House of 1000 Corpses (2003)

FADE IN:

INT. OLD HOUSE - LIVING ROOM - NIGHT

We see a LITTLE GIRL dancing around in a grainy super 8
home movie. A LITTLE BOY wearing a monster MASK enters
the frame. He struggles to lift a double barrel shotgun.
He points it at the girl and pretends to SHOOT.

		GIRL
		(voice over, whispering slowly)
	Once I had a cat, he was the sweetest
	little guy. Then one day he got sick
	and died. My heart was broken. My
	whole body hurt.

She continues dancing. The little boy imitates her.

		GIRL (CONT'D)
	After that, I saw things differently,
	everything could be summed up with
	three simple words... fuck the world.

The camera swings over to some ugly, toothless relations
watching the show. They laugh.

EXT. SPAULDING'S - NIGHT

We open on a dark, lonely stretch of two lane blacktop.
Off to the side of the road we see a rundown gas station.

		RADIO ANNOUNCER
		(V.O.)
	Hey, welcome back to 93.5 WJRC's
	Halloween monster weekend. I'm Jimmy
	Ray and I'll be bringing you the
	oldies, the goldies and sometimes
	the moldies. The good, the bad and
	the uglies straight from the WJRC
	vaults.

A weathered wooden sign proclaims CAPTAIN SPAULDING'S
WORLD OF MONSTERS AND MADMEN, sits atop the building.
A smaller sign below reads FRIED CHICKEN AND GASOLINE.

		RADIO ANNOUNCER
		(CONT'D)
	Hey, kids still trying to decide on
	the right costume? Well why not head
	on down to Randall's Penny Save
	located on Kimball Rd. just off route
	1 in Mackin County. Choose from a
	wide array of ghosts and ghouls,
	jeepers and creepers...
		(scary sound effects)
	...everything you need for your
	Halloween needs.

SHERIFF HUSTON, a tall southern good old boy, leans
against his dusty cruiser smoking a cigarette, pumping
gas into his tank.

INT. CAPT. SPAULDING'S - NIGHT

Inside is a poorman's Ripley's Believe It or Not.
Bizarre props and treasures of killers and monsters
cover the dirty walls. Wax figures of JACK THE RIPPER
stand guard before oil paintings by JOHN WAYNE GACY.

		RADIO ANNOUNCER
		(V.O.)
	Alright let's get back to our
	monster music marathon with this
	classic called The Teddy Bear's
	Picnic.

Perched on a stool behind the counter sits CAPTAIN
SPAULDING, a crusty looking old man in a filthy clown
suit and smeared make-up. The word LOVE is tattooed
across his right knuckles and HATE is tattooed across
the left.

He is reading the newspaper, crunching on crackers
from a paper bag and halfheartedly listening to a
small, nerdy man wearing coke bottle glasses named
STUCKY.

Stucky thumbs through a stack of autographed 8x10
photographs.

		STUCKY
		(speaking through voicebox
		 in his throat)
	I... I got back a stack today. Some
	nice shots.
		(holds up a picture of June
		 Wilkinson)
	See, a good topless June Wilkinson...
	unfortunately she personalized it...
		(looking at the photo)
	to Stucky, love June.

		CAPT. SPAULDING
	Hmmmmm.

		STUCKY
	Shit, this ain't worth nothing now
	that my name gotten all over it. I
	was a fixin' on trading it to Jackie
	Cobb.

		CAPT. SPAULDING
	The retard over at Molly's fruit
	stand.

		STUCKY
	Yeah, he's all hot on her after he
	found some of his dad's old nudie
	books hidden in the basement. He
	keeps 'em taped inside his school
	workbook.

Spaulding brushes cracker crumbs off his paper and
continues reading.

		CAPT. SPAULDING
	Fascinating.

		STUCKY
	That kid is one horny retard.

		CAPT. SPAULDING
	Christ, ain't they all. All them
	retards wanna do is fuck and eat.

		STUCKY
	Well, yeah... I think that if you
	knew him... I mean if you'd under-
	stand his urges, shit the guy's like
	forty or something.

		CAPT. SPAULDING
	Worse than a fucking rabid baboon.

		STUCKY
	Yeah, I guess, you know next to
	wacking his weasel his other favorite
	thing is twisting sharpened pencils
	in the corner of his eyes.

		CAPT. SPAULDING
	What?

		STUCKY
	Yeah, doesn't hurt himself, just
	spins it around next to his eyeball.

		CAPT. SPAULDING
	I'm sure that ain't the only place
	he's sticking those pencils.

		STUCKY
	Naw, he don't do anything else with
	'em, but he did get caught once with
	a Planet of the Apes doll hanging
	out his asshole.

		CAPT. SPAULDING
		(laughing)
	Goddamn.

		STUCKY
	Had to take him to the hospital.
	Kid had Dr. Zaius stuck half way up
	his butt, couldn't get it out.

		CAPT. SPAULDING
	I always loved that mute broad that
	Chuck Heston was shacking up with.

		STUCKY
	Nova, yeah she looked pretty sweet.

		CAPT. SPAULDING
	Yeah, now there's the perfect woman.

		STUCKY
	Can I get some stamps off ya?
		(slapping down his money)
	Did you fix the toilet yet?

Opens a drawer and tears off five stamps.

		CAPT. SPAULDING
	Yes, I did... so don't you go
	stuffin' any goddamn paper towels
	down that hole. I just snaked the
	shit out of that thing.

Spaulding SLIDES the KEY attached to a cow skull across
the counter. Stucky grabs it. Spaulding hangs on.

		CAPT. SPAULDING
		(cont'd)
	Ya hear me? You bust that crapper
	and I'll beat your ass.

		STUCKY
	I hear ya.

He lets go of the key.

EXT. CAPT. SPAULDING'S - NIGHT

>From a STRANGER'S POV we watch through the window,
Stucky EXIT for the restroom.

Sheriff Huston finishes pumping his gas, gets in his
cruiser and drives off.

		KARL
		(off screen)
	All clear. Let's go shopping.

		RICH
		(off screen)
	Right.

>From this POV we RACE across the highway towards the
front door of the MUSEUM.

SLAM! We BURST through the door.

INT. SPAULDING'S - SAME

The moment of impact. BOOM. The door SMASHES open.
Spaulding's head JERKS up to see: a masked gunman,
KARL, wearing a LEATHER S+M MASK.

Behind him stands a second gunman, RICH, wearing a
rubber CAVEMAN MASK.

		CAPT. SPAULDING
	Mary fucking Moses. Get the fuck
	out of here.

		KARL
	Hold it, clowney. Keep your paws
	where I can see 'em.

		RICH
	Yeah, don't move or I'll blast a
	hole the size of a Kansas City melon
	through your ugly-ass Bozo face.

Spaulding obeys and raises his hands.

		KARL
	Go get that other asshole out of
	the shitter and drag his ass back
	in here.

		RICH
	Right.

Rich exits.

		CAPT. SPAULDING
	Miserable little cunts with guns.
	I ought to jump right over this
	counter and bash your fucking balls
	in.

Killer Karl steps up and puts his gun against Spaulding's
face.

		KARL
	Alright Tippy, hand over the cash
	box and I might leave your brains
	inside your skull.

Spaulding smiles wide, his teeth are yellow and rotted.

CLOSE UP -

Spaulding's foot kicks a red switch, triggering a
silent alarm.

		CAPT. SPAULDING
	That's what you bitches need. A
	reality check courtesy of my boot
	in your ass. That'll be a fucking
	cash box you can cry to mamma about.

INT. SPAULDING'S - BACKROOM - NIGHT

A silent RED LIGHT FLASHES. In the dim glow, we see
RAVELLI, a large hunched figure, sitting on the edge
of a bed. The figure is heavily bandaged.

Ravelli reacts to the flashing light, he RISES and
puts a huge mask over his head. He EXITS the room.

INT. BATHROOM STALL - NIGHT

Stucky sits on the toilet pasting stamps on large
yellow envelopes.

Killer Rich KICKS OPEN the stall, GRABS Stucky by
the neck and PULLS him out.

		RICH
	Come on, fatboy!

EXT. CAPT. SPAULDING'S - NIGHT

We move around the outside of the building watching
the scene inside unfold. HEAVY BREATHING is heard.

Rich DRAGS Stucky into the main room.

INT. SPAULDING'S - NIGHT

Karl grows increasingly HOSTILE, knocks a candy display
over, raises his gun over his head and fires into the
ceiling.

		KARL
		(screaming)
	That's it. I'm gonna count to ten
	and you're gonna hand over the cash
	or I'm gonna splatter your grease
	paint mug across the stateline...
	one.

		CAPT. SPAULDING
	Fuck your mother.

		KARL
	Two.

		CAPT. SPAULDING
	Fuck your sister.

		RICH
	Come on, man. Just shoot him.

		STUCKY
		(recognizing Rich's voice)
	Hey, I know you. We were in high
	school together. Wood shop, right?
	... Richard Wick... right?

He looks nervously at Stucky.

		RICH
	Shut up, shut up, shut up!

		KARL
	Quiet down... three.

		CAPT. SPAULDING
	Fuck your grandmother.

		STUCKY
	Yeah, I remember Mr. Alacard the
	shop teacher use'ta call you Little
	Dick Wick. Hey, wasn't there a song
	we made up to go with that?

		RICH
		(temper rising)
	Shut up!

		STUCKY
		(singing)
	Little Dick Wick, play with his prick
	Don't his smell, just make you sick.

EXT. CAPT. SPAULDING'S - NIGHT

>From Ravelli's POV we watch through the window, as
everybody inside starts SHOUTING at each other.

Suddenly, Rich SHOOTS Stucky. Stucky FALLS BACKWARDS
against the wall, screaming in pain.

We move QUICKLY towards the entrance.

INT. CAPT. SPAULDING'S - NIGHT

Suddenly... CRASH! Ravelli SMASHES through the front
door knocking Karl to the ground. In the light we see
that Ravelli is wearing an OVERSIZED CLOWN HEAD. In
his hand is a sledgehammer.

Rich TURNS toward the COMMOTION. The Captain quickly
WHIPS OUT a GUN and FIRES. Rich falls dead.

Ravelli lunges at Karl, smashing him over the head
with the hammer. Ravelli's clown head comes loose
and falls to the floor. We now see that Ravelli is
a bald pitbull of a man with badly scarred skin that
is painted white and red.

Karl hits the floor and begins CONVULSING violently.

Spaulding STEPS DOWN from behind the counter, puts
his foot on Karl's throat and points his pistol at
Karl's head.

		CAPT. SPAULDING
	And most of all... fuck you!

BOOM! Spaulding SHOOTS Karl in the head.

The screen EXPLODES RED, then TURNS BLACK.

		CAPT. SPAULDING
		(CONT'D,
		 V.O.)
	God damn it, that motherfucker got
	blood all over my best clown suit.

CREDITS ROLL

Strange paintings of demons, monsters and bizarre
creatures fade up and move across the screen.

EXT. COUNTRY ROAD - NIGHT

We see a BILLBOARD painted on the side of an ABANDONED
TRUCK. The sign reads GOD IS DEAD.

We turn to face the road as a car drives by.

		JERRY
	Alright then, out of all of
	Charlie's chicks who do you think
	is the hottest?

INT. CAR - FRONT SEAT - NIGHT

Fast food wrappers and road maps clutter the car's
dashboard, a swinging monkey head dangles from the
rear-view mirror.

Behind the wheel, the driver, BILL HUDLEY, 29, downs
the last sip of coffee before crumpling the paper cup
and placing it among the other trash before him.

		BILL
	I guess if I had to choose I'd
	say... mmmmmm... Sandra Good. She
	seemed like a nice girl, I mean in
	a psycho kind of way.

Beside him rides, JERRY GILMORE, 30, slumped down in
his seat, reading a magazine with a flashlight, feet
hanging out the window.

		JERRY
	Really? Huh, I thought for sure you'd
	say Lynette Fromme. She's got that
	snooty vibe I know you dig.

		BILL
	Sqeaky! No way, she ain't that hot.

		JERRY
	She's pretty cute.

		BILL
	Yeah but, she reminds me of this
	chick that I remember from fourth
	grade... called a... shit, what did
	we call her?
		(thinks for second)
	Oh yeah, Patty Pee-pee Pants...
	when ever she got called on by Miss
	Chumski, this chick would piss in
	her pants and start bawling.

		JERRY
		(laughing)
	There always one kid with no bodily
	controls. We had this dude, Jeff
	Baxter, he was a puker. The fucker
	would just sit there puke all over
	himself.

		BILL
	Better than pissing... anyway so,
	what's your choice?

		JERRY
	If we're talking cute... like regular
	cute, I'd say Leslie Van Houton, but
	cute ain't hot.

		BILL
	Yeah, no shit.

		JERRY
	As far a hot... goes I gotta go
	with... Ruth Ann Moorehouse.

		BILL
	Oh yeah, I forgot about her. She was
	pretty hot.

		JERRY
	Fuck yeah, she is. I'd join a cult
	to get some of that... and the best
	part is she didn't try to kill the
	President or nothing, so that baggage
	ain't hanging around.

		BILL
	I thought she tried to murder a
	witness for the prosecution.

		JERRY
	I'll let it slide, she was only
	seventeen.

		BILL
	Dude, talk about baggage, that ain't
	no carry-on shit, that's some heavy
	duty Samsonite shit.

		JERRY
	Yeah, I guess... hot chicks are
	always nuts.

		BILL
	Hot has got nothing to do with it.

EXT. COUNTRY ROAD - NIGHT

A LONE FIGURE in a cheap skull mask and white robe
stands hidden behind a billboard off to the side of
the road. Bill's car drives past.

		BILL
		(yawning)
	Hold on, I've heard this before...
	but I can't remember the end.

		JERRY
	So, the guy goes to Hell and the
	devil says, "do you smoke?" The guy
	say, "yeah"... the devil say, "great
	cause Tuesday is cigar night,
	sweetest Cuban cigars you ever had."

		BILL
	Shit, we really need to find some
	gas.

		JERRY
		(not listening)
	Then the devil asks, "do you drink?"
	Guy says, "yeah"... devil say,
	"wonderful, Wednesday is free drinks
	night, best booze you ever had...
	all made from the finest stuff."

		BILL
	Yeah.

		JERRY
	Then the devil says, "are you gay?"
	Guy says, "fuck no"... Devil says,
	"Well then, I guess you're gonna
	hate Thursdays."

		BILL
	Oh yeah, I remember now.

		JERRY
	Yeah, no shit I just told ya.
		(looking at magazine)
	Hey, you think this place called
	Alien Ed's UFO Welcoming Center is
	still around? It says, "Where the
	Fact is separated from the Fantasy."

		BILL
	I dunno... we'll ask around as we
	get closer. Man, I really don't want
	to run out of gas out here in the
	middle of Petticoat Junction, man.

		JERRY
		(sitting up)
	Don't panic yourself, way too much
	caffeine guy... I see a sign.
		(reading the sign)
	Captain Spaulding's Museum of Madmen
	and Monsters... cool. Also... fried
	chicken and... gasoline... next exit.

		BILL
	Perfect.

		JERRY
	I hope this place is cool. We could
	use something interesting to liven
	up chapter 12.

The car drives past. We turn and hold on the billboard.
We see the happy smiling face of a young Captain
Spaulding.

EXT. CAPTAIN SPAULDING'S - NIGHT

The car pulls up to one of the gas pumps. Bill and
Jerry get out. Inside we see Spaulding, now in army
pants and a hunting jacket, mopping the floor.

		BILL
	I'll pump the gas. Go inside and
	see if it's worth thinking about.

		JERRY
		(salutes)
	OK, Boss.

Jerry walks inside and immediately comes back out.

		JERRY (CONT'D)
	Holy crap. You gotta see this place.
	It's awesome.

		BILL
	How awesome?

		JERRY
	Really fucking awesome.

		BILL
	Wake up the chicks and bust out the
	camera awesome?

		JERRY
	Hell yeah.

Jerry sticks his head back inside the car.

		JERRY (CONT'D)
	Wakey, wakey, eggs and bakey.

INT. CAR - BACK SEAT - NIGHT

A dark haired girl, DENISE WILLIS, 27, sleeps curled
up under a blanket.

		JERRY
	Come on, babe. Me and Bill found a
	kick ass place.

She opens her eyes.

		DENISE
	Huh?

		JERRY
	Grab Mary and come inside.

Denise shakes a lump of jackets and sweaters lying next
to her. She removes a sweater from the top of the pile
to REVEAL the face of MARY KNOWLES, 29.

		DENISE
	Come on sleeping beauty, time to go
	to work.

		MARY
		(half asleep)
	Sleeping.

		DENISE
	Rise and shine.

		MARY
		(groggy)
	No please, let me sit this one out.

		DENISE
		(removing the blanket)
	Let's go. You're the one who wanted
	to be a photographer.

		MARY
	I resign.

		DENISE
	Too late. You're in for life, let's
	move it out Private Shutterbug.

		MARY
		(opening her eyes)
	Christ, I hope this isn't more crappy
	folk art. It's so quaint... it's so
	primal... it's so crap.

		DENISE
	Aw, it ain't crap... it's... cute.
		(sarcastic)
	...and really who are we to judge
	the artistic merit of the tin-can
	Mona Lisa?

		MARY
	Aw, shit...
		(exhales deeply)
	I gotta pee anyway.

INTERLUDE

Grainy super 8 footage shows us an OLD MAN standing in
front of a small shack. His name is Lewis Dover. The
shack is painted white and covered with SIMPLISTIC
RELIGIOUS WRITINGS.

		LEWIS
	I ain't no rich man, but I see the
	truth. You do not have to go to Hell.
	You are in Hell. This is Hell. All
	American Hell.
		(holds up a gun)
	...true heaven in my hands... I'm
	gonna blow Satan back through the
	door to Hell.

Surrounding the shack are strange sculptures of various
half-human/half-animal creations.

INT. SPAULDING'S - NIGHT

Spaulding swabs up the last remain of blood from the
floor, he drops the mop into a bucket filled with water
and blood.

Bill pays no attention, he is distracted by a strange
object in a glass case over the counter. In the case is
a shriveled up looking half human and half fish figure.
It is the size of a small child. A banner above reads:
AQUALINA - THE MERMAID.

		BILL
	How long have you been running this
	place?

		CAPT. SPAULDING
	How long is a piece of string? Too
	God damn long, that's how long.

Spaulding slides the mop and bucket behind the counter.

		BILL
	No, really.

		CAPT. SPAULDING
	Shit, I don't remember exactly. I
	took over for my Pa just after the
	Duke nabbed the Oscar.

		BILL
	The Duke?

		CAPT. SPAULDING
	Yeah, my Pa wasn't right in the head
	after that.

		BILL
	You mean John Wayne?

		CAPT. SPAULDING
	Hell, boy there some other Duke you
	know about?
		(rolls up his sleeve to reveal
		 a John Wayne tattoo)
	A great American.

		BILL
	Yeah, I was never that big of a
	western fan. I like science fiction.

		CAPT. SPAULDING
	I figured that much. Why the fuck you
	asking so many jackass questions for?

		BILL
	You see me and my friends are writing
	a book on offbeat roadside attractions.
	You know all the crazy shit you see
	when you drive cross country.

		CAPT. SPAULDING
	I don't drive cross country.

		BILL
	But if you did.

		CAPT. SPAULDING
	I don't.

		BILL
	But suppose for a second you did.

		CAPT. SPAULDING
		(fake hick accent)
	Y'all find us country people real
	funny like don't ya... well, God damn
	pack up the mule and sling me some
	grits, I'ze a gotta get me some
	schooling.

		BILL
	No, no I think it's really interesting.

		CAPT. SPAULDING
	Well fuck me Side Sally, who want to
	read about all that horse shit anyway.

Jerry OVERHEARS Bill's and Spaulding's conversation and
joins in to help.

		JERRY
	You'd be surprised. Would it be OK
	if we took some pictures and included
	this place in our book?

		CAPT. SPAULDING
	Hey, knock yourself silly.

		JERRY
	You got some really rare stuff here...
		(pointing to Aqualina)
	... dig your Feegee mermaid.

INT. SPAULDING'S - RESTROOM - NIGHT

The restroom is gray, dingy, a single exposed light bulb
hangs from the ceiling. The peeling walls are plastered
with newspaper clippings and faded photos.

Mary is in the stall, sitting on the toilet, staring
straight ahead at a poster of RHONDO HATTON, a B-MOVIE
ACTOR that suffered from acromegalia.

Denise standing at a tiny sink, splashes water on her
face. She looks at herself in the mirror.

		DENISE
		(water running down her face)
	I swear I've aged five years since
	this trip started.

		MARY
	Tell me about it.

		DENISE
		(takes a paper towel and wipes
		 her face)
	God, I hate falling asleep in the
	afternoon. Now I'll be up all night...
		(stretches)
	... ugh, my back is killing me.

		MARY
	Yeah, hey how far do you think we
	are from your Dad's?

Mary flushes the toilet and exits the stall.

		DENISE
	I don't know. Couple hours I think.
	I've got to call him.

Mary washes her hands. Denise ties up her hair.

		MARY
	It will be nice to have a few days
	off to regenerate. This trip is fun,
	but it's starting to get brutal.

		DENISE
	Yeah, I hit burn out mode back at
	that old stripper lady's place.
	Watching her dance around with those
	ratty-looking animals was ridiculous.

		MARY
	I know, that was some crazy shit. I
	never in a million years would have
	believed it if I hadn't seen it.

		DENISE
	A decent meal every once in a while
	wouldn't hurt either, this road food
	is crap.

		MARY
	If I never eat at another Waffle House
	again, I can die a happy girl.

		DENISE
	Scattered, smothered and covered.

		MARY
	Exactly... well, I guess a couple
	more photos won't kill me.

INT. SPAULDING'S - MAIN ROOM - NIGHT

Jerry knees over a box of magazines labeled TRUE CRIME
$1.00, he flips through an issue, tosses it back.

Bill leans against the wall next to him, sipping a
hot cup of coffee.

The girls return from the bathroom. Jerry jumps up
with excitement.

		JERRY
	Great, you're back. Let's go. We
	already paid for the tickets.

		DENISE
	Tickets for what?

		JERRY
	This isn't everything. Get ready for
	this... there's a Museum of Murder
	and Mayhem.

		DENISE
	I don't want to see that.

		MARY
	How about if we skip it and just hang
	out here. I can get some great shots
	of this stuff.

Jerry PULLS Denise over and puts his arm around her.

		JERRY
	Aw, come on. It will be fun.

		DENISE
	Oh yeah, murder museum... sounds fun.

Bill grabs Mary by the hand and kisses it.

		BILL
		(smiling)
	We'll need pictures of the inside
	too.

		MARY
	Alright, alright. I know... I wanted
	to be the photographer.

Bill and Mary kiss.

Spaulding waits, unamused. He rolls his eyes.

		CAPT. SPAULDING
	Anytime this year, people. Alright
	line your asses up in front of the
	black door. The tour is about to
	begin.

Spaulding disappears through a curtain behind the
counter. The kids wait.

The black metal door CREAKS open.

They enter the darkened room.

INT. SPAULDING'S - MUSEUM - NIGHT

Darkness. A blue light comes on. Spaulding is standing
on a MOTORIZED PLATFORM. He begins the tour, speaking
through a small megaphone.

		CAPT. SPAULDING
	Ladies and gentlemen, you are about
	to enter a world of darkness. A world
	where life and death are meaningless
	and pain is God.
		(pointing with a cane)
	To your left you see the infamous
	Albert Fish.

A lifeless wax figure POPS forward with a loud metal
CLANG. Mary jumps back with fright.

		CAPT. SPAULDING
		(CONT'D)
	Sadist, masochist, child killer and
	most of all importantly cannibal. Born
	in 1870, Mr. Fish enjoyed burning him-
	self with hot pokers, spankings with
	nail-studded paddles and embedding
	needles in his groin. On the right,
	notice the X-ray...

CLOSE UP - X-RAY

		CAPT. SPAULDING
		(CONT'D)
	...showing clearly 29 sewing needles
	inserted in to his groin. Mr. Fish
	was executed in 1936 at the age of 65.

Spaulding rolls backwards and continues the tour.

CLOSE UP ON: a dummy face of a grizzly looking old man
in hunting attire.

		CAPT. SPAULDING
		(CONT'D)
	To your right. One of our most popular
	crazies, the psycho of Plainfield,
	Ed Gein.

Behind the figure of Gein hangs an inverted corpse of
a slain woman.

Mary recoils in disgust.

		CAPT. SPAULDING
		(CONT'D)
	Murderer, cannibal and momma's little
	bitch boy. Mr. Gein found special
	pleasure in playing with the dead
	bodies of women, especially their
	sexual organs. He was quite a handy
	little dandy, fashioning lamp shades,
	jewelry and human skin suits from his
	victims. Mr. Gein was discovered when
	the decapitated body of Bernice Worden
	was found gutted like a deer, hanging
	in his barn.

			DISSOLVE TO:

A wax figure of a young man in doctor's scrubs. He is
covered in blood.

		CAPT. SPAULDING
		(CONT'D)
	And now I would like to introduce a
	local hero, S. Quentin Quale, a.k.a.
	The Butcher Boy, a.k.a. Nurse Nellie
	and most famously a.k.a. Dr. Satan.

Another wax figure, of a bloody corpse, JUMPS up.

		CAPT. SPAULDING
		(CONT'D)
	Murderer, torturer amd most of all
	master surgeon. Mr. Quale an intern
	at Willows State Mental Hospital,
	nicknamed Weeping Willows for its
	neverending cries of pain, took great
	pleasure in control. Through primitive
	brain surgery. Mr. Quale believed he
	could create a race of superhumans
	from the mentally ill, or so the story
	goes. His terrifying experiments
	continued until 1952.

Jerry stares fascinated.

		CAPT. SPAULDING
		(CONT'D)
	At which time he was discovered and
	turned over to authorities for
	observation. Unfortunately, Mr. Quale
	was abducted from his cell by members
	of the victims' families. Vigilante
	justice prevailed and Dr. Satan was
	taken out and hanged. The next day
	his body was found to be missing.
	Some say he survived, rescued by his
	loyal slaves, others say they hung
	the wrong man... To this day no sign
	of Dr. Satan has ever been discovered.
	But who knows? Maybe he lives next
	door to you.

KLUNK: A big metal door opens to the outside world.

		CAPT. SPAULDING
		(CONT'D)
	Please exit through the door.

The kids exit. SLAM! The door shuts.

EXT. SPAULDING'S - PHONE BOOTH - NIGHT

Denise leans against the glass walls of the phone booth.
Various flyers are taped to the inside: free kittens,
phone sex ads and a missing poster for a girl named
KAREN MURPHY. A light rain begins to fall.

Denise puts some change in the phone and dials a
number.

EXT. WILLIS HOUSE - NIGHT

The camera moves down a quaint quiet little street. We
come to rest at a modest two-story house. The house is
decorated for Halloween.

Parents and their children roam from house to house,
trick or treating.

We hear the sound of a phone ringing.

INT. WILLIS HOUSE - KITCHEN - NIGHT

A grey haired man sits at a small table eating a ham
sandwich and drinking a beer. This is DONALD WILLIS,
Denise's father.

He stands up and walks to the phone hanging on the wall.

		MR. WILLIS
	Hello...
		(brightens up)
	...hey Denise... what, what's wrong,
	did you break down?

EXT. SPAULDING'S - PHONE BOOTH - NIGHT

		DENISE
	No, nothing like that... yeah, we're
	gonna be a little late. We stopped
	for gas at this place called Capt.
	Spaulding's outside of Ruggsville
	and it turned into a whole thing,
	so we're kind of behind schedule.

INT. WILLIS HOUSE - NIGHT

		MR. WILLIS
	Oh yeah, yeah I've driven by that
	place before. I seem to remember a
	crabby old bastard in a crummy clown
	suit running the place.

INT. PHONE BOOTH - NIGHT

		DENISE
	Yeah, well he's still here. I think
	him and Jerry are fast becoming
	buddies, you know Jerry... yeah, he's
	gotta see everything... yeah, I know...
	thinks there's some unsolved mystery
	around every corner.

INT. WILLIS HOUSE - NIGHT

		MR. WILLIS
	Well, don't take too long, the kids
	are already knocking down the door
	demanding their sugar fix... I know,
	I know I forgot to mention that
	Halloween falls on a school night, so
	they're trick or treating tonight...
	I got the joint decked out this year,
	built a graveyard in the front yard
	like when you were a kid.

EXT. SPAULDING'S - PHONE BOOTH - NIGHT

		DENISE
	Hopefully I can move things along
	here and make up the lost time by
	speeding all the way home... yes,
	Dad I'm kidding.

INT. WILLIS HOUSE - KITCHEN - NIGHT

		MR. WILLIS
	Well, just promise me you'll be
	careful... alright, alright see ya
	soon... good-bye.

INT. CAR - NIGHT

Bill, Jerry and Mary wait for Denise.

		JERRY
	I'm gonna go ask him.

		MARY
	Aw, come on Jerry. We've gotten all
	we're gonna get out of this place
	and its starting to rain.

		JERRY
	Shit, it is only sprinkling and it's
	worth the trouble. Hold on for two
	seconds.

Jerry goes back inside.

INT. PHONE BOOTH - NIGHT

Jerry knocks on the glass as he passes. Denise waves
as he walks by.

		DENISE
	Yeah so... OK, expect us more around
	eleven or so. OK yeah, I will... love
	you, too, bye.

She hangs up the phone, opens the doors and heads back
to the car.

INT. SPAULDING'S - NIGHT

		JERRY
	I know it's hard to understand, but
	I really want to see this tree.

		CAPT. SPAULDING
	OK, alright I'll draw you a map, but
	I still say it is a waste of time.

		JERRY
	Great.

INT. CAR - NIGHT

Through the window we see Jerry talking to Spaulding.
Spaulding draws a map, explaining as he draws.

		MARY
	Geez, he never gets tired does he.

		DENISE
	Never. I swear to God he never sleeps,
	he goes to bed after me, wakes up
	before me. He's always working on 10.

		MARY
	Maybe he's a cyborg.

		BILL
		(wearily, sips his coffee)
	I like sleep.

		DENISE
	Here he comes.

Jerry comes bouncing out towards the car and jumps in.
He is holding a map and a box of chicken.

		JERRY
	We hit the jackpot! Let's roll, good
	buddy. We got ourselves a convoy.

		MARY
	Huh?

		DENISE
	Ugh, what's that smell?

		JERRY
	Fried chicken.
		(holds up a drumstick)
	Anybody want some?

No one responds.

EXT. WOODS - DAY

An OLD FARMER and his WIFE stare directly into the
camera.

		OLD MAN
	I don't know where that skunk ape
	sleeps. Maybe in the trees and all...
	all I know is he eats squirrels to
	survive and he had impure relations
	with my wife.

		WIFE
	That's true. He performed lurid acts
	upon me and my person while my
	husband Russell was a fix'n to our
	hound	Clarence.

		OLD MAN
	If I see that thing again... I'm a
	gonna kill that skunk ape.

		BILL
		(off screen)
	What does it look like?

		WIFE
	It looked just like that chubby fella
	from McHale's Navy... Ernie Borgnine.

		OLD MAN
	Hold up the picture.

The wife holds up a pencil sketch of a Bigfoot like
creature and a newspaper photo of Ernest Borgnine.

EXT. COUNTRY ROAD - NIGHT

Bill's car moves past empty farmlands. A HEAVIER RAIN
is now falling.

INT. CAR - NIGHT

Jerry directs Bill from Spaulding's hand-drawn map.

		JERRY
	Keep straight on this road here.

		BILL
	How much further?

		JERRY
	I'm not exactly sure... it looks
	close. Did we pass an abandoned
	school bus yet?

		BILL
	I don't know.

Mary and Denise sit bundled up in blankets.

		MARY
	Let's just skip it. It is probably
	nothing anyway.

		DENISE
	Aw Christ, Jerry. We can't see any-
	thing now, it's too dark. Let's
	forget it.

		JERRY
	Come on, we need something like this.
	It could be the real deal. It's too
	far out of the way to come back to.

		BILL
	What's that?

Through the windshield we see a LONE FIGURE hitch-
hiking by the side of the road. It is a girl, BABY, 27,
in a worn cowboy hat and long fur coat. She is soaked
to the bone.

		JERRY
	It's a hitchhiker.

		BILL
	Way out here?

		MARY
	Well, don't even think about playing
	the good samaritan, there's way too
	many psychos wandering loose these
	days.

		BILL
		(looking closer)
	It's a girl.

		JERRY
	Hey, maybe she knows where this is?

		DENISE
		(sarcastically)
	That seems likely.

		MARY
	Should we stop?

		BILL
	We can't leave her out here in the
	rain... maybe we can just drop her
	at the next rest area.

		MARY
	She looks like a freak.

		DENISE
	Stick her in the front, if you want
	to pick her up so bad. She's soaked.

		MARY
	She looks like she stinks.

		BILL
		(imitating Mary)
	She looks like she stinks.

		JERRY
		(makes cat noises)
	Cat fight, cat fight.

		DENISE
	Hardy har, har.

The car pulls over and Baby jumps in. The car moves off.

INT. CAR - NIGHT

Once inside the car they see that the girl is a bit odd.

		BABY
	Whoa, thanks for stopping. I been
	standing out there in that toad
	strangling rain for like a hundred
	million years.

		JERRY
	Really, that's a long time.

		BABY
	Yeah, most people just whiz on by
	like I was invisible or something...
	or else they're creeps who wanna jam
	their slimy hands down my pants and
	twiddle my naughty-naughty.

		JERRY
	Yikes.

		BABY
	Yeah, icky. This one guy stops and I
	look in and he's got his thing out
	waving it around like a drunk monkey.

		DENISE
	Well, hitchhiking ain't the safest way
	for a girl to travel.

		BABY
	Yeah, but it's fun.

		MARY
	Sounds like a magical trip through
	the heartland.

		BILL
	Where ya headed?

		BABY
	Aw, I was going home to my Mamma's
	house... yeah, I was out doing this
	thing.

		BILL
	Where's that?

		BABY
	Couple more miles up this road.

		JERRY
	Hey, you might know...
		(shows her the map)
	...you know where this tree is at?
	It's an old hanging tree from...

The Baby PERKS UP at the mention of the tree.

		BABY
	Yeah, I know where that is, it's
	right by my house. It's Dr. Satan's
	tree. I can show ya.

		JERRY
	Really, wow, so it's really a real
	thing.

		BABY
	Yeah, it's a tree. I used to play
	there all the time. But, you can't
	find it without me. Outsider can't
	find no deadwood.

		JERRY
	Deadwood, is that what it's called?
	Cool, will you show us?

		BABY
	Maybe, maybe, maybe... hey, you know
	what word I hate?

		JERRY
	What?

		BABY
	Cone.

		JERRY
	Huh... what cone?

		BABY
	Any cone, yeah...
		(looking out the window)
	I hate that word... sounds ugly, I
	don't like crumple either.

		JERRY
	I always hate saying the word cheese,
	every time you get your picture
	taken... smile, say cheese.

		BABY
	I know I hate Swiss cheese, the holes
	make me nervous.

		BILL
	What about the tree?

		BABY
	Oh yeah, the tree.

		MARY
	This is crazy. She don't know nothing.

Baby turns her attention toward Mary.

		BABY
	Oh, I know. I'll show you where it's
	at, sweetie. Aren't you just so cute
	all bundled up like a cinnamon roll
	of Christmas love.

		JERRY
	Cool.

		BILL
	Which way?

		BABY
	Go straight up about another mile...
	til we hit Cherrypicker Road and
	turn right... it ain't far from there.

INT. MENTAL HOSPITAL

The camera FLOATS through the hallways of the Peabody
Mental Institution. It is HALLOWEEN.

PATIENTS wander the stark halls dressed in hospital
gowns and cheap plastic masks. Some are laughing, some
are screaming.

We move into a private room. Where we see DOCTOR SATAN
completely covered except for his eyes, hovering over
a BOUND AND GAGGED PATIENT.

We move off the doctor to a crayon child's DRAWING of
a JACK-O'-LANTERN. Tortured screams fill the room.

EXT. CHERRYPICKER RD. - WOODS - NIGHT

>From a STRANGER'S POV we see the car STRUGGLING down
a dirt road.

INT. CAR - SAME

Everyone rides in silence, music plays on the radio.

The song ends and a NEWS REPORTER comes on.

		NEWS REPORTER
		(V.O.)
	This is WJRC News at the top of the
	hour... Investigators in Clairemont
	County are no closer to identifying
	the body of a young woman found
	crucified to the doors of St. Mary's
	Church yesterday morning.

Baby lights up a cigarette and takes a drag.

		MARY
	Excuse me, could you not smoke in
	here?

Baby puts out the cigarette on the back of her hand.

		NEWS REPORTER
		(cont'd)
	Local police and State Officials
	have released this report...

		JERRY
	What's that?

		BILL
	I don't know. Looks like some kind
	of animal.

Bill stops the car.

EXT. CHERRYPICKER RD. - WOODS - NIGHT

Sitting dead center in the middle of the road is a
HUMONGOUS DOG. The dog stares straight ahead. Long
strands of drool hang from its mouth to the ground.

INT. CAR - NIGHT

		MARY
	Why are we stopping?

		BILL
	There's a dog in the road.

		DENISE
	Honk at him. Scare him.

		BILL
		(honking horn)
	He won't move.

		MARY
	Go around him.

		BILL
	There's not enough room.

		MARY
	Then run him over, he'll move.

		BABY
	No! He's one of God's creatures, he
	can't help it if he's dumb... I'm just
	crazy about animals.

		MARY
		(to Denise)
	The animals have got nothing to do
	with it.

EXT. STRANGER'S POV - SAME

A gun barrel is raised and we are looking through the
sight at the car. Pop! Pop! Pop! The GUN fires THREE
SHOTS at the car's rear tire.

The stranger whistles and the dog moves to the side
of the road.

INT. CAR - NIGHT

The SOUND of the heavy rain MASKS the gunshots.

		BILL
	Hey, he moved.

		MARY
	Let's get going before that thing
	tries to eat the car or something.

As the car moves past, Denise stares at the dog sitting
calmly to the side of the road. The dog blankly stares
back at her.

		JERRY
	That reminds me of a film I saw once
	of a guy who got out of his car at
	Lion Country Safari to take a picture
	of a lion cub and got eaten by the
	lions.

		BILL
	Oh yeah, I heard about that. I always
	thought it was bullshit.

		JERRY
	No... yeah, they ripped him to pieces
	while his family watched from the car.
	The wife is screaming, the kids are
	crying. Some dude in another car
	filmed the whole thing.

		BABY
	I'd like to see that.

		MARY
	Nice.

		JERRY
	The lions were totally covered in this
	guy's blood... I think they ate his
	face off, tore open his rib cage,
	pulled his legs off... it was a wild
	scene.

		BABY
	Things like that get a lot bloodier
	than ya think.

Without warning the car lunges to one side.

		JERRY
	What was that?

		BILL
	Fuck. I think we blew a tire.

		MARY
	Don't even say it.

		DENISE
	You got to be fucking joking.

		MARY
	God damn it, I knew this witch-hunt
	was fucking bullshit.

		BILL
	OK, let's relax. I'll check it, maybe
	I'm wrong. Don't everybody freak out
	just yet.

		JERRY
	I'll help ya.

		BILL
		(sarcastic)
	Gee, ya think it wouldn't be too much
	trouble.

EXT. CHERRYPICKER ROAD - WOODS - NIGHT

Bill and Jerry stare down at the blown tire sunk in
the mud.

		BILL
	I hope you fixed the spare like I
	asked ya.

		JERRY
	Yeah, I fixed it. Well, I ain't... um,
	I can't remember. I think I took it
	out to fit the bags and forgot to put
	it back.

		BILL
	Jesus Christ, Jerry.

		JERRY
	Well, technically I did what ya said.

		BILL
	You're a real fucking piece of work.

Bill stares at Jerry in disbelief.

INT. CAR - NIGHT

Baby is leaning on her chin staring at Mary and Denise.
The car radio plays in the background.

		MARY
	Can I help you with something?

		BABY
	I was just wondering.

		MARY
	Wondering what?

		BABY
	Are you two gals all funny with each
	other?

		MARY
	What?

		BABY
	You know... a couple of queers.

		MARY
	Do you believe this fucking girl?

		BABY
		(turning her attention to Mary)
	I was just wondering, cause you got a
	pissy look about you... like a real
	pussy licking bitch.

Denise tries to QUICKLY defuse the situation.

		DENISE
	No. No pussy licking here, but thanks
	for your concern.

Bill and Jerry slide back into the car.

		BILL
	Well, I got some bad news and some
	bad news.

		MARY
	What?

		JERRY
		(fake Scottish accent)
	Tire's fucking gone crap on us, man.
	There's no saving it now.

		BILL
	And the spare is safely sitting in
	Jerry's garage.

		DENISE
	For fucking sake Jerry, what the fuck
	are we gonna do?

Baby starts laughing.

		MARY
	What the hell are you laughing about?

		BABY
	I just pictured the tire sitting in a
	chair watching TV.

		MARY
	Oh, wonderful.
		(muttering to herself)
	Fucking psycho.

		BILL
	I guess I'll try to back it out on
	the rim... at least to the main road.

		BABY
	If you keep going straight you can
	get back on the interstate... it's
	easier.

		MARY
	Just back up.

		JERRY
	I think we should go straight. I mean
	we know for a fact there ain't nothing
	back that way, right?

		BABY
	Oh wait! I love this song!

Baby reaches over and TURNS UP the VOLUME. She loudly
sings along with the song.

		BILL
	Fine. I'll go straight.

		MARY
	What!

		BILL
		(over the loud music)
	Fine! I'll go straight!

The car moves forward. After about fifty yards the car
HITS something hard and gets stuck in a deep mud bog.

		BILL (CONT'D)
	Fuck! We are fucked!

		DENISE
	Turn that fucking radio off!

Bill shuts off the radio.

		DENISE (CONT'D)
	Now what are we gonna do?

		BABY
	We can walk to my house from here.
	My brother's got a tow truck, he can
	come get your car.

A silence falls over the car.

		MARY
	I think I'm going fucking crazy.

		DENISE
	I can't believe...

		BILL
	OK, whatever. Let's go get your
	brother's truck. Faster we get the
	truck, faster we get out of here.

		BABY
	OK.

		JERRY
	I'll go. It's my fault.

		MARY
	You said it, not me.

		BILL
	Forget it. I'll just go.

		MARY
	Screw that, no way, I ain't letting
	you go by yourself.

		BILL
	Don't worry, I'll be quick. Just stay
	here, no sense everybody getting
	drenched.

		JERRY
	I agree.

		BABY
	Yeah, it won't take long and besides
	you sassy poodle girls will slow us
	down.

Baby jumps up and gets out of the car.

		BILL
	Don't worry, I'll be right back.

		BABY
	Come on.

		JERRY
	Don't forget the flashlight, it's
	pretty dark out there.

		BILL
	Thanks.

		JERRY
	No problem.

Bill kisses Mary good-bye and EXITS.

Mary watches Baby and Bill head off into the WOODS.
Baby turns and makes a kissy face at Mary.

EXT. MISS BUNNY'S HOLLYWOOD REVUE - DAY

A hand painted tin sign surrounded by flashing lights
which reads MISS BUNNY'S HOLLYWOOD REVUE hangs over
the entrance to a small garage.

Movie star portraits of JEAN HARLOW, W.C. FIELDS and
CLARK GABLE adorn the walls of the garage.

An over the hill ex-glamour girl, MISS BUNNY, 55,
comes into frame. She's dressed in a sparkling red
gown with feathers in her hair.

		MISS BUNNY
		(bad Marilyn Monroe imitation)
	Hi, I'm Miss Bunny and welcome to my
	Hollywood Revue...
		(she giggles)
	...where the stars shine forever.

INT. MISS BUNNY'S HOLLYWOOD REVUE - DAY

Tinseltown lives. Tin foil is wrapped around everything,
the walls, doors and ceiling. Fake cement handprints
of movie greats cover the tiny floor. Badly sculpted
statues of MARILYN MONROE, GROUCHO MARX and JOHN WAYNE
stand in the corners.

Dead center is a small puppet show stage.

		MISS BUNNY
	Hi, this is the place where the magic
	happens.

CLOSE UP - SQUIRREL

A stuffed squirrel dressed in a gray skirt and jacket,
a tilted hat sits atop its head.

		MISS BUNNY
		(holding up squirrel)
	This is Jenny, she is our resident
	Ingrid Bergman.

Miss Bunny picks up a stuffed white cat wearing a brown
trenchcoat.

		MISS BUNNY
		(CONT'D)
	This is Ronald J. Perrywinckle...
	our Humphrey Bogart... today we'll be
	doing a scene from Casablanca.

Miss Bunny begins to make the dead animal puppets
interact. She provides their voices.

		HUMPHREY CAT
	If that plane leaves the ground and
	you're not with him you'll regret
	it... maybe not today, maybe not
	tomorrow but soon and for the rest
	of your life.

		INGRID SQUIRREL
	But what about us?

		HUMPHREY CAT
	We'll always have Paris. We didn't
	have, we lost it... until you came
	to Casablanca. We got it back last
	night.

		INGRID SQUIRREL
	When I said I would never leave you.

		HUMPHREY CAT
	And you never will.

EXT. WOODS - NIGHT

A single flashlight beam cuts through the darkness of
the dense woods. Bill stumbles behind Baby, she is
clearly in her element.

		BILL
	How much further?

		BABY
	Almost there... are you in a hurry
	or something?

		BILL
	Well, yeah, kind of.

INT. CAR - NIGHT

Jerry is stretched out across the front seat, reading
a book on Freak Shows. Denise and Mary sit in the
back, curled up under layers of blankets and clothes.

		DENISE
	Fuck, it's freezing.

		JERRY
	Hey, listen to this... I think this
	is related to our Dr. Satan.

		DENISE
	Oh, yeah.

		JERRY
	Yeah, in this book there's a chapter
	called Self Made Freaks about how
	people would mutilate themselves in
	order to work in a freak show. It
	mostly talks about tattooed people
	and wild men of Borneo and shit like
	that, but there is one mention of a
	single case where a woman was
	suspected of having her arms removed
	on purpose to become an arm-less
	wonder.

		DENISE
	Yeah, so how does that fit with the
	story of four morons with a flat tire
	looking for a dead tree?

		JERRY
	It says, "records show that Ellie
	Thompson was born in 1914 of normal
	physical stature and lived a life of
	normal bearings, until such time that
	she was placed in the care of the
	Willows State Mental Facility."

		DENISE
	So.

		JERRY
	Now she was put in the nuthouse in
	1930 at the age of 16.

		DENISE
	Why?

		JERRY
		(scanning the book)
	Blah, blah, blah... it doesn't say,
	but she was released sometime in 1937,
	only to reappear as Ellie Bogdan, the
	arm-less wonder. Says she, "criss-
	crossed the United States constantly
	in carnivals and freak shows until
	her death in 1946."

		DENISE
	Yeah?

		JERRY
	These dates perfectly correspond
	with the time frame of our beloved
	Dr. Satan working at the looney bin.
	I'll bet he amputated her arms.

		DENISE
	So what?

		JERRY
	I don't know, I just thought it was
	interesting.

		DENISE
	You know what Jerry, who really cares
	at this point?

		JERRY
	I don't...
		(to himself)
	...I just thought it was weird.

		MARY
		(bursting in)
	God damn it, I must be fucking crazy
	to let him go off with that crazy
	fucking bitch.

		JERRY
	Huh?

		MARY
	That stupid hillbilly slut.

		JERRY
	Oh, don't blow everything out of
	proportion.

		MARY
	You didn't see the look she threw me.
	She's up to something.

		DENISE
	Yeah, Jerry, she said some pretty
	fucked shit to us.

		JERRY
	When?

		DENISE
	When you were outside with Bill.

		MARY
	She said we look like pussy lickers
	or some shit like that.

		DENISE
	Yeah, she said we looked queer.

		JERRY
	Aw, get over it, she's just some
	dopey redneck, she ain't smart enough
	to be up to nothing... I mean any-
	thing... chicks.

EXT. FARMHOUSE - NIGHT

An old Gothic FARMHOUSE stands atop a hill at the end
of a long sloping dirt road. SCARECROWS with pumpkin
heads hang CRUCIFIED on crosses lining the drive.
Everything is severely overgrown.

Bill and Baby enter the gates of the FARM, they walk
up the main drive.

Baby runs forward and begins jumping around in the
huge mud puddles, then runs up onto the front porch
of the old house.

The front of the house is covered with strange junk
art. Hundreds of dolls faces are nailed to the walls.

		BABY
	These are all my dolls. I use to
	like to chop their heads off.

Broken bottles and cans are cemented together in weird
HUMAN FIGURES, ANIMAL SKINS stretched over bone
armatures form a makeshift roof.

Glowing down from the upper windows are grinning JACK-
O'-LANTERNS.

		BABY (CONT'D)
	The door's locked. I'll gotta go
	around... wait here.

		BILL
	OK.

Baby RUNS OFF around the side of the house.

Bill stands looking off into the distance at the
desolate farm grounds. The rain continues to hammer
down.

>From BILL'S POV we see a silhouette of a LONE FIGURE
walking in the distance. The shape of a large dog
follows behind him.

Bill JUMPS, startled by the sound of the heavy front
door opening.

		BILL (CONT'D)
	Christ, you scared the shit out of
	me.

		BABY
	Aw, you ain't seen nothing yet.

		BILL
	Is your brother ready to go?

		BABY
	Oh... yeah, he already left. We'll
	wait inside, come on.

		BILL
	He left!

		BABY
	Yeah, come on.

Baby GRABS Bill by the arm and pulls him into the house.
The heavy iron door slams shut.

INT. CAR - SAME

Denise and Mary sit facing one another, playing cards.
Mary deals from a deck.

Jerry naps in the front seat.

		MARY
	How long has it been?

		DENISE
	I don't know... about half an hour.

A metal KLANG is faintly heard.

		MARY
	What was that?

		DENISE
	What? I didn't hear anything.

		MARY
	Wait... quiet. Turn off the radio.

Mary reaches over the front seat and turns off the radio.

		DENISE
	Now... listen.

They sit in silence.

		MARY
	I don't hear anything.

		DENISE
		(whispering)
	Shhhhhh, quiet.

		MARY
	I still don't.

		DENISE
	Turn on the headlights. See if any-
	thing is out there.

Mary turns on the headlights. Denise lets out a blood-
curdling SCREAM. Jerry bolts up.

		JERRY
	What... what!

Standing dead center in the road is the GIANT SHAPE of
a MAN holding a heavy chain with a huge hook on the end.

		MARY
	Lock the doors... quick, quick.

Everybody scrambles to lock the doors.

		DENISE
	Holy fuck, holy fuck, holy fuck.

On closer inspection, Jerry notices the chain is
attached to the back of a TOW TRUCK.

		JERRY
	Hold on, hold on! Everybody calm down!
	It's the tow truck guy.

		MARY
	What!

		DENISE
	Jesus Christ.

		MARY
	I think I'm gonna have a fucking
	heart	attack.

		JERRY
		(Scottish accent)
	OK lassies, I think it's time you get
	to gripping reality.

		MARY
	Enough with the stupid voices.

The brute man attaches the chain to the car and begins
raising it with his truck.

A SIGN on the side of the truck reads FIREFLY TOWING.

		  	DISSOLVE TO:

CLOSE UP - TV SCREEN

We are watching a scene from THE OLD DARK HOUSE. GLORIA
STUART, RAYMOND MASSEY and MELVYN DOUGLAS are standing
in the rain pounding on a huge wooden door.

		GLORIA STUART
	Knock again louder.

		MELVYN DOUGLAS
	I should of thought that was loud
	enough to wake the dead... that's an
	idea.

		RAYMOND MASSEY
	What is?

		MELVYN DOUGLAS
	Wouldn't it be dramatic, supposing
	the people inside were dead. All
	stretched out with the lights quietly
	burning about them.

		GLORIA STUART
	I'm sure it would be very amusing.

We pull back from the TV to see Bill's clothes drying
by the fireplace. Bill, now wearing overalls and a
flannel shirt, is sitting on an old over stuffed sofa.

		BILL
	So, you live here alone... I mean
	with just your brother?

		BABY
		(speaking from the next room)
	No. There's a bunch a us 'round
	somewhere... I think Mamma's sleepin'.
	She sleeps a lot, now... do you want
	marshmallows?

		BILL
	Um, yeah sure, I guess.

		BABY
	You sure do a lot of guessing.

Baby sets down the tray, making sure to bend over close
to Bill. She hands him his drink and sits down next to
him.

		BILL
	Thank you.

		BABY
	You're welcome.

Baby moves closer to Bill, he begins to get nervous.

		BILL
	Hey, um...
		(pointing to the mounted animal
		 head over the fireplace)
	...what kind of animal is that?

		BABY
	A dead one.

		BILL
		(sipping his drink)
	Mmmmm, this is tasty.

		BABY
		(scoops out some marshmallow
		 with her finger)
	Ain't the only thing tasty in this
	house.
		(licks it off)

		BILL
	I wonder what time it is. Seems kind
	of late.

		BABY
	Don't worry, sugar. It ain't past my
	bedtime... are you flirting with me?

		BILL
	What? No, I'm was worried that... I
	was just wondering what's taking so
	long.

		BABY
	Oh. Maybe R.J. got into a crash and
	killed everbody?

		BILL
	That's not something to joke about.

		BABY
		(rolls her eyes)
	OK, sorry... maybe the Great Pumpkin
	ate 'em up.

Finally, the SOUND OF A TRUCK pulling up can be HEARD.

Bill jumps up and goes to the window.

		BILL
	Hey, great they're back.

		BABY
		(sarcastically)
	Whoopie fucking doo.

TV SCREEN - SAME

On the B+W screen we see DR. WOLFENSTEIN, a local horror
movie host. He looks like a cross between the WOLFMAN
and LON CHANEY in LONDON AFTER MIDNIGHT.

		DR. WOLFENSTEIN
		(sounds like Wolfman Jack)
	Aaaahooooh, the Doctor is in! Don't
	move, don't scream. Stay tuned for
	more creature craziness from channel
	68's Halloween eve movie marathon.
	I'm your host... your ghost host with
	the most, baby... Dr. Wolfenstein
	and will be with you until the end.
	Aaaaaaahooooooh!

EXT. FARMHOUSE - NIGHT

Bill stands on the front porch watching as the truck
roughly jerks the car to a stop.

Jerry jumps out, opens the back door and helps Denise.

		JERRY
		(looking at Bill)
	Hey, nice outfit Billy Bob.

		DENISE
	Thanks for coming to get us. Little
	brother almost scared us to death.

		JERRY
		(quietly to Bill as he passes)
	Dude, your chick's a little high
	strung.

Mary is the last one out of the car. She says nothing
as she walks to join the others on the porch.

Her look says it all as she walks by Bill and into
the house.

		BILL
	Mary, I'm sorry but he left without
	me. Mary... come on, you don't think
	I'd leave you stranded out there.

INT. FARMHOUSE - NIGHT

Everyone stands around at the fireplace, trying to
dry off.

		DENISE
	Look. I gotta call my Dad and tell
	him we're gonna be late. Can I use
	your phone?

Baby sits silently watching TV.

		DENISE (CONT'D)
	Excuse me, may I please use your
	phone?

		MARY
		(sarcastically)
	Bill, why don't you ask her... she's
	your special friend.

A VOICE from upstairs answers.

		MOTHER
	Ain't got one.

MOTHER comes into view from the darkness above. She
is in her fifties, but looks younger. A sleazy white
trash queen. She slowly descends the stairs.

		DENISE
	Huh? Oh, hi. You really don't have
	a phone?

		MOTHER
	No, none. I had one once, back in
	'57 maybe... I don't know. Really
	ain't nobody we wanna be jaw flapping
	at around here no more.

		JERRY
	Hey, maybe the guy with the tow
	truck could drive us to a phone.

		MOTHER
	His name is Rufus, Rufus Jr., but
	we all call him R.J.

		JERRY
	Oh, right.

		MOTHER
	What do they call you, sweety?

		JERRY
	Um, I'm Jerry... that's Bill...
	Denise and Mary.

		BILL
	Yeah, maybe R.J. could just tow us
	and our car to the nearest garage.

		DENISE
	I mean obviously we will compensate
	you for your troubles.

		MOTHER
	Oh, you ain't no troubles, no, no,
	no fuss.
		(claps her hands)
	Baby... go see what Rufus Jr. is
	doing with these nice folks' auto-
	mobile.

Baby slowly rises like a defiant child and walks out
of the room.

		MOTHER (CONT'D)
	In the meanwhile please make your-
	selves at home.

			DISSOLVE TO:

MONTAGE

Gruesome crime scene photos flash across the screen.

		CHILDREN
		(singing, off screen)
	98 bodies in your bed,
	Some are green, some are red.
	Eat the flesh and pick the bones,
	Drink the blood when you get home.
	99 bodies in the ground,
	Some are blue, some are brown.
	Gather 'round the people said,
	Where do you go when you are dead?

INT. FARMHOUSE - LIVING ROOM - NIGHT

Mother, Jerry, Denise and Mary are all seated on the
sofa. Bill sits in an easy chair.

		MOTHER
	So, what brings you kids way out
	here, ain't you got something better
	to do for Halloween than wander
	around out here in the sticks?

		JERRY
	Well, I thought I'd maybe take in
	a hoedown.

		MOTHER
		(flirting)
	Oh, really...
		(puts her hand on Jerry's knee
		 and winks)
	...well, I'm a pretty good dancer if
	you know what I mean... I bet I got
	a few moves you ain't never seen.

		JERRY
	I don't doubt that.

		DENISE
	No, he's just joking. We don't really
	have any plans other than spending
	the night at my Dad's house...
		(glances at Jerry)
	...which is where we were headed
	when our car broke down.

		MOTHER
	That's nice.

		DENISE
	Yeah, I guess I'll just help him
	hand out candy to the trick or
	treaters.

		JERRY
	And I'm gonna help put the razor
	blades in the candy apples.

		MOTHER
	I'll bet you are... you are a naughty
	little thing aren't ya.

		JERRY
	I was just kidding.

Bill and Mary snicker at Jerry's comments. Denise tries
to keep a straight face.

		MOTHER
	Oh, I get it... I guess you think
	you're too good for the simple
	pleasures of Halloween.

		MARY
	No, just a little too old.

		MOTHER
	Oh really, well I hope something
	changes your mind some day.

Baby returns from the garage.

		BABY
	Tiny's home.

		MOTHER
	What about R.J.?

		BABY
	Oh, he was already gone before I
	seen him... but Tiny saw him and
	said he said he was going out to
	the yard to get a new wheel.

		BILL
	The yard, what's that?

		MOTHER
	It's an old auto junkyard out in
	Baldwin.

		DENISE
	How long is that gonna take?

		MOTHER
	He should be back in a couple hours.

		MARY
	A couple hours!

		DENISE
	Can't Tiny drive us to a phone?

Mother and Baby laugh.

		MOTHER
		(laughing)
	Tiny ain't got no car, he ain't even
	got a bicycle.

		DENISE
	How's he get around out here?

		BABY
	He walks, duh.

		MARY
	Fucking great.

		MOTHER
	I know you're my guests and welcome
	but I'd please advise you to keep
	from cussing while in my house, thank
	you.

		MARY
	Sorry.

		MOTHER
	Well, even though I know it seems
	childish to you all. Tonight is
	Halloween eve and it special to us
	so you are all invited to stay for
	dinner.

Under the circumstances they realize they have no
choice. They grin and bear it.

		DENISE
	Thank you.

		JERRY
		(imitates Elvis)
	Yes, thank you. Thank you very much.

		MOTHER
		(Mother touches Jerry's shoulder
		 suggestively)
	You're a strange one, aren't ya honey.
	I think you and me are get on like...
		(she thinks for a second)
	...like something real good.

Camera moves over to the TV. THE END fades up on screen.
Dr. Wolfenstein appears over the credits.

		DR. WOLFENSTEIN
	There well, who knew there was love
	to be found in The Old Dark House.
	Coming up next, do not move a muscle,
	an artery or a vein as we venture into
	another creepy classic... are you
	ready for THE WOLFMAN, baby?

INT. HOUSE - DINING ROOM

Bill, Jerry, Mary and Denise are now all seated around
a large dining room table. A thick mountain of candles
sits burning dead center on the table, giving off a
warm glow. Dozens of Halloween decorations dangle from
strings over the table, spiders, bats and black cats.

There is a hand-made PAPER MACHE MASK sitting on each
plate.

		MARY
		(holding up the witch mask)
	I hope to Christ she doesn't expect
	us to wear these things.

		BILL
	Whatever it is just do it. The more
	we play along the faster we'll get
	the hell out of here.

		DENISE
	Really, now is not the time to make
	waves.

		JERRY
	Hey, I'm just waiting for Cousin Itt
	to show up.

		DENISE
	Shhhhhh.

Mother walks in holding a covered serving tray.

		DENISE (CONT'D)
	You sure you don't need any help in
	there?

		MOTHER
	No dear, I'm fine. Now what kind of
	host would I be if I put my guests
	to this kind of work.

She sets the tray and goes back in the kitchen.

BOOM! The sound of the front door SLAMMING shut is
heard, followed by the POUNDING of heavy footsteps.

Mother's and Baby's shouting is heard.

		BABY
		(off screen)
	Ma, Tiny's in.

		MOTHER
		(off screen)
	Go tell him to get your Grandpa.

INT. HOUSE - BABY'S ROOM

Baby is standing in front of her closet staring at
her clothes. The walls of her room are covered with
B+W photos of movie stars.

		BABY
		(whining)
	Ma, I can't, I'm busy getting dressed.

INT. HOUSE - DINING ROOM

TINY ENTERS and removes his coat.

Everyone is speechless.

Tiny is over SEVEN FEET TALL and weighs THREE HUNDRED
POUNDS. He is wearing a black sweater with a big red
skull stitched into it. A red knit ski mask covers his
face. Black gloves cover his hands.

Tiny sits at the table, looks down at his plate and
says nothing.

Mother comes to fetch Tiny. She relays a message to
him with strange hand gestures.

Tiny gets up and leaves the room.

		MOTHER
	You'll have to forgive Tiny, he
	can't hear so much.

		DENISE
	Oh.

		MOTHER
	Yeah, my poor baby. It's his Daddy's
	fault. I mean Earl was a good man...
	I mean he never hit me or nothing,
	but one day he just got up and went
	pure devil on us all.

		DENISE
	What happened? Oh, I'm sorry, it's
	none of my business.

		MOTHER
	He tried to burn the house down, said
	it was possessed by the spirits. Tiny
	was sleeping in the basement where
	the fire started. I don't think Earl
	ever meant to harm us... but Tiny
	was badly burnt, his ears were
	destroyed and most of his skin.

		BILL
	Is that why he wears the mask?

		MOTHER
	Yeah, my baby boy gets shy around
	new people, but he'll warm up to
	ya... especially the ladies.

		JERRY
	Great. I thought I felt a certain
	attraction between Mary and Tiny soon
	as he walked in.

		MOTHER
	Maybe. He's a real lady killer.

		JERRY
	Didn't ya think, Mary?

Mary just smiles, then gives Jerry a dirty look.

		MOTHER
	Well, we'll see... the night is young
	and so are you... oh well, couple
	more minutes.

Mother returns to the kitchen.

		DENISE
		(elbows Jerry)
	Don't be such a fucking smart ass.

		MARY
	Yeah, it's really your fault that
	we're stuck in this shithole in the
	first place.

		JERRY
	Oh, don't worry she didn't get
	offended by what I said. You two got
	to lighten up... right, Bill?

		BILL
	Whatever, at this point all I care
	about is food. I'm starving and I
	got a fucking killer headache.

		JERRY
	Hey, I asked you if you wanted some
	chicken.

		BILL
	Didn't look like chicken to me, more
	like fried pussy cat.

		JERRY
		(shrugs)
	Tasted pretty good.

INT. FARMHOUSE - GRAMPA'S ROOM - NIGHT

In a cramped, darkened room we see the huge shape of
Tiny hovering over a BED containing the hunched, fragile
old body of GRAMPA.

Grampa struggles to sit, then slowly slides his legs
over the edge of the bed. Tiny helps him to stand.

		GRAMPA
	God damn it, I can do it. I can do
	it myself, ya big monkey. I ain't
	dead yet... so don't you and your
	sister start counting out my money
	yet.

Grampa steadies himself against Tiny. They slowly walk
out of the room.

		GRAMPA (CONT'D)
	God damn, my dogs are barking.

As they move into the light of the hallway, it is clear
that Grampa is in his late 80's.

Grampa quickly grows tired. Tiny picks him up in his
arms and carries him down the stairs to the dining room.

As they move past, the camera comes to rest on a STRANGE
OBJECT sitting on a shelf.

A LARGE GLASS JAR containing a DEFORMED BABY. The
pickled punk looks to have a small second head growing
from its temple. The label on the jar reads STUFFY 1973.

The sound from the TV fades up in the background.
BELA LUGOSI'S VOICE can be heard.

		BELA LUGOSI
		(V.O.)
	Your hands, please. Your left hand
	shows your past...

			DISSOLVE TO:

TV SCREEN

Bela is seen as a fortune teller holding a woman's
hands. This is a scene from The Wolfman.

		BELA LUGOSI
		(CONT'D)
	...and your right hand shows your
	future.

CLOSE UP

We see a tight shot of the woman's palm. A pentagram
appears.

INT. DENISE'S FATHER'S HOUSE - NIGHT

We PULL BACK from the TV to find Donald Willis sitting
in a old easy chair. The room is modest, but comfortable.

He reaches over and picks up a small alarm clock,
notices the time, concerned look comes over his face.

The phone rings. He quickly answers it.

		MR. WILLIS
	Hello, Denise?

Disappointment. He mutes the TV.

		MR. WILLIS
		(CONT'D)
	Oh, yeah... no, Fred. I was hoping
	you were Denise, she's a little late.
		(pausing)
	Yeah, yeah I'm sure the rain just
	slowed 'em down... yeah... uh-huh,
	yeah... no, no you can keep it 'til
	Tuesday... alright, talk to ya
	tomorrow, bye.

Unmutes the sound on the TV.

INT. DINING ROOM - NIGHT

The feast is on. Mother, Tiny, Grampa, Jerry, Bill,
Mary and Denise are gathered around the table.

		MOTHER
	OK, everyone, put on your masks. We
	can't very well eat with our everyday
	faces exposed.

Mother puts on her mask, Tiny and Grampa follow. Jerry,
Bill and Denise slowly raise up their masks, Mary
hesitates.

		GRAMPA
		(to Mary)
	Christ kid, put it on. She ain't
	letting any of us touch the grub
	'til you're wearing the damn thing.

Mary rolls her eyes and complies.

		JERRY
	I've been meaning to ask you, Mrs...
	Ummmm.

		MOTHER
		(hesitates)
	Firefly.

		JERRY
	Firefly... mmmmm odd name. Mrs.
	Firefly, do you know anything about
	the legend of Dr. Satan?

		BILL
	Here we go.

Grampa shifts his eyes onto Mother.

		MOTHER
		(nervously)
	Well, I'm not much for local gossip
	an this and that, but I've heard it
	mentioned in passing over the years
	but... I mean folks is queer and they
	say things, crazy things you know
	what I mean?

		GRAMPA
	It's all talk, yakty yak, like a
	bunch of hungry chipmunks... Christ,
	Dr. Satan. That takes the bull's nuts
	alright...
		(starts laughing)
	...hey, I hear some genius up north
	got a hot line on the Easter Bunny
	for ya.

A voice from the shadows interrupts.

		OTIS
		(slowly)
	I know all about what you want to
	know about.

A PALE FIGURE creeps forward like NOSFERATU from a dark
corner of the room. This is OTIS.

He stands six foot, but is deathly slim. His skin is
translucent, glowing in the dark. Long thin white hair
covers his head. His eyes are grey. He is an ALBINO.

He is holding a GLASS JAR containing a SMALL FETUS.
On closer inspection we see there are two small bodies
joined to one head. The label reads WOLF.

		MOTHER
		(happy surprise)
	Otis! I can't believe you decided
	to come down and join us... and you
	brought little Wolf. This really is
	a special night... all my babies
	together.

Otis sets the disturbing jar of Wolf on the table. He
leans forward onto the jar, resting his chin.

		OTIS
	Now, I don't know where you heard
	all your little fairy fables about
	Dr. Satan but...

		BILL
	From a Captain Spaulding down at
	some museum.

		OTIS
		(laughing)
	That old bitch hog don't know shit.
	He tells cute little tattle-tales to
	sell his junk, but he don't sell no
	Yankee boys no truth.

		JERRY
	But something happened, right? I mean
	the story is based on a real incident,
	right?

		GRAMPA
		(mouth full of food)
	What are you, Jimmy Olsen cub reporter
	for the Daily Asshole?

		MOTHER
	Grampa... watch the language.

		OTIS
	I ain't sure that you really need
	to know. It's better you go home
	still dreaming about your kitty cats
	and puppy dogs.

		JERRY
	I really want to know.

		GRAMPA
	Hey, the kid wants to know. Enlighten
	him.

		OTIS
	Boy, I bet you'd stick your head in
	the fire if I told ya you'd see Hell...
	meanwhile you too stupid to realize
	you got a demon sticking out your
	ass singing, "Holy Miss Moly, I got
	a live one."

		DENISE
	Can we please change the subject?

The CLOCK on the wall strikes TEN.

		GRAMPA
		(shouting)
	Dinner's over.
		(pushes his plate back and
		 stands up)
	Ladies and Germs... it's showtime.

Grampa hobbles out of the room.

		BILL
	What's he so excited about?

		DENISE
	Yeah, showtime for what?

		MOTHER
	For the show. It's Halloween eve
	and time for our show.

		JERRY
	Oh, you mean on TV.

		MOTHER
	No, no, no it's so much more special
	than that... you'll see, you'll be
	the first to ever see. I think this
	is something you'll really love.

		JERRY
	Great.

EXT. FARMHOUSE - BARN - NIGHT

Billy, Jerry, Mary and Denise stand waiting in front
of an old barn. Tiny unlocks the huge doors of the
barn and swings them open.

Standing inside waiting is Mother. She is all dressed
up for the occasion.

		MOTHER
	Please, come in... how many in your
	party...
		(she counts the heads)
	...one, two, three and four... right
	this way.

Mother hands each of them a folded piece of paper,
which serves as a program book. Hand drawn on each
is an orange pumpkin.

INT. FARMHOUSE - BARN - NIGHT

We follow Mother inside.

Thousands of red Christmas lights hang down, strung
through the rotting wood rafters. Crates, barrels and
an odd assortment of chairs face a large quilted
curtain. Filling these seats are LIFELESS DUMMIES.

		MOTHER
	Please be seated.

Mother motions toward four empty seats in the front
row.

		JERRY
		(whispering)
	This is way too fucked up for words.

		MARY
		(loud whisper)
	I know the words... fucking psycho
	fucking bullshit, that's the words.

		BILL
	Just grin and bear it.

		DENISE
	That food...
		(holding stomach)
	ugh, I feel like I'm gonna puke.

Jerry, Bill, Mary and Denise take their seats.

Mary flips open the program. Inside, written in crayon,
are the words: HALLOWEEN EXTRAVAGANZA - starring the
Comedy Legend GRAMPA and the World Famous BABY.

		MARY
		(to Bill)
	Check this out.

		BILL
	Well, ya can't complain I never
	take you anyplace.

The sound of a warped crackling record fills the room.
Lounge music.

A small spotlight hits the quilted curtain covering
the stage. Mother Firefly stands behind the controls.
She is smiling proudly.

The curtain clumsily parts TO REVEAL:

A stage set pieced together from amusement park wreckage.
A giant painted plywood devil looms over the stage,
surrounded by dancing skeletons and demon girls.

A microphone stands center stage.

		BILL (CONT'D)
		(quietly)
	I can't believe what I'm seeing.

		JERRY
	I know, this is fucking nuts.

		MARY
	This is starting to make me real
	uncomfortable.

		BILL
	Just sit back and enjoy the show.

The sound of CANNED APPLAUSE fills the room. Bill begins
to applaud, Jerry and Denise join in. Mary does not.

		GRAMPA
		(v.o.)
	Ladies and gentlemen, straight from
	his smash six week sold out run at
	Tiki-Ti Club... the Stardust lounge
	is proud to present Mr. Sexy himself...
	Grampa Hugo.

Grampa walks out to center stage, mic in hand and begins
to speak.

		GRAMPA (CONT'D)
	Hey, let me tell ya a story... so I'm
	hanging out with my buddy Hal
	Jackowictz and I'm like, hey Hal
	let's go get some booze and chase the
	chickens... fucking Hal says no, no
	the old battle axe at home will break
	my balls... I gotta get my ass home.

The kids stare in shock at Grampa. Jerry begins to
laugh.

		GRAMPA (CONT'D)
	So, I tell 'im... Hal, here's the
	secret. Go home tonight, crawl into
	bed, get under the covers and eat
	your wife's pussy... I mean jam your
	face right in the bush.

Jerry starts to giggle.

		DENISE
		(quietly)
	What are you laughing at?

		JERRY
	I don't know, I think he's funny.

		DENISE
	This isn't funny, it's twisted.

		GRAMPA
	So, Hal goes home, jumps in, starts
	chomping and licking away at her
	pussy, she's screaming and howling...
	totally passes out from the experience.

		MARY
	Dear God, let this end.

		GRAMPA
	Now, Hal... He's feeling pretty good,
	so he goes into the bathroom for a
	quick shave...
		(pauses)
	...suddenly he lets out a horrible
	scream. Ahhhhhhhhhhhhhh!

The recorded crowd chuckles.

		GRAMPA (CONT'D)
	Sitting there on the toilet is Hal's
	wife Gloria... and she says, "Quiet
	down, you'll wake Grandma!"

The recorded crowd screams with laughter, as does Jerry.
Bill, Denise and Mary look at him like he's crazy.

		GRAMPA (CONT'D)
	Thank you, you're too kind, too
	kind... stay in your seats, coming
	up next we got something special for
	you men out there.

The curtains close and the stage goes dark.

		DENISE
	Shit, I'm all for being a sport, but
	this is ridiculous.

		BILL
		(looking at his watch)
	Man, it's already ten thirty.

		MARY
	I'm with Denise, can't we just walk
	to someplace, this is getting fucking
	stupid.

		JERRY
	Negative. Shit, we are so deep in the
	sticks we could walk for hours and
	find zero.

		BILL
	Yeah, I'd say at this point all we
	can do is just wait it out. There's
	nothing else.

		DENISE
	I suppose. I mean they're obviously
	all bonkers, but I guess they're
	harmless.

		MARY
	I fucking hope so.

The stage lights come up. The recorded applause and
music begin.

Baby enters the stage. She is dressed in a home-made
showgirl outfit. She begins to dance clumsily to the
music. She appears to be somewhat intoxicated.

The vocals come on and Baby begins to lipsync to the
song.

		DENISE
	You gotta be kidding me. This chick
	is wasted.

		JERRY
	Shhhhhh.

		MARY
	How much is a person supposed to
	stand?

		BILL
		(motioning for Mary to keep
		 her voice down)
	Quiet.

		MARY
		(sarcastically)
	Oh, I'm sorry, bothering you? Was
	I disturbing your viewing pleasure?

Baby makes her way down from stage on to floor level.
She gyrates and seductively TEASES one of the dummy
audience members.

Baby moves over to Jerry. Stroking her hand down his
face. Denise tries to look amused. Jerry smiles
uncomfortably.

Baby strolls past Denise and stops in front of Mary.
Baby pauses and pinches Mary's cheek and winks. Mary
is FURIOUS.

Baby moves over to Bill. Mary watches like a mother hawk.
Baby sings and dances with all of her attention focused
on Bill.

Baby puts her arms around Bill's neck and sits on his
lap. Mary BOLTS FORWARD and SHOVES Baby off of Bill.
Baby crashes onto the floor.

		MARY (CONT'D)
	Take that, you fucking slut!
		(Mary spits at Baby)
	Fucking redneck whore!

		BABY
	You shouldn't a done that.

		MARY
	Why? You gonna do something about it?

		BABY
		(standing up)
	Yeah, I'll do something.

Baby takes out a straight razor from behind her back.

		BABY (CONT'D)
	I'll cut your fucking tits off and
	shove 'em down your throat.

		MOTHER
	Baby! Stop!

Mrs. Firefly runs down from her position behind the
spotlight and intercedes.

		BABY
	Come on, ma... this bitch's got it
	coming.

		MOTHER
	No, I told you...

SCREECH! The garage door slides open. Rufus has returned.

		RUFUS JR.
		(interrupting)
	Car's done.

		DENISE
	Thank God.

		MOTHER
	I suggest you kids leave now.

		MARY
	Don't worry, I'm gone.

EXT. FARMHOUSE - NIGHT

Bill, Jerry, Denise and Mary climb back into their car.

		BILL
	Don't look back, just get in the car.

		DENISE
	Lock the fucking doors.

INT. CAR - NIGHT

Bill begins to pull the car down the long dirt driveway
towards the road. The heavy rain makes visibility
difficult.

		BILL
		(straining to see through the
		 darkness)
	Almost there.

		JERRY
	Jesus, you think she was really gonna
	cut you?

		MARY
		(leaning her forehead on the
		 window)
	Of course she was gonna cut me, she's
	a fucking nut...
		(closes her eyes and takes a
		 breath)
	I knew she was crazy from the second
	we picked her up.

SLAM! Suddenly, Baby pounds her fist against Mary's
window. Mary jumps back in terror.

		BABY
		(screaming)
	You're in Hell, bitch! You're gonna
	die like a dog!

Baby disappears into the darkness.

		MARY
	Go! Go! Go! Get us out of here!

Bill pulls the car up to the front gate. It is chained
shut with a huge padlock.

LIGHTNING CRASHES, illuminating the crucified scarecrows.

FLASH CLOSE-UP CUTS -

of grinning jack-o-lantern faces peer down from above.

INT. CAR - NIGHT

Bill opens the car door, starts to get out.

		MARY
		(hysterical)
	What are you doing!

		BILL
	I gotta open the gate.

		MARY
	Drive through it!

		BILL
	It won't work.

		JERRY
	Holy fuck, hurry up.

Jerry, Mary and Denise watch through the windshield
as Bill struggles to unlatch the thick iron gates.

SUDDENLY, one of the SCARECROWS JUMPS down from his
cross and SMASHES Bill over the head with a HEAVY
CLUB. Bill drops to his knees.

		MARY
	Bill! Help him!

Jerry throws open his door to get out. He's SHOVED BACK
into the car by another, larger scarecrow outside his
door. This scarecrow begins smashing the car's windows
with a METAL PIPE.

Bill lays motionless, face down in the mud. His attacker
turns his attention on the car. He also begins smashing
the car's windows.

EXT. CAR - NIGHT

>From a distance we see Jerry pulled from the car and
beaten. The girls are helplessly trapped inside the
destroyed vehicle. The scarecrows continue to pound
on the car.

As we fade out, the sound of a BARKING DOG can be
heard.

			FADE TO:

EXT. FARMHOUSE - MAGIC

>From a long shot, we see the farmhouse in the early
morning sunrise. All is still.

The sound of an engine starting breaks the early morning
silence. Rufus's tow truck is seen pulling away from
behind the house. The BEATEN REMAINS of Bill's car are
towed behind it.

EXT. WILLIS HOUSE - SUNRISE

Darkness, except for the face of an alarm clock. The
time is 7:00 AM. TICK, TICK, TICK... BUZZZZZZ. The
alarm goes off.

A hand reaches over and turns off the alarm. We hear
a deep groan. A light turns on.

INT. WILLIS'S LIVING ROOM - MORNING

Don Willis wakes up, having fallen asleep in his easy
chair. He sits up and wipes the sleep from his eyes.
He runs a hand across his head, smoothing out his
thinning grey hair.

He picks up a phone next to his bed, dials a number,
waits.

		MR. WILLIS
	Hi. Lieutenant Broekman please...
	Donald Willis.

He holds.

		MR. WILLIS
		(CONT'D)
	Hey, Phil...
		(listens)
	Yeah, I'm alright... but I need you
	to check on something for me.

Willis stands, walks to the window, opens the shades,
morning sun fills the room.

A shelf by the window is cluttered with framed photo-
graphs. B+W memories of Denise at the beach, RUDY the
dog. High school graduations and Donald Willis in
uniform with the other members of 56 Precinct. Donald
is a FORMER POLICE OFFICER.

		MR. WILLIS
		(CONT'D)
	I'm a little worried about Denise.
	She called me last night from the
	road, out by Ruggsville at some joint
	called Spaulding's or something like
	that, said she'd be here about eleven...
	but she never showed up.

Paces.

		MR. WILLIS
		(CONT'D)
	Yeah, if you could run a check on up
	that way and see about any accidents
	or road closing or anything, I'd
	really appreciate it...
		(listening)
	...yeah, yeah, I know... I'm sure
	nothing happened but, you know me I
	like to worry... thanks... bye.

Hangs up the phone.

INT. FARMHOUSE - OTIS'S ROOM - DAY

Mary opens her eyes, squinting into the light. Sunlight
peers through filth on the windows, fractured by the
tattered remains of rotted curtains. Peeling yellowed
newspaper serves as wallpaper surrounding the window.

Mary's eyes move across the walls to a painting of a
BIG EYED KITTEN. She stares at it and smiles. A look
of horror begins to appear on her face. She begins to
scream uncontrollably.

		OTIS
		(off screen)
	Shut your fucking mouth!

She is hysterical.

		OTIS (CONT'D)
	I said shut your mouth!

ZOOM BACK to see Mary wearing a dunce cap, tied to a
chair, facing a corner in the farmhouse's attic. This
is Otis's art studio.

Otis, standing before a large canvas, sets down his
paint brush and calmly walks over to Mary.

He spins her chair around, clamps her mouth shut with
his hand and leans his nose against hers.

		OTIS (CONT'D)
		(slow and sinister)
	Listen, you Malibu Barbie middle
	class piece of shit. I'm trying to
	work, you got me, work... you ever
	work?

Mary's eyes scream with terror, she nods yes.

		OTIS (CONT'D)
	Yeah, I'll bet you did. Scooping ice
	cream to your shitheel friends on
	summer break... well, I ain't talking
	about white socks with Mickey Mouse
	on one side and Donald Duck on the
	other... shit, you ain't reading no
	funny books, mamma.

Otis raises his paint covered hand.

		OTIS (CONT'D)
	This is blood and guts, Suzy Q. Our
	bodies come and go, but this blood
	is forever...
		(pulls a small book from his
		 breast pocket)
	...let me read you something, listen
	and learn... you listening?

Otis pulls back his hand, ready to backhand her across
the face with the book. She nods again. He lowers the
book.

		OTIS (CONT'D)
		(gesturing dramatically)
	And the angels, all pallid and wan,
	Uprising, unveiling, affirm
	That the play is the tragedy "Man"
	And its hero the Conqueror Worm
		(pauses)
	...you get that? Art is eternal,
	you get me, mamma?

Mary stares dumbfounded.

		OTIS (CONT'D)
	Now, I'm gonna remove my hand... you
	make a sound and I swear I'll slit
	you open and make you eat your own
	fucking intestines... you get me?

She nods again. He slowly removes his hand from her
mouth. Mary tries to remain calm, but starts to
hyperventilate. Tears roll down her face.

		MARY
		(whispering)
	Why? Why are you doing this?

		OTIS
	Doing what? Messy up your day? Well,
	fuck lady there are some bigger issues
	at hand... than your fucking have a
	nice fucking day bumper sticker shit!

		MARY
	Where's Bill?

		OTIS
		(chuckling)
	Well, Bill... he's a good guy, he's
	been great help to me... a real
	blessing... I couldn't have asked for
	a better specimen. I mean you don't
	know what a dry spell I've had, total
	block...
		(slaps his forehead)
	...total block... but Bill he's OK.

Mary looks confused, but relieved.

		MARY
		(softly)
	Where is he?

		OTIS
	Let's go see.

Otis grabs the back of the chair and drags her across
the room towards a curtained off area.

Whoosh! He pulls her through the curtains. From behind
the curtain we hear Mary SCREAMING and Otis LAUGHING.

		MARY
		(behind curtain)
	Bill? No, no, no! What have you done?
	Bill!

INT. CURTAIN ROOM - OTIS'S ROOM - DAY

Ugliness. Decay. Pain. Carefully arranged on a model's
platform is the severed torso of Bill sewn to a large
homemade fish tail. He is lying on his ride side posing.

Bill's face is frozen in a death scream.

		OTIS
	Behold... The Fish-Boy!

		MARY
		(repeating to herself)
	This can't be real, this can't be
	real, this can't be real.

		OTIS
	Oh, it's real... as real as I want
	it to be, mamma...
		(grabs his canvas and holds
		 it in her face)
	...look, see the magic in my brush
	strokes.

Painted on the canvas is the gruesome scene of Bill as
the Fish-Boy.

		MARY
		(crying)
	Fuck you, you fucking freak!

		OTIS
	Oh, come now... we're all creatures
	of God and freaks in our own way...
		(twitches and shakes)
	...but if you'll notice...
		(points to a blank spot in
		 the painting)
	right here, needs a little something,
	heh?

Otis slowly puts down the canvas, turns and picks up a
huge hunting knife.

		MARY
	What are you doing?
		(squirming)
	...no, stop... please, please.

		OTIS
	You, my dear worm feeder, are about
	to become immortalized.

Otis draws back the knife.

		MARY
		(screaming)
	Noooooooooooo!

Otis swings the knife forward, directly into the camera.

CLOSE UP - CLOWN FACE

Ravelli's clown head bobs back and forth.

PULL BACK TO:

Ravelli, wearing his clown head, stands by the road side
waving to passing cars.

EXT. SPAULDING'S - DAY

A police car drives past Ravelli and comes to a stop.
OFFICER GEORGE WYDELL, 42, a big, slightly paunchy man
with a big mustache and mirrored sunglasses, steps
from his car.

Following close behind, OFFICER STEVE NAISH, 29, tall
athletic.

		WYDELL
		(pauses, looks around, pulls
		 up his belt)
	Well, let's go see if the nut that
	runs this place can help us.

		NAISH
	Right.

They walk to the door.

INT. SPAULDING'S - DAY

The door swings open. Wydell enters slowly, putting on
his best cowboy attitude. Naish follows suit.

Wydell, hands on his belt, struts up to the counter.
No one is around.

A rusted bell sits on the counter, taped to it is a
handwritten note, "ring for service". Wydell rings it
once, waits, no response. Rings it again, waits, no
response.

		NAISH
		(looking around the room)
	Get a load of all this crap... this
	is one sick place.

Wydell begins ringing the bell non-stop.

Spaulding shouts from the backroom.

		CAPT. SPAULDING
	Whoever's a jerking off on that bell
	better be gone when I get out there...
	'cause I'm gonna rip your nuts off.

Spaulding enters from behind the curtain, angry. He sees
the troopers and puts on a phony grin.

		CAPT. SPAULDING
		(CONT'D)
	Officers, officers what can I do
	for you today? I ain't fried up the
	birds yet... if that's what you're
	ring a ding dinging about.

		WYDELL
		(pulls a paper from his pocket)
	What I need are some answers.
		(unfolds the paper to reveal a
		 picture of Denise)

		CAPT. SPAULDING
	Well, I'll try but I don't know nothing
	'bout nobody. I'm a guy who likes to
	mind his own business, if ya get what
	I'm saying.

		WYDELL
		(holds up picture)
	You seen this girl? Say... within the
	last 24 hours.

Spaulding reaches out and grabs the picture.

		CAPT. SPAULDING
		(studies the picture)
	Yeah, yeah I seen her. Good looking
	kid, but not really my type...
		(gesturing with his hands)
	...I like meaty, eh?

		NAISH
		(losing patience)
	Hey ass clown, how 'bout some answers.
	He ain't interested in your love life.

		WYDELL
	Come on, get with the facts.

		CAPT. SPAULDING
	Hmmmmmmmmm?

		WYDELL
	What'd you see, who was she with,
	where were they going?

		CAPT. SPAULDING
	Aw, she was with some nosey, smartass
	high-rise kids. They were poking
	around... asking stupid questions.

		NAISH
	Questions about what?

		CAPT. SPAULDING
	This and that, mostly some tired Dr.
	Satan bullshit... they got a gander
	at the display back there and thought
	they could solve the great Deadwoods
	mystery.

		WYDELL
	And...

		CAPT. SPAULDING
	And I gave 'em directions out there,
	up by the old farm row... I figured
	what's the harm. Stupid kids probally
	going out to piss up a rope and got
	themselves turned around backasswards
	and got lost as shit.

		WYDELL
	Is that all... think real hard.

		CAPT. SPAULDING
	Yeah, they weren't here but a few
	minutes, didn't really have time to
	get as up close and personal as I do
	with most of the assholes that wander
	through here.

		WYDELL
	How's about you give me those same
	directions.

		CAPT. SPAULDING
	Yeah, yeah, sure. You don't have to
	get all True Grit all over my ass...
	I'll give'm to ya... you can knock
	yourself silly for all I care.

		WYDELL
		(hands him a note pad)
	Enough talk, write.

INT. TOW TRUCK - DAY

We are cruising down the road. A bobbing head skeleton
toy glued to the dashboard wiggles with each bump in
the road. Behind the wheel is Rufus Jr., riding shotgun
is Baby, dressed in her Sunday best. The radio is
blasting.

		BABY
		(screaming over the music)
	We're gonna have fun tonight, bro.

		RUFUS JR.
	Yeah, fun.

They speed off.

EXT. CHERRYPICKER RD. - WOODS - MIDDAY

The police cruiser maneuvers down the rough dirt road.

INT. POLICE CAR - MIDDAY

Wydell and Naish scan the surrounding woods for any
sign of Denise and her friends.

		NAISH
	Boss, the way I see it is these kids
	probally stop off somewhere, bought
	a bunch of booze and are off getting
	shitfaced.

		WYDELL
	I hope you're right, but my guts are
	telling me different.

		NAISH
	Your Spidey senses tingling.

		WYDELL
	Yeah...
		(realizes what he just said)
	...huh, what the hell are you talking
	about?

		NAISH
	You know, your hyper sensitive Spidey
	senses... like Spider-man...
		(pauses)
	...you know, like in the comics.

		WYDELL
	How old do you think I am? I know who
	the fuck Spider-man is. Get to your
	point.

		NAISH
	You know, his senses start tingling...
	when he was approaching danger and
	shit.

		WYDELL
	I always favored the Hulk.

		NAISH
	Hulk was dumb as shit.

		WYDELL
	Aw, fuck.

		NAISH
	What.

EXT. CHERRYPICKER RD. - WOODS - MIDDAY

Bill's car is down in a ditch, run off the side of the
road.

INT. POLICE CAR - MIDDAY

Naish checks the license plate number with his sheet.

		NAISH
	Plates match.

		WYDELL
	Call the chief... We found 'em.

EXT. PINK PUSSY CAT LIQUORS - MIDDAY

A small, crummy liquor store stands next to a sleazy
motel. A filthy looking hooker leads her customer to a
waiting room, a homeless bum stands screaming obscenities
in the parking lot.

INT. PINK PUSSY CAT LIQUORS - MIDDAY

The store is decorated for Halloween.

Off to one side is a curtained room. A sign reads "XXX
8mm loops", sex noises can be heard inside.

Baby and Rufus stand at the counter waiting for the
CASHIER, a skinny geek with glasses, to total up their
purchases. The counter is loaded with bottles.

The cashier is packing the bottles into cardboard boxes.

		CASHIER
	You all having a Halloween party
	tonight?

		BABY
	Now, what makes you think that?

		CASHIER
	You all sure are buying a lot of holy
	water for two people.

		BABY
	Yeah, well we like to get fucked up
	and do fucked up shit, you know what
	I mean?

		CASHIER
	Yeah, yeah...
		(giggling)
	...I like to fuck shit up.

		BABY
	I'll bet you do... how much we owe
	ya...
		(looks at his name tag)
	...Goober?

		CASHIER
		(looking down at his tag)
	Actually it's G. Ober... Gerry Ober,
	but the guys drew in the other O,
	fucking assholes.

		BABY
		(uninterested)
	Great story Goober, how much?

		CASHIER
	Ummmm... two hundred and eighty-
	five dollars.

Baby throws down three hundred dollars.

		BABY
	Keep the change and get yourself a
	new name.

		CASHIER
	Holy crap, thanks!

Rufus picks up the boxes from the counter. He and Baby
start to walk away.

		BABY
	Come on, bro. Let's go.

		CASHIER
		(holding out a flyer)
	Hey, wait take this.

Baby stops and grabs the flyer.

		BABY
	What's this?

		CASHIER
	A missing girl. I use'ta go to school
	with her, she just up and disappeared
	some day... real weird.

The flyer reads MISSING, KAREN MURPHY, 18. The picture
on the flyer shows the smiling chubby face of a young
girl.

		BABY
	Now isn't she a happy little cherub...
		 	oh well
		(stuffs it in her pocket)
	...nobody just up and disappears.

		RUFUS JR.
		(mutters)
	Aliens.

		BABY
	Yeah, maybe it was fucking aliens.

EXT. PINK PUSSY CAT LIQUOR - MIDDAY

Baby and Rufus exit. Rufus loads the boxes into the
back of the truck. Baby sits on the curb and lights
a cigarette.

EXT. CHERRYPICKER ROAD - WOODS - MIDDAY

Bill's car is now sitting in the middle of the road.
The back is attached to a police tow truck. An additional
police cruiser arrives on the scene.

Sheriff Huston steps out from his cruiser.

		HUSTON
	What'd we here, Georgie?

		WYDELL
	A vehicle registered to a William
	S. Hudley.

		HUSTON
	Holy Jesus, somebody had themselves
	a field day beating the shit outta
	this thing.

		WYDELL
	Yeah, no mercy here.

		HUSTON
	Recover any bodies?

		WYDELL
	Not yet.

		HUSTON
		(inspecting the car)
	Shit, I wonder what these kids did
	to bring this much hell down on 'em.

		WYDELL
	Just in the wrong place at the wrong
	time.

		HUSTON
	That's the understatement of the year.

		WYDELL
	Yep, I suppose it is.

INT. BILL'S CAR - WOODS - MIDDAY

Naish is digging around under the front seat.

		NAISH
	Hey, I found something.

Naish crawls out of the car.

EXT. CHERRYPICKER ROAD - WOODS - MIDDAY

		HUSTON
	What'd ya got there?

		NAISH
	Keys.

		HUSTON
	Well Christ boy, don't stand there
	like a prize dog dick with his butt-
	hole caught up a tree.

		NAISH
	Huh?

		HUSTON
	Open up the trunk.

		NAISH
	Yes, sir.

		WYDELL
	Toss 'em over here.

Naish tosses them over the car to Wydell. Wydell fishes
through the keys, finds the trunk key and opens it.

		WYDELL (CONT'D)
		(winces)
	God damn.

		HUSTON
	You find something, Georgie?

		WYDELL
		(disgusted)
	Yep, I found something.

We move around the car to see the nude body of Karen
Murphy laying in the trunk. Her arms and legs are hog
tied. She is dead. The word TRICK is carved into her
side.

INT. FARMHOUSE BASEMENT - TINY'S ROOM - LATE AFTERNOON

Water drips down from the leaking pipes above. Scavenging
rats scurry across the concrete floor.

In a far corner a single light burns, a child's Humpty
Dumpty lamp, illuminating -

Denise is strapped to an old wooden bed. She has been
stripped of her own clothes and is now wearing a blue
checked little girl's dress. Her hair is tied in pigtails.
She is cold and shivering.

BOOM. The basement door opens, heavy footsteps lumber
down the creaking stairs. It is Tiny.

Tiny is wearing an orange T-shirt that reads, "This is
my Halloween costume". For the first time we see the
skin on his arms, it is severely deformed from burn
scars.

He is holding a small tray. On the tray is a box of
cereal, milk, a bowl and a spoon.

Tiny goes over to Denise, sets down the tray, and proudly
displays his T-shirt.

		DENISE
		(hoarse and dry)
	Please... Tiny, please. Let me go...
	help me.

Tiny sits down on a stool next to the bed, he stares
down at Denise like a confused dog.

		DENISE (CONT'D)
		(crying)
	Please, God please.

Tiny begins preparing her food, carefully pouring the
cereal and milk into the bowl. He stirs it with the
spoon.

Tiny gently lifts Denise's head and feeds her like a
baby. Denise swallows the food, trying not to choke.
After a few spoonfuls Tiny stands up and walks over
to a dark corner of the room.

He pulls a string and turns on a swinging ceiling
light. In the light we see a rusty cage, inside are
three rail-thin female bodies.

Tiny throws the remainder of the cereal into the cage.
One of the bodies moves to eat the scraps, the others
do not. They are dead.

Tiny turns off the overhead light.

INT. POLICE CAR - LATE AFTERNOON

Wydell and Naish are pulling into a large truck stop
parking lot.

		NAISH
	You sure this guy's supposed to ride
	with us? Seems kind of weird.

		WYDELL
		(scanning the parking lot)
	Chief said pick him up and take him
	with us on our house to house. Guy's
	an ex-cop, thinks he can help.

		NAISH
	Sounds like a bad idea to me, probally
	just get in the way.

		WYDELL
	Yeah, well I guess it's tough to sit
	on the sidelines and wait when your
	own kid's missing... besides, ain't
	no such thing as an ex-cop.

		NAISH
	I guess not.

		WYDELL
	That must be him.

EXT. GAS STATION - LATE AFTERNOON

A rundown gas station sits off to the side of the road.
A filthy mechanic works on one of the many junked cars.
Two fat greasy men sit in the hot sun playing cards.

A Chevy Nova sits parked next to the station. Willis
leans against the side of the car, drinking coffee from
a styrofoam cup.

A police cruiser pulls up. Wydell and Naish step from
the car.

		WYDELL
	Mr. Willis?

		MR. WILLIS
	Yes, sir.

		WYDELL
	I'm Wydell... this is Naish.

Wydell extends his hand, they shake hands.

		NAISH
	Hey.

		MR. WILLIS
	George Willis...
		(to Wydell)
	...any leads?

		WYDELL
	Well, we were on our way out to run
	a check on a couple farmhouses out
	on the edge of town... closest thing
	we got to a lead at this point.

		MR. WILLIS
	That's it?

		WYDELL
	Well, all we know is the kids were
	headed out to a spot the locals call
	Deadwood to play Nancy Drew with some
	local legend about this character
	everybody calls Dr. Satan.

		MR. WILLIS
	Dr. Satan?

		NAISH
	Yeah it's horseshit, just some boogieman
	crap that the kids like to scare each-
	other with.

		WYDELL
	Anyway, there's not much else out that
	way... so, I figure maybe there's a
	chance the kids broke down and found
	their way over to one of the farms.

		MR. WILLIS
	What about the body you found?

		WYDELL
		(slightly surprised)
	Oh, yeah, you know about that? Hmmm,
	that's a strange one.

		NAISH
	Local girl, Karen Murphy, been missing
	for a couple months, figured for a
	runaway.

		MR. WILLIS
	Fit the profile?

		NAISH
	No, not really. Good kid, never been
	in any trouble.

		WYDELL
	Her part in this I can't figure...
	but I will.

		MR. WILLIS
		(wipes his brow)
	Christ, you know it's crazy...
		(gets choked up)
	I lived through so many other people's
	nightmares, you know. Always cool and
	calm, but... but I never thought I'd
	be the one needing help, ya know?

		NAISH
	Don't worry, we'll find her.

		WYDELL
	Let's hit the road, sooner we get a
	move on sooner we'll find her.

Willis dumps out the remaining coffee, tosses the cup
into the trash and opens the back door of the police
car. He gets inside. Wydell and Naish climb in. The
car drives off.

INT. FARMHOUSE - OTIS'S ROOM - LATE AFTERNOON

THUMP!

CLOSE UP on a bloody, bandaged face. THUMP!

As we pull back to see Jerry, completely bandaged like
a mummy, strapped to a wall. His arms and legs are
spread. THUMP! Knives stick in the wall next to the
body.

		GRAMPA
		(off screen)
	God damn bitch, what the fuck are
	you waiting for... Charles Nelson
	Reilly don't know shit...

We pull back further to see Otis pacing wildly back
and forth in front of his TV, watching MATCH GAME.
Grampa sits eating a TV dinner.

		OTIS
		(gesturing at the TV with a
		 knife)
	Watch that bitch, she's thinking
	about that Klugman bangin' Brett
	Sommers, pick motherfucking Richard
	Dawson.

Otis throws the large hunting knife at the wall next
to Jerry.

		OTIS (CONT'D)
	He's the fucking slick jack Match
	Game man, mamma.

		GRAMPA
	Where do they find these people?

INT. POLICE CRUISER - LATE AFTERNOON

		MR. WILLIS
	Christ, four kids couldn't just
	disappear.

		NAISH
	No they couldn't, somebody had to
	see something.

		MR. WILLIS
	My Denise is a smart girl, she wouldn't
	do anything stupid, and her boyfriend,
	he always seemed like a good kid.

		WYDELL
	I'm sure there's a logical explanation.

		MR. WILLIS
	I pray to God there is.

		NAISH
	Turn up this road.

		MR. WILLIS
	Where we headed?

		WYDELL
	I seem to remember another farm set
	way back off the road where the car
	was found. I'm not sure if anyone
	lives there anymore, but it's worth
	a look.

EXT. FARMHOUSE - LATE AFTERNOON

Wydell's cruiser turns up the road to the Firefly farm-
house. It moves past the scarecrows and comes to a halt.
The doors swing open and Wydell, Naish and Willis get
out.

		WYDELL
	I'm gonna see if anybody's home. You
	and Mr. Willis take a look around the
	grounds for any sign of anything.

		NAISH
	Right...
		(to Willis)
	...come on.

Naish and Willis head off around the back of the house.

INT. FARMHOUSE - KITCHEN - LATE AFTERNOON

Dirty dishes overflow from the rusty metal sink onto
the surrounding counters. A large cat walks across
piles of food left to rot on a table. Boxes of trash
and old newspapers are stacked to the ceiling.

Music from a crackling radio is heard.

Mother stands stirring a large pot on the stove. A
LOUD knocking interrupts her cooking. She sets down
her spoon and walks to the front door.

Before opening the door she peeks through the curtains
of a small side window. She sees Wydell and runs from
the kitchen.

EXT. FARMHOUSE - LATE AFTERNOON

Wydell walks up the front steps.

INT. FARMHOUSE - HALLWAY - LATE AFTERNOON

Mother runs toward a door at the end of the hall. She
swings open the door.

INT. FARMHOUSE - OTIS'S ROOM - LATE AFTERNOON

Mother bursts into the room.

		MOTHER
	Otis! Otis! Come quick, there's cops
	outside.

		OTIS
	What! God damn, how many?

		GRAMPA
		(watching TV)
	What? How many?

		OTIS
	Don't worry about it.

Otis jumps up and goes over to an old dresser and opens
a drawer and pulls out an automatic revolver.

		MOTHER
	I don't know. I only saw one.

		OTIS
	I'm sure there's more than that...
	fucking pigs always travel in packs...
		(handing the gun to Mother)
	...here, take this.

		MOTHER
		(takes the gun)
	What should I do?

		OTIS
	Go down stairs and play nice... I'm
	a gonna go 'round back and handle
	things like I always fucking do.

EXT. FARMHOUSE - SAME

Naish and Willis move through the cluttered back yard
of garbage.

		NAISH
	Shit, don't these packrat hillbillies
	throw anything away?

		MR. WILLIS
	Shhhh... you hear that?

The soft sound of moaning can be heard.

		NAISH
	Yeah, I hear it... where's it coming
	from?

		MR. WILLIS
	Over here, inside the smokehouse.

Naish and Willis stand in front of a brick smokehouse.
The thick door is chained shut.

		NAISH
		(knocking on door)
	Anybody in there?

The moaning gets louder.

		MR. WILLIS
	We gotta break it open.

		NAISH
	I ain't got a warrant.

Willis picks up a broken axe handle and begins prying
open the door.

		MR. WILLIS
	Tell it to my daughter.

		NAISH
		(grabbing hold to help)
	Shit... fuck procedure.

Together they struggle to open the door.

INT. FARMHOUSE - SAME

Mother slowly opens the front door. The revolver is
behind her back, tucked in her apron strings.

		MOTHER
		(trying to be sexy)
	Well hello, officer.

		WYDELL
		(holding up his badge)
	Excuse me, I'm sorry for disturbing
	you this fine afternoon.

		MOTHER
	Aw, you ain't disturbing me, but it
	kind of looks like rain, don't ya
	think?

		WYDELL
	My name is Lt. Wydell, I'd like to
	ask you a few questions.

		MOTHER
	Questions? Well, heck, I'll tell you
	anything you want to know.

		WYDELL
	I appreciate your cooperation. I'm
	looking for a missing girl...
		(holds up picture)
	...this girl here, Denise Willis...
	have you seen her?

		MOTHER
	Well, I... mmmmm... no, I ain't seen
	her, sorry.

She begins to close the door. Wydell stops her.

		WYDELL
	Please, could I please come in and
	talk to you for a minute? Maybe you
	could take a better look at the
	picture... might stir up something.

		MOTHER
	I um... no, I don't think so...

		WYDELL
	Please, just a minute.

		MOTHER
	Oh, alright... I guess I can trust
	you... being a man of the law and all.

She opens the door.

		WYDELL
	Thank you.

		MOTHER
	Oh, you are very welcome... Lord knows
	how I love a man in uniform.

She closes the door.

EXT. FARMHOUSE - SAME

Naish and Willis bust open the door to the smokehouse.
Hanging upside down inside is Mary. She hangs from ropes
strapped to the ceiling. Large hunks of meat hang around
her in the cramped room.

		NAISH
	Jesus Christ.

		MR. WILLIS
	Call Wydell.

INT. FARMHOUSE - SAME

Wydell and Mother sit opposite eachother at the kitchen
table. Pictures of Denise and her companions are spread
on the table. Wydell takes notes as Mother talks.

		WYDELL
	Think... do any of these kids look
	familiar in any way?

		MOTHER
	No, I can't say that I ever seen
	'em before...
		(points to the photo of Bill)
	...he looks familiar, is he on TV?

Suddenly, Naish's voice comes over Wydell's walkie-
talkie.

		NAISH
	Wydell.

		WYDELL
	Excuse me for a second.

Pulls walkie-talkie from his belt to respond.

		WYDELL (CONT'D)
	Over.

		NAISH
	We found one.

Click. Mother points the gun at Wydell's head and fires.
He falls dead to the floor.

EXT. FARMHOUSE - SAME

Naish hears the commotion over his walkie-talkie.

		NAISH
		(into walkie-talkie)
	Wydell! Over! Wydell! Over!

No response.

		NAISH (CONT'D)
	Fuck, go to the car... call for backup.
	Tell 'em officer down.

		MR. WILLIS
	Right.

Willis runs to the car, he gets about halfway there
before he is hit in the back by a bullet. He stumbles
and falls to his knees.

He knees silent, stunned. We hold on his face and watch
as his life passes before him.

A quick MONTAGE, we see the following images flash by:

a. A father and daughter together in happier times.
b. A child's birthday party.
c. A baby crying.
d. Willis and his deceased wife.

Otis fires another shot.

Willis falls forward into the mud, dead.

Naish sees Willis fall. Before he can react a voice
calls out from behind him.

		OTIS
	Hands up, bitch!

Naish raises his hands.

		OTIS (CONT'D)
	Turn around, real slow... piggy-pie.

Naish turns around.

		OTIS (CONT'D)
	Interlock your fingers behind your
	head...
		(Naish hesitates)
	...do it!

Naish obeys.

		OTIS (CONT'D)
	Kneel.

Naish kneels down.

>From a distance we see Otis standing over Naish, execution
style. A white puff of smoke comes from Otis's gun and
a distant popping sound is heard. Naish falls over on
his side.

The scene fades to blood red.

EXT. FARMHOUSE - NIGHT

The house stands silent in the darkness. Lightning
crashes, a heavy rain falls.

Burning JACK-O'-LANTERNS beam from every window. Smoke
rises from the chimney.

It is Halloween night.

INT. FARMHOUSE - NIGHT

CLOSE-UP TV

Dr. Wolfenstein is on screen smashing pumpkins with a
giant hammer.

		DR. WOLFENSTEIN
	It is midnight my little boils and
	ghouls, the witching hour. Time for
	all monsters, murderers, maniacs and
	madmen to go to work... so lock your
	doors and bolt your windows, sit
	back and prepare for a fright night
	classic...
		(lightning crashes)
	...The House of Frankenstein.

The movie begins and we move off the TV to see:

Hundreds of CANDLES are lit, illuminating everything
with a flickering light. Music blares from a cheap
stereo. BLACK and ORANGE PAPER STREAMERS are draped
from ceiling to floor.

Dead center is a LARGE OBJECT standing seven feet tall,
it is completely covered in paper Halloween decorations.
A long chain connects the object up into the rafters.

This is the Halloween party from Hell.

An intoxicated Grampa, dressed as FLASH GORDON, sits
in his wheelchair watching the TV, drinking MOONSHINE
from an unmarked bottle.

		GRAMPA
		(slurred drunken yelling at
		 the screen)
	Get those motherfucker... those high
	water bitches and rocketship daisies...
	kill 'em, kill 'em.

CRASH! CRASH! CRASH! Tiny stands in a corner tunelessly
banging on a large oil drum. He is dressed like a low
budget BATMAN, in grey long johns and a black bat mask
and cape.

A drunk Rufus, wearing a bloody police uniform, stands
on a table SHOUTING along to the music through a POLICE
MEGAPHONE.

Mother and Baby, both dressed as SUPERHEROES, dance
around the covered object. Both are swigging moonshine
from jugs.

		RUFUS JR.
		(shouting through megaphone)
	Show me, show me, show me, show me!

Mother and Baby start TEARING AWAY the paper covering
from the object in the middle of the room. They RIP at
the paper, spinning and dancing around in a wild pagan
ritual.

As the shreds of colored paper fall to the floor we
see: Denise, Jerry and Mary tied back to back hanging
from the chain, each are dressed in a different animal
costume. Denise is a pig, Jerry is a donkey and Mary
is a rabbit. They are gagged.

Mother and Baby laugh at their helpless victims,
splashing moonshine in their faces.

		BABY
	Drink up, it's party time.

		MOTHER
	Enjoy your last night...
		(looking around)
	...where's Otis?

		BABY
	Oh, he's coming, he got something
	real special this year.

Rufus jumps down, begins to spin the bound captives
around and around.

		RUFUS JR.
	Otis, Otis, Otis, Otis!

		MOTHER
	Quiet, quiet, you know he won't come
	down with all this hoop-dee-doo
	bouncing off the walls. Now, calm
	down.

		GRAMPA
	I shot an elephant in my pajamas
	this morning... how he got in my
	pajamas I'll never know.

		BABY
	Grampa, shhhhhhhh.

		GRAMPA
	Then we tried to remove the tusks,
	but they were embedded in so firmly
	that we couldn't budge 'em.

		MOTHER
		(gesturing at Grampa)
	Let him finish.

		GRAMPA
	Of course, in Alabama the Tuscaloosa,
	but that's entirely irrelephant.

The room goes silent. All eyes are focused on the stairs.

A robed figure, Otis, appears at the top of the stairs,
he begins to descend.

Rufus waits at the bottom of the stairs. As Otis reaches
the last step Rufus hands him the megaphone.

Denise, Mary and Jerry struggle to watch as they in
turn rotate past the scene unfolding.

		OTIS
		(through the megaphone)
	I'm the one who brings the Christmas
	candy... now tell me
		(pauses and raises his arms)
	... Who's your Daddy?

Otis walks closer to the rotating captives.

		OTIS (CONT'D)
	I'm the one who brings the devil's
	brandy...
		(waits)

		MOTHER
	Who's your Daddy!

		OTIS
	Yes! I'm the one who beats you when
	you're bad...

		BABY
	Who's your Daddy!

		MOTHER
	Who's your Daddy!

Otis stops the spinning of his prisoners and stands
directly before Denise.

He drops his robe, underneath he is wearing a SUIT OF
SKIN sewn together from pieces of Denise's father.

Denise stares in horror, tears stream down her cheeks,
barely able to comprehend the madness around her.

Otis moves in close and licks her across the face.

		OTIS
	I'm the one who loves you when you're
	fucking dead!

Everyone chants "Who's your Daddy?"

		OTIS (CONT'D)
		(imitating Willis)
	Now, I say my little darlings...
		(rotates the chain to Mary)
	maybe prancing around where you don't
	belong ain't such a winner of an
	idea...
		(slaps Mary across the face)

Slowly turns the chain to face Jerry.

		OTIS (CONT'D)
	And you, the great rusher of fools,
	what were you after...
		(slaps Jerry)
	Huh, speak to me...
		(slaps him again)
	Oh, that's right, Dr. Satan... every-
	body got to know about Dr. Satan,
	Jesus Christ, let the old dog rest
	for fuck sake, he's already got one
	foot in the grave and the other's
	tap dancing around the edge...
		(gets nose to nose with Jerry)
	...well, I can see the disappointment
	on your sad little puppy face... so
	I'm gonna do you a favor, a big, big
	favor. You owe me, boy. I'm gonna let
	you meet the old bastard.

		GRAMPA
	That's a horse's ass alright, I told
	you.

Jerry's eyes widen in fear.

		OTIS
	Baby, roll that old love machine over
	here, so this boy can meet his hero.

Baby rolls Grampa over to Jerry.

		OTIS (CONT'D)
		(lifts his skin mask)
	You see it's all true, the boogieman
	is real and you found him...
		(Jerry stares in shock)
	...why so sad? Isn't this what you
	begged for? There he is, the living
	legend himself, ta da Dr. Satan. Now,
	don't get shy on me... ask your hero
	some questions, don't blow this last
	in a lifetime opportunity.

		GRAMPA
	Zarkoff, I will conquer the sea, the
	air, the earth... the universe.

Mother moves in close to Jerry.

		MOTHER
	Look at the way he lights up... Grampa
	just loves meeting his fans.

Otis grabs Jerry's cheeks and makes his face move like
a ventriloquist dummy, provides Jerry's voice.

		OTIS
	Aw gee whiz, I'm so excited... I
	really think you're the coolest...
	you're tops on the playground, cooler
	than the Fonzie.

Baby grabs Mary and does the same ventriloquist routine.

		BABY
	Oh, oh pick me, pick me... I have a
	question.

Baby rotates Mary around to where Gramps is seated.

		BABY (CONT'D)
		(squeezing Mary's face, hard)
	I was wondering Mr. Satan sir, do you
	like to kiss on the first date or is
	that considered slutty?

		GRAMPA
	What the fuck are you saying? Who the
	hell is talking to me?

Tiny, growing restless, begins banging on his metal
drum. KLANG - KLANG - KLANG. Rufus joins in, clapping
his hands.

		MOTHER
	Come on, my babies are getting
	restless.

		RUFUS JR.
	Dump in the pit, dump in the pit,
	dump in the pit.

Mother, Baby, Grampa join in chanting with Rufus.

		OTIS
	Alright, alright. Cut 'em down, it's
	time they get what they came here for.

EXT. FIELD - NIGHT

The rain pounds down. A heavy fog hovers over the dense
growth of the field. In the distance, silhouetted by
moonlight, a gruesome caravan slowly moves through the
night.

Otis, lantern in hand, leads the way. Followed by Baby
and Mother together under a large black umbrella. Next
Rufus holds the leash connected to Jerry, Denise and
Mary.

Bringing up the rear, Tiny, shotgun focused on the
prisoners, and Grampa. Grampa is strapped to Tiny's
back like a child. He waves a flashlight back and
forth like a search beam.

The group comes to a halt at a huge wooden structure.

		OTIS
		(handing Baby the lantern)
	Hold this. Point it over here.

Baby directs the light at Otis. We see that he is
trying to unlock a huge padlock attached to an iron
door embedded in the base of the wooden structure.

Otis unlocks the door and swings it open. He reaches
down into the blackness and pulls up an iron hook
and wench, attached to the hook is a chain.

Otis parts a section of the overgrown grass next to
the pit to reveal a rusty metal crank. He begins to
turn the crank. Slowly, from out of the pit, rises
a coffin hanging from the end of the chain.

Otis pulls the coffin over and lays it flat on the
ground. He flips open the lid.

		OTIS (CONT'D)
	Hey happy-boy, step your ass up here.

Rufus cuts loose Jerry, but holds him steady by the
neck.

		BABY
	Take his gag out, it's more fun with
	the screaming.

		MOTHER
	Yeah, I like the screaming too... it's
	so much more exciting.

Rufus cuts loose the gag.

		JERRY
	Please don't kill us, please don't
	kill us.

		BABY
		(imitating Jerry)
	Please don't kill us, please don't
	kill us.

		OTIS
	Bitch, shut your mouth and get your
	shit in the box.

		JERRY
	Let us go, please... let the girls go.

		BABY
		(imitating Jerry)
	Let us go, please... let the girls go.

Otis pulls out a gun and points it at Jerry.

		OTIS
	Get in... now!

		MOTHER
	Wait, I want to say good-bye.

Mother grabs Jerry by the collar and gives him a big
kiss.

		MOTHER (CONT'D)
	Bye sweety, we could of been great
	together.

		JERRY
	Please, let us go, we won't tell
	anybody.

		MOTHER
	Aw, honey you know I can't do that.

		BABY
	We won't tell anybody.

Otis cocks the pistol. Jerry starts to slowly move
towards the coffin.

		OTIS
	Christ, ain't this fucking a hoot...
	alright mamma, I ain't got all fucking
	night.

		JERRY
	Please, please this is insane. You
	can't do this.

Rufus pushes Jerry into the coffin.

		OTIS
	It is and I can... next.

Denise starts kicking and fighting with Rufus. Rufus
tries to hold her steady, when suddenly Mary breaks
free and starts to run.

		OTIS (CONT'D)
		(laughs and raises his pistol)
	Where's she think she's a gonna get
	to? She's gonna run all the way home.

		BABY
	No! Let me get her...
		(turns to Mother)
	...Ma, Otis is having all the fun...
	can I get her?

		MOTHER
	That's true, Otis... not that we're
	having a bad time, but...

		OTIS
		(rolls his eyes)
	Well, go get her.

Baby jumps with excitement and runs off across the field
after Mary.

Mary trips and falls over a small gravestone. She gets
up and stumbles back into a wooden cross. She tears the
gag from her mouth and gasps for air.

		BABY
		(off screen)
	There once was a woman who lived with
	her daughter in a cabbage garden.

Mary turns toward the voice but sees nothing but wooden
crosses. She is in a homemade cemetery.

		BABY (CONT'D)
	...along came a rabbit and ate up all
	the cabbages. The woman said...

Mary turns 360 degrees, but finds nothing.

		BABY (CONT'D)
	..."Go into the garden and drive out
	the rabbit"...

THUD! Mary is hit from behind, she falls forward. Baby
JUMPS on top of her and sits on her back. Baby is
holding a large hunting knife.

		BABY (CONT'D)
	"Shoo! Shoo!" said the maiden...

Mary screams in pain, as Baby PLUNGES the knife into
her. Baby STABS Mary again and again and again. Mary
lets out a long gurgling scream, then goes silent.

		BABY (CONT'D)
	..."Come maiden," said the rabbit...
		(leans down)
	...sit on my tail and go with me to
	my rabbit hutch.

Baby, covered in blood, licks the knife clean.

EXT. PIT - NIGHT

Otis shoves Denise into the coffin with Jerry and locks
the lid shut. Through a CROSS-SHAPED OPENING in the
coffin we see them crushed together.

Rufus LOWERS the coffin into the pit. Once the coffin
is inside Otis slams the door shut.

Otis opens a small window in the door and lowers in a
lantern and a small tape recorder playing music.

INT. PIT - NIGHT

Enter Hell. The dim light of the lantern shines off the
slimy wet filth of the rotted wood walls. The stench of
death and decay hangs heavy in the thin air.

Denise and Jerry, cold and shivering, hang half submerged
in thick maggot infested sludge. Bits of animal and human
skeletons float in the muck, broken bones lay in piles
along the walls.

INT. COFFIN - NIGHT

Through the dim light, we see the tightly packed forms
of Jerry and Denise.

		DENISE
		(hysterical)
	We've got get out of here, we got get
	out of here.

		JERRY
	Think, think. Try to open the lid,
	try to kick a hole in the wood.

		DENISE
		(crying)
	I can't... I can't move my arms. I
	hurt so much.

		JERRY
	I know, but we can make it out of
	here. We can do it.

Boom! A LOUD THUMP is heard against the side of the
coffin.

		JERRY (CONT'D)
	That was good babe, just keep doing
	that.

BOOM, BOOM, BOOM.

		DENISE
	That's not me. I didn't... I'm not
	doing that.

		JERRY
	Someone is out there...
		(shouting)
	...help, we're in here!

		DENISE
	Help, help us.

Suddenly, an arm breaks through the side of the coffin.
Another smashes through the top of the lid. The coffin
begins to violently shake. Denise screams.

Another reaches through, grabbing her feet. SMASH! The
coffin is ripped apart and Jerry is pulled away from
the destruction.

He lets out a quick scream before disappearing into
the darkness.

		DENISE (CONT'D)
	Jerry! Jerry! Jerry!

INT. FARMHOUSE - LIVINGROOM - NIGHT

The spastic light of TV static strobes across the sleeping
face of Grampa. Beside him, Mother sleeps peacefully.

EXT. BARN - NIGHT

The rain has stopped. Tiny opens the doors to the barn.
He goes inside. He exits a few moments later, dragging
a huge wooden stake. He sets the stake down carefully
and closes the barn doors. He then picks up the stake
and drags it away.

EXT. BACKYARD - NIGHT

Behind the farmhouse is a camoflage jungle, an intricate
system of ropes and netting is strung together to hide
the many automobiles beneath.

Rufus moves through the jungle. He stops and begins to
remove the netting from a car, it is Wydell's police
cruiser. He climbs inside the car, puts on Wydell's
policeman's hat and starts the engine. He drives off.

INT. POLICE CAR - NIGHT

Rufus is driving like a maniac through the open farm-
land. He turns on the overhead flashing lights.

EXT. FIELDS - NIGHT

The police cruiser twists and turns in the barren fields.

INT. PIT - NIGHT

Denise stands knee deep in the sludge. Broken bits of
the coffin's remains are scattered around her.

		DENISE
	Jerry please answer me.

A soft moaning sound is heard coming from the other
end of the pit.

		DENISE (CONT'D)
	Jerry...
		(moving slowly forward)
	...is that you?

Denise cautiously makes her way to the bend at the end
of the tunnel. As she approaches, the moaning sound
gets louder. She turns the corner to see:

TWO PALE FIGURES in filthy hospital gowns hunched over
a shadowy object. Denise gasps. They turn towards
Denise, revealing the partially devoured dead body of
Jerry.

The two bone-white ghouls are dripping with Jerry's
blood, they stare at Denise, then return to their prey.

Denise screams in horror and runs, turning down another
twist in the underground maze. She turns the corner
and runs straight into SEVERAL SLOW MOVING GHOULS. The
ghouls are of the same deathly white complexion, hair-
less with flaked, cracking skin. Their yellow eyes
shine in the darkness.

They reach for her, but she breaks free and continues
to run into the endless stretch of tunnels before her.

EXT. GRAVEYARD - NIGHT

Primitive wooden crosses form a circle around a burnt
piece of land, approximately twenty feet in diameter.

Laying flat in the center is the large stake, Mary's
body is draped across it. Tiny is securing her to the
stake with rope.

INT. POLICE CAR - NIGHT

Through the windshield, we see Baby jumping and dancing
in the fields with several large dogs. She is firing
a gun as she dances.

EXT. FIELD - NIGHT

Baby sees the car and raises her gun. She aims it at
the car driver. She waits, as the car gets closer she
sees the face of Rufus behind the wheel. She lowers
the gun and begins to laugh.

The car stops and Baby climbs into the passenger's
seat. The car drives off.

EXT. GRAVEYARD - NIGHT

Tiny lifts the stake with Mary firmly strapped in
place. He implants it into the ground. Her body hangs
like a doll. Tiny opens a gasoline can and begins
splashing gas onto the stake.

EXT. FIELD - NIGHT

Otis, face painted like a SKULL and wearing a priest's
robe, walks solemnly through the tall grass.

INT. PIT - NIGHT

Denise, waist high in sludge, wanders lost through the
endless tunnels of the pit. In the distance she hears
high pitched animal sounds.

A GHOUL rises up from the sludge behind Denise. It
stands silent. It reaches out a BONEY HAND with long
curled fingernails and grabs her hair. Denise screams
and tries to pull away. The ghoul grabs her with his
other hand and pulls her closer, CLAWING at her face.

Denise fights her way free, but loses her footing and
falls backwards, slipping under the sludge. She quickly
resurfaces and starts to run.

EXT. GRAVEYARD - NIGHT

Otis stands in front of the bound Mary, holding a
pumpkin. Otis places the pumpkin over Mary's head.

Tiny stands behind him holding a lit torch.

EXT. FIELD - NIGHT

The police car drives wildly through the fields.

INT. POLICE CAR - NIGHT

Baby motions to Rufus to steer the car towards the
fire.

INT. PIT - NIGHT

A beaten Denise struggles down a long tunnel. She gets
to the end to find that it is a dead-end. Behind her,
FIVE GHOULS move silently towards her, blocking her
only exit.

The ghouls slosh through the muck, moving in closer.
Denise frantically looks for an escape, nailed into
the wall next to her are planks of wood forming a
ladder.

The ghouls are only a few yards away. Denise climbs
up the ladder. They move in, clawing at her legs and
feet, trying to pull her down. Denise digs at the
wood and mud ceiling above her, trying to break free.

Denise is bleeding severely from the chunks of flesh
being torn from her legs. She digs wildly at the
ceiling, suddenly a board falls free and mud rains
down to reveal:

STARS, the sky above shines through the hole. Denise
smashes her fists at the rotted wood planks, pulling
free another piece.

With all her might Denise grabs hold and pulls herself
up through the opening.

EXT. PIT - NIGHT

Denise fights her way through the earth and pulls her
body up into the night air. The cool air rushes to her
lungs. She crawls free of the hole, gasping for air.

She is safe. Suddenly... SMASH! A ghoul has broken
through the surface. He grabs Denise by the leg and
begins to pull her back into the hole.

Denise screams and begins kicking violently at the
ghoul. She breaks and crawls from the ghoul's reach.

EXT. GRAVEYARD - NIGHT

Rufus and Baby have pulled the police cruiser up by
the stake. Rufus and Baby stand on the hood.

Otis finishes his sermon, he raises his arm. Tiny
raises the torch. Otis drops his arm, signaling Tiny.
Tiny throws the torch onto the stake. The stake ignites
into a huge FIREBALL.

EXT. FIELD - NIGHT

Denise pulls herself to her feet and begins to run.
The flaming object burns in the distance behind her.
Denise stumbles toward the road on two badly injured
legs.

EXT. GRAVEYARD - NIGHT

Rufus, Tiny and Baby jump up and down in celebration,
smashing the police car. Otis stands transfixed by
the flames before him.

EXT. ROAD - NIGHT

Denise makes her way out onto the road. No cars are
in sight. In the distance headlights break through
the darkness. Denise stands in the middle of the road.

The TRUCK comes into view, it is a small cube truck.
Denise stands in the headlights, waving her arms for
it to stop. The truck comes to a halt.

She runs toward the passenger's side door and climbs in.

INT. TRUCK - NIGHT

Behind the wheel of the truck is Captain Spaulding.
Denise is shaking from shock.

		DENISE
	Go, go! Drive... drive!

		CAPT. SPAULDING
	Hold on, girly, what's the problem?

		DENISE
		(becoming hysterical)
	Murdering... blood and Jerry...
		(starts to cry uncontrollably)
	...monsters... I... I... I got away...

		CAPT. SPAULDING
	Well, I don't see what the fuck
	you're getting at, but I got some
	friends that live just up this road.

Starts to turn the truck up the road back towards the
farmhouse.

		DENISE
		(screaming)
	No! No, that's it... that house is...
		(tries to open the truck door)
	...I gotta get out, I gotta get out!

Boom! The metal door leading to the back of the truck
slides open. Ravelli grabs Denise and pulls her back
into the back of the truck.

SLAM! The metal door shuts.

EXT. ROAD - NIGHT

The truck quietly turns onto the dirt road leading up
to the farmhouse. The jack-o'-lanterns still burn in
the windows, grinning their evil grin.

		THE END