OVER A BLACK SCREEN:

We hear the tinkling of an old-fashioned MUSIC BOX. It’s

playing the familiar childhood melody of "OLD MACDONALD

HAD A FARM". A small child’s voice sings with the tune.

There’s something a little eerie and dissonant about it.

In the background, we hear the sound of FARM ANIMALS...a

COW

mooing, a HORSE neighing, and so on.

FADE IN:

INT. OLD BARN - NIGHT

It’s night. Many yesterdays ago. We’re not sure exactly

when

- but we can tell we’re in the past.

A LITTLE BOY, six years old, is sitting next to some bales

of hay.

An old-fashioned OIL-BURNING LANTERN is next to him, casting

flickering shadows on the walls.

And now we see where the tune is coming from: The boy

staring into a rustic, hand-carved music box.

The boy HEARS something.

Turning off the music, he scuttles behind some bales of

hay to hide.

THE BARN DOOR creaks slowly open.

Someone --we can’t see who -- enters...wearing LARGE BLACK

BOOTS. He’s pushing a big container on wheels.

Something’s inside the container -- we can’t see what...

because it’s covered by a ratty old TARP. It’s pushed

closer...its wheels SQUEAKING.

HOLD on the BOY.

In his hiding place. Worried. Very worried.

The CONTAINER stops -- right in front of the bales of hay.

Inches from the BOY’s face. And then---

BLACK BOOTS throws back the tarp... revealing a tangled,

intriguing CONTRAPTION of pipes and valves and funnels.

The BOY

2.

-- peers through the bales of hay, not sure what the man’s

doing. But whatever it is....it’s horrific. Something

red..and sticky gushes through the valves and pipes..going

into the funnel, sticking into the plastic sac.

The boy pulls back in fright --snapping a piece off the

music

box...causing it to PLAY again. The boy is terrified.

BLACK BOOTS ....turns toward the source of the music.

A look of sheer horror in the boy’s eyes.

The boy’s trembling hands scramble to cover the music box.

To stop it. To quiet it somehow.

BLACK BOOTS

---advances. Closer, closer -- The boy tries to crawl

away -deserting the music box still playing.

A gloved HAND reaches out, grabbing his ankle.

The boy struggles.

A LANTERN falls, immediately setting fire to the surrounding

straw.

A horrible scream of rage -- as the black boots catch fire.

The man writhes. Screaming. A human fireball.

The fire spreads everywhere.

The boy, terrified, tries to scramble out through a loose

plank in the barn wall...

The fire rages on. The screaming continues.

SMASH CUT TO:

BEGIN TITLES

EXT. - FARMLAND ROAD -(PRESENT DAY)- NIGHT

TITLE: 16 YEARS LATER

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

overhead.

And then --

The approaching HEADLIGHTS of a soft-top convertible,

whipping up dust as it zooms along. Loud ROCK MUSIC blaring

3.

from within.

INT - CAR - CONTINUOUS

CLOSE ON: A MASK similar to the one used in "SCREAM". It’s

on the face of the DRIVER of the car. He’s also wearing a

BLACK

HOOD and CAPE.

He turns to look at the PRETTY YOUNG WOMAN in the passenger

seat. She’s KAREN, about 18, fresh out of high school.

She’s

wearing a skimpy BIKINI with a leopard-skin pattern, a

necklace of ANIMAL CLAWS, and not much else.

She rubs her goose-pimply arms --

KAREN

Jeez, close that window,

Ray! I’m freezing in

here. --And take off that

stupid mask.

He whips off his mask, and tucks it underneath his cape.

Meet RAY, about 20, athletic, a bit of a prankster. He

leers at Karen --

RAY

I can’t help it, babe. You

bring out the monster in me.

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

KAREN

Not while you’re driving.

Karen pops open a beer.

RAY

Throw me one.

KAREN

Not while you’re driving.

As Karen chugs her beer, Ray can’t help glancing at her

cleavage.

KAREN (CONT’D)

--And keep your eyes on the

road.

RAY

I’m admiring your costume.

What "movie" are you going

as again?

4.

KAREN

Sheena, Queen of the Jungle.

Off Ray’s blank stare --

RAY

Never heard of it.

KAREN

I’m not surprised. It’s got

a body count of zero. And

no one goes around in a

stupid mask, hacking

innocent people to death.

RAY

(re: the mask)

You don’t like my costume?

Cool. I’ll go with plan B.

Which one you like better?

With one hand on the wheel, Ray holds up two other masks --

The white SHAPE face from the "Halloween" series...and a

HOCKEY MASK from "Friday the 13th".

Karen rolls her eyes.

RAY (CONT’D)

Hey...wanna see something

really scary?

Ray reaches down under the seat, taking his eyes off the

road. Before he can get any further, KAREN’S eyes widen

in terror--

KAREN

Watch out!!!

As she GRABS the steering wheel --

EXT - FARMLAND ROAD - NIGHT

A COW, standing dumbly in the middle of the road. The car

swerves wildly, knocking over a signpost --

EXT - ROAD (CORNFIELD) - CONTINUOUS

---as it careens off to the side of the road.

WINDSHEILD POV:

Rows and rows of CORN smashing against the glass.

Finally, the car comes to rest in the middle of the FIELD.

Clouds of dust reflected in the headlight beams. The HORN

5.

blares.

INT/EXT - CAR

Ray turns to check Karen--she’s unconscious, head back on

the

seat.

RAY

Karen...? Oh, geez!

Karen....?

He quickly feels her pulse. Then he puts his hand over

her

heart, trying to find a heartbeat.

He pauses for a moment. He can’t help himself -- his hand

moves slo-o-o-o-wly upwards, towards her breasts.

Suddenly, KAREN’s eyes pop open -- and she grabs his hand

and pushes it away. She’s been playing possum.

KAREN

Is that all you ever think

of? Suppose I was really hurt!

RAY

Dammit, Karen--- I was

just...looking for your pulse.

KAREN

--By way of my breasts?

She huffs.

RAY

Sit tight.

EXT - CORNFIELD - MOMENTS LATER

ON THE CAR HOOD

---being opened by RAY. There’s a little steam coming out

and the engine’s hot.

RAY

(burns himself)

Ow!

KAREN

What’s wrong?

RAY

Nothing. I’ll have us back

on the road in no time.

6.

RAY looks down and sees the smashed wooden SIGN, stuck in

the

RADIATOR GRILLE. He eases it out --

The sign reads..."No trespassing -- J. Macdonald."

RAY (CONT’D)

(realizes)

Hey -- Macdonald’s farm!

KAREN

Ray---I’d like to get to

the club sometime before dawn.

Karen holds a "flyer" for a music club.

RAY

Be right back. Gotta

irrigate the corn.

We STAY WITH RAY-as he walks deeper into --

EXT. - CORN FIELD - CONTINUOUS

Lit by the moon and shafts of the car headlights, it’s

eerie,

quiet...scary.

RAY

(singing to himself)

--Old Macdonald had a farm,

e-i-e-io...and on that farm,

he ---almost ran over a

cow ---e-i, e-i, ohhhhh--

Looking for a place to pee, Ray turns a corner surrounded

by a wall of corn.

He unzips his fly, and swaying, relieves himself in a wide

arc.

For the first time, he casually turns to his left to see--

A SCARY FIGURE

silhouetted against the moonlight, standing next to him--

RAY

(startled)

--Jesus!!!

--But it’s only a harmless SCARECROW, arms outstretched

on a pole. Ray suddenly looks down, realizes he’s pissing

on himself and his cape.

7.

RAY (CONT’D)

Dammit!!!

INT. - CAR

KAREN is still sitting in the car, bopping to music on

the CD player. She preens herself, tuck her breasts into

her leopard costume, awaiting Ray’s return.

EXT - CORN FIELD - NIGHT

RAY appraises the SCARECROW --tentatively pokes him. It’s

made of straw.

RAY

Fuckin’ scarecrow.

He takes a piece of straw, puts it in his mouth. He turns

around, going back to the car, moving past the corn field.

Suddenly, RAY halts -- something pulls him backwards! We

HEAR a ripping sound. Ray slowly turns around to see --

HIS CAPE -- caught on a piece of WIRE. He shudders, pulls

it off.

Ray takes another step forward. --Did he just hear

something in the cornfield with him -- or was it his

imagination?

INT - CAR

KAREN’s a little anxious. Ray should have been back by now.

She leans out the window, trying to look past the open car

HOOD.

KAREN

(calls out)

How many beers did you have,

Ray?!

Beat. No answer.

KAREN (CONT’D)

(calls out)

Raymond..?!!

No answer. Karen turns the music off. She peers out the

window, the open hood obscuring her view.

Still no sign of Ray.

FLAP FLAP FLAP -- several nightjar BIRDS flutter out of the

8.

cornfield, unsettling her.

KAREN (CONT’D)

.........Ray??

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

Something’s not right. And then--

A FIGURE wearing the cape and Scream Mask POPS UP next to

her - scaring the shit out of her. Karen freaks.

KAREN (CONT’D)

Geez! ---That wasn’t funny!

The MASKED FIGURE with the cape just stands outside the

car, looking at her.

KAREN (CONT’D)

Okay, Ray. I’m freezing.

Get in the car.

The MASKED FIGURE stands there, unmoving, by her open

window. Just staring. A feeling of unease washes over

Karen. Maybe this figure.......isn’t Ray at all.

KAREN (CONT’D)

..Ray...?

And then, the MASKED FIGURE raises his arm -- and we see

a shiny, long-bladed KNIFE clenched in his fist.

The FIGURE brings the BLADE down, PLUNGING it through the

open window--and into Karen’s chest!

Karen SCREAMS. She looks down at the blade. And the

blood

on her bare skin. Beat.

KAREN (CONT’D)

--Owwww! That hurt!!!

The Masked Figure "pulls out" the retractable KNIFE blade,

and takes off his mask. It is indeed...Ray. Always the

joker.

He squeezes the knife handle by way of demonstration...a

little fake "blood" comes out of the blade.

RAY

Fake blood. Cool, huh?

Karen is like, totally unamused. She wipes herself off,

glaring.

9.

RAY (CONT’D)

Oh come on, Karen!

RAY starts stabbing himself in the chest to demonstrate--

RAY (CONT’D)

It’s a retractable blade!

You couldn’t cut yourself

if you wanted to! Look!

---Suddenly another blade protrudes from Ray’s chest. A

REAL one. A long-handled farm SCYTHE has swung around --

hitting

him in the back, the cold blade RIPPING through him.

A thin stream of blood drips from his surprised lips.

This definitely ain’t a trick.

Karen SCREAMS. And screams some more. In the darkness,

we

can’t see who’s wielding the scythe. The BLADE is pulled

out, Ray slumps to the ground, dead.

ON TWO BOOTS

--the killer’s boots. Black farm boots. The blade of the

SCYTHE dangles down next to them. The boots begin walking

around to the other side of the car.

IN THE CAR

KAREN freaks, realizing she’s next. She quickly LOCKS the

car doors.

Silence.

The KILLER seems to have vanished. But her WINDOW’S still

half-open!

Karen reaches out for the electric window button. She

pushes

it. The window closes.....closes...closes.....

WHOOSH! The blade of the SCYTHE swings in at the last

second, getting caught between the glass and the frame,

inches from Karen’s face.

As the unseen KILLER pulls out the scythe and the window

automatically closes---KAREN sees her chance--

10.

She CLIMBS into the driver’s seat, hitting the RADIO --

the MUSIC comes back on, LOUD.

Karen turns the ignition key. The ENGINE turns over

immediately. She just might escape--

ON THE TIRES

They SPIN in the ditch trying to get traction.

And then---the FRONT TIRES grab the dirt! Karen’s about

to free the car, when----

WHOOSH! The BLADE of the scythe plunges into the rubber,

deflating the front tire with a rush of air.

KAREN’s POV - THROUGH THE WINDSHIELD

Obscured by the raised hood, she sees THE SCYTHE being

raised up -- and coming down -- straight into the engine.

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

And the engine dies. Ditto the music.

Silence, except for Karen’s hyperventilation.

And then------a final realization comes over Karen. She

...looks up. Remembering....she’s in a convertible --

and the top is made of CANVAS. And then--

--The SCYTHE .....sweeps down in a deadly arc, tearing

through the TOP of the car, almost slicing her ear off.

A GASH opens on her bare arm.

Karen SCREAMS.

She KICKS open the CAR DOOR---and stumbles into--

EXT - CORN FIELD - NIGHT

KAREN runs ...for her life.

And runs some more.

And someone--or something’s-- following her.

EXT - EDGE OF CORNFIELD - NIGHT

Out of breath, Karen sees a light up ahead.

AN OLD FARMHOUSE. People. A telephone. Safety.

EXT - FARM HOUSE - NIGHT

She frantically bangs on the door, trying to force it open--

11.

KAREN

(hysterical)

Please! I need...help!

No answer. No one’s home.

Hurt and bleeding, Karen turns to her right -- and sees --

An Old BARN. A place to hide.

EXT - BARN - NIGHT

With as much stealth as she can, Karen pushes open the

old, creaky barn door. She leaves a BLOODY HANDPRINT on

the door--

INT - BARN - NIGHT

It’s deathly quiet. Moonlight shining on bales of hay,

glinting on farm implements.

Silence.

Then -- from outside, a cow MOOS --

Then a loud CHUFFING sound. A HORSE.

And then -- a few CHICKENS begin to CLUCK.

KAREN

Shhh...SHHHH --

The animals seems to be jittery, nervous.

The HORSE whinnies loudly. The COW moos again.

KAREN puts her hands to her ears, trying to block out the

unholy chorus --

She backs away --

A FIGURE is behind her.

She backs into it and swings around to see--

A SCARECROW. Burlap skin, jagged, stitched mouth. Cold

eyes.

Cold, and... alive.

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

The SCARECROW raises a gleaming SCYTHE high in the air.

It swings down --

12.

Karen screams. For the very last time.

CUT TO:

A GUY SCREAMING

---into a microphone. We PULL BACK, revealing we’re at a--

INT - MUSIC CLUB - NIGHT

The kind of smoky dive. Some of the audience members are

wearing Halloween masks and/or costumes.

On stage, several beats away from the big time, a hungry,

hard-working rock band.

Ladies and gentlemen, meet Dead Quiet:

On guitar and lead vocals...JOSEPH "MAC" MACDONALD, 24.

Charismatic, driven. With a dark side. The leader.

On bass guitar...SUZIE, 24. Hot, punky. A sex-bomb,

primed to detonate at any moment..

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

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

At the moment, Mac is singing his heart out, sharing the

mike with SUZIE, drawing on her sexual energy.

Meanwhile, Keith keeps glancing over at the side of the

STAGE, as if waiting for someone to appear. Looks as if

there’s a band member missing.

Keith shouts over to Mac.

KEITH

Where is he?

Mac steps back and shouts over the music to CARL (20),

the band’s all-round gopher and roadie--

MAC

Carl! Where’s Rod?

Carl doesn’t hear. He’s too busy gazing at the flip-screen

monitor of a small HAND-HELD DIGITAL VIDEO CAMERA. He’s

close up on Suzie.

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

music -

MAC (CONT’D)

Carl!

Carl snaps to attention. Sees the empty mike stand.

13.

As the band continues playing, we FOLLOW CARL, still armed

with his CAMCORDER, into --

INT - BACKSTAGE HALLWAY

Carl stops in front of a closed DOOR. He knocks

tentatively.

CARL

Uh....Hello?

VOICE FROM INSIDE

Fuck off!

CARL instantly recognizes the voice. He hesitates, and

then knocks again --

CARL

Rod? You’re missing your cue!

MAN’S VOICE

No man! I’m right on it!

INT. BACKSTAGE ROOM

CLOSE ON ROD RYDER, 26, the band’s cocksure, devil-may-care

lead guitarist. Talented. And doesn’t care who knows it.

At the moment, he’s slouching in a chair with his shirt

unbuttoned. CANDY, a foxy babe with a passion for new age

philosophy and musicians -- is sitting on his lap, her

tongue down his throat.

BACK TO:

INT BACKSTAGE HALLWAY

CARL can hear MOANING coming from inside. He grins.

Stealthily, he stands on tiptoe and reaches out as high

he can, aiming the camcorder through the clear pane of

GLASS at the top of the door.

He looks up at the angled flip-screen, hoping to catch a

glimpse of the action. But all he sees is a flashing

"BATTERY" icon on the screen. Then nothing. Damn!

CARL

Rod!

CANDY

He’s coming!

CARL sighs, pointing the rapidly-dying camcorder at

himself --

14.

CARL

Note to self: remember to

recharge battery.

INT - MUSIC CLUB - NIGHT

The BAND continues to play, doing the best they can. An

unimpressed audience member hurls a BEER-BOTTLE at the

stage.

It just misses Keith’s head. Keith is furious, ready to

explode. He gets up from his seat, fists clenched around

his

drumsticks. Mac gives him a look - "stay cool." He backs

down.

BACK TO:

INT BACKSTAGE ROOM - NIGHT

ROD and CANDY have finished. Candy has progressed from half

undressed, to half-dressed. Rod’s in no real hurry to get

on

stage. He checks his hair in the mirror, and deftly

buttons up his shirt. Then he looks around --

ROD

Where’s my axe?

Candy straps his Fender Stratocaster guitar around his neck.

She gazes adoringly at him --

CANDY

Kill ’em, baby.

ROD

They’re as good as dead.

INT MUSIC CLUB - MOMENTS LATER

As Mac and the band head for the SONG’S crescendo, ROD

walks

a tad unsteadily on stage. Perfect timing. He announces his

presence with a blistering guitar break.

The AUDIENCE perk up a little. Some cheers, some whistles.

The band members glare at Rod.

15.

INT - DRESSING ROOM - LATER

It’s after the set. The door bursts open -- the band are

tired and sweaty.

KEITH

Motherfucking soundman! I

couldn’t hear myself sing!

IAN

(teasing)

I could. You sucked.

KEITH

Hey. Fuck you.

IAN

Where’s Jack? Anybody seen

Jack?

CARL is there too, eye glued to his CAMCORDER, panning

across

the band-members. Suzie whips off her sweaty top. Carl’s

eyes

widen as he zooms in on her naked breasts.

She catches sight of CARL, and hurls her top at him --

SUZIE

Pervert!

Carl ducks. Suzie puts on a fresh top --

SUZIE (CONT’D)

Jesus. What a bunch of

useless zombies.

KEITH

Who? Us?!

SUZIE

(grinning)

The audience!

IAN

(distracted)

Jack! There you are, buddy!

We see IAN grabbing a half-full bottle of liquor from a

mess of items on a table. JACK DANIELS. He swigs. Keith

holds out his hand for some.

KEITH

(enthusiastic)

My man!

16.

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

KEITH (CONT’D)

(dryly)

My man.

ROD strides in.

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

at him.

ROD

Hey, guys. Good gig.

SUZIE walks over to Rod face to face --

SUZIE

Yeah. Great work, Rod. But

next time, it would be nice

....if you could JOIN US

FOR THE ENTIRE SET!

ROD

I was getting ’warmed’ up.

Rod smiles slyly at Candy. SUZIE’S had enough.

SUZIE

Who do you think we are,

dude? Your back up band??!!

CANDY jumps in, defiantly to Suzie --

CANDY

Get off his case sweetie.

SUZIE

(to Candy)

Where’d you come from?

Groupies R Us?

CANDY

Fuck you.

SUZIE

Fuck me? Fuck YOU!!

Rod grins, enjoying the attention, when---

SKREEEEEEEEECH!!! --- The sound of GUITAR FEEDBACK, like

nails on a blackboard.

MAC, electric GUITAR in hand. The guitar is plugged into a

small but powerful practice amp. He’s certainly got their

attention.

17.

MAC

Time for a little..

"feedback" guys. That guy

from Hectic Records --

SUZIE

Yeah?

MAC

--picked tonight to come by

and watch our set.

KEITH

Shit!

MAC

Relax. He liked what he

saw. Well, some of it.

Enough to give us a showcase

audition. One week from

today.

KEITH

Yes!

MAC

Which means we’ve got ONE

week to start acting like a

professional band.

ROD

Hey. Anyone here need

lessons, just talk to me.

SUZIE

Yeah, I’ll teach you a

lesson --

Suzie grabs Rod by the shirt and crotch and shoves him

against the wall.

CANDY tries to grab SUZIE by the hair. SUZIE holds her

away at arms length, whilst pinning ROD to the wall. It’s

an action Lara Croft would be proud of. SUZIE’S not a

girl to mess with. Rod’s enjoying this.

CARL begins shooting away on his camcorder. Mac tries to

stop the ruckus.

MAC

OK. OK!

CANDY is furious at ROD’S laid back attitude.

CANDY

Bitch.

18.

ROD

It’s OK baby.

And then----they all become aware of a new presence.

A STRANGER is standing in the doorway. Unshaven, dressed

in farm clothes and black boots. Out of place in the city.

KEITH

(aside; to Mac)

...That’s not.. the record

guy, is it?

Mac shakes his head "no", not taking his eyes off the

stranger. Then--

STRANGER

Joseph Macdonald?

Mac looks him in the eye--

STRANGER (CONT’D)

Your aunt Edith’s dead.

Beat. A slight reaction from Mac. The stranger fumbles

in his pocket, pulling out a letter. He offers it to Mac.

STRANGER (CONT’D)

It’s from your father.

Mac hesitates. Then he takes the letter, glances at

it...then crumples it. The Stranger smiles

slightly,almost as if he expected it. And then--

STRANGER (CONT’D)

He also asked me..to give

you this.

The Stranger puts something else in Mac’s hand. It’s a

small HAND-CARVED WOODEN FIGURE of a Scarecrow... damaged

at the

base. Old...worn. Mac seems entranced by it.

STRANGER (CONT’D)

Funeral’s tomorrow

afternoon. At the farm.

As the Stranger smiles slightly, exits just as quickly as

he appeared.

Beat.

KEITH

Farm? ..What farm?

CUT TO:

19.

EXT - COUNTRY ROAD - DAY

An old, beat-up SCHOOL BUS, with the name "Dead Quiet"

emblazoned across it, traveling down a dusty road. Equipment

and luggage fastened on top. Pinioned to the back of the

bus, a rough-and-ready-looking OFF-ROAD MOTORBIKE.

INT - BUS - CONTINUOUS

CARL is driving, looking a little lost as he veers his way

over the rough and tumble country road. He holds the

letter with directions to the farm Mac ripped up, now taped

together.

Mac is sitting alone. Pensive. He holds the small wooden

figure.

ROD & CANDY, who’s come along for the ride -- sit next to

Keith and Ian. Candy has her eyes closed, meditating.

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

KEITH

Okay. My main man. Marvin

Gaye.

IAN

Easy. Gunshot. Patricide.

Next.

ROD

Curt Cobain.

IAN

Shotgun. Suicide. Next?

KEITH

Wait a second. Did you say

"patricide?"

IAN

Yeah. Marvin’s old man

gunned him down.

KEITH

That’s not patricide.

Patricide is when you gun

down your old man.

IAN

All right. "Fratricide".

Minor technical detail.

20.

KEITH

Wrong. Fratricide is when

you gun down your brother.

You’re out. My turn.

IAN

Fine. Be that way. Jim

Morison.

KEITH

Died in the bathtub...if,

in fact, he’s really dead.

Next.

ROD

Mama Cass.

CANDY

Who’s Mama Cass?

They all stare at her.

ROD

One of the Mamas from the

Mamas and the Papas.

Candy looks blank.

KEITH

Asphyxiation. Choked to

death on a hamsandwich. Next.

ROD

(triumphant; makes

quiz show buzzer sound)

Buzzzzzzzzzz. Sorry, wrong

answer!

KEITH

Chicken sandwich?

ROD

(loudly)

Bzzzzzzzzzt!

KEITH

Fuck you! Who cares what

sandwich the bitch was eating?

Suzie looks at Mac, sitting a few rows behind them. She

turns to the others--

SUZIE

Hey. Could you be a little

more insensitive? We’re on

our way to a funeral for

Crissake.

21.

KEITH

Yeah. Our own. I don’t see

why we got to go along for

the ride.

IAN

Come on, dude. A day on a

farm isn’t going to kill you.

MAC

...Heart attack.

Everyone looks at him.

MAC (CONT’D)

Mama Cass died of a heart

attack. The ham sandwich

is just an urban legend.

CANDY

(to Rod)

Who’s the Mamas and the Papas?

EXT - FARM LAND ROAD- DAY

The BUS cruises along, getting deeper into farmland

territory.

INT. BUS - DAY

Suzie sits down next to Mac.

SUZIE

You never told us you grew

up on a farm.

MAC

Nothing to tell.

Suzie stares at him, not giving up.

MAC (CONT’D)

..My parents separated when

I was just a kid. I chose

my mother. My father chose

the farm. Haven’t been back

since. I’ve maybe talked

to him twice in twelve years.

Off Suzie’s look--

MAC (CONT’D)

My father and I don’t

exactly see eye to eye.

SUZIE

About what?

22.

MAC

Name something.

SUZIE

Then why go back now?

MAC

Still trying to figure it

out myself.

Beat. Mac glances down at the wooden figure in his hand.

ON IAN AND KEITH

Ian accidentally steps on Keith’s sneakers.

IAN

New "shoes," Keith?

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

of-

KEITH

Nike specials. Two hundred

bucks.

IAN

Two hundred bucks?? Are you

crazy?

Keith meticulously begins wiping them off with newspaper--

KEITH

Hey. Never criticize a man

’till you’ve walked a mile

in his shoes. Then you can

criticize...’cause you’ll

be a mile away...and you’ll

have his shoes.

They laugh--

KEITH (CONT’D)

Speaking of which--yo, CARL!

Are we THERE yet?!

CARL

(driving; to himself)

Like I know. Hey, Mac! Any

of this look familiar??

MAC

Try taking a left after the

next cow pasture.

23.

KEITH

(mutters, to Ian)

Yeah. That sounds good.

"Hang a left at the first

cow patty, then make a right

when you see porky pig".

Mac grins slightly, looks out the window, to see--

EXT -SIDE OF THE ROAD

An OLD WOMAN, standing at a rundown STALL, outside a modest

FARM HOUSE. Some corn dolls, pumpkins, and dry husks of

maize are hanging up on display.

Next to her stands a short farmhand, her brother.

MAC catches her gaze.

There’s something intense and very unsettling about the way

her eyes lock on to his.

CUT TO:

EXT - FARM LAND - LATER

WIDE on a large FIELD as the bus passes by.

A BURNING stack of diseased crops. Smoke and flames

crackling, rising to the sky.

The bus continues, past--

A long shot of a SCARECROW, distant and alone in a field.

And then -- the BUS rises over a small hill....revealing an

old wooden sign we’ve seen before -- "No Trespassing - J.

Macdonald".

INT. BUS

ON MAC.

...He’s finally come "home".

EXT. FARM PROPERTY -DAY

Getting closer, the BUS passes a scraggly menagerie of

FARMYARD ANIMALS. Cows, horses, goats, chickens.

Finally, it pulls up to a cluster of SHEDS and COOPS and

farm BUILDINGS. Mac’s eye finally settles on -- THE OLD

BARN

24.

There’s something strangely compelling about

it...something that seems to strike a chord deep inside

his memory.

This is MACDONALD’S FARM. Maybe this was a prosperous

farm once. But once was a long time ago.

The BUS pulls up and stops in the yard between the

farmhouse and barn. The DOORS whoosh open--

INT - BUS

KEITH and IAN exchange a somewhat nervous glance as they

gaze

out the window.

As the band get their things, moving to get off the bus,

KEITH pulls down a duffle bag and draws out a pearl handed

38. SPECIAL. Suzie notices the gun.

SUZIE

You know what they say about

men who need big guns...

KEITH

Hey. Some Klu Klux Klan

homeboy gets in my face, he

gonna have a few extra holes

in his bedsheet.

SUZIE

(teasing)

Down boy.

KEITH

Who you callin’ "boy?"

Smirking, Keith moves down the aisle. As Suzie and Candy

wait to exit the bus, they shoot daggers at each other.

CANDY

(low)

Bitch.

SUZIE

(low)

Slut.

CANDY

Witch.

SUZIE

Tramp.

Rod grins, enjoying himself.

25.

ROD

After you....ladies.

EXT. - BUS - DAY

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

the

dilapidated farm.

Candy suddenly seems concerned --

CANDY

Rod. Check out my chakras.

Rod, puzzled, stares at her body.

Candy fingers the crystals around her neck.

CANDY (CONT’D)

They’ve gone darker. Bad

vibes.

Suzie, nearby rolls her eyes.

CARL

...shoots the area with his CAMCORDER.

CARL

Note to self: Farming not

a career option.

Beat. Carl sneezes. The others look at him.

CARL (CONT’D)

..Hay fever.

IAN

Man, you came to the wronnng

place.

MAC

Be right back. Try to stay

out of trouble.

Mac moves off -- as Keith looks around.

KEITH

Yeah. Maybe I can pick a

little cotton for da masta.

SUZIE

You got something against

farm people, Keith?

26.

KEITH

Not at all. They lynched my

ancestors, they smell like

manure, they have sex with

their relatives... and they

all have two first names:

"Bobby-Joe"--

IAN

(joining in, smiling)

"Peggy-Sue"---

KEITH

---"Billy-Jean"--

Mac walks up to the barn. He seems strangely hesitant.

Slowly, he reaches out his hand. Then he freezes --

As he notices a BLOODY HANDPRINT on the door.

We recognize it as the handprint of the girl who was

murdered

last night.

Just then, the BARN DOOR creaks open, revealing...

THE STRANGER that everyone recognizes as the one who

delivered the note backstage. Only now he’s wearing a

blood

stained apron, black farm boots and in his left hand....a

KNIFE...dripping with blood.

The Stranger holds up the knife--grins--

STRANGER

Takes ’em a full thirty

seconds to realize they

ain’t got a head.

Everyone stares--

BILLY BOB

Chickens! Glad you could

make it. --Name’s Billy Bob.

Keith gives an "I told you so" look.

Mac shakes hands --then looks at his palm. There’s CHICKEN

BLOOD all over his hand. Billy Bob grins. He wipes the

excess blood on his apron.

27.

BILLY BOB (CONT’D)

Your pa’s waiting for you

up at the house.

MAC

How’d he know I’d come?

Billy Bob just grins enigmatically.

As Mac heads toward the FARM HOUSE --

BILLY BOB

Sorry ’bout your aunt.

Billy Bob picks a chicken up by its feet, getting the

knife ready, about to go back into the barn--

KEITH

Great.

Billy Bob hears and turns to him.

BILLY BOB

I’d watch your step if I

were you, son.

KEITH

Oh yeah? Why’s that?

BILLY BOB

You’re standing in horseshit.

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

alright.

KEITH

Damn! These are one hundred

dollar Nikes!

IAN

I thought you said two

hundred.

Billy Bob grins. Spits a globule of black tobacco right

next

to Keith’s shoes.

EXT -FARM HOUSE (FRONT ENTRANCE) - MOMENTS LATER

MAC stops, eyeing the house. It sighs and creaks with a

life of its own. As he opens the screen door to go inside--

INT - LIVING ROOM - CONTINUOUS

Mac glances around. Shades pulled down, dark and musty

furniture. Stuffed animal heads on the walls. A

spiderweb in the corner.

28.

EXT. FARM - SAME TIME

Rod is picking at his guitar as Candy looks on admiringly.

SUZIE is unpacking some bags off the bus rack, unaware

that CARL is shooting her ass with his CAMCORDER.

IAN snaps off his cellphone, pissed.

IAN

Perfect. No signal.

IAN peers over Carl’s shoulder, sees Suzie’s ass on the

screen.

IAN (CONT’D)

That got a zoom lense?

CARL

Brace yourself.

As he "zooms" in on Suzie’s buns--

SUZIE

Will you guys quit jerking

off and give me a hand here!

As they grin and help her unload the bus, Ian unloads a box

full of Jack Daniels bottles---

IAN

Hiya Jack.

INT. FARM LIVING ROOM - SAME TIME

Mac is wandering around the room, uneasy.

Suddenly, he hears a flapping noise. It seems to be

coming from behind a closed door.

MAC

...Jeremiah?

Mac pushes open the door to--

INT - A DIMLY-LIT SPARE ROOM - CONTINUOUS

CLOSE ON MAC

As he walks into the dark, smaller room, he looks to his

right to see--

A SHUTTER...flapping slightly from the wind. That’s all.

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

29.

MAC

Daaa!

He almost falls over his AUNT. Dead, laid out "in state"

on

a long, OAK TABLE, candles all around her.

VOICE (O.C)

Hold it right there. Turn

around slowly.

MAC slowly turns to see---

-- his father, JEREMIAH MACDONALD, late sixties, weathered

but strong, a man who’s spent his life working hard on a

farm. He’s wearing work clothes - overalls, and yes,

black farm boots. With a crazed look in his eye, he’s

pointing a shotgun straight at Mac.

MAC

What are you going to do?

Shoot me?

JEREMIAH

Depends. You got some nerve

intruding on a man’s grief.

I bet I could pull this

trigger right now and call

it justifiable homicide.

Now: who are you?

MAC

You know who I am. You

invited me.

CLICK CLACK! Jeremiah pumps the shotgun, chambering a

round. Mac’s unsettled. Perhaps Jeremiah’s gone over the

deep end--

MAC (CONT’D)

I’m your son. And Laureen’s

son.

JEREMIAH

Ain’t nobody mentioned that

name on this farm for 14

years. My boy was taken

from me... far as I’m

concerned, he’s dead. Now,

I ain’t gonna ask you

again. -- Who are you?!

MAC

Joseph Macdonald... Your son.

30.

JEREMIAH

Joseph Macdonald. Damn

right, boy. And don’t you

forget it.

Jeremiah lowers the shotgun, grins--

JEREMIAH (CONT’D)

I’m just yankin’ your chain!

It seems Jeremiah has an offbeat sense of humor.

JEREMIAH (CONT’D)

Come here...I ain’t gonna

bite.

MAC approaches cautiously. Jeremiah grabs Mac, hugging

him--

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

JEREMIAH (CONT’D)

Look at you! You’re a dead

ringer for your grandpa,

God rest his soul. If he

could only see you now.

Mac looks at Edith. A wave of remorse washes over him.

MAC

I came back for the funeral.

That’s all.

JEREMIAH

Broke her heart you never

visited. ..But I always

said you’d come back.

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

MAC

I’ll be gone again tomorrow.

JEREMIAH

..Guess it was her time to

go. You can’t argue...when

the good Lord calls you home.

There’s an awkward beat --

MAC

How...was she "called?"

JEREMIAH

Pardon?

MAC

Aunt Edith. How did she...die?

31.

Jeremiah puts a PIPE in his mouth, lights it.

JEREMIAH

"Natural causes."

CUT TO:

EXT - MACDONALD GRAVEYARD - AFTERNOON

We’re in a small family graveyard on a HILL by the

farmhouse, where Macdonalds have been buried for centuries.

A PREACHER stands nearby, conducting the service for

Edith. He stands between Billy Bob and Jeremiah.

Two three LOCALS from the village have also come to pay

their respects. A few feet away are the rest of the band,

standing

awkwardly.

They’d rather be somewhere else.

Mac stands beside Suzie. She gently squeezes his hand.

ON THE PREACHER

PREACHER

..and we ask you to bestow

your blessing on this

worthless band of sinners.

And so....ashes to

ashes...dust to dust..

KEITH

(making a rhyme

sotto voce)

--Let’s hurry up and get

back on the bus.

PREACHER

We are here to honor the

memory of Edith

Macdonald...and deliver her

to her eternal rest.

ON JEREMIAH. Head bowed, reverent, dressed in a sombre

black suit.

MAC watches him.

CARL surreptitiously opens the flip-screen of his

camcorder to shoot the funeral.

KEITH

(quietly, to Ian)

Shit, when I die, hope

there’s a bigger turn-out.

32.

PREACHER

To everything there is a

season, a time to be born -

a time to die. A time to

kill...and a time to heal...

As the Preacher talks, Mac suddenly sees--

---a WOMAN, dressed in black, with a veil over her face.

Odd. He didn’t notice her before.

The Woman moves closer to Mac....closer...she removes the

veil. A mixture of terror and fury--

PREACHER (CONT’D)

--a time to keep silent,

and a time to speak--

The woman looks Mac directly in the eye.

WOMAN

The devil has returned.

Mac recognizes the Old Woman (JESSE) from the lonely farm

stall on the side of the road.

MAC

I...pardon...?

JESSE

You look just like him.

Like Jethro.

JEREMIAH

(hard; to the woman)

You’re not welcome here,

Jesse.

JESSE

I came to pay my respects.

(beat)

And to warn you.

JEREMIAH

I want you off my land. --

Keep reading, Reverend.

PREACHER

(clears his

throat; trying to continue)

Er...a time to love...a time

to ..hate--

33.

OLD WOMAN

(to Jeremiah)

It’s started again, hasn’t

it? The harvest of blood. I

know. I can feel it. Your

father’s legacy of evil--

JEREMIAH

--My daddy’s dead. You and

the others saw to that.

OLD WOMAN

Yes. And burning in hell!

And you’re going to join

him--wait and see!

PREACHER

Uh, a time to embrace..and

a time to refrain from

embracing....

JEREMIAH

Get out of here. Or so help

me--

Something snaps in Jeremiah’s head. He picks up a shovel,

raising it as a weapon--

PREACHER

A time to--holy shit!!

Jeremiah--NO!!

Mac grabs Jeremiah, struggling to keep the shovel away

from Jesse’s head. Candy screams.

CARL seizes the moment, taping the action with his

camcorder.

JESSE stands her ground. Looks coldly at Mac.

JESSE

(to Mac)

The sins of the fathers

shall be visited upon their

children’s children. And

the sword shall be made

drunk with their blood.

She spits on the ground, walking away.

Mac releases his hold on Jeremiah.

KEITH

(low)

Damn. White folks usually

chill at funerals.

34.

PREACHER

(quickly)

Uh, I commit Edith Macdonald

to the blessed soil of the

land she knew and cherished.

Amen.

OTHERS

Amen.

The PREACHER nods to Billy Bob, who gently takes the

shovel from Mac. He spits on his palms, rubs them together.

As the first pile of dirt hits the coffin--

EXT - FARM (NEAR THE GRAVESIDE) - LATER

The funeral’s over. As the others walk down the hill,

Jeremiah is shaking hands with the PREACHER --

JEREMIAH

Sorry about the shovel,

Eugene. Guess I got a

little carried away.

PREACHER

The lord forgives your sins

Jeremiah. Can’t say the same

about the law.

As he says this, the Preacher gets in his car---which we

now see is a SHERIFF’S SQUAD CAR. He yanks off his

clerical collar, as if it’s been strangling him, puts down

his bible.

He reaches on the seat and just as swiftly puts a

SHERIFF’S HAT on his head. He eyes the other band members.

PREACHER (CONT’D)

Keep an eye on your guests.

We don’t want no pot smoking

musicians spoiling things

around here.

JEREMIAH

Don’t worry. S’all under

control. Workin’ on any big

cases?

PREACHER

Nah. Things are dead quiet.

As the sheriff’s car pulls out, Jeremiah watches -- his

eyes are now on the BARN some distance away.

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

slightly.

35.

INT. BARN - AFTERNOON

The BARN DOOR CREAKS open.

Exploring, MAC enters the barn by himself. It’s a big, run

down structure that has seen better harvests.

Hanging up is an impressive array of scythes, axes, hoes,

and sickles. Simple, functional FARM IMPLEMENTS - but the

light gives their blades a sudden edge of menace.

The afternoon sunlight filters through the wooden slats,

hitting a pile of straw, dust rising up from it.

Then.....MAC notices something --

SOMEBODY’S LEGS.

-- clad in dirty jeans, old shoes...stretched out and

partly hidden behind a barn STALL. Someone’s sitting

there, quietly biding their time.

MAC moves closer.

And closer. Until he sees --

A raggedy old SCARECROW, propped up against the stall.

Harmless.

Mac bends over to check it out ... unaware that there’s

somebody else in the barn with him.

A SCYTHE

--hanging on the wall is removed from its place.

MAC

--is still looking at the old scarecrow, when--

WHOOSH! -- The deadly blade comes sweeping down, slicing

the air near him. Mac spins around to see--

IAN, scythe in hand, stoned, doing "Kung Fu" moves.

IAN

Hey dude -- don’t fear the

reaper!

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

IAN (CONT’D)

So. When’s dinner?

36.

EXT. -CORNFIELD -MAGIC HOUR

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

sinking.

INT -BATHROOM -NIGHT

CANDY’s going to take a shower. She looks around the

bathroom. Something creepy about it. She takes off her

robe, turns on the shower. Gets under the water.

It feels good.

ON THE DOORKNOB

It starts to turn. Slowly at first. Then the knob TWISTS

back and forth, violently.

CUT TO:

INT. HALL WAY -SAME TIME

It’s Suzie twisting the knob. It’s locked. Suzie wears

nothing but a towel, impatient to shower. She bangs on

the door.

SUZIE

Hey! Don’t use all the hot

water!

INT. BATHROOM

CANDY

Keep your shirt on! I’m

almost done!

INT. HALL WAY

SUZIE

(under her breath)

Bitch.

INT. BATHROOM

CANDY

Bitch.

INT. HALL WAY

Suddenly, from behind Suzie, two HANDS grab her. Suzie

spins

around.

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

37.

MAC

Ten thirty. My room.

Clothing optional.

Suzie smiles meaningfully.

SUZIE

What about Jeremiah?

MAC

Nah. Just you.

As they kiss---

Suddenly, we hear a terrible SCREAM from inside the

bathroom and--

Mac twists the door handle, still locked and--

it’s an old door, so he easily forces it open and they

rush in to the bathroom, and--

INT BATHROOM-CONTINUOUS

--Mac throws aside the shower curtain, and--

--Candy’s standing there, naked, terrified. Shaking, she

points--

CANDY

Look.

There’s a medium-sized SPIDER high up on the wall.

Mac and Suzie stand there, incredulous.

Rod, Ian and Carl rush into the bathroom--

ROD

What is it?!!

SUZIE

(pissed)

Spider.

Beat. As all the men stare--

CARL

(enjoying the view)

I’ll get it.

INT. DINING ROOM - NIGHT

ON A PLATE OF WHOLE COOKED CHICKENS and MEAT...the result

of Billy Bob’s handiwork.

JEREMIAH and Billy Bob are eating heartily without a care

in the world.

38.

Mac and the others watch them.

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

-- and chokes--

JEREMIAH

Best corn liquor in the

county. Make it myself.

Edith used to say: the two

hardest things to

swallow...are pride and

moonshine.

CANDY

I can think of a third.

Carl and Billy Bob chuckle.

IAN

(takes another sip)

How’d...you...make it,

exactly?

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

JEREMIAH

Well, I could tell you...but

then, I’d have to cut your

throat and gut you like a pig.

Silence.

Jeremiah laughs. The others look at each other, smiling

tentatively--

JEREMIAH (CONT’D)

Just yanking your chain!

Old family secret.

He looks across at Mac --

JEREMIAH (CONT’D)

Some things are better left

that way. Right, son?

Mac ignores this. There’s an awkward silence.

SUZIE

Uh...thanks for dinner. It

was delicious.

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

Jeremiah looks wistful.

JEREMIAH

Chicken. Used to be Edith’s

favorite.

39.

Beat. Jeremiah chokes up, suddenly remorseful.

BILLY BOB

(raises his glass)

To...Edith. May she rest

in peace.

JEREMIAH

To...Edith.

Everyone... drinks. Suzie wants to leave.

SUZIE

Okay. Well--

Jeremiah raises his glass again --

JEREMIAH

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

Everyone settles back in again--

JEREMIAH (CONT’D)

...The last of the

Macdonalds. Who’sfinally

been called back home.

Jeremiah and Mac lock eyes.

JEREMIAH (CONT’D)

Even if it is... for one day.

Everyone drinks. But it’s not over yet.

JEREMIAH (CONT’D)

And to....

CANDY

The farm?

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

JEREMIAH

(raises his glass)

Good idea, little lady.

"The farm."

IAN

To "Old Macdonald’s farm" --

KEITH

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

CRASH!!

The GLASS suddenly SHATTERS in Jeremiah’s hand.

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

40.

notice.

SUZIE

Your hand is bleeding.

JEREMIAH

...Excuse me.

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

KEITH

Damn. Whassup with that?

No one speaks at first.

BILLY BOB

You just reminded him...of

Jethro.

SUZIE

Who’s Jethro?

No one answers.

SUZIE (CONT’D)

Who’s Jethro?

BILLY BOB

Jethro Macdonald.

MAC

...My grandfather.

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

BILLY BOB

’Scared most people in this

county halfto death. The

kids used to call him...

"Crazy Old Macdonald".

They’d sing that old nursery

rhyme...

CANDY

(glancing uneasily

over her shoulder)

He’s not...still around...is

he?

BILLY BOB

Died about fourteen years

ago in a fire. Knocked

...over a kerosene lamp in

the barn. Burnt to death ...

SUZIE

Jesus.

41.

IAN

What was it about him

that...scared people?

BILLY BOB

Why don’t you ask Mac? --

It’s his granddaddy.

All eyes on MAC.

MAC

I don’t remember...

A beat --

ROD

(flippant)

What was he...some kind of

axe murderer?

JEREMIAH (O.S.)

Why don’t you ask him

yourself?

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

bandaged.

JEREMIAH (CONT’D)

He’s sitting right behind

you. --On the mantle.

Everyone turns around.

A decorative cremation URN is indeed sitting on the mantle.

Jeremiah picks it up. He holds the urn tenderly in his

hands-

JEREMIAH (CONT’D)

My daddy was a man of

vision. People always fear

what they don’t understand.

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

JEREMIAH (CONT’D)

He lived for this land. And

he died for it. Rest in

peace, daddy.

Slowly, Jeremiah lifts the lid off the urn. No one wants

to

look inside. Finally, Carl leans over, and--

SNEEZES..scattering ashes!

42.

CARL

Sorry.

An awkward beat. Then

Jeremiah laughs, slaps Carl on the back --

JEREMIAH

I’m just yankin’ your chain!

It’s an ashtray. --Jethro’s

buried right there across

the field with the rest of

the family. ...Cigar?

Jeremiah pulls out a handful of cigars offering them to

everyone, as we--

EXT. FARMHOUSE -NIGHT

Things are...well, dead quiet. Except for an electric

BUG ZAPPER. Purple, glowing. We hear a "ZAP" as several

bugs meet their maker. We can hear CRICKETS in the

darkness.

INT -LIVING ROOM -NIGHT -LATER

Keith, sitting on the COUCH, wearing only his underwear,

removing his expensive Nikes.

Then he lies down, covers himself with a thin farm blanket,

and tries to get comfortable --

KEITH

(muttering to himself)

Yeah. Sure. Put the black

man on the couch...

INT - MAC’S BEDROOM - NIGHT

It used to be his grandfather’s room. There are old

family photos on the wall. Creepy.

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

BARN

in the moonlight.

Is that Billy Bob going inside?

The bedroom door opens. It’s Jeremiah. Mac turns away,

looking back out at the barn.

43.

JEREMIAH

That old barn. After the

fire...I rebuilt it nail by

nail. Just the way your

granddaddy would’ve wanted it.

MAC

(not happy)

This is his room...isn’t it?

JEREMIAH

Was. You ain’t afraid of

ghosts, now are you?

MAC

I’ll be fine here.

Jeremiah holds out a bound stack of envelopes.

JEREMIAH

Thought you might want these.

Mac just stares at them.

JEREMIAH (CONT’D)

Just so you know. After your

mother took you away, I

wrote you. She returned

every one of ’em.

Mac makes no move to take them. Instead, Jeremiah places

them on the table.

JEREMIAH (CONT’D)

Well. Then... I’ll leave

you to it.

Jeremiah’s about to exit--

JEREMIAH (CONT’D)

You got it wrong, boy. I’m

not the monster you think.

MAC

Maybe you should tell that

to the old lady you tried

to hit with the shovel.

JEREMIAH

I wouldn’t pay Jesse no mind

at all. She’s just a crazy

old woman. Hasn’t been right

in the head since her

husband passed away.

(beat)

Wasn’t much right before

that, neither.

44.

MAC

She was talking about...a

"harvest of blood"...

Beat.

JEREMIAH

Old slave superstition. You

sprinkle a little blood

mixed with water on the

crops, you get yourself a

good harvest... So they say.

MAC

"Blood?"

Beat.

JEREMIAH

Chicken blood. --

Anyway..don’t you worry

about ol’ Jesse. She won’t

be bothering anyone no more.

INT -LIVING ROOM -NIGHT -LATER

Keith tries to sleep, but doesn’t look comfortable. He

looks up at the shadowed wall next to him. Animal heads,

stuffed

by a taxidermist, stare back at him.

He looks at the urn containing cigars. It’s still on the

mantle.

Jeremiah walks past almost unseen.

A little spooked, Keith removes his .38 SPECIAL, checks

if it’s loaded--

KEITH

Yeah. That’s what I’m

talkin’ about.

He puts it under his pillow.

INT. MAC’S BEDROOM -NIGHT

MAC’s in a restless sleep on top of the bed. The wind has

blown the letters around the room. He wakes suddenly.

Disoriented, he runs his hand on the wall above his head,

feeling the rough texture of stained wallpaper.

From outside there’s the soft strains of tinkling

MUSIC...from a child’s music box...barely discernible over

the wind. But eerie...

45.

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

THE OLD BARN

That’s where the sound is coming from.

As Mac stares...

There’s a soft flicker of light from inside the barn...The

flicker grows stronger...are those flames coming out under

the barn doors?

KNOCK KNOCK.

The flames are gone. Nothing.

SUZIE (O.S.)

Mac?

With a jolt, Mac looks to the door.

He opens the door, a bit shaken. Suzie stands outside, in a

sexy nightgown. Just a whisper of satin and chiffon. Very

Victoria’s Secret.

SUZIE (CONT’D)

It’s ten-thirty. I took the

clothing option.

She gestures at her sheer nightgown.

SUZIE (CONT’D)

Sort of.

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

SUZIE (CONT’D)

Well, are you going to

invite me in? It’s cold out

here!

Mac looks at her breasts---

MAC

I can see that.

She steps inside. Mac shuts the door. Suzie wastes no

time. She locks him in a passionate clinch. They kiss.

But Mac’s not responding.

SUZIE

What’s wrong?

MAC

This...used to be Jethro’s

room. The attic.

46.

SUZIE

So?

MAC

When I was a kid...I was

never allowed up here...

Suzie moves closer--

SUZIE

That turns me on even

more...forbidden fruit

always tastes better.

Especially...the cherry.

Suzie starts kissing Mac. He’s not responding.

SUZIE (CONT’D)

What do you want? His

permission? No problem.

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

SUZIE (CONT’D)

I’m talking to the spirit

of Jethro Macdonald. Is it

okay to have sex in your

old attic with your

grandson? We’ll be careful

of the bed--

MAC

Let it go.

SUZIE

I bet if he were still

alive, he’d like to watch.

She caresses the bedpost--

SUZIE (CONT’D)

Think of it ..as a

threesome. You. Me. And..

"Jethro."

MAC

I said that’s enough!

Mac grabs her roughly, pushing her against the wall.

Suzie stares at him like he’s an alien.

SUZIE

Get a life!

--and goes out the door, SLAMMING it.

47.

INT -BUS -NIGHT

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

Having sex.

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

CARL (O.S.)

Man. That was the weirdest

funeral I’ve ever seen.

We MOVE to the front of the bus. IAN & CARL are chilling,

totally ignoring the Kama Sutra going on in the back.

Ian’s swigging from a bottle of Jack Daniels.

CARL (CONT’D)

He almost brained that old

lady with a shovel.

IAN

Must be a family feud, dude.

You ask me...Mac’s father’s

a few bales short of a

haystack.

CARL

Maybe it runs in the family.

Maybe all farmers go crazy

after a while.

Ian finishes the whiskey, passes the empty bottle to Carl,

who’s disappointed.

IAN

I don’t know. I could get

used to life on a farm.

A cloud of SMOKE blows past Ian.

REVEAL ROD & CANDY, post-coital and now standing right

behind them, naked and wrapped in a blanket. Rod’s

holding a joint.

ROD

Me too.

He grins, passing it to Ian and Carl--

Ian glances out the bus window. Did he just see a figure

pass by?

INT -BARN -NIGHT

CLOSE ON the row of hanging FARM IMPLEMENTS, inside the

barn.

A gloved HAND reaches out -- and selects the SCYTHE, pulling

48.

it off its hook.

We get the feeling it’s not going to be used ....for

harvesting corn tonight.

EXT - SMALL FARMHOUSE - NIGHT

A modest FARM HOUSE in the vicinity of the Macdonald farm.

It belongs to JESSE, the old woman we saw at the funeral.

Jesse’s outside, standing by a bonfire, engaged in a Pagan

ritual of protection.

She throws a STRAW DOLL into the fire. The flames quickly

turn it to ash.

She sprinkles some sort of SPICE on the fire. It FLARES

up wildly, with the force of a photographic flash.

And as it does --

A FIGURE is suddenly visible...standing on the other side

of the bonfire.

The intruder wears a grotesque burlap -stitched mask over

its head. Dressed in farmer’s overalls...and boots that

we’ve seen before. --a hellish human SCARECROW.

-- And in its hand....the long curved blade of a SCYTHE.

The

blade of the Reaper.

JESSE ..starts backing away, her eyes fixed tight on the

SCARECROW, a look of fear and possibly recognition on her

face--

--And she turns and runs. Into the house--

INT SMALL FARMHOUSE (LIVING ROOM)-CONTINUOUS

Breathing sharply, JESSE SLAMS the FRONT DOOR, locking

it and leaning against it. Safe only for a moment, because -

CRASH -- the blade of the SCYTHE rips through the

wood..inches from her face.

JESSE screams. She runs towards the KITCHEN, as the SOUND

of splintering wood rings out and--

INT -KITCHEN

JESSE frantically searches drawers for a weapon. A knife?

49.

INT -LIVING ROOM

THE front WINDOW PANE breaks open -- A hand reaches in to

open the latch. Jesse runs -- the SCARECROW is now inside.

On the walls of the house: Straw dolls, symbols and other

hand-made articles of protection. The SCARECROW slices

at them with the scythe, cutting them to shreds.

Then the Scarecrow stops. Listening...trying to determine

where its prey has gone.

EXT -BACK OF FARMHOUSE -NIGHT

The SCARECROW comes out the back door.

Moonlight. Except for the crickets...and soft clucking of

chickens, it’s quiet.

The Scarecrow looks around. Where did she go?

INT - CHICKEN HOUSE

It’s a long structure with hundreds upon hundreds of

chickens

- a real chicken nightmare.

JESSE crouches inside the structure, terrified, trying

not to make a sound. Through the small SLATS, we can see

the

SCARECROW walking slowly past.

EXT BACK OF FARMHOUSE -CONTINUOUS

The SCARECROW pauses, then starts to head away towards the

cornfield. She’s fooled him!

INT -CHICKEN HOUSE

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

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

EXT -BACK OF FARMHOUSE

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

INT -CHICKEN HOUSE

JESSE cringes, praying she’s still safe.

CRASH! The SCARECROW’s inside --

50.

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

The SCARECROW’S boots trample on EGGS, smashing them. A

chaos of chickens and feathers, trampled eggs and crazy

pecking.

Still crouching,JESSE desperately raises her hands to ward

off the blade --

She screams --

The blade, sticky through the mist of chicken blood and

feathers, slices the air in a shiny arc --

And comes to rest with a sickening thump in Jesse’s chest.

As her blood drains out --The blade swings again, and

again --

EXT - FARM - SUNRISE

The red and orange flare of the rising sun.

INT. BUS -SUNRISE

Candy in Rod’s arms.

In the front, Ian & Carl. All asleep.

COCK A DOODLE DO!

-- a ROOSTER crows.

INT. LIVING ROOM -SUNRISE

KEITH wakes up, opens one eye, hung-over, not happy about

the rooster.

INT -FARM HOUSE PASSAGE- LATER

SUZIE, now dressed, walks down the passage. The ROOSTER

crows again, as Suzie walks into--

INT -LIVING ROOM -CONTINUOUS

KEITH is up, hung-over and standing in his underwear,

aiming his .38 Special through the window. Suzie groans.

SUZIE

It’s a farm, Keith. You’re

not supposed to shoot the

rooster.

KEITH

He started it.

51.

SUZIE

You seen Mac? His bed hasn’t

been slept in.

KEITH

(beat)

What?! You mean ..I slept

on this couch for nothing?!

INT - BARN - MORNING

A figure sprawled on a bed of hay. Head to the side, legs

and arms akimbo. No sign of movement. It’s MAC. The barn

door swings open. Sunlight floods in.

Suzie’s found him,

Still angry from the night before, she kicks his boot.

SUZIE

Hey --

No reaction. She bends over, shakes him--

SUZIE (CONT’D)

Mac!

A groan from the floor. Mac raises his head, instinctively

shields his eyes against the light --

SUZIE (CONT’D)

We’re almost ready. What

the hell are you doing out

here?

MAC

I ...heard something...came

in here last night. Must

have gone to sleep.

He clutches his head in agony. Slowly, he sits up,

brushing some hay from his clothes. His hand is cut.

SUZIE

How’d you get that? Playing

with your pitchfork?

MAC

Picked up one of those

shears. Blade’s razor

sharp. --Where is everyone?

SUZIE

Getting ready.

MAC

Look. You want to talk

about this?

52.

SUZIE

I don’t think so. Keith’s

about to use the rooster

for target practice.

Besides...you didn’t seem

too interested last night.

Mac pulls her down on top of him --

MAC

Strange...I can feel my old

self coming back...

SUZIE

Mmmm - so can I...

A-HEM. Someone clears their throat.

Mac and Suzie look up to see Jeremiah standing in the

doorway. Frustrated, Suzie gets up.

SUZIE (CONT’D)

Morning Jeremiah.

But Jeremiah keeps his eyes leveled on Mac.

JEREMIAH

Mornin’.

A beat. Suzie turns and looks at Mac --

SUZIE

Better get a move on. Or I

won’t be able to guarantee

the safety of the old

Macdonald cock much longer.

Jeremiah raises an eyebrow, as Suzie exits.

JEREMIAH

Women. Can’t live with

’em...can’t shoot ’em.

..Without good reason.

Mac half-smiles.

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

blade.

EXT. FARM - MORNING

Jeremiah sits in an old wooden chair on the porch, whittling

a small piece of wood with a pocket KNIFE.

The BAND MEMBERS are getting ready to leave, getting on

the bus.

53.

KEITH is fastening the dirtbike to the back of the bus.

BILLY BOB

Sure gonna miss you boys.

..Need a hand with that?

Billy Bob grins, spits tobacco a little too near Keith’s

Nikes.

Over near the HOUSE, MAC walks up to Jeremiah, who’s

whittling a piece of wood. Mac pauses, trying to figure

out how to say goodbye.

Jeremiah glances at the cut on Mac’s hand.

Then-

JEREMIAH

You’ll be back.

MAC

I don’t think so.

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

out to

shake it.

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

dust.

JEREMIAH

You’re a Macdonald. It’s

in your blood.

INT -BUS -MORNING

THE BAND MEMBERS

...take their seats.

Candy is already sitting by herself, turning over a deck of

Tarot Cards. As Suzie moves past her--

SUZIE

(dryly)

Let me guess. We’re going

on a "long trip".

CANDY

(turning over a card)

Not according to these.

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

hand, bleeding slightly.

54.

Carl starts the bus. KEITH couldn’t be happier.

KEITH

Hallelujah!

...Civilization...here I come!

SUZIE

(under her breath)

Amen.

THEIR POV: THE FARM

--Through the windows of the bus, receding into the

distance.

Jeremiah just stares.

Billy Bob waves and grins.

In response, looking through the window, KEITH gives him

the finger. Billy Bob smiles, and gives him the finger

back.

MAC, alone in his seat, glances down at the cut on his hand.

CUT TO:

EXT -COUNTRY ROAD -MORNING -MOMENTS LATER

Churning up dust, the BUS thunders down the bumpy country

road, a few miles from the farmhouse. Rock music blaring.

Suddenly, there’s a horrible grinding sound. The bus SWERVES

- and the engine CUTS out. The bus comes to rest in a

thick cloud of dirt.

INT -BUS

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

dice. Just a dead clicking sound.

CANDY

Is it supposed to do that?

The others glare at her.

EXT -COUNTRY ROAD - MORNING -LATER

The broken-down BUS on the side of the road, with its HOOD

up. Sitting in the dirt, hot and bothered, the BAND are

lounging around, waiting for Carl to return with help.

Then, in the distance, almost like a mirage --

A TRACTOR, slowly making its way towards them.

55.

EXT -COUNTRY ROAD - MOMENTS LATER

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

And

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

enjoying the moment.

BILLY BOB

(especially to Keith)

Long time...no see.

EXT -MACDONALD FARM -LATER

The BUS has been towed back to the farm. Suzie and Carl are

looking under the hood. The others are gathered around.

SUZIE

Looks like the alternator.

CARL

Yeah. It’s the alternator

all right.

SUZIE

How would you know? You’re

looking at my tits.

(Beat)

Jesus, Carl. Your job is

to keep us on the road!

CARL

I didn’t do anything---

KEITH

Yeah. That’s just the problem.

MAC

Tell me you checked the bus

before we left, Carl.

BILLY BOB has come out of the house, walks over to them--

BILLY BOB

Just talked to Orwell down

at the garage. Says getting

a new alternator for your

bus is no problem.

KEITH

(pumps his fist)

Alright!

BILLY BOB

Could take a little while,

though.

56.

KEITH

What’s a "little while?"

BILLY BOB

Two.. maybe three days.

Everyone groans.

KEITH

What?!! I can’t fuckin’

believe this!! You mean

we’re stuck in Redneck River

Valley without a ride?

(to Jeremiah)

No offense.

JEREMIAH

None taken. The Lord works

in mysterious ways.

Mac locks eyes with Jeremiah.

CANDY

(whining)

Rod....I have to get back

to my job.

SUZIE

Someone actually ...employs

you?

CANDY

I happen to be a professional.

SUZIE

Which street corner?

They’re about to go at it again --

ROD

(grins)

She’s a Tarot Card Reader

at a shopping mall.

SUZIE

What a surprise. --What

about our audition?

JEREMIAH

If you’re looking to

practice...why don’t you

set up over there.....in

the barn?

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

57.

EXT - BACK OF FARM - LATER

IAN wanders up to KEITH, a bottle in hand. KEITH is

standing

with his .38 in his hand in a firing stance. MAC’s watching.

Irritated with the band’s time wasting.

BLAM!

As KEITH pulls the trigger, we see --

Several TIN CANS, placed on a FENCE as targets.

A TIN CAN goes flying. Keith shoots again.

Suzie walks up behind Keith.

SUZIE

(sarcastic)

Having fun, Keith?

BLAM! KEITH misses again.

KEITH

Damn! You made me miss!

ON BILLY BOB

Leaning against a post nearby, watching. He spits tobacco

into the dust.

BILLY BOB

Want me to move ’em a little

closer for ya?

KEITH turns around --

KEITH

You think you can do better,

"Billy Bob"??

Billy Bob grins. Walks over to Keith, who puts the gun

in his hand. Billy Bob "hefts" it for a second -- and

then in one deft, effortless MOTION --

BANG! BANG! BANG!

Three cans are blasted off the fence post. Billy Bob

grins, pleased with himself. He hands the gun back to

Keith.

58.

BILLY BOB

-- Not bad. Prefer a shotgun

myself. Comes in much more

handy on a farm.

(pause)

’Course, your kind wouldn’t

know too much about that.

Keith bristles.

KEITH

My kind? You mean -- black

people?

Billy Bob grins at him, spits.

BILLY BOB

Musicians.

EXT - BARN - DAY

CARL, the roadie, is unloading the band’s equipment off

the BUS, staggering under the weight.

The others are helping, move stuff to the barn. Candy

picks up a single microphone to carry.

Jeremiah approaches Mac.

JEREMIAH

..As long as you’re

stayin’...mind giving me a

hand?

Jeremiah nods to a TRACTOR nearby.

MAC

Carl!

Mac motions to Carl to help Jeremiah--

JEREMIAH

(to Mac)

Actually, I was talkin’

about you.

A moment as Mac looks at his father, then looks at the band.

Mac pauses, trying to decide.

JEREMIAH (CONT’D)

May as well. They’re having

a good time shooting tin cans.

EXT. FARM -MOMENTS LATER

MAC’s now reluctantly sitting next to Jeremiah on the

TRACTOR. As they head off toward the fields--

59.

MAC’s POV FROM THE MOVING TRACTOR

--passing by the band members, deserting them.

Keith exchanges a "how could he do this?" look with Suzie.

Mac turns away.

EXT. MIDDLE OF FIELD - DAY

JEREMIAH and MAC are hard at work -- trying to remove a

tree

branch that’s poked through the fence. The tractor’s parked

nearby.

JEREMIAH

Feel’s good, doesn’t it.

(pause)

Land. A man’s born on it.

A man’s buried on it. In

between you just got to do

what you can to make a

living. It ain’t easy...

Mac has his shirt off, sweating in the sun.

He reaches down to the pile of tools nearby, picks up a

sharp

AXE, about to swing it.

Jeremiah grabs the axe handle suddenly.

JEREMIAH (CONT’D)

Not that.

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

into the handle.

Jeremiah takes out another axe.--

JEREMIAH (CONT’D)

Try this one...

Mac takes it, and with a sure hand, chops off the branch.

Jeremiah watches proudly.

Even Mac seems a little pleased with himself.

JEREMIAH (CONT’D)

Just what I said this farm

needs. A little new blood.

60.

EXT -BACK OF FARMHOUSE -AFTERNOON

It’s getting late. Mac hasn’t returned yet. Keith comes

out and the others come out of the barn.

KEITH

Guess Mac’s still off on

the "hayride".

Pissed-off, Keith spies the lone SCARECROW in the field.

He takes careful aim--

BLAM!

THE SCARECROW is hit, slumps over on its post.

EXT. -BARN -MAGIC HOUR -LATER

Finally returning from the field, Jeremiah stops the tractor

by the barn. Mac looks at Jeremiah, the beginning of a

strange bond forming between them.

Mac pushes open the barn door.

INT. BARN

The band’s equipment is all set up. But the band are

nowhere to be seen. Mac’s missed the practice.

Leaving Mac alone, Jeremiah drives the tractor toward the

back of the house--

A SCARECROW

...starting to stand up in the sun. We PULL BACK,

REVEALING--

EXT. FIELD -MORNING

JEREMIAH is in the cornfield, FIXING the Scarecrow that

Keith shot. He hoists it up, affixing to a pole.

He looks over his shoulder, hearing, LOUD ROCK MUSIC,

coming from...THE BARN.

INT. BARN - DAY

The BAND....are attempting to play an upbeat rock number.

Billy Bob and Candy are their "audience".

Mac is playing rhythm guitar, but he seems to have

something else on his mind. Suzie looks across at him,

perturbed. Then something else distracts her. She holds

up her hand, stops the music --

61.

SUZIE

Hold it, hold it. Aren’t

you forgetting something, Rod?

ROD

Like what?

SUZIE

Like your guitar break.

ROD

It’s coming right up. After

the third verse.

SUZIE

Second verse!

ROD

Jeez, what’s the difference?

Just ’cause it’s rock ’n

roll, doesn’t mean it’s be

set in stone.

Suzie looks at Mac. He looks pale.

KEITH

You wanna know the

difference? The difference

is that you’re screwing up

the song.

ROD

Yeah. Sure. I’m screwing up

the song. You’re the one

who’s been two beats behind

since we kicked it off.

Mac isn’t paying attention.

MAC’S ...sweating, staring transfixed.

KEITH

What the fuck you talking

about, man?

SUZIE

He’s right. You were behind.

But Suzie’s distracted, watching Mac carefully. Max plugs

his lead into one of the mixing consoles. Blood gushes

down

the perspex channels...

62.

KEITH

Bullshit! Next thing you’ll

be telling me, black man

don’t have rhythm!

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

quickly as it appeared.

KEITH (CONT’D)

Yo. "Billy Bob". Was I

two beats behind, or what?

BILLY BOB

(shaking his head)

Nope.

KEITH

See?

BILLY BOB

You were a beat and a

quarter behind.

KEITH

Fuck you! If you’re such an

expert on music, why don’t

you go get your dueling

banjo and sit in on the next

song?

BILLY BOB

I ain’t never played a banjo

in my life.

Billy Bob stands over Keith’s electric organ..plays a

burst of Toccata and Fugue with flawless grace and

precision. He

stops, grinning widely at Keith--

BILLY BOB (CONT’D)

...but I do play some organ

in church on Sundays.

Mac looks at the cut on his hand. It looks worse. He

takes his guitar off. It hits the ground with a SQUELCH

of FEEDBACK.

MAC

(sour)

You guys figure it out. I’m

taking a break.

KEITH

Yeah. Good idea. Go milk

the cows, feed the chickens.

63.

Mac walks out, slamming the barn door. Keith looks at

everyone innocently, especially Suzie.

KEITH (CONT’D)

...What?

EXT. FARMHOUSE - LATE AFTERNOON

Mac examines the small carved figure he received from Billy

Bob at the club. It’s slightly burnt, with the stem

snapped off. He picks at the stem with a small penknife

and looks around and picks up a piece of wood which he

examines and starts to whittle.

Suzie walks up to find Mac. She watches him whittling a

small piece of wood, trying to fit a stem onto the figure.

SUZIE

You wanna tell me what’s

going on?

Mac looks up. He’s preoccupied with the stem and the

damaged figure.

MAC

You wouldn’t understand.

SUZIE

You never had trouble

communicating before.

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

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

SUZIE (CONT’D)

What’s wrong with you?

Look, if you want to bail

on me, that’s fine. But

not the band.

She throws the stem and the figure on the ground.

SUZIE (CONT’D)

Keith’s right. The sooner

we get off this farm...the

better.

Mac watches her. He picks up the figure.

INT. LIVING ROOM -LATE AFTERNOON

ON KEITH’S GUN

--resting on a table. KEITH, in his socks, is taking a

nap on the couch. Suddenly, we hear a loud MOOOOOOOO,

from a cow.

64.

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

missing.

His expensive Nikes are gone. He gets down on his hands

and knees, feeling around under the couch.

Nope. No Nikes.

KEITH

Shit!!

Keith grabs his gun, heading out---

EXT -FARM- LATE AFTERNOON

KEITH walks across the yard, gun in hand, really pissed.

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

KEITH

Ow! Fuck. Ow!!

INT - BARN - LATE AFTERNOON

Suzie, Carl, Rod and Candy are in the barn by their

instruments. They’re listening to a track they recorded

earlier, on their MIXING-DESK.

KEITH bursts in, a volcano about to explode. He has the

.38 tucked in his belt.

KEITH

Did any of you take my Nikes?

They all stare at him blankly.

KEITH (CONT’D)

--That’s what I thought.

Keith removes his gun and takes off. The others look at

one another. This could be trouble.

EXT -BACK OF FARMHOUSE -LATE AFTERNOON

Billy Bob is hoeing the garden by the side of the house.

Suddenly--KEITH comes out of nowhere --

KEITH

Okay, Farm Boy. Joke’s over.

You’ve been playin’ me from

jump street. Where’s my Nikes?

BILLY BOB

Nikes? What-the-hail you

talkin’ about?

Billy Bob spits some tobacco....a little too close to

Keith’s bare feet.

65.

MAC and the OTHERS rush to the scene and freeze.

MAC

Keith!

Keith ignores them, THROWS Billy Bob up against the

fence...and puts his .38 to Billy Bob’s head.

KEITH

Listen to me, you banjodueling,

country ass

hayseed ...I want my Nikes

and I want them now!

BILLY BOB

You...think...I...stole...your...fancy

shoes? I ..wouldn’t.. be

..caught ..dead in ’em.

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

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

trigger-

KEITH

I’m gonna count to three.

One. Two---

And a HAND GRABS KEITH, whipping him around.

KEITH’S POV:

It’s MAC. He punches Keith in the face. Keith takes a

swing

back, pinning Mac against the barn. Mac throws him off

with force.

Keith hits the dust. Blood trickles from his mouth. His

gun goes flying.

Mac picks up the gun...levels it at Keith.

MAC

How does it feel, Keith?

KEITH

Fuck you! Fuck all of you!

I’m done kickin’ it with

cows and roosters. --And

drinking moonshine with

Johnny Cash! Senior AND

Junior!

66.

MAC

Is that right?

KEITH

Yeah, that’s right! I’m

outta here- Y’all can kiss

my city ass goodbye!...I’m

gone with the wind.

Keith pulls the gun out Mac’s hand.

KEITH (CONT’D)

And fuck you too. You’re

just as crazy as all of

’em..."Macdonald."

It’s probably the first time Keith’s ever called Mac by

his last name.

MAC

(ice)

You’re talking about my

family.

Beat.

KEITH

...I don’t even know you

any more, man.

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

JEREMIAH puts his hand on Mac’s shoulder--a father

comforting a son. This doesn’t go unnoticed by Suzie.

As Keith storms off--

EXT -FARM HOUSE - MAGIC HOUR

VRRRRROOOOM. As an old pair of shoes kick start the

DIRTBIKE.

It’s Keith. Steaming mad. He’s packed his things and

he’s leaving.

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

IAN

Well, there goes our record

deal.

ROD

Nah. We still got Billy Bob.

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

snickers.

67.

Keith PEELS OUT on the bike, leaving the bus--and the farm

behind in a cloud of dust.

EXT. FARMLAND ROAD -DUSK

The light of a DIRT-BIKE cutting like a blade through the

growing darkness. The harvest moon overhead.

On the bike, KEITH, speeds furiously away from the farm.

He opens the throttle as the wind whips at his face.

EXT. -FURTHER DOWN THE ROAD -MOMENTS LATER

Keith’s making good time on the bike. Something catches

his eye by the SIDE OF THE ROAD. He hits the brake,

stopping the dirtbike suddenly in a cloud of dust.

ON THE SIDE OF THE ROAD:

He sees a SCARECROW. Perched on two pieces of wood in

front of the cornfield. It wasn’t there before....was it?

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

KEITH squints at it. It can’t be.

Getting off his bike, he moves closer to the Scarecrow...as

we follow his gaze:

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

KEITH

MotherFUCKER!!!!

Keith whips out his 38 SPECIAL... shouts into the

cornfield, pointing his gun wildly --

KEITH (CONT’D)

You think this is funn