devil's rejects, the
TRANSCRIPT
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 County 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 Creek 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 h i s t o r y - 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 f rame.
TINY, a hunched 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 Hal loween mask , 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 d o l l .
T I T L E CARD: May 18, 1978
T i n y b r i n g s the 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 his 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 thick 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 the 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 hand . 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 , = s -.
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 (ha l f as leep)
What?
JIMMY (yawning)
I t ' s your turn t o d r i v e .
ADAM ( s i t s up and looks around)
How much longer i s it t o the motel?
J I M M Y I don't know. I f igu re 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 to?
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 t h a t s h i t .
Asleep i n t he backseats we see: Adam's wife WENDY BANJO (36) along with ROY (61) and GLORIA SULLIVAN (50) . They a r e a small time country western group.
The Sul l ivan 's van passes by. Tiny resumes dragging the g i r l ' s body across the road. Once again he g e t s halfway across when a set o f headl ights breaks the fog.
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. -. . --. .--= . . . " ...
i , l j
~%iejil~da:the headl ights a r e another s e t and then another and then another.
(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 process ion passes b y and t u r n up a smal ler d i r t road known a s Craig Creek Road. - The 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 out forming a huge s e m i - c i r c l e surrounding t h e house .
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 up 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 lood l i g h t . A l l l i g h t s are 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
c a r door swings open.
- CLOSE UP - a b l a c k boot s t e p s ou t o f t h e c a r
From behind we s e e a l a r g e man wi th 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 proo 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 wi th a b l a c k eye pa tch . The s k i n around t h e e y e 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 hawk- l i k e s t a r e .
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 do 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 as a c l eans ing o f t h e wicked and what my bro ther Georqe ... God r e s t h i s soul
( c r o s s e s - h i m s e l f ) .. -. -- - U s e f t a c a l l a 100%Alabama a s s k i c k i n g .
DOBSON Y e s , s i r . . .
(pauses) . . . S i r ?
(CONTINUED)
C O N T I N U E D :
WYDELL Yes, M r . Dobson.
DOBSON Do you th ink we a r e gonna d i e here today?
WYDELL (chuckles)
M r . Dobson, l e t me give you a l i t t l e a s s saving piece of . advice t h a t many years ago I ripped from the book of l i f e . Are you l i s t en ing?
DOBSON I'm l i s t e n i n g .
WYDELL Dying a i n ' t an option. You s t i c k t h a t deep i n t o t h a t gray matter of yours and make sure it s t i c k s . Any other thought i s gonna ge t you cold 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 rys t a l ?
DOBSON Crystal , s i r .
WYDELL Good, 'cause not only do I in tend t o 'not die" today, but I a l s o intend t o blow t h e fucking bra ins out of t h e mother-fuckers t h a t murdered my bro ther . . .
(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 he Pac i f ic" on the Mil l ion Dollar Movie ... (looking down the b a r r e l ) . . . you see i t ' s Lee Marvin week on Channel 68 . Lee Marvin i s t h e man with t h e plan.
DOBSON
. .. - . ?3. You're the man, S i r .
;" .... - z.-.: >, * .> ;. - . . . . L^ WY DE LL
T e l l it t o my wife . . . Mr. Dobson. Give the command.
(CONTINUED)
C O N T I N U E D : ( 2 )
DOBSON (quietly into his walkie- talkie)
Hit the lights.
One by one each vehicle 's flood l i g h t explodes with a white hot beam. An echo o f " h i t the l igh 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 the house.
Close up - B&W t e l ev i s ion . "Plan 9 From Outer Space" i s playing on the screen.
Bathed i n the te lev is ion 's glow i s OTIS DRIFTWOOD (48) , a s t r ingy white haired albino. He i s asleep with h i s arms wrapped around a NUDE GIRL.
The g ir l i s bloody and her mouth i s taped shut . Next t o the bed sleeps another GIRL i n a cage. She i s wearing a muzzle.
FLASH. White flood l i g h t BLASTS through the d i r t y windows - ILLWIMTING the room.
More l i g h t s focus on the house
Close up - corpse face
We pull back from t h i s face t o see the decaying form o f the h a l f man/half f i s h creation known as FISH-BOY.
Continuing back further we see a large brass bed. Human bones, animal sku l l s and ant lers form the head board. A g i r l with blonde cur ly hair i s sleeping peaceful ly . This 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 the room.
The O f f i c e r s stand ready with the i r guns drawn.
Y HOUSE - .. . - . ,: ..z -.* ,; " .: "4 i.<
~., % - ~ ~ l n b ' h a t on her back i n bed i s , MOTHER FIREFLY (60). As the 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 posi t ion, eyes wide.
S h e r i f f Wydell ca lmly r a i s e s a megaphone t o his mouth.
WYDELL (through megaphone)
Attention this is Sheriff John Quincy Wydell from the Bain County Sheriff's Department. . .
O t i s ' s p ink 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 on to 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 wi th a THUD.
He q u i c k l y moves t o the . 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. - we see t h e farmhouse grounds swarming w i t h p o l i c e .
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.
MOTHER There's a million fuckina coos! The house r.. T; r..: ~ ~ ~ -
L:r- s":. 5 ~ - ? :. : ?A ; '>. is surrounded . . . they're-evekywhere.
BABY Shit, what? where's Otis?
m. OTIS'S R m
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 the time t o vacate t h e premises peacefully o r we w i l l be forced t o use whatever means necessary t o remove you! I repea t we w i l l use whateves means necessary!
Mother and Baby f ran t i ca l l y run down the hal l towards Otis 's room. Baby struggles t o pull her boots on.
BABY M a r m a wait!
MOTHER Otis ... 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.
O T I S (whispering)
Quiet! I know... I know... grab a fucking piece. . .
(motioning t o t h e bed) ... and s t a y away from the fucking windows.
Baby and Mother each grab a gun o f f the bed.
WYDELL ( O . C . ) Again I repeat, vacate t h e premises peaceful ly and nobody has t o d i e today ...
BABY Now what? Otis , 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 face .
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 helmet i s wai t ing . This i s RUFUS (31)
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"! -
Wydel 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, they ' re i n the re . . .
(he s p i t s , wipes h i s l i p ) . . . but they a i n ' t coming o u t . I ' d say they ' re s t rapping on t h e i r dancing shoes ge t t i ng ready f o r a grave digger hoedown, but t h a t ' s a l r i g h t ... I ' m i n a dancing mood. In f a c t I ' m ready t o Fred Asta i re those fucking d e v i l s back i n t o Hel l .
DOBSON ( c l i c k s oDen h i s r i f l e ' s scone . - - and beq&s whist l inq The ~ u s t l e j
Do the hus t l e .
WYDELL ( re turn ing t o t h e megaphone)
I ' m going t o give you u n t i l t h e count of t h ree t o remove yourselves peaceful ly o r we a r e coming i n ! One...
O t i s , Baby, Mother and Rufus a r e each hunched down b y a window, guns a t t h e ready.
WYDELL .. . two. ..
Various CLOSE UPS:
O t i s ' 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 wipes t h e sweat from h e r e y e s .
Rufus lowers t h e face mask o f h i s he lme t .
Mother k i s s e s h e r gun hand.
O T I S On three .
-.-2 _.' WYDELL (V.O.) : a .: < . . . t h r e e ! a . a - % a %
The fami ly 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 bouncing o f f t h e squad c a r s can b e heard echoing 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 force . The n o i s e i s dea fen ing . Glass , 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, immediate ly f i l l i n g t h e roams w i t h gas .
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 are met w i th BLASTS from t h e fami ly ' 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 house . 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 fami ly 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 are 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 , Ru fus l a y s down a b l a n k e t o f b u l l e t s , t hen fo l lows . The door slams s h u t .
Rufus 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 are 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, no. . . you know we c a n ' t . . .
'.-; ".: -. OTIS =-.- . P..,! . gnT: S h u t up , woman! .. .., %.> ..
BABY Mamma, it's our o n l y chance.
(CONTINUED)
* - CONTINUED:
OTIS Rufus , over h e r e . Help me move t h i s s h i t .
O t i s and Rufus 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 behind i s an i r o n door. The door i s chained s h u t .
OTIS (CONT'D) . Break it open, mother fucker ! Come on!
Rufus grabs ho ld o f t h e huge chain and p u l l s w i t h a l l h i s might .
BOOM.. . BOOM. . .
. . . BOOM! The p o l i c e con t inue slamming aga ins t t h e basement door.
7
The POUNDING from t h e door above g e t s LOUDER.
BABY That door a i n ' t gonna hold ! They ' re almost through!
OTIS Ccane on, Rufus break t h a t fucker open. God damn it, come on!
Rufus PULLS t h e massive door o f f i t s h i n g e s r e v e a l i n g a s tonewalled corr idor .
RUFUS Go, I ' l l s t a y h e r e .
O t i s and Baby bolt p a s t Ru fus i n t o t h e c o r r i d o r . Mother pauses f o r a second and k i s s e s Rufus .
MOTHER Bye-bye, baby.
RUFUS Go, Mamna, go!
CRASH! The p o l i c e a r e i n . The first o f f i c e r through, i s taken $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
.yp: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 Rufus i n t h e v e s t . Ru fus i s u n a f f e c t e d .
(CONTINUED)
CONTINUED:
The b u l l e t s bounce o f f h i s v e s t and mask wi th loud pinging 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 sys tem.
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 gu 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, die , die!
The man f a l l s back dead.
Rufus , now b l e e d i n g s e v e r e l y , s tumbles 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 lood i n t o t h e room.
RUFUS Come on! Come on! Is tha t a l l you got?
Rufus con t inues f i r i n g b e f o r e h e i s f i n a l l y shot 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 corr idor .
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 , BLASTING o f f t h e l o c k . He KICKS t h e door open.
The p o l i c e have now fanned ou 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)
Jesus. C h r i s t , Humphrey are you see ing t h i s ?
HUMPHREY ( l i f t i n g h i s gas mask)
Yep , same t h i n g over h e r e .
JANSON Man, i t ' s a l l t r u e . I d o n ' t fuck ing b e l i e v e t h i s .
HUMPHREY Jesus C h r i s t .
Humphrey's l i g h t beam passes across 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 passes by The Pro fessor , The Pro fessor s t e p s ou t from t h e wall and s tands s i l e n t i n t h e c o r r i d o r RAISING a HUGE AXE over h i s head.
Janson t u r n s t o s e e t h e BIZARRE s i g h t behind Humphrey.
JANSON Humphrey behind you!
Humphrey t u r n s a s The Pro fessor b r i n g s h i s axe 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 Pro fessor runs towards Janson, DRIVES t h e axe deep i n t o c h e s t and LIFTS him o f f h i s f e e t .
Janson dangles convu l s ing on t h e end o f t h e weapon.
WYDELL ( 0 . C . ) Devi l ! I 'm over here Dev i l !
The Pro fessor drops Janson and t u r n s t o s e e Wydell s tand ing 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 Pro fessor screams a g u t t u r a l war 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 rounds, The Pro fessor i s u n a f f e c t e d .
(CONTINUED)
CONTINUED: ( 2 )
Suddenly, The Pro fessor 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 , exp lod ing .The Pro fessor ' s head l i k e a melon.
O t i s , Mother and Baby run through a dark concre te room towards a s l i d i n g metal door. Loud gr ind ing c e i l i n g fans 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 .
O T I S ( p u l l i n g on the d o o r )
M o t h e r f u c k e r w o n ' t m o v e .
Mother and Baby grab ho ld 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 ee l it giving w a y . . . c o m e on push harder.
T The f i g u r e s move i n and ou t o f t h e l i g h t beams. They a r e naked, b u t f o r scraps o f f i l t h y h o s p i t a l pajamas draped over t h e i r pa le and c r u s t y s k i n . The i r w h i t e e y e s glow i n t h e darkness .
The door metal s l i d e s open.
O T I S (CONT' D) T h a t ' s it.
Simul taneously 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 O t i s , help m e !
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. Wydel 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 r a i s e d .
:?-..: ?+ r-,< s,-.: %+ %:? 2 .!, 5 .L :! -> - .,
WYDELL Freeze!
(CONTINUED)
- .- CONTINUED:
SWOOSH! More pat ients jump from the darkness and grab onto Wydell and h i s men.
The pat ients are i n a MAD FRENZY. Otis f i r e s , Wydell and h i s men return f i r e .
The pat ients grab onto Baby's clothes and TEAR a t them. Their ragged finger n a i l s scratch her sk in .
BABY Marmna! Mamma!
Mother i s pulled screaming i n t o the 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 pat ients .
O t i s tosses o f f h i s at tacker and moves t o help Baby.
A BALD MAN with a patchwork face has h i s arms around Baby. Otis smashes the b u t t o f h i s gun i n t o the man's face,
T knocking him t o the f loor . 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 quickly scan the room, i t i s t o t a l confusion. Mother i s nowhere t o be seen.
OTIS Shit... Mamma's gone.
Wydell watches as Otis pul l s Baby i n t o the next room and s l ides the door shut.
WYDELL Damn it !
O t i s searches the room and spies a three foot metal grate s e t i n t o .- t he . -. f a r w a l l . Dead bodies wrapped i n p las t i c body bags h$+.'c#om . .. . the w a l l s . Some are s t i l l moving. .. . . . . ..
BABY We gotta get Mamma!
(CONTINUED)
C O N T I N U E D :
O T I S 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 gra te o f f i t s frame, exposing 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 aga ins 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 lows. The soo th ing 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 heard.
SPLASH! From ou 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 wa i s t deep water, c l imbing o n t o t h e r i v e r ' s banks .
I n t h e d i s t a n c e t h e sound o f t h e bark ing dogs can now be heard.
CLOSE UP - bark ing 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 beg in t o c r o s s .
WANDA (25), dressed i n a w a i t r e s s un i form 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 rad io .
Through t h e windshie ld 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 ? 2 ' < $ ? $ >!
m. CIlrG
Wanda s t o p s h e r car, s t e p s ou t and runs o v e r t o h e l p Baby.
( C O N T I N U E D )
C O N T I N U E D :
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. Please. I can ' t move my l egs .
WANDA Okay, okay what's your name? I ' l l g e t you t o a hosp i t a l .
Wanda c r a d l e s Baby's head. O t i s s i l e n t l y s t e p s o u t from the b u s h e s .
WANDA (CONT' D ) Can you stand? My c a r i s r i g h t t he re . Can you make i t ?
.- He s l o w l y wa lks up beh ind Wanda.
BABY (qu ie t ly )
I have t o t e l l you a s e c r e t . . . come c l o s e r .
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 (smil ing 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 tes 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 back 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 her o f f me.
O t i s p u l l s Wanda o f f . Baby jumps up, h e r f a c e i s covered 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 dogs h a s r e t u r n e d . O t i s l o o k s towards 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 road .
FADE TO BLACK
Broken p i e c e s o f garb l ed r e p o r t s can be h e a r d .
NEWS REPORTER (V.0 . ) A house of hor rors i s how one o f f i c e r described the scene t h i s morning ... nude bodies were found dumped i n t o a mass grave.
FEMALE NEWS REPORTER ( V . O . ) Dozens of victims were kept a l i v e i n a subterranean dungeon ... deviant sexual abuse aga ins t t he teenage victims.
NEWS REPORTER This i s without a doubt the most g r i s l y crime t h i s country has ever witnessed ... a shocking s e r i e s of events . . . a thousand corpses . . . un ident i f ied k i l l e r s . .. D r . Satan. . . The Devil 's Rejects .
Heavy b r e a t h i n g i s heard .
FADE IN:
-- 3 --. We!ase l ; l ook ing up a t a g i r l wear ing smeared clown make-up, f=&h-'th.e P . 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 on t o p and g y r a t i n g .
(CONTINUED)
CONTINUED:
FANNY Oh baby, ooooh, yeah.. . deeper, daddy, deeper .
We reve r s P . o . v . ? ~ t o see CAPTAIN SPAULDING, a l s o wearing clown make-up, underneath t h e g i r l .
SPAULDING Sh i t , you g e t t i n g it so God damn good. You should pay me next time.
We 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 fucking whore?
SPAULDING (chuckling)
I cal l 'em l i k e I see'em.
FANNY Oh rea l ly , you th ink I ' m a whore, huh?
SPAULDING I don ' t t h ink you a re , I know you a r e .
Fanny p u l l s out a gun and po in t i t a t Spaulding's face.
FANNY Whore t h i s fucker.
Fanny's P.O. V. down on Spaulding.
SPAULDING Whoa, ho ld 'up . 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 g JUMPS 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 clock is buzzing.
(CONTINUED)
2 CONTINUED:
Spau ld ing fumbles 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 .
Spau ld ing s t u m b l e s i n t o the bathroom 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 c lown. The ba throom i s d i r t y , d e p r e s s i n g and covered 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 .
Spau ld ing , now wear ing clown make-up, l e a n s back i n h i s c h a i r and s i p s h i s c o f f e e .
CRIME SCENE t a p e sur rounds 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 sp read o u t around the grounds .
4 - Wyde 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 through t h e d i m l y l ~ t c l u t t e r e d house 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 book and opens i t .
C l o s e up- book
The pages 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 . Locks 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 a c c o u n t s o f each murder.
DOBSON Jesus Christ. Chief you better take a look at this.
WYDELL What is it?
DOBSON It's like a scrap book. They documented
E; e-2 , everything. . . ., .. . .
WYDELL J ~ S U S .
(CONTINUED)
2 CONTINUED:
Wydell grabs a s i m i l a r book of f the she l f and opens i t
WYDELL (CONT' D ) Same thing.
( f l i pp ing through the book) Motherfucker! That fucking p iece of s h i t .
DOBSON What?
Wydell holds open a page with various photos of Spaulding and the family members covered i n blood posing with a young dead g i r l .
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 looking 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 - W
Spaulding comes on screen i n h i s f u l l clown o u t f i t . It is a commercial f o r Captain Spaulding's Museum of Monsters and Madmen.
SPAULDING (CONT'D) (on screen)
Howdy, murder lovers! It's your o l d pa l Captain Spaulding again and I ' m here t o t e l l you about our exc i t ing new a t t r a c t i o n ! Mary t h e monkey G i r l !
(switches t o a shot of a s tu f fed monkey)
That's r igh t , t h i s l i t t l e honey i s an ac tua l ha l f human, ha 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 ing l i t t l e Johnny and Susie on down t o meet her ... s h e ' l l
F- r-= F-' scare the holy guacamole out of them! Oh,
6;'. vbi% and while you're here don't fo rge t t o e i 7 . . pick up your Captain Spaulding fo r
President T-shir ts they come i n a l l . . .
Suddenly t h e ACTION NEWS logo appears on screen.
(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 breaking news.
SPAULDING Jesus C h r i s t , 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 sus , what t h e h e l l i s going on h e r e t h i s morning?
Spaulding g e t s up 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 gas s t a t i o n .
aABY Daddy, you g o t t a g e t o u t of t h e r e . The p i g s h i t us t h i s morning r e a l bad. You g o t t a g e t ou t ! They ' l l be 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 don ' t pan ic . 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.
Spaulding hangs up the phone and q u i c k l y t e a r s through ' h i s k i t chen g rabb ing h i s j a c k e t 'and h a t . He opens a k i t chen drawer, grabs h i s gun, a box o f b u l l e t s and shoves i t i n h i s pocke t . H e r u n s o u t o f t h e room.
W e move down 'onto t h e TV t o see a r e p o r t e r , TURK MURPHY.
MURPHY
r-.> 3--- -;, With m e now i s t h e man r e s p o n s i b l e f o r
.. . . . . .. .;- =<? .. . . . :: .. >., 9 .* . .... 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 nex t t o t h e r e p o r t e r .
(CONTINUED)
CONTINUED:
MURPHY (CONT' D) She 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, poss ib ly t h r e e suspects on t h e run.. .
(Wydell grabs the microphone and looks d i r e c t l y i n t o t h e - camera) .. and i f they ' re 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 fo reve r . . . you're gonna have t o s top sometime, somewhere and when you do. . . I ' l l be waiting.
Wydell drops the microphone and walks o f f camera. Murphy quickiy p i cks u p t h e microphone.
MURPHY ( t ry ing t o regain h i s composure)
Ah, thank you She r i f f . As you can see 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 the engine. Down the road we see t h e d is tance 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 kicks i n .
SPAULDING (CONT' D ) Yes.
The engine d i e s again. The p o l i c e l i g h t s a r e c lose r . We now hea r the s i r e n s .
in, F: E--x SPAULDING (CONT'D)
k:.. b:: b:a I i . :_ i, . :: .. . Fuck, fuck, fuck! Come on!
The engine s t a r t s . Spaulding speeds off and tu rns a corner 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- I - A l a r g e b l a c k man, C W I E ALTAMONT, s i t s a t a card t a b l e coun t ing 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 cheap cowgir l 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 s h a r e .
CHA-CHA Slow night , boss.
CHARLIE You a i n ' t fucking kidding. This i s pa the t i c . You have got t o f ind a new angle, kid.
CHA-CHA I was thinking about something spacey. . . 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 Princess Leia, r i gh t?
CHARLIE Yeah, I don ' t know. You s t a r t messing with t h a t spacey s h i t bhd you ' l l r e a l l y bring out t h e s i ck b i t c h wanting t o pretend they ' re robots and s h i t .
CHA-CHA Droids .
CHARLIE Huh?
The phone r i n g s .
CHARLIE (CONT ' D) (answering i n an Asian voice)
Wong's Hong Kong Gardens. M r . Wong speaking.
Spauld ing 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.
SPAULDING Cut t h e s h i t Charlie, i t ' s me Cut te r . I got a b ig meltdown going on down here and I need a place t o cool ou t . I ' m coming
;-> 7, g-, down ... what? Do you own a TV? Then t u r n
. G +,,. . . - ,,,-: . r- , on the fucking news and you' 11 g e t my * 5 '. t ;. fucking s i tua t ion .
CHARLIE Whoa, whoa, whoa, hold on.
(Charl ie f l i p s on a s m a l l por tab le TV s e t . He f l i p s through severa l channels. On every s t a t i o n i s a repor 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 grea t i dea . This i s some b ig s h i t .
SPAULDING Hey, hey don ' t t e l l me I ' m i n b ig s h i t ! I fucking know b ig s h i t when I smell it! I don't give a fuck. I ' m on my way.
Spaulding hangs up t h e phone.
CHRRLIE Hold on . . . hold on. Fuck!
C h a r l i e s lams down t h e phone.
CHA-CHA Who was t h a t ?
CHARLIE That was "Mind your own fucking business bi tch".
Spaulding pauses, 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 phone.
SPAULDING (screaming)
Fuck, fuck, fuck, fuck!
Otis 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. .r. 7-: ra&~:qs t h e y r o l l by: a ,,& .:" -.
THE ASTRO-LAND MOTEL, a dumpy, rundown mote l i n t h e ass end of nowhere. A spacesh ip 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 eads : VACANCIES.
(CONTINUED)
CONTINUED:
BABY I don't s ee him. Shi t , where t h e fuck i s he?
OTIS I don't know, but we can ' t fucking parade around out here much longer . We go t t a get i n t o a room and out of s i g h t .
RADIO We've j u s t received a r epor t t h a t two of t h e suspects from t h i s mornings r a i d were l a s t seen dr iv ing a l i g h t blue Chevy Nova with t h e l i cense p l a t e number 768-432.
O t i s smashes h i s hand aga ins t the dash board.
OTIS S h i t . Fuck.
BABY Let me out of the car . I ' l l ge t us a room.
Baby s t eps out of the c a r .
Roy Sullivan, dressed i n a cowboy h a t and a T-shirt t ha t reads Banjo & Sullivan, and Adam Banjo walk through the motel parking l o t .
Gloria, Wendy and J immy Cracker a r e walking behind them. A l l of them a r e holding the remains of t h e i r f a s t food lunch.
WENDY Roy, do you always have t o wear t h a t s tup id s h i r t ?
ROY (chomping on f r i e s )
Stupid? I t ' s ca l l ed adver t i s ing , my dear . Can't s e l l t h e people something they a i n ' t heard of .
GLORIA I agree honey, i t ' s embarrassing
;-. ~ -& y.; *,,- !1 i. i; i. f i
ROY That 's not 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 lunch 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 unlocking 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.
JIMMY -. p--.. ;-?
(embarrassed) '
tr h a ic:e : : : ' i!.,i. Sorry. I. . . I'm gonna go gas up the van. . - . Jimmy exits.
[CONTINUED)
CONTINUED: ( 2 )
GLORIA (annoyed)
Roy, don ' t remind he r . I t 's not exact ly something I ' m proud of .
WENDY I don't remember ... j u s t fucking t e l l me. What t h e fuck happened?
ADAM I t ' s t h e j o i n t whereGloria t r i e d r id ing t h a t mechanical b u l l and he r tube t o p f e l l down
Wendy b u r s t s out laughing.
WENDY Oh yeah and her t i t t i e s were bouncing around and she kept on spinning around on t h e b u l l .
GLORIA It 's not funny. That awful man wouldn't shut the damn th ina o f f . I was humiliated i n f ron t of the whole place.
Adam unlocks the door t o the adjacent ROOM #4 and en ters .
WENDY (laughing)
I think we made some new fans t h a t n ight .
Wendy follows Adam.
GLORIA Ha. ha. ha. I ' m so r rv but I don't f i n d t h h t t h e l e a s t b i t f i n n y . . . a t a l l .
Roy p u t s h i s arms around Gloria walking her i n t o the room.
ROY Hey honey, how about an encore performance tomorrow.
GLORIA You wish.
The door shuts . - - -
Roy walks along t h e l i n e of empty motel rooms, t u rns a corner t o the 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 tud got a l i g h t ?
Roy looks up from h i s bucket. Baby is leaning seduct ive ly on the ice machine. A c i g a r e t t e dangles from her lips.
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 years , then I qui t , bu t hey. . .
(touches h i s s i d e ) . . . my lung f e e l s f i n e .
BABY ( in t e r rup t ing )
Oh, I ge t it. You want t o l i v e forever . (Baby moves i n c lose r )
So, you a l l on vacation by yourself o r something?
ROY Yeah ... no . . . I mean me and t h e gang we're a s inging group c a l l e d Banjo and Sul l ivan. We j u s t f in i shed playing down a t t h e Barn Door.
BABY Cool, I love famous people, they ' re so much b e t t e r than t h e r e a l thing. Ya know?
(s teps a l i t t l e c lose r ) I be t a l l t h e g i r l s wanna fuck you.
Roy i s shocked, but enjoys Baby's a t t e n t i o n and s t a r t s f l i r t i n g .
ROY Whoa, hey you k i s s your mamma with t h a t mouth?
BABY (stepping i n even c l o s e r )
That a i n ' t t h e only th ing 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 Sul l ivan?
(CONTINUED)
CONTINUED: ( 2 )
ROY Roy Sul l ivan.
Roy extends h i s hand, Baby ignores i t .
BABY Roy Sul l ivan. Wow, I ' m gonna remember t h a t name and t e l l everybody I met Roy Sul l ivan country supers ta r .
ROY I don ' t t h ink 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 seduct ively runs it over her neck and down her chest .
BABY (sexy)
Well, Roy Sul l ivan I ' m g e t t i n g hot ou t here s tanding under Mr. Sun and I was wondering a r e you gonna t ake me back t o your room and play with me...
Roy i s speechless.
BABY (CONT' D) ... o r i s my bro ther gonna have t o shoot your t e e t h out of your fucking head?
ROY
7 7. 7. Huh?
2 .- ..< :..- ,: ? <, . ,- .. 0 t i k " s f e p s i n , shoving a gun against Royls head. Roy's face drops.
(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 (point ing t o t h e album)
I ' d say anyone playing music l i k e t h a t a l ready 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 , holding four g lasses .
NANCY Adam, can you p lease switch t h i s f o r me? I can ' t stand t o hear about t h i s anymore. I t makes me s i ck t o my stomach t o think t h a t s a t a n i c c u l t s a r e kidnapping and ea t ing people.
ADAM Come on Gloria, you know i t ' s a bunch of crap. They exaggerate a l l t h a t s h i t t o ge t r a t i n g s . They want people t o be scared, so t h e y ' l l h ide i n t h e i r homes and buy more TV dinners .
GLORIA Can you change it anyway, p lease .
ADAM s u r e .
Adam swi tches t he channel t o "The Buck Owens Ranch Show". The door swings open. Roy walks i n wi th a stunned look on h i s face .
GLORIA Did you f i n d t h e i c e machine?
ADAM (he sees Baby)
Whoa... hey Roy . . . who's your f r i end? We send you f o r i c e and ya s t a r t picking up chicks.
ROY Um, yeah.
q p s i n t s . .. her gun a t Adam.
BABY YOU on t h e bed, now.
(CONTINUED)
CONTINUED: (21
ADAM Whoa, hold on g i r l .
Adam moves onto t h e bed with Gloria . Roy stumbles forward with a shove from O t i s ' s boot.
OTIS Get your fucking ass i n the re .
Baby and O t i s s t e p i n . O t i s shu t s the door behind them. Roy sits down and p u t s h i s arm around Gloria .
GLORIA What's going on here?
OTIS ( s t i ck ing t h e gun i n Gloria 's face1
Hey, cunt fuck shut it! 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 tup id fucking mouth !
GLORIA ( q u i e t l y )
No.
BABY You're s t i l l fucking t a lk ing .
Baby s l aps Gloria.
ADAM Hey!
BABY God, t h i s b i t c h i s p i s s ing me o f f .
OTIS (poin ts the gun a t Adam)
What? !
Baby glances a t the TV. On screen Buck Owens, dressed i n a spark l ing rhinestone jacket , is p lay ing "Cryin' T ime . "
BABY ,,...
(ge t t i ng ag i t a t ed ) t-.: r--.: -z
Fuck! Ot i s man, I love Buck and h i s %+ . <=.A , ". A : Buckaroos.. . God damn it, look a t t h a t s %.: -. = -<
j acke t . God, I want a jacket 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 looks t o Roy confused. Roy g ives her a look t h a t says, "s tay calm".
O t i s moves over t o the open door of #4, looks i n the room and hears the shower running.
OTIS (CONT'D) Who's i n the shower?
ADAM That 's my wife. I f you h u r t her I ' l l ...
OTIS ( in t e r rup t ing )
You'll what? Die?
- Adam calms down.
OTIS (CONT'D) Baby, i f one of these fucking guys moves shoot t h e i r b a l l s o f f .
BABY (swaying t o the music)
E'uck ya, I w i l l .
O t i s quickly moves t o the bathroom, KICKS open t h e door, THROWS open the shower cur ta in and GRdBS Wendy by the h a i r .
OTIS '
Bitch keep your mouth shut before I r i p your fucking head o f f .
WENDY Adam.. . Adam!
rr - -. OTIS 1-7 L2 h.-z Shut up, b i tch! I ' m your Adam now! 3 [ ;, TL
O t i s drags he r out of the shower and back i n t o room #5.
He holds her by the hair with h i s gun t o her head.
OTIS OK, is that everybody?
No one answers. Otis cocks the 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 beef jerky.
JIMMY (chewing on jerky)
Hey Roy, I found some of that smoked jerky you like down at the station.
ROY <:.- -. . Shit that's Jimmy. He's our roadie. I
8,,.;"c..-ii..!: forgot ... I forgot he was out there. + :s > s *
Otis 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 shir t and p u l l s h i m i n the 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 f r o n t o f b e d .
OTIS (CONT' D) O n your k n e e s .
Otis p u l l s Jimmy down t o h i s , k n e e s .
OTIS (CONT'D) H e r e ' s what happens when you l i e t o me , H o s s .
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 town 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 the r a d i o . H i s g a s gauge r e a d s empty .
;-. : . . . i-7
SPAULDING g...; L.?. + *~
.L 6 %. -. Fucking e m p t y ... o f c o u r s e .
H e s p i e s a s i n g l e c a r p a r k e d n e x t to a s m a l l c o n v e n i e n c e 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 l o t .
(CONTINUED)
m
<-. 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 the store. They walk t o the only car i n the l o t .
Spaulding steps out o f h i s truck and quickly walks up t o Susan as she opens the passenger's s ide 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?
SPAULDING (leaning in close)
Do I stutter, bitch? Because I just heard what I said and I think I made myself
-. ; .> -- T k pretty fucking clear. I said,"top secret
L.;;? i .i bi' ? > 8.:~. ? .: .. . x.
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 car 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 . Spaulding 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 face , she f a l l s t o t h e ground, ou t c o l d . Spaulding grabs t h e k e y s .
Spaulding c l imbs i n behind t h e wheel . Jamie i s shaking 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?
JAMIE I.. . I.. . I don't know.
SPAULDING This really pisses me off. I mean don't we make you laugh? We're fucking funny, right?
JAMIE I.. . I.. . I 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! s> s-3 -
+ F.7,li JAMIE
(CONTINUED)
CONTINUED:
SPAULDING- Now g e t your fucking a s s out of t h e car !
Jamie opens t h e door and s t e p s o u t . Spaulding speeds 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 exc i tement . Po l i ce c r u i s e r s , ambulances and news vans c l o g t h e 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 rung, but whispering
What the 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 gh t? I mean am I missing something'here? I mean have you seen anything l i k e t h i s before?
WYDELL Son, a i n ' t nobody ever seen anything l i k e t h i s before .
DOBSON Jesus, what t he h e l l were they doing t o those people! Why would they keep them down the re .
Wydell s t o p s and grabs Dobson by t h e shou lders .
WYDELL Son, you got t o calm down. Look around you.
(Dobson looks around) Hell j u s t fucking cracked wide open. We a re here t o f igu re t h i s s h i t out , bu t f i r s t you got t o calm down, put your poker face on and l ea rn t o play the God damn game.
Dobson gathers h i m s e l f .
LC>. - ::: .... g 3 2 3: g .z 1; \.
WBSON Yes, s ir .
They cont inue 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 the door and e n t e r .
Ly ing m o t i o d e s s on a bed i s an emacia ted corpse w i t h l o n g mat ted h a i r . T h i s i s DR. SATAN. H e i s s t rapped 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 an oxygen mask.
A midd le aged d o c t o r , DR. MOORE ( 4 7 ) , and a young p r e t t y nurse , -CIA ( 2 4 ) , a t t e n d t o one o f the machines.
DR. MOORE Ah She 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 the 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 again .
DR. MOORE That my exc i tab le 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 ha t ' s who we assume it 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 m o t i o n l e s s f i g u r e .
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 looks l i k e he couldn't crumble a cracker i n h i s oatmeal.
WYDELL Doc, has he s a i d anything s ince they wheeled him in? '
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 he pas 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 .
?-.+ - n, WYDELL
p T ..,.T i..? IS he dying? : ;u 'i: ;
D r . Moore t u r n s on 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 . Wydel l and Moore i n s p e c t the x - rays .
(CONTINUED)
6. CONTINUED:
DR. MOORE I ' m not r e a l l y sure, h i s v i t a l s igns a r e so low he appears t o be p r a c t i c a l l y dead already. But one th ing ' s for sure . . .
WYDELL What's t h a t ?
DR. MOORE He's 1 0 0 percent human, no doubt about t h a t .
Dobson inspec ts D r . Satan's face. N u r s e Marcia checks the I V .
DOBSON (qu ie t ly t o t h e nurse)
So t h i s i s t he 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 gives me nightmares.
D r . Satan lies motionless.
DOBSON I was hoping maybe he'd have... Chr is t I don't know. He a i n ' t nothing but a creepy old man. Shi t , my grannie could k i c k h i s ass .
Marcia giggles.
DOBSON (CONT' D ) (looking up a t Marcia)
So what' s your name?
CLOSE UP - D r . Satan's dead white. eyes open, scan the room, then shut again. No one not ices .
MARCIA Marcia.
DOBSON Like on t h e Brady Bunch?
MARCIA
.- -., - ... --.: Yeah. L::, <:-? * .. : : !: . - .. ..
DOB S ON ( f l i r t i n g )
Ah, Marcia was always my favorite Especially. . .
(MORE)
& CONTINUED: ( 2 )
DOBSON (CONT' D) around t h e time she s t a r t e d cheer leading and g e t t i n g h i t i n t h e face wi th f o o t b a l l s .
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 he r . You ever t h ink about t h e possibility t h a t he r and Greg were g e t t i n g it on?
MARCIA Maybe?
Wydell s ee s what's going on.
WYDELL Dobson.
WBSON Y e s , s i r .
( t o t h e nurse) Excuse me a second.
Nurse Marcia hovers over D r . Satan making n o t a t i o n s on a c l i p board. Suddenly, D r . Satan 's hand SPRINGS UP and GRABS Marcia by t h e throat digg ing deep i n t o h e r neck. She tries t o scream bu t she can ' t a s blood GUSHES from h e r neck.
Wydell, Dobson and Moore t u rn a t the sound o f t h e commotion and rush t o h e r a i d . Dobson g r abs ho ld of Dr . Satan's arm b u t he can ' t break t h e death g r i p . D r . Sa tan begins f l a i l i n g , Wydell tries t o hold him down.
DOBSON (CONT' D ) J e sus Ch r i s t , He ' s s t r ong a s an ox! I can' t ge t him o f f !
Marcia is becoming weak from t h e blood l o s s .
WYDELL Sedate him! Sedate him!
D r . Moore pulls out a sy r inge from h i s coa t pocket and f i l ls t h e sy r i nge from a small b o t t l e .
c? ::> g: ,:- 8 .+, 2 -. \ DOBSON
Hurry!
DR. MOORE I am!
(CONTINUED)
A- C O N T I N U E D : ( 3 )
Moore RAMS the 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 io lent ly .
DR. MOORE ( C O N T ' D ) Keep pressure on the wound. I ' l l get help.
Dobson covers the hole i n Marcia's neck with h i s hand but , the wound i s too severe.
A huge pool o f Marcia's blood spreads out across the bright white hospital f loor .
Jimmy's l i f e l e s s body s i t s slumped i n a corner against the w a l l .
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 hese !
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 the side o f h i s head with h i s revolver.
O T I S Hey Hoss, are you staring a t my s i s t e r thinking bad things?
ROY N O .
O T I S Why not you a faggot?
ROY N O .
O T I S You must be . You got a hot piece o f ass shaking her s h i t r ight i n front o f vou
.,.-. ~, :- .. -. and you don't get any ideas? What do you
. c a l l t h a t ? j _ ! ..
ROY I am a married man.
( C O N T I N U E D )
-.-. CONTINUED:
OTIS A married fucking man... t h a t ' s j u s t beau t i fu l .
( s t a r t s ciapping) Ladies and gentleman l e t ' s hear it f o r t he married man!
ROY I don't expect you t o understand.
OTIS Well, why don't you explain it t o me. Do you th ink I ' m not smart enough t o understand the complex inner workings of your cowboy mind?
ROY No, i t ' s not t h a t . . . I j u s t don't know what t o say.
OTIS I think I know what you're g e t t i n g a t . I have t o experience t r u e love 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 center on your f e e t .
Gloria doesn' t move.
ROY Please, don't hu r t her . ..
OTIS (cocking h i s gun and point ing it a t Gloria)
Shut it.
ADAM Stop i t . . . please. This i s insane.
OTIS
r= rz ( in t e r rup t ing ) $<F7,-e :, .> .. Boy, one more word out of you and it
b e t t e r be 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 ge t t i ng ch ise led on your tombstone.
( t o ~ l o & a ) (MORE)
(CONTINUED)
A. CONTINUED: ( 2 )
OTIS (CONT'D) Come on, s t and up and t a k e t h a t s h i t o f f . Le t ' s s e e what been holding Hoss's b a l l s a t a t t e n t i o n a l l t h e s e years .
GLORIA What?
OTIS What? Take those fucking c l o t h e s o f f now o r one of t h e s e a s sho l e s is gonna d i e !
Glor ia s t ands 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 ou t i n h i s hand and ho lds u p h i s palm with a c i g a r s i z e burn i n t h e cen t e r .
OTIS ( smi l ing)
Funny, r i g h t ?
Glor ia s t ands 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 Glor ia ' s h a i r .
BABY S h i t , she a i n ' t t o o bad. Way t o go Roy.
OTIS Get them c h i l d r e a r i n g h i p s over he re ,
Glor ia moves c l o s e r t o O t i s . O t i s g rabs h e r wais t and p u l l s h e r on to h i s l a p .
OTIS (CONT'D) ( fond l ing Glor ia )
Hoss, I t h ink I ' m beginning t o understand.
( t o Glor ia ) Come on, Mamma give m e some sugar and make it sweet so I don ' t t e n s e up my t r i g g e r f i n g e r .
Glor ia h e s i t a t e s . O t i s drags h i s gun down Glor ia ' s che s t .
OTIS ICONT'D) -.c T! -*
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 . '- - rid :.. .* :-% . .. ?-,&
~ 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 ream down h e r f a ce .
(CONTINUED)
4
F-- CONTINUED: ( 3 )
O t i s s t a n d s with 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 whispers something i n t o h e r ea r , s h e l o o k s h o r r i f i e d .
OTIS (CONT'D) Go on t e l l me.
She doesn' t speak.
OTIS (CONT'D) T e l l me.
GLORIA ( s t u t t e r i n g )
I . . . I . . .
O t i s squeezes h e r neck and shakes h e r .
OTIS S p i t it out , b i t c h ! T e l l me what I t o l d YOU!
GLORIA You... you . . . you a r e t h e d e v i l and I want you t o . . . t o . . . make me your whore.
ROY ( s t a r t s t o jump up)
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 laughing.
OTIS G e t over t h e r e wi th t h e r e s t of 'em. You make me fucking s i c k .
O t i s throws Glor ia back on t h e bed.
BABY Now a i n ' t t h i s fun . I f e e l l i k e we're a l l g e t t i n g t o know one a n o t h e r .
-.: r: r-:. OTIS
. . . OK l a d i e s , me and t h e boys h e r e a r e gonna . 3 . . .,.
run a l i t t l e e r r a n d . ( p o i n t s h i s gun a t Roy)
L e t ' s move it, nos=. You and s h i t s t a i n a r e coming w i t h m e .
I O N -
A small r u r a l p o l i c e s t a t i o n .
INT. POLICE STAT-
LT. JANE CROMBERG, a young deputy looks through two way mirror a t Mother F i r e f ly . Mother sits a t a t a b l e s inging.
Wydell and Dobson en ter . 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 holds seve ra l of the family 's scrapbooks.
WYDELL Who found her?
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 he in te r roga t ion room.
Wydell sits down opposite Mother and opens a scrapbook. Dobson hangs i n the back.
WYDELL Mrs. F i r e f l y ... my name i s Sher i f f John Quincy Wydell and I th ink you might a l ready recognize t h i s book
Wydell opens the scrapbook t o a s e r i e s of p i c t u r e s of Mother and Baby posing with a dead body. She looks a t t he photos and smiles .
MOTHER (sweetly)
Yeah. [points t o baby)
Ain' t she an angel. 7-. -- -. .:, i ! % r+.c ?% = . . z = : -.
WYDELL You know what? Let ' s cu t through t h e bul l sh 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 th ing 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 ...
(poin ts t o Baby) ... doesn't have t o d i e l i k e a dog when I catch her . Hell, f o r a l l I know she's dead already.
Mother s m i l e s .
MOTHER I know what you a r e t ry ing t o do, M r . Lawman, but 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 here.
(she touches her h e a r t ) A mother knows Sher i f f . A mother knows. You can ' t catch them.. . O t i s i s too 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 take a few p ic tu res of my
own. I ' l l make a second s e t of p r i n t s j u s t fo 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 see The Scum Of The Earth. Got a r ing t o it , don' t i t ?
MOTHER Are you done?
WY DELL No. I ' m j u s t ge t t ing 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 back.
MOTHER (CONT' D ) Can I show you something?
)--.. ?-. *-a> WYDELL
+ - s Sure. . . . : ;: L , ) i
MOTHER I need that book.
(CONTINUED)
*.- CONTINUED: ( 2 )
Wydell hands Mother the book. Mother opens the back and u n s t i tches the l i n i n g . Inside a r e more Polaroids.
MOTHER (CONT'D) I d idn ' t never ge t around t o pu t t ing these i n the book proper, but I thought you might enjoy them.
Wydell moves i n closer .
MOTHER (CONT' D) (holding up the photos)
You know he was a r e a l sweety p ie ... t a l l , broad shoulders, b ig mustache, bald head. You know, I kind of f e e l bad about blowing h i s brains out. He seemed l i k e such a nice man. I think he s a i d h i s name was a l s o Wydell. Was he kin t o you?
Wydell grabs the photos.
Close up photos:
Family members s tand around the dead body of Wydell's bro ther George. Flipping through the photos we see the various s t ages of the family's muti la t ion of George. The f i n a l photo is Mother holding George's severed head.
Wydell s l aps Mother across the face HARD, knocking h e r t o t h e f loor . Blood t r i c k l e s down from h e r l ip . Mother t a s t e s the 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 a l i v e . . .
(he pu l l s Mother up by t h e h a i r and slams her aga ins t the wall)
I'm gonna make them f e e l the pain of every l a s t victim. Their gonna crawl on t h e i r hands and knees begging f o r mercy, bu t a l l I have fo r them is pain. You hear me pain!
Dobson p u l l s Wydell off Mother. Wydell drops h e r t o the f loor . r-. -:
=,& !,&,?~ >".2 i ;; i.;; . .. .
DOBSON John! Come on, back o f f .... back o f f . You're gonna k i l l her !
(CONTINUED)
CONTINUED: ( 3 )
MOTHER (screaming and laughing)
She r i f f . . . you can ' t out run yourse l f . . . you found your way i n t o something you a i n ' t never gonna ge t out o f . . .
Wydell and Dobson walk out. Mother keeps screaming.
MOTHER (CONT ' D ) We'll ge t you, we ' l l ge t you. You' r e dead Sher i f f . . . dead! I ' l l see you i n fucking Hell!
m. ROAD N 1 w . Z - A van and a c a r slowly fol low 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 ives while holding a gun on Roy. Glenn Campbell's "Southern Nights" spills out from the ca r ' s rad io .
OTIS (laughing)
Man, I loved t h a t Porter Wagner Show. What do ya think about Dolly? Come on, you go t t a love them fucking t i t s , man.
( O t i s laughs) Hey, Ross.
ROY
What?
O T I S Hey, you l i k e t h i s song?
Roy doesn't answer.
O T I S (CONT'D) I repeat . Do...
(pokes him with h i s gun) you.. .
(pokes him again) l i k e . . .
(and again) r.. :--* ?-: t h i s song?- / ,,..,. liiii :. . . . . , .. . ... . . . . . . _
ROY Yeah, I don't know..; yeah I guess s o .
( C O N T I N U E D )
+- CONTINUED :
OTIS Really? So you l i k e t h a t t op 4 0 s h i t ? I thought you were some t r u e blue b a l l s Ernest Tubb country fucker ... s h i t , you a i n ' t nothing but some c i t y faggot i n a cowboy ha t . Well, you ' l l be happy t o know your wife w i l l be f ee l ing t h e love of a r e a l cowboy tonight . . . I ' m cooking up some good time plans. What do ya think of t h a t ?
ROY I think you're scum.
OTIS (laughing)
Scum. Hmmm, you know Hoss . . . bel ieve it o r not, but I l i k e you. I mean i f I d idn ' t you'd be dead by now... r i g h t ?
ROY I don't know.
OTIS Trust me. . . yeah, you'd be dead. Don't worry a f t e r I dump my car and grab these guns I ' l l l e t you go. I ' d hate t o deprive the world of Banjo and Sul l ivan. In f a c t why don't you s ing something?
Adam caut iously follows O t i s ' s c a r .
ADAM Come on, th ink . . th ink . . . t h i s asshole 's not going t o l e t you go ... t h i s guy's gonna k i l l you. This fucking psycho's going t o rape your wife and fucking k i l l you.. . do something!
Adam reaches around i n the backseat. H i s hand touches a sweatshir t , a baseba l l glove, a s o f t b a l l ...
ADAM ( C O N T ' D ) Come on.
a;idzfs,ally n = L a baseba l l b a t
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 torage shed i n a junk yard.
OTIS Get out .
O t i s s teps out of the car, a s does Roy. - Adam p u l l s u p t o the r i g h t of O t i s ' s c a r and steps out t r y i n g t o conceal the b a t .
OTIS OK, l a d i e s t h i s is t h e end of t h e road.
ROY What? You can ' t k i l l us. We d id everything you s a i d .
OTIS (qu ie t ly )
F i r s t off I never s a i d anything ... and second o f f . . .
(goes crazy) I can do anything I want. Consider me motherfuckin' Wil l ie fucking Wonka! You are i n my chocolate fac tory now... you got it my fac tory! You a i n ' t nothing but a l i t t l e purple piece of umbalumpa s h i t ! I make the fucking chocolate, Charlie!
Adam CHARGES towards O t i s with the ba t r a i sed above h i s head, catching O t i s off guard.
ADAM Noooooooooooo!
Adam SWINGS THE BAT n a i l i n g O t i s i n the a m . O t i s drops h i s gun and f a l l s t o the ground.
ROY Get him, ge t him!
Ai?dki?i%$ings again, O t i s r o l l s out of the 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 goes down.
Roy r e a c h e s f o r the gun. O t i s jumps on Roy. T h e y wrestle f o r the gun. Bo th men h a v e their hands on 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 . Roy h o l d s on .
Adam s t u m b l e s towards O t i s g rabb ing h im from b e h i n d . O t i s s l ams h i s head b a c k i n t o Adam's f a c e , t w i s t s the 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 his knees sc reaming .
O t i s b i t e s Roy ' s hand , Roy 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 Roy ' 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 b r e a t h e .
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) P S t o p ! P l e a s e s t o p !
,\.. OTIS S t o p ? B i t c h , 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 nose 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 .
ADAM Fuck you.
OTIS ( s m i l i n g he w i p e s the s p i t o f f h i s f a c e )
Y o u know t h a t ' s what t h e y a l l s a y . Fuck you! L i k e t h a t ' s gonna s a v e you , 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
:- -. . .-. you 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 happens t o h e r o e s , b o y !
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 . A hot fire BURNS t h rough Adam's i n s i d e s . H e k e e l s o v e r .
(CONTINUED)
OTIS (CONT'D) (standing)
You wanna see bad ass? I ' l l show you fucking bad ass .
O t i s walks over t o Roy, slamming the b a t i n t o the ground next t o Roy's head.
OTIS (CONT'D) See with t h i s a l l American piece of wood here. .. I got everything.
ROY P lease . . . 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 igh tn ing t o come down and crash upon my fucking head.
Roy s t a r t s t o pray.
OTIS (CONT'D) Louder! Pray t o s top t h e man who is 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 don't f e e l anything.
Adam tries t o s tand. O t i s h i t s him i n the knee cap with t h e bat, s h a t t e r i n g h i s knee.
OTIS (CONT' D ) ( t o Adam)
You s tay put .
OTIS ( C O N T ' D ) (shaking)
Oh my God... I f e e l it. . . ... t h e Holy s ~ i r i t has taken cont ro l of mv bodv ... I repent, p ra ise God I repent . i f e e i t h e
- - sweet love of God Almighty. : " ' . '; ' I .,- i..i ...% 3 7-.,: :
dt&"wavers l i k e a man possessed of the Holy Ghost, then s tops and laughs. He looks down a t Roy.
(CONTINUED)
a. L.. CONTINUED: ( 3 )
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 (CONT'D) You see, Hoss.. .
(slow and s i n i s t e r ) . . . I am t h e dev i l and I am here 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 it ... please s top ! !
A b lood s p l a t t e r e d O t i s p i c k s up Roy ' 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 drops the b a t , p u l l i n g o u t a Hunt ing k n i f e from his b o o t .
OTIS I got o ther plans 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 face . Adam screams.
I N T . A-D - MOTEL - N I W
c lose Up - TV
On screen i s the evening news with anchor NELSON EMERSON.
EMERSON There i s now some speculat ion ton ight by a u t h o r i t i e s t h a t one of t h e members of the Devil 's Rejects known only a s Baby might ac tua l ly be Katherine Jane Campbell, a four year g i r l t h a t has been missing f o r over twenty f i v e years . A s you might remember Miss Campbell was kidnapped i n 1951 during a bloody robbery attempt a t a Campbell's Grocery S tore . 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 pe rpe t r a to r s .
-* .?..~ - $.,< ,.-. - &' >, -. : *: $ -< BABY ( O . C . )
Bu l l sh i t .
(CONTINUED)
5 C O N T I N U E D :
Baby leans backing i n her chair watching TV. She carves h e r name i n t o a t a b l e t o p with a hunt ing k n i f e . Her gun i s on t h e t a b l e .
On the bed huddled toge ther are Gloria and Wendy, t h e y watch Baby.
WENDY Can I go t o t h e bathroom?
Baby ignores her .
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 yourse l f . What t h e fuck do I care?
WENDY Please, I might have t o do something e l s e .
BABY Go ahead, bu t make it f a s t b i t c h . .
Wendy g e t s up, g i ve s her Mother a glance and goes i n t o t h e bathroom.
BABY (CONT' D ) ... and don ' t t r y anything c u t e .
Wendy qu i ck l y scans t h e bathroom, removes t he 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 h e l p .
Loud crashing sounds can be heard coming from t h e bathroom. Baby jumps up leav ing her gun on t h e t a b l e .
BABY God damn it! I fucking knew t h a t cunt would do something s tup id .
,--, . - Babpf tqies t o open the door, i t i s locked. Baby pounds on the Mthroom door.
( C O N T I N U E D )
I - - CONTINUED :
BABY (CONT' D) Hey, shut the fuck up in there... open the God damn door!
Gloria jumps o f f the bed and grabs Baby's gun o f f t he t ab le .
GLORIA (holding the gun on Baby)
OK, hold it.
Baby turns towards Gloria, pu t t ing h e r hands behind h e r back and gripping the k n i f e i n a throwing pos i t ion .
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 her sentence Baby THROWS the k n i f e d i r e c t l y i n t o Glor ia ' s hear t . Gloria DROPS t o her 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~id cunt, ain't no bullets in that thing .
(MORE) (CONTINUED)
CONTINUED : ( 2 )
BABY ( C O N T ' D ) ( t a p p i n g h e r t e m p l e )
I t ' s a l l f uck ing mind power.
Glor ia f a l l s t o h e r s i d e . Wendy runs 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 h e r .
Wendy r u n s p a s t t h e empty rooms screaming. She t r i e s t o open a door.. . l ocked . She c o n t i n u e s running and t r i e s ano ther door, a l s o l o c k e d .
She t u r n s a corner and r u n s p a s t a row o f vending machines t u r n s ano ther corner and. . . 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 racks his 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 drops h e r on t h e f l o o r . Wendy i s semiconscious 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 Spaulding a hug.
BABY ( CONT' D)
;--i r-; r; S h i t Daddy, I was s t a r t i n g t o think you :;..:I , --- :+ weren' t coming. .. . . . ....
( C O N T I N U E D )
CONTINUED:
SPAULDING (looks around)
Naw, where t h e fuck i s Ot i s? Please t e l l me Otis i s here?
BABY Ot i s a i n ' t back from g e t t i n g the guns ye t .
SPAULDING Sh i t .
POLICE - Close u p - scrapbook pages
We scan across the loose pages of the Family's Scrapbooks. Each page contains a photograph more hideous and gruesome than the next.
Pul l ing back we see: Wydell and Dobson s tanding before a wall covered i n pages from the scrapbooks.
DOBSON Where does t h i s end?
WYDELL This ends here . . . I ' m gonna n a i l t h e i r asses t o t h e fucking wa l l , !
(point ing t o a page) Especial ly t h a t motherfucker Spaulding. The thought of t h a t fucking f reak on TV f launt ing it i n my face f o r a l l these years .
A young of f icer , GLEASON, e n t e r s and sets a pot of coffee down on the tab le .
DOBSON (point ing t o a scrapbook page)
Speaking of Spaulding . . . t he re ' s something about t h a t name.
Close u p : page of Spaulding smil ing with a BOUND AND GAGGED CHEERLEADER. The words "Hurrah f o r Captain Spaulding" a r e wr i t ten around the photo.
:-, $.-% -, WYDELL +T- ..~-. , . .. .. What? - , . - . , ' - . ? , :;
DOBSON I ' ve been racking my b ra in 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 character from a Marx Brothers movie. I can ' t remember f o r su re . . . maybe, fuck I don't know " Horse Crackers" o r "Animal Crackers" o r something l i k e t h a t .
WYDELL m a t ?
GLEASON Yeah, you know the song.
WYDELL No, I don ' t know.
GLEASON ( s t a r t s s inging)
' Hurrah for .Captain Spaulding t h e African explorer , hurrah, hurrah, hurrah".
(embarrassed) Sorry.
DOBSON Yeah, t h a t ' s it. A t f i r s t I d idn ' t th ink much of it ,but then some of these o ther names a l s o sound l i k e th ings . I can ' t r e a l l y remember. bu t I th ink . ..
( s l i d e s Ot i s ' s f i l e towards Wydell)
... Otis B. Driftwood i s a l s o a Groucho character and I th ink F i r e f ly i s a l so .
WYDELL Jesus Chr i s t , a r e sure about t h i s ? How fucking long were you gonna s i t on t h i s . Who could we contact i n order t o v e r i f y t h i s ?
DOBSON Urn, I don' t know.
GLEASON How about t h a t newspaper guy. What's h i s name? Marty Walker.
WYDELL Who?
7.: r: -,, v...; ?;.- i.+ :: > 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 asshole who doesn' 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 hated Rocky.
WYDELL Oh, t h a t fucking jackass.
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 lm geek over a t The Ruggsville Gazette. He would probably know. He even puts h i s home number i n h i s a r t i c l e s so you can c a l l and dispute h i s reviews.
C l o s e u p - p a p e r
A s m a l l p i c t u r e o f a NERDY WITH GLASSES i s p r i n t e d n e x t t o h i s review.
W y d e l l r e a c h e s over and g r a b s the p h o n e and d i a l s t h e number .
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 m e m o r a b i l i a .
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 and 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 and 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?
MART Y Maybe .
WYDELL My fiame i s Sher i f f Wydell I need t o ask you some quest ions.
MARTY Sher i f f , i f t h i s about the 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.
MART Y (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.
,--, -: -. SPAULDING (CONT' D) :..# !;..z b.~.: i ' q,s '-' .. F <>
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 - Pic ture
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 lack 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 are t h e words : C u t t e r and Wol f .
BABY Wow;look 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 Glor ia ' s head i n Wendy's l a p .
SPAULDING What is this twenty questions?
BABY -. - "--~ Maybe.
5 ,,.- * i ,,.. 8 . . . <> < .. k: .# . 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 (CONT'D) ( p u l l s down t h e neck of h i s s h i r t t o revea l a huge s c a r )
On one of our l a s t scams toge ther I took a fucking b u l l e t f o r t h a t guy. We were running a load moon ju ice t o these fucking rednecks when t h e s h i t went down and I got popped saving h i s a s s .
BABY So i t ' s cool between you guys?
SPAULDING Yeah, I ju s t s a i d it was cool ... 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 ren t fan tasy whore-shack out way . . . . we can fade out there u n t i l th ings cool out some.
BABY What's a fantasy whore shack?
SPAULDING Eh, same as any o ther skank j o i n t except the broads dress up i n dopey o u t f i t s l i k e cheerleaders or cowgirls i f you're i n t o t h a t s h i t .
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 so long?
BABY Did you ge t everything?
?.. .-., :-. . .. > ,: s : : <.., :* $p::,: r c ... '& OTIS
( t o Baby) Yeah, I got everything.
(to Spauding) (MORE)
( C O N T I N U E D )
d .. 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 Spauld ing , i n t u r n Spauld ing 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/, pushes 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 opens up 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 b u r n t o u t .
MARIA (CONT'D) Damn it. Julio I told vou to check the
Maria walks i n t o t h e room, s tumbles 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 I A 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. G l o r i a ' s head less corpses i s l y i n g i n t h e tub , t h e w a l l s 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 lows 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 face . Maria runs 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 she 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 thrash ing 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.. . h e l p .
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 fo l lows running o u t s i d e .
Wendy h y s t e r i c a l l y runs screaming through the m o t e l ' s park ing 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 t r u c k .
P o l i c e a r e now on the scene. Wydell and Dobson s tand 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 are we dea l ing w i t h h e r e , Kenny?
r.. -. ?&, DWYER
;.,; b; ; : .: A b i g fuck ing mess , John. . . ' t ha t ' s what. .. - I : r :& ;, $L
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 corpse chunks . That t r u c k did a r e a l p i z z a nwnber on t h a t g i r l .
(MORE) (CONTINUED)
- -- CONTINUED:
DWYER (CONT ' D ) We're s t i l l looking f o r t he noggin so we can check t h e den ta l .
(looks a t h i s notes) Inside i s t h e r e a l fucking hoot. We got a bathroom t h a t someone decided t o t u r n i n t o a s laughter house complete with a decapi ta ted corpse f l o a t l n g i n the tub .
( looks a t h i s notes) Presumably a Mrs. Gloria Sul l ivan.
WYDELL Who found her?
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 th ings but I can ' t speaka no spanish, i t ' s a l l mumbo jumbo t o me.
WYDELL You're t e l l i n g you don't have one o f f i c e r who speaks Spanish?
DWYER Sh i t , what is t h i s fucking Tijuana? I got a guy, Clarkson over the re , who can s p i t out a l i t t l e Chinese f o r ya i f t h a t ' s any help?
WYDELL (looking around)
That ' s fucking g rea t , Ken. I f we're looking t o f i r e u p some Kung Pow chicken I ' l l give your man Clarkson a c a l l .
The door t o the backseat of the car i s open. Inside we see M a r i a . She is hunched over shaking.
WYDELL (CONTI D ) ( i n Spanish)
Miss Gonzales . . . I ' m Sher i f f Wydell , I ' d would l i k e t o show you some p ic tu re s .
Wydell p u l l s out mug shots of Otis , 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 hese t h r e e subjec ts?
Maria glances a t t he photos.
( C O N T I N U E D )
CONTINUED: ( 2 )
MARIA No.
DWYER What I t e l l ya? She's use less .
Dobson t a p s Wydell on the shou lder .
DOBSON Chief, t h e r e ' s some s h i t kicker over t he re says he 's suppose t o meet you here. You recognize t h a t guy?
BILLY RAY SNAPPER, a huge man w i t h a scarred 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 Wyde 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 walks o v e r t o Snapper. Dobson and Dwyer watch as the two men shake hands .
DWYER ( t o Dobson)
I know t h a t o ld 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 iece of s h i t .
Wydell hands Snapper a p i e c e o f paper.
WYDELL Here's t he l i s t of t he names t h a t I need f o r you to run down f o r me.
SNAPPER (puts on h i s glasses , looks a t t he l i s t and laughs)
Fucking weird a s s names.
WYDELL Yeah, c a l l me i f anything connects.
SNAPPER T,, .Fn -%
,: = .,+. > ..,.,. - .. . . . . I ' m su re i t w i l l . The s h i t always f l o a t s . . : -,.* .,.& :
my way don't it, chief .
WYDELL J u s t do it.
(CONTINUED)
- ~.- CONTINUED: ( 3 )
SNAPPER W i l l do, Sher i f f . Have fun scrapping bra ins of t h e road.
Snapper s t i c k s t h e paper i n h i s pocke t , t h e n walks away. Wydel l heads b a c k towards Dobson .
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 , Spau ld ing r i d e s shotgun and Baby i s i n t h e b a c k s e a t .
O T I S I t r u s t t h a t fucker Charl ie about as much a s I t r u s t you.
SPAULDING Char l ie ' s a good kid. Where do you g e t off t a l k i n g s h i t about Charl ie? You hardly know t h e guy.
OTIS Exactly. I don't know fuck a l l about t h i s guy. Except what I hear a l l from you.
SPAULDING Well, unless you got some b e t t e r suggestions ... i t ' s t h e only sa fe p lace I can th ink of.
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 Shack , 21 F lavors 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.
OTIS E: - 7: ,?.. ; .A $-,7 ? . . . .. ., .. ( imi ta t ing Baby)
I want i c e cream! W e a i n ' t got time f o r no fucking p i t s tops . What do you th ink we a r e on fucking vacat ion.
(CONTINUED)
i -- CONTINUED:
SPAULDING Two fucking seconds f o r t h e k i d . I s t h a t gonna k i l l you?
O T I S No, but 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 be such a fucking drag. I ' m s tarv ing .
SPAULDING Whitey , p u l l t h e fucking car over .
O T I S Jesus C h r i s t , two fucking re ta rds . Forget it, a i n ' t no fucking i c e cream i n your f u t u r e .
I N T . Y W.C.F.
Mother showers along s ide o ther PRISONERS. Hot steam f i l l s t he room. Amed guards supervise .
A large woman known a s GREASER nods t o t he guards. The guards turn t h e i r backs.
Greaser makes a bee l i n e for Mother. Mother has her back turned.
Greaser s t e p s i n c lose JABBING A SHIV i n t o Mother's neck repeated ly .
GREASER (whispering c l o s e )
Th is i s from Wydell .
Greaser drops t h e s h i v and Quickly walks away.
Mother drops t o t he shower f l oor , blood gushes from her 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 he w e t t i les . Her blood mixes i n t o t h e shower spray and sp ins down the dra in .
*.-- ?, . . -- Ajsmal-J . . .. . .. house i n a qu i e t neighborhood. . . - . . , .
Wydell s tands over t h e s ink look ing a t h imse l f i n t he mirror.
( C O N T I N U E D )
CONTINUED :
WYDELL You're ge t t i ng old, 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 can ' 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 heels in , Georgie. I ' m racking my b ra in t ry ing to...
GEORGE ( in t e r rup t ing )
Trying i s f o r l o se 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 id .
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 waiting fo r?
WYDELL I . . . I can ' t do it alone.
GEORGE You have t o . No one e l s e understands what you do. You a re working f o r God now.
More blood s t a r t s t o pour out .
GEORGE (CONT ' D)
6-' '-'.. q My fucking head won't s top bleeding. . : . : ? . ~.,:. ":wG ?,.. ., . = It 1 .; : 7;
(calmly wipes t h e blood away) Come on John, make it s top .
George grabs h i s head as blood gushes from every pore.
( C O N T I N U E D )
CONTINUED: ( 2 )
GEORGE (CONT'D) The pain g e t s so 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 desk . He grabs t h e phone.
WY DELL Yeah.
E BOOTH - Gm
Snapper i s s tand ing i n a phone booth 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 par tner l e a n s on t h e o u t s i d e o f t h e phone boo th .
SNAPPER I think I found your guy. A f r i end of mine about t e n years ago u s e t ' a buy hooch o f f t h i s c a t out way here t h a t c a l l e d himself Wolf J. Flywheel. H i s par tner was some dude t h a t c a l l e d himself The Captain ... sounds l i k e t h e fuckers you're looking f o r .
WYDELL (looking f o r h i s l i s t )
Hold on a second. ( shu 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 Brother '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 Charl ie Altamont.
WYDELL Where i s he?
c--: 5-? Ir-= SNAPPER
?*:: sci; z":: . ? .. .... ... .: 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 this small time p r o s t i t u t i o n g ig out i n t h e f l a t s .
(MORE)
(CONTINUED)
4 ,-_ CONTINUED:
SNAPPER (CONT'D) I got word from one of h i s b i tches t h a t h e r s expecting some spec ia l guests .
h'YDELL Per fec t . You know what t o do?
SNAPPER ( in te r rupt ing)
We wouldn't be t a lk ing i f I d idn ' t . I know exac t ly what we need.
Snapper hangs up t h e phone and e x i t s t h e phone boo th .
RONDO Well, i s it on?
SNAPPER Oh yes brother , i t ' s on.
A SMALL COMPOUND o f TRAILERS surrounded b y chain- l inked fencing topped w i t h razor w i re . Each t r a i l e r i s e l a b o r a t e l y decorated . The e n t i r e compound i s s t r u n g wi th Christmas l i g h t s g i v i n g t h e appearance o f a carn iva 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 wi th 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 Charl ie , Cut te r i s here?
BUBBA We a i n ' t got no one goes by t h e name of Charl ie . You b e s t t u r n around and head out down the road. Ain' t nothing going on h e r e t h a t concerns you.
SPAULDING Look s h i t heel , t e l l t h a t fucking dick h i s fucking brother i s out here and i f he makes me wait much longer I'm gonna whoop
F.~ :- -.-< h i s a s s ! . .
i i "..; >..- Z S . ~ 2 % . 7 . x . . . .. . - .
BUBBA Hold on, you a l l don ' t have go none crazy. I d idn ' t g e t a l l crazy with you none. Did I ge t a l l crazy 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 - t a l k i e )
Bubba over.
CHARLIE (over walkie- ta lkie)
What?
BUBBA I got a guy out here making a claim t h a t he's your kin. But I don ' t see no resemblance.
CHARLIE Yeah?
BUBBA Yeah, say he's your bro ther .
CHARLIE What's he look l i k e ?
BUBBA (qu ie t ly )
A fucked up looker . . . un huh, bald with a b i g asshole a t t i t u d e . Looks l i k e a p i ssed o f f p i r a t e .
CHARLIE Yeah. Hmmm, ask him where the sun don't shine.
BUBBA He wants me t o ask you, 'where t h e sun don' t shine?"
SPAULDING T e l l him, i n Sweet Molly Magee's b i g f a t marshmallow as s .
BUBBA He says i n Sweety Molly Magee's big f a t . . .
( 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 as 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.
Spau ld ing , Baby and O t i s s t e p o u t o f t h e van .
The door t o one o f t h e t r a i l e r s sw ings open . 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 p i s t o l .
CHARLIE well , I know t h a t a i n ' t Cut ter walking towards me with t h a t s tup id g r i n ... ...' cause I know I swore i f I ever saw t h a t no good piece of s h i t motherfucking brother of mine... ... he'd soon be a dead piece of s h i t no good motherfucker brother of mine. OK, everybody i n the peanut ga l l e ry . . . 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 here t o have some p r i ck p u l l a gun on us. Nice fucking plan.
SPAULDING J u s t do what he says, he's a crazy p ig ...
CHARLIE ( in t e r rup t ing )
:-., ; - - What'd you c a l l me?
:;,;. : =,..v i 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 ig fuckin' dumb ass pussy piece of s h i t !
( C O N T I N U E D )
CONTINUED:
Charlie p o i n t s the gun a t Spaulding's face .
CHARLIE Oh Boss, you're dead meat.
BABY No !
Charl ie ~ u l l s the t r iuuer . a th in stream of water shoots - - . ~ ~ a u l d i 6 i n the face . 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 m r e a l i s t water gun you ever seen.
SPAULDING Come here, ya l i t t l e fucker.
CHARLIE I can ' t bel ieve your here!
SPAULDING Believe it.
Spaulding and Charl ie 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 play on fo lks .
( s q u i r t s the gun) S t i l l works.
SPAULDING Charlie, t h i s here 's my daughter Baby.
CHARLIE S h i t , she 's a l l growed up.
OTIS '
And you know O t i s .
O t i s and Charl ie exchange half-ass nods.
CURLIE Well, don't j u s t stand the re l i k e a s tone
- . .., foot roo ter i n fuck farm. Come on i n ! We
. .., 5 : : 5 ;: : T <. P - :: % got t o ce lebra te ! . ,. .
Everybody walks towards the main t r a i l e r .
(CONTINUED)
d .... C O N T I N U E D : (2)
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 are t h e chances someone fol lowed you.
SPAULDING E h , we're c o o l . Can t h a t . f u c k e r a t t h e gate keep h i s t r a p shut?
CHARLIE Yeah, Bubba's a good k i d . He won't c ross me. He's dumb as s h i t , b u t h e ' s coo l .
Spaulding l o o k s back t o s e e Bubba blowing snot o u t o f one n o s t r i l .
Party t ime . 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 along wi th t h e s t e r e o . A f e w g i r l s from t h e ranch dance wi th h e r .
Spaulding and Char l i e a r e arm w r e s t l i n g . Char l i e slams - Spaulding '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 , then each downs a sho t o f whiskey. They immediate ly b e g i n w r e s t l i n g again .
A v e r y drunk O t i s i s showing Bubba how t o do a qu ick draw maneuver wi th h i s p i s t o l . O t i s does t h e move, then 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 see 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 lower t o revea l t h e face o f Wydell .
ZNT. GROCERY - Char l i e and Bubba s tand a t t h e check ou t counter buy ing 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 Jack's par ty t o n i g h t .
"' -* -i ;!-:r L,%.' k%*= .. :> .. .> .. .. . . ~. -. . , CHARLIE
Naw, 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:
BUBB A 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 got ta t a l k t o me l i k e t h a t ?
CHARLIE Stop whining and grab the box.
Bubba r o l l s h i s eyes in.disappointment.
Charl ie and Bubba load t h e boxes i n t o a pick-up t ruck.
WYDELL (0.C.) wolf J. Flywheel?
CHARLIE Huh?
Charl ie i n s t i n c t i v e l y turns . Wydell shoves a gun i n h i s f ace .
WYDELL Do anything s tupid and I ' l l blow fucking vour head o f f . You and me a re gonnahave a
a l i t t l e powwow.
CHARLIE Fuck you.
CRACK! Wydell smashes Charlie across the face with h i s gun. Blood s t a r t s gushing from h i s nose.
BUBBA Hey.
WYDELL ( t o Bubba)
BOY, you b e t t e r get your f a t ass i n t o - . .. "-' q
t h a t f r o n t s e a t and shut your mouth. I..-: i.,i r.?
* 'h, i ,< CHARLIE
Do what he says.
(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 Charl ie ' s face.
WYDELL Shut your fucking mouth and l i s t e n .
C H A m I E You' r e fucking crazy, man.
WYDELL What'd you fucking c a l l me?
Si lence.
CHARLIE Nothing.
WYDELL Your r i g h t , I am fucking crazy and you make damn sure you remember t h a t when I ask you t h i s next quest ion. Where a r e they? - CHARLIE Who?
... ~ ...
J.mLnW5
Bubba watches Wydell smack Char l ie i n the head.
E x L x B
WYDELL Don't t r y and fuck with me. You know exac t ly who I ' m t a l k i n g about. Am I c o r r e c t ?
CHARLIE Maybe?
WYDELL Here's t h e dea l . I ' m gonna ignore you and your l i t t l e s l u t business and walk away from the f a c t t h a t you a r e harboring murderers.
CHARLIE
pi: y-.. -: And? h,,~? %:.:* Lsr .. .. .. ;: + ,: .;>
WYDELL And a l l vou a o t t o do i s make su re everyone-is 6 resen t and accounted f o r ton ight a t midnight. You understand?
(CONTINUED)
CONTINUED:
CHARLIE Yeah.
WYDZLL Good. t h i s dea 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 for the punch.
CHARLIE What i f I say no.
WYDELL Then your l i f e j u s t turned t o s h i t .
Bubba watches Wydell e x i t . Charlie walks around t o the dr iver ' s s ide, opens the door and gets i n .
BUBBA Who was t h a t .
CHARLIE That was b ig fucking t rouble .
BOOM! Wydell slams h i s hand on the dr iver ' 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 screen 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 lm.
DR. WOLFENSTEIN -. . . 2--: -. (English accent) bi- : . .;.. ; AAAWWWHH0000. the doctor i s in ! Well + %. * :> % %.
cheers, b o i l s and ghouls I ' ve got a bloody well 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 the f i n e s t b i t of cinema fea tur ing o ld Sa in t Nick knocking about with outer space crea tures ever c o d t t e d t o ce l lu lo id !
MAX Hey Boss, how come we only show bad movie? Can't we show something good l i k e the 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 ve ry hung over .
BABY I miss Mamma.
OTIS Yeah.
Charl ie e n t e r s carrying t h e food and walks i n t o t h e k i t chen . Char l i e ' s face l o o k s bru i sed and bloody.
SPAULDING What the fuck happened t o you?
CHARLIE Nothing.
SPAULDING Hey, you ge t more beer?
CHARLIE Yeah, I got it.
SPAULDING How'z about bringing one over here?
CHAFUIE How about you ge t t ing o f f your f a t a s s?
SPAULDING What's up your fucking crack?
Charl ie walks over and hands Spaulding a beer.
CHARLIE Nothing. Here drink up.
OTIS y -. -' ,: ,$ ., % 'i 2::.; ;lib:: Pw . Hey boss, I ' l l take a scotch on the : :: %. :; %
rocks.
CHARLIE Go fuck yourself .
(CONTINUED)
-% CONTINUED: (2)
Char l i e walks ou t s ide .
OTIS Moody son of a b i t c h .
SPAULDING Yeah, he always was.
Spaulding le ts ou t a huge b u r p .
A rundown strip j o i n t . A neon s i g n procla ims, "BOOZE AND BR6ADSf'.
t 'arious BIKERS, REDNECKS and o t h e r CRIMINAL TYPES popu l a t e t h i s ba r . World weary STRIPPERS gy ra t e on smal l wooden p la t fo rms .
W e cont inue through t h e b a r to :
cc THE RED DOOR I
Behind t h i s door 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 go t you t h i s f a r . Without me you'd be swimming around w i th your head up your a s s .
RONDO Don't sweat it , c h i e f . I t ' s a l l gonna work ou t t o your s a t i s f a c t i o n .
SNAPPER What's t h i s fucking doubt fu 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 wi th b e f o r e . I don ' t want t h i s t h i n g blowing up i n my f a c e .
.-. r.%, -. SNAPPER g,+, L,,::: . L,.! . Don't wofry about me', Boss. I ' m some s h i t . .. : .. i i ?
t h ey a i n ' t never d e a l t wi th be fo r e . They're gonna t h ink God damn King Kong came aown from Sku l l I s l a n d and r a p e d ' e m a new fuckinq a s sho l e .
(CONTINUED)
CONTINUED :
RONDO Yeah, they ' re gonna f e e l l i k e the Devil fuck t h e i r m o m .
WYDELL Don't give me t h a t s h i t . That rout ine 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 at tendant over a pack of smokes, but it a i n ' t working here.
RONDO Then pick up the fucking Bat Phone and blow your fucking bugle.
WYDELL That a i n ' t the way I want t o play it t h i s time .
SNAPPER Then I suggest you cool your s h i t ou t . Hey you c a l l e d me, motherfucker. You wanted B i l l y Ray Snapper because you wanted the bes t .
(Snapper pours three dr inks) Now have a dr ink, take a deep breathe and gives us the goods.
Wydell spreads out 8x10's o f Spaulding, 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 the dea l . This i s an a l i v e s i t u a t i o n here. . . I want them a l ive . the condition doesn't mat ter . A l l I need i s fo r t h e i r eyes t o s t a y open long enough t o see me s p i t i n t h e i r face before they . . d i e .
SNAPPER (laughing)
You're one s i ck fuckina p i r a t e . - - ( t o Rondo)
I think I ' m s t a r t i n g t o d ig 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 > . .-,. RONDO
;..;. . . p-? L-= : :: :: .< q $:,
Mmmmmm, She's mine. I th ink I could have some fun with t h i s b i t c h .
( ta lk ing t o the p ic tu re ) You wanna come play w i t h me l i t t l e g i r l . I got what you want.
(CONTINUED)
7- CONTINUED: ( 2 )
Rondo l i c k s the p i c t u r e again.
WYDELL That's the fucking b u l l s h i t I ' m t a lk ing about.
SNAPPER Cool out, he's only fucking around. Boss, you are too sens i t ive for t h i s l i n e of work.
RONDO This job i s easy sleazy, 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, holding a shotgun, s t r o l l s the per imeter of the ranch by the main gate . A pick-up truck r o l l s up and s tops. Behind the wheel is Rondo.
BUBBA You the exterminators?
RONDO Yeah, we heard you got roaches. We're here t o deal with your roaches.
Bubba looks around, unlocks the gate, Rondo dr ives through.
EXT. - Loud music can be heard coming from. the compound.
Wydell moves q u i e t l y through a l i n e of junked automobiles towards the ' main t r a i l e r . Through the window we see Spaulding and Charl ie . -.-. -.L -.
Spaulding and Charl ie dr ink beer and p l a y cards. The sound of loud music bleeds i n from outside.
(CONTINUED)
- .__ CONTINUED:
SPAULDING Chr is t , does he have t o play t h a t God damn music so fucking loud. H e must be fucking deaf .
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 or something?
S PAULDING Black Tooth Rico.
CHARLIE Yeah, t h a t kid. I ran i n t o him the o ther day over a t F l a t Head Fergie 's buying a t r a i l e r h i t ch and he ' 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.
(c ross himself) The fucker t e l l s me he 's missing h i s d ick .
SPAULDING What? You mean h i s dong dick? How t h e fuck do you know he's missing h i s d i c k . . . cause he '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 the fuck a r e you t a lk ing about? He t o l d you," hey Charl ie guess what my dong f e l l off" .
CHARLIE Yeah, he d id . hlcker sa id 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 ruck yard was
7-. -s. 7 . , sucking on h i s salami and he 's a l l zoning
j~:.f F.< ;-?- L .i: % I +
out g e t t i n g ready t o shoot h i s load when... barn! A fucking car lo ses con t ro 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- CONTINUED: ( 2 )
SPAULDING (laughing)
Get the fuck out of here.
CHARLIE What? Why the fuck would he make up t h a t s tory? What would be t h e poin t of t e l l i n g me he ' s got no wanger?
SPAULDING God damn, t h a t a i n ' t something I run around advert is ing. Fuck, my s h i t ' s a l l knotted even thinking about i t . . . l e t ' s change t h e subject .
CHARLIE Fucking A r igh t , l e t ' s change the subjec t .
Long pause.
SPAULDING S h i t man, I 'd shoot myself i f my dong f e l l o f f .
CHARLIE Amen.
Long pause.
SPAULDING That a i n ' t my idea of a funny s to ry .
Long pause.
CHARLIE Who s a i d i t was a fucking funny s tory?
Long pause. They both b u r s t out laughing.
The t r a i l e r is dimly l i t by candle l i g h t .
Baby sits i n a bath tub. A huge eag le 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?.>. $2 .. ., . .. i. , i r. i: l..
CASEY (running her hand across t h e t a t t o o )
D i d t h i s hu r t ?
(CONTINUED)
BABY Fuck yeah it d i d . Why does everybody ask t h a t ? I sn ' t it p r e t t y fucking common knowledge t h a t t a t t o o s fucking hur t l i k e s h i t .
CASEY Oooh Baby, you got some b ig sca r s under your t a t t o o . How'd t h a t happen? Looks l i k e you were at tacked by a wild animal.
BABY That 's why I got the fucking th ing t o cover t h a t mess on my back. Some cunt named Hop-a-long Steve d i d it . A couple months ago I got bagged t r y i n g t o l i f t some sweet looking Dingo boots from Hop-a- long's boot emporium.
CASEY Yeah.
BABY Fucking guy grabs me and takes 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 holds me down. Thing's got some big old spur thing on i t . . . ripped my back wide open. I got l i k e a couple hundred s t i t c h e s from it.
CASEY Jesus, d id you c a l l t h e cops and ge t t h a t fucker 's a s s hauled away?
BABY Na, s h i t I can ' t c a l l the pigs ... what a r e you thinking? 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 brother Tiny ... Tiny held him down while I cu t h i s eyes out and fed'em t o h i s c a t . I th ink he got t h e message. K i t t i e s l i k e eyebal l s . --~ -., r.. ! FT .-I +<
Rondo inches h i s way along the s i d e of Baby's t r a i l e r . He s tops and checks h i s watch.
(CONTINUED)
- .-. CONTINUED:
CLOSE U P WATCH - t i m e r e a d s 11 : 57
The w a l l a r e c o v e r e d i n b l a c k l i g h t p o s t e r s l i t 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 Jack 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 the b e d .
Mus ic 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 b y . .. t h e r e it goes 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 b i r d s !
OTIS ( r o c k i n g 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 h a n d s h e r t h e Jack D a n i e l s .
Snapper 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 . The 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 open sky l i g h t . Snapper r a i s e s h i s gun w a t c h i n g O t i s . mov ing around the room, O t i s d i s a p p e a r s from s i g h t .
S N A P P E R S h i t , where the f u c k you go?
Snapper 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. Snapper c h e c k s his 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 ?
?-.. !-.* ?, ,>.,., -. $ :-- O T I S :- ;!-:. :: . , z: ..
I d i d n ' t .
( C O N T I N U E D )
8 -.
'-. CONTINUED:
SMASH! Snapper comes CRASHING i n t o t h e room through 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 back . 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 back h i t t i n g Snapper i n t h e c h e s t . Snapper FULS BACK. Otis rolls o f f t h e bed and t a k e s cover.
Casey r i n s e s o f f Baby's back .
BABY ( h o l d i n g up h e r empty b e e r b o t t l e )
Empty. Can $a hook me up?
CASEY Sure.
Casey heads f o r t h e f r i d g e .
Casey opens the r e f r i g e r a t o r door and grabs a couple o f beers . 'When she s h u t s t h e door we see Rondo s t a n d i n g next to the f r i d g e .
Rondo grabs Casey 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 grabs one o f t h e beers.
Baby r e l a x e s i n t h e t u b . Rondo walks up beh ind h e r .
BABY Ya 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 fabu lous movie s t a r name?
Rondo pours t h e beer o v e r Baby's head.
RONDO How about changing your name t o Dead Meat.
,, . ., , - . . i. -. r-1 BABY I. ,: "..,+: t*,.* i; '::, 3 :: $, :L Hey, what the fuck?
( C O N T I N U E D )
A. _ CONTINUED:
RONDO I got a 4 4 . pointed a t your head. So I suggest you don't do anything too fabulous Miss Honey James.
BABY Who the fuck a re you?
RONDO I'm your new boyfriend and I'm handing out t i c k e t s t o an a s s kicking ... you want one? Now stand up.
Baby s t a n d s .
RONDO (CONT' D) Hands up. . . now, t u r n around.
Baby r a i s e s h e r hands and t u r n s around. Rondo checks Baby up and down.
RONDO (CONT'D) Nice. I think you and me a r e gonna have some fun ge t t ing t o know each other .
BABY Fuck you.
RONDO That 's what I was thinking.
BABY Gime my s h i r t I'm, fucking f reez ing .
Rondo grabs a f l a n n e l s h i r t , h o l d s i t f o r a second and t h e n t o s s e s i t a t Baby.
RONDO Here ya go, honey.
O t i s i s beh ind the b e d , he checks h i s gun, empty.
OTIS Fuck.
He pee_rs under t h e bed t o s e e Snapper l y i n g on h i s back , bT@&$&$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 reaches f o r the gun i n Snapper 's holster.
( C O N T I N U E D )
! 9 C.. 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 onto O t i s ' s w r i s t .
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 h i l l b i l l y .
Snapper PULLS O t i s forward and head b u t t s him. Blood GUSHES from O t i s ' s nose . O t i s f a l l s back, Snapper s tands and p u l l s h i s gun.
SNAPPER (CONT' Dl Fuck the Sher 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 hunt ing k n i f e from h i s boo t .
SNAPPER (CONT' D) Get up!
O t i s s tands ready t o meet h i s cha l l enge .
Snapper swings, O t i s dodges t o t h e s i d e b a r e l y avo id ing t h e blow. Snapper t u r n s , O t i s SWINGS THE SWORD ca tch ing 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 across t h e c h e s t . O t i s f a l l s back TRIPPING over 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 across 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 face .
O t i s jumps t o h i s f e e t . Both men ready themselves t o square o f f again.
O T I S 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)
9 ' L. CONTINUED: (2)
CLING! The sword and t h e k n i f e meet head on . The sword SNAPS IN HALF. O t i s swings , Snapper grabs t h e broken 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 w a l l .
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 unbuck le s h i s cha in belt .
SNAPPER (CONT' D) Come on .
Snapper swings t h e c h a i n towards O t i s , t h e chain 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 shotgun 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 swings m i s s i n g O t i s , b u t crushes a t a b l e . O t i s r eaches f o r t h e gun t r y i n g t o p u l l i t o f f t h e w a l l . I t i s locked i n p l a c e .
Swoosh! Snapper wraps t h e cha in around Otis 's n e c k and p u l l s h im backwards. Snapper WHIPS and SPINS O t i s around t h e room smashing h im from wal l t o w a l l . F i n a l l y , Snapper th rows O t i s c rash ing through a window o u t i n t o t h e yard .
Spauld ing 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 . They h e a r t h e window b r e a k .
CHARLIE What t h e fuck i s going on o u t t h e r e ?
SPAULDING I d o n ' t know?
CHARLIE (3 t 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 be 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 .
( C O N T I N U E D )
- icr CONTINUED:
Char l i e s t e p s out o f t h e t r a i L e r . - Char l i e l o o k s around and runs o f f .
S h u f f l i n g t h e cards .
SPAULDING Hey, what's t h e fucking dea l? Le t ' s ge t t h i s going.
Standing up.
SPAULDING (CONT' 0) Jesus Chr 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 grazes 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 out! 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 knees 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 out now and t h i s g i r l doesn ' t have to d ie !
O t i s i s on t h e ground, Snapper and Rondo are having a good o ld t ime k i c k i n g t h e crap ou t o f him.
aABY (shouting a t Snapper)
Stop i t ! Leave him alone.
O t i s r o l l s over , h i s face i s a b loody mess, he s m i l e s .
: .. r> :v. OTIS . . .., : You can' t h u r t me. <: . I .: \ .,
SNAPPER Oh no.
(CONTINUED)
9
CONTINUED:
Snapper grabs O t i s by the neck, punches him i n the face, then drops him. O t i s is out cold.
Spaulding s t e p s i n t o the doorway o f the t r a i l e r .
SPAULDING Enough ... enough.
WYDELL Hands up!
Spaulding e x i t s the t r a i l e r and r a i s e s h i s hands. H e sees Charlie s tanding i n the shadows.
SPAULDING Thanks, brother .
CHARLIE I t a i n ' t personal. Business i s business.
SPAULDING You're my fucking brother . I t is personal.
WYDELL ( t o Charl ie)
H e ' s r i g h t , you're scum.
WYDELL (CONT'D) ( t o t h e bounty hunters)
Put them i n the car . I t ' s time t o r e tu rn these dev i l s t o Hel l .
Wydell dr ives . Spaulding, Baby and a ba re ly conscious O t i s a r e crammed i n t o the backseat. A wired mesh panel separa tes the f ront seat: from t h e back.
WYDELL (laughing s a d i s t i c a l l y )
Well, well, well, The Devil 's Rejects . That's qu i t e the l i t t l e catch phrase you've a l l acquired. But you know r e a l l y we're a l l creat ions of t h e Devil when you th ink about it. 4 mean r e a l l v we're a l l nothing but inanimate object:, formless
E .: ;-:. y, creatures housing seduced angels i n s i d e
i.i . _.- C.rC our useless hides. Unt i l , I l a i d eyes ., .: . p ..
upon you a l l I r e a l l y believed t h a t . I r e a l l y thought in s ide everyone of us was a captured s p i r i t ... a disgraced angel looking fo r a way back t o Heaven.
(CONTINUED)
d
i CONTINUED :
BABY ( s l m i n g her head i n t o the wire mesh)
Fuck you pig.
WYDELL But now I know, some of you a r e j u s t crude imi ta t ions of l i f e . . . soul less demons with no hope. But I am hope . . . I am a l a w n because t h a t i s God's plan. I am here t o round you a l l up f o r your t r i p back t o Hell .
Spaulding mutters something.
WYDELL (CONT' D) What was t h a t ?
SPAULDING ( s p i t s out blood)
You're fucking insane.
WYDELL (laughing)
Devil you a re now under my care and supervision f o r b a s i c a l l y t h e r e s t of your miserable l i f e . I w i l l ' be your sav ior .
BABY You're fucking dead p ig !
WYDELL (laughing)
I suggest you save your s t rength . I t ' s gonna be a long n ight .
CLOSE UP - NO TRESPASSING SIGN
" No Unauthorized personnel may be present on these premises without wri t ten consent from the Ruggsville County She r i f f ' s Department . " We p u l l back t o see: THE FIREFLY HOUSE. Pol ice tape and bar r icades still surround the crime scene.
$.;82&jnoon hangs over t he house,flashes of l i g h t n i n g dance in:kfie 'cloudy sky. Distance thunder can be 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 ink. Wydell's hand turns o f f the water. Wydell walks through the house. The only sound we hear i s the creaking o f the rus ty handle and Wydell's footsteps on the wood f loor .
J N T . FIREFLY- - We turn a corner t o we see Otis , Spaulding and Baby. A l l three are t i ed t o separate chairs. Baby i s awake, her eyes d a r t from side t o s ide. Spaulding and Ot is are unconscious.
Wydell l i f t s the bucket and throws i t on a l l three. SPLASH! Spaulding jumps awake, Otis l i f t s h i s head semi-conscious.
W D E L L Wake up, assholes.
BABY Motherfucker!
WYDELL Before we get s tarted I do have t o thank you. Thank you for making me understand my heritage. You see the Wydells v ig i lante jus t ice . My great grandfather worked for the 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 layers . I just d i d n ' t real ize it u n t i l t h i s moment.
( t o Ot i s ) Wake up, boy.
Wydell slaps Otis across the face.
WYDELL (CONT' D ) I said wake up.
Otis l i f t s h i s head.
Wydell pu l l s up a chair and s i t s opposite them. On a small table next t o him i s tool box and a brown leather folder. He opens the folder and removes a th ick stack o f police f i l e s .
WYDELL (CONT'D) I t r i e d t o walk the l i n e , but now I
!:::: $-? - . .. understand there i s no l i n e . We here are . .,. .>.:
playing on a l eve l most don't ever see. My brother George d idn ' t see it.
( C O N T I N U E D )
d -- CONTINUED:
SPAULDING Maybe he had a divine moment when h i s bra ins h i t t h e f l o o r .
WYDELL ( l i g h t hearted)
Maybe ... and maybe you w i l l too. I have here i n my possession f i l e s on every missing person within a hundred miles of t h i s l i t t l e acre of damnation.
S PAULDING Well, i f you a i n ' t j u s t Sargent Joe fucking Friday cas t ing your fucking Dragnet.
WDELL (laughing)
Yeah r i g h t ... (he hums the Dragnet theme)
... good one, you're a f u m y guy, a r e a l fucking clown. I s t he re something i n your clown b ra in t h a t makes you unable t o comprehend the f a c t t h a t you a r e fucking gonna be dead soon? Anyway, time t o p l ay a l i t t l e t r u t h o r consequences.
(pu l l s out a photo of a g i r l i n a cheerleader uniform from the top f i l e )
Valer ie Green.. . anvone wanna take c r e d i t f o r her . Boy, she was a cutey.
(holds up a second photo of t he same g i r l dead)
Here's how she looked when we pul led her from your l i t t l e s laughter shack out back.
OTIS Yeah, I remember her . I c u t her tongue out and kept her strapped 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 lashes of O t i s and Tiny t o r t u r i n g the g i r l i n the photo.
-& F' '" WYDELL r-5 w,* &? :. %.. - Z i
Alr ight . Then you g e t t o have t h i s as a souvenir.
(CONTINUED)
i 9
\.-.. CONTINUED: (2)
Wydell opens the too 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 the photo o f t he girl on O t i s ' s hand and then hammers the n a i l through t h e photo, through O t i s ' s hand and i n t o the arm of the cha 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 too! I c u t him down t h e middle and turned him i n t o a fucking f i s h ! Fish-Boy! Fish-Boy!
Quick f l a s h e s of B i l l Hudley screaming and O t i s laughing.
BABY Otis shut up!
Wydell repea ts h i s act ion, d r iv ing another n a i l through O t i s ' s o the r hand.
WYDELL This i s po in t l e s s . I know a t l e a s t one of you i s involved with each of these murders. I f not . .. doesn't mat ter I am l i t e r a l l y going t o pin them on you.
Wydell grabs a huge s t a p l e gun from h i s box and begins s t a p l i n g the 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 ee a quick f l a sh of t he victims l a s t moment.
WYDELL (CONT' D ) ... Denise W i l l i s . . .
( s t a p l e s ) . . . Dawn Murphy.
OTIS (egging Wydell on)
Go on.. . g ive 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 missing g i r l t o h e r ches t .
BABY (faking an orgasm)
That f e e l s good do it again! (MORE)
(CONTINUED)
- ,-- CONTINUED: ( 3 )
BABY (CONT 'D) Came on, ugh yeah ... come motherfucker! I th ink I ' m gonna cum!
And f i n a l l y Spaulding, he says nothing.
WYDELL (holdins up a p i c tu re of h i s - - - brother )
Now, t h i s i s why I am here. This i s my brother 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 tup id 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 poin t t he way and he walked r i g h t i n . Off icer Wydell t o t h e rescue.
Wydell p l aces the photo on Spaulding's chest and dr ives 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 the blood run down h i s chest .
SPAULDING (CONT'D) Coward. You couldn't catch us on your own and you c a n ' t handle us now.
(he s p i t s ) Vigi lante Devil s layer ... b u l l s h i t !
WYDELL Really? Well, I caught me a d e v i l j u s t t he o ther day.
Wydell p u l l s out severa l 8x10 photos from h i s fo lde r . He holds u p t he photos f o r a l l t o see .
The photos show the crime scene i n the 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!
WYDELL
7.:: y.-:* Oh, they ' re qu i t e r e a l . Seems she was
,: . . . - stabbed i n t h e shower. I heard they could 3 *.,, ..= ,
have saved her , bu t t h e doctors j u s t couldn't ge t t he re 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 be t your l i t t l e b i t c h boy deputies g e t a l l exc i ted 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 think I c a n ' t handle a broken down fucking devi l clown.
SPAULDING Untie me and show us how important you a r e . I got a fucking b u l l e t i n me and I ' l l s t i l l kick the s h i t out 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 grabs Baby's h a i r again and p u l l s her 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 save you f o r l a s t .
BABY (screaming)
I c a n ' t fucking wai t . Come o n . . . fucker! Come on!
WDELL Spaulding, you know I ' m gonna take you up on your o f f e r . There's only one th ing t h a t would give me more s a t i s f a c t i o n than 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 Spaulding arms f r e e and hands him t h e *$EG@o ji -!, .i f i n i s h t h e j o b .
Wyde l l w a i t s h o l d i n g a b u t c h e r ' s k n i f e .
( C O N T I N U E D )
SPAULDING Sher i f f , you a r e one de lus iona l son of a b i tch .
WYDELL From delusion l ead me t o Truth ... From darkness lead me t o Light ... From death l ead me t o e t e r n a l l i f e .
Spau ld ing c u t s h i m s e l f free and s t a n d s t o mee t W y d e l l .
SPAULDING Nice l i t t l e poem. I got one f o r ya.
(Spaulding tosses t h e knife from hand t o hand)
One, two th ree I ' m gonna rape your mother... one, two th ree I ' m gonna k i l l your f a t h e r . . . one, two, t h ree 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 ou t !
OTIS (squealing l i k e a p ig )
D i e , piggy, d i e ! Die, piggy, d i e !
S p a u l d i n g and Wyde l l square o f f . Spau ld ing sw ings at Wydel l c u t t i n g h im a c r o s s the ribs. Wydel l dodges the 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 .
Spau ld ing STUMBLES b a c k , t o u c h e s h i s f ace 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 . S p a u l d i n g sw ings c a t c h i n g Wydel l i n t h e c h e s t .
Bo th men move i n c l o s e f o r a head-on c l a s h . Wyde l l sw ings SLICING S p a u l d i n g a c r o s s t h e f o rehead . S p a u l d i n g r e t u r n s w i t h a s l ice t o W y d e l l ' s s tomach.
S p a u l d i n g swings a g a i n , Wyde l l c o u n t e r s c a t c h i n g h i m . i n t h e hand . S p a u l d i n g d rops t h e k n i f e .
Wydel l moves i n sw ing ing . 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 huge gashes . S p a u l d i n g f a l l s t o h i s k n e e s , Wydel l k i c k s h im i n t h e f a c e . S p a u l d i n g f a l l s t o h i s s i d e .
Wydel l p i c k s up 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
C O N T I N U E D : (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 the 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, the house... everything. This l i t t l e acre o f Hell w i l l be cleansed.
Wydell empties the gasoline and throws i t to the s ide.
BYDELL (CONT' D ) ( t o Baby)
You're coming with me.
Wydell cuts Baby loose from the chair and drags towards the front door. Her hands are stil 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 the door.
WYDELL Don't worry I ' l l get her. The sheep separated from the flock w i l l soon be eaten by the wo l f .
Wydell c l i c k s open h i s Zippo and tosses i n onto the gasoline soaked chair . The chair i gn i t e s . - Baby moves qu i e t l y through the clut tered grounds o f the farmhouse. She stops and l i s t e n s . The rumbling o f thunder grows louder.
Wydell searches for Baby. He stops, pul ls an axe from a t ree stump and continues on.
The room i s ablaze. Ot is t r i e s desperately t o free h imsel f . He BITES DOWN hard and pul ls on the na i l s , but they are i n too deep. Ot is screams, slowly the nai l s tar t s t o pull free.
i s motionless on the f loor .
O T I S Cut ter! Can you hear me? Cutter get up!
Baby runs i n t o the barn and f r a n t i c l y searches through a tool bench for a k n i f e . She f inds one and runs for the s a f e t y o f a wooden storage container.
Wydell approaches.
WYDELL Attent ion, l i t t l e d e v i l . . . I am here t o re lease you from your suf fer ing!
Baby has the k n i f e between her f e e t t ry ing t o cut the ropes from her hands. She vigorously grinds the ropes back and forth across the dul l k n i f e blade. Snap! The rope f i n a l l y gives way.
A f igure enters the barn. Baby sees the f igure move pass the cracks i n the storage container. -
.. CHARLIE
(whispering) Hey, i t ' s me. . . Charl ie . Baby a r e you i n here? I fucked up . . . I ' m sor ry . I ' m here to help. Come on out.
Baby crawls out from the container. Charlie he lps her up.
CHARLIE (CONT' D) Come on, Baby. We got to ge t out of here.
BABY Daddy and O t i s a re s t i l l i n t h e house.
CHARLIE I ' l l ge t them, but le t ' s ge t you some place s a f e f i r s t .
Baby and Charlie move towards Charlie's truck. Charlie opens the passenger's s ide door.
In - the background the house i s f u l l y ablaze. :, ; r;. p!; ;.;;
s
CHARLIE Wait i n the t ruck . I' 11 go get ' em.
(CONTINUED)
d i. C O N T I N U E D :
BABY But I wanna...
CHARLIE No b u t s , j u s t ge t i n .
Baby c l imbs i n t h e t r u c k .
Baby watches a s Char l i e moves around t o t h e f r o n t o f t h e t r u c k .
CHARLIE J u s t s t a y p u t .
Suddenly, Wydell jumps from t h e shadows and h i t s Char l i e i n t h e back wi th t h e axe .
BABY N O !
Char 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 , then 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 passenger ' s s i d e and S-HES t h e window w i t h h i s axe .
Baby ducks , f r a n t i c a l l y crawl ing 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 ide door and runs across 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 tands and t r i e s t o run, b u t she can o n l y hobble on her wounded l e g .
~ ~ ~ j $ - & m b l e s t o the fami ly ' s graveyard. Several 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 knocks h e r t o t h e ground wi th a k i c k t o h e r back.
( C O N T I N U E D )
- 1 0 .-. 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 pour down.
WYDELL I wish I had a b u l l whip, but t h i s i s gonna have t o do.
Wydel l d rops h i s a x e and t a k e s o f f h i s be l t . Baby tr ies t o crawl away.
WYDELL (CONT' D) Do you f e e l l i k e there i s no way out?
BABY Fuck you, fuck you fuck you!
Wydel l whips the bel 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 . Wydel l grabs her and p u l l s her b a c k .
BABY (CONT' D ) Aaaaaaah!
WYDELL - Then you must repent and put your t r u s t i n t he Lord.
\- ...
Baby r o l l s t o her s i d e screaming .
BABY (screaming i n pa in)
Aaaarrgggh! Daddy! Help me!
He whips her a g a i n .
WYDELL Much l i k e the I s r a e l i t e s were blocked by t h e Red Sea you a r e trapped by a Hel l of your own making.
He whips her a g a i n .
WYDELL (CONT' D) Consider me the Egyptian army approaching from t h e r e a r , ready t o k i l l you...
(he s l aps t h e b e l t across her back)
... you have no way out , except t o put
? fi -; your f a i t h i n t h e Lord. A s Moses s a i d t o
ii - :....L , . h i s people," Fear not, s tand f i rm and see .. . .. . . . - t h e sa lva t ion of t he Lord, which he w i l l work f o r you today".
( C O N T I N U E D )
CONTINUED: ( 2 )
Wydell reaches f o r t h e axe .
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 has become my s a l v a t i o n . .. t h i s i s my God! Say i t!
BAEY Fuck you!
WYDELL Say i t !
Wydell winds back, b u t suddenly h e i s unable t o swing t h e axe. T i n y has appeared from t h e darkness and grabbed o n t o t h e axe handle . T i n y p u l l s t h e axe from Wydell hands and grabs him around t h e t h r o a t l i f t i n g him o f t h e ground.
T i n y crushes Wyde l l ' s t h r o a t . Wydell s t r u g g l e s t o break f r e e , b u t T i n y ' s g r i p i s t o o powerfu l .
Wydell head f a l l s t o t h e s i d e l imp , T i n y drops Wyde 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 house !
T i n y walks towards t h e house. Baby i s weak, b u t she f i n d s t h e s t r e n g t h t o beg in k i c k i n g Wydel l .
BABY (CONT' D ) ( screaming)
Motherfucker!
The house i s a raging i n f e r n o . T i n y s tumbles through t h e f i re 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 T i n y ! P u l l o u t t h e 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 hobb les o v e r t o Spaulding.
OTIS ( C O N T ' D )
;;--; T i n y , h e l p m e .
# ~ . . -,,- - *... ?.:
~ i h i - ' $ ? c k s up Spaulding and c a r r i e s him from the room.
Tiny, O t i s and Spaulding emerge from the flaming house. Baby struggles t o help them down the front s t a i r s .
OTIS We got to g e t out of here t h a t BBQ i s gonna a t t r a c t every piggy i n t h e s t a t e .
Spaulding l i e s i n a bloody heap i n the backseat o f the cruiser . Tiny places Baby next t o him, she i s semi-conscious. He shuts the door.
Tiny looks i n the window a t Baby. She l i f t s a weak hand t o say goodbye.
Otis climbs i n t o the front sea t . He struggles t o start the car, the bones i n h i s hands are crushed from the n a i l s .
OTIS Are you sure about t h i s ?
T I N Y 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 the engine and speeds o f f . .
Tiny walks over t o Wydell and looks 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 the house, up the front s teps and i n t o the burning house.
A empty road. The rain has stopped. A s ingle car i s seen.
Ot is drives , 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 the s teer ing wheel.
A boring t a l k radio show i s playing on the 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 pol ice cars waiting. He stops the car.
The p o l i c e wa i t w i t h guns drawn. S tand ing dead c e n t e r i s Dobson.
O t i s and the cops s tand o f f . Neither makes a move.
O t i s grabs 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 eaches over t o the b a c k s e a t and wakes up Spau ld ing and Baby. They a r e b o t h h a l f dead . He hands each o f them a gun.
The p o l i c e w a i t .
COP What a r e they doing?
DOBSON Getting ready t o die .
(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 pos i t i on !
The o f f i c e r s t a k e up p o s i t i o n beh ind their c a r s .
OTIS Ready.
SPAULDING Yeah.
BABY Me t o o . . . hey, Ot i s .
OTIS Yeah?
BABY ( t o the radio)
Change t h a t . I don't wanna go out t o t h a t s h i t .
C$@@f;ijrns the r a d i o d i a l t o Ram Jam's "Black 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 Ot is ' s c a r .
The Pol ice ge t i n t o p o s i t i o n a s Ot 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 g and Baby f i r e ou 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 wounds and then suddenly ... i t f r e e z e s .
We hold on a sho 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