still lit kerosene lamp
              and scrambles to her feet.  She runs into the living room.

                                                       CUT TO:

              INT. LIVING ROOM - NIGHT

              The fireplace is burning bright as Chili dashes to the base
              of the spiral staircase.

                               (looking up)
                        Andy!  Debbie!  Somebody help me!

              Of course, no answer.


              Unseen by Chili, Jason's hand reaches for a sizzling poker
              left in the fire and pulls out the red-hot iron.

              Chili swings open the front door.  The CAMERA MOVES in on her
              from behind.  Crying, she SCREAMS out into the darkness.

                        Vera!  Chris!  Where is

              She steps out onto the --

              EXT. PORCH - NIGHT

              The CAMERA continues towards her from behind.

                               (at the edge of the
                        Oh please, is anybody here?!

              She looks all around.  It's deathly quiet.  She whips around
              and runs back into the --

              LIVING ROOM

              right at Jason and into the scorching poker.  It burns
              through her blouse and fries the skin around where it

                                                       DISSOLVE TO:

              According to sources, events from here on out were not included as 
              the remaining scenes were not written

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