The Hills Have Eyes
The Hills Have Eyes
a screenplay by
Wes Craven
copyright 1976
by Wes Craven
Peter Locke
1 EXT. TITLE SEQUENCE -- DAY 1
HARBOR SHOT OF MANHATTAN, HORRIBLY POLLUTED AIR HALF-VEILING
THE STEEL AND CONCRETE TEETH OF THE ROCK ISLAND. A
HELICOPTER WHIZZES OVERHEAD.
RADIO VOICE
... 96 degrees and climbing on the
Central Park Parade Grounds -- the ol'
Greenhouse Effect is humming today! Your
Environmental Advisory Council sets the
Discomfort Index at +9, the Risk Factor
at 8.3, the highest it's been since
August of 1978.
RADIO VOICE
The National Guard reports that skirmish
in Brooklyn Heights has been pacified,
and traffic on the Brooklyn and Manhattan
bridges is moving once again. If you are
among those unlucky enough to be caught
in that particular mess, please remain
patient, and have your passes ready for
inspection by the time you reach the
gate. Now back to Ronny Lasar and more
Golden Hits of the Seventies.
MUSIC
Sometimes a bright light's shining on me
Other times I can barely see
Lately it's occurred to me
What a long strange trip it's been.
GIRL'S VOICE
God, will you please turn that cornball
stuff off? I can't stand Seventies music
--
(CONTINUED)
2.
CONTINUED:
CRAWL
In 1973, following the release of Last
House on the Left, the writer/director of
that film was committed for psychiatric
observation.
He was treated extensively with drugs,
group therapies, electroshock programs
and a final lobotomy. Despite these
efforts at reform, Craven killed his
nurse, Maura Heaphy, and escaped to the
Mohave Desert. At the end of 1000 days
of meditation he was taken up by a jet-
black saucer and trained in Secondary
Media Infiltration and parametaphysical
survival on the Planet Jupiter.
Upon his graduation he was returned to
the planet Earth at Exeter. This Film is
his first since his return, and is
respectfully dedicated to the memory of
Maura Heaphy.
THE PACK RAT JERKS ITS PRIZE FREE. WE CAN SEE IT'S A 50
CALIBER SHELL CASING. THE FANGS STRIKE THE RODENT SO HARD IT
FLIPS IN THE AIR, THEN CRASHES ONTO ITS BACK. INSTANTLY IT
IS IN DEATH THROES. IT SHRIEKS WITH STARTLING LOUDNESS AND
PAIN.
(CONTINUED)
3.
CONTINUED:
ZOOM, ZOOM FAR OUT INTO THE HEAT WAVE EXTREMITIES OF THE
LENS' POWER TO AN ANT-LIKE VEHICLE PULLING ITSELF OVER A
WAVERING LUMP IN THE GRAVEL LINE. IT'S LABORING TOWARDS US.
THE P.O.V. SHAKES AND STRAINS TO SEE WHAT THE BUG IS,
SNUFFING THE AIR FOR A SCENT. OVER THE WEIRD SUBLIMINAL
ELECTRONIC MUSIC THAT HAS SLID BETWEEN THE RIBS OF THIS
MOMENT, WE HEAR THE SUDDEN CRACKLE OF A TWO-WAY RADIO.
P.O.V. VOICE
(hoarse, feral)
Pa pa? Pa pa?
WOMAN'S VOICE
Pa pa huntin'. What you wan'?
P.O.V. VOICE
Ma Ma, summin's cumin.
MA MA
Army?
P.O.V.
No. Ain't cops, neither. It'sa car ana
camper. I see it now.
MA MA
Pluto.
P.O.V.
Yuh.
MA MA
We're hungry.
4.
2 EXT./INT. OF CAR 2
CUT TO INTERIOR OF CAR. THE SCALDING AIR ROARS IN THE OPEN
WINDOWS, TEARING AT ANYTHING LOOSE. IN THE BACK AN INFANT
WAILS ON ITS MOTHER'S LAP, ITS FACE DARK. THE MOTHER, LYNNE
CARTER, A HANDSOME WOMAN OF 27, BRUSHES A MOIST STRAND OF
HAIR FROM HER EYES AND LOOKS HUMOROUSLY AT HER COMPANION IN
THE BACK SEAT: HER SISTER, BRENDA CARTER, 17. BRENDA ROLLS
HER EYES IN DISGUST AT THEIR PARENTS, WHO SIT UP FRONT.
BRENDA
We're lost.
THE GIRLS' MOTHER, ETHEL CARTER, FIGHTING TO KEEP THE MAP SHE
HOLDS FROM FLYING OUT THE WINDOW, SHAKES HER HEAD VEHEMENTLY.
ETHEL
Now we are not! We're right here,
someplace, on this little blue road.
LYNNE
Ma, this road is definitely not a blue
line. It's a dotted line if it's
anything at all -- let me see that!
BRENDA SNATCHES THE MAP FROM HER MOTHER AND GIVES IT TO HER
SISTER, MUCH TO HER MOTHER'S PROTEST. LYNNE SCANS IT
QUICKLY.
BRENDA
(to her mother)
What's the last town we passed? That one
yesterday.
ETHEL
Um, well, I think it was Corn Creek. Or
that's what we were supposed to --
LYNNE
Oh, Jesus...
BRENDA
What...?
BRENDA
(horrified)
"Nellis Air Force Range and Nuclear
Testing Site. Closed to the Public."
Good grief, Daddy!
(CONTINUED)
5.
CONTINUED:
BOB
Alright, everybody settle down!
BOB
We are not on a bomb range, we are not
goddamn lost, we are not --
SOME TERRIBLE RUSHING NOISE THAT HAS BEEN BUILDING UNDER HIS
LAST DOZEN WORDS TAKES OVER. A SUPERSONIC ONSLAUGHT OF JET
EXHAUST SHAKES THE CAR AND BLOTS OUT BOB'S WORDS. LOUDER,
LOUDER STILL, THEN SOMETHING HUGE FLASHES OVERHEAD. JUST AS
ABRUPTLY IT IS GONE.
BOB
Holy shit...
LYNNE
Daddy, for god's sakes slow down, you'll
loose the trailer -- Doug and Bobby --
BOB CARTER LOOKS INTO HIS REAR VIEW MIRROR, THEN TURNS AND
CRANES HIS NECK TO SEE THE TRAILER FISHTAILING BEHIND THEM.
DESPITE THE TERRIFYING NATURE OF THIS, BOB'S ATTENTION IS
SNAPPED AWAY BY ANOTHER AIRCRAFT ROCKETING OVER HIS
AUTOMOBILE, ITS INCREDIBLE NOISE CRACKING THE WINDSHIELD.
ETHEL DIVES DOWN TOWARDS THE FLOOR, AND THE MAP SHE WAS JUST
REGAINING FLAPS AROUND THE INSIDE OF THE CAR LIKE A MADDENED
BAT, THEN PLASTERS ITSELF ACROSS BOB'S FACE.
BOB TEARS THE MAP AWAY AND WRESTLES THE CAR AND TRAILER BACK
OFF THE SHOULDER, ROARING BACK ONTO THE HIGHWAY. DUST AND
ROCKS FLY UP ON ALL SIDES AND SMACK AGAINST THE UNDER-
CARRIAGE OF THE CAR
ETHEL
Bob! Watch!
(CONTINUED)
6.
CONTINUED: (2)
BOB WRENCHES THE WHEEL AND THE CAR AND TRAILER SKID
SICKENINGLY TOWARD THE SHOULDER, STRAIGHTEN ONCE, THEN PLUNGE
DOWN A SLIGHT GRADE AND CLATTER TO A HALT AMONG ROCKS AND
CACTUS.
BRENDA
You and your stupid shortcuts, Daddy.
BOB
(to the desert)
Twenty-five years I'm a cop in the worst
goddamn precinct in New York City. The
niggers shot arrows at me, the Puerto
Ricans tried to kill me by throwing dogs
at me from the fucking roofs! I was even
shot at on three separate occasions by my
own men by mistake, of course, but none
of those bastards ever came as close to
killing me as my own goddamn wife with
her goddamn road maps and wrong turns and
goddamn hysterical screaming and --
ETHEL
(reserved)
You've soiled your pants.
BOB
(arrested)
I've what?
(He stares at the stain on
his trousers)
That's coffee. I spilled my goddamn
coffee -- Jesus, Ethel.
ETHEL
Watch your language.
BOB
(straightening)
I'm sorry.
(CONTINUED)
7.
CONTINUED:
BRENDA
Unlock it, stupid!
DOUG
Now I know how Fearless Fosdick feels
when he gets put in an ash can and kicked
down the cellar stairs. What happened?
LYNNE
(hugging Doug)
I don't know. There was a couple of
planes, and then some poor animal in the
road -- You okay, boy?
DOUG
Nothing broken. How 'bout you -- and
Shanti?
LYNNE
We're both fine. She was crying before
we went off the road, but now she seems
quiet.
BOBBY
Brenda, aren't you going to ask if your
darling brother is alright?
(CONTINUED)
8.
CONTINUED: (2)
BRENDA
Na. Get out of here, Bobby.
BOBBY PRESENTS HIS HAND, WHICH HE'S BEEN KEEPING BEHIND HIS
BACK. IT'S COVERED WITH RED GOO. BRENDA LETS OUT A
HORRIFIED SCREAM. BOBBY BEAMS.
BOBBY
You see? She does care.
DOUG
(reassuringly)
It's catsup, folks. Got it on me, too.
The kitchen's all over the place in
there.
BOBBY
Turkey buzzard. Janitor of the desert.
BRENDA
Does that mean there's a town nearby?
(CONTINUED)
9.
CONTINUED:
BOBBY
(smiling)
You mean like when stranded sailors see
sea birds and know they're nearing land?
BRENDA
Yeah.
BOBBY
No.
A RADIO CRACKLES.
MA MA
(radio)
Pluto?
PLUTO
(P.O.V. Voice)
They off t'road. Stuck.
BEAUTY STIRS, GETS UP, HER NOSE IN THE AIR. SHE LETS OUT A
"WHUFF" AND GOES ROUND THE TRAILER. THE BEAST TRIES TO
FOLLOW BUT IS PREVENTED BY HIS LEASH.
BOBBY
(calling O.S.)
Beauty! C'mere, girl!
ETHEL
Maybe you should tie Beauty up, Bobby.
We don't want her running off after a
rabbit and disappearing, like she did in
Montana.
BOBBY
That was the Beast that did that, not
Beauty, and it was a bitch in South
Dakota, not a rabbit in Montana. Beauty
always comes when I call her.
BRENDA
What's the verdict?
(CONTINUED)
11.
CONTINUED:
BOB
I don't wanna say it, but I think the
axle's snapped.
BRENDA
Can't you fix it?
BOB
No.
BRENDA
What'll we do?
BOB
Punt.
BOB
Don't shoot 'till you see the whites of
their eyes.
ETHEL
Don't try to make me feel silly. Who
knows what kind of animals live out here?
BOBBY
I do. I did a paper on desert ecology.
Biggest thing out here is the coyote.
He's too smart to bother with us.
ETHEL
What about snakes and bugs.
BOBBY
(granting her a point)
They won't bother us if we don't bother
them.
(CONTINUED)
12.
CONTINUED:
ETHEL
If it's all the same to you, I'll put my
faith in the Lord and that gun, rather
than coyotes and rattlesnakes.
LYNNE
Well, at least Shanti's taking all this
calmly. They decide to go for help?
(she nods toward the
family.)
LYNNE
You'll blow up if you don't breathe, you
know.
BRENDA EXPELS THE SMOKE WITH A GASP. LYNNE SMILES WRYLY AND
NODS. DOUG CALLS FROM OFFSCREEN.
DOUG (O.S.)
Lynne?!
BRENDA
Oh, man...
DOUG
(a bit too casually)
Your Dad and I are going to take a walk,
see if we can find some help.
ETHEL
(to Doug)
Aren't you taking a gun, Doug? Bob'll
give you one.
(CONTINUED)
13.
CONTINUED:
DOUG
Thanks, Mom, but I've got my five fingers
of death, here.
(he mimes a comic strike)
BOB
(shrugging, adjusting his
own shoulder holster)
Doug'll go that way, me back the way we
came.
DOUG
(checking his watch)
It's 3:30. We've five hours of daylight
left.
ETHEL
Well, how far can you go in two hours?
BOB
Seven miles, maybe; it'll give us a
chance to find something.
LYNNE
What do you expect to find out here?
We're in the middle of nowhere.
BOB
Well, for one thing, we passed some sort
of station about five miles back...
BOB
(to Bobby)
You're in charge here, now.
BRENDA
That's sexism. He's not in charge of me.
ETHEL
I'm in charge. Alright, get going, then!
BOBBY
Synchronize watches! It's 3:38. If
you're not back by 8:30 we'll send the
dogs out after you! Good hunting, men!
(CONTINUED)
14.
CONTINUED: (2)
ETHEL
Can we just have a word of prayer?
BRENDA
Oh, Mother, for crying out loud...
ETHEL
Just to ask the Lord to watch over us
all. Is that too much to ask? Bob?
BRENDA
Beauty, shut up, already!
BOBBY
Beauty!
THE DOG DROPS HER HEAD AND SKULKS OVER TO BOBBY. HE PUTS HER
INTO THE BACK OF THE CAMPER AS ETHEL EMERGES WITH FOOD,
HEADING FOR THE TABLE.
ETHEL
Bring some plates, would you?
BOBBY
Sure.
ETHEL BRINGS THE FOOD ROUND TO THE TABLE AND THE THREE WOMEN
ARE TOGETHER FOR THE FIRST TIME BY THEMSELVES.
(CONTINUED)
15.
CONTINUED:
LYNNE
This is a fine way to spend the eve of
your twenty-fifth wedding anniversary.
ETHEL
Well, it's kind of a pretty place. And
there's certainly a lot of sunshine. I
don't think I've seen so much sunshine
since I was a girl.
BRENDA
Gives me the creeps.
LYNNE
Your system just doesn't know what to do
with clean air and room to stretch.
ETHEL
(off on her own thoughts)
I suppose it's my fault we got lost...
LYNNE
Don't be ridiculous, Ma -- it was Daddy's
stupid idea to try sneaking in the back
way. We had enough to bribe the border
guards.
BRENDA
We could've been in California by now if
we'd staying on route 93. Showers...
Fresh fruit...
LYNNE
What do you suppose is bugging her?
ETHEL
Rattlesnakes, I'll bet.
BOBBY
You guys kill me.
LYNNE
I wonder why the Beast isn't chiming in?
(CONTINUED)
16.
CONTINUED: (2)
BOBBY
(helping self to food)
He knows better. He never barks, anyway,
he just goes for the kill whenever he
gets the chance.
ETHEL
He sure does!
ETHEL
(continuing)
Remember that poodle he almost killed in
Miami. Oh, boy, was that lady fit to be
tied!
BRENDA
Was Daddy ever mad! He had to pay the
vet bills!
BRENDA
So, Lynne, when are you and Doug going to
make it official?
LYNNE
Maybe when we reach our twenty-fifth
anniversary, like Mama and Daddy.
ETHEL
I won't comment...
LYNNE
(anticipating)
"But..."
(CONTINUED)
17.
CONTINUED: (3)
ETHEL
But it seems to me awfully backward the
way you two are doing things. I mean,
that sweet little baby of yours...
LYNNE
A bastard?
ETHEL
That's not what I was going to say. My
granddaughter is... no bastard.
BRENDA
Can a girl be a bastard, anyway?
(to Bobby)
What's the female of Bastard?
BOBBY
Bassinet.
BRENDA BEANS BOBBY WITH AN APPLE FOR THAT ONE. BOBBY CHASES
HER AROUND THE TABLE, BOTH KNOCKING THINGS OVER, THEN BRENDA
RUNS FOR THE TRAILER. BEFORE BOBBY CAN STOP HER SHE'S OPENED
THE DOOR. "BEAUTY" BOLTS OUT AND IS GONE LIKE A SHOT.
BOBBY
Beauty! Get back here!
BEAUTY SHOOTS ACROSS THE ROAD, THROUGH THE BRUSH AND UP INTO
THE ROCKS. SHE'S ALREADY OUT OF SIGHT WHEN BOBBY GAINS THE
ROAD, BUT NOT OUT OF HEARING. HER HYSTERICAL, ANGRY BARKING
AND THE SOUNDS OF HER CRASHING THROUGH BRUSH, KICKING LOOSE
STONES ON HER WAY UP -- ALL THIS IS UNMISTAKABLY CLEAR.
BRENDA
Bobby!?
SHE CATCHES UP WITH HIM AND TRIES TO HAND HIM THE GUN.
BRENDA
Humor me.
BOBBY
You're the one that's so scared. You
keep it.
(CONTINUED)
18.
CONTINUED: (4)
BOBBY (O.S.)
Beauty! C'mon back, girl!
BOBBY
Beauty! Beauty!
VOICE
Hey, pig.
17 EXT. HALFWAY UP 17
BOBBY STOPS IN HIS CLIMB AT THE SOUND OF THE SCREAM. IT'S A
LONG, TERRIFYING CRY, HALF-ANIMAL, HALF-HUMAN, PARALYZING IN
ITS FEROCITY. IT'S FOLLOWED IMMEDIATELY BY THE AWFUL OUTCRY
OF A DOG IN RAGING PAIN. THEN SNARLS AND WHOOPS, CRASHING OF
BRUSH. ROCKS RAIN BY AND BOBBY DIVES FOR COVER. AN AWFUL
HOWL, A SOUND OF AN ANIMAL SHAKING SOMETHING MERCILESSLY IN
ITS TEETH, THEN ITS OVER.
ETHEL
Bobby! Come down, now!
BOBBY
Beauty?
DISSOLVE TO:
(CONTINUED)
20.
CONTINUED:
BOBBY
(quietly)
Beauty?
SHE HAS BEEN DISEMBOWELED, HER INTESTINES TORN OUT AND LYING
ABOUT HER.
LYNNE
Jesus, it must have dropped twenty
degrees in the last hour.
ETHEL
Calling Smokey the Bear, calling Smokey
the Bear, this is Moby Grape... hello?
ETHEL
(improvising)
Maypole, maypole, this is Moby Grape
calling. Hello there, um...
LYNNE ENTERS AND SITS BESIDE HER MOTHER, SMOOTHING THE OLDER
WOMAN'S HAIR.
LYNNE
It's "Mayday," Mom, not "Maypole."
ETHEL
Oh.
ETHEL
Darn thing won't ever work for me. Guess
I don't have the touch.
LYNNE
Let me have a try.
LYNNE
Mayday, Mayday, this is Mobile Unit
2345CB. We are stranded and in need of
assistance. Does anybody read us?
(CONTINUED)
22.
CONTINUED:
LYNNE
(quietly)
What the hell was that?
ETHEL
It sounded like some sort of animal...
LYNNE
If the animals out here are smart enough
to run a goddamn radio, we're in serious
trouble.
ETHEL
Watch your language.
LYNNE
Where's Bobby and the men, anyway.
LYNNE TURNS AND LOOKS TOWARD THE DARK WINDOWS, THE ORANGE
LIGHT OF THE BONFIRE LICKING HER FEATURES.
LYNNE STEPS FROM THE TRAILER AND LOOKS TOWARD THE FIRE.
BRENDA IS GONE.
LYNNE
Brenda?
23.
BRENDA
(calling)
Bobbeeee!
"THE BEAST" LETS OUT A "WHUFF" AND POINTS HIS EARS. A MOMENT
LATER HE CHARGES WITHOUT WARNING INTO THE DARK TREES, YANKING
BRENDA OFF BALANCE.
BRENDA
Beast! Get back here!
LYNNE
(calling from back by the
trailer)
Brenda? You there?
BRENDA
(calling)
In a minute, Lynne.
THE GIRL TURNS BACK TOWARD THE HILLSIDE AND STARTS TOWARD
IT...
SHE MAKES HERSELF WALK INTO THE TREES UNTIL THE ROAD IS LOST
BEHIND HER AND SHE IS IN DEEP SHADOW.
BRENDA
Bobby?
(CONTINUED)
24.
CONTINUED:
BRENDA
(hushed)
Bobby?
CLOSE ON HER FACE, HER EYES LARGE AND LIQUID. HER SKIN
PALLID IN THE STARLIGHT. SHE DOESN'T BREATHE. THERE'S
ANOTHER SOUND, CLOSER. THE GIRL LOOKS BEHIND HER, AS IF TO
RUN, BUT HOLDS HER GROUND AND FACES THE SOUND.
BRENDA
Oh, thank God.
CUT TO THE ROAD. BOBBY, BRENDA AND "THE BEAST" CLIMB ONTO
THE GRAVEL. BRENDA MUSES TO LISTEN.
BOBBY
(very quietly)
Dad and Doug back?
BRENDA
(still looking down the
road)
Not yet.
(she turns to her brother)
You didn't find Beauty?
BOBBY
She must have run off.
HE TUGS "THE BEAST" AFTER HIM. THE BIG DOG SEEMS TO WANT TO
HEAD BACK INTO THE WOODS.
(CONTINUED)
25.
CONTINUED: (2)
BOBBY SITS FOREGROUND, FACING AWAY FROM THE GROUP, PALE, LOST
IN THOUGHT. ETHEL LOOKS AT HIM.
ETHEL
You want cheese on your hamburger?
BOBBY
I don't want anything.
ETHEL
You sick or something.
BOBBY
Yeah, a little. Nothing serious. Did
anyone try the C/B?
LYNNE
We tried. Nothing.
ETHEL
Once it sounded like the thing was an
obscene phone caller.
BOBBY
What do you mean?
ETHEL
Well, it sort of huffed and puffed, like,
wouldn't you say so, Lynne?
LYNNE
It was static.
ETHEL
Wasn't.
(CONTINUED)
26.
CONTINUED:
BRENDA MAKES TO FOLLOW, BUT BOBBY MOTIONS FOR HER TO STAY,
AND HE SHUTS THE DOOR BEHIND HIM.
BRENDA
He's such a Macho.
BOBBY
Oh, Jesus, what's going on?
CUT TO BOBBY THROWING MORE AND MORE DRY WOOD ON THE FIRE
UNTIL IT'S ROARING UP TO FULL HEIGHT AGAIN. IT'S BECOMING
DIFFICULT TO FIND MORE WOOD. BOBBY FINDS ONE LAST BRANCH,
THROWS IT ON, THEN STEPS BACK.
DOUG
Hey, don't shoot. I surrender!
DOUG
Did I miss dinner?
DOUG
You and Brenda have another fight?
(CONTINUED)
27.
CONTINUED:
BOBBY
Dad's not back yet... and where were you?
DOUG
It's a lot slower going out there than we
thought. Big Bob's surely on his way
back. And he'll see the fire... If
nothing else, we'll just send the Beast
out after him. The Beast always gets his
man.
BOBBY
The Beast broke free and took off half an
hour ago. Beauty's dead.
DOUG
Beauty's what?
BOBBY
She chased off right after you and Dad
left. She was after something. She
caught up with whatever it was on top of
that bluff. By the time I got up there
she was dead.
DOUG
(sobered)
Must've been a cougar, something big like
that.
BOBBY
She was gutted.
DOUG
A cougar might do that. Nothing else
around capable of taking on a German
Shepherd, anyway. Beauty was no
pussycat.
BOBBY DOESN'T ANSWER, BUT HE'S STUDYING DOUG'S FACE FOR SIGNS
OF FEAR.
DOUG
You tell the others?
BOBBY
No.
(CONTINUED)
28.
CONTINUED: (2)
DOUG
Just as well.
ETHEL
I knew when you smelled food you'd show
up!
LYNNE
Find anything?
DOUG
There's a sort of blockhouse, abandoned,
about five miles out. Nothing in it.
Looks like it used to be used by the
Military.
BRENDA
You go any further?
DOUG
There isn't any further. The road ends
there.
(avoiding further
discussion)
I'm starving.
THEY ALL GO INTO THE TRAILER. ETHEL GOES LAST, LOOKING OFF
IN THE DIRECTION BOB TOOK EARLIER THAT DAY. SHE THEN GOES
INSIDE.
29 EXT. DAY/FOR/NIGHT 29
CUT TO "THE BEAST" FOLLOWING THE SCENTS OF BOBBY AND "BEAUTY"
UP THE SLOPE AMONG THE TREES, THEN FARTHER, UP AMONG THE
ROCKS; CUTS OF HIM CLIMBING, CLIMBING, UNTIL HE REACHES THE
VERY TOP OF THE OUTCROPPING, HIGH ABOVE THE ROAD AND TRAILER,
WHERE BEAUTY MET HER MATCH.
"THE BEAST" TRACES BACK AND FORTH AMONG THE STILL HOT SCENT
MAPS OF THE STRUGGLE, GETTING MADDER AND MADDER.
(CONTINUED)
29.
CONTINUED:
HE REACHES THE PLATE OF ROCK AND LEAPS UP ONTO IT, RIGHT INTO
THE MIDDLE OF THE ENTRAILS OF BEAUTY.
HER FACE IS BURNED DARK BY THE SUN, HER EYES DARK, EVEN WITH
THE MOON IN THEM, HER MOUTH WIDE YET WITH A REFINEMENT THAT
IS IN NO WAY MIRRORED BY THE ROUGH CLOTHING SHE WEARS AGAINST
THE COLD.
SHE TAKES THE MEAT FROM THE FIRE AND BEGINS TO EAT. IT'S A
LONG SHANK, TOUGH AND FIBROUS SHE TEARS AT IT WITH HER
TEETH, CHEWS AND STARES INTO THE FIRE.
A RUDDY LIGHT FALLS OVER HER FROM BEHIND AND THE GIRL TURNS
IN SOME RELIEF. CUT TO AN ENORMOUS FIGURE COMING THROUGH A
FLAP OF ANIMAL SKIN FROM A FIRE-LIT INNER CHAMBER OF ROCK.
AS THE FIGURE DRAWS CLOSER TO THE COOKING FIRE, WE CAN SEE IT
IS A WOMAN. HUGE, SMOKEY, ROUGH SKIN, PERHAPS TWO HUNDRED
POUNDS IN WEIGHT, A SNARL OF HAIR, BONE ORNAMENTS, CARTRIDGE
SHELL EARRINGS, RUINED TEETH. SHE LUGS A HALF-GALLON JUG OF
CHEVAS REGAL. THIS IS MA-MA. SHE COULD BE ANYWHERE FROM
THIRTY-FIVE TO FIFTY.
(CONTINUED)
30.
CONTINUED:
MA MA
Warm nuff, Ruby?
MA MA
Y'like yer dog?
RUBY
Yuh, Ma Ma.
MA MA
Ain't every day we get dog. Makes coyote
taste like shit.
RUBY
Dog's ghost is talking out there
tonight...
MA MA
You just got the curse, is all. Makes
you haywire. By tomorrow morning you be
clean again, can come back in with us.
Ain't no such thing as dog ghost!
MA MA
Big sonuvabitch. Ain't no fuckin' ghost,
neither.
RUBY
Nother dog?
MA MA
(nodding)
Nother dog. Big ol' stud.
SHE OFFERS THE JUG OF CHEVAS REGAL TO THE GIRL. RUBY SHAKES
HER HEAD "NO." MA MA TAKES A SWIG HERSELF AND STUDIES THE
NIGHT AIR.
MA MA
(thoughtfully)
Good he's 'round here. Means he ain't
'round there.
(CONTINUED)
31.
CONTINUED: (2)
RUBY
'Round where?
MA MA
Never mind.
LYNNE
Don't look that too secure, old boy,
we're going out in a sec.
LYNNE GIVES BOBBY A PECK ON THE CHEEK AND DUCKS INTO THE TINY
BATHROOM OF THE TRAILER. DOUG APPEARS FROM THE BACK OF THE
DARKENED TRAILER, HIS HAIR ASKEW, HIS SHIRT PULLED OUT, HIS
FACE FLUSHED.
BOBBY
Where you guys going?
DOUG
Just out to the station wagon.
BOBBY
Geez, Doug -- I mean, Dad's out there
lost or hurt, and you guys are acting
like you could care less -- you --
DOUG
Number one, there's no way anything short
of a platoon of Huns is going to get to
Big Bob. He's tough as hell and armed.
Two --
(CONTINUED)
32.
CONTINUED:
BOBBY
How about a snake or a fall -- this isn't
the South Bronx -- he might not know
where to look for danger here.
DOUG
Two, if he's not back in an hour, I
personally will schlep out and find him --
remember, we have one dim flashlight, one
pistol, and only two men to guard three
women and an infant.
BOBBY
Guard them from what?
DOUG
What?
BOBBY
I thought you said it was just a cougar.
LYNNE
All set?
DOUG BREAKS HIS CONTACT WITH BOBBY'S EYES AND PICKS UP SOME
BLANKETS AND A PILLOW. LYNNE SENSES SOMETHING GOING ON, BUT
SAYS NOTHING.
DOUG
All set.
(to Bobby)
Why don't you get some sleep?
BOBBY
Why don't you take this along, just for
insurance.
DOUG
Happiness is a warm gun. Relax. See you
in a while, if you're still awake.
HE GOES OUT. BOBBY WAITS A MOMENT, THEN LOCKS THE DOOR ONCE
MORE. HE SITS AT THE FORMICA TABLE, ANGRY AND ILL AT EASE.
HE FINISHES A CUP OF COFFEE AND OPENS A CAN OF COKE. HE SIPS
FROM IT AND TURNS ON A RADIO AT THE BACK OF THE TABLE.
(CONTINUED)
33.
CONTINUED: (2)
SHREDS OF DISTANT MUSIC, ELECTRONICS, PIECES OF SENTENCE FROM
CITIES FAR AWAY, BEAMED DOWN IN FRAGMENTS FROM THE DISTURBED
STRATOSPHERE. ONE VOICE IS AUDIBLE FOR SEVERAL SECONDS AT A
TIME, A NEWSCAST.
NEWS ANNOUNCER
... Several hundred demonstrators still
remain at the border, and police confirm
now that there were fatalities among...
static... busses burned, most of them
from Northeastern cities. Meanwhile the
Supreme Court still has not handed...
static... on the Constitutionality of
states in the Sunbelt imposing
limitations on immigrants from the
megalopolitan zone.
(pause)
We'll have more about that meltdown in
Chicago, and weatherman Abby Hoffman
reveals all about the Seattle quake and
why it won't come here, after this word
from the folks at Remington Firearms.
DOUG
I'll protect you, I'll protect you
I'll hold you, I'll warm you
I'll protect you, I'll need you...
(suddenly wary)
Don't touch me.
(CONTINUED)
34.
CONTINUED: (3)
LYNNE
Don't touch him, don't touch me.
SHANTI
Touch me.
CUT TO THE FACE OF ETHEL IN HER BED. SHE LIES WITH HER EYES
OPEN, STARING AT THE WALL BEFORE HER, LIPS MOVING WITHOUT
SOUND.
(CONTINUED)
35.
CONTINUED:
LYNNE IS MOUNTED ON HIM, HUNCHED OVER AND FACING AWAY,
FITTING HERSELF TO HIM. HER HEAD IS AGAINST THE ROOF OF THE
CAR, HER HAIR IN HER EYES. SHE'S LAUGHING.
LYNNE
Jesus, there's not enough room to swing a
cat back here -- I can -- oooh. Ooohmm --
got it.
SHE SQUATS LOWER ONTO HIM, PIVOTING HER HIPS AGAINST THE FIRE-
RED CONDENSATION OF THE FAR WINDOWS, A LONGHAIRED SILHOUETTE
MOVES IN A CROUCH THEN DUCKS FROM VIEW. NEITHER OF THE
LOVERS SEES IT.
HE SUCKS THE TUBE PRIME, SPITS THE EXTRA GAS TO THE GROUND,
AND PLACES THE FREE END OF THE TUBE INTO A LARGE GAS CAN AT
HIS FEET. WE CAN BARELY HEAR THE FLUID TRANSFERRING, FOR
DOUG AND LYNNE ARE ABSOLUTELY WILD INSIDE THE CAR.
THE YOUNG SAVAGE SQUINTS INTO THE DISTANCE AND MAKES A SIGNAL
"1", AS IF ONE-MINUTE-TO-GO. FOR THE FIRST TIME WE GET THE
IDEA HE MIGHT NOT BE ALONE.
BRENDA
If you don't turn that crap down I'll
kill you with my bare hands.
(CONTINUED)
36.
CONTINUED:
BOBBY
You and whose army?
BRENDA
You want me to wake Mommie?
BOBBY
(mimicking)
"Want me to wake mom-meee?"
BRENDA
No sign of Daddy?
BOBBY
You mean like a tingling at the back of
my neck, or something.
BRENDA
There's no need to get snotty. I'm
worried; I keep having scary dreams.
BOBBY
If he's not back in a few minutes I'll go
out with a flashlight and meet him.
BRENDA
Can I come?
BOBBY
No, you can't come.
BRENDA
Why not?
BOBBY
This is man's work.
BRENDA
You're a disgusting human being, you know
that?
BRENDA TURNS ON HER HEEL AND GOES BACK TO HER BUNK. BOBBY
LOOKS AT HIS WATCH. IT'S TEN MINUTES TO THE DEADLINE DOUG
SET BEFORE. BOBBY PUTS THE EARPHONES OVER HIS HEAD AND SWAYS
INTO MOZART.
37.
SOMEWHERE NOT FAR INTO THE BUSH A LARGE DOGS BEGINS BARKING.
LYNNE
(dreamily)
What's up, champ?
DOUG
Thought I heard the Beast.
LYNNE
So?
DOUG
He ran off before, now he's back...
LYNNE
(guessing his next words)
And it sounds like he's trying to tell us
something?
DOUG
(grinning)
Something like that.
(CONTINUED)
38.
CONTINUED:
LYNNE
You've been watching too much Lassie.
He'll show up in the morning for
breakfast with a nose full of porcupine
quills, or smelling like a skunk.
C'mere.
DOUG
I promised Bobby I'd go out and look for
Big Bob.
LYNNE
Just stay with me a little. You know how
I hate jumping up as soon as we've
finished.
DOUG PULLS HER TO HIS CHEST. SHE PULLS THE COVER HIGHER OVER
THEM BOTH.
BOBBY
Beast?
(CONTINUED)
39.
CONTINUED:
BOBBY
Beast, c'mere, boy. C'mere!
BOBBY
Beast, here boy! Where are you?
HE RUNS IN THE DIRECTION THE CRIES CAME FROM, FALLS HARD OVER
SOMETHING IN THE DARK, GETS UP AND STAGGERS ON. THEN HE
STOPS.
BOBBY
Beast?
SILENCE.
BOBBY
Hey, boy!
BOBBY
You've got to get the flashlight, can't
see a damn...
BOBBY
(to himself)
You asshole! You locked yourself out!
Jesus!
(CONTINUED)
40.
CONTINUED: (2)
BOBBY
(unbelieving)
Je-sus!
LYNNE
(crossly)
Alright.
BOBBY CRANKS DOWN THE REAR WINDOW FROM THE OUTSIDE AND IS
GREETED BY A DOUR-FACED BIG SISTER.
LYNNE
This better be good.
BOBBY
I need to borrow your keys.
(CONTINUED)
41.
CONTINUED:
BOBBY
I locked myself out.
LYNNE
You couldn't wait?
BOBBY
Gimme your keys, for god'sakes! You
expect me to wait all night -- The Beast
is out there hurt or something, Dad's not
back and you two can't find anything
better --
LYNNE
All right, Bobby, just get off the
podium.
DOUG
Alright, both of you; it's time we got
organized, here.
(to Bobby)
Now, what's this about the Beast being
hurt? We just heard him a while back and
he sounded chipper as hell.
BOBBY
But didn't you hear him screaming? I've
got to get the flashlight!
DOUG PRODUCES THE KEYS AND THE TWO HEAD FOR THE TRAILER.
LYNNE, MEANWHILE, IS SCRAMBLING INTO HER CLOTHES.
THE SAVAGE REACHES OVER HIS OWN SHOULDER, DOWN THE BACK OF
HIS SHIRT, AND PRODUCES A LONG, GLEAMING BLADE SET IN A HORN
HANDLE.
(CONTINUED)
42.
CONTINUED:
WITH HIS FREE HAND HE PULLS THE MICROPHONE OF THE NEARBY C/B
SET OVER TO HIM. AT THIS INSTANT HE HEARS DOUGLAS PUT THE
KEY IN THE LOCK. HE PUSHES DOWN THE "TALK" BUTTON ON THE
MICROPHONE.
PLUTO
Do it!
DOUG AND BOBBY FREEZE AT THE DOOR; LYNNE SPINS 'ROUND AND
LISTENS IN HORROR TO AN ALL-TOO-FAMILIAR VOICE, SCREAMING OUT
FROM THE DIRECTION OF THE FIRE.
VOICE (O.S.)
Ethellll!!!
VOICE (O.S.)
Ethel -- mother help meee!!!
BRENDA FINDS THE KNIFE BLADE INCHES FROM HER BLINKING EYES.
A THIN, FILTHY HAND CLAMPS OVER HER MOUTH BEFORE SHE CAN CRY
OUT. ABOVE HER IN THE TRAILER'S BUNK HER MOTHER LURCHES UP.
ETHEL
Bob
DOUG
Ethel, don't go out there!
(CONTINUED)
43.
CONTINUED:
THE HYSTERICAL WOMAN PULLS FREE AND RUNS OFF AFTER THE
SCREAMS. LYNNE AND BOBBY ALREADY ARE FAR OFF. DOUG DUCKS
INTO THE TRAILER.
DOUG
Brenda? Keep an eye on Shanti, okay?
LYNNE
(soundlessly)
Daddy...
(CONTINUED)
44.
CONTINUED:
DOUG
Good God, I'm sorry Bob, it's the only
way.
HE'S HEARD BRENDA MOAN. A HUGE BLOODY SMILE CRACKS HIS FACE.
WE SEE HIS TEETH ARE FILED TO POINTS. HE MOVES INTO THE
DARK.
(CONTINUED)
45.
CONTINUED:
HE GETS RIGHT UP AND SMASHES EVERYTHING IN SIGHT FOR AN
EXPLOSIVE TEN SECONDS, THEN GLARES AT MARS. MARS WATCHES
WITHOUT EXPRESSION. UNTIL SHANTI BEGINS CRYING FROM THE
NOISE. THEN HE TURNS TO HER SOUND OF DELICATE, MORTAL NEED
WITH A TERRIBLE SAW-TOOTHED LEER.
CUT TO THE FACE OF MARS, LOOKING DOWN ON HER, HIS EYES BRIGHT
AS TEETH.
MARS
Ba-bee fat. You all fat. 'juu - ceee!
THEY LAY HIM DOWN SOME DISTANCE FROM THE FIRE, COVER HIM WITH
COATS, AND SCRAPE THE FOAM FROM HIS BLACKENED FACE. HALF THE
FLESH FALLS AWAY WITH IT. INCREDIBLY, LIFE STILL FLICKERS IN
THE MAN. THE MOUTH, GAPED OPEN, MAKES NOISES AND A BLACK
TONGUE POKES OUT AS IF TO MOISTEN LIPS THAT NOW ARE ASH.
(CONTINUED)
46.
CONTINUED:
BOBBY
Gheillgh.
BOB
Wagh-ergh... Wagh... Rrr.
DOUG
Ethel, we'll need water. He wants water.
Would you get some?
LYNNE SEES HE'S TRYING TO SPARE THE WOMAN THE SIGHT OF HER
HUSBAND DYING SO GRUESOMELY. SHE STARES AT DOUG BLANKLY.
ETHEL
That's not Bob, that's not my Bob, is it?
DOUG
Of course not, Mom, it's someone else.
He needs water... please.
LYNNE
I'll go with you, Ma.
DOUG
Whiskey and blankets, too, Lynne.
LYNNE
Yes.
THE TWO WOMEN GO OFF. DOUG TURNS TO BOBBY, WHO HAS RETREATED
INTO AN UNEARTHLY SILENCE.
DOUG
You all right, Bobby?
DOUG
Give me your coat, would you? He's still
cold.
(CONTINUED)
47.
CONTINUED: (2)
BOBBY LOOKS AT DOUG AND LICKS HIS DRY LIPS. THE GUN WAVERS.
DOUG
Your coat.
BOBBY LOWERS THE GUN AND DROPS IT, TEARS OFF HIS COAT AND
GIVES IT TO DOUG. DOUG TAKES THE COAT TO THE BODY. HE STOPS
AND STUDIES IT A LONG MOMENT, THEN SINKS TO HIS KNEES AND
LAYS THE JACKET GENTLY OVER BIG BOB'S FACE.
DOUG
So long, Bob.
DOUG
That's not the answer.
BOBBY
You're not my father.
THE YOUNG MAN BACKS UP, LOOKING ONCE AT THE SMOKING CORPSE.
BOBBY
Neither is that. My father's still
alive.
HE TURNS AND WALKS INTO THE DARK, THE GUN HANGING AT THE END
OF HIS ARM LIKE A NEW PROSTHETIC.
PLUTO
Women's cuming!
MARS
(not looking up)
Send 'em in.
(CONTINUED)
48.
CONTINUED:
PLUTO TRIES TO PULL MARS AWAY. MARS SLASHES OUT WITH HIS
FREE ARM AND PLUTO FALLS HURT. HE STRUGGLES UP AND STAGGERS
FROM THE AREA, TOWARDS THE DOOR.
LYNNE
Hey!
SHE TAKES A STEP AFTER HIM, THEN HEARS SHANTI BEGIN TO CRY IN
EARNEST.
LYNNE
Shanti!
MARS
Get out the way.
LYNNE
(livid with rage.)
Where the fucking hell you think you're
going with my kid?
(CONTINUED)
49.
CONTINUED:
ETHEL
Get out of here, you nigger!
MARS LIFTS THE SCREAMING BABY AND THROWS HER ACROSS THE ROOM
TO PLUTO. THE YOUNG SAVAGE FIELDS HER WITH A TERRIBLE LAUGH
AND FLASHES OUT THE DOOR. MARS THROWS BRENDA OVER HIS
SHOULDER AND RUNS OUT OF THE TRAILER.
(CONTINUED)
50.
CONTINUED:
BRENDA ROLLS FACE UP AND HER HAND COMES UP CLAWING THE AIR.
IN SEVERAL SECONDS DOUG IS WITH HER.
DOUG
Shh, don't try to talk, honey,
everything's okay now --
DOUG
Stay with her.
DOUG
(roaring)
You bastards!
DOUG
See to your mother!
DOUG
Shannn-tiiiiiii!!!
(CONTINUED)
51.
CONTINUED:
THEY PASS INTO THE DARK ALONG A TRAIL. ONLY NOW CAN WE HEAR
DOUG'S CALLING FROM A GREAT DISTANCE, AND FROM THE OPPOSITE
DIRECTION.
DOUG
(distant O.S.)
Shannn-tiiiiii!!!
ETHEL
Daddy? Where's my Daddy? Daddy?
BRENDA, DEEP IN SHOCK AND PAIN, DRAGS HERSELF PAST THE TWO
AND SLUMPS BY HER SLAIN SISTER, TRYING TO SMOOTH THE WOMAN'S
BLOODY HAIR.
BOBBY
(curtly)
Brenda, get me some clean towels, then
see if you can find the first aid kit.
Brenda!
THE GIRL RESPONDS TO THE LAST SHOUT AND ALMOST SULLENLY MOVES
OFF ON THE ERRAND. BOBBY GOES BACK TO ATTENDING TO HIS
MOTHER, STRANGELY ANGRY AT BRENDA.
FROM OUTSIDE, OFF IN THE BUSH, WE CAN HEAR DOUG CALL AGAIN.
DOUG
(distant O.S.)
Shannn-tiiiiii!!!
PULL BACK AND UP UNTIL HE'S QUITE SMALL, UNTIL WE CAN SEE THE
LIGHTS OF THE TRAILER AND THE BONFIRE AND EVEN BEYOND, TO THE
BURNING TREE. THEY ALL RECEDE INTO THE DISTANCE, UNTIL THEIR
DISAPPEARANCE AGAINST THE BLACK ARC OF AN UNLIT PLANET MOVING
AMONG THE STARS.
52.
CLOSE SHOT ON HIS FACE. HIS LIPS PULL BACK OVER AWFUL TEETH,
AND A GASPING SOUND OF UNQUENCHABLE RAGE RUMBLES FROM HIS
VERY HEART.
CUTTING TO HIS P.O.V. WE SEE MARS AND PLUTO WITH THE INFANT
SHANTI, PLUS THE TABLECLOTH SACK OF LOOT. THEY'RE MOVING
THROUGH THE WOODS BELOW. "THE BEAST" MOVES OFF PARALLEL TO
THEM.
PLUTO
(quietly)
Pluto 'n Mars, 'proachin' home twenty.
Don't pop us.
SILENCE.
PLUTO
You got yer ears on, Mer'cry?
PLUTO
We at the ballpark on Big Mac. And we
got the goods, plus a bonus bacon,
straight from the Dirty Side.
PLUTO HOLDS THE INFANT UPSIDE DOWN BY ITS LEGS AND THRUSTS
THE MICROPHONE AGAINST ITS HEAD. SHANTI WAILS ANGRILY.
PLUTO PULLS HER AWAY AND GRINS INTO THE MIC.
(CONTINUED)
53.
CONTINUED:
PLUTO
10-4 on that, Merc'ry.
MERCURY
Ten-four, Pluto.
P.O.V. OF PLUTO AND MARS FAR FAR BELOW, DISAPPEARING INTO THE
TREES ON THE FAR SIDE OF THE CLEARING.
MARS
What?
PLUTO
Thought I heard somethin'. Rocks
fallin'.
MARS
Y'got rocks in yer head, asshole.
(CONTINUED)
54.
CONTINUED:
PLUTO (C/B)
Hello, home 20, you reading me?
MARS (C/B)
(singing loudly)
Oh, don't tell the priest our plight
Or he would call it sin
But we've been out in the woods all night
conjurin' summer in!
RUBY WAKES AT THIS, A BIG SMILE COMING OVER HER FACE. SHE
STUMBLES UP AND GOES TENTATIVELY TO THE HIDE FLAP THAT COVERS
THE ENTRANCE TO THE CAVE, REACHES GINGERLY INSIDE AND PICKS
UP THE HEADSET OF THE FIELD TELEPHONE LOCATED THERE. SHE
CRANKS THE GENERATOR.
RUBY
Pluto? You okay?
PLUTO (C/B)
Damn right! N' got a present for ya...
(static)
Baby...
(MORE)
(CONTINUED)
55.
CONTINUED:
PLUTO(cont'd)
(static)
... So heat up the pot!
PA PA
I cut yer head off, you don't move.
MA MA
She clean.
PA PA
(not hearing)
She touched radidio. Fuck it up.
MA MA
(insisting)
She clean, Jupe, no more bleed. Past
midnight.
RUBY
True, Pa Pa.
(CONTINUED)
56.
CONTINUED:
RUBY
Clean.
PA PA
Good thing.
RUBY
(quietly)
'S Pluto n' Mars...
PA PA
(curtly)
I got a nose.
HE MOVES OFF TO JOIN HIS SONS, WHO NOW BREAK FROM THE DARK
WOODS, DRAGGING THE SACK OF BOOTY, LIFTING THE WAILING INFANT
SHANTI HIGH OVER THEIR HEADS LIKE CHILDREN BACK FROM THEIR
FIRST HUNT MIGHT DISPLAY A RABBIT.
PA PA TURNS TO RUBY.
PA PA
Wake up 'Ranus, Sattern 'n Neptune.
PA PA
Hey, girl. Wake up 'Ranus, Sattern, 'n
Neptune. 'S time t' start th' fires.
RUBY GOES INTO THE CAVE. PA PA TURNS TO HIS SONS WHO NOW ARE
LAUGHING AND GIGGLING WITH THEIR SUCCESS AND EXCITEMENT. MA
MA TAKES SHANTI AS ONE MIGHT TAKE THE BACON. MARS SNIFFS THE
AIR MIGHTILY.
MARS
(appreciatively)
Somethin' smells gooood!
THE THREE MEN WALK OVER TO THE DARK MOUND OF THE KILLED PREY
PA PA ENTERED WITH. PA PA ROLLS IT FACE UP WITH HIS FOOT.
WE SEE IT'S BIG BOB. HE'S NAKED, AND HE'S BEEN GUTTED.
(CONTINUED)
57.
CONTINUED: (2)
PA PA
Pa Pa bring home the bacon.
DOUG
Bobby?
DOUG
You and that thing ought to get married.
DOUG
Hey. Bobby. It's alright.
BOBBY
(coldly)
You say that a lot. You find Shanti?
DOUG MOVES THE GUN TO ONE SIDE AND GOES INTO THE TRAILER.
BOBBY STAYS AT THE DOOR A LONG MOMENT, SCANNING THE DARKNESS
FOR ANYTHING SUSPICIOUS. THEN HE PULLS THE DOOR CLOSED AND
DOUBLE LOCKS IT.
(CONTINUED)
58.
CONTINUED:
A BLOODY CLOTH IS WOUND ROUND HER HEAD. HER EYES ARE OPEN.
SHE LOOKS AT DOUG AND MAKES A FEEBLE MOTION OF RECOGNITION.
ETHEL
(barely audible)
Such a mess.
DOUG
Shh, Mom.
ETHEL
Such a small space, a trailer... When
it's messy it's so messy. Daddy come
home?
DOUG
Not yet, buddy.
ETHEL
Where're the kids -- they in bed yet?
DOUG
Brenda's right below. Bobby's over in
the kitchen.
ETHEL
Drinking Coke, I bet. Lynne asleep.
DOUG
Yeah. Can I get you anything.
ETHEL
Another blanket, if you can find one,
please.
DOUG SPREADS ANOTHER BLANKET OVER THE WOMAN AND TAKES HER
HAND. IT'S PALE AS CHINA. SHE MOVES HER HEAD PAINFULLY TO
THE SIDE, SO SHE CAN LOOK AT HER SON-IN-LAW, AND SPEAKS IN A
VOICE SO FAINT WE MORE READ HER LIPS THAN HEAR HER.
ETHEL
Thank you.
A VERY LONG SHOT. THE FIRE SHOWS FROM A GREAT HEIGHT. PAN
TO OTHER FIRES, DOWN THE LINE OF CLIFFS. WE HEAR WHISTLES
AND HOOTS OF CELEBRATION ECHOING DOWN INTO THE DARK CANYONS.
BOBBY
They got most of our food, our C/B, extra
cartridges, compass, knives, the
hatchet... They cleaned us out.
(CONTINUED)
60.
CONTINUED:
BOBBY
(continuing)
They've killed two of us, maybe three,
plus our two dogs, run us into the ditch -
- they took your kid, for gosh sakes --
DOUG
(turning to him)
If you've something to say, why don't you
say it?
BOBBY
I don't understand what you're waiting
for.
DOUG
Daylight.
BOBBY
I think you're afraid.
DOUG
You're goddamn right, I'm afraid. So are
you, schmuck!
BOBBY
I'm not afraid of a bunch of... whatever
they are.
DOUG
My ass. You're scared shitless. You
haven't had that canon out of your hand
since I got back this afternoon -- what
do you expect me to do, go out and find
Shanti by radar?
BOBBY
You could try.
DOUG
Why don't you try to sleep?
BOBBY
I'm not sleepy.
(CONTINUED)
61.
CONTINUED: (2)
BOBBY
Who were they, anyway?
DOUG
I don't know.
BOBBY
They looked like some sort of motorcycle
gang, the glimpse I got. Hell's Angels,
maybe.
DOUG
I don't think so.
BOBBY
Why not?
DOUG
No motorcycles.
BOBBY
Maybe Indians. Or escaped convicts. Or
mental patients, or part of a Hippy
killer clan, or mutants -- this is a test
range, you know. They could be some sort
of mutants.
BOBBY COCKS THE PISTOL, AND DOUG TURNS OUT THE LIGHT.
SOMETHING SCRATCHES AGAINST THE DOOR. BOBBY FIRES TWO SHOTS
THROUGH IT BEFORE DOUG CAN GRAB HIS HAND.
DOUG
Jesus, Bobby -- take it easy!
C/B (O.S.)
Hey, Neptune, you get Ruby t'night? haw!
(static answer)
(CONTINUED)
62.
CONTINUED: (3)
DOUG
Hello?
DOUG
Beast?
THE "BEAST" COMES WAG-TAILING INTO THE LIGHT FROM BEHIND SOME
BUSHES. HE SEEMS AFRAID HE'S GOING TO BE SHOT, BUT DOUG'S
OPEN HAPPINESS AT SEEING THE DOG REASSURES HIM, AND HE'S SOON
HAPPILY BARKING AND PRANCING AROUND DOUG, JUMPING UP ON HIM
AND BOBBY, LICKING FACES AND GENERALLY CELEBRATING THEIR
REUNION.
DOUG HEFTS THE RADIO, SEEING THAT IT'S BEEN BROUGHT TO HIM BY
"THE BEAST."
DOUG
(to "The Beast")
You bring this?
DOUG
Well, by God, we may not know who they
are, but now we can know what they're
saying to each other -- and I've got a
feeling "The Beast" can take me to
Shanti.
CUT TO THE TREE HAVING ITS BRANCHES AXED OFF BY SHOUTING AND
LAUGHING YOUNG SAVAGES, BOTH MALE AND FEMALE. WE RECOGNIZE
ONE OF THE AXES AS THE ONE STOLEN FROM THE TRAILER BY PLUTO.
85 INT. A CAVE 85
RUBY SITS CURLED UP WITH SHANTI, STRANGELY CONTENT FOR THE
FIRST TIME IN HER LIFE. THE BABY HAS AN ALMOST MAGIC EFFECT
ON HER, RADIATING AT ONCE A KIND OF PEACE AND A PURE ENERGY
THAT MAKES HER FEEL GOOD AND POWERFUL AND EXCITED.
RUBY
Don't.
PLUTO
You goin' soft.
RUBY
Ain't.
PLUTO MAKES TO STRIKE THE INFANT A BLOW WITH THE STAFF HE'S
CARRYING. RUBY THROWS HERSELF PROTECTIVELY OVER SHANTI.
WHEN NO BLOW FALLS SHE LOOKS UP AT PLUTO, ANGRY AT BEING
CAUGHT SO EASILY.
PLUTO
Y'are.
RUBY
(sullenly)
Go away.
(CONTINUED)
64.
CONTINUED:
ALL UP ITS LENGTH ARE STRANGE AND COLORFUL DECORATIONS:
COLORED BUNTING MADE FROM STAINED BANDAGING, BRANCHES OF
FLOWERING WILDWOOD, AND AT THE VERY TOP, WE SEE AS WE ZOOM IN
CLOSE, THE DARK, CHARRED HEAD OF BIG BOB, FACE FROZEN IN A
TERRIBLE GRIMACE OF OUTRAGE.
THE YOUNG SAVAGE SMELLS THE BUSH WHERE "THE BEAST" PISSED HIS
SIGNATURE, CURSES, PULLS OUT HIS KNIFE AND CUTS THE BUSH AWAY
FROM ITS ROOTS, SAVAGELY FLINGING IT OVER THE EDGE OF THE
CLIFF.
THEY PAUSE AT THE FOOT OF THE TREE. FLIES SWARM UP FROM THE
ENTRAILS OF BIG BOB. THE BODY OF COURSE IS GONE.
BOBBY
I don't believe this...
(CONTINUED)
65.
CONTINUED:
DOUG
They must have come back and taken him in
the night.
BOBBY
Why would they want his body? This is
crazy!
DOUG
Recognize the key?
BOBBY
(ignoring)
Do you think we might have gotten
ourselves into the middle of some kind of
Army maneuvers? I mean, maybe they're
some kind of Special Forces gone nuts,
maybe they don't realize who we are.
DOUG
(sardonically)
Oh? Who are we?
BOBBY
(with frightened logic)
Americans. Civilians, for gosh sakes!
They aren't supposed to go around burning
and raping and kidnapping us, just
because we try to sneak into California
without a pass!
DOUG HAS NO ANSWER FOR THAT. THEY HAVE REACHED THE TRAILER,
WHICH IS GUARDED BY "THE BEAST." ONLY A FEW STEPS FROM THE
DOOR OF THE TRAILER ARE TWO GRAVES SCOOPED OUT OF THE SANE.
NEXT TO ONE, WRAPPED IN A SHEET, IS THE CORPSE OF LYNNE.
DOUG GOES TO HER.
(CONTINUED)
66.
CONTINUED: (2)
DOUG
(to Bobby)
Give us some help, would you?
BOBBY HELPS DOUG LOWER LYNNE INTO THE GRAVE. DOUG OPENS THE
SHEET TO TAKE HIS FINAL LOOK. LYNNE'S FACE IS DARK RED, AND
TWISTED IN A SNARL OF PAIN. EVEN HER EYES, DULL AND WHITE,
REMAIN OPEN. DOUG IS CLEARLY SHAKEN. WITH GREAT EFFORT HE
STEADIES HIS HAND ENOUGH TO CLOSE HER EYES. THEN HE WRAPS
HER FROM THE LIGHT IN THE SHEET. HIS FACE IS ASHEN.
BOBBY KNEELS AND BEGINS HELPING PUSH THE EARTH INTO THE HOLE.
DOUG
Ready, old boy?
"THE BEAST" WAGS HIS TAIL AND WHINES ONCE. DOUG STANDS UP
AND BRUSHES OFF HIS TROUSERS. THE "BEAST" IS IMMEDIATELY ON
HIS FEET, RUSHING AROUND, PANTING AND WHUFFING, EAGER TO GET
GOING. HE SMELLS THE HUNT. DOUG TURNS TO BOBBY.
DOUG
I'm going after Shanti. The Beast'll get
me there, after that I'll send him back.
BOBBY
Are you serious? Follow that clown?
He'll lead you down every gopher hole in
the state before he'll take you to
Shanti. And what about me? You're
leaving me with a dying woman, a freaked
out kid sister -- what if they come back?
(CONTINUED)
67.
CONTINUED: (3)
DOUG
If they come back you'll have your hands
full, no sense kidding ourselves. But
you should have plenty of warning. The
way they've been talking on the C/B
through the night, it's clear they don't
know we have one of their units.
I've set our C/B to the same channel, 38.
Every half hour or so you should call for
help on the military channels -- the ones
they're not using.
BOBBY
What makes you think there's anybody
except these guys around?
DOUG
Look, there's no way the people who hit
us are Army, yet they have Army
equipment. And it's battery operated, so
they can't have had it too long.
BOBBY
So you're saying they stole it or
something.
DOUG
Or found it, or something. I'll stay in
touch with you every fifteen minutes on
the quarter hour. The rest of the time
I'll be monitoring their channel. If I
find out anything you should know, I'll
pass it right along. How many rounds do
you have?
BOBBY
Nine. Six in the gun, three I found on
the floor. I think they've got Dad's
gun, and the extra ammunition. Plus most
of the useful tools, almost all the food -
- I think we have some bullion cubes, a
can of shark fin soup hat Lynne bought in
Denver. Even they wouldn't eat that.
THE TWO MEN LAUGH FOR THE FIRST TIME IN A LONG WHILE, THEN
SHAKE HANDS.
(CONTINUED)
68.
CONTINUED: (4)
DOUG
If they come for the trailer, I'd suggest
you head up into the rocks; you're
sitting ducks in this damn thing.
BOBBY
And what if I contact the Army or Air
Force of whoever the heck it is owns this
corner of hell?
DOUG
(over his shoulder)
Tell them to get us the hell out of here,
what do you think?
BOBBY
That's not what I meant. I mean how do I
tell them where to find us?
DOUG
Burn a tire.
BOBBY
What?
DOUG
(half joking)
Set the spare tire on fire. It'll make a
lot of black smoke. They should be able
to see it from a plane or copter. And
tell them about the blue line on the map.
BOBBY
The map ain't the territory.
BOBBY TURNS BACK TO THE TRAILER. BRENDA STANDS NOT TEN FEET
AWAY, WATCHING HIM.
(CONTINUED)
69.
CONTINUED: (5)
BOBBY
I thought you were injured, or something.
BRENDA
Where are Doug and the Beast going?
BOBBY
(heading to car)
Doug thinks he can just go find those two
guys and get them to give Shanti back.
BRENDA
(following Bobby.)
There's more than two. I heard all those
voices on the radio.
BOBBY OPENS THE DRIVER'S DOOR OF THE STATION WAGON AND PULLS
THE HOOD RELEASE, THEN GOES TO THE FRONT OF THE CAR. HIS
ATTITUDE TOWARDS BRENDA IS COOL, ALOOF, ANGRY.
BOBBY
Thought you were faking all that 'being
in shock' stuff.
HE YANKS OPEN THE HOOD AND REMOVES THE RADIATOR CAP, IGNORING
HIS SISTER'S LOOK OF ICY FURY. HE PLACES A PAN BENEATH THE
RADIATOR, UNDER THE CAR, AND OPENS THE PETCOCK. WATER BEGINS
DRAINING INTO THE PAN. BOBBY COMES OUT FROM UNDER THE FRONT
BUMPER AND LOOKS OFF, AWAY FROM BRENDA'S LOOK.
BRENDA
(growing hotter)
You really are a disgusting human being.
BOBBY
I wouldn't talk, if I were you. Mother's
waiting, incidentally.
BRENDA
(livid)
What do you think, I enjoyed it or
something?
(grabbing him)
You think when it really got down to it,
I...
(mockingly)
... found my pain turning to pleasure?
You creep, you rotten son-of-a-bitch
shit, you'd like it better if he'd killed
me, too? Huh!?
(CONTINUED)
70.
CONTINUED: (6)
BOBBY
(screaming)
Why didn't he!!?
(then, with regained
control)
Why didn't he?
THE MEN WHIRL AND WHIRL, PULLING OUT KNIVES AND SLASHING
THEMSELVES ON THE ARMS AND LEGS, AND NOW WE BECOME AWARE OF
THE TENT OF MA MA, A HUGE RED CANVAS AFFAIR ADORNED WITH CORN
STALKS AND HUMAN SKULLS. OVER ITS ENTRANCE IS A SORT OF
PSYCHOTIC'S SHRINE, WITH A WHICKERING BLOOD-RED ALTAR CANDLE
LIGHTING A CRUDELY FRAMED ICON OF MA MA -- A WANTED POSTER
FROM SOME BURNED OUT POST OFFICE. **WANTED FOR ARSON,
INFANTICIDE, CONSPIRACY -- DIANA JONES** IN AN EARTHEN BOWL
BEFORE THIS IS THE OFFERING, SOMETHING PINK AND HAIRY AND
BLOODY, SWARMING WITH FLIES. THE MEN ARE BEGINNING THE PART
OF THE CEREMONY WHERE THEY TAKE TURNS DANCING IN FRONT OF
THIS, LETTING THEIR OWN BLOOD DRIP ONTO IT, THEN SPINNING OFF
TO MAKE ROOM FOR THE NEXT.
(CONTINUED)
71.
CONTINUED:
THE GIRL MOVES UNTIL THE CHILD ENTERS THE COLUMN OF LIGHT.
AMONG THIS SEA OF DARK ASH-SMEARED BODIES, DARK COSTUMES AND
DARK SMOKE, THE NAKED BODY OF THE INFANT GIRL IS
ASTONISHINGLY WHITE AND VULNERABLE.
NEPTUNE
(on C/B)
Hey, Home 40, I'm cumin' in.
PA PA
(on C/B)
Who that?
NEPTUNE
(on C/B)
Neptune. Pa Pa?
PA PA
(on C/B)
Yeah, this's Pa Pa. You s'posed t'be on
lookout. I kick your ass if I see you
here.
(CONTINUED)
72.
CONTINUED:
NEPTUNE
(on C/B)
Pa Pa, Merc'ry's dead. I'm bringin' him
in.
PA PA
(on C/B, disbelieving)
What you say? I couldn't hear you
straight. Sounded like...
NEPTUNE
(on C/B)
I say Merc'ry's dead. When I got to the
look cut post he was gone. I found him
at bottom of th' cliff. He got pushed.
PA PA
(on C/B)
Who pushed him?
NEPTUNE
(on C/B)
A dog. A big dog. There's tracks.
DOUG
(quietly)
Shake.
"THE BEAST" LIFTS HIS RIGHT FRONT PAW. THE MAN AND DOG SHAKE
HANDS.
PA PA
To hell with Merc'ry. Get back on guard.
An' call me the second you see anything
funny.
NEPTUNE
(on C/B)
I ain't got no radidio, Pa Pa. I'm
callin' from the inner picket.
(CONTINUED)
73.
CONTINUED:
PA PA
Merc'ry's radidio broke?
NEPTUNE
(on C/B)
Couldn't find it no where...
PA PA
I'm comin' out. Stay there, an' don't
transmit no more unless it's bandits, you
10-four that, Neptune?
NEPTUNE
(on C/B)
Eighty-eights and ten, Roger an' out.
DOUG
Well, Beast, the fan is about to hit the
shit.
(CONTINUED)
74.
CONTINUED:
MARS SEES THIS HAPPENING AND COMES OVER, FULL OF TREPIDATION,
BUT SHOWING HE'S NEXT IN COMMAND. PA PA'S GESTURES INDICATE
THE RELAYING OF NEPTUNE'S NEWS, THAT PLUTO IS TO COME WITH PA
PA (ALONG WITH SEVERAL OTHERS), AND THAT MARS IS TO TAKE
CHARGE. MARS' GESTURES INDICATE HE SUGGESTS TELLING MA MA.
THIS IS IMMEDIATELY DISMISSED BY PA PA. WE SEE MA MA BEING
RUBBED WITH WARM FAT BY SEVERAL YOUNG FEMALE ACOLYTES.
OTHERS ARE BRINGING HER MORE CHEVAS REGAL. IT'S CLEAR SHE
SHOULDN'T BE DISTURBED. PA PA AND PLUTO GATHER A SMALL
STRIKE GROUP AND DISAPPEAR OUT OF THE TENT, BRISTLING WITH
SPEARS AND SHIELDS.
DOUG
(quietly)
Bobby...? Bobby, you read me?
BOBBY
(B/G)
Mayday, Mayday, this is a breaker one-
niner for KUY-9532 -- does anybody read
this transmission? We need military or
police aid -- Mayday, Mayday.
BOBBY
Brenda, will you keep still?
(CONTINUED)
75.
CONTINUED:
BOBBY JUMPS UP AND COUNTERATTACKS, CHARGING THROUGH A HAIL OF
PROJECTILES UNTIL HE CAN GET HIS HANDS ON HER. HE PINS
BRENDA, WHO IS STILL GASPING AND SOBBING, AGAINST A WALL.
BOBBY
What're you trying to do, anyway, creep.
Give Mom a heart attack?
BRENDA JUST FIXES HIM WITH AN AWFUL LOOK. BOBBY LOOKS AT HER
IN CONFUSION, THEN AT THE BED WHERE THE UTTERLY STILL WOMAN
LIES.
BOBBY
Oh, no.
DOUG
Bobby? Come in, dammit.
FROM DOUG'S P.O.V. WE SEE PA PA, PLUTO, AND THE FIVE OR SIX
OTHER SAVAGES WITH THEM CLIMB DOWN FROM THE GUARD STATION,
CONFER ONCE MORE, THEN HEAD IN THE DIRECTION OF THE TRAILER,
AND BOBBY, BRENDA AND ETHEL. DOUG DESPERATELY TRIES CALLING
BOBBY AGAIN.
DOUG
Bobby, do you read me -- they're coming
your way, boy -- put your ears on!
BOBBY
Hello, Police, Army -- this is KUY-9532
calling Mayday, Mayday, we have been
attacked by, well, damn, we've been
attacked and need help.
(CONTINUED)
76.
CONTINUED:
MILITARY VOICE
Hello, KUY -- we have you loud and clear.
This is Sgt. Alcort, U.S. Army
intelligence. Please state your position
and status of casualties. Over.
BOBBY
Thank God! Hello, listen, they've killed
two -- three of us, kidnapped a baby --
we're in desperate need of protection --
uh, but I don't really know where we are.
We were on Route 93, about a day past
Corn Creek, but we got lost -- I think
we're somewhere on one of your bomb
ranges... I guess.
MILITARY VOICE
The Ellis Range?
BOBBY
Uh, yeah, I guess so. We really don't
know...
MILITARY VOICE
Hold on.
BRENDA
Somehow, he didn't sound too happy when
he heard where we were.
MILITARY VOICE
We are checking with Staff as to
procedure. We recommend you make some
sort of signal, meanwhile; do you have
that capability?
BOBBY
Sure! We'll burn a tire -- make smoke,
okay!?
(CONTINUED)
77.
CONTINUED: (2)
MILITARY VOICE
Very good. We will put search aircraft
into the air and be back to too. Stay on
this channel.
BOBBY
Right! Ten four!
BOBBY
(cont'd)
Don't touch it!
JUMP CUT TO HIM PULLING OFF THE TIRE OF THE REAR LEFT. FROM
THE CRASH IT IS NEARLY OFF THE RIM ALREADY, AND FLAT. THIS
LEAVES THE REAR WHEEL RIM STILL ON THE CAR, BUT THE TIRE
FREE. BOBBY ROLLS THE TIRE OFF A WAYS AND DROPS IT ON THE
SAND. FROM THE BACK OF THE STATION WAGON HE TAKES A SPARE 5
GAL. CAN OF GAS AND POURS IT OVER THE TIRE.
DOUG
(replay: O.S.)
I'll stay in touch with you every fifteen
minutes on the quarter hour. If I find
out anything you should know, I'll pass
it right along.
DOUG
(on C/B)
Bobby, hello Bobby -- do you read me,
over?
(CONTINUED)
78.
CONTINUED:
BRENDA
Doug! It's me, Brenda! Doug, the Army,
we've got a hold of the Army!
DOUG
(on C/B)
What? Are they there!?
BRENDA
N-no, they don't know where to find us --
but they've told us to make a signal --
Bobby's out setting a tire on fire, like
you told him.
DOUG
(on C/B)
Listen, Brenda, they're coming.
BRENDA
They Army?
DOUG
(on C/B)
No. The savages. The ones who've taken
us on.
BRENDA
(instantly terrified.)
H-how many?
DOUG
(on C/B)
A lot. Nine or ten. You'll have to get
out of there and hide -- you've got time -
- can Mom travel?
BRENDA
She's dead.
DOUG
Do you want me to come back?
BRENDA
No. You get Shanti. We'll take care of
these turkeys.
DOUG
Okay, killer, go get that bastard!
BOBBY
How long did he say it'd be before they
got here?
BRENDA
Ten or fifteen minutes, he guesses. He's
sending "the Beast" back...
BOBBY
Big deal. A lot of good that clown'll do
us -- hey, where you going?
BRENDA HAS RUSHED OFF, AND NOW RETURNS WITH THE ROLL OF
TELEPHONE WIRE (NOTE: THIS WILL BE ESTABLISHED EARLY IN THE
SCRIPT, ALTHOUGH NOW IT IS NOT. IT WILL BE PART OF A DUMP OF
ARMY JUNK)
SHE TIES ONE END OF THE WIRE LOOSELY AROUND THE REAR BUMPER
OF THE CAR AND QUICKLY GOES OFF, ROLLING OUT THE WIRE AS SHE
GOES OFF INTO THE DESERT.
SAVAGE
That for Pa Pa.
(CONTINUED)
81.
CONTINUED:
MARS
(wheeling)
I Pa Pa, now.
A LOYAL SAVAGE RUSHES MARS. MARS LAYS THE MAN DOWN WITH A
TERRIBLE SWIPE OF HIS KNIFE. ALL THE OTHERS FALL BACK. MARS
GOES INTO THE RED TENT. A TERRIBLE CRY FROM MA MA HURTLES
OUT, THEN A BIG WHUFF, AND WE CUT INSIDE.
107 INT. INSIDE THE RED TENT -- RED LIGHT -- DAY 107
MARS ATTACKS MA MA WITH A TREMENDOUSLY AGGRESSIVE SEXUALITY,
AND SHE STRUGGLES WITH DEMONIC FURY AGAINST HIM, AND YET, WE
HAVE THE FEELING THAT THIS IS RITUAL, TOO, AND THAT MARS IS
ALLOWED THE POSSIBILITY OF COMING OUT OF THIS WITH MUCH
GREATER STATUS THAN HE'S HAD BEFORE, ALTHOUGH AT RISK OF HIS
LIFE IF HE FAILS.
BOBBY (C/B)
Doug -- the Army says they see my signal -
- they're on their way --
(CONTINUED)
82.
CONTINUED:
BRENDA (C/B)
(interrupting B/G)
That's the wrong channel -- get off it!
BOBBY (C/B)
Wha -- oh
(snap)
PA PA
We get them first.
HE SIGNALS, TURNS FROM PLUTO, AND THEY ALL DISAPPEAR OFF INTO
THE DESERT TOWARDS THE TRAILER.
PLUTO
(under breath)
Fuckin' devil dog.
PLUTO
(enraged)
You sonuvabitch! You piece of shit! I
killed you buddy, I kill you! I eat your
heart, piss dog! Puke eater! I strangle
you with you own guts!
(CONTINUED)
83.
CONTINUED: (2)
"THE BEAST" SMELLS IT, LOWERS HIS MASSIVE HEAD AND
LUXURIOUSLY LAPS UP THE BLOOD, TASTING, SMACKING HIS LIPS
WITH HIS GREAT TONGUE. PLUTO HAS STOPPED AND TURNED, SEEN
THIS.
BRENDA HAS PULLED THE TELEPHONE WIRE ALL THE WAY OUT HERE,
AND NOW IS MAKING A HUGE LOOP OF IT, MUCH LIKE A LASSO, BUT
VERY LARGE, PERHAPS TWENTY OR THIRTY FEET ACROSS. THIS LOOP
IS PLACED IN THE SAND AT ITS FARTHER ARC, AND COVERED. BUT
ALONG ITS SIDES ITS LOOPS LOW THROUGH THE LIGHT BRUSH,
PERHAPS SIX INCHES OFF THE SAND. THE ENTIRE LOOP IS LOCATED
AT A NATURAL FUNNEL FOR THE TRAIL WHERE ALL THE FOOTPRINTS,
BOTH OF SAVAGES AND OF DOUG AND "THE BEAST" RUN OUT TOWARDS
THE CAMP OF THE SAVAGES.
BOBBY ARRIVES OVER THE CREST WITH THE CORPSE OF THEIR MOTHER.
HE LOWERS HER DOWN, COLLAPSING IN TEMPORARY EXHAUSTION.
BRENDA TAKES THE CAMP CHAIR AND SETS IT UP IN THE CENTER OF
THE LOOP. SHE TURNS TO BOBBY, HER FACE CONTORTED.
BRENDA
It's too awful. I can't.
BOBBY
It's the only way. Com'on.
TOGETHER THEY LIFT THEIR MOTHER TO THE CHAIR AND SIT HER IN
IT, SO THAT THE WOMAN IS STARING BLANKLY TOWARDS THE TRAIL
AHEAD OF HER.
BOBBY
Stay here until you see them. I'll fix
the trailer.
84.
BOBBY CLOSES THE WINDOW, BANGING A NOTCH FOR THE CORD WITH A
ROCK. THE WINDOW CLOSES TIGHTLY.
BOBBY
Doug, do you read me? Do you READ ME!
BOBBY
Hello, Army. Where the hell are you
guys?
ARMY OFFICER
We're on our way, son! Hold on!
BOBBY
(desperate)
Well how long, for God's sakes!
ARMY OFFICER
Just a little while.
BRENDA
They're coming!
ARMY OFFICER
Hello KUY-9532. We are in your sector.
We are awaiting final instructions.
BOBBY
What kind of final orders -- listen,
these bastards are coming for us!
OFFICER
Hello, Zeus, what are our orders?
H.Q. (RADIO)
Syncpak central computer says Red Light.
No interference allowed. Do you read
that? No interference.
OFFICER
Jesus. Roger, H.Q. Do we get out of
here?
H.Q. (RADIO)
You are to remain and observe for full
scenario report.
OFFICER
Roger. Over and out.
(CONTINUED)
86.
CONTINUED:
TO THE SURPRISE OF ALL OF US, DOUG BEATS THE LIVING SHIT OUT
OF MARS, IN THE COURSE OF A TWO OR THREE MINUTE BATTLE OF
SHOCKING FEROCITY.
THE SAVAGES BACK OFF, TURN, AND DISAPPEAR INTO THE DESERT.
DOUG COLLAPSES.
BRENDA
Start the bastard.
(CONTINUED)
87.
CONTINUED:
THEY THROW HER INTO THE BUSHES, THEN TAKE TURNS SITTING ON
THE CHAIR. SOON THEY ALL ARE CROWDED AROUND. EXCEPT FOR PA
PA.
BRENDA
Now!
CUT TO BOBBY PUTTING THE CAR IN GEAR AND GUNNING IT. CUT TO
THE REAR WHEEL OF THE CAR AS IT BLURS INTO FULL SPEED,
REELING IN TELEPHONE WIRE AT A TREMENDOUS RATE.
WHEN THEY GET TO THE DOOR BOBBY OPENS IT VERY CAREFULLY AND
GIVES BRENDA A LOOK THAT SAYS "THIS HAS TO BE DONE JUST
RIGHT."
BOBBY
Hold your breath and don't breathe!
THEY GO IN.
(CONTINUED)
88.
CONTINUED:
HE MOTIONS FOR HER TO REMAIN HIDDEN BY THE TRAILER'S SIDE.
THEN HE TAKES A BIG BREATH OF FRESH AIR AND GOES BACK INSIDE.
HE RUNS TO THE FRONT DOOR OF THE TRAILER AND GETS DOWN ON HIS
HANDS AND KNEES. WE SEE HE HAS A STRIP OF THE ABRASIVE
MATERIAL USUALLY FOUND ON THE SIDE OF KITCHEN MATCH BOXES
ALREADY TAPED TO THE FLOOR RIGHT BY THE BOTTOM OF THE DOOR.
IN TWO SECONDS BOBBY TAPES A MATCH, THE WOODEN KITCHEN KIND,
TO THE BOTTOM OF THE DOOR, HEAD DOWN, RESTING AGAINST THE
ABRASIVE STRIP.
NOTE
"Hold your ears, Turkey."
(CONTINUED)
89.
CONTINUED:
HE PARTS THE BUSH. A RABBIT SCRAMBLES OUT. THE NEXT SECOND
"THE BEAST" SLAMS INTO PLUTO FROM BEHIND.
THE TWO ROLL INTO THE WASH. THERE'S A MOMENT WHEN IT LOOKS
LIKE PLUTO MIGHT HAVE A CHANCE, BUT THE BEAST HAS HIM BY THE
THROAT. TWO MIGHTY SHAKES, ANOTHER, AND THE SAVAGE IS DEAD.
129 EXT. THE HOLE WHERE THE TRAILER USED TO BE -- DAY 129
DOUG AND RUBY AND SHANTI WALK IN TO THE CLEARING, DOUG
SUPPORTED BY RUBY. THERE'S JUST A SMOKING HOLE AND TWISTED
STEEL WHERE THE TRAILER USED TO BE.
BRENDA AND BOBBY COME FROM ACROSS THE ROAD, AND "THE BEAST"
BOUNDS YIPPING AND PRANCING FROM THE SCRUB, AND THEY ALL
EMBRACE AND KISS AND LICK. THEN BOBBY SEES RUBY.
BOBBY
What's that?
DOUG
She saved Shanti. She's one of us. And
we're one of her. Okay?
BOBBY
Okay.
THE ARMY HELICOPTER BEARS DOWN ON THEM FROM THE STEAMING SKY.
IT LOWERS OVER THEM LIKE A GIANT INSECT. THE TREMENDOUS
DOWNDRAFT FROM ITS ROTORS SENDS UP A DUST STORM THAT FORCES
ALL OF OUR PROTAGONISTS TO COVER THEIR EYES AND LOOK AWAY.