THE DEVIL'S REJECTS

by
By Rob Zombie

Lions Gate Films

BLACKNESS

Opening s c r o l l :
On May 18. 1978 S t a t e P o l i c e a l o n g w i t h l o c a l a u t h o r i t i e s i n
R u g g s v i l l e C o u n t y l e d a predawn r a i d o n a d e c a y i n g farmhouse
a t t h e end o f C r a i g C r e e k Road. What t h e y u n c o v e r e d t o t h i s
d a y i s s t i l l c o n s i d e r e d t h e m o s t h i d e o u s c r i m e i n American
history
The D r . S a t a n C u l t Murders. T h e f a m i l y o f m a n i a c s
t h a t l i v e d i n s i d e t h i s murder f a c t o r y were nicknamed T h e
D e v i l ' s R e j e c t s and the h o u s e was f o r e v e r t o b e known a s The
House o f 1000 C o r p s e s .

FADE IN:
A t i g h t s h o t o f a g i r l ' s f a c e . S h e i s d i r t y and b r u i s e d . The
sound o f h e a v y s h u f f l i n g and f o r c e d b r e a t h i n g can be h e a r d .
The g i r l ' s f a c e i s p u l l e d o u t o f frame.

TINY, a h u n c h e d s e v e n f o o t g i a n t w e a r i n g a c h i l d ' s p l a s t i c
Halloween m a s k , d r a g s t h e g i r l ' s b o d y t h r o u g h the woods l i k e
a doll.
T I T L E CARD: May 18, 1978

T i n y b r i n g s t h e g i r l ' s b o d y t o a c l e a r i n g by the e d g e o f the

r o a d . H e s t o p s a b r u p t l y and l o o k s a r o u n d . Through h i s mask we
see h i s w a t e r i n g b l o o d s h o t eyes and b u r n s c a r r e d s k i n .

Dead s i l e n c e . A t h i c k m i s t h o v e r s o v e r the e m p t y r o a d .
T i n y b e g i n s d r a g g i n g the g i r l ' s b o d y a c r o s s t h e r o a d . H a l f w a y
a c r o s s a s i n g l e set o f h e a d l i g h t s b r e a k s t h r o u g h the gloom.
He s t o p s and r e t r e a t s b a c k i n t o the b r u s h .
A d u s t y VAN c u t s t h r o u g h the f o g .

S t r a p p e d t o the v a n ' s r o o f
r a c k a r e g u i t a r c a s e s and o t h e r l u g g a g e . P a i n t e d on the s i d e
o f the van i s ,- BANJO & SULLIVAN.

JIhMY CRACKER (331, hums a l o n g t o a s o n g o n the r a d i o w h i l e

s t e e r i n g w i t h - o n e h a n d . Jimmy i s the r o a d i e / d r i v e r f o r BANJO
& SULLIVAN. A s l e e p i n the s e a t n e x t t o h i m i s ADAM BANJO
(@ j q ;2
,

-.

Jimmy r e a c h e s o v e r and s h a k e s Adam awake.

(CONTINUED)

CONTINUED:

JIMMY
Come on dude, wake up.
ADA14
(half asleep)
What?
JIMMY
(yawning)
I t ' s your t u r n t o d r i v e .
ADAM

( s i t s up and looks around)

How much longer i s i t t o t h e motel?
JIMMY

I d o n ' t know. I f i g u r e about another hour

o r so.
ADAM

(wiping h i s eyes)
What t h e fuck a r e you l i s t e n i n g t o ?
JIMMY
The Monkees.
ADAM

(yawns and r o l l s over)

I a i n ' t switching.
JIMMY
What? Why?
ADAM

That your punishment f o r l i s t e n i n g t o

that shit.
Asleep i n t h e b a c k s e a t s we see: Adam's wife WENDY BANJO (36)
a l o n g with ROY (61) and GLORIA SULLIVAN ( 5 0 ) . They a r e a
small time country western group.

The S u l l i v a n ' s van p a s s e s by. Tiny resumes dragging t h e

g i r l ' s body a c r o s s t h e road. Once again he g e t s halfway
a c r o s s when a set o f h e a d l i g h t s b r e a k s t h e f o g .

--.

T-.i n .y t.--=u r n s and r e t r e a t s back i n t o t h e woods.

. ..
" ..
~%iejil~da:theh e a d l i g h t s a r e a n o t h e r s e t and then a n o t h e r and
then a n o t h e r .
i

(CONTINUED)

CONTINUED :

P u l l i n g back we s e e a l i n e o f . t e n p o l i c e c r u i s e r s moving
s i l e n t l y down t h e road.
T i n y watches t h e ominous p r o c e s s i o n p a s s e s b y and t u r n up a
s m a l l e r d i r t road known a s Craig Creek Road.

T h e i r d e s t i n a t i o n : A d i l a p i d a t e d two s t o r y farmhouse known a s

THE FIREFLY HOUSE.

The p o l i c e c r u i s e r s fan o u t forming a huge s e m i - c i r c l e

surrounding t h e h o u s e .
O f f i c e r s jump from t h e i r v e h i c l e s and t a k e u p p o s i t i o n , t h e i r
guns t r a i n e d on t h e house.
Mounted t o each v e h i c l e i s a f l o o d l i g h t . A l l l i g h t s a r e
focused on t h e house.

The l e a d p o l i c e c r u i s e r p u l l s up dead c e n t e r and s t o p s . The

c a r door swings open.
CLOSE UP - a b l a c k b o o t s t e p s o u t o f t h e c a r
From behind we s e e a l a r g e man w i t h greased back b l a c k h a i r
s t e p o u t . H e i s wearing a cowboy h a t and a b u l l e t p r o o f v e s t .
I n h i s hands i s a shotgun.
He t u r n s towards camera, i t i s SHERIFF JOHN WYDELL ( 4 8 ) . He
i s a s t r o n g jawed man w i t h a b l a c k e y e p a t c h . The s k i n around
t h e eye patch i s d i s f i g u r e d .
He scans t h e scene u n f o l d i n g around him w i t h a proud hawkl i k e stare.
A second man, O f f i c e r R4Y DOBSON (28) s t e p s o u t o f t h e
passengers s i d e .

..-.

-- -

WYDELL
Mr. Dobson, I d o b e l i e v e it i s t i m e t o do
what t h e good Lord would r e f e r t o a s a
c l e a n s i n g o f t h e wicked and what my
b r o t h e r Georqe ...God r e s t h i s s o u l
(crosses-himself)
U s e f t a c a l l a 100%Alabama a s s k i c k i n g .
DOBSON

Yes, sir..

(pauses)

.. . S i r ?

(CONTINUED)

CONTINUED:

WYDELL

Yes, M r .

Dobson.

DOBSON
Do you t h i n k we a r e gonna d i e here today?
WYDELL

(chuckles)
M r . Dobson, l e t me g i v e you a l i t t l e a s s
saving p i e c e o f . advice t h a t many years
ago I ripped from t h e book of l i f e . Are
you l i s t e n i n g ?
DOBSON
I'm l i s t e n i n g .
WYDELL

Dying a i n ' t an o p t i o n . You s t i c k t h a t

deep i n t o t h a t gray m a t t e r of yours and
make s u r e it s t i c k s . Any o t h e r thought i s
gonna g e t you c o l d slabbed, t o e tagged
and mailed home t o your mamma i n a
p l a s t i c bag.
DOBSON
Yes, s i r .
WYDELL

Are we c r y s t a l ?
DOBSON
Crystal, s i r .
WYDELL
Good, 'cause n o t only do I i n t e n d t o 'not
die" today, b u t I a l s o i n t e n d t o blow t h e
fucking b r a i n s o u t of t h e mother-fuckers
t h a t murdered my b r o t h e r . . .
(cocks h i s gun)
and s t i l l have time g e t home and fuck
my wife while watching 'Hell i n t h e
P a c i f i c " on t h e M i l l i o n D o l l a r Movie
(looking down t h e b a r r e l ) .
you see i t ' s
Lee Marvin week on Channel 6 8 . Lee Marvin
i s t h e man with t h e p l a n .

...

..

. .. - .
. >,.

*;"..... z.-.:
;.. -L^
?3.

...

DOBSON
You're t h e man, S i r .

>.

WY DE LL
T e l l it t o my wife . . . Mr. Dobson. Give
the command.

(CONTINUED)

CONTINUED:

(2)

DOBSON

(quietly into his walkietalkie)

Hit the lights.
One b y one each v e h i c l e ' s flood l i g h t explodes with a white
hot beam. An echo o f " h i t the l i g h t s " can be heard bouncing
from car t o c a r . A huge semi-circle o f l i g h t begins t o
surround t h e house.
Close up - B&W t e l e v i s i o n . "Plan 9 From Outer Space" i s
playing on the screen.
Bathed i n the t e l e v i s i o n ' s glow i s OTIS DRIFTWOOD ( 4 8 ) , a
s t r i n g y white haired albino. He i s asleep with h i s arms
wrapped around a NUDE GIRL.
The g i r l i s bloody and h e r mouth i s taped s h u t . Next t o t h e
bed sleeps another GIRL i n a cage. She i s wearing a muzzle.

FLASH. White flood l i g h t BLASTS through t h e d i r t y windows

ILLWIMTING t h e room.

More l i g h t s focus on t h e house

Close up

corpse face

We pull back from t h i s face t o see t h e decaying form o f the

h a l f man/half f i s h creation known as FISH-BOY.

Continuing back f u r t h e r we see a large brass bed. Human

bones, animal s k u l l s and a n t l e r s form t h e head board. A g i r l
with blonde c u r l y hair i s sleeping p e a c e f u l l y . T h i s i s BABY
( 2 8 ) . She i s dressed i n a white t - s h i r t and b i k i n i underwear.
FLASH. Blinding l i g h t f i l l s t h e room.

The O f f i c e r s stand ready with t h e i r guns drawn.

"...:.~.,%- .-.*i.<
,:

..z

"4

;,

Y HOUSE-

~ ~ l n b ' h on
a t her back i n bed i s , MOTHER FIREFLY (60). As
t h e white l i g h t floods i n t o her room she SPRINGS t o a s i t t i n g
p o s i t i o n , eyes wide.

S h e r i f f Wydell c a l m l y r a i s e s a megaphone t o h i s mouth.

WYDELL
(through megaphone)
Attention this is Sheriff John Quincy
Wydell from the Bain County Sheriff's
Department. .

O t i s ' s p i n k e y e s pop open a t t h e sound o f W y d e l l t s v o i c e . He

ROLLS o u t o f bed o n t o t h e f l o o r , knocking t h e g i r l t o t h e
f l o o r w i t h a THUD.
He q u i c k l y moves t o t h e . window and peaks through t h e ragged
c u r t a i n s . The g i r l i n t h e cage t r i e s t o scream.

WYDELL (O.C.)
I am here to inform you that you are
completely surrounded.

...

O t i s ' s P.O.V.

police.

we s e e t h e farmhouse grounds swarming w i t h

OTIS
Fuck.

Mother THROWS open t h e door, BURSTING i n t o Baby's room.

MOTHER
(quiet and frantic)
Baby get up!
Baby jumps up.

BABY
(confused)
What? What? What's going on?
WYDELL (O.C.)
There is no possible chance of escape.

r..T;

s":.

r..:

L:r5 ~ ? :. : ?A ; '>.

MOTHER
There's a million fuckina coos! The house
is surrounded . . . they're-evekywhere.
~

BABY
Shit, what? where's Otis?

m. OTIS'S

Otis, M-16 i n hand, i s now standing against the wall t o the

side o f h i s window.
WYDELL ( O . C . )

Now would be t h e time t o v a c a t e t h e

premises p e a c e f u l l y o r we w i l l be f o r c e d
t o use whatever means n e c e s s a r y t o remove
you! I r e p e a t we w i l l u s e whateves means
necessary!

Mother and Baby f r a n t i c a l l y run down the h a l l towards O t i s ' s

room. Baby struggles t o pull her boots on.
BABY

M a r m a wait!
MOTHER
O t i s ... O t i s !

m. OTIS'S

R-

Mother and Baby rush i n t o the room.

MOTHER
What's happening? What a r e we gonna do?
BABY
They're fucking everywhere.
OTIS
(whispering)
Quiet! I know... I know... grab a fucking
piece.
(motioning t o t h e bed)
and s t a y away from t h e fucking
windows.

..

...

Baby and Mother each grab a gun o f f t h e bed.

WYDELL ( O . C . )
Again I r e p e a t , v a c a t e t h e premises
p e a c e f u l l y and nobody has t o d i e today

...

BABY
Now what? O t i s , now what?

(CONTINUED)

CONTINUED :
OTIS
Downstairs! We gotta get downstairs. If
they get their hooks in our bellies while
we're up here.. . we're done!
Mother and Baby f o l l o w O t i s out o f t h e room. W e move o f f the
empty doorway down t o the caged g i r l . Tears o f joy stream
down h e r d i r t y f a c e .

mLiwuEs
The t r i o BARRELS down the s t a i r s towards t h e f r o n t e n t r y . An
enormous man w i t h l o n g dark h a i r h o l d i n g a huge a s s a u l t r i f l e
and wearing a r u s t e d homemade armor-plated v e s t and h e l m e t i s
w a i t i n g . T h i s i s RUFUS ( 3 1 )

RUFUS
I count ten cars... about twenty five
pigs !
OTIS
I know! Shit! Fuck! Shit! Puck!
BABY
Where do we go?
BABY (CONT'D)
Oh my god! Where's Tiny?

RUFUS
I ain't seen Tiny.
MOTHER
Tiny? He went out last night. Oh my God.
RUFUS
I came right down here as soon as I saw
the lights.

OTIS
Everybody shut up! Shut up! Take up a
position and be ready to dog ear the
first squealer that cries "Geronimo"!

W y d e l l , chewing tobacco, s t a n d s p a t i e n t l y b y h i s c a r . Dobson

is g e t t i n g edgy.
f;'; B;: 9
P

< < \.:

%
'

DOBSON
Are you sure they're in there, sir?

(CONTINUED)

CONTINUED:

WYDELL

Oh yeah, t h e y ' r e i n t h e r e . .
(he s p i t s , wipes h i s l i p )
b u t t h e y a i n ' t coming o u t . I ' d s a y
t h e y ' r e s t r a p p i n g on t h e i r dancing shoes
g e t t i n g ready f o r a grave d i g g e r hoedown,
but t h a t ' s a l r i g h t
I ' m i n a dancing
mood. I n f a c t I ' m ready t o Fred A s t a i r e
t h o s e fucking d e v i l s back i n t o H e l l .

.. .

...

DOBSON
(. c- l -i c k s oDen h i s r i f l e ' s scone
and beq&s w h i s t l i n q The
~ u s t l je
Do t h e h u s t l e .
WYDELL

( r e t u r n i n g t o t h e megaphone)
I ' m going t o g i v e you u n t i l t h e count of
t h r e e t o remove yourselves p e a c e f u l l y o r
we a r e coming i n ! One...

O t i s , Baby, Mother and R u f u s a r e each hunched down b y

window, guns a t t h e r e a d y .

.. .

two.

..

WYDELL

V a r i o u s CLOSE UPS:
Otis'

f i n g e r t w i t c h e s on t h e t r i g g e r .

Baby w i p e s t h e sweat from h e r e y e s .

R u f u s l o w e r s t h e f a c e mask o f h i s h e l m e t .
Mother k i s s e s h e r gun hand.
OTIS

On t h r e e .
-.-2

:a

:.

_.'

<

.a-

% a %

. .. t h r e e !

WYDELL (V.O.)

The f a m i l y l e t s o u t a BARRAGE OF GUli F I m . The PINGing o f t h e

b u l l e t s b o u n c i n g o f f t h e squad c a r s can b e heard e c h o i n g
everywhere.

The p o l i c e r e t u r n FIRE, pummeling t h e house from e v e r y

d i r e c t i o n w i t h a s i c k e n i n g d i s p l a y o f f o r c e . The n o i s e i s
d e a f e n i n g . G l a s s , wood and metal i s heard CRASHING throughout
t h e house.

A t e a r gas bomb CRASHES i n t o t h e house, i m m e d i a t e l y f i l l i n g

t h e roams w i t h g a s .
BOOM! A b a t t e r i n g ram SM?LSHES through t h e f r o n t door. The

first p o l i c e through a r e met w i t h BLASTS from t h e f a m i l y ' s

guns. The men f a l l t o t h e f l o o r , o t h e r s q u i c k l y t a k e t h e i r
place.
Policemen equipped w i t h gas masks RAMPAGE through t h e h o u s e .
Beams from powerful mag l i g h t s p i e r c e through t h e dense gas
f i l l e d house.

The f a m i l y exchanges f i r e , b u t q u i c k l y r e a l i z e s t h e y a r e o u t
numbered and f a l l back t o t h e basement.

LI

RUFUS

Go, go, go, I' 11 c o v e r .

'

Mother, Baby and O t i s h u r r y i n s i d e , R u f u s l a y s down a b l a n k e t

o f b u l l e t s , t h e n f o l l o w s . The door slams s h u t .

R u f u s b o l t s t h e door. The sound o f t h e p o l i c e b a t t e r i n g a t

t h e door echoes through t h e basement.
BABY

What a r e we gonna do?

OTIS

'

We got no c h o i c e ! We g o t t a open t h e door.

MOTHER
N O ! We c a n ' t do t h a t . Otis, n o . . .

know we c a n ' t .
'=-...-; ".P..,!:.
.. ..,

you

OTIS

-.
gnT:
%.>

..

..

S h u t u p , woman!

BABY
Mamma, it's our o n l y chance.
(CONTINUED)

*-

CONTINUED:

OTIS
R u f u s , o v e r h e r e . Help me move t h i s s h i t .
O t i s and R u f u s s l i d e a huge w a l l s i z e work bench t o t h e s i d e
Hidden b e h i n d i s an i r o n d o o r . The door i s chained s h u t .

OTIS (CONT'D) .
Break it open, m o t h e r f u c k e r ! Come o n !
R u f u s grabs h o l d
might.
BOOM..

BOOM.

o f t h e huge c h a i n and p u l l s w i t h a l l h i s

..

. ..

BOOM! The p o l i c e c o n t i n u e slamming a g a i n s t t h e basement

door.

7
The POUNDING from t h e door above g e t s LOUDER.
BABY
T h a t door a i n ' t gonna h o l d ! T h e y ' r e
almost through!
OTIS
Ccane o n , R u f u s break t h a t f u c k e r open.
God damn i t , come o n !
R u f u s PULLS t h e m a s s i v e door o f f i t s h i n g e s r e v e a l i n g a
stonewalled corridor.
RUFUS

Go, I ' l l s t a y h e r e .
O t i s and Baby b o l t p a s t R u f u s i n t o t h e c o r r i d o r . Mother
p a u s e s f o r a second and k i s s e s R u f u s .

Bye-bye,

MOTHER
baby.

RUFUS
Go, Mamna, g o !
CRASH! The p o l i c e a r e i n . The first o f f i c e r t h r o u g h , i s t a k e n
$w:;by a round from R u f u s ' s gun. The o f f i c e r FALLS v i o l e n t l y
..y p : .'.
p@e s t a i r s .
The n e x t o f f i c e r g e t s o f f a round, HITTING R u f u s i n t h e v e s t .
Rufus i s unaffected.
(CONTINUED)

CONTINUED:

The b u l l e t s bounce o f f h i s v e s t and mask w i t h loud p i n g i n g

sounds. He r e t u r n s f i r e k i l l i n g t h e o f f i c e r .

O t i s , Mother and Baby run through a t w i s t i n g underground

tunnel system.
Suddenly, SWOOSH! A FILTHY MAN IN RAGS LUNGES OUT o f t h e
darkness and GRABS o n t o Baby's s h i r t whipping h e r around.
Baby screams, t h e n q u i c k l y jabs t h e b u t t o f h e r r i f l e i n t o
t h e man's g u t , knocking him back. She s p i n s and SHOOTS t h e
man p o i n t b l a n k .
BABY
Die, d i e , d i e !

The man f a l l s back dead.

R u f u s , now b l e e d i n g s e v e r e l y , s t u m b l e s back i n t o t h e c o r r i d o r
a s t h e p o l i c e f l o o d i n t o t h e room.
RUFUS

Come o n ! Come on! Is t h a t a l l you got?

R u f u s c o n t i n u e s f i r i n g b e f o r e h e i s f i n a l l y s h o t dead. H i s
huge body FALLS t o t h e basement f l o o r . The o f f i c e r s JUMP o v e r
h i s body and storm i n t o t h e c o r r i d o r .

O t i s , Baby and Mother have come upon a pad-locked

door.

OTIS
Fuck! Get behind me.

Baby and Mother stand behind O t i s . O t i s f i r e s

t h e l o c k . He KICKS t h e door open.

, BLASTING

off

The p o l i c e have now fanned o u t through t h e maze o f c o r r i d o r s .

Two members o f t h e u n i t , OFFICER JANSON and OFFICER HUMPHREY
have broken o f f and a r e moving through a tangled mess o f
s p i d e r webs and r o o t s .
.- .-. -. .
J@fib;d&.' t w e n t y f e e t ahead o f Humphrey, scans h i s l i g h t a c r o s s
the"decomposed b o d i e s hanging from t h e w a l l s .

(CONTINUED)

J,~...--

CONTINUED:

JANSON
( l i f t i n g h i s gas mask)
J e s u s . C h r i s t , Humphrey a r e you s e e i n g
this?
HUMPHREY
( l i f t i n g h i s gas mask)
Y e p , same t h i n g o v e r h e r e .
JANSON

Man, i t ' s a l l t r u e . I d o n ' t f u c k i n g

believe t h i s .
HUMPHREY
Jesus C h r i s t .
Humphrey's l i g h t beam p a s s e s a c r o s s a huge misshapen man, THE
PROFESSOR aka EARL FIREFLY, s t a n d i n g m o t i o n l e s s amongst t h e
dead b o d i e s .
Unaware Humphrey p a s s e s by The P r o f e s s o r , The P r o f e s s o r s t e p s
o u t from t h e w a l l and s t a n d s s i l e n t i n t h e c o r r i d o r RAISING a
HUGE AXE o v e r h i s head.
Janson t u r n s t o s e e t h e BIZARRE s i g h t b e h i n d Humphrey.
JANSON
Humphrey b e h i n d you!
Humphrey t u r n s a s The P r o f e s s o r b r i n g s h i s a x e CRASHING down
d e c a p i t a t i n g him.

..

Janson r a i s e s h i s gun and f i r e s .

i t jams. The P r o f e s s o r
r u n s towards Janson, DRIVES t h e a x e deep i n t o c h e s t and LIFTS
him o f f h i s f e e t .
Janson d a n g l e s c o n v u l s i n g on t h e end o f t h e weapon.
WYDELL ( 0 . C . )
D e v i l ! I'm o v e r h e r e D e v i l !
The P r o f e s s o r d r o p s Janson and t u r n s t o s e e Wydell s t a n d i n g
i n t h e c o r r i d o r w i t h h i s gun r a i s e d .
WYDELL (CONT' D )
Come and g e t me!
The P r o f e s s o r screams a g u t t u r a l w a r cry and makes a bee l i n e
f ~ k $ @ F d e l l . Wydell r a i s e s h i s gun and f i r e s , The Professor
1ieeps"on coming. Wydell f i r e s s e v e r a l more r o u n d s , The
Professor i s unaffected.

(CONTINUED)

CONTINUED:

(2)

Suddenly, The P r o f e s s o r s t o p s s h o r t , r a i s e s h i s axe and

b e g i n s t o waver. Blood pours from h i s m u l t i p l e b u l l e t s
wounds. Wydell f i r e s one more b l a s t , e x p l o d i n g .The
P r o f e s s o r ' s head l i k e a melon.

O t i s , Mother and Baby run through a dark c o n c r e t e room

towards a s l i d i n g metal door. Loud g r i n d i n g c e i l i n g f a n s send

fragmented l i g h t beams dancing throughout t h e room.
O t i s t r i e s t o s l i d e t h e door open. I t i s r u s t e d s h u t .
OTIS
( p u l l i n g on t h e d o o r )
M o t h e r f u c k e r won't move.

Mother and Baby grab h o l d t o h e l p . I n t h e background t h e

s i l h o u e t t e s o f SEVERAL FIGURES s l o w l y advance.
O T I S (CONT'D)
I f e e l it g i v i n g w a y . . .
harder.

c o m e on push

The f i g u r e s move i n and o u t o f t h e l i g h t beams. They a r e

naked, b u t f o r s c r a p s o f f i l t h y h o s p i t a l pajamas draped o v e r
t h e i r p a l e and c r u s t y s k i n . T h e i r w h i t e e y e s glow i n t h e
darkness.
The door m e t a l s l i d e s open.
O T I S (CONT' D)

it.

That's

S i m u l t a n e o u s l y t h e p a t i e n t s LUNGE a t O t i s , Baby and Mother

GRABBING on and PULLING them back i n t o t h e room.
MOTHER
help me!

Otis,

BABY
. Mamma

CHAOS

BOOM! The door on t h e o p p o s i t e s i d e o f t h e room KICKS open.

W y d e l l , Dobson and o t h e r p o l i c e o f f i c e r s e n t e r w i t h t h e i r
g,uns
rr-,<
aised.
:?-..: ?+
s,-.:

2 .!,

%+ %
?:

L. :! ->

- .,

WYDELL

Freeze!

(CONTINUED)

- .-

CONTINUED:

SWOOSH! More p a t i e n t s jump from the darkness and grab onto

Wydell and h i s men.
The p a t i e n t s are i n a MAD FRENZY. O t i s f i r e s , Wydell and h i s
men return f i r e .
The p a t i e n t s grab onto Baby's c l o t h e s and TEAR a t them. T h e i r
ragged finger n a i l s scratch her s k i n .
BABY
Marmna! Mamma!

Mother i s pulled screaming i n t o t h e MASS OF S W M N G BODIES.

O t i s has a SCREAMING WOMAN on h i s back clawing a t h i s face.

Wydell and h i s men are covered. They open f i r e , k i l l i n g

several p a t i e n t s .
O t i s t o s s e s o f f h i s a t t a c k e r and moves t o help Baby.
A BALD MAN with a patchwork face has h i s a r m s around Baby.
T

O t i s smashes t h e b u t t o f h i s gun i n t o t h e man's face,

knocking him t o t h e f l o o r . Otis grabs Baby and p u l l s her
free .
OTIS
Come on !
BABY
Where' s Mamma?

From O t i s ' s P.O.V. we q u i c k l y scan t h e room, i t i s t o t a l

confusion. Mother i s nowhere t o b e seen.
OTIS
Shit... Mamma's

gone.

Wydell watches as O t i s p u l l s Baby i n t o t h e next room and

s l i d e s t h e door shut.
WYDELL

Damn it !

O t i s searches t h e room and s p i e s a t h r e e foot metal grate s e t

i n t o.- t.-.h e f a r w a l l . Dead bodies wrapped i n p l a s t i c body bags
h$+.
'c#om
. .. .
t h e w a l l s . Some are s t i l l moving.
.. . . .. .
BABY

We gotta get Mamma!

(CONTINUED)

CONTINUED:

OTIS

Shut up and h e l p me with t h i s .

O t i s and Baby break t h e r u s t e d g r a t e o f f i t s frame, e x p o s i n g
a drainage t u n n e l .

A LOUD POLWDING echoes through t h e room, a s t h e p o l i c e crash

a g a i n s t t h e door.
O T I S (CONT'D)
T h a t ' s i t . Came on, g e t i n !
O t i s h e l p s Baby i n t o t h e dark t u n n e l .

A calm r i v e r f l o w s .

The s o o t h i n g drone o f t h e water s p i l l i n g

from a drainage p i p e i n t o the r i v e r i s h e a r d .

SPLASH! From o u t o f t h e d r a i n p i p e O t i s and Baby f a l l

v i o l e n t l y i n t o t h e water. They s t r u g g l e a c r o s s t h e w a i s t d e e p
water, c l i m b i n g o n t o t h e r i v e r ' s b a n k s .
I n t h e d i s t a n c e t h e sound o f t h e b a r k i n g dogs can now be
heard.
CLOSE UP

b a r k i n g dog

A posse o f FIVE STATE TROOPERS w i t h l a r g e hound dogs charge

through t h e woods i n h o t p u r s u i t .
O t i s and Baby make their way a c r o s s a l a r g e open f i e l d t o t h e
road ahead.

The Troopers and t h e i r dogs jump i n t o t h e r i v e r and b e g i n t o

cross.

WANDA (25), d r e s s e d i n a w a i t r e s s u n i f o r m i s on h e r way t o

work. She i s fumbling around t r y i n g t o l i g h t a c i g a r e t t e .
EJvin Bishop's "Fooled Around and F e l l I n Love" p l a y s on t h e
radio.
Through t h e w i n d s h i e l d she s e e something l y i n g i n t h e road.
I t i s Baby.
--:

-.

'<$

.<*-

? $

WANDA
2
>!

What t h e h e l l is t h a t ?

m. CIlrG
Wanda s t o p s h e r car, s t e p s o u t and r u n s o v e r t o h e l p Baby.
(CONTINUED)

CONTINUED:

WANDA

Are you OK? M i s s a r e you OK?

BABY

Help me.
WANDA

Oh my God, oh my God. What happened?

Wanda l o o k s around f o r h e l p .
BABY

Help me. P l e a s e . I c a n ' t move my l e g s .

WANDA

Okay, okay what's your name? I ' l l g e t you

t o a hospital.

Wanda c r a d l e s Baby's h e a d . O t i s s i l e n t l y s t e p s o u t from the

bushes.
WANDA (CONT' D )

Can you stand? My c a r i s r i g h t t h e r e . Can

you make i t ?

.-

He s l o w l y w a l k s up b e h i n d Wanda.
BABY

(quietly)
I have t o t e l l you a s e c r e t . .
closer.

come

Wanda l e a n s i n c l o s e r t o Baby. O t i s , h o l d i n g a huge h u n t i n g

k n i f e , now s t a n d s l o m i n g o v e r Wanda.
WANDA

T e l l me, honey

... what?

What i s i t ?

BABY

( s m i l i n g weakly)
You're gonna..

WANDA

What? T e l l me. I ' m gonna what?

BABY

You' r e gonna d i e .

B;ilF:F*abs
Wanda's head, p u l l s h e r forward and b i t e s i n t o h e r
n e c k ' ' l 2 k e a Vampire. SLAM! O t i s b r i n g s t h e k n i f e down i n t o
Wanda's b a c k r e p e a t e d l y . Wanda f a l l s on t o p o f Baby.

(CONTINUED)

CONTINUED: ( 2 )

BABY (CONT ' D)

Get h e r o f f me.

O t i s p u l l s Wanda o f f . B a b y jumps up, h e r f a c e i s c o v e r e d i n

Wanda's b l o o d .

BABY (CONT' D ) .
Come on!

Baby c l i m b s i n t o t h e p a s s e n g e r ' s s e a t o f t h e c a r , slamming

t h e door.
The sound o f t h e d o g s h a s r e t u r n e d . O t i s l o o k s t o w a r d s t h e
f i e l d and sees t h e t r o o p e r s .

L u L u
O t i s s l i d e s i n b e h i n d t h e wheel and s p e e d s o f f p a s t Wanda. W e
h o l d on Wanda l y i n g dead i n t h e r o a d .
FADE TO BLACK

Broken p i e c e s o f g a r b l e d r e p o r t s can be h e a r d .

NEWS REPORTER (V.0 )

A house of h o r r o r s i s how one o f f i c e r

...

nude
d e s c r i b e d t h e scene t h i s morning
b o d i e s were found dumped i n t o a mass
grave.
FEMALE NEWS REPORTER ( V . O . )
Dozens of v i c t i m s were kept a l i v e i n a
s u b t e r r a n e a n dungeon
d e v i a n t sexual
abuse a g a i n s t t h e teenage v i c t i m s .

...

NEWS REPORTER
This i s without a doubt t h e most g r i s l y
crime t h i s country h a s ever witnessed
a shocking s e r i e s of e v e n t s . . . a thousand
c o r p s e s . . . u n i d e n t i f i e d k i l l e r s . .. D r .
S a t a n . . . The D e v i l ' s R e j e c t s .

...

Heavy b r e a t h i n g i s h e a r d .

FADE I N :

--

--.
W e ! a s e l ; l o o k i n g u p a t a g i r l w e a r i n g smeared clown make-up,
f=&h-'th.eP . 0 . V o f h e r sex p a r t n e r . T h i s i s FANNY, she i s o n
t o p and g y r a t i n g .
3

(CONTINUED)

CONTINUED:

FANNY
Oh baby, ooooh, yeah..
deeper.

deeper, daddy,

We r e v e r s P . o . v . ? ~t o s e e CAPTAIN SPAULDING,
clown make-up, underneath t h e g i r l .

a l s o wearing

SPAULDING
S h i t , you g e t t i n g i t s o God damn good.
You should pay me next time.
W
e move out t o s e e Fanny s i t t i n g on Spaulding.
FANNY
Hey, a r e you c a l l i n g me a f u c k i n g whore?
SPAULDING
(chuckling)
I c a l l ' e m l i k e I see'em.
FANNY
Oh r e a l l y , you t h i n k I ' m a whore, huh?
SPAULDING
I d o n ' t t h i n k you a r e , I know you a r e .

Fanny p u l l s out a gun and p o i n t i t a t Spaulding's

face.

FANNY
Whore t h i s f u c k e r .
Fanny's

P.O. V. down on Spaulding.

SPAULDING
Whoa, h o l d ' u p . I was j u s t messing with
ya. You know us clowns a r e a joking
bunch. We l i k e t o laugh.

Spaulding's P.0.V on Fanny.

FANNY
Laugh, Clown, laugh.
The gun f i r e s . Boom!

ING'S HOUSE-

S ~:.a-u l-:. d i n gJUMPS AWAKE. It was a l l a DREAM.

;:,,,?4 ;'.*> %>J

B U Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z ~ Z Z Z . The alarm c l o c k

i s buzzing.

(CONTINUED)

2
CONTINUED:

S p a u l d i n g f u m b l e s f o r t h e m u t e b u t t o n on t h e c l o c k . H e s i g h s
d e e p l y , s i t s up and s w i n g s h i s l e g s o u t o f b e d . A l a v a lamp
s i t s on t h e b e d s i d e t a b l e .

S p a u l d i n g s t u m b l e s i n t o the b a t h r o o m and t u r n s on t h e l i g h t .
W e now see h e i s n o l o n g e r made up a s a clown. The b a t h r o o m
i s d i r t y , d e p r e s s i n g and c o v e r e d i n pornography. H e l i f t s the
t o i l e t s e a t and b e g i n s t o u r i n a t e .
CLOSE UP

COFFEE CUP

Hot c o f f e e i s b e i n g poured i n t o a l a r g e c u p .
S p a u l d i n g , now w e a r i n g clown make-up,
and s i p s h i s c o f f e e .

l e a n s back i n h i s c h a i r

CRIME SCENE t a p e s u r r o u n d s t h e p e r i m e t e r o f t h e h o u s e . P o l i c e
a r e s p r e a d o u t around the g r o u n d s .

W y d e l l and Dobson a l o n g w i t h S E W K G OTHER COPS s e a r c h

t h r o u g h t h e d i m l y l ~ c tl u t t e r e d h o u s e w i t h f l a s h l i g h t s .

Dobson d i s c o v e r s homemade b o o k s crammed o n t o a b o o k s h e l f . H e

p u l l s down a b o o k and o p e n s i t .
C l o s e up- b o o k
The p a g e s a r e crammed w i t h mementos and p i c t u r e s o f v a r i o u s
f a m i l y members c o m m i t t i n g a c t s o f t o r t u r e . L o c k s o f h a i r ,
t e e t h , d r i v e r l i c e n s e s and o t h e r s o u v e n i r s a r e g l u e d t o t h e
t h i c k pages. S c r i b b l e d i n t i n y p r i n t a r e d e t a i l e d accounts o f
e a c h murder.
DOBSON
Jesus Christ. Chief you better take a
look at this.
WYDELL
What is it?

E;
.

.., . e.-2 .
,

DOBSON
It's like a scrap book. They documented
everything.

WYDELL

J~SUS

(CONTINUED)

2
CONTINUED:

Wydell g r a b s a s i m i l a r book o f f t h e s h e l f and opens i t

WYDELL (CONT' D )

Same t h i n g .
( f l i p p i n g through t h e book)
Motherfucker! That fucking p i e c e of s h i t .
DOBSON
What?
Wydell h o l d s open a page with various photos o f Spaulding and
t h e family members covered i n blood p o s i n g with a young dead
girl.
DOBSON (CONT' D)
You recognize t h a t guy?

WY DELL
Spaulding.

Spaulding sits a t h i s kitchen t a b l e l o o k i n g a t h i s watch and

f l i c k i n g channels on a small TV.
SPAULDING

God damn i t ? Where i s i t ?

CLOSE UP

Spaulding comes on s c r e e n i n h i s f u l l clown o u t f i t . It i s a

commercial f o r Captain Spaulding's Museum of Monsters and
Madmen.
SPAULDING (CONT'D)
(on s c r e e n )
Howdy, murder l o v e r s ! It's your o l d p a l
Captain Spaulding a g a i n and I ' m h e r e t o
t e l l you about our e x c i t i n g new
a t t r a c t i o n ! Mary t h e monkey G i r l !
(switches t o a s h o t of a
s t u f f e d monkey)
That's r i g h t , t h i s l i t t l e honey i s an
a c t u a l h a l f human, h a l f monkey g i r l I
brought back from t h e wilds of Borneo.
So, come o n i n and b r i n g l i t t l e Johnny
and S u s i e on down t o meet h e r
she'll
s c a r e t h e holy guacamole o u t of them! Oh,
and while you're h e r e d o n ' t f o r g e t t o
p i c k up your Captain Spaulding f o r
P r e s i d e n t T - s h i r t s t h e y come i n a l l . . .

...

vbi%

r-=F-'
6
'. 7 . .
e ;i

F-

Suddenly t h e ACTION NEWS l o g o appears on s c r e e n .

(CONTINUED)

i
'

CONTINUED:

ANNOUNCER

W e i n t e r r u p t our r e g u l a r l y scheduled
programming t o b r i n g up t h i s b r e a k i n g
news.
SPAULDING
Jesus Christ, t h i s i s fucking b u l l s h i t . I
p a i d good money f o r t h a t commercial!
The phone r i n g s .
SPAULDING (CONT' D )
J e s u s , what t h e h e l l i s going on h e r e
t h i s morning?
S p a u l d i n g g e t s u p and answers i t .
SPAULDING (CONT'D)
What?

Baby hunched down i n a phone booth o u t s i d e a l o c a l g a s

station.
aABY
Daddy, you g o t t a g e t o u t o f t h e r e . The
p i g s h i t u s t h i s morning r e a l bad. You
g o t t a g e t o u t ! T h e y ' l l b e coming f o r you
t o o ! Daddy you g o t t a go now!

SPAULDING
What? Fuck, a l r i g h t Baby d o n ' t p a n i c .
J u s t m e e t me a t t h e Astro-Land, l i k e w e
always s a i d . I ' l l g e t t h e r e a s f a s t a s I
can.
S p a u l d i n g hangs u p t h e phone a n d q u i c k l y t e a r s through ' h i s
k i t c h e n g r a b b i n g h i s j a c k e t 'and h a t . He opens a k i t c h e n
drawer, grabs h i s gun, a box o f b u l l e t s and s h o v e s i t i n h i s
p o c k e t . H e r u n s o u t o f t h e room.

W e move down ' o n t o t h e TV t o see a r e p o r t e r ,

.;- .*

;
,
..r-..>.3---. . ..-=<?

...
. ........::

,>
.

TURK MURPHY.

MURPHY
With m e now i s t h e man r e s p o n s i b l e f o r
t h e r a i d S h e r i f f John Wydell.

The s h o t widens t o r e v e a l Wydell s t a n d i n g n e x t t o t h e

reporter.
(CONTINUED)

CONTINUED:

MURPHY (CONT' D )
S h e r i f f , what's t h e s i t u a t i o n r i g h t now?

WY DELL
The s i t u a t i o n ?
MURPHY

Yes, what i s t h e s i t u a t i o n ?
WYDELL

The s i t u a t i o n i s t h i s . We have two,

p o s s i b l y t h r e e s u s p e c t s on t h e r u n . . .
(Wydell grabs t h e microphone
and looks d i r e c t l y
- into the
camera)
and i f t h e y ' r e watching t h i s I want
them t o know... I ' m comina- t o s- e t vou.
You c a n ' t run f o r e v e r . . . you're gonna
have t o s t o p sometime, somewhere and when
you d o . . . I ' l l be w a i t i n g .

..

Wydell drops t h e microphone and walks o f f camera. Murphy

q u i c k i y p i c k s u p t h e microphone.
MURPHY

( t r y i n g t o regain h i s
composure)
Ah, thank you S h e r i f f . As you can s e e
emotions a r e running a b i t high
back
t o you Nancy.

...

Spaulding t r i e s t o s t a r t t h e engine. Down t h e road we s e e t h e

d i s t a n c e f l a s h o f p o l i c e l i g h t s approaching.
SPAULDING
Come on, come on!
The engine k i c k s i n .
SPAULDING (CONT' D )
Yes.
The engine d i e s a g a i n . The p o l i c e l i g h t s a r e c l o s e r . We now
hear the s i r e n s .

in,F:

E--x

k:..

b:: b:a

I
i
i,

::

.. .

:_

SPAULDING (CONT'D)
Fuck, fuck, fuck! Come on!

The engine s t a r t s . Spaulding speeds off and t u r n s a c o r n e r

j u s t a s the p o l i c e c a r s p u l l onto h i s s t r e e t .

m.- c

A l a r g e b l a c k man, C W I E ALTAMONT, s i t s a t a c a r d t a b l e
c o u n t i n g money. CXA-CHA, a d i s h e v e l e d l o o k i n g g l r l i n c h e a p
cowgirl o u t f i t , w a i t s p a t i e n t l y f o r h e r share.
CHA-CHA

Slow n i g h t , boss.
CHARLIE
You a i n ' t fucking kidding. This i s
p a t h e t i c . You have g o t t o f i n d a new
angle, kid.
CHA-CHA
I was t h i n k i n g about something s p a c e y . . .
ya know, l i k e t h a t S t a r Wars s h i t . I mean
everybody wants t o fuck P r i n c e s s Leia,
right?

CHARLIE
Yeah, I d o n ' t know. You s t a r t messing
with t h a t spacey s h i t bhd y o u ' l l r e a l l y
b r i n g o u t t h e s i c k b i t c h wanting t o
p r e t e n d t h e y ' r e r o b o t s and s h i t .

Droids

CHA-CHA
CHARLIE

Huh?

The phone r i n g s .
CHARLIE (CONT ' D)
(answering i n an Asian v o i c e )
Wong's Hong Kong Gardens. M r . Wong
speaking.

S p a u l d i n g l o o k s around n e r v o u s l y a s h e s p e a k s i n t o t h e phone.

7,g-,
G+,,... ,,,-:
.
. r, * 5 '. t ;.

>
-;

SPAULDING
Cut t h e s h i t C h a r l i e , i t ' s me C u t t e r . I
g o t a b i g meltdown going on down h e r e and
I need a p l a c e t o cool o u t . I ' m coming
down
what? Do you own a TV? Then t u r n
on t h e fucking news and you' 11 g e t my
fucking s i t u a t i o n .

...

CHARLIE
Whoa, whoa, whoa, hold on.
( C h a r l i e f l i p s on a s m a l l
p o r t a b l e TV s e t . He f l i p s
through s e v e r a l channels. On
every s t a t i o n i s a r e p o r t
about t h e house r a i d . )
Fuck man, I don't know i f t h a t ' s such a
g r e a t i d e a . This i s some b i g s h i t .

SPAULDING
Hey, hey d o n ' t t e l l me I ' m i n b i g s h i t ! I
fucking know b i g s h i t when I smell i t ! I
don't g i v e a fuck. I ' m on my way.

S p a u l d i n g h a n g s up t h e phone.

CHRRLIE
Hold o n . . . hold on. Fuck!

C h a r l i e s l a m s down t h e phone.
CHA-CHA
Who was t h a t ?

CHARLIE
That was "Mind your own fucking b u s i n e s s
bitch".

S p a u l d i n g pauses,
phone.

t h e n s t a r t s smashing t h e r e c e i v e r i n t o t h e

SPAULDING
(screaming)
Fuck, fuck, fuck, fuck!

O t i.
s r.
and
Baby a r e slumped down i n t h e i r car l i s t e n i n g t o news
7-:
ra&~:qs
a
.:" -. t h e y r o l l by:
7.

,&

THE ASTRO-LAND MOTEL, a dumpy, rundown m o t e l i n t h e ass end

of nowhere. A s p a c e s h i p shaped neon s i g n s i t s a t o p the r o o f
o f t h e o f f i c e . I t r e a d s : VACANCIES.
(CONTINUED)

CONTINUED:

BABY
I don't

s e e him. S h i t , where t h e fuck i s

he?
OTIS
I d o n ' t know, b u t we c a n ' t

fucking parade
around out h e r e much l o n g e r . We g o t t a g e t
i n t o a room and out of s i g h t .
RADIO

We've j u s t r e c e i v e d a r e p o r t t h a t two of
t h e s u s p e c t s from t h i s mornings r a i d were
l a s t seen d r i v i n g a l i g h t b l u e Chevy Nova
w i t h t h e l i c e n s e p l a t e number 768-432.
O t i s smashes h i s hand a g a i n s t t h e dash board.

OTIS
S h i t . Fuck.
BABY
Let me out of t h e c a r . I ' l l g e t us a
room.

Baby s t e p s out of t h e c a r .

Roy S u l l i v a n , d r e s s e d i n a cowboy h a t and a T - s h i r t t h a t

r e a d s Banjo & S u l l i v a n , and Adam Banjo walk through t h e motel
parking l o t .
Gloria, Wendy and J i m m y Cracker a r e walking behind them. A l l
of them a r e holding t h e remains o f t h e i r f a s t food lunch.
WENDY

Roy, do you always have t o wear t h a t

stupid s h i r t ?
ROY

(chomping on f r i e s )
S t u p i d ? I t ' s c a l l e d a d v e r t i s i n g , my d e a r .
Can't s e l l t h e people something t h e y
a i n ' t heard o f .
GLORIA
I a g r e e honey, i t ' s embarrassing
;-.~

&-

*,,-i

y.;
i.i; i.f

1!

ROY

T h a t ' s n o t embarrassing, t h i s i s
embarrassing.
(screamina)
Hey everybody, t h i s i s Banjo!

(MORE)

(CONTINUED)

CONTINUED:
ROY (CONT'D)
(pointing to Adam)
And I'm Sullivan! We are Banjo &
Sullivan! Come and get it. Yeee-haaaaa!
WENDY
(sipping her Coke)
Whatever, scream all you want. I don't
care. We're the only people staying in
this shithole.
Roy s t o p s and throws t h e remainder o f h i s l u n c h i n t o a
spaceman shaped t r a s h can.

ADAM
Yo Jinrmy, where we playing tomorrow?
JIMMY
Wet Willie's Golden Spur.
GLORIA
(rolling her eyes)
Oh fantastic.
WENDY
What? What's wrong with that place? I
don't remember it.
ADAM
Yeah, ya do.
WENDY
I totally can't picture this place.
Roy s t o p s a t ROOM #5 and s t a r t s u n l o c k i n g t h e door.

ROY
Yeah, come on. How can you forget it?
Think... something very special happened
there.
JIMMY
Very special.
ROY
(hits Jimny)
Hey, don't get too excited.

-.

p-.

;-?

tr
h
a
ic:e:.:i!.,i.
: '
.

JIMMY
(embarrassed)
Sorry. I. . . I'm gonna go gas up the van.
'

Jimmy exits.

[CONTINUED)

CONTINUED: ( 2 )

GLORIA

(annoyed)
Roy, d o n ' t remind h e r . I t ' s not e x a c t l y
something I ' m proud o f .
WENDY
remember ... j u s t fucking t e l l me.
What t h e fuck happened?
I don't

ADAM

I t ' s t h e j o i n t whereGloria t r i e d riding

t h a t mechanical b u l l and h e r t u b e t o p
f e l l down
Wendy b u r s t s out laughing.
WENDY

Oh yeah and h e r t i t t i e s were bouncing

around and she kept on spinning around on
the bull.
GLORIA
I t ' s n o t funny. That awful man wouldn't
s h u t t h e damn t h i n a o f f . I was h u m i l i a t e d

i n f r o n t of t h e whole p l a c e .
Adam unlocks t h e door t o t h e a d j a c e n t ROOM #4 and e n t e r s .
WENDY
(laughing)
I t h i n k we made some new f a n s t h a t n i g h t .
Wendy follows Adam.
GLORIA

Ha. ha. h a . I ' m s o r r v b u t I don't f i n d

thht the least b i t finny.. a t a l l .

Roy p u t s h i s arms around Gloria walking h e r i n t o t h e room.

ROY

Hey honey, how about an encore

performance tomorrow.
GLORIA

You wish.

---

The door s h u t s .

Roy walks along t h e l i n e of empty motel rooms, t u r n s a c o r n e r

t o t h e i c e machine and begins f i l l i n g h i s i c e bucket.
(CONTINUED)

CONTINUED:

BABY ( O . C . )
Hey, s t u d got a l i g h t ?

Roy l o o k s u p from h i s bucket. Baby is l e a n i n g s e d u c t i v e l y on

t h e i c e machine. A c i g a r e t t e dangles from h e r l i p s .
ROY

Ah,

no.

. . I don't

smoke.

BABY
I thought a l l cowboys smoked.
ROY
W e l l , I d i d f o r twenty-five y e a r s , t h e n I
q u i t , b u t hey.
(touches h i s s i d e )
my l u n g f e e l s f i n e .

..

. ..

BABY
(interrupting)
Oh, I g e t i t . You want t o l i v e f o r e v e r .
(Baby moves i n c l o s e r )
So, you a l l on v a c a t i o n by y o u r s e l f o r
something?
ROY
Yeah
n o . . . I mean m e and t h e gang
we're a s i n g i n g group c a l l e d Banjo and
S u l l i v a n . We j u s t f i n i s h e d p l a y i n g down
a t t h e Barn Door.

...

BABY

Cool, I l o v e famous people, t h e y ' r e s o

much b e t t e r t h a n t h e r e a l t h i n g . Ya know?
(steps a l i t t l e closer)
I b e t a l l t h e g i r l s wanna fuck you.
Roy i s shocked, b u t enjoys Baby's a t t e n t i o n and s t a r t s
flirting.
ROY
Whoa, hey you k i s s your mamma with t h a t
mouth?

BABY
( s t e p p i n g i n even c l o s e r )
That a i n ' t t h e only t h i n g I do.

3,:

,, a

..... .,., Roy s t a r t s f i l l i n g h i s i c e bucket.

BABY (CONT ' D )
s o M r . Sexy what's your name, Banjo o r
Sullivan?

(CONTINUED)

CONTINUED:

(2)

ROY
Roy S u l l i v a n .

Roy extends h i s hand, Baby ignores i t .

BABY
Roy S u l l i v a n . Wow, I ' m gonna remember
t h a t name and t e l l everybody I met Roy
S u l l i v a n country s u p e r s t a r .
ROY

I d o n ' t t h i n k i t ' s gonna mean much t o

anybody.

Ice s t a r t s overflowing out o f Roy's i c e bucket.

BABY
Your b a l l s a r e dropping
ROY

Huh?
BABY
Your i c e b a l l s .

Roy looks down t o see i c e f a l l i n g everywhere.

ROY
Oh, thanks.

Baby reaches down and grabs a piece o f i c e from Roy's bucket.

She s e d u c t i v e l y runs it over her neck and down her c h e s t .
BABY
(sexy)
Well, Roy S u l l i v a n I ' m g e t t i n g h o t o u t
h e r e s t a n d i n g under Mr. Sun and I was
wondering a r e you gonna t a k e me back t o
your room and p l a y with me...

Roy i s speechless.
BABY (CONT' D)
o r i s my b r o t h e r gonna have t o shoot
your t e e t h o u t of your fucking head?

...

ROY

:..-

Huh?

.,: ..<
? <, . ,- .
0 t i k " s f e p s i n , shoving a gun against Royls head. Roy's face
drops.
7
2

7.
7.

(CONTINUED)

CONTINUED: ( 3 )
OTIS
Let's move it, Hoss

Gloria sits on the bed painting her toe nails and watching
W.
CLOSE UP - TV : On screen is a THE MORRIS GREEN SHOW, a local
talk show discussing the Dr. Satan Cult. Today's guest is DR.
ROBERT BANKHEAD, a so-called expert on the occult.
DR. BANKHEAD
Members of these cults realize they have
no chance of attacking God directly, so
the next best thing is to pervert other
humans... thus, turning them against God.
MORRIS GREEN
So, the Dr. Satan Cult isn't an isolated
incident... is that what you're saying?
DR. BANKHEAD
Exactly, satanic cults such as The
Devil's Rejects have been in the business
of wholesale murcier for some time now. It
is very prevalent in our mainstream
culture.
MORRIS GREEN
Really, how SO?
DR. BANKHEAD
Take a look at this...
(he holds up a Blue Oyster Cult
album)
... here is rock band that calls itself
Blue Oyster Cult and they are making
millions of dollars blatantly saying to
the youth of America,"Hey kids, worship
the Devil and kill your parents".
MORRIS GREEN
Shocking, absolutely shocking. Now is
cannibalism always a factor in these
cases?
. . ...
+ :-.::

Fk
T..

::

. ..

*.

DR. BANKHEAD
Yes. I believe it is. This is the only
way the so called Satanists can truly
dominate the soul of their victims.

(CONTINUED)

- .-

CONTINUED:

MORRIS GREEN
( p o i n t i n g t o t h e album)
I ' d s a y anyone p l a y i n g music l i k e t h a t
already l o s t t h e i r soul.
DR. BANKHEAD

(chuckles)
Agreed.

Adam e n t e r s from t h e connecting door t o room # 4 , h o l d i n g f o u r

glasses.
NANCY

Adam, can you p l e a s e switch t h i s f o r me?

I c a n ' t s t a n d t o hear about t h i s anymore.
I t makes me s i c k t o my stomach t o t h i n k
t h a t s a t a n i c c u l t s a r e kidnapping and
e a t i n g people.
ADAM

Come on Gloria, you know i t ' s a bunch of

c r a p . They exaggerate a l l t h a t s h i t t o
g e t r a t i n g s . They want people t o be
s c a r e d , s o t h e y ' l l h i d e i n t h e i r homes
and buy more TV d i n n e r s .
GLORIA

Can you change it anyway, p l e a s e .

ADAM

sure.

Adam s w i t c h e s t h e channel t o "The Buck Owens Ranch Show". The

door swings open. Roy walks i n w i t h a stunned l o o k on h i s
face.
GLORIA

Did you f i n d t h e i c e machine?

ADAM

(he s e e s Baby)
Whoa... hey Roy
who's your f r i e n d ? We
send you f o r i c e and ya s t a r t p i c k i n g up
chicks.

...

ROY

Um, yeah.

. ..

q p s i n t s h e r gun a t Adam.
BABY
YOU on t h e bed,

now.
(CONTINUED)

CONTINUED:

(21

ADAM
Whoa, h o l d on g i r l .
Adam moves onto t h e bed with G l o r i a . Roy stumbles forward
with a shove from O t i s ' s b o o t .
OTIS

Get your fucking a s s i n t h e r e .

Baby and O t i s s t e p i n . O t i s s h u t s t h e door behind them. Roy
sits down and p u t s h i s arm around G l o r i a .
GLORIA

What's going on h e r e ?
OTIS

( s t i c k i n g t h e gun i n G l o r i a ' s
face1
Hey, cunt fuck s h u t i t ! Did I t e l l you
you could speak? Did I t e l l you t o open
t h a t fucking
t h a t s t u p i d fucking
mouth !

...

GLORIA

(quietly)
No.
BABY

You're s t i l l fucking t a l k i n g .
Baby s l a p s Gloria.

ADAM
Hey!
BABY

God, t h i s b i t c h i s p i s s i n g me o f f .
OTIS
( p o i n t s t h e gun a t Adam)
What? !
Baby g l a n c e s a t t h e TV. On s c r e e n Buck Owens, d r e s s e d i n a
s p a r k l i n g r h i n e s t o n e j a c k e t , is p l a y i n g "Cryin' T i m e . "

r--.:

t-.:

%+ ,<=.A

%:.

-z
A
".

-.= -<

,,...
BABY
(getting agitated)
Fuck! O t i s man, I l o v e Buck and h i s
Buckaroos..
God damn i t , look a t t h a t
j a c k e t . God, I want a j a c k e t l i k e t h a t . . .
where do you g e t s h i t l i k e t h a t ?

(CONTINUED)

CONTINUED:

(3)
OTIS
What ?
BABY

Like on TV.
OTIS
E'uck t h e TV.
Gloria l o o k s t o Roy confused. Roy g i v e s h e r a look t h a t s a y s ,
" s t a y calm".
O t i s moves over t o t h e open door o f #4,
h e a r s t h e shower running.

looks i n t h e room and

OTIS (CONT'D)
Who's i n t h e shower?
ADAM

T h a t ' s my wife. I f you h u r t h e r I ' l l

...

OTIS
(interrupting)
You'll what? Die?

Adam calms down.

OTIS (CONT'D)
Baby, i f one of t h e s e fucking guys moves
shoot t h e i r b a l l s o f f .
BABY

(swaying t o t h e music)
E'uck ya, I w i l l .

O t i s q u i c k l y moves t o t h e bathroom, KICKS open t h e door,

THROWS open t h e shower c u r t a i n and GRdBS Wendy b y t h e h a i r .

OTIS '
Bitch keep your mouth s h u t b e f o r e I r i p
your fucking head o f f .
WENDY

Adam..

-.
L2 h.-z

rr
1-7
3

,; TL

. Adam!

OTIS
Shut up, b i t c h ! I ' m your Adam now!

O t i s d r a g s h e r o u t of t h e shower and back i n t o room #5.

He holds her b y the hair with h i s gun t o h e r head.

OTIS
OK, is that everybody?
No one answers. O t i s cocks t h e gun.

OTIS (CONT'D)
Maybe if I clean this fucking twat's ears
out with a fucking bullet you'll hear me!
WENDY
(crying)
Adam.
ADAM
Yes, yes that's everybody, that's all of
us. Please take whatever vou want. but
please don' t hurt anyone.

ROY
I've got money in my suitcase. It's not a
lot, but please take it.
BABY
(calmly)
Roy, shut up.
A knock a t the door.

OTIS
Who the fuck is that?

Jimmy i s holding a bag o f b e e f jerky.

JIMMY
(chewing on jerky)
Hey Roy, I found some of that smoked
jerky you like down at the station.

<:.- -..
8,,.;"c..-ii..!:
:s > s *

ROY
Shit that's Jimmy. He's our roadie. I
forgot... I forgot he was out there.

O t i s whacks Roy across the face.

(CONTINUED)

i-

CONTINUED:
OTIS
Now I know I c a n ' t t r u s t you.

BABY
I' 11 g e t him.

Baby o p e n s the d o o r .

JIMMY

O h , s o r r y I g o t t h e wrong room. I was

l o o k i n g f o r room f i v e .

BABY
No, you g o t the r i g h t room come o n i n .
Baby g r a b s Jimmy's s h i r t and p u l l s h i m i n t h e room.

OTIS
G e t your hands u p , b o y .

Jimmy r a i s e s h i s h a n d s .
O t i s g r a b s Jimmy, p u t s a gun t o h i s head and d r a g s h i m i n
front o f bed.

OTIS (CONT' D )
O n your k n e e s .

O t i s p u l l s Jimmy down t o h i s , k n e e s .

OTIS ( C O N T ' D )
H e r e ' s what h a p p e n s when y o u l i e t o m e ,
Hoss.
POP! O t i s p u t s a b u l l e t i n t o Jimmy's h e a d , b l o o d and b r a i n s
s p l a t t e r s a l l o v e r R o y and G l o r i a .

S p a u l d i n g c r u i s e s around a s m a l l t o w n l i s t e n i n g t o D o l l y
P a r t o n ' s ''Mule S k i n n e r B l u e s " o n t h e r a d i o . H i s g a s gauge
r e a d s empty.
:

g;.

. ;L
.-. .?..+i-7*~
.L

%
.

-.

SPAULDING
Fucking e m p t y
o f course.

...

H e s p i e s a s i n g l e c a r parked n e x t to a small convenience

s t o r e c a l l e d BUCK'S KWICKY MART. H e p u l l s i n t o the p a r k i n g
lot.

(CONTINUED)

<-.

CONTINUED:

SPAULDING (CONT'D)
Alright, let's find ourselves a nice
inconspicuous automobile.

Em. BUCK'S

Spaulding s i t s i n h i s truck watching SKJSAN (341, her son

JAMIE (71 e x i t t h e store. They walk t o t h e only car i n the
lot.
Spaulding s t e p s out o f h i s truck and quickly walks up t o
Susan as she opens t h e passenger's s i d e door for Jamie.

SPAULDING
(friendly)
Excuse me, did you see a circus go by
here?
JAMIE
Hey Mom, a clown ... look!
SUSAN
What?
JAMIE
Behind you.
SUSAN
(turning)
Oh, hi.
Spaulding steps in close.
SPAULDING
(pleasant)
Hello, excuse me, but I'm gonna have to
be taking your car. Top secret clown
business

SUSAN
What was that?

-.
; >
.

L.;;?
?

>

--

i
'
8.:~... b?.
.:x.
i.
i

SPAULDING
(leaning in close)
Do I stutter, bitch? Because I just heard
what I said and I think I made myself
pretty fucking clear. I said,"top secret
clown business".
SUSAN

Jamie get in the car and lock the door

(CONTINUED)

3
CONTINUED:
Susan h u s t l e s Jamie i n t h e c a r and s t a r t s t o walk around t o
t h e d r i v e r ' s s i d e . S p a u l d i n g grabs h e r b y t h e h a i r .

SPAULDING
Whoa, don't you never and I mean ever
turn your back on a fucking clown when
he's talking to you.
SUSAN
(screaming)
Get your fucking hands off me... help!
POW! Spaulding smacks h e r i n t h e f a c e ,

she f a l l s t o t h e
ground, o u t c o l d . Spaulding grabs t h e k e y s .

S p a u l d i n g c l i m b s i n b e h i n d t h e wheel. Jamie i s s h a k i n g
paralyzed b y f e a r .

SPAULDING
(laughing)
What's a matter, kid? You afraid of
clowns or something?

Jamie nods, "yes"

SPAULDING (CONT'Dl
Why?
I.. . I..

JAMIE
I don't know.

SPAULDING
This really pisses me off. I mean don't
we make you laugh? We're fucking funny,
right?
I.. . I..

s>
s-3
+ F.7,li

. IJAMIE
don't

know.

SPAULDING
I'll tell vou what kid. You pet a fuckina
answer, ca;se I'm gonna come-back and
check on you and your mother and if you
ain't got a good reason to hate clowns...
then I'm gonna kill your whole fucking
family... got it!
JAMIE

(CONTINUED)

CONTINUED:

SPAULDINGNow g e t your fucking a s s o u t of t h e c a r !

Jamie opens t h e door and s t e p s o u t . Spaulding s p e e d s away.

A small l o c a l h o s p i t a l . The normally calm s e t t i n g i s a l i v e

w i t h e x c i t e m e n t . P o l i c e c r u i s e r s , ambulances and news vans

clog the entrance.

S h e r i f f Wydell and L t . Dobson walk through t h e b u s y h o s p i t a l

hallway. Several p a t i e n t s removed from t h e basement dungeon
are strapped t o gurneys screaming l i k e wounded animals.
DOBSON
(high s t r u n g , but whispering
What t h e fuck i s t h i s s h i t ? I mean t h i s
i s insane Twilight Zone fucking Night
Gallery s h i t r i g h t ? I mean am I missing
something'here? I mean have you seen
anything l i k e t h i s b e f o r e ?
WYDELL
Son, a i n ' t nobody e v e r seen anything l i k e
t h i s before.

DOBSON
Jesus, what t h e h e l l were t h e y doing t o
those people! Why would t h e y keep them
down t h e r e .

Wydell s t o p s and grabs Dobson by t h e s h o u l d e r s .

WYDELL

Son, you got t o calm down. Look around

you.
(Dobson looks around)
Hell j u s t fucking cracked wide open. W
e
are here t o figure t h i s s h i t out, but
f i r s t you got t o calm down, p u t your
poker f a c e on and l e a r n t o p l a y t h e God
damn game.

Dobson g a t h e r s h i m s e l f .
-LC>:
.....:
:
g 3
2

3:

.z

1; \.

WBSON
Yes, s i r .

They c o n t i n u e on t o an ARMED

GUARD

s t a t i o n e d o u t s i d e room

218. The guard nods with r e c o g n i t i o n and opens t h e door.

2lEaauu
Wydell and Dobson q u i e t l y open t h e door and e n t e r .
L y i n g m o t i o d e s s on a bed i s a n e m a c i a t e d c o r p s e w i t h l o n g
m a t t e d h a i r . T h i s i s DR. SATAN. H e i s s t r a p p e d t o s e v e r a l
machines and i s b r e a t h i n g w i t h t h e h e l p o f a n oxygen mask.
A m i d d l e aged d o c t o r , DR. MOORE ( 4 7 ) , and a young p r e t t y
n u r s e , -CIA
( 2 4 ) , a t t e n d t o one o f t h e machines.
DR. MOORE
Ah S h e r i f f Wydell, come t o v i s i t our

infamous p a t i e n t ?
WBSON
Holy s h i t , who t h e fuck i s t h a t ?

Wydell s h o o t s Dobson a l o o k . Dobson r e g a t h e r s h i m s e l f a g a i n .

DR. MOORE
That my e x c i t a b l e f r i e n d i s D r . Satan.

DOBSON
What ?

DR. MOORE
O r a t l e a s t t h a t ' s who we assume i t i s .

Dobson moves i n f o r a c l o s e r l o o k , l e a n i n g o v e r the

motionless figure.
DOBSON

Damn, t h i s decrepid o l d man i s D r . Satan?

This guy caused a l l t h a t t e r r o r s h i t ? Man
he l o o k s l i k e he c o u l d n ' t crumble a
cracker i n h i s oatmeal.
WYDELL
Doc, has he s a i d anything s i n c e t h e y
wheeled him i n ? '
DR. MOORE
Not r e a l l y . A few u n i n t e l l i g i b l e words a t
f i r s t . For t h e p a s t few hours he's been
p r e t t y much i n a coma l i k e s t a t e .
+.?-

pT
:

;u

..,.T

n,

i..?

'i:;

WYDELL
IS he dying?

D r . Moore t u r n s o n a l i g h t box i l l u m i n a t i n g D r . S a t a n ' s x-

r a y s . Wydell and Moore i n s p e c t the x - r a y s .

(CONTINUED)

6.

CONTINUED:

DR. MOORE
I ' m not r e a l l y s u r e , h i s v i t a l s i g n s a r e
s o low he appears t o be p r a c t i c a l l y dead
a l r e a d y . But one t h i n g ' s f o r s u r e . . .
WYDELL

What's t h a t ?
DR. MOORE
He's 1 0 0 p e r c e n t human, no doubt about
that.

Dobson i n s p e c t s D r . Satan's face. N u r s e Marcia checks t h e I V .

DOBSON
( q u i e t l y t o t h e nurse)
So t h i s i s t h e boogie man. I c k , I used
t o have nightmares about t h i s guy when I
was a kid.
MARCIA

He s t i l l g i v e s me nightmares.
D r . Satan lies motionless.
DOBSON
I was hoping maybe he'd have...

Christ I
don't know. He a i n ' t nothing but a creepy
o l d man. S h i t , my grannie could k i c k h i s
ass.
Marcia g i g g l e s .
DOBSON (CONT' D )
(looking up a t Marcia)
So what' s your name?

D r . Satan's dead white. eyes open, scan t h e room,

then s h u t again. No one n o t i c e s .

CLOSE UP

MARCIA
Marcia.
DOBSON
Like on t h e Brady Bunch?

-.,-...
* ..
.-

--.:
L::, <:-?
:
:
. - ..!: ..

MARCIA

Yeah.
DOB SON

(flirting)
Ah, Marcia was always my f a v o r i t e

Especially.

..

(MORE)

&

(2)

CONTINUED:

DOBSON (CONT' D)
around t h e time s h e s t a r t e d c h e e r l e a d i n g
and g e t t i n g h i t i n t h e f a c e w i t h
footballs.

MARCIA
( i m i t a t i n g Marcia Brady)
Oh, my nose!

DOBSON
She was a h o t t l e . Yeah, you kind of
remind me of h e r . You e v e r t h i n k about
t h e possibility t h a t h e r and Greg were
g e t t i n g it on?
MARCIA

Maybe?
Wydell s e e s what's g o i n g on.
WYDELL

Dobson.
WBSON
Yes,

sir.

( t o the nurse)
Excuse me a second.
Nurse Marcia h o v e r s o v e r D r . S a t a n making n o t a t i o n s on a c l i p
board. Suddenly, D r . S a t a n ' s hand SPRINGS UP and GRABS Marcia
by t h e t h r o a t d i g g i n g deep i n t o h e r neck. She tries t o scream
b u t s h e c a n ' t a s blood GUSHES from h e r neck.
Wydell, Dobson and Moore t u r n a t t h e sound o f t h e commotion
and r u s h t o h e r a i d . Dobson g r a b s h o l d of D r . S a t a n ' s arm b u t
h e can't break t h e death g r i p . D r . Satan begins f l a i l i n g ,
Wydell tries t o h o l d him down.
DOBSON (CONT' D )

J e s u s C h r i s t , H e ' s s t r o n g a s an ox! I
can' t g e t him o f f !
Marcia i s becoming weak from t h e blood l o s s .
WYDELL
S e d a t e him! S e d a t e him!

D r . Moore p u l l s o u t a s y r i n g e from h i s c o a t p o c k e t and f i l l s

t h e s y r i n g e from a small b o t t l e .

c?>: :8 .+,-.g:\
-:,

DOBSON

Hurry!
DR. MOORE
I

am!
(CONTINUED)

A-

CONTINUED:

(3)

Moore RAMS t h e syringe i n t o D r . Satan's neck, slowly he

begins t o loosen h i s grip. Marcia f a l l s i n t o Dobson's arms,
convulsing v i o l e n t l y .
DR. MOORE ( C O N T ' D )

Keep pressure on t h e wound. I ' l l get

help.
Dobson covers t h e hole i n Marcia's neck with h i s hand b u t ,
t h e wound i s too severe.
A huge pool o f Marcia's blood spreads out across t h e b r i g h t

white hospital f l o o r .

Jimmy's l i f e l e s s body s i t s slumped i n a corner against t h e

wall.
Baby i s dancing and singing.
BABY

Chinese, Japanese. .. d i r t y knees...

(Baby l i f t s up her s h i r t )
look a t t h e s e !

...

Otis, smoking a cigar, s i t s i n a chair staring a t Roy, Adam

and t h e i r wives. Roy has a black eye.
Otis scratches t h e side o f h i s head with h i s revolver.
OTIS

Hey Hoss, are you staring a t my s i s t e r

thinking bad things?
ROY
NO.

OTIS

Why not you a faggot?

ROY
NO.

OTIS

.,.-.~,

:-

_ !

.. -.
..

You must b e . You got a hot piece o f ass

shaking her s h i t r i g h t i n f r o n t o f vou
and you don't get any ideas? W h a t do you
call that?
ROY
I am a married man.
(CONTINUED)

-.-.

CONTINUED:

OTIS
A married fucking man...

that's just
beautiful.
( s t a r t s ciapping)
Ladies and gentleman l e t ' s hear it f o r
t h e m a r r i e d man!
ROY

I don't

expect you t o understand.

OTIS
Well, why d o n ' t you e x p l a i n it t o me. Do
you t h i n k I ' m not smart enough t o
understand t h e complex i n n e r workings of
your cowboy mind?
ROY

No, i t ' s not t h a t .

what t o s a y .

..

I j u s t d o n ' t know

OTIS
I t h i n k I know what you're g e t t i n g a t . I

have t o experience t r u e l o v e f o r myself

t o understand.
ROY

Yeah, I guess so.

OTIS
( t o Gloria)
Come on Mamma, f r o n t and c e n t e r on your
feet.
G l o r i a d o e s n ' t move.
ROY

Please, don't h u r t h e r .

..

OTIS
(cocking h i s gun and p o i n t i n g
it a t G l o r i a )
Shut i t .
ADAM
Stop i t . . . p l e a s e . This i s i n s a n e .

r=rz

$<F7,-e
:,

>.

..

OTIS
(interrupting)
Boy, one more word o u t of you and it
b e t t e r b e some b r i l l i a n t fuckina Mark
Twain s h i t cause i t s d e f i n i t e l y g e t t i n g
c h i s e l e d on your tombstone.
(to ~ l o & a )
(MORE)

(CONTINUED)

A.

CONTINUED:

(2)

OTIS (CONT'D)
Come on, s t a n d up and t a k e t h a t s h i t
o f f . L e t ' s s e e what been h o l d i n g Hoss's
b a l l s a t a t t e n t i o n a l l these years.
GLORIA
What?
OTIS
What? Take t h o s e f u c k i n g c l o t h e s o f f now
o r one o f t h e s e a s s h o l e s i s gonna d i e !
Gloria s t a n d s and begins t o undress.
BABY

Whoo-hoo, t a k e it o f f !
O t i s p u t s h i s c i g a r o u t i n h i s hand a n d h o l d s u p h i s palm
with a c i g a r s i z e burn i n t h e c e n t e r .

OTIS
(smiling)
Funny, r i g h t ?
G l o r i a s t a n d s i n h e r underwear t r y i n g t o cover h e r s e l f . Baby
f l i c k s Gloria's h a i r .

BABY
S h i t , she a i n ' t t o o b a d . Way t o go Roy.
OTIS
Get them c h i l d r e a r i n g h i p s o v e r h e r e ,
G l o r i a moves c l o s e r t o O t i s . O t i s g r a b s h e r w a i s t a n d p u l l s
her onto h i s lap.
OTIS

(CONT'D)

(fondling Gloria)
Hoss, I t h i n k I ' m beginning t o
understand.
( t o Gloria)
Come on, Mamma g i v e m e some s u g a r and
make it sweet so I d o n ' t t e n s e up my
trigger finger.
G l o r i a h e s i t a t e s . O t i s d r a g s h i s gun down G l o r i a ' s c h e s t .

-.c

T! -*

'- - rid
. .. :.. .*
:-%

OTIS ICONT'D)
Oh, my f i n g e r i s s t a r t i n g t o t i g h t e n .

?-,&

~ l o k i a' s t a r t s k i s s i n g O t i s p a s s i o n a t e l y a s t e a r s s t r e a m down
her face.

(CONTINUED)

F--

(3)

CONTINUED:

O t i s s t a n d s w i t h h i s hand around G l o r i a ' s neck. c o n t i n u i n g t o

k i s s h e r . H e w h i s p e r s something i n t o h e r e a r , s h e l o o k s
horrified.
OTIS (CONT'D)
Go on t e l l me.
She d o e s n ' t

speak.
OTIS (CONT'D)

T e l l me.
GLORIA

(stuttering)
I . . . I...

O t i s s q u e e z e s h e r n e c k and s h a k e s h e r .

OTIS
S p i t i t o u t , b i t c h ! T e l l me what I t o l d
YOU!
GLORIA

...

You... you
want you t o . .

you a r e t h e d e v i l and I
to..
make me your whore.

ROY

( s t a r t s t o jump u p )
You rnotherfucker !
O t i s q u i c k l y r a i s e s h i s gun.

GLORIA

Roy s t o p !
Roy s t o p s . O t i s burst o u t l a u g h i n g .
OTIS
G e t o v e r t h e r e w i t h t h e r e s t of 'em.
make me f u c k i n g s i c k .

You

O t i s t h r o w s G l o r i a b a c k on t h e bed.

BABY
Now a i n ' t t h i s f u n . I f e e l l i k e w e ' r e a l l
g e t t i n g t o know one a n o t h e r .
-.: r:
. ..
. 3 . .

OTIS

r-:.

.,.

OK l a d i e s , me and t h e boys h e r e a r e gonna

run a l i t t l e errand.
( p o i n t s h i s gun a t Roy)
L e t ' s move it, n o s = . You and s h i t s t a i n
a r e coming w i t h m e .

ION A small r u r a l p o l i c e s t a t i o n .

INT. POLICE STATLT. JANE CROMBERG, a young deputy l o o k s through two way
m i r r o r a t Mother F i r e f l y . Mother s i t s a t a t a b l e s i n g i n g .

Wydell and Dobson e n t e r . Wydell chews tobacco s p i t t i n g i n t o

an empty coke b o t t l e . Dobson h o l d s s e v e r a l of t h e f a m i l y ' s
scrapbooks.
WYDELL
Who found h e r ?
CROMBERG

Ryan, s i r . He was running a p r i n t match

on each of t h e p a t i e n t s we removed from
t h e basement and she matched.
WYDELL
Has she s a i d anything?
CROMBERG

Not r e a l l y .
Wydell and Dobson e n t e r t h e i n t e r r o g a t i o n room.

Wydell s i t s down o p p o s i t e Mother and opens a scrapbook.

Dobson hangs i n t h e back.
WYDELL

...

Mrs. F i r e f l y
my name i s S h e r i f f John
Quincy Wydell and I t h i n k you might
a l r e a d y recognize t h i s book
Wydell opens t h e scrapbook t o a s e r i e s o f p i c t u r e s o f Mother
and Baby p o s i n g with a dead body. She l o o k s a t t h e photos and
smiles.
MOTHER

7-.
!

-r+.c.:,
-.

..z

?%

=:

(sweetly)
Yeah.
[ p o i n t s t o baby)
A i n ' t s h e an a n g e l .
i

-.

WYDELL

You know what? L e t ' s c u t through t h e

b u l l s h i t . You're fucked . . . you're whole

family i s fucked.
(MORE)
[CONTINUED)

+
i

CONTINUED:
WYDELL (CONT'D)
I ' d say t h e only t h i n g you can do now i s
cooperate and t e l l me where they a r e and
maybe t h i s l i t t l e angel here
( p o i n t s t o Baby)
d o e s n ' t have t o d i e l i k e a dog when I
c a t c h h e r . Hell, f o r a l l I know she's
dead a l r e a d y .

...

...

Mother s m i l e s .
MOTHER
I know what you a r e t r y i n g t o do, M r .
Lawman, b u t it a i n ' t gonna work. I a i n ' t
t e l l i n g you nothing! I know they a i n ' t
dead. You know how I know t h a t .
because
I can f e e l them r i g h t h e r e .
( s h e touches h e r h e a r t )
A mother knows S h e r i f f . A mother knows.
You c a n ' t catch them..
O t i s i s t o o smart
f o r you.

..

WYDELL
(chuckles)
Oh. I ' m aonna catch' em and when I do.
'
(che;s and s p i t s )
. I ' m gonna t a k e a few p i c t u r e s of my
own. I ' l l make a second s e t of p r i n t s
j u s t f o r you. You know, I might even
string'em up l i k e p r i z e bass and charge
admission. Two b i t s t o s e e The Scum Of
The Earth. Got a r i n g t o i t , d o n ' t i t ?

..

. .

MOTHER
Are you done?

WY DELL
No. I ' m j u s t g e t t i n g s t a r t e d .
Wydell s t a n d s up and t u r n s t o l e a v e .
MOTHER
Oh, S h e r i f f . .

Wydell t u r n s b a c k .
MOTHER (CONT' D )
Can I show you something?
)--..

?-.

-.s
.+
: .
;:

*
a
>

L,)

Sure.

WYDELL
MOTHER

I need that book.

(CONTINUED)

*.-

CONTINUED:

(2)

Wydell hands Mother t h e book. Mother opens t h e back and

u n s t i t c h e s t h e l i n i n g . I n s i d e a r e more P o l a r o i d s .
MOTHER (CONT'D)
I d i d n ' t never g e t around t o p u t t i n g
t h e s e i n t h e book proper, b u t I thought

you might enjoy them.

Wydell moves i n c l o s e r .
MOTHER (CONT' D)
(holding up the photos)
You know he was a r e a l sweety p i e
t a l l , broad shoulders, b i g mustache, b a l d
head. You know, I kind of f e e l bad about
blowing h i s b r a i n s o u t . He seemed l i k e
such a n i c e man. I think he s a i d h i s name
was a l s o Wydell. Was he k i n t o you?

...

Wydell grabs t h e photos.

Close up photos:
Family members s t a n d around t h e dead body o f Wydell's b r o t h e r
George. F l i p p i n g through t h e photos we s e e t h e v a r i o u s s t a g e s
o f the f a m i l y ' s m u t i l a t i o n of George. The f i n a l photo i s
Mother holding George's severed head.
Wydell s l a p s Mother a c r o s s t h e f a c e HARD, knocking h e r t o t h e
f l o o r . Blood t r i c k l e s down from h e r l i p . Mother t a s t e s t h e
blood and smiles.
WYDELL

You l i s t e n t o me and you l i s t e n good.

They're dead! You hear me... I ' m gonna
hunt down your family and skin'em
alive.
(he p u l l s Mother up by t h e h a i r
and slams her a g a i n s t t h e
wall)
I'm gonna make them f e e l t h e pain of
every l a s t v i c t i m . Their gonna crawl on
t h e i r hands and knees begging f o r mercy,
b u t a l l I have f o r them i s p a i n . You hear
me p a i n !

..

Dobson p u l l s Wydell off Mother. Wydell drops h e r t o t h e

f r-.
loor.
=,& !,&,?~ >".2
i ;; i.;;
. .. .
DOBSON
John! Come on, back o f f
back o f f .
-:

You're

gonna k i l l h e r !

....

(CONTINUED)

CONTINUED:

(3)

MOTHER

(screaming and laughing)

S h e r i f f . . . you c a n ' t out run y o u r s e l f . . .
you found your way i n t o something you
a i n ' t never gonna g e t o u t o f . . .
Wydell and Dobson walk o u t . Mother keeps screaming.
MOTHER (CONT ' D )
We'll g e t you, w e ' l l g e t you. You' r e dead
S h e r i f f . . . dead! I ' l l see you i n fucking
Hell!

m. ROAD -N 1 w . Z
van and a c a r slowly f o l l o w each o t h e r down an i s o l a t e d
d i r t road.

I N T . OTIS' U B
O t i s d r i v e s while h o l d i n g a gun on Roy. Glenn Campbell's
"Southern Nights" spills out from t h e c a r ' s r a d i o .
OTIS

(laughing)
Man, I loved t h a t P o r t e r Wagner Show.
What do ya t h i n k about Dolly? Come on,
you g o t t a love them fucking t i t s , man.
( O t i s laughs)
Hey, Ross.
ROY

What?
OTIS

Hey, you l i k e t h i s song?

Roy doesn't

answer.

O T I S (CONT'D)
I r e p e a t . Do...
(pokes him with h i s gun)

you..
(pokes him again)
like..
(and a g a i n )
t h i s song?-

r.. :--*

,,..,.. ..
:..
...
/

..

?-:

... ,
. ..

liiii

ROY

Yeah, I d o n ' t know..;

yeah I guess s o .

(CONTINUED)

+-

CONTINUED :

OTIS

Really? So you l i k e t h a t t o p 4 0 s h i t ? I
thought you were some t r u e b l u e b a l l s
s h i t , you
E r n e s t Tubb country fucker
a i n ' t nothing b u t some c i t y faggot i n a
cowboy h a t . Well, y o u ' l l be happy t o know
your wife w i l l be f e e l i n g t h e love of a
I ' m cooking up
r e a l cowboy t o n i g h t . .
some good time p l a n s . What do ya t h i n k of
that?

...

ROY
I t h i n k you're

scum.

OTIS
(laughing)
b e l i e v e it
Scum. Hmmm, you know Hoss
o r n o t , b u t I l i k e you. I mean i f I
d i d n ' t you'd be dead by now... r i g h t ?

. ..

ROY
I d o n ' t know.

OTIS
yeah, you'd be dead. Don't
T r u s t me.
worry a f t e r I dump my c a r and g r a b t h e s e
guns I ' l l l e t you go. I ' d h a t e t o d e p r i v e
t h e world of Banjo and S u l l i v a n . I n f a c t
why d o n ' t you s i n g something?

..

Adam c a u t i o u s l y follows O t i s ' s c a r .

ADAM

Come on, t h i n k . . t h i n k . . . t h i s a s s h o l e ' s

t h i s guy's
n o t going t o l e t you go
gonna k i l l you. This fucking psycho's
going t o r a p e your wife and fucking k i l l
you..
do something!

...

Adam reaches around i n t h e b a c k s e a t . H i s hand touches a

s w e a t s h i r t , a b a s e b a l l glove, a s o f t b a l l
ADAM ( C O N T ' D )

Come on.
a;idzfs,ally a baseball b a t
n

= L

ADAM (CONT'D)

Got ya.

...

O t i s p u l l s h i s c a r over next t o an o l d s t o r a g e shed i n a junk

yard.

OTIS

Get o u t .

O t i s s t e p s out of t h e c a r , a s does Roy.

Adam p u l l s u p t o t h e r i g h t o f O t i s ' s
t o conceal the b a t .
OK,

c a r and steps out t r y i n g

OTIS
l a d i e s t h i s i s t h e end of t h e road.
ROY

What? You c a n ' t k i l l us. We d i d

e v e r y t h i n g you s a i d .
OTIS

(quietly)
F i r s t o f f I never s a i d anything
and
second o f f
(goes crazy)
I can do anything I want. Consider me
motherfuckin' W i l l i e fucking Wonka! You
a r e i n my chocolate f a c t o r y now... you
g o t it my f a c t o r y ! You a i n ' t nothing b u t
a l i t t l e p u r p l e p i e c e of umbalumpa s h i t !
I make t h e fucking c h o c o l a t e , C h a r l i e !

...

...

Adam CHARGES towards O t i s with t h e b a t r a i s e d above h i s head,

c a t c h i n g O t i s o f f guard.
ADAM

Noooooooooooo!
Adam SWINGS THE BAT n a i l i n g O t i s i n t h e a m . O t i s drops h i s
gun and f a l l s t o t h e ground.
ROY

Get him, g e t him!

Ai?dki?i%$ings again, O t i s r o l l s o u t of t h e way. Adam swings
O t i s i n the s i d e .
ADA!!

Grab t h e gun!
(CONTINUED)

O t i s ROLLS t o t h e l e f t and KICKS Adam i n t h e knee. Adam's

k n e e b u c k l e s and he g o e s down.

Roy r e a c h e s f o r the gun. O t i s jumps o n Roy. T h e y wrestle f o r

the gun. B o t h men h a v e their h a n d s o n the gun. O t i s SMASHES
Roy i n the f a c e r e p e a t e d l y w i t h the b u t t o f the p i s t o l . R o y
h o l d s on.
Adam s t u m b l e s t o w a r d s O t i s g r a b b i n g h i m from b e h i n d . O t i s
s l a m s h i s h e a d b a c k i n t o Adam's f a c e , t w i s t s t h e gun b e h i n d
h i m and s h o o t s Adam i n the n e c k . Adam c l u t c h e s h i s neck and
f a l l s t o h i s knees s c r e a m i n g .
O t i s b i t e s R o y ' s h a n d , R o y l o s e s h i s g r i p on t h e gun. O t i s
smashes the gun i n t o R o y ' s f a c e . Roy i s d a z e d .
O t i s s t a n d s and'KICKS Roy i n t h e ribs r e p e a t e d l y . Roy curls
i n t o a f e t a l p o s i t i o n h o l d i n g h i s b r o k e n ribs t r y i n g t o
breathe.
O t i s p i c k s up t h e b a s e b a l l b a t .

ADAM (CONT ' D)

Stop! Please stop!

,\..

OTIS
Stop? Bitch, I'm j u s t g e t t i n g s t a r t e d .
( k n e e l s down n o s e t o n o s e w i t h
Adam)
Y o u b r o u g h t t h i s down o n y o u r s e l f b o y . I
was gonna make i t e a s y , b u t you had t o
come a l l r u n n i n g b i g s h o t W a l k i n g T a l l
w i t h your L o u i s v i l l e s l u g g e r l i k e a
f u c k i n g h e r o , but l o o k a t you now hero
b o y y o u ' r e gonna b l e e d t o d e a t h f u c k e r .
Adam s p i t s i n Otis's f a c e . A m i x o f s a l i v a and b l o o d .
Fuck you.

:-

-. ..?..,-.

:!.'..-.?.. ;=,.:
=;

ADAM

OTIS
( s m i l i n g he w i p e s t h e s p i t o f f
h i s face)
Y o u know t h a t ' s what t h e y a l l s a y . Fuck
y o u ! L i k e t h a t ' s gonna s a v e y o u , it d o n ' t
s c a r e me none and it d o n ' t s u d d e n l y make
y o u some bad a s s h e r o m o t h e r f u c k e r
e i t h e r . I ' l l show you what h a p p e n s t o
heroes, boy!

O t i s pokes h i m i n the r i b s w i t h t h e b a t .
t h r o u g h Adam's i n s i d e s . H e k e e l s o v e r .

A h o t fire

BURNS

(CONTINUED)

OTIS (CONT'D)
(standing)
You wanna s e e bad a s s ? I ' l l show you
fucking bad a s s .
O t i s walks over t o Roy,

slamming t h e b a t i n t o t h e ground n e x t

t o Roy's head.
OTIS (CONT'D)
See with t h i s a l l American p i e c e of wood
I got e v e r y t h i n g .
here.

..

ROY

Please...

don't.
OTIS

( t o Roy) .
Look a t me.
Roy looks up a t O t i s .
O T I S (CONT'D)

Hoss, I want you t o pray. I want you t o

summon your God t o come save you. I want
l i g h t n i n g t o come down and c r a s h upon my
fucking head.
Roy s t a r t s t o p r a y .
O T I S (CONT'D)

Louder! Pray t o s t o p t h e man who i s going

t o k i l l you and then go fuck your wife
with t h i s b a t . Come on, I d o n ' t f e e l
anything.
Adam tries t o s t a n d . O t i s h i t s him i n t h e knee cap with t h e
b a t , s h a t t e r i n g h i s knee.
OTIS (CONT' D )
( t o Adam)
You s t a y p u t .
OTIS ( C O N T ' D )
(shaking)
Oh my God... I f e e l it. . .
t h e Holy
s ~ i r i has
t
taken c o n t r o l of mv bodv
I
repent, p r a i s e God I r e p e n t . i f e e i t h e
sweet love of God Almighty.

...

:
I

-" ' . ';

-'
i.i

.,-7-.,::

...

...% 3

dt&"wavers l i k e a man p o s s e s s e d o f t h e Holy Ghost, then

s t o p s and laughs. He looks down a t Roy.

(CONTINUED)

a.L..

(3)

CONTINUED:

Roy l o o k s up a t O t i s and f o r a s p l i t second O t i s resembles

The Devil, t h e n r e t u r n s t o normal.
OTIS ( C O N T ' D )
You s e e , Hoss..
(slow and s i n i s t e r )
I am t h e d e v i l and I am h e r e t o do
t h e d e v i l ' s work.

. ..

O t i s SWISHES the b a t down on Roy's head, o v e r and o v e r . Adam

w a t c h e s h e l p l e s s a s O t i s b e a t s Roy beyond dead.
ADAM

No, s t o p i t

... p l e a s e

stop!!

A b l o o d s p l a t t e r e d O t i s p i c k s up R o y ' s h a t , p l a c e s i t on h i s
head and t u r n s towards Adam. O t i s s m i l e s and d r o p s the b a t ,
p u l l i n g o u t a H u n t i n g k n i f e from h i s b o o t .
OTIS
I g o t o t h e r p l a n s f o r you hero.

O t i s moves towards Adam.

Prom a d i s t a n c e we see the s i l h o u e t t e o f O t i s s i t t i n g on

Adam's a s he c u t s a t h i s f a c e . Adam screams.

INT. D
A
c l o s e Up

MOTEL

-N

I W

TV

On s c r e e n i s t h e evening news with anchor NELSON EMERSON.

EMERSON
There i s now some s p e c u l a t i o n t o n i g h t by
a u t h o r i t i e s t h a t one of t h e members of
t h e Devil's R e j e c t s known only a s Baby
might a c t u a l l y be Katherine Jane
Campbell, a f o u r year g i r l t h a t has been
missing f o r over twenty f i v e y e a r s . A s
you might remember Miss Campbell was
kidnapped i n 1951 during a bloody robbery
attempt a t a Campbell's Grocery S t o r e .
The owners M r . and M r s . Campbell were
k i l l e d i n t h e robbery attempt, while
t h e i r daughter was kidnapped by t h e
perpetrators.

-$.,<
* .?..~
,.--.&'
>, -. : *:

-<

Bullshit

BABY ( O . C . )

(CONTINUED)

5
CONTINUED:

Baby l e a n s backing i n h e r c h a i r watching TV. She c a r v e s h e r

name i n t o a t a b l e t o p with a h u n t i n g k n i f e . Her gun i s on t h e
table.
On t h e bed huddled t o g e t h e r are Gloria and Wendy, t h e y watch
Baby.
WENDY

Can I go t o t h e bathroom?
Baby i g n o r e s h e r .
WENDY

LCONT' D )

Excuse me, can I please go t o t h e

bathroom? I'm about t o p i s s m y s e l f .
BABY

So p i s s y o u r s e l f . What t h e fuck do I
care?
WENDY

Please, I might have t o do something

else.
BABY

Go ahead, b u t make it f a s t b i t c h . .
Wendy g e t s up, g i v e s h e r Mother a glance and goes i n t o t h e
bathroom.

...

BABY

(CONT' D )

and d o n ' t t r y anything c u t e .

Wendy q u i c k l y scans t h e bathroom, removes t h e t o i l e t base

cover, smashes i t against t h e w a l l and s t a r t s screaming f o r
help.

Loud crashing sounds can be heard coming from t h e bathroom.

Baby jumps up l e a v i n g h e r gun on t h e t a b l e .
BABY

,--,

God damn i t ! I f u c k i n g knew t h a t cunt

would do something s t u p i d .

B a b p f t q i e s t o open t h e door, i t i s l o c k e d . Baby pounds on t h e

Mthroom door.

(CONTINUED)

-I

CONTINUED :

BABY (CONT'D)
Hey, shut the fuck up in there... open
the God damn door!

Gloria jumps o f f t h e bed and grabs Baby's gun o f f t h e t a b l e .

GLORIA
(holding the gun on Baby)
OK, hold it.

Baby t u r n s towards Gloria, p u t t i n g h e r hands behind h e r back

and gripping t h e k n i f e i n a throwing p o s i t i o n .
BABY
(moving in closer)
What are you gonna do shoot me? Aw, come
on you ain't gonna shoot me? Murder me?
What did I ever really do to you? Did I
hurt you? You really want my blood on
your hands? Huh, bitch?
GLORIA
(shaking)
Don't come any closer. I swear I will.
BABY
Now, why would you wanna shoot me. I'm
your only hope. My brother's crazy. He'll
kill ya just for fucking shits. I seen
him do it before. He' 11 gut ya from your
throat to your asshole and still fuck ya.
You need me if you want to live.
GLORIA
(to Wendy)
Wendy! It's alright come on out of

...

THUD! Before Gloria can f i n i s h h e r sentence Baby THROWS t h e

k n i f e d i r e c t l y i n t o G l o r i a ' s h e a r t . Gloria DROPS t o h e r
knees, she l i f t s t h e gun.
BABY
Go ahead ... shoot me!
(spins around, pulls her jeans
down and slaps her ass)
Go ahead ... shoot me right in the fucking
ass!

~$ie%$$+es. Nothing happens.

BABY (CONT' D )
stu~idcunt, ain't no bullets in that
thing .
(MORE)
(CONTINUED)

CONTINUED :

(2)

BABY

(CONT'D)

(tapping her temple)

I t ' s a l l f u c k i n g m i n d power.
G l o r i a f a l l s t o h e r s i d e . Wendy r u n s o u t o f t h e bathroom,
s e e s h e r l y i n g on t h e f l o o r , screams and r u n s f o r t h e door.

Wendy opens t h e door and r u n s o u t s i d e . Baby f o l l o w s a f t e r

her.

Wendy r u n s p a s t t h e empty rooms screaming. She t r i e s t o open

l o c k e d . She c o n t i n u e s r u n n i n g and t r i e s a n o t h e r
a door..
door, a l s o l o c k e d .
She t u r n s a c o r n e r and r u n s p a s t a row o f v e n d i n g machines
t u r n s a n o t h e r c o r n e r a n d . . . SLAM! She r u n s d i r e c t l y i n t o
Spaulding.
WENDY

Help me, h e l p me! S h e ' s c r a z y !

Spaulding s m i l e s wide. Baby comes b a r r e l i n g around t h e
corner.
BABY

Daddy! Grab t h a t b i t c h !
Spaulding grabs Wendy.
WENDY

Nooooo !
He s m i l e s , t h e n c r a c k s h i s s k u l l down o n t o Wendy's f a c e .
INT. ROOM
Baby opens t h e door, Spaulding c a r r i e s Wendy i n s i d e and d r o p s
h e r on t h e f l o o r . Wendy i s s e m i c o n s c i o u s and b l e e d i n g from
h e r nose.
BABY

You want t o f u c k w i t h me b i t c h ? Huh ...

huh? Fuck it.
Baby g i v e s S p a u l d i n g a hug.

;--i
:;.:I ,

r-;
--- r;
:+

... ......

BABY ( CONT' D)
S h i t Daddy, I was s t a r t i n g t o t h i n k you
weren' t coming.

(CONTINUED)

CONTINUED:

SPAULDING
(looks around)
Naw, where t h e fuck i s O t i s ? Please t e l l
me Otis i s here?
BABY
O t i s a i n ' t back from g e t t i n g t h e guns
yet.

Shit

POLICE
Close u p

SPAULDING

.
-

scrapbook pages

W
e scan a c r o s s t h e l o o s e pages o f t h e Family's Scrapbooks.
Each page c o n t a i n s a photograph more hideous and gruesome
than the n e x t .
P u l l i n g back we see: Wydell and Dobson s t a n d i n g before a wall
covered i n pages from t h e scrapbooks.
DOBSON
Where does t h i s end?
WYDELL
This ends h e r e . . . I ' m gonna n a i l t h e i r
a s s e s t o t h e fucking w a l l , !
( p o i n t i n g t o a page)
E s p e c i a l l y t h a t motherfucker Spaulding.
The thought of t h a t fucking f r e a k on TV
f l a u n t i n g i t i n my f a c e f o r a l l t h e s e
years.

GLEASON, e n t e r s and sets a p o t of coffee

down on t h e t a b l e .

A young o f f i c e r ,

DOBSON
( p o i n t i n g t o a scrapbook page)
there's
Speaking of Spaulding
something about t h a t name.

...

Close u p : page o f Spaulding s m i l i n g with a BOUND AND GAGGED

CHEERLEADER. The words "Hurrah f o r Captain Spaulding" a r e
w r i t t e n around t h e photo.

..~-.
. -,
.. ..

:-,

$-%
.

-, . ,.' - . ? ,

+T- ,

What?

WYDELL

:
;

DOBSON

I ' v e been racking my b r a i n about t h a t

name and f i n a l l y I remembered...
(MORE)
(CONTINUED)

CONTINUED:

DOBSON (CONT' D )
Captain Spaulding i s a c h a r a c t e r from a
Marx Brothers movie. I c a n ' t remember f o r
s u r e . . maybe, fuck I d o n ' t know " Horse
Crackers" o r "Animal Crackers" o r
something l i k e t h a t .

WYDELL

mat?
GLEASON

Yeah, you know t h e song.

WYDELL

No, I d o n ' t know.

GLEASON

( s t a r t s singing)
' Hurrah f o r . C a p t a i n Spaulding t h e
African e x p l o r e r , hurrah, h u r r a h ,
hurrah".
(embarrassed)
Sorry.
DOBSON
Yeah, t h a t ' s it. A t f i r s t I d i d n ' t t h i n k
much of i t , b u t t h e n some of t h e s e o t h e r
names a l s o sound l i k e t h i n g s . I c a n ' t
r e a l l y remember. b u t I t h i n k .
( s l i d e s O t i s ' s f i l e towards
Wydell)
O t i s B. Driftwood i s a l s o a Groucho
c h a r a c t e r and I t h i n k F i r e f l y i s a l s o .

..

...

WYDELL
J e s u s C h r i s t , a r e s u r e about t h i s ? How
fucking long were you gonna s i t on t h i s .
Who could we c o n t a c t i n o r d e r t o v e r i f y
this?

Urn,

DOBSON
I don' t know.
GLEASON

How about t h a t newspaper guy. What's h i s

name? Marty Walker.
WYDELL

Who?
:-,,
v..; r
?;.- i.+

7.:

::

>

2 >:.r

>: '

DOBSON

Yeah, you know.. The guy you always

r e f e r t o a s , " t h a t l i t t l e a s s h o l e who
d o e s n ' t know s h i t about r e a l movies"...
(MORE)
(CONTINUED)

CONTINUED:

(2)

...

DOBSON (CONT' D )
(no response)
t h e guy who h a t e d Rocky.

WYDELL
Oh, t h a t fucking j a c k a s s .

G l e a s o n h a n d s Dobson a c o p y o f THE RUGGSVILLE GAZETTE. He

f l i p s t h r o u g h i t , f o l d s open a p a g e a n d h a n d s i t t o W y d e l l .
DOBSON
Marty Walker. He's t h e f i l m geek over a t
The Ruggsville Gazette. He would probably
know. He even p u t s h i s home number i n h i s
a r t i c l e s s o you can c a l l and d i s p u t e h i s
reviews.

Close up

- paper
WITH GLASSES i s p r i n t e d n e x t

A s m a l l p i c t u r e o f a NERDY
t o h i s review.

W y d e l l r e a c h e s over a n d g r a b s the p h o n e a n d d i a l s t h e n u m b e r .

TY W

m S HOUSE

E v e r y i n c h o f t h e room c o n t a i n s some f i l m r e l a t e d p i e c e o f
memorabilia.
A s m a l l , b a l d man w i t h a h u g e m u s t a c h e enters a n d a n s w e r s t h e
p h o n e : t h i s i s MARTY WALKER. He i s d r e s s e d i n a b a t h r o o m a n d
a T - s h i r t t h a t s a y s : I CHOKED LINDA LOVELACE.
MARTY

Yellow.
WYDELL
I s t h i s M r . Walker?

Maybe

MART Y

WYDELL
My fiame i s S h e r i f f Wydell I need t o a s k
you some q u e s t i o n s .
MARTY

S h e r i f f , i f t h i s about t h e parking
t i c k e t s , I swear t o God I mailed t h a t

WYDELL
I don't aive
a shit about ~arkina
tickets... it's about some movie
characters... Marx Brothers to be exact.
~

~~

MARTY
Yeah? Well, then you came to the right
guy. Luckily for you I'm a bit of a Marx
Brothers expert if I do say so myself. So
what do you need?
WYDELL
I need a detailed list of all Marx
Brothers characters, es~eciallv
- anvthina
related to Groucho.
MARTY
(writing it down)
A list of all Marx Brothers characters
and any related characters. When do you
need this?

WYDELL
I'm gonna be needing that about ten
seconds after we end this conversation.

CLOSE UP

Gloria's

face. She is completely expressionless.

SPAULDING (0.C.)
(imitating Gloria)
Hey, what are you doing? Listen to me...
I think there's something wrong here. I
don't want you hanging out with the wrong
type of people. It's a cult I tell ya...
a cult!
Close up - Wendy's face stares straight ahead in shock.
Gloria's face leans in and rubs noses.
-:
-.
:..# !;..z b.~.:
i 'q,s'-' . F <>

,--,

SPAULDING (CONT'D)
How about a little Eskimo love.

We pull back to see Spaulding holding Gloria's severed head.

Spaulding is covered in blood.
(CONTINUED)

CONTINUED:
Wendy i s t i e d t o a c h a i r w i t h s t r i p s o f bed s h e e t s . She i s
a l s o a b l o o d y mess.
Baby s i t s on t h e bed l o o k i n g a t a photograph.
CLOSE UP - P i c t u r e
TWO MEN ON MOTORCYCLES, A younger Spaulding w i t h l o n g greasy
h a i r , and a l a r g e b l a c k man w i t h an a f r o . Under t h e photo i n
b l a c k i n k a r e t h e words : C u t t e r and W o l f .
Wow;look

BABY
at all that hair.

SPAULDING
(rubs his head)
Yeah, hair today gone tomorrow.
BABY
Why does it say Cutter and Wolf?
SPAULDING
Well, back in those days Charlie used go
by the name Wolf Flywheel, but then he
got a big kick outta that Hell's Angels
shit that went down at that Stones gig in
Altamont and suddenly he demanded we all
call him Charlie Altamont. Fuck it,
whatever.
BABY
Why does it say Cutter?
SPAULDING
Shit, I don't know. Charlie use to call
me Cutter.
BABY
Why'd Charlie move away?
Spaulding p u t s G l o r i a ' s head i n Wendy's l a p .
SPAULDING
What is this twenty questions?

-.

BABY
"--~

,
*.ik:,,...#8
. .<> 5< ,.
.

Maybe.
SPAULDING
Eh, me and him had a little freak out
but, we're cool now. He owes me a biq
time.
(MORE)
(CONTINUED)

CONTINUED:

(2)
SPAULDING ( C O N T ' D )

( p u l l s down t h e neck of h i s
s h i r t t o r e v e a l a huge s c a r )
On one of our l a s t scams t o g e t h e r I took
a fucking b u l l e t f o r t h a t guy. We were
running a l o a d moon j u i c e t o t h e s e
fucking rednecks when t h e s h i t went down
and I g o t popped saving h i s a s s .
BABY

So i t ' s cool between you guys?

SPAULDING
Yeah, I j u s t s a i d i t was c o o l ... h e ' l l be
cool.
BABY

What's he doing now?

SPAULDING
H i s l a t e s t scam i s running a low r e n t

....

we can
f a n t a s y whore-shack o u t way
f a d e o u t t h e r e u n t i l t h i n g s cool o u t
some.
BABY

What's a f a n t a s y whore shack?

SPAULDING
Eh, same a s any o t h e r skank j o i n t except
t h e broads d r e s s up i n dopey o u t f i t s l i k e
c h e e r l e a d e r s o r cowgirls i f you're i n t o
that shit.
The door SWINGS open. Baby and Spaulding PULL THEIR GUNS. It
i s O t i s wearing Adam's skinned face.
OTIS
Whoa! Booga-booga-booga!
BABY
Don't you fucking knock?
SPAULDING
What t h e fuck took s o long?
BABY

Did you g e t everything?

?..
.-.,
-.
. >..
,:p::,:s :
:
<..,:* $
r c:

...

'&

OTIS
( t o Baby)
Yeah, I got e v e r y t h i n g .
(to Spauding)
(MORE)
(CONTINUED)

..

CONTINUED: ( 3 )
OTIS (CONT'D)
Shit motherfucker, where the fuck were
you?
SPAULDING
[coping an attitude)
Hey, I'm here ain't I. So if you got a
problem with my time frame you best spit
it out now, boy.
OTIS
Yeah, I got a fucking problem. A big
fucking problem Bozo.
O t i s p o i n t s h i s gun a t S p a u l d i n g , i n t u r n S p a u l d i n g p o i n t s
h i s gun a t O t i s .

SPAULDING
Make your move, Whitey. I'll beat your
ass like the good old days.
OTIS
Old man, you ain't beating nothing!
BABY
Come on, cut the shit. We've got to get
the fuck out of here!
OTIS
I agree. What do you want to do with her?
SPAULDING
Leave her for the maid to clean up

A maid, MARIA (29/, p u s h e s a c l e a n i n g c a r t . She s t o p s and

knocks on room #5.

MARIA
(knocking)
Housekeeping. . . housekeeping.
She o p e n s u p t h e door w i t h h e r k e y , t u r n s on t h e l i g h t , t h e
l i g h t i s burnt out.

MARIA (CONT'D)
Damn it. Julio I told vou to check the

Maria walks i n t o t h e room, s t u m b l e s around i n t h e dark f o r

t h e desk lamp. C l i c k ! She t u r n s on t h e lamp. The room i s a
mess.
MAR IA
Fucking messy p i g s .

Maria opens t h e door t o t h e bathroom. I t i s a BLOOD BATH.

Gloria's headless corpses i s l y i n g i n the tub, t h e walls are
s p l a t t e r e d w i t h b l o o d . Maria screams.
SLAM! The wind b l o w s t h e f r o n t door s h u t . Wendy hangs from
t h e back o f t h e door. The s k i n mask i s t i e d t o h e r f a c e .
Maria r u n s t o t h e door and t r i e s t o open i t .
Wendy f a l l s MJOCKING Maria t o t h e f l o o r . Maria pushes Wendy
o f f h e r . Maria i s i n shock a s s h e s t a r e s a t t h e l i f e l e s s
body.
Suddenly, Wendy coughs up b l o o d , opens h e r e y e s and b e g i n s
t h r a s h i n g around grabbing a t Maria.
WENDY

No! No! I ' l l k i l l you...

I ' l l k i l l you!

MARIA

Help..

. help.

Maria b r e a k s f r e e o f Wendy g r i p and r u n s o u t o f t h e room.

Wendy f o l l o w s r u n n i n g o u t s i d e .

Wendy h y s t e r i c a l l y r u n s screaming through the m o t e l ' s p a r k i n g

l o t d i r e c t l y i n t o the road. SMASH! Wendy i s IMMEDIATELY HIT
b y a speeding truck.

P o l i c e a r e now on the scene. Wydell and Dobson s t a n d b y a

squad car i n d i s c u s s i o n with SHERIFF KEN DWYER (40).
WY DELL
What a r e we d e a l i n g w i t h h e r e , Kenny?
r..

;.,;

..

.
b;
r

?&,

.:
- ;
;,
:&

$L

..

DWYER
A b i g f u c k i n g m e s s , John.
' t h a t ' s what.
I got a hundred yard s t r e t c h o f f r e s h red

a s p h a l t and some a s s o r t e d c o r p s e c h u n k s .
That t r u c k did a r e a l p i z z a nwnber o n
that girl.
(MORE)
(CONTINUED)

- --

CONTINUED:
DWYER (CONT ' D )
We're s t i l l looking f o r t h e noggin s o we
can check t h e d e n t a l .
(looks a t h i s n o t e s )
I n s i d e i s t h e r e a l fucking h o o t . We g o t a
bathroom t h a t someone decided t o t u r n
i n t o a s l a u g h t e r house complete with a
d e c a p i t a t e d corpse f l o a t l n g i n t h e t u b .
(looks a t h i s notes)
Presumably a Mrs. G l o r i a S u l l i v a n .
WYDELL

Who found h e r ?
DWYER

The maid. A M i s s Maria Gomez.

WYDELL

Has she s a i d anything?

DWYER

Yeah, l o t s of t h i n g s b u t I c a n ' t speaka

no s p a n i s h , i t ' s a l l mumbo jumbo t o me.
WYDELL

You're t e l l i n g you d o n ' t have one o f f i c e r

who speaks Spanish?
DWYER

S h i t , what i s t h i s fucking T i j u a n a ? I g o t
a guy, Clarkson over t h e r e , who can s p i t
o u t a l i t t l e Chinese f o r ya i f t h a t ' s any
help?
WYDELL

(looking around)
T h a t ' s fucking g r e a t , Ken. I f we're
looking t o f i r e u p some Kung Pow chicken
I ' l l g i v e your man Clarkson a c a l l .

The door t o t h e backseat of t h e car i s open. I n s i d e we see

M a r i a . She is hunched over shaking.
WYDELL (CONTI D )

( i n Spanish)
I ' m S h e r i f f Wydell , I ' d
Miss Gonzales
would l i k e t o show you some p i c t u r e s .

...

Wydell p u l l s out mug shots of O t i s , Baby and Spaulding.

-c-:!
~:.,.:!!."?
.

-.

;. .. . ?~*:-'.

.\

WYDELL (CONT' D )

Can you i d e n t i f y e i t h e r of t h e s e t h r e e
subjects?

M a r i a glances a t t h e photos.
(CONTINUED)

CONTINUED:

(2)

MARIA

No.
DWYER

What I t e l l ya? She's u s e l e s s .

Dobson t a p s Wydell on the s h o u l d e r .

DOBSON
Chief, t h e r e ' s some s h i t kicker over
t h e r e says h e ' s suppose t o meet you h e r e .
You recognize t h a t guy?

BILLY RAY SNAPPER, a huge man w i t h a s c a r r e d f a c e wearing

f i l t h y h u n t i n g c l o t h e s nods t o W y d e l l . H e i s a b o u n t y h u n t e r .
WYDELL
Yeah. I know him.

Wydell w a l k s o v e r t o Snapper. Dobson and Dwyer watch as t h e

two men shake h a n d s .
DWYER
( t o Dobson)
I know t h a t o l d boy. H i s name's B i l l y
Ray, but everybody c a l l s hhn Snapper.

DOBSON

Who i s he?
DWYER
Some bounty hunting p i e c e of s h i t .

Wydell hands Snapper a p i e c e o f paper.

WYDELL
Here's t h e l i s t of t h e names t h a t I need
f o r you to run down f o r me.
SNAPPER
( p u t s on h i s g l a s s e s , looks a t
t h e l i s t and l a u g h s )
Fucking weird a s s names.
WYDELL
Yeah, c a l l me i f anything connects.
T,,
.Fn
-%

. :,. .=..,+. >...,.,.

.:
-,.* .,.& :

SNAPPER
I ' m s u r e i t w i l l . The s h i t always f l o a t s
my way d o n ' t i t , c h i e f .
WYDELL

J u s t do i t .
(CONTINUED)

-~.-

CONTINUED:

(3)

SNAPPER
W i l l do, S h e r i f f . Have fun s c r a p p i n g
b r a i n s of t h e r o a d .

Snapper s t i c k s t h e paper i n h i s p o c k e t ,
W y d e l l heads b a c k towards Dobson .

t h e n w a l k s away.

DOBSON
Who was t h a t ?

WYDELL

Nobody.

The Banjo and S u l l i v a n van d r i v e s down the road.

m.

VAN

O t i s d r i v e s , S p a u l d i n g r i d e s s h o t g u n and Baby i s i n t h e
backseat.
OTIS
I t r u s t t h a t fucker C h a r l i e about as much
a s I t r u s t you.

SPAULDING
C h a r l i e ' s a good k i d . Where do you g e t
o f f t a l k i n g s h i t about C h a r l i e ? You
h a r d l y know t h e guy.
OTIS
E x a c t l y . I don't know fuck a l l about t h i s
guy. Except what I h e a r a l l from you.
SPAULDING
Well, u n l e s s you got some b e t t e r
s u g g e s t i o n s ... i t ' s t h e only s a f e p l a c e I
can t h i n k o f .

Through w i n d s h i e l d ' s P.O.V.:

a s i g n t h a t r e a d s M r . Snowman's

Ice Cream S h a c k , 21 F l a v o r s and 21 t o p p i n g s , t e n m i l e s .

BABY
Hey man, I want. ice cream.

7:
E
;
,?:. .. . .. $-,7
., ..
?

.A

OTIS
( i m i t a t i n g Baby)
I want i c e cream! W e a i n ' t g o t time f o r
no fucking p i t s t o p s . What do you t h i n k
we a r e on fucking v a c a t i o n .
(CONTINUED)

--

CONTINUED:

SPAULDING
Two f u c k i n g seconds f o r t h e k i d . I s t h a t
gonna k i l l you?
OTIS

No, b u t I might k i l l you?

SPAULDING
Yeah r i g h t . Dream on, buddy, dream on.
BABY
Come on, O t i s ! Don't b e such a f u c k i n g
drag. I ' m s t a r v i n g .
SPAULDING
W h i t e y , p u l l t h e f u c k i n g car o v e r .
OTIS

Jesus C h r i s t , two f u c k i n g r e t a r d s . Forget

i t , a i n ' t no f u c k i n g i c e cream i n your
future.
I

W.C.F.

Mother showers a l o n g s i d e o t h e r PRISONERS. Hot steam f i l l s

t h e room. Amed guards s u p e r v i s e .
A l a r g e woman known a s GREASER nods t o t h e guards. The guards

turn t h e i r backs.
Greaser makes a b e e l i n e f o r Mother. Mother h a s h e r back
turned.
Greaser s t e p s i n c l o s e JABBING A SHIV i n t o Mother's neck
repeatedly.
GREASER
(whispering c l o s e )
T h i s i s from W y d e l l .
Greaser drops t h e s h i v and Q u i c k l y walks away.
Mother drops t o t h e shower f l o o r , blood gushes from h e r neck.
She t r i e s t o stand, b u t s l i p s and f a l l s on t h e w e t t i l e s . Her
blood m i x e s i n t o t h e shower spray and s p i n s down t h e d r a i n .
*.-. .-Ajsmal-J
.. . .. house i n a q u i e t neighborhood.
. .. .
- . ., .
?,

Wydell s t a n d s o v e r t h e s i n k l o o k i n g a t h i m s e l f i n t h e m i r r o r .
(CONTINUED)

CONTINUED :

WYDELL
You're g e t t i n g o l d , buddy.

He bends down and splashes water on h i s face. He stands and

sees the r e f l e c t i o n o f h i s brother GEORGE WYDELL i n the
mirror behind him.
WYDELL

(CONT' D)

George !
GEORGE

What a r e you doing t o me John? You know I

c a n ' t s l e e p u n t i l t h i s i s over.
WYDELL
I know. I want t o make it r i g h t .

I'm

digging my h e e l s i n , Georgie. I ' m racking

my b r a i n t r y i n g to...
GEORGE
(interrupting)
Trying i s f o r l o s e r s , doing i s f o r
winners. Remomber who t o l d me t h a t ?
WYDELL
Dad I suppose.
GEORGE

No. You d i d .
A t r i c k l e o f blood begins t o run down George's head. He wipes

i t away.
GEORGE (CONT ' D )
You know what you have t o do. What a r e
you w a i t i n g f o r ?
I.

.. I

WYDELL
c a n ' t do it a l o n e .

GEORGE
You have t o . No one e l s e understands what
you do. You a r e working f o r God now.

More blood s t a r t s t o pour o u t .

6-'
'-'.. q.
.~.,:.
:. : ?
":wG ?,..
.,
= .It 1 .; : 7;

GEORGE (CONT ' D )

My fucking head won't s t o p b l e e d i n g .
(calmly wipes t h e blood away)
Come on John, make it s t o p .

George grabs h i s head as blood gushes from every pore.

(CONTINUED)

CONTINUED: ( 2 )

GEORGE (CONT'D)
The p a i n g e t s s o bad, John.

George screams, h i s scream t u r n s i n t o a phone r i n g i n g .

Z D . WYDELL' S HOUSE- NSE

Wydell jumps awake a t h i s d e s k . He grabs t h e phone.

WY DELL
Yeah.

E BOOTH

Gm

Snapper i s s t a n d i n g i n a phone b o o t h o u t s i d e o f a l i q u o r
s t o r e . RONDO ( 4 2 ) , Snapper's p a r t n e r l e a n s on t h e o u t s i d e o f
t h e phone b o o t h .
SNAPPER
I t h i n k I found your guy. A f r i e n d of
mine about t e n y e a r s ago u s e t ' a buy hooch
o f f t h i s c a t o u t way h e r e t h a t c a l l e d
himself Wolf J. Flywheel. H i s p a r t n e r was
some dude t h a t c a l l e d himself The
Captain
sounds l i k e t h e f u c k e r s you're
looking f o r .

...

WYDELL

(looking f o r h i s l i s t )
Hold on a second.
( s h u f f l e s through some papers
and f i n d h i s l i s t )
Yeah, Wolf J . Flywheel. Another fucking
Marx B r o t h e r ' s a l i a s . What e l s e ?

SNAPPER
He's s t r i c t l y a small time chump change
h u s t l e r . Apparently Wolf now goes by t h e
a l i a s of C h a r l i e Altamont.
WYDELL
Where i s he?

c--:

?*:

5-?

sci;

Ir-=

z"::

.... ..
... .:

. ?

SNAPPER
Hold your s h i t , I ' m g e t t i n g t o t h a t . . .
(looks a t h i s n o t e s )
he runs t h i s small time p r o s t i t u t i o n
gig out i n t h e f l a t s .
(MORE)

...

(CONTINUED)

,-_

CONTINUED:

SNAPPER (CONT'D)
I got word from one of h i s b i t c h e s t h a t
h e r s expecting some s p e c i a l g u e s t s .
h'YDELL

P e r f e c t . You know what t o do?

SNAPPER
(interrupting)
We wouldn't be t a l k i n g i f I d i d n ' t .
know e x a c t l y what we need.

Snapper hangs up t h e phone and e x i t s t h e phone b o o t h .

RONDO

Well, i s i t on?
SNAPPER
Oh yes b r o t h e r , i t ' s on.

SMALL COMPOUND o f TRAILERS surrounded b y c h a i n - l i n k e d

f e n c i n g topped w i t h r a z o r w i r e . Each t r a i l e r i s e l a b o r a t e l y
d e c o r a t e d . The e n t i r e compound i s s t r u n g w i t h Christmas
l i g h t s g i v i n g t h e appearance o f a c a r n i v a l f a i r grounds.

O t i s d r i v e s up t o t h e f r o n t g a t e . A huge man w i t h a shotgun,

BUBBA, s t a n d s i n beams o f t h e h e a d l i g h t s .
BUBBA

What you a l l doing here? S t a t e your

business.

Bubba l e a n s i n t o t h e d r i v e r ' s s i d e window.

SPAULDING
T e l l Charlie, Cutter i s here?
BUBBA

We a i n ' t got no one goes by t h e name of

C h a r l i e . You b e s t t u r n around and head
out down t h e r o a d . A i n ' t nothing going on
h e r e t h a t concerns you.
SPAULDING

"..;

F.~
:-.-<
ii

. ->
...
.2 . ..
% .

ZS.~
7.x

. - ..

Look s h i t h e e l , t e l l t h a t fucking d i c k
h i s fucking b r o t h e r i s out h e r e and i f he
makes me wait much longer I'm gonna whoop
his ass!
BUBBA

Hold on, you a l l d o n ' t have go none

c r a z y . I d i d n ' t g e t a l l c r a z y w i t h you
none. Did I g e t a l l c r a z y with you?
(CONTINUED)

4
li_

CONTINUED:

Bubba c a l l s C h a r l i e on his w a l k i e - t a l k i e .
BUBBA (CONT' D )
( i n t o walkie
talkie)
Bubba over.

CHARLIE

(over w a l k i e - t a l k i e )
What?
BUBBA
I g o t a guy out h e r e making a claim t h a t
h e ' s your k i n . But I d o n ' t s e e no
resemblance.
CHARLIE

Yeah?
BUBBA
Yeah, say he's your b r o t h e r .
CHARLIE
What's he look l i k e ?

BUBBA
(quietly)
A fucked up l o o k e r . . . un huh, b a l d with a
b i g a s s h o l e a t t i t u d e . Looks l i k e a p i s s e d
off pirate.
CHARLIE
Yeah. Hmmm, ask him where t h e sun d o n ' t
shine.

BUBBA
He wants me t o ask you, 'where
don' t shine?"

t h e sun

SPAULDING
T e l l him, i n Sweet Molly Magee's b i g f a t
marshmallow a s s .
BUBBA
He says i n Sweety Molly Magee's big
fat..
( t o Spaulding)
what was t h a t l a s t p a r t ?

.>. ,t-.
:-.is+
= ~r
.. - h i
i
.. i :.' i i

SPAULDING
Marshmallow A s s !
BUBBA

Marshmallow a s s .
(CONTINUED)

CONTINUED:

(2)

CHARLIE

Yeah, t h a t ' s him. Let him i n .

Bubba opens t h e g a t e .
BUBBA

Go on through.
O t i s d r i v e s i n t o t h e compound.

S p a u l d i n g , Baby and O t i s s t e p o u t o f t h e v a n .
The d o o r t o o n e o f t h e t r a i l e r s s w i n g s o p e n . Out s t e p s a
l a r g e b a l d man, CHARLIE ALTAMONT (60). H e i s h o l d i n g a
pistol.
CHARLIE

w e l l , I know t h a t a i n ' t C u t t e r walking

towards me with t h a t s t u p i d g r i n
cause I know I swore i f I ever saw
t h a t no good p i e c e of s h i t motherfucking
b r o t h e r of mine...
he'd soon be a dead p i e c e of s h i t no
good motherfucker b r o t h e r of mine. OK,
everybody i n t h e peanut g a l l e r y
Simon
says hands up!

...

...'

...

...

O t i s and Baby l o o k c o n f u s e d .

SPAULDING
( r a i s e s h i s hands)
Come on, get'em up. Fucker a i n ' t joking.

Baby and O t i s f o l l o w S p a u l d i n g ' s l e a d .

OTIS
What t h e fuck i s t h i s s h i t ? You drag us
way t h e fuck out h e r e t o have some p r i c k
p u l l a gun on u s . Nice fucking p l a n .
SPAULDING
J u s t do what he s a y s , he's a crazy p i g

...

CHARLIE
:-.,
i

(interrupting)
What'd you c a l l me?

;--

.;,;:

:=,..v

i L \:'i

SPAULDING
Well, i f you'd l e t me f i n i s h . I was gonna
say you're a crazy p i g fuckin' dumb a s s
pussy p i e c e of s h i t !
(CONTINUED)

CONTINUED:

C h a r l i e p o i n t s t h e gun a t Spaulding's f a c e .
CHARLIE

Oh Boss, you're dead meat.

BABY

No !

--

C h a r l i e ~ u l l sthe t r i u u e r .. a t h i n stream o f water s h o o t s

~ ~ a u l d iin 6 t h e f a c e . Spaulding b u r s t out laughing, a s does
Charlie.
CHARLIE

Ain't t h a t t h e most God d

water gun you e v e r seen.

m realist

SPAULDING
Come h e r e , ya l i t t l e f u c k e r .
CHARLIE

I c a n ' t b e l i e v e your h e r e !

SPAULDING
Believe it.
S p a u l d i n g and C h a r l i e hug.
CHARLIE

( t o O t i s and Baby)
Sorry about t h a t . I t ' s a l i t t l e joke we
used always p l a y on f o l k s .
( s q u i r t s t h e gun)
S t i l l works.
SPAULDING
C h a r l i e , t h i s h e r e ' s my daughter Baby.
CHARLIE

S h i t , s h e ' s a l l growed up.

OTIS

'

And you know O t i s .

O t i s and C h a r l i e exchange h a l f - a s s nods.

.5
:

..,
..,
;:

5 :

T <. :P: -%
:
. ,. .

CURLIE
Well, don't j u s t s t a n d t h e r e l i k e a s t o n e
f o o t r o o t e r i n fuck farm. Come on i n ! We
got t o c e l e b r a t e !

Everybody walks towards t h e main t r a i l e r .

(CONTINUED)

....

(2)

CONTINUED:

CHARLIE (CONT' D)
( q u i e t l y t o Spaulding)
S e r i o u s l y b r o , what a r e t h e chances
someone f o l l o w e d you.
SPAULDING
E h , w e ' r e c o o l . Can t h a t . f u c k e r a t t h e

g a t e keep h i s t r a p s h u t ?
CHARLIE
Yeah, Bubba's a good k i d . He w o n ' t c r o s s
me. He's dumb as s h i t , b u t h e ' s c o o l .
Spaulding l o o k s back t o s e e Bubba b l o w i n g s n o t o u t o f one
nostril.

P a r t y t i m e . Loud m u s i c BLARES through t h e compound. Baby

DANCES on a t a b l e s i n g i n g a l o n g w i t h t h e s t e r e o . A f e w g i r l s
from t h e ranch dance w i t h h e r .

Spaulding and C h a r l i e a r e arm w r e s t l i n g . C h a r l i e slams

S p a u l d i n g ' s arm down on t h e table, t h e two b r o t h e r s h i g h
f i v e , t h e n each downs a s h o t o f whiskey. They i m m e d i a t e l y
begin wrestling again.
A v e r y drunk O t i s i s showing Bubba how t o do a q u i c k draw
maneuver w i t h h i s p i s t o l . O t i s does t h e move, t h e n Bubba

m i m i c s him.
We now watch t h e p a r t y through t h e s i g h t o f b i n o c u l a r s .
CLOSE UP

- Binoculars

We s e e t h e r e f l e c t i o n o f t h e p a r t y i n t h e g l a s s . The
b i n o c u l a r s l o w e r t o r e v e a l t h e face o f W y d e l l .
ZNT. GROCERY

C h a r l i e and Bubba s t a n d a t t h e check o u t c o u n t e r b u y i n g a

l a r g e q u a n t i t y o f canned goods. RUTH, a chubby c a s h i e r t o t a l s
up t h e b i l l .
RUTH
You boys gonna come down t o F a t J a c k ' s
party t o n i g h t .
"'-* -i
L,%.' k%*=
..;!-:r
.. >:. . .>

~. -. .

CHARLIE
N a w , we're gonna t a k e it q u i e t t o n i g h t .
RUTH

I t ' s gonna be fun.

(CONTINUED)

CONTINUED:

BUBBA

I wouldn't mind going t o t h a t .

RUTH

See Bubba wants t o go.

CHARLIE
Well, Bubba a i n ' t i n charge of our s o c i a l
calender.
BUBBA

why you g o t t a t a l k t o me l i k e t h a t ?
CHARLIE
Stop whining and grab t h e box.
Bubba r o l l s h i s eyes i n . d i s a p p o i n t m e n t .

C h a r l i e and Bubba l o a d t h e boxes i n t o a pick-up t r u c k .

WYDELL (0.C.)
wolf J. Flywheel?

CHARLIE
Huh?
C h a r l i e i n s t i n c t i v e l y t u r n s . Wydell shoves a gun i n h i s f a c e .
WYDELL

Do anything s t u p i d and I ' l l blow fucking

vour
head o f f . You and me a r e g o n n a h a v e
a
a l i t t l e powwow.
CHARLIE

Fuck you.
CRACK! Wydell smashes C h a r l i e a c r o s s t h e f a c e with h i s gun.
Blood s t a r t s gushing from h i s nose.
BUBBA

Hey.

. .. "-'
q
I..i.,i
: r.?
*

'h,

i ,<

WYDELL
( t o Bubba)
BOY, you b e t t e r g e t your f a t ass i n t o
t h a t f r o n t s e a t and s h u t your mouth.

CHARLIE
Do what he s a y s .

(CONTINUED)

7
CONTINUED:

Bubba sets down t h e box and moves t o t h e f r o n t s e a t . Wydell

grabs Charlie's face.
WYDELL
Shut your fucking mouth and l i s t e n .
CHAmIE
You' r e f u c k i n g crazy, man.

What'd

WYDELL
you fucking c a l l me?

Silence.
CHARLIE

Nothing.
WYDELL
Your r i g h t , I am fucking c r a z y and you
make damn s u r e you remember t h a t when I
a s k you t h i s next q u e s t i o n . Where a r e
they?

CHARLIE

Who?

... ...
~

J.mLnW5
Bubba watches Wydell smack C h a r l i e i n t h e head.

ExLxB
WYDELL
Don't t r y and fuck with me. You know
e x a c t l y who I ' m t a l k i n g about. Am I
correct?

CHARLIE
Maybe?
WYDELL
Here's t h e d e a l . I ' m gonna i g n o r e you and
your l i t t l e s l u t b u s i n e s s and walk away
from t h e f a c t t h a t you a r e h a r b o r i n g
murderers.
CHARLIE
-:
.. Lsr>;.

pi:
y-..
h,,~? %
..*:.

..;:

+ :,

And?
WYDELL
And a l l vou a o t t o do i s make s u r e
e v e r y o n e - i s 6 r e s e n t and accounted f o r
t o n i g h t a t midnight. You understand?
(CONTINUED)

CONTINUED:

CHARLIE
Yeah.
WYDZLL
Good. t h i s d e a l i s between you and me,
t e l l anyone e l s e and you're dead.

Charlie i s s i l e n t , but s l i g h t l y r o l l s h i s eyes. Wydell gets

ready t o h i t him again. Charlie braces f o r t h e punch.
CHARLIE
What i f I s a y no.
WYDELL
Then your l i f e j u s t t u r n e d t o s h i t .

Bubba watches Wydell e x i t . Charlie walks around t o the

d r i v e r ' s s i d e , opens the door and gets i n .
BUBBA
Who was t h a t .
CHARLIE
That was b i g f u c k i n g t r o u b l e .
BOOM! Wydell slams h i s hand on the d r i v e r ' s window.
WYDELL
You remember what I t o l d you,

fucker.

The sound o f creepy, yet cheesy horror movie music can be

heard.

Close up

TV : The New.Dr. Wolfenstein Show"

On s c r e e n we see DR. WOLFENSTEIN, an old school horror movie

host resembling a werewolf i n a tuxedo. Next t o him i s h i s
sidekick MAY, a t a l l skinny Frankenstein type creature. They
are introducing today's f i l m .

.;..
*

-.. .
:.
bi2--:

%
.

.
;

>: %

%
.

DR. WOLFENSTEIN
(English accent)
AAAWWWHH0000. t h e d o c t o r i s i n ! Well
c h e e r s , b o i l s and ghouls I ' v e g o t a
bloody w e l l scream c l a s s i c f o r you today,
mates! Santa Claus Conquers The Martians!
(MORE)
(CONTINUED)

--

CONTINUED :

DR. WOLFENSTEIN (CONT'D)

This i s without a doubt t h e f i n e s t b i t of
cinema f e a t u r i n g o l d S a i n t Nick knocking
about with o u t e r space c r e a t u r e s ever
c o d t t e d t o celluloid!

MAX
Hey Boss, how come we only show bad
movie? Can't we show something good l i k e
t h e Sound Of Music?

Spaulding, O t i s and Baby are l y i n g around the l i v i n g area

watching TV. Everyone seems v e r y hung o v e r .
BABY
I miss Mamma.

OTIS

Yeah.

C h a r l i e e n t e r s c a r r y i n g t h e food and walks i n t o t h e k i t c h e n .

C h a r l i e ' s f a c e l o o k s b r u i s e d and b l o o d y .
SPAULDING
What t h e fuck happened t o you?
CHARLIE

Nothing.
SPAULDING
Hey, you g e t more beer?
CHARLIE

Yeah, I got i t .
SPAULDING
How'z about b r i n g i n g one over here?
CHAFUIE
How about you g e t t i n g o f f your f a t a s s ?
SPAULDING
What's up your fucking crack?

C h a r l i e walks o v e r and hands Spaulding a beer.

CHARLIE

Nothing. Here d r i n k up.

y,: -.,$
2;.:
:

b
::il;

-'
., Pw
.'i
%

.%

:; %

OTIS
Hey boss, I ' l l t a k e a scotch on t h e
rocks.
CHARLIE

Go fuck y o u r s e l f .
(CONTINUED)

-%

CONTINUED:

(2)

C h a r l i e walks o u t s i d e .
OTIS
Moody s o n of a b i t c h .
SPAULDING
Yeah, h e always was.
S p a u l d i n g l e t s o u t a huge b u r p .

A rundown s t r i p j o i n t . A neon s i g n p r o c l a i m s ,
BR6ADSf'.

"BOOZE AND

t'arious BIKERS, REDNECKS and o t h e r CRIMINAL TYPES p o p u l a t e

t h i s b a r . World weary STRIPPERS g y r a t e on s m a l l wooden
platforms.

W e c o n t i n u e through t h e b a r t o :
cc

THE RED DOOR

Behind t h i s d o o r we f i n d Wydell s i t t i n g a t a t a b l e with

Snapper and Rondo.
SNAPPER
Hey, I g o t you t h i s f a r . Without me you'd
be swimming around w i t h your head up your
ass.
RONDO

Don't sweat it , c h i e f . I t ' s a l l gonna

work o u t t o your s a t i s f a c t i o n .
SNAPPER
What's t h i s f u c k i n g d o u b t f u l s h i t about
a l l of a sudden?
WYDELL
I j u s t want t o make it c l e a r t o you t h a t
t h i s i s gonna be some s h i t you a i n ' t

never d e a l t w i t h b e f o r e . I d o n ' t want

t h i s t h i n g blowing up i n my f a c e .
-.g,+,L,,:::. .L,.
.!
:. ..
.. i i
r.%,

SNAPPER
Don't wofry about me', Boss. I ' m some s h i t
t h e y a i n ' t never d e a l t w i t h b e f o r e .
T h e y ' r e gonna t h i n k God damn King Kong
came aown from S k u l l I s l a n d and r a p e d ' e m
a new f u c k i n q a s s h o l e .
(CONTINUED)

CONTINUED :

RONDO

Yeah, t h e y ' r e gonna f e e l l i k e t h e Devil

fuck t h e i r m o m .
WYDELL

Don't give me t h a t s h i t . That r o u t i n e

might work on some wetback b a i l jumper or
some redneck t h a t pops a g a s s t a t i o n
a t t e n d a n t over a pack of smokes, but i t
a i n ' t working h e r e .
RONDO

Then p i c k up t h e fucking Bat Phone and

blow your fucking bugle.
WYDELL

That a i n ' t t h e way I want t o p l a y it t h i s

time .
SNAPPER
Then I suggest you cool your s h i t o u t .
Hey you c a l l e d me, motherfucker. You
wanted B i l l y Ray Snapper because you
wanted t h e b e s t .
(Snapper pours t h r e e d r i n k s )
Now have a d r i n k , t a k e a deep b r e a t h e and
g i v e s us t h e goods.
Wydell s p r e a d s o u t 8 x 1 0 ' s o f S p a u l d i n g , O t i s and Baby's mug
s h o t s on t h e t a b l e .
WYDELL

So here's
situation
condition
for their
t o see me
die.

t h e d e a l . This i s an a l i v e
h e r e . . . I want them a l i v e . t h e
doesn't m a t t e r . A l l I need i s
eyes t o s t a y open long enough
s.
p i t i n t h e i r f a c e b e f o r e they
.
SNAPPER

(laughing)
You're one s i c k fuckina- -p i r a t e .
( t o Rondo)
I think I'm s t a r t i n g t o dig t h i s asshole.
Rondo p i c k s up Baby's p i c t u r e and l i c k s i t .
'

--

I> . .-,.
. . p-? L-=
: : : .<q $:,

;.;.

RONDO

Mmmmmm, She's mine. I t h i n k I c o u l d

have some fun with t h i s b i t c h .
(talking t o the picture)
You wanna come p l a y w i t h me l i t t l e
I got what you want.
girl

(CONTINUED)

7-

CONTINUED:

(2)

Rondo l i c k s t h e p i c t u r e a g a i n .
WYDELL
That's t h e fucking b u l l s h i t I ' m t a l k i n g
about.
SNAPPER

Cool out, he's only fucking around. Boss,

you a r e t o o s e n s i t i v e f o r t h i s l i n e of
work.
RONDO

This job i s easy s l e a z y , I don't see a

b i g problem.
SNAPPER

When do you wanna go?

WYDELL

Tonight.
RONDO

Impatient. I l i k e t h a t .
O W RANCH

Bubba, h o l d i n g a shotgun, s t r o l l s t h e p e r i m e t e r o f the ranch

by the main g a t e . A pick-up t r u c k r o l l s up and s t o p s . Behind
t h e wheel i s Rondo.
BUBBA

You t h e exterminators?
RONDO

Yeah, we heard you g o t roaches. We're

h e r e t o d e a l with your roaches.
Bubba looks around, unlocks t h e gate, Rondo d r i v e s through.

EXT.

Loud music can be heard coming from. t h e compound.

Wydell moves q u i e t l y through a l i n e of junked automobiles

towards t h e ' main t r a i l e r . Through t h e window we s e e Spaulding
and
h.a r l i e .
-.-. C-.L

Spaulding and C h a r l i e d r i n k b e e r and p l a y c a r d s . The sound of

loud music b l e e d s i n from o u t s i d e .
(CONTINUED)

-.__

CONTINUED:

SPAULDING
C h r i s t , does he have t o p l a y t h a t God
damn music s o fucking loud. H e must be
fucking d e a f .
CHARL I E
What?
SPAULDING
Huh?
CHARLIE
Hey, you remember t h a t skinny, emaciated
looking Mexican kid with t h e one e a r ?
What's h i s name Sweet Boy, o r urn..
Sweet
Tooth o r something?

S PAULDING
Black Tooth Rico.

CHARLIE
Yeah, t h a t kid. I ran i n t o him t h e o t h e r
day over a t F l a t Head F e r g i e ' s buying a
t r a i l e r h i t c h and h e ' s a l l limping around
and s h i t and 1 ask him you know... what
happened and I swear t o God.
(cross himself)
The fucker t e l l s me h e ' s missing h i s
dick.

SPAULDING
What? You mean h i s dong d i c k ? How t h e
fuck do you know h e ' s missing h i s d i c k . . .
cause h e ' s limping.
CHARLIE
No, I j u s t s a i d he t o l d me.

SPAULDING
He t o l d you. What t h e fuck a r e you
t a l k i n g about? He t o l d you," hey C h a r l i e
guess what my dong f e l l o f f " .

7-.

-s.

7.,

j~:.f F.< -;?L .i:

%I
+

CHARLIE
Yeah, he d i d . h l c k e r s a i d he was parked
down o f f of Route four and some l o t
l i z a r d he picked up a t t h e t r u c k yard was
sucking on h i s salami and h e ' s a l l zoning
o u t g e t t i n g ready t o shoot h i s l o a d
when... barn! A fucking c a r l o s e s c o n t r o l
and r e a r ends him... and chomp! The skank
b i t e s down and b i t e s i t o f f .
(CONTINUED)

-i-

(2)

CONTINUED:

SPAULDING
(laughing)
Get t h e fuck out of h e r e .
CHARLIE

What? Why t h e fuck would he make up t h a t

s t o r y ? What would be t h e p o i n t of t e l l i n g
me h e ' s g o t no wanger?
SPAULDING
God damn, t h a t a i n ' t something I run
around a d v e r t i s i n g . Fuck, my s h i t ' s a l l
knotted even t h i n k i n g about i t . . . l e t ' s
change t h e s u b j e c t

CHARLIE
Fucking A r i g h t , l e t ' s change t h e
subject.
Long pause.
SPAULDING
S h i t man, I ' d shoot myself i f my dong
f e l l off.
CHARLIE

Amen.
Long pause.
SPAULDING

That a i n ' t my i d e a of a funny s t o r y .

Long pause.
CHARLIE
Who s a i d i t was a fucking funny s t o r y ?
Long pause.

They both b u r s t o u t laughing.

The t r a i l e r i s dimly l i t by candle l i g h t .

Baby sits i n a b a t h tub. A huge e a g l e t a t t o o cover Baby's
back. CASEY an o l d e r woman sits behind Baby scrubbing h e r
back.

.
. .- . ..
;
..i. .+-.,,ii?.>.
. .. $2
r. i:
.
.
l

CASEY
(running her hand a c r o s s t h e
tattoo)
D i d t h i s hurt?
(CONTINUED)

BABY

Fuck yeah it d i d . Why does everybody ask

t h a t ? I s n ' t it p r e t t y fucking common
knowledge t h a t t a t t o o s fucking h u r t l i k e
shit .
CASEY
Oooh Baby, you got some b i g s c a r s under
your t a t t o o . How'd t h a t happen? Looks
l i k e you were a t t a c k e d by a wild animal.
BABY

T h a t ' s why I g o t t h e fucking t h i n g t o

cover t h a t mess on my back. Some cunt
named Hop-a-long Steve d i d i t . A couple
months ago I g o t bagged t r y i n g t o l i f t
some sweet looking Dingo boots from Hop-al o n g ' s boot emporium.
CASEY
Yeah.
BABY

Fucking guy g r a b s me and t a k e s me i n a

back room and whips my a s s with t h i s
fancy b e l t while h i s goon h o l d s me down.
Thing's g o t some b i g o l d spur t h i n g on
i t . . . ripped my back wide open. I g o t
l i k e a couple hundred s t i t c h e s from i t .
CASEY
J e s u s , d i d you c a l l t h e cops and g e t t h a t
f u c k e r ' s a s s hauled away?
BABY

...

Na, s h i t I c a n ' t c a l l t h e p i g s
what
a r e you t h i n k i n g ? I ' m a wanted g i r l .
CASEY
You j u s t l e t it go?
BABY

Fuck no... about a week l a t e r I went by

Hop-a-long's house with my b r o t h e r
Tiny
Tiny h e l d him down while I c u t
h i s eyes out and fed'em t o h i s c a t . I
t h i n k he got t h e message. K i t t i e s l i k e
eyeballs.

...

--~-.,

FT

! .-I

r
.
.

+<

Rondo i n c h e s h i s way a l o n g the s i d e of Baby's

t r a i l e r . He

s t o p s and checks h i s watch.

(CONTINUED)

.-.

CONTINUED:
CLOSE U P WATCH - t i m e r e a d s 11 : 5 7

The w a l l a r e covered i n b l a c k l i g h t p o s t e r s lit w i t h

f l o r e s c e n t l i g h t s . O t i s d r i n k s a b o t t l e J a c k D a n i e l s and
waves a sword over h i s h e a d .
CANDY, a p r o s t i t u t e t r i p p i n g on a c i d jumps u p and down o n t h e
bed.
M u s i c b l a r e s from the s t e r e o .
CANDY
I'm on a c l o u d . . . I'm f r e e . . . I ' m f l y i n g
by.
t h e r e it g o e s l o o k ! O h no... it
e x p l o d e d a l l o v e r the b i r d s ! Look a t t h e
birds !

..

OTIS
(rocking o u t )
G i r l y o u ' r e a c t i n g f u c k i n g s t u p i d . Here
d r i n k t h i s . I t ' l l p u t h a i r o n your p u s s y .
O t i s hands h e r t h e Jack D a n i e l s .

S n a p p e r c l i m b s u p the s i d e o f t h e t r a i l e r t o the r o o f . T h e
l o u d m u s i c m a s k s h i s movements. He c r o s s e s the r o o f and p e e r s
i n t o a n o p e n sky l i g h t . S n a p p e r r a i s e s h i s gun w a t c h i n g O t i s .
m o v i n g around the room, O t i s d i s a p p e a r s from s i g h t .
SNAPPER
S h i t , where t h e f u c k you go?

S n a p p e r sees O t i s ' s r e z e c t i o n i n a m i r r o r , he i s now on the

b e d w i t h Candy. S n a p p e r c h e c k s h i s w a t c h .

CLOSE UP

Watch

t i m e r e a d s 12:00

Candy r o l l s around o n t o p o f O t i s .
CANDY

W h a t ' s d i d you s a y your name was a g a i n ?

!-.* ?,
-.:-$ :-- ;!-:.
,>.,.,
:: . ,
z: .

.?
.-

OTIS

I didn't.

(CONTINUED)

8
-.

'-.

CONTINUED:

SMASH! Snapper comes CRASHING i n t o t h e room t h r o u g h t h e s k y

l i g h t . H e r a i s e s h i s gun and SHOOTS. O t i s p u l l s Candy i n
f r o n t o f t h e b u l l e t s u s i n g h e r a s a human s h i e l d .
Candy t a k e s m u l t i p l e s h o t s i n t h e b a c k . O t i s p u l l s h i s p i s t o l
from h i s h o l s t e r and FIRES b a c k h i t t i n g Snapper i n t h e c h e s t .
Snapper FULS BACK. Otis r o l l s o f f t h e b e d and t a k e s cover.

Casey r i n s e s o f f Baby's b a c k .

BABY
( h o l d i n g u p h e r empty b e e r
bottle)
Empty. Can $a hook me up?
CASEY

Sure.
Casey h e a d s f o r t h e f r i d g e .

Casey o p e n s the r e f r i g e r a t o r d o o r and g r a b s a c o u p l e o f

b e e r s . ' W h e n s h e s h u t s t h e d o o r we see Rondo s t a n d i n g next t o
the f r i d g e .
Rondo grabs C a s e y and q u i c k l y s l i t s h e r t h r o a t . As Casey
f a l l s t o t h e ground Rondo g r a b s one o f t h e beers.

Baby r e l a x e s i n t h e t u b . Rondo w a l k s u p b e h i n d h e r .
BABY
Y a know, I was t h i n k i n g maybe I ' d move t o
Hollywood and change my name t o Honey
James. Doesn't t h a t sound l i k e a f a b u l o u s
m o v i e s t a r name?
Rondo p o u r s t h e beer o v e r Baby's h e a d .
RONDO
How a b o u t changing your name t o Dead
Meat.
,,. .., ,.i. -. r-1

,: "..,+: t*,.*
i; '::, 3 :: $, L:
I.

BABY
Hey, what t h e f u c k ?

(CONTINUED)

A.

CONTINUED:

RONDO
I got a 4 4 . p o i n t e d a t your head. So I

suggest you don't do anything t o o

fabulous Miss Honey James.
BABY

Who t h e fuck a r e you?

RONDO

I'm your new boyfriend and I'm handing

o u t t i c k e t s t o an a s s kicking
you want
one? Now s t a n d up.

...

Baby s t a n d s .
RONDO (CONT' D)

Hands u p . . .

now, t u r n around.

Baby r a i s e s h e r hands and t u r n s around. Rondo c h e c k s Baby up

and down.
RONDO (CONT'D)

Nice. I t h i n k you and me a r e gonna have

some f u n g e t t i n g t o know each o t h e r .
BABY

Fuck you.
RONDO

T h a t ' s what I was t h i n k i n g .

BABY

G i m e my s h i r t I'm, fucking f r e e z i n g .

Rondo grabs a f l a n n e l s h i r t , h o l d s i t f o r a second and t h e n

t o s s e s i t a t Baby.
RONDO

Here ya go, honey.

O t i s i s b e h i n d the b e d , he c h e c k s h i s gun, empty.

OTIS

Fuck.

He pee_rs under t h e bed t o s e e Snapper l y i n g on h i s b a c k ,

bT@&$&$treaming
.. ....
from h i s c h e s t .
.:
%:

D t i s grabs the sword from t h e s i d e t a b l e and moves i n c l o s e r

on Snapper. Bending down O t i s r e a c h e s f o r t h e gun i n
Snapper's h o l s t e r .
(CONTINUED)

!
C..

9
CONTINUED:

CLOSE UP - O t i s ' s hand s t a r t s p u l l i n g t h e gun from Snapper's

h o l s t e r . Snapper's f r e e hand REACHES OVER and GRABS o n t o
Otis's wrist.
SNAPPER
You think you're gonna k i l l me with one
shot, h i l l b i l l y . You one dumb, dead
hillbilly.

Snapper PULLS O t i s forward and head b u t t s him. Blood GUSHES

from O t i s ' s n o s e . O t i s f a l l s back, Snapper s t a n d s and p u l l s
h i s gun.
SNAPPER (CONT' Dl
Fuck the S h e r i f f ! I'm gonna have some fun
with you!

Snapper s l i d e s h i s gun back i n t o his h o l s t e r and p u l l s a huge

h u n t i n g k n i f e from h i s b o o t .
SNAPPER (CONT' D)

Get up!

O t i s s t a n d s r e a d y t o meet h i s c h a l l e n g e .
Snapper swings, O t i s dodges t o t h e s i d e b a r e l y a v o i d i n g t h e
blow. Snapper t u r n s , O t i s SWINGS THE SWORD c a t c h i n g Snapper
i n t h e arm. The sword c u t s deep, b u t h e i s u n a f f e c t e d .
SNAPPER (CONT' D)
Come on, Zorro!

Snapper swings a t O t i s s l i c i n g him a c r o s s t h e c h e s t . O t i s

f a l l s back TRIPPING o v e r Candy. Whoosh! Snapper b r i n g s h i s
k n i f e down towards O t i s ' s face, O t i s r o l l s o u t o f t h e way.
The k n i f e s t i c k s i n t o Candy. O t i s q u i c k l y HITS Snapper a c r o s s
t h e head w i t h t h e handle o f f t h e sword. Snapper i s
momentarily DAZED a s blood d r i p s down h i s f a c e .
O t i s jumps

t o h i s f e e t . Both men r e a d y themselves t o square

o f f again.
OTIS
Motherfucker !

Snapper s m i l e s and SWINGS t h e k n i f e OVER and OVER a t O t i s .

O t i s b l o c k s t h e s h o t s w i t h t h e sword.
r;?
r>
F
3- .
-.., ;'.*,..:,..
.
. .
?

SNAPPER
Come on, come on.

(CONTINUED)

'L.

CONTINUED: (2)

CLING! The sword and t h e k n i f e m e e t head o n . The sword SNAPS

IN HALF. O t i s s w i n g s , Snapper grabs t h e b r o k e n b l a d e . O t i s
h o l d s on, Snapper THROWS O t i s a c r o s s t h e room a g a i n s t t h e
wall.
Snapper s l i d e s h i s k n i f e i n t o i t s s h e a t h and u n b u c k l e s h i s
chain belt.
SNAPPER (CONT' D)
Come o n .
Snapper s w i n g s t h e c h a i n towards O t i s , t h e c h a i n m i s s e s O t i s
and wraps around a bookcase f i l l e d w i t h r e c o r d s . Snapper
PULLS t h e c a s e down t o the f l o o r . O t i s s p i e s a s h o t g u n
hanging on t h e w a l l .
SNAPPER (CONT' D)
You want t h a t gun, eh? Make your move.
O t i s goes f o r t h e gun, Snapper s w i n g s m i s s i n g O t i s , b u t
c r u s h e s a t a b l e . O t i s r e a c h e s f o r t h e gun t r y i n g t o p u l l

it

o f f t h e wall. I t i s locked i n place.

Swoosh! Snapper wraps t h e c h a i n around O t i s ' s n e c k and p u l l s
h i m backwards. Snapper WHIPS and SPINS O t i s around t h e room
smashing h i m from w a l l t o w a l l . F i n a l l y , Snapper t h r o w s O t i s
c r a s h i n g t h r o u g h a window o u t i n t o t h e y a r d .

S p a u l d i n g and C h a r l i e a r e s t i l l p l a y i n g c a r d s . T h e y h e a r t h e
window b r e a k .
CHARLIE
What t h e f u c k i s going o n o u t t h e r e ?
SPAULDING
I d o n ' t know?

CHARLIE
(3t a n d i n g )

I swear t o God i f Bubba i s o u t f i g h t i n g

a g a i n I ' m gonna k i c k h i s f a t a s s .

SPAULDING
T h i s b e t t e r n o t b e some t r i c k t o g e t o u t
o f l e t t i n g me w i n my money b a c k .

:: 2 7 .

I:"..
?*i;F ..".5
:! ... :
.L,
.

:.

CHARLIE
Why would I want t o s t o p t a k i n g more o f
your money? You always were a p a t h e t i c
card p l a y e r .
(CONTINUED)

icr

CONTINUED:

C h a r l i e s t e p s out o f t h e t r a i L e r .

C h a r l i e l o o k s around and r u n s o f f .

S h u f f l i n g the cards.
SPAULDING
Hey, what's t h e f u c k i n g d e a l ? L e t ' s g e t
t h i s going.

Standing up.
SPAULDING (CONT' 0)
Jesus C h r i s t .

As soon a s Spaulding moves t h e windows o f t h e t r a i l e r b e g i n

SEXPLODING from gun s h o t s . A b u l l e t g r a z e s h i s s i d e , h e h i t s
t h e deck.
SPAULDING (CONT'D)
Aarrrgh!
WYDELL (0.C.)
Spaulding! Come on o u t ! I t ' s over1

Spaulding crawls t o t h e window and peeks o u t . He s e e s Baby on

h e r k n e e s w i t h Wydell h o l d i n g a gun t o h e r head.
WYDELL (CONT ' 0 )
I t ' s over! Come on o u t now and t h i s g i r l
d o e s n ' t have to d i e !

O t i s i s on t h e ground, Snapper and Rondo a r e having a good

o l d t i m e k i c k i n g t h e crap o u t o f him.

aABY
( s h o u t i n g a t Snapper)
Stop i t ! Leave him alone.

O t i s r o l l s o v e r , h i s face i s a b l o o d y mess, he s m i l e s .

. .:

:v.
...,.. :r>
:
<:

.,

OTIS

You can' t h u r t me.

SNAPPER
Oh no.

(CONTINUED)

CONTINUED:

Snapper grabs O t i s by t h e neck, punches him i n t h e face,

drops him. O t i s i s out cold.

then

Spaulding s t e p s i n t o t h e doorway o f t h e t r a i l e r .
Enough

...

SPAULDING
enough.
WYDELL

Hands up!
Spaulding e x i t s t h e t r a i l e r and r a i s e s h i s hands. H e sees
C h a r l i e s t a n d i n g i n t h e shadows.
SPAULDING
Thanks, b r o t h e r .
CHARLIE
I t a i n ' t p e r s o n a l . Business i s business.

SPAULDING
You're my fucking b r o t h e r . I t i s
personal.
WYDELL
( t o Charlie)
H e ' s r i g h t , you're scum.
WYDELL (CONT'D)
( t o t h e bounty h u n t e r s )
Put them i n t h e c a r . I t ' s time t o r e t u r n
these devils t o Hell.

Wydell d r i v e s . Spaulding, Baby and a b a r e l y conscious O t i s

a r e crammed i n t o t h e backseat. A wired mesh p a n e l s e p a r a t e s
the f r o n t seat: from t h e back.

.i.
E

.:

;-:.

_.-

., .:

y,
C.rC

.p

..

WYDELL
(laughing s a d i s t i c a l l y )
Well, well, well, The Devil's R e j e c t s .
That's q u i t e t h e l i t t l e c a t c h phrase
you've a l l acquired. But you know r e a l l y
we're a l l c r e a t i o n s of t h e Devil when you
t h i n k about i t . 4 mean r e a l l v we're a l l
nothing but inanimate object:,
formless
c r e a t u r e s housing seduced angels i n s i d e
our u s e l e s s h i d e s . U n t i l , I l a i d eyes
upon you a l l I r e a l l y b e l i e v e d t h a t . I
r e a l l y thought i n s i d e everyone of u s was
a captured s p i r i t
a d i s g r a c e d angel
looking f o r a way back t o Heaven.

...

(CONTINUED)

CONTINUED :

BABY

( s l m i n g h e r head i n t o t h e
wire mesh)
Fuck you p i g .
WYDELL

But now I know, some of you a r e j u s t

crude i m i t a t i o n s of l i f e . . . s o u l l e s s
demons w i t h no hope. But I am hope
I
am a l a w n because t h a t i s God's p l a n . I
am here t o round you a l l up f o r your t r i p
back t o H e l l .

...

Spaulding m u t t e r s something.
WYDELL (CONT' D)
What was t h a t ?

SPAULDING
( s p i t s out blood)
You're fucking i n s a n e .
WYDELL
(laughing)
Devil you a r e now under my c a r e and
s u p e r v i s i o n f o r b a s i c a l l y t h e r e s t of
your m i s e r a b l e l i f e . I w i l l ' be your
savior.
BABY

You're fucking dead p i g !

WYDELL
(laughing)
I s u g g e s t you save your s t r e n g t h . I t ' s
gonna be a long n i g h t .

CLOSE UP

NO TRESPASSING SIGN

" No Unauthorized personnel may b e p r e s e n t on t h e s e premises

without w r i t t e n consent from t h e Ruggsville County S h e r i f f ' s
Department "

We p u l l back t o see: THE FIREFLY HOUSE. P o l i c e t a p e and

b a r r i c a d e s s t i l l surround t h e crime scene.
$.;82&jnoon
hangs over t h e h o u s e , f l a s h e s of l i g h t n i n g dance
in:kfie 'cloudy sky. Distance thunder can b e heard.

INT. - F

A rusted old bucket i s being f i l l e d with water from a f i l t h y

s i n k . Wydell's hand turns o f f t h e water. Wydell walks through

t h e house. The only sound we hear i s t h e creaking o f t h e
r u s t y handle and Wydell's f o o t s t e p s on t h e wood f l o o r .
J N T . FIREFLY-

We turn a corner t o we see O t i s , Spaulding and Baby. A l l

three are t i e d t o separate chairs. Baby i s awake, her eyes
d a r t from s i d e t o s i d e . Spaulding and O t i s are unconscious.
Wydell l i f t s t h e bucket and throws i t on a l l three. SPLASH!
Spaulding jumps awake, O t i s l i f t s h i s head semi-conscious.
WDELL

Wake up, assholes.

BABY

Motherfucker!
WYDELL

Before we get s t a r t e d I do have t o thank

you. Thank you for making me understand
my heritage. You see t h e Wydells
v i g i l a n t e j u s t i c e . My great grandfather
worked for t h e Pinkerton Detective Agency
riding side by side with Tom Horn...
k i l l i n g scum l i k e you was h i s business.
We've always been Devil s l a y e r s . I j u s t
d i d n ' t r e a l i z e it u n t i l t h i s moment.
( t o Otis)
Wake up, boy.
Wydell slaps Otis across the face.
WYDELL (CONT' D )
I said wake up.

O t i s l i f t s h i s head.
Wydell p u l l s up a chair and s i t s opposite them. On a small
t a b l e next t o him i s tool box and a brown l e a t h e r f o l d e r . He
opens t h e folder and removes a t h i c k stack o f police f i l e s .

!::

$-?

-.. ..
.,. .>.:

WYDELL (CONT'D)
I t r i e d t o walk t h e l i n e , b u t now I

understand there i s no l i n e . We here are

playing on a l e v e l most don't ever s e e .
My brother George d i d n ' t see i t .

(CONTINUED)

--

CONTINUED:

SPAULDING
Maybe he had a d i v i n e moment when h i s
brains h i t the floor.
WYDELL
( l i g h t hearted)
and maybe you w i l l t o o . I have
Maybe
here i n my possession f i l e s on every
missing person w i t h i n a hundred m i l e s of
t h i s l i t t l e a c r e of damnation.

...

SPAULDING
Well, i f you a i n ' t j u s t Sargent Joe
fucking Friday c a s t i n g your fucking
Dragnet.
WDELL
(laughing)
Yeah r i g h t
(he hums t h e Dragnet theme)
good one, you're a f u m y guy, a r e a l
fucking clown. I s t h e r e something i n your
clown b r a i n t h a t makes you unable t o
comprehend t h e f a c t t h a t you a r e fucking
gonna be dead soon? Anyway, time t o p l a y
a l i t t l e t r u t h o r consequences.
( p u l l s out a photo of a g i r l i n
a c h e e r l e a d e r uniform from t h e
top f i l e )
V a l e r i e Green.. . anvone wanna t a k e c r e d i t
f o r h e r . Boy, she was a cutey.
(holds up a second photo of t h e
same g i r l dead)
Here's how she looked when we p u l l e d h e r
from your l i t t l e s l a u g h t e r shack o u t
back.

...

...

OTIS
Yeah, I remember h e r . I c u t h e r tongue
o u t and kept h e r s t r a p p e d t o my bed f o r a
month. I used t o l e t Tiny lube her up
w i t I i t r a c t o r grease and fuck her l i k e a
stump. Broke t h a t b i t c h wide open.
Quick f l a s h e s o f O t i s and Tiny t o r t u r i n g t h e g i r l i n t h e
photo.
"
r-5 F
w,* ' '
&?
-&

:.

%..

- Z

WYDELL
A l r i g h t . Then you g e t t o have t h i s a s a
souvenir.

(CONTINUED)

9
i

\.-..

CONTINUED: (2)

Wydell opens t h e t o o l box and removes a hammer and a n a i l . He

walks over t o O t i s , p l a c e s t h e p h o t o o f t h e g i r l on O t i s ' s
hand and then hammers t h e n a i l through t h e photo, through
O t i s ' s hand and i n t o t h e arm o f t h e c h a i r . O t i s screams.
WYDELL (CONT' D )

(opens another f i l e )
B i l l Hudley
any fond memories?

...

OTIS
(screaming)
Yeah, yeah he's mine t o o ! I c u t him down
t h e middle and t u r n e d him i n t o a fucking
f i s h ! Fish-Boy! Fish-Boy!
Quick f l a s h e s o f B i l l Hudley screaming and O t i s laughing.
BABY

O t i s s h u t up!
Wydell r e p e a t s h i s a c t i o n , d r i v i n g a n o t h e r n a i l through
O t i s ' s o t h e r hand.
WYDELL

This i s p o i n t l e s s . I know a t l e a s t one of

you i s involved with each of t h e s e
d o e s n ' t m a t t e r I am
murders. I f n o t .
l i t e r a l l y going t o p i n them on you.

..

Wydell g r a b s a huge s t a p l e gun from h i s box and b e g i n s

s t a p l i n g t h e missing persons photos onto O t l s .
WYDELL (CONT' D)

Randall Johnson...
With each s t a p l e t h a t goes i n t o O t l s w e s e e a quick f l a s h of
t h e v i c t i m s l a s t moment.
WYDELL (CONT' D )

...Denise W i l l i s ...
(staples)
. . . Dawn Murphy.

OTIS
(egging Wydell on)
Go o n . . . g i v e me more...

come on.

Then he moves onto Baby, she screams a s Wydell s t a p l e s a

ps&F&$
: 3.%
::..
. of a m i s s i n g g i r l t o h e r c h e s t .
BABY

( f a k i n g an orgasm)
That f e e l s good do it a g a i n !
(MORE)
(CONTINUED)

,--

CONTINUED:

(3)
BABY ( C O N T ' D )
Came on, ugh yeah ... come motherfucker! I
t h i n k I ' m gonna cum!

And f i n a l l y Spaulding, he s a y s nothing.

WYDELL
( h o l d i n-s up a p
- i c t u r e of h i s
brother)
Now, t h i s i s why I am here. This i s my
b r o t h e r George and t h i s i s why your a l l
gonna d i e .

SPAULDING
I remember him. He was one s t u p i d fuck
j u s t l i k e you. Coming a t me l i k e some
matinee fucking cowboy i d o l . A l l I had t o
do was p o i n t t h e way and he walked r i g h t
i n . O f f i c e r Wydell t o t h e r e s c u e .
Wydell p l a c e s t h e photo on Spaulding's c h e s t and d r i v e s
s t a p l e a f t e r s t a p l e i n t o h i s f l e s h . Spaulding is s i l e n t , he
j u s t s t a r e s i n t o Wydell's eyes, a s t h e blood run down h i s
chest.
SPAULDING ( C O N T ' D )
Coward. You couldn't c a t c h us on your own
and you c a n ' t handle us now.
(he s p i t s )
bullshit!
V i g i l a n t e Devil s l a y e r

...

WYDELL

Really? Well, I caught me a d e v i l j u s t

t h e o t h e r day.
Wydell p u l l s out s e v e r a l 8x10 p h o t o s from h i s f o l d e r . He
holds up t h e photos f o r a l l t o see.
The p h o t o s show t h e crime s c e n e i n t h e shower room with
mother.
WYDELL (CONT' D )

See anything you l i k e ?

BABY

Mamma! There's no way. Those photos a i n ' t

r e a l . No way you k i l l e d mamma!

.. .

7
.
:
:
y.-:*

,:
3

*.,, ..= ,

WYDELL

Oh, t h e y ' r e q u i t e r e a l . Seems she was

stabbed i n t h e shower. I heard they could
have saved h e r , b u t t h e d o c t o r s j u s t
couldn't g e t t h e r e f a s t enough. What a
pity

(CONTINUED)

CONTINUED: ( 4 )

BABY
You motherfucker. I'm gonna k i l l you!
WYDELL

Scream a l l you want, g i r l . Scream,

scream, scream!
SPAULDING
I b e t your l i t t l e b i t c h boy d e p u t i e s g e t
a l l e x c i t e d l i s t e n i n g t o your Wyatt Earp
horse s h i t . How about you and me, M r . Big
Fuck?
WYDELL

Really? You t h i n k I c a n ' t handle a broken

down fucking d e v i l clown.
SPAULDING
Untie me and show us how important you
a r e . I g o t a fucking b u l l e t i n me and
I ' l l s t i l l kick t h e s h i t o u t of you.
BABY

Daddy he a i n ' t gonna f i g h t you! He a i n ' t

no r e a l man! I know a r e a l man... he
a i n ' t nothing!

Wydell g r a b s Baby's h a i r a g a i n and p u l l s h e r c l o s e .

WYDELL

You want some, eh? I s t h a t what your

t e l l i n g me s l u t ? I ' m gonna s a v e you f o r
last.
BABY

(screaming)
I c a n ' t fucking w a i t . Come o n . . .
Come on!

fucker!

WDELL
Spaulding, you know I ' m gonna t a k e you up
on your o f f e r . There's only one t h i n g
t h a t would give me more s a t i s f a c t i o n t h a n
k i l l i n g you and t h a t i s kicking your a s s
f i r s t and watching you demonstrate how a
clown worm crawls.

Wydell c u t s one o f S p a u l d i n g arms f r e e and hands him t h e

finish the job.

*$EG@o
-!,
ji

.i

Wydell w a i t s holding a butcher's

knife.

(CONTINUED)

SPAULDING
S h e r i f f , you a r e one d e l u s i o n a l son of a
bitch.
WYDELL
From d e l u s i o n l e a d me t o Truth
From
From d e a t h
darkness l e a d me t o Light
l e a d me t o e t e r n a l l i f e .

...

...

S p a u l d i n g c u t s h i m s e l f free and s t a n d s t o m e e t W y d e l l .
SPAULDING
Nice l i t t l e poem. I got one f o r ya.
(Spaulding t o s s e s t h e k n i f e
from hand t o hand)
One, two t h r e e I ' m gonna rape your
mother... one, two t h r e e I ' m gonna k i l l
your f a t h e r
one, two, t h r e e I ' m gonna
eat a baby
one, two, t h r e e I ' m gonna
whoop your a s s !

...
...

BABY
Come on, Daddy! Cut h i s h e a r t o u t !

OTIS
(squealing l i k e a p i g )
D i e , piggy, d i e ! Die, piggy, d i e !

S p a u l d i n g and W y d e l l s q u a r e o f f . S p a u l d i n g s w i n g s at W y d e l l
c u t t i n g h i m a c r o s s t h e ribs. Wydell dodges t h e n e x t BARRAGE
OF SWINGS and c o u n t e r s w i t h a s l a s h a c r o s s S p a u l d i n g ' s f a c e .
S p a u l d i n g STUMBLES b a c k , t o u c h e s h i s f a c e and s e e s t h e b l o o d
o n h i s hand and s m i l e s . The two men s t a l k e a c h o t h e r .

Spaulding swings catching Wydell i n t h e c h e s t .

B o t h men move i n c l o s e f o r a head-on c l a s h . W y d e l l s w i n g s
SLICING S p a u l d i n g a c r o s s t h e f o r e h e a d . S p a u l d i n g r e t u r n s w i t h
a s l i c e t o W y d e l l ' s stomach.
Spaulding swings again, Wydell c o u n t e r s c a t c h i n g him .in t h e
hand. Spaulding drops t h e k n i f e .
W y d e l l moves i n s w i n g i n g . S p a u l d i n g b l o c k s the b l o w s w i t h h i s
arm, r e c e i v i n g h u g e g a s h e s . S p a u l d i n g f a l l s t o h i s k n e e s ,
Wydell k i c k s him i n t h e face. Spaulding f a l l s t o h i s s i d e .
Wydell p i c k s u p S p a u l d i n g ' s k n i f e and s t a b s h i m i n t h e

s*Fasj.
-.,
3

: r :

WYDELL

Enough, fucking b u l l s h i t .
(CONTINUED)

10
CONTINUED:

(6)

Plydell e x i t s the room and returns with a container o f

gasoline. He s t a r t s splashing t h e gasoline on the w a l l s and
furniture.
WYDELL (CONT' D )

Time t o end t h i s . In a minute you' 11 a l l

be gone, t h e house... everything. This
l i t t l e acre o f Hell w i l l be cleansed.
Wydell empties t h e gasoline and throws i t t o t h e s i d e .
BYDELL (CONT' D )

( t o Baby)
You're coming w i t h me.
Wydell c u t s Baby loose from the chair and drags towards t h e
front door. Her hands are s t i l l t i e d .
BABY

Fuck o f f !
Baby thrashes around. Wydell t r i e s t o control her, but Baby
breaks free and runs out t h e door.
WYDELL

Don't worry I ' l l get h e r .

The sheep separated from t h e flock w i l l
soon be eaten by t h e w o l f .

Wydell c l i c k s open h i s Zippo and t o s s e s i n onto t h e gasoline

soaked c h a i r . The chair i g n i t e s .

Baby moves q u i e t l y through t h e c l u t t e r e d grounds o f the

farmhouse. She stops and l i s t e n s . The rumbling o f thunder
grows louder.
Wydell searches f o r Baby. He stops, p u l l s an axe from a t r e e
stump and continues on.

The room i s ablaze. O t i s t r i e s desperately t o free h i m s e l f .

He BITES DOWN hard and p u l l s on the n a i l s , but t h e y are i n
too deep. O t i s screams, slowly the n a i l s t a r t s t o pull f r e e .
i s motionless on the f l o o r .
OTIS

C u t t e r ! Can you hear me? Cutter get up!

Baby runs i n t o t h e barn and f r a n t i c l y searches through a t o o l

bench for a k n i f e . She f i n d s one and runs f o r t h e s a f e t y o f a
wooden storage container.

Wydell approaches.
WYDELL
A t t e n t i o n , l i t t l e d e v i l . . . I am h e r e t o
r e l e a s e you from your s u f f e r i n g !

Baby has t h e k n i f e between her f e e t t r y i n g t o c u t t h e ropes

from her hands. She vigorously grinds t h e ropes back and
f o r t h across t h e d u l l k n i f e blade. Snap! The rope f i n a l l y
gives way.

A figure e n t e r s t h e barn. Baby sees t h e figure move pass t h e

cracks i n the storage container.

CHARLIE
(whispering)
C h a r l i e . Baby a r e you i n
Hey, i t ' s me.
h e r e ? I fucked up
I'm sorry. I'm here
to h e l p . Come on o u t .

..

...

Baby crawls out from t h e container. Charlie h e l p s h e r up.

CHARLIE (CONT' D)
Come on, Baby. We g o t to g e t o u t of h e r e .
BABY
Daddy and O t i s a r e s t i l l i n t h e house.
CHARLIE
I ' l l g e t them, b u t l e t ' s g e t you some
place s a f e f i r s t .

Baby and Charlie move towards Charlie's t r u c k . Charlie opens

t h e passenger's s i d e door.

- the
In
;r
;. background t h e house i s f u l l y ablaze.

p!;
:,

;
.
;
;
s

CHARLIE
Wait i n t h e t r u c k . I' 11 go g e t ' em.
(CONTINUED)

d
i
.

CONTINUED :

BABY

But I wanna...
CHARLIE

No b u t s , j u s t g e t i n .
Baby c l i m b s i n t h e t r u c k .

Baby watches a s C h a r l i e moves around t o t h e f r o n t o f t h e

truck.
CHARLIE
Just stay put.
Suddenly, Wydell jumps from t h e shadows and h i t s C h a r l i e i n
t h e back w i t h t h e a x e .
BABY
NO !

C h a r l i e f a l l s a g a i n s t t h e hood o f t h e t r u c k , t h e n s l i d e s t o
t h e ground.
WY DELL

You c a n ' t h i d e from me g i r l . I'm gonna

g e t you.
wydell comes around t o t h e p a s s e n g e r ' s s i d e and S-HES
window w i t h h i s a x e .

the

Baby d u c k s , f r a n t i c a l l y c r a w l i n g a c r o s s t h e f r o n t s e a t . She
jumps o u t t h e d r i v e r ' s s i d e door and r u n s a c r o s s t h e yard.
BANG! Baby i s h i t i n t h e l e g b y a gun s h o t , she f a l l s t o t h e
ground.
A f l a s h o f l i g h t n i n g i l l u m i n a t e s Wydell a s he s t e p s forward.

WYDELL (CONT'D)
You a i n ' t going nowhere!

Baby s t a n d s and t r i e s t o run, b u t s h e can o n l y hobble on her

wounded l e g .

~ ~ ~ j $ - & m b l e s t o the f a m i l y ' s graveyard. S e v e r a l small

homemade grave markers j u t up from t h e ground.
wydell c a t c h e s up t o Baby and k n o c k s h e r t o t h e ground w i t h a
k i c k t o h e r back.
(CONTINUED)

- .-.

10
CONTINUED:

L i g h t n i n g f l a s h e s and t h u n d e r c r a c k s . The s k i e s r i p open and

r a i n b e g i n s t o p o u r down.
WYDELL
I wish I had a b u l l whip, b u t t h i s i s

gonna have t o do.

Wydell d r o p s h i s a x e and t a k e s o f f h i s b e l t . Baby t r i e s t o

crawl away.
WYDELL (CONT' D)
Do you f e e l l i k e t h e r e i s no way o u t ?

BABY
Fuck you, fuck you fuck you!

W y d e l l w h i p s t h e b e l t a c r o s s Baby's b a c k . Baby screams and

c o n t i n u e s c r a w l i n g . W y d e l l g r a b s her and p u l l s her b a c k .
BABY (CONT' D )

Aaaaaaah!

\-

WYDELL
Then you must r e p e n t and p u t your t r u s t
i n t h e Lord.
...

Baby r o l l s t o her s i d e s c r e a m i n g .
BABY
(screaming i n p a i n )
Aaaarrgggh! Daddy! Help me!

He whips her a g a i n .
WYDELL
Much l i k e t h e I s r a e l i t e s were blocked by
t h e Red Sea you a r e t r a p p e d by a H e l l of
your own making.

He w h i p s her a g a i n .
WYDELL (CONT' D)
Consider me t h e Egyptian army approaching
from t h e r e a r , ready t o k i l l you...
(he s l a p s t h e b e l t a c r o s s h e r
back)
you have no way o u t , except t o put
your f a i t h i n t h e Lord. A s Moses s a i d t o
h i s people," Fear n o t , s t a n d f i r m and s e e
t h e s a l v a t i o n of t h e Lord, which he w i l l
work f o r you today".

...

fi
.. ... , . ... ?

-;

:..L

i
i

(CONTINUED)

CONTINUED: ( 2 )

Wydell r e a c h e s f o r t h e a x e .
WYDELL (CONT'D)
You have l e f t me no c h o i c e .
The Lord i s my s t r e n g t h and my song, and
t h i s i s my
h a s become my s a l v a t i o n .
God! Say i t !

..

BAEY
Fuck you!
WYDELL
Say i t !
Wydell winds b a c k , b u t s u d d e n l y h e i s unable t o swing t h e
a x e . T i n y h a s appeared from t h e d a r k n e s s and grabbed o n t o t h e
a x e h a n d l e . T i n y p u l l s t h e a x e from Wydell hands and g r a b s
h i m around t h e t h r o a t l i f t i n g h i m o f t h e ground.
T i n y c r u s h e s W y d e l l ' s t h r o a t . Wydell s t r u g g l e s t o b r e a k f r e e ,
b u t Tiny's grip i s t o o powerful.
Wydell head f a l l s t o t h e s i d e l i m p , T i n y d r o p s W y d e l l ' s
l i f e l e s s body t o t h e ground.
BABY
O t i s and Daddy are s t i l l i n t h e h o u s e !
T i n y walks towards t h e house. Baby i s weak, b u t s h e f i n d s t h e
strength t o begin kicking Wydell.
BABY

(CONT' D )

(screaming)
Motherfucker!

The house i s a r a g i n g i n f e r n o . T i n y s t u m b l e s t h r o u g h t h e f i r e
and s e e s O t i s s t i l l n a i l e d t o t h e c h a i r .
OTIS
Tiny! Pull out the n a i l s !
T i n y r i p s o u t t h e n a i l s and f r e e s O t i s . O t i s h o b b l e s o v e r t o
Spaulding.
OTIS ( C O N T ' D )
Tiny, help me.

. ..:-,,-*... ?
~ i h i - ' $ ? c k s up S p a u l d i n g and c a r r i e s h i m from the room.
;;--;
#

Tiny, O t i s and Spaulding emerge from the flaming house. Baby

struggles t o h e l p them down t h e f r o n t s t a i r s .
OTIS
We g o t to g e t o u t of h e r e t h a t BBQ i s
gonna a t t r a c t e v e r y piggy i n t h e s t a t e .

Spaulding l i e s i n a bloody heap i n t h e backseat o f t h e

c r u i s e r . Tiny places Baby next t o him, she i s semi-conscious.
He shuts the door.
Tiny looks i n t h e window a t Baby. She l i f t s a weak hand t o
say goodbye.
Otis climbs i n t o t h e front s e a t . He struggles t o start t h e
car, the bones i n h i s hands are crushed from t h e n a i l s .
OTIS
Are you s u r e about t h i s ?
TINY

Go. This i s my home

...

I wanna s t a y .

OTIS
We'll come back f o r ya.

Otis s t a r t s t h e engine and speeds o f f . .

Tiny walks over t o Wydell and l o o k s down a t him. He i s s t i l l
a l i v e . Tiny picks h i m up and begins walking towards t h e
house, up t h e front s t e p s and i n t o t h e burning house.

A empty road. The rain has stopped. A s i n g l e car i s seen.

O t i s d r i v e s , h i s eyes burn red. His bloody hands are bandaged

with shreds from h i s s h i r t a s he t r i e s t o grip t h e s t e e r i n g
wheel.
A boring t a l k radio show

-. .

i s playing on t h e radio.

OiA$.;&'$ives
i: : ,
ii
over a s m a l l i n c l i n e and sees a l i n e o f p o l i c e
cars waiting. He stops the car.
:>

The p o l i c e w a i t w i t h guns drawn. S t a n d i n g dead c e n t e r i s

Dobson.

O t i s and the c o p s s t a n d o f f . Neither makes a move.

O t i s g r a b s W y d e l l ' s shotgun from i t ' s h o l d e r , c o c k s i t . H e

r e a c h e s o v e r t o the b a c k s e a t and wakes up S p a u l d i n g and Baby.

They a r e b o t h h a l f d e a d . He hands e a c h o f them a gun.

The p o l i c e w a i t .
COP
What a r e t h e y doing?
DOBSON
G e t t i n g ready t o d i e .
(shouting t o t h e o f f i c e r s )
A l l r i g h t everybody i n p o s i t i o n !

The o f f i c e r s t a k e up p o s i t i o n b e h i n d t h e i r c a r s .

OTIS
Ready.
SPAULDING
Yeah.
BABY
Me t o o . . . hey, O t i s .

OTIS
Yeah?
BABY
( t o the radio)
Change t h a t . I don't
shit.

wanna go o u t t o t h a t

C$@@f;ijrns the r a d i o d i a l t o Ram Jam's " B l a c k B e t t y " .

Spaultli'ng, Baby t a k e aim o u t the window a s O t i s f l o o r s the
gas p e t a l and d r i v e s d i r e c t l y towards the p o l i c e .
C l o s e Up on the s p i n n i n g wheel o f O t i s ' s c a r .

The P o l i c e g e t i n t o p o s i t i o n a s O t i s ' s c a r moves i n c l o s e r .

DOBSON

Fire !

The p o l i c e l e t l o o s e a barrage o f b u l l e t s .

O t i s , ~ p a u l d i n gand Baby f i r e o u t t h e window, a s t h e y a r e

r i d d l e d w i t h b u l l e t s . The scene i s t o t a l i n s a n i t y . O t i s ,
Spaulding and Baby scream i n pain from m u l t i p l e b u l l e t s
it freezes.
wounds and t h e n suddenly

...

We h o l d on a s h o t o f O t i s , Spaulding and Baby i n t h e i r l a s t

moment

FADE TO BLACK

THE END