'

1
 R I P P E D T 0 S H R E D S

an original screenplay by Michael W. Johnson

Second Draft
October 1980

Registered W.G.A.
# 236938
 RIPPED TO SHREDS -1-
FADE IN
1 EXT. LONELY MOUNTAIN ROAD- NIGHT 1

It's very late and all is still. The road is dark with
occasional patches of light from the streetlamps that
ar~ few and very far between. Only the sound of droning
crickets can be heard.
2 N EW AN GLE 2

From the darkness, the very faint sound of a car engine

can be heard. As is grows nearer, the sound of tires
squealling accompany the increasing hum of the engine.
From around a corner a set of HEADLAIGHTS appear, piercing
the darkness. They list to and fro as the CAR recklessly
swerves into each sharp turn in the road. The CAR seems
to be driving far too fast for the winding road but makes
no attempt to slow down at any time.

3 ANGLE ON AUTOMOBILE 3

It is a ]963 Plymouth, a huge tank of a car with broad rear

fins and a two tone paint job. It is showroom new.
4
4 IN T. PLYMOUTH
REBECCA LANGE is behind the wheel. She is in her mid-
teens and her attire is early sixties-- pullover sweater,
broad skirt and a scarf around her neck. She looks absol-
utely terrified as she drives, knowing for a fact she is
stretching her driving capabilities to the limit by speed-
ing down this trecherous road.
She is a plain girl but not unattractive. Shyness and in-
security is clearly written all over her.
By sharp contrast, her driving companions are anything bu~
shy and insecure. ALICE BEDDOES and KATIE DAYTON are having
a ball. Both are pretty girls with a little too.much make
up on. They are the same age as RE~ECCA but unlike her are
thoroughly enjoying the dangerous ride.

ALICE
(screaming)
c'mon Rebecca, we're barely
moving! Make this thing go
faster, huh!

CONTINUED
 CONTINUED - 2-
4 REBECCA
(timidly)
I'm afraid to go any faster!

KATIE
Oh for crying out loud-- my
mother drives this road fast-
er than you. Don'.t be such a
coward!
Not wanting to embarrass herself in front of her friends,
REBECCA gi ves the car a little more gas, making it even
hard e r to control around the curves. The tires squeal dan-
gerously louder.

REBECCA
This is as fast as I'm going.

ALICE
Jesus Rebecca, you gotta be
a little more reckless • Guys
go for that sorta thing ••.

KATIE
We ' re only trying to help you.
We know you want Tommy Conners
to ask you out--

REBECCA
I do not!

KATIE
You do too. Everybody's seen
the way you stare at him in
school, so me and Alice are
going to help you get him.

KATIE darts a knowing glance to her friend ALICE and they both
hide their snickers.

ALICE
First thing we gotta do is
change your image •••

ALICE reaches into her purse and pulls out a pint of Bourbon.
She unscrews the top and takes a swig then hands it to KATIE
who does the same. KATIE then holds it to REBECCA'S mouth.

CONTINUED
CONTINUED -3-

4 ALICE 4
Here, drink ..•
REBECCA doesn't want to but can see the only way out
is to just go along with them and drink. She awkwardly
leans towards the bottle and spills it as she tries to
drink. It runs down her chin and neck.

ALICE
There you go! Now you're one
of us!

REBECCA has never had Bourbon before and gags. She wipes her
face as KATIE and ALICE both have another long pull on
the bottle.
KATIE
You're slowing down, Rebecca!

REBECCA
I can't help it. The road's
getting worse. I just got this
car and I don't want to wreck
it.

ALICE
I wish illY. parents would buy
me a car for graduation.

KATIE
Well I don't think they're
going to buy you one for get-
ting kicked outta school.

ALICE
Shut up Katie-- you're no gen-
ius yourself.
{turns to Rebecca)
So did you dance with anyone
tonight?

REBECCA
I almost did .••

CONTINUED
 -4-
4 CONTINUED 4

KATIE
That's depressing Rebecca. You
shoulda joined up with us sooner.
We coulda fixed you up with some-
one tonight.

REBECCA
Who were those two guys you were
with? I've never seen them at school
before.

ALICE
(annoyed by her
ignorance)
They don't go to our school. They
crashed the dance. That's why Mr.
McElroy chased them off. That's why
you're driving us home.

REBECCA
Oh.

llTIB
You're slowing down agian ...

UTIE is sitting closest to REBECCA. She winks at ALICE then

proceeds to reach over with her foot and steps on the accel-
erator, forcing it to the floor. ALICE leans over and grabs
the steering wheel.

UTIE
C'mon Rebecca, if you're not
going to drive this thing right,
then we will--

The CAR speeds up and careens dangerously around the turns.

REBECCA can't stop the two GIRLS and is absolutely terrified.
ALICE and UTIE laugh and scream wildly as they narrowly miss
the embankment fence while the CAR weaves across both lanes.
REBECCA's eyes widen with horror as she sees around the turn
a MAN walking along the shoulder of the road.
 -5-
5 EXT. ANGLE ON MAN 5

The lone MAN turns at the sound of the squealling tires

and jumps clear of the out of control car, falling to
the ground.
6 INT. CAR 6

REBECCA lets out a scream and the other two girls

stop joking around. She slams on the brakes and brings
the car to a bumpy stop, pulling off the road.

REBECCA
Did you see him?

ALICE
We didn't hit him, did we?

REBECCA
I don't know. We'd better go
and look.

ALICE and KATIE have momentarily sobered up at this

new development. The three girls rather reluctantly
open the car doors and get out to take a look.
7 ANGLE ON MAN 7

He gets to his feet, brushing the dirt off his pants.

It is dark and the man's features are virtually un-
discernable. His clothes seem ill fitting, giving
the impression that he could be a transcient.
ALICE and KATIE follow behind REBECCA who leads the
way. The three cautiously approach the MAN .

REBECCA
(meekly)
Are-- are you all right sir?

MAN
(angrily)
What's the matter with you!
You almost goddamn killed
me!

REBECCA
We didn't see you. It was
dark.

CONTINUED
 -6-
7
7 CONTINUED
The MAN does nt say anything but continues to brush
1

himself off as though it really mattered that his

ragged clothes were dirty.
8
8 ON KATIE AND ALICE
KATIE gives her friend a nudge in the ribs. ALICE
sees KATIE'S mischevious look.

KATIE
(to man)
You need a lift?

MAN
No. Leave me alone.

ALICE
C mon. It's the least we can
1

do after nearly running you

over. You're in the middle of
nowhere-- we can drive you in-
to town.

9 WIDER ANGLE 9

The MAN remains silent. REBECCA looks worried but

KATIE and ALICE run past her and grab the stranger
by each arm and begin walking him towards the car.
He struggles to loosen from their grip but continues
along with them.

KATIE
See? This is your lucky day
and you didn't even know it.
How many guys have women beg-
ging to give them a ride? ·

ALICE
And we wouldn't do this for
just anybody •.•

They reach the car and open the backseat door and climb
in with the MAN, leaving REBECCA up front alone.

ALICE
I'm Alice, that's Katie and .
that's Rebecca . ••
~cr: 5

-7-
10
10 INT. CAR
REBECCA starts the engine and maneuvers the car back
onto the road, only this time keeping her speed way
down. The STRANGER sits silently in the back, flanked
by ALICE and KATIE on either side of him.

KATIE
You got a name?

He doesn't want to talk. The two girls are somewhat

intrigued by his odd behavior.

ALICE
I think he's mad at us.

KATIE
Aw, don't be mad at us. We're
really very nice people once
you get to know us. C'mon,
tell us your name.

Still no reply. His grim stonelike expression can be

seen briefly whenever the car passes under a street-
lamp. He has a cold emotionless face.

ALICE
You look like a George to
me. Is that your name?

Nothing.

KATIE
I guess we're just going to
have to call you George, then.

MAN
Don't call me anything.

KATIE
Well we have to call you some-
thing, George-- I mean, "Hey
you" isn't very polite, is it?
Besides, I think George fits
you real well. That scar on
your chin makes you look like
a George-- you know, rugged.
 -8-
10 CONTINUED 10

He shifts in his seat, looking a little uncomfortable.

KATIE sees he is beginning to weaken.
KATIE
How'd you get it?

MAN
Prison.

REBECCA looks real worried now. She gives the car a

little more gas, hoping to reach their destination a
little sooner.

KATIE
Hey Rebecca, slow down. You
trying to kill us?

ALICE
(to man)
Wow! What were you in prison
for?

MAN
Never mind.

KATIE
Oh, c'mqn George. Tell us!

He sits silently.

ALICE
(feigning disinterest}
I'll bet it was something
real exciting-- like running
a red light •••

KATIE snuggles closer to the STRANGER and begins to stroke

his arm.

KATIE
You'll tell ID§., won't you
George?

CONTINUED
 -9-
10
10 CONTINUED

She leans towards him and nibbles on his earlobe. The

MAN recoils, pulling away from her advances.

MAN
You wouldn't be acting so
cute if you knew what I did.

KATIE
(patronizing tone)
Why, what did you do?

She takes his GLOVED HAND and places it down on her

bare knee. To her surprise, he responds and closes
his fingers gently around it.

MAN
•.. killed someone ..•

11
11 ANGLE ON REBECCA
She is practically trembling now and proceeds to gun
the car. They are travelling as fast as they were
earlier.
12
12 BACKSEAT
KATIE laughs out loud.

KATIE
I don't believe it. You? You're
too shy to be a killer. Watch,
I can make you blush--
She takes the MAN's gloved hand from her knee and, pull-
ing back her sweater, shoves his hand down underneath it.
ALICE watches, amused by her friend's daring. The MAN's
hand begins to move slowly under KATIE's sweater, fondling
her breasts. KATIE is more amused than stimulated.

KATIE
It might be a little more
interesting for the both of
usif you took your gloves
off--
CON TIN UED
 -10-

12 CONTINUED 12

She reaches down the top of her sweater and pulls the
BLACK GLOVE off his hand. She turns and playfully throws
the glove out the opened back window.

MAN
You shouldn't have done that.

KATIE
Why, isn't that better?

KATIE's expression slowly begins to change. The sarcastic

smile fades from her lips and her eyes begin to grow wide.
The MAN's hand is now moving more deliberately under her
sweater. He is staring straight at her now. Her lips
begin to tremble then part as though she is going to speak.
Nothing comes out. Her expression is changing to one of a
sickly repulsion. ALICE senses something isn't right.

ALICE
(concerned)
Katie, are you okay?

KATIE's eyes grow wider still and look towards her friend
for help. A muffled RIPPING SOUND can be heard. ALICE
looks down at KATIE's sweater and sees the white fabric
is quickly becoming stained by a spreading dark red.
KATIE's mouth opens wide to scream but only a gurgling
sound emits as her lungs fill with blood. ALICE screams.
The STRANGER pulls his hand out from KATIE's torn open
chest to reveal that it is actually a METAL CLAW with
RAZOR SHARP FINGERS. KATIE's lifeless body slumps for-
ward, exposing the ripped open uphostery of the seat
behind her.

13 ON REBECCA 13
She responds to ALICE's scream by looking into the rear-
view mirror to look into the backseat. In the mirror
she sees the MAN's other hand grab ALICE by the throat
while his METAL CLAW rakes over her face, literally rip-
ping it off. Deep bloodly red furrows are gouged into
her horrified face. One eyeball has been snagged from
its socket. REBECCA lets out an earpiercing scream.
 -11-
14 TWO SHOT- REBECCA AND MAN 14

The STRANGER pulls his claw out of the now still

ALICE and then leans forward in his seat towards
REBECCA.
MAN
(menacing)
You're next you little
bitch--

REBECCA screams hysterically with no place to escape

from the killer's advances. She wildly spins the
steering wheel of the car and the auto goes out of
control, throwing its occupants about in the confus-
ion.
15 EXT. AN GLE ON ROAD 15

The Plymouth careens loudly off the pavement and

onto the gravel embankment. It kicks up a large cloud
of dust as it swerves.
It crashes through the retaining fence along the side
of the road and disappears from sight.
16 NEW ANGLE- BOTTOM OF RAVINE 16

The car plummets into the ravine and on impact bursts

into a ball of flames. The hulk of flaming metal soon
comes to a grinding and scraping stop at the bottom of
the hill.
DISSOLVE TO
17 EXT. ANGLE ON ROAD- BROKEN RETAINING FENCE- NIGHT 17
A couple hours have lapsed and an emergency CREW is
now on the scene. The red lights of FIRE TRUCKS and
an ambulance flash in the darkness.

18 CLOSER ANGLE 18

A stretcher is being carried up the steep hill, back

onto the roadway. Two PARAMEDICS are on each end
struggling through the thick brush. REBECCA is laying
on the stretcher. She is alive but moaning loudly.

PARAMEDIC #1
(calming her)
It's okay- - you're safe . You•re
going to be all right--

CONTINUED
18 CONTINUED -12-
18
She doesn't look as though she understands what he is
saying and continues to mumble loudly, squirming to get
out of the restraints on the stretcher.

PARAMEDIC #2
(to buddy)
She's in shock.

PARAMEDIC #1
She's in one piece too, which
is a miracle. She must've
jumped from the car at the
last minute .•.

PARAMEDIC #2
Too bad her friends didn't
follow. Did you get a look?

PARAMEDIC #1
I counted two. How about you?

PARAMEDIC #2
Yeah, I think they were females.
The Fire Department fellas are
retreiving them.

They carefully walk the stretcher over to the opened

door on the back of the ambulance. A small group of
SPECTATORS from passing cars has gathered around the
perimeter of the accident scene.
19 ON AMBULANCE 19
The PARAMEDICS slowly ease the stretcher into place,
careful to keep REBECCA calm. They slide the stretcher
along floor of the ambulance and alongside the window.
PARAMEDIC #1 starts to climb into the back with REBEC-
CA--

FIREMAN o.s.
Hey, you two! Give us a hand
a minute with these body bags.
The line is slipping •••

CONTINUED
 Revised 10/11/80 -13-
18
18 CONTINUED
PARAMEDIC #1
Stupid jerks-- we're not supposed
to leave her unattended .

PARAMEDIC #2
It won't take a minute. They gave
us a hand ...

PARAMEDIC #1 steps back out of the ambulance and follows his

buddy after closing the back doors of the vehicle.

INT. AMBULANCE- ON REBECCA 19

19
She is slowly becoming more conscious as she lies strapped
into place. Her swollen eyes slowly look around her and she
begins to realize where she is.
Without warning, the window closest to her head SHATTERS and
a METAL CLAW CRASHES through, reaching for her face. REBECCA
screams uncontrollably.
DIRECT CUT TO
20 CLOSE UP OF MADELINE BURKE 20

As she SCREAMS at the top of her lungs '!

21 EXT. BEACH, WIDE ANGLE- NIGHT 21

A group of TEENAGERS is gathered around a large bonfire.

It's apparent by their style of clothes that this is now
present time.
They are all residents of WOODMONT, a small Northern Calif-
ornian coastal community nestled between the ocean and an
adjacent range of foothills.
Their attention is focused on MADELINE (MADDIE} BURKE who
has been telling them this horror story for the past ten
minutes.
MADDIE is an attractive brunette with wholesome features.
She's very intelligent judging by the finesse with which she
is telling her story. Her payoff has everyone around the
campfire looking terrified with a few laughing to relieve
the tension she has so carefully built. MADDIE had punctu-
ated the end with a loud scream.

GIRL #1
Jesus Maddie! You scared me to
death!

CONTINUED
 -14-
21
21 CONTINUED
MADDIE
wait a minute-- I'm not
finished yet. There's more.

GIRL #1
(truly scared)
I don't want to hear anymore!

There are rumbles of laughter.

BOY #1
Go on Maddie, finish--
MADDIE looks around to make sure she has everyone's
attention. She looks down into her lap where her boy-
fiend's head is laying. He is RICHARD TYLER. He's yawn-
ing and stretching.
MADDIE
(to Richard)
Are you listening?

RICHARD
(groggy)
I am !12![-- after that scream
of yours.
Some more laughs from the group.

MADDIE
( ignores him and
continues)
The Stranger's body was never
found and Rebecca has been in-
stitutionalized ever since.
They say the ~pad is still
haunted by the· ghost of the
killer who is still looking
for her .••

RICHARD
(interrupting)
Who's they?

CONTINUED
 Revised 10/15/80 -15-
21
21 CONTINUED
MADDIE
(annoyed)
If you'd been listening instead
of sleeping you'd know, Richard!

RICHARD
Yes Teacher ...

BOY #2
(filling him in)
The people that live up in Shadow
Hills.

RICHARD
Oh.

MADDIE
The story goes that if you drive
the road after midnight the ghost
of the two mutilated girls will
appear in your backseat and try
and grab your steering wheel to
force you off the road.

RICHARD
(dawns on him)
Ohh-- are you telling them that dumb
story Sharon's always on about?

MADDIE
(to the others)
She lives in the Shadow Hills Estates
and says that a lot of people up there
don't drive that road after midnight.
There's been quite a few accidents
that no one's been able to explain
on that road.

Most everyone looks one hundred percent sold on MADDIE'S

gruesome story. Girlfriends are snuggling closer to their
boyfriends for safety.

CONTINUED
 Revised 9/11/80
-16- 21
21 CONTINUED
GIRL #1
I'm so scared now I don't want to
drive home! I don't even want to go
near my car!

GIRL #2
Maddie, is this really supposed to be
a true story?

RICHARD
(butting in)
Wait-- before you start believing all
this nonsense, consider the source.
Sharon Burke, up until the age of fif-
teen, used to go out on Halloween every
year as Lizzy Borden. You knew she'd
been to your house because she'd make
it a point to axe your pumpkin in half.

MADDIE
He's exaggerating .•.

RICHARD
She's read "Helter Skelter" ten times
and thinks it would make a great t.v.
series with Chad Everett as Vincent
Bugliosi--

MAGGIE
It's a hobby with her. Guys don't ask
her out on dates so she stays home and
reads.

RICHARD
She's probably home right now listening
to the Beatles' White Album-- backwards.

MADDIE
she's just a little lonely. She never gets
asked out so she usually spends Saturday
night watching horror movies on t.v.

GIRL #1
I saw her out with Rod Landers the other
day ...

CONTINUED
 Revised 9/11/80
-16A-
21 CONTINUED
21

GIRL #2
Oh God, not him! She's better off with
Boris Karloff.

There are laughs from the group.

GIRL #1
Well-- I still don't feel like driving
back through the hills tonight •••
22 DIFFERENT ANGLE 22
ART WILLIAMSON and his girlfriend DENISE REILLY are ~oth a
little drunk. ART is a big football jock and DENISE is a
cheerleader with very little personality of her own. She
idolizes ART and agrees with everything he says.

ART
(boastfully)
Well X don't believe it!

CONTINUED
 -17-
22
22 CONTINUED
DENISE looks at ART and then to the others.

DENISE
Me neither.

ART
(looking at watch)
It's after twelve now. Why don't
we all hop in our cars and drive
down there and see if anything
happens?

No one in the group particularly likes this idea. There

are no volunteers. ART laughs.

ART
Jesus Christ! What a bunch of
cowards. Well I want to try it
and I know where Sharon Burke
lives,.too!
ART stumbles to his feet, pulling DENISE up with him.

ART
C'mon, Denise--
She reluctantly gets on her feet, looking a little uneasy
about ART's big idea. Both are so drunk they can only
lean against each other to keep from falling down. The
group of partygoers is a little concerned about their
friends driving in the condition they're in.

MADDIE
Art, why don't you let Richard
and I drive you both home?

ART
I've already made up my mind,
I want to go up there--

He clings to DENISE to steady himself as he waves off

the offer.

ONTINUED
 -18-
22 Cot1TINUED 22

BOY #1
Art, you're so drunk you wouldn't
know if a ghost came up and bit you
on the ass!
ART takes DENISE by the arm and begins pulling her to-
wards his van parked in the adjacent lot.

ART
(calling out)
I'll show you the teeth marks!

23 ANGLE ON PARKED VAN 23

ART and DENISE stumble in. The van roars to a start

and the lights go on. It burns rubber and proceeds to
go in reverse for about ten feet then stops. ART puts
it in the right gear and then roars forward and off into
the night.
24 ANGLE ON PARTY 24
Everyone's concern for the couple has dampened the old
party spirit.

GIRL #1
Well, I'm kinda tired •••

BOY #1
Yeah, me too. I'm gonna call
it a night guys •.•

Everyone soon follows form and begin gathering up their

belong~ngs. Blankets are folded up, ice chests are closed
and packed away. RICHARD tries smothering the bonfire with
handfuls of sand with little success.

RICHARD
(walking away)
To hell with it •••

MADDIE walks along side of him as he appraoches his Coleman

Cooler. She puts her arms around his waist from behind him,
hugging him.

CONTINUED
 -19-
24 CONTINUED 24
MADDIE
Tired?

RICHARD
A little.

MADDIE
You're still mad at me, aren't
you?

RICHARD
About what?

MADDIE
For not telling you I applied
to NYU •••

RICHARD
(tersely)
Oh--

MADDIE
See, you are.

RICHARD
Well let's just say I've been
trying not to think about it
all night.

She comes around and faces him.

MADDIE
Look at the bright side. I may
not even be accepted.

RICHARD
Great. our relationship is in
the hands of NYU's admissions'
office. That makes me feel much
better. You just want someone
else to make the decision about
us for you, don't you?

CONTINUED
 -20-
24 CONTINUED 24

MADDIE
I do not.

RICHARD
Then you're just looking for an excuse
not to see me when summer's over.

MADDIE
Hey, now wait just a minute. I'm not
letting myself get in the way of your
education ...

RICHARD
Well you're certainly going out of
your way to get yours.

MADDIE takes her arms away from his waist, a little disgusted
with him.

MADDIE
This is the wrong time to be discussing
this. We're both too tired.

She bends down and grabs a handle on one end of the cooler.
RICHARD grabs the other handle and they begin walking it to
his car, a red CAMA.RO.

25 TRUCKING WITH THEM 25

MADDIE looks over to her boyfriend. He still looks angry.

She tries to lighten the conversation.

MADDIE
I think Art set.the record for beer
drinking tonight. This cooler feels
ten pounds lighter.

RICHARD
And Denise set the record for dropping
her pants in the parking lot tonight.
She could be ten pounds lighter too •.•

CONTINUED
 -21-
25 CONTINUED 25
MADDIE
I thought you were asleep all
evening. You don't miss a thing,
do you?

RICHARD
That was a little hard to miss.
I thought there were two full
moons out tonight.

MADDIE
You don't think they really
went out there, do you?

RICHARD
Where-- Shadow Hills?

MADDIE
Yeah .•.

RICHARD
Naw .•• They're probably parked
off the road somewhere and Art
is doing his impersonation of
Neil Armstrong for Denise .••

DISSOLVE TO
26 EXT. MOUNTAIN ROAD- NIGHT 26
ART's van is driving slowly down the same mountain
road as described earlier. Along side of the twisting
road is a billboard advertising property in the SHADOW
HILLS ESTATES up the road.

27 INT. VAN 27
ART looks somewhat disillusioned. DENISE looks very
bored. She leans over and takes a look at hi~ watch.

DENISE
Honey, we've gone up and down
dumb road three times now and
nothing•s happened. Let ' s quit.

CONTINUED
 Revised 10/15/80 _ _
27 CONTINUED 22
DENISE 27
(cont.)
Pull over, all right?

ART
(relenting)
All right, but let's go up the
road a little further to that
lookout point we passed. We can
get a great view of the ocean from
there.
28 EXT. ANGLE ON LOOKOUT POINT
28
The VAN's engine cuts through the stillness of the night.
It approaches the small dirt turnoff along the road and
swings onto it. The VAN rolls right up to the edge of the
precipice and overlooks the lights of the small town and
the ocean glistening beyond it. It's an incredible view.
ART shuts the engine off.
29 INT. VAN
29
The drunken COUPLE looks out over the dashboard at the
sight in front of them.

DENISE
This is really beautiful.

ART
Goddamn, it sure is.

en the glove compartment and p~lls

DENISE leans forwar~ too~ t kes a drag then hands it
.
out a JO int ' She lights it up, ~t, gazi'ng out at the lights.
drag on 1
1
to ART. He takes~ o~i back and forth.
They continue passing

ART 'd
know how much money you
Shit-~fyi~u had a dollar for every light
have i n there?
you see dow

DENISE the light bill ...

Yeah, enough to pay

CONTINUED
 Revised 10/15/80 -23-
29 CONTINUED 29

DENISE moves closer to her boyfriend, rubbing his legs

with both her hands.

DENISE
I'm getting horny, how about you?

ART
I'm getting tired.

DENISE
I can fix that--

She proceeds to unbutton her blouse and slips it off her

shoulders. ART turns to see two large breasts staring at
him.

ART
Christ, you don't play fair .•.

He leans over and buries his face in her cleavage. As they

make out ART reaches down and unbuttons her jeans. As he
unzips them, DENISE bolts to attention at the faint sound
of SCRAPING corning from outside.

ART
What's the matter with you? You've
been dropping your pants all even-
ing ...

DENISE
(listening)
Did you hear something?

ART
You mean besides your moaning and
groaning?

DENISE
I'm serious. Shut up and listen for
a minute.

CONTINUED
 Revised 10/15/80 -24-
29 CONTINUED 29
ART does what he's told and stops to listen. They both
sit completely still, eyes searching the night, seeing
nothing-- hearing nothing. He finally lets out a sigh.

ART
What are we supposed to be listening
for?

DENISE
I don't know. I thought I heard
metal scraping or something ...

ART
It's probably from frenching with
both our retainers in ...

DENISE shrugs off the noises and begins to further undress.

Just as it looks like everything is normal, the front wind-
shield suddenly SHATTERS loudly, sending large shards of
glass into the VAN.

A BLACK GLOVE CRASHES through the windshield and quickly

grabs DENISE by the hair. She SCREAMS!

In a matter of seconds she is PULLED violently out of her

seat and THROUGH the broken windshield of the VAN, screaming
helplessly.

ART is rivetted to his seat in complete shock. He doesn't

know what to do first, somewhat disorganized by his drunkeness.
He throws himself at the door and fumbles with the handle. He
can't get the door open. Panicking, he thrashes about in his
seat, trying desparately to open the door which is locked
only by the pushdown mechanism.

ART can now feel the VAN begin to ROLL, being pushed from
behind by some strong force. The vehicle gathers speed and
rolls directly for the wooden retaining fence at the edge of
the cliff. ART screams as the VAN hits it .

30 EXT. ANGLE ON CLIFF 30

The VAN crashes completely through and pl ummets into the

deep ravine, breaking through the snapping brush that slows
the VAN until it comes to a violent stop in a clump of trees .
 -25-
31 ANGLE ON LOOKOUT POINT 31
In the night, the sounds of DENISE'S tortured screams
are heard echoing off the hillsides. They are quickly
cut short by a slow gruesome RIPPING SOUND.

FADE OUT
FADE IN

32 EXT. SUBURBAN HOME- MORNING 32

The peaceful home is typical of every middle class tract

house, indistinct from any other of the houses on the shady
street. In the driveway is a family stationwagon, blocked
in by RICHARD TYLER's customized CAMARO. A surfboard leans
up against the garage door.

33 INT. HOUSE- KITCHEN 33

RICHARD'S mother, RUTH TYLER, is answering the ringing
telephone. She is an attractive woman in her mid forties.
RUTH
(picking up receiver)
Hello? Oh hello Madeline ..• I'm
afraid Richard's still asleep •.•
is something wrong?
(she listens with an
increased look of concern)
Oh my God ... hold on, I'll go
wake him .. .

She sets the phone down on the counter and exits the kitchen.

34 RICHARD'S ROOM 34

RICHARD is fast asleep in his small bed. The room is cluttered

with assorted junk that would interest only a teenager his
age. There is scuba gear carelessly strewn all over the floor.

on the nightstand beside the bed, a school picture of MADDIE

is conspicuously perched overseeing the disorder.
•,

The door cracks and RUTH pokes her head inside.

RUTH
- (gently)
Richard ••.

He turns over and faces the other way in bed, not wanting
to be disturbed .

CONTINUED
 -26-
34
34 CONTINUED
RUTH can see this is going to be no easy task. She
enters the room and leans over her son, shaking his
shoulder gently.
RUTH
Richard, Madeline's on the
phone for you ...

RICHARD
(half asleep)
I'll call her later .••

RUTH
You'd better talk to her now.
It's important. She's all upset.

RICHARD
(slowly getting up)
Now what have I done?

RUTH turns to exit the room.

RUTH
I'll tell her you're corning.
RICHARD rubs his hands over his sleepy face, then throws
back the covers and slowly gets out of bed.

35
35 KITCHEN
RUTH is back on the phone to MADDIE. She looks upset over
the conversation.

RUTH
When did it all happen? I'll
have to give Mrs. Riley a call
and see how she's taking all
of this ••• it's so sad .••
(she looks up and
sees her son)
Oh, here's Richard •••

CONTINUED
 -27-
35 CONTINUED 35

She hands him the telephone and then walks back into the
kitchen still near enough to listen to the conversation.

RICHARD
Yeah Maddie ...

CUT TO

INT. MADDIE'S BEDROOM 36

36
MADDIE is talking to her boyfriend from the extension
phone in her bedroom. She is sitting on her bed, fully
dressed, crying uncontrollably. Her face is red and
swollen from crying so much.

MADDIE
(sobbing)
Oh Richard, Art and Denise had
an accident last night. Denise
is dead and Art's in the hospital.

RICHARD o.s.
What?

MADDIE
r just got off the phone with
Sharon. She said Art's van went
off the road near her house last
night.

RICHARD o.s.
Jesus! I knew they were both too
drunk to go fooling around up
there!

MADDIE
It's all my fault! I shouldn't
have told that stupid st~ry ~ast
night. It's my fault Denise 1s
dead!
ne down and begins sobbing violently.
MADDIE puts the Pho

CONTINUED
 -28-
36 CONTINUED 36

RICHARD o.s.
Maddie ••• Maddie, it's not your
fault. We all told them not to
go. Remember? Maddie?

She puts the phone back to her ear, trying to hold back
more tears.
MADDIE
I just feel awful. Come over,
will you?

RICHARD o.s.
What happened-- did Art lose
control of the van? Was any-
one else involved?

MADDIE
I don't know-- just come over.

RICHARD o.s.
I want to go find out. Maybe you
should come along too.

MADDIE
Where are you going?

RICHARD o.s.
I want to take a drive up to
Sharon's and see where it
happened. I think it would help
i f you knew what really caused
it.

MADDIE
Sharon thinks they saw something
up there last night •••

RICHARD o.s.
saw what?

CONTINUED
 Revised 10/16/80 -29-

36 CONTINUED 36

MADDIE
You know ...

RICHARD o.s.
Sharon would think that.

MADDIE
Richard ... what if it's true?

RICHARD o.s.
{sounding annoyed)
I'm not going to even bother answer-
ing that. I'll be right over ...
DISSOLVE TO

37 EXT. MOUNTAINS, SHADOW HILLS ROAD- AFTERNOON 37

There are three CARS parked at the lookout point where ART's
VAN was attacked, SHARON BURKE's SUBCOMPACT, a late model
DODGE ,: .-. and a service station TOW TRUCK.
1

The TOW TRUCK is backed up with a HOIST grinding loudly be-

side the cliff. It's slowly pulling ART's wrecked VAN labor-
iously back up the hillside. A service station ATTENDENT is
giving signals to his PARTNER operating the hoist from inside
the truck.
37A SHARON BURKE, wearing cut off shorts and a tee shirt, stands
watching the operation. Seventeen years old, she is a plain
and slightly overweight girl but by no means unattractive.
standing beside her and trying to jot a few notes down onto
a pad is OFFICER PETER BRAVERMAN. He is a handsome plainclothes
COP in his early thirties. It's obvious from his impatient
expression that SHARON has been pestering him.

SHARON
Anyone with any brains can see that
1
there's much more here than you care
to admit.
BRAVERMAN
(tersely)
Look all I can do is record the facts.
I'm ~ot supposed to write a story about
what might have happened up here-- and
if I did, I certainly wouldn't use yours.
 Revised 9/16/80 -30-
38 NEW ANGLE
38
SHARON bites her botto ..
rebuke BRAVERMAN fu thm lip in contempt and is about to
ing from down the rr der wh~n she sees RICHARD's car approach-
· wi' th h'im. SHARON oa · As it dr aws nearer, she sees MADDIE
in
waves them down.
The Camaro slows and th
side of SHARON's c en pulls off the road and parks along-
ar. RICHARD and MADDIE get out.

SHARON
(to Braverman)
Excuse me a minute ...

·t BRAVERMAN
With pleasure.

SHARON looks at him with disdain

cousin. and walks over to greet her

SHARON
What are you guys doing up here?

MADDIE
Richard wanted to see where it
happened.

RICHARD
(a trace of contempt)
What are you doing up here?

SHARON
I live up here. I was down here last
night after it happened. I wanted to
see what things looked like in the
daylight.

It's clear that neither RICHARD or SHARON are particularly

fond of one another.

SHARON
(to Maddie)
They found Denise in the middle of
the road over there .••

MADDIE shudders, not really wanting to hear any of the details.

RICHARD is curious.

CONTINUED
 Revised 10/8/80
38 CONTINUED -31-
RICHARD 38
In the middle of the
get there? road? How'd she

MADDIE
Do we really have to
discuss this?

RICHARD
Ye s , it's important.

SHARON
I don't know how she got there-- not
for sure ...

There is a load ROAR of the TOW TRUCK's hoist and the three of
them turn.

39 ANGLE ON CLIFF
39
The wrecked VAN slowly emerges from the edge of the cliff.
The TOW TRUCK surges forward a few feet and the VAN jumps and
lands back onto the level ground with a loud rattling crash.

OFFICER BRAVERMAN walks over to the VAN with a tape measure

and stretches it out across the width of the HOLE that had
been made in the front windshield.

40 ON THE THREE YOUTHS 40

RICHARD can tell that the sight of ART's van is making MADDIE
feel worse and he puts his arm around her waist. They watch
BRAVERMAN busy at work.

RICHARD
Who's he?

SHARON
Officer Peter Br~v~r~an. He's part of some
Juvenile Crime Division.

MADDIE
so what's the crime up here?

SHARON .
thinks Art and Denise were
This tur~ey here after curfew.
hot rodding up ·

CONTINUED
 Revised 10/16/80 -32-
40 CONTINUED 40
RICHARD
Well I want to talk to him. C'mon ...

MADDIE
Do we have to? I'm feeling kind of sick
to my stomach .

RICHARD holds her closer to him and gives her a kiss on the
forehead. SHARON looks on with disgust.

RICHARD
It's better to know what really
happened, ~kay?

MADDIE
Okay ... but it's not going to make
me feel any less guilty.

ANGLE ON BRAVERMAN 41
The young cop finishes up his accident report. He sees
the approaching youths with SHARON and prepares himself for
more trouble.

BRAVERMAN
What can I do for you?

SHARON
This is my cousin Madeline Burke.

BRAVERMAN
(smiling)
How do you do. I'm Officer Braverman--
Peter Braverman.

One can detect in BRAVERMAN's face that he finds MADDIE

attractive. RICHARD can detect it, too. He jumps right in.

RICHARD
And I'm Richard Tyler, her boyfriend.
We're friends of Denise Riley and Art
Williamson. In fact, we were probably
the last ones to see them • ..

CONTINUED
 Revised 9/16/80 -33-

41 CONTINUED 41

BRAVERMAN
(interrupting)
Were you all drinking?

RICHARD
(hesitating)
Well, yeah--

BRAVERMAN is obviously displeased. He reopens his notepad a nd

jots down this new bit of information.

BRAVERMAN
If you want to know what happened
I think you just answered your own
question.

RICHARD
Could we hear your version-- you know,
the official version?

BRAVERMAN
Well, all I can tell you is the evidence
I have--
(reading from notes)
Late model Ford van travelling east on
Shadow Hills Drive at approximately 1:15
A.M. Driver lost control at high speed
and slammed on brakes, sending female
passenger through front windshield. Ve-
hicle proceeded off highway and through
retaining fence into ravine. Male cauca-
sion, age seventeen, identified as ARTHUR
JAMES WILLIAMSON, suffered massive head
inJuries. Female caucasion, age sixteen,
identified as DENISE ELLEN RILEY, died
of excessive blood loss from severe
lacerations to face and body.

MADDIE is deathly pale and loses her footing. BRAVERMAN

quickly obliges and grabs her and walks her toward his car.

BRAVERMAN.
Are you going to be all right?

She shakes her head weakly.

CONTINUED
 Rev ised 10/1 6/80 -33A -

41 CONTINUED 41

MADDIE
I don 't know. Maybe I'd bet ter sit
down for a min ute ...

BRAVERMAN w~lk~ her to thef pas sen ger side of his car and ope ns
car .
the doo r, sitt ing her hal insi de the

BRAVERMAN
Put you r hea d down and take deep
bre ath s.
ous for the ir own reas ons .
RICHARD and SHARON look on, both jeal
SHARON doe sn't like MADDIE get ting all of BRAVERMAN's atte ntio n
and so she but ts rig hts back in.

SHARON
The re's one sma ll prob lem tha t Off icer
t's
~rav erm an kee ps ove rloo king and tha
whe re
if Art slammed on his brak es then
are the skid mar ks?

RICHARD and MADDIE bot h look towthe ards whe re the VAN made its
sup pos ed app roa ch. Sur e eno ugh , re are no trac es of rub ber
mar ks any whe re to be see n.
ntio n away from MADDIE
BRAVERMAN relu cta ntly turn s his atte mad as one can look wit h-
to con fro nt the que stio n, look ing as
out bec omi ng vio len t.

BRAVERMAN
(rai sin g his voic e)
The van was alre ady off the road
whe n the bra kes wer e app lied !

SHARON
(ra isin g her voi ce)
Wh ere 's you r evid enc e to pro ve tha t?

, see ing tha t SHARON is

RICHARD qui ckl y stan ds betw een them
rea lly ann oyi ng BRAVERMAN.

RICHARD
I thin k tha t's all the info rma tion
we 'll be nee din g-- than ks .

CONTINUED
a.r .

Revis ed 9/16/ 80 -33B-

41 CONTINUED 41

MADDIE stand s up to leave but BRAVERMAN takes her gentl y

by the arm to stop her.

BRAVERMAN
Befo re you all go, I'd like your names
and telep hone numb ers in case there 's
anyth ing I have to ask you later ...

the
He hands MADDIE his pen and note pad and she fills out N
infor matio n. She finis hes and then hands it back. SHARO
s
steps forwa rd smili ng and takes the pad from him and start
writi ng. RICHARD is right behin d her.

RICHARD
( impa tient ly)
He does n't need your life histo ry,
Shar on-- just your name and numb er.

ly
She finis hes and hands the note pad to RICHARD, delib erate
arm
drop ping the pen in the proce ss. She grabs MADDIE by the
and leads her away .

RICHARD
{pick ing up pen)
Charm ing girl .•.

LT. BRAVERMAN
Tell me abou t it.

that
SHARON is walk ing MADDIE in the direc tion of the wrec kage
was once ART' s van.
 -3 4-
Re vi se d 10 /1 6/ 80 42
42 ANGLE ON GIRLS
ng ca bl es to
th e WO RKMEN pr ep ar e th e to wi th e
Th ey wa tch as
th e VAN. MADDIE av er ts he st ar e fro m
r
th e bu mp er of st ar es cu ri ou sl y.
wr ec ka ge bu t SHARON
SHARON
(c on fid en tly )
wh at ha pp en ed
I do n' t th in k th at 's th in g .. .
at al l. They saw so me
MADDIE
e the m la st ni gh t
Sh ar on , yo u di dn 't sewe re so dr un k th ey
when th ey le ft . Th ey t al on e dr iv e.
co ul d ba re ly wa lk , le
SHARON
il l co ul d ha ve
Dr un k or no t, th ey stby so m et hi ng --
be en sc ar ed to de at h ta lk in g ab ou t.
an d yo u know wh at I'm
MADDIE
ou r fr ie nd s, th at 's
W e'r e ta lk in g ab ou t ou t an d on e of
ab
wh at w e'r e ta lk in g be lie ve wh at yo u
th em 's de ad . You ca n
to o re al fo r me to
wa nt to . It 's ju st ng to do wi th th at
th in k it ha d so m et hi al l it is -- a
st or y •• • and th at 's
st or y.
m id dl e
s up wi th BR AVERMAN and re tu rn s ~ / th e
RICHARD fin is he
of th e gi rl s' co nv
er sa tio n.

SHARON
Ye ah , w el l wh at if
I ca n pr ov e it ?

RICHARD
Prove wh at ?
SHARON
rl s.
Th at st or y ab ou t th e gi

RICHARD
ke to se e you
Go ri gh t ah ea d. I' d li-- yo u' re a cl os e
do th at . Oh, I fo rg ot Se rl in g . I' d
d
pe rs on al fr ie nd of Ro nc lu si on s .
be tt er no t jump to co

CONTINUED
OMIT PAGES 35 AND 36
 Revi sed 9/16 /80 -37-

CONTINUED 43
43

SHARON doe sn't let h'1s comments both er her and she head s
for her car.

SHARON
(cal ling out)
Get in your car and follo w me.

RICHARD
(cal ling back )
Where are we goin g, The Twi ligh t Zone?

BRAVERMAN who
SHARON star ts her car and head s off, pass ing
and waves to him.
is g~tt ing into his car. She honk s loud ly
of her for the time bein g.
He wave s back , glad to be rid
DISSOLVE TO
44
44 EXT. RESIDENTIAL AREA
two vehi cles turn
Pass ing thro ugh the newe r deve lopm ents , the is much more
onto a bloc k of olde r home s. The neig hbor hood
ller in appe aran ce.
mod est by com paris on and the home s are sma
The area is almo st rund own.
45
45 ANGLE ON SMALL TRACT HOME
. RICHARD pull s
SHARON'S car slow s down and pull s to the curb
righ t up behi nd her and cuts the engi ne.
walk . SHARON look s
The thre e get out and asse mble on the sidehas
she the righ t hous e.
arou nd the neig hbor hood to make sure

SHARON
I thin k this is it.

RICHARD
You thin k this is what ?

SHARON
Mr. Lan ge's hous e. He's my pare nt's
gard ener . I'd reco gniz e his truc k if
I saw it but I thin k he keep s it in
the gara ge.

used .
RICHARD and MADDIE both look a litt le conf

CONTINUED
 45 CONTINUED Revised 10/3/80 -38-
45

RICHARD
Sharon, why th h
Maddie and e ell are you dragging
see your me all the way out here to
parents' gardener ?
I SHARON
Im not real sur e th'is is. his. house or not
If we could 1 00 k · ·
. t ruck's th
h is in the garage and see if
th , h ere then I'd know we have
e rig t place.

RICHARD
Sure Sharon, go right ahead and open up
the garage door.

SHARON
Well I certainl y don't need your permissi on.
She walks up to the old wooden garage at the end of the
driveway .

MADDIE
Sharon- - don't!
SHARON
I'm not going to open it. I just want to
look inside. There's a crack here--
As she bends forward to peek through the crack, the sound of
GROWLING and SCRATCHING SOUNDS are heard from inside the garage.
MADDIE
Now you've started their dogs going. Come
on Sharon, let's just knock on the front
door and--
SHARON
(looking through crack)
Wait a minute- -
LANGE o.s.
Here! What do you think you kids are doing!

The three of them all jump at the voice.

46
46 ANGLE ON FRONT PORCH
the doorway, leaning out. He is a
nd ·n fifties.
st ~ s ~e As a gardener he is strong
ALBERT LANG~
sturdy man in his la 0
f hard physical labor. He's in remark-
and muscula r from yeahr~ ge His weatherb eaten complex ion is
able shape for a man is a ·
dark and swarthy .
CONTINUED
 CONTINUED Re vis ed 10 /3/ 80
46 -39 -

The thr ee yo uth s somewhat h . 46

P orc
h. es ita ntl y
Walk tow ard s the fro nt

Mr. Lang e? SHARON

Ye ah, What LANGE

do You wa nt?

It• SHARON
an ds me , Sh aro n Bu rke sse ll
-- You know, Ruou
Ca rol e Bu rke • s d au r
gh ter . You do
ga rde n.
LANGE giv es he r a loo k ov er H'
. is gru ff exp res si'o n s 1 owly fad es.
LANGE
Now I rec og niz e yo u.
(he op ens the do or wi der
inv ita tio n)
Come i·nas an as
, ple e ...
Th ey be gin to wa lk t he . fro nt do or. MADDIE sti ck s clo se
RD, ne ith er ~:f ~~ sk~
to RICHA ow ing wh at to ex ct.
pe
MADDIE
(so tto vo ce)
?
What are we go ing to ask him
RICHARD
Wh en 's a go od tim e to mu lch ...

SHARON
Sh h!

47
47 IN T. HOUSE- LIVINGROOM
rn itu re
e roo m is da rk wi th the sh ad es dra wn . Most of the fu sta rk
Th
red wi th pr ot ec tiv e sh ee ts, giv ing the ho use a
is co ve is a vi rtu al museaum of rel igi
ou ~
au ste re qu al ity . Th e ho use Ma rys , Bi ble qu ota tio ns and va rio us
ar tif ac ts . Pl as te r Vi rg in It is a ve rit ab le sh rin e to
Cr uc ifi xe s ad or n th e roo m.
Ch ris tia ni ty .
s
loo ks aro un d th e roo m re sp ec tfu lly bu t RICHARD sta re
MADDIE e
ne ve r see n an yth ing qu ite lik
wi th hi s mo uth ag ap e. He 's
th is be fo re .
lpi ec e is a pl as tic sig n th at ha s a fla sh ing lig ht
On th e ma nte
s it rea ds JESUS SAVES.
in sid e of it . When it lig ht
CONTINUED
 -40 -
47
47 CONTINUED
.
o is sta yin g clo se to him
RICHARD tur ns to MADDIE wh

RICHARD
(so tto vo ce)
to
I was rig ht . We we re go ing
the Tw ill igh t Zone •••

ca nn ot
way in to the roo m, LANGE
As the yo uth s make th ei r RON an d MADDIE are dr es se d.
he lp bu t no tic e the way SHA ht cu t of f sh or ts and tee sh irt s
Bo th gi rls are we ari ng tig . Hi s ex pr es sio n is of de fin ite
wi tho ut br as on un de rne ath os t bla sph em us to him co ns ide rin g
dis ap pr ov al. It see ms alm
th ei r su rro un din gs .

LANGE
(lo ok ing Sh aro n ov er)
we re
Sh aro n, I di dn 't know yo u 't
dn
gro wi ng up so fa st. I di
rec og niz e yo u at fir st .

SHARON
(aw kw ard ly)
wh ile
I'v e be en lik e th is fo r a u we re
now . Remember how hap py yo ing
sw
when we fin all y too k the n?
se t down fro m the ba ck law

LANGE
•••
Th ey al l gro w up so fa st

SHARON
Mr . La ng e, th is is my co us in
bo y-
Ma de lin e an d th is is he r
fri en d Ri ch ard Ty ler .

MADDIE
Pl ea se d to me et yo u.

RICHARD
He llo .

ma kes it a po in t to wa lk ac ro ss the roo m ju st to

LANGE
the m.
sh ak e ha nd s wi th bo th of
CONTINUED
47 CONTINUED
-41 -
47
P rai. se LANGE
th Lor
m
eet suc h e nic d It,
e. .
s nice to
So ofte n y you ng peo ple
P ose ssin g ou read ab out Sata. n
dan ge~ ous ~:o ple you r age in
joy to see tys . It's such a
rea che d all hat he has n't
of you ...

We ll, we RICH
try . ARD

LANGE
Rea d the B'b l
you try tooi e-- tha t'll h e 1 p
tha t it's th ~el l you r frie nds
The y sho uld ~ir onl y salv atio n.
wil l b . now th
e pun ishe d. at the wic ked

RICHARD
I'l l tel l them .

LANGE
Sat an tem pts the goo d and I can
see it eve n amo ngs t you ...

LAN· GE
kl sho ots h a gla nce at MADDIE's bre ast s.
qui c Y cat c on to wha t he' s ref The teen age rs
err ing to.

SHARON
A lit tle chi lly in her e, isn 't
it Mad die?

MADDIE cro sse s her arm s ove r her

che st sel f con scio usl y.

LANGE
Do n't be Sat an' s too l. He
tem pts the inn oce nt and cor -
rup ts the ir mor al fib er ••.

The re is a lul l in his serm on as

LANGE giv es his wor ds a
cha nce to sin k in . RICHARD int err
upt s in the mid dle of
thi s d r am atic pau se.
CONTINUED
 -42-
47 CONTINUED 47

RICHARD
Sharon, why don't you tell Mr.
Lange ... and us ••. why we came
all the way over here?

SHARON
Right. Mr. Lange, Richard here
has a story that he wanted you
to verify certain facts on ..•

RICHARD'S face drops. LANGE turns to the young man a

little apprehensively but still trusting.

LANGE
(calmly)
If I could be of some help, then
sure. Go ahead Richard, what is
it?

RICHARD looks to the two GIRLS for help. MADDIE looks as

helpless and SHARON looks plain smug.

RICHARD
Well, uh-- there's a story that's
been hanging around for years
about three teenage girls who,
uh-- were in an accident-- uh, well
actually were attacked and uh--
one-- no, two were killed and the
other went crazy and-- and now the
ghosts of the two girls are uh,
supposedly haunting the road where
it happened and the uh, ghost of
the -- the attacker who is looking
for the third girl-- haunts, uh,
supposedly haunts the road up there
uh .•• too •••

LANGE stands listenin9 patiently, taking it all in. He

is virtually emotionless. RICHARD and MADDIE both don't
know what to think of his behavior.

LANGE
(finally)
Well ••• that's a real interesting
story , Richard. Let me see if I
can fill you in a little ..•

COffTINUED
 Revised 10/ l / 80
47 cOnTI ~-um> 4">

L.MKlfl
(slov and deliberate )
The girl vho vent crat)' · .• her name 1~
Rebe~ca .••

RlCAARD
(noddinq enthusiast ically
for Lan9e,' s benefit)
Yes . that ' s right- -
LANGE
T~e two girls she was v1th that night
got. her ni xed up vi th a boy who too~
advantage of her and made her preuant ...

lt ~uddcnly dawns on MDDlt sho this men is. Sh~ oaap8.

LANGE
and she 's my daughter.

RICHAAO 'a Jaw drops open vhen he hears this. MADDIE is already
staring at SHARON tacitly shovinq her contempt fer putting
thorn on tho •Pot like this .
LANCE bcgin a to move closer to RICHARD. Hi• oxpre1aion hes
changod to a considera0 ly less friendl y ono • .RICHARD qlencoa
in t he direction of the door. lookin9 for tha fe1te1t route.
LANGE
Young man, I don't knoY how you know my
dauQhtcr is here visiting me but I do know
that it isn't an open invitation fo.r morbid
c~riosity seekers to come nosi ng around my
hous e and invading my privacy--

MADDIE
(tries to interrupt)
Mr . Lange , we're very sorry. We didn't
know Rebecca was your daughter. She--
LANGE whips around and faces the two GIRLS who jump at hi s
quick movement.

LANGE
And I don't like your le...,dness in
my home either! You come in here
showing off t he body that God has
given you l ike a couple of cheap
whores! I set standards for my
daughter -- long ago! She broke
those standards by associating with
tramps like you and she paid dearly!
Dearly!
CONTINUED
 -44-
CONTINUED 47
47
RICHARD
I think it's time to go--

RICHARD motions the girls his way and they both get up
out of their seats. They timidly make their way past the
fuming LANGE. He stares at them unblinkin g.

LANGE
Satan tempts the good! The wicked
will be punished !

SHARON and MADDIE have now reached the other side of the
room and have joined RICHARD. The three of them head for
the front door. LANGE is following them, stalking them.

LANGE
(calling after them)
My Rebecca is a good girl!
I've been a good parent, better
than most--
His eyes are filled with anger as he shouts out at them.

LANGE
That's where the seeds of Satan's
doing are planted- - in the home of
uncaring parents like yours ••.

48 ANGLE ON HALLWAY 48

Througho ut the commotion, a timid FIGURE has been in the

darkness of the hallway. It is REBECCA. In her thirties
now, she has a childlike manner about her. Her sedated
eyes furtively stare around the door frame to get a glimpse
of the uninvited guests . .•

LANGE o.s.
I don't ever want to see any of
you around my house and bother-
ing my daughter again-- do you
understan d me!

REBECCA at a closer glance can be seen trembling at the

very sound of her father ' s voice. It is very clear that
she is afraid of him.

CUT TO
DI

-45-
49
49 EXT. STREET IN FRONT OF HOUSE

RICHARD is furio us. He walks ahead of the two girls . N

MADDIE is shake n up by the exper ience as well as SHARO
but is angry with her cousi n just the same.

MADDIE
I don't belie ve you did that
to us Sharo n!

SHARON
At least now you know the story
isn't a fake.

MADDIE
How did you expec t that poor man
to react ? That was cruel Sharo n,
reall y cruel ! And putti ng Richa rd
on the spot like that. I hone stly
can't figur e you out some times .
You reall y amaze me!

SHARON
Did you catch what he said- - about
Rebec ca being home again ? She's
proba bly in there right now. Now
she would be someone inter estin g
to talk to!

MADDIE
Don' t you dare! You leave them
alone , you hear me?

SHARON shrug s her shou lders as a reply .

MADDIE
That 's no answ er. I want to hear
you say you won' t bothe r them any-
more .

SHARON
(anno yedly )
All righ t, I won' t bothe r them
anym ore. Satis fied?
 ,

Rev ised 10/3 /80 -46 -

CONTINUED 49
49
RICHARD
Wel l I want to than k you both for making
me look like a rea l shit hee l!

SHARON
You ' re welcome.

MADDIE
Ric hard , why are you yell ing at me?

RICHARD
Bec ause you shou ld know bet ter than to
go arou nd repe atin g thin gs tha t you r
goddamned stup id cou sin tell s you!

SHARON
Hey --

MADDIE
Oh? Now you 're goin g to blame it alll on
me! Hal f an hou r ago you were tryi ng to
con vinc e me it was n't my fau lt!

RICHARD
Yeah, and an hou r and a half ago I was
in bed slee ping pea cefu lly!
MADDIE can 't con trol her self any furt her
cryi ng. SHARON stan ds besi de her and giveand brea ks down
s her a con soli ng
hug.
RICHARD fee ls bad ly now tha t he's ups et
much she 's been thro ugh this mor ning . her , real izin g how

RICHARD
(wa lkin g tow ards her)
I'm sorr y. I gue ss I'm jus t a--

MADDIE
(rec oili ng)
You stay away from me, Rich ard Tyl er!
He stop s in his trac ks.

RICHARD
Okay! Fine !

MADDIE
(tea rful ly)
Take me home, Sha ron.
They beg in to leav e, head ing for SHARON
curb . As they pass RICHARD, SHARON turn's car park ed at the
s to face him .

CONTINUED
 CONTINUED Revis ed 10/3/ 80 -47-
49
49
SHARON
(sarc astic ally to
Richa rd)
I don't think she likes you anymore ..
.
They head for the curb and RICHARD follow s them, headi
his car parke d behin d them. ng for

RICHARD
(yell ing)
Well that' s fine with me1 Becau se I
don't want anyth ing to do with eithe r
one of you1

SHARON
No great loss, Maddie. At least now you
can go with whoev er you want.

RICHARD
Yeah -- maybe Rod Lande rs has a broth er.
50 OMITTED
50
51 SHARON'S CAR
51
She and MADDIE open their doors to get in. Befor e she
does
thoug h, SHARON turns to RICHARD and gives him the finge
defia nce. She gets in and close s the door. r in

52 WIDER ANGLE- BOTH CARS

52
RICHARD is alrea dy in his car and has it start ed up. He
it into gear and drive s forwa rd, delib erate ly bangi ng puts
SHAR
bumper and givin g the littl e car a stron g jolt. He backs ON's
and then drive s off in a cloud of dust as he speed s off up
angr ily.
FADE OUT
FADE IN

53 EXT. SHADOW HILLS DRIVE- NIGHT

53
A BIG RIG TRUCK is lumb ering aroun d the sharp turns of
the dark
road. It is a shiny , well cared for mach ine, lit up with
light s like a Chris tmas tree. The DRIVER takes care cauti on
in manu ev-
ering the truck , slowi ng to a snai l's pace aroun d the
sharp er
turns .

54 INT. CAB OF TRUCK 54

Two TRUCKERS sit quie tly liste ning to Tammy Wyne tte on
the
radio . KEN TURNER is drivi ng the rig. He's a big man
with long
black sideb urns.

CONTINUED
 Revised 10/3/80 -47A-
54 CONTINUED 54

His passenger, BUD WILLIS, is just as big and is wearing a

BUDWEISER CAP to keep his crewcutted head warm.
BUD looks out of the passenger window at the view below th em
and lets out an impressed whistle.

BUD
(gazing into the
darkness outside)
Sheeuuttt! That's some drop if you
make a wrong turn, ain't it Ken?

CONTINUED
 CONTINUED -48-
54 54
KEN
I know'.d this trucker that went
off t~is road some years back.
Was p~nned under the wreckag e
a~l night before someone found
him. Lost both his legs.

BUD
(uneasy )
Just keep your eyes on the road,
huh?

KEN
Hell, I been down this road so
many times I can do it blind-
folded. Don't tell Wrigley
though. We're not suppose d to
even be on this road. It's
against the law but I never
been caught. It's a damn good
short cut. Saves me about an
hour--

BUD
And you pass right by that bar
we just come from. Isn't that
handy? That's the real reason
you come this way •..

KEN
You guessed it, buddy! Get a
couple beers in me and I can
usually knock an extra fifteen
minutes off the ride.

BUD
well do me a favor and don't
go for any new records tonight ,
okay?

KEN
I pegged you for the n~rvous
type right off. All right,
I won't- - if it'll keep you
from puking all over my tuck
and roll •••

CONTINUED
 -49 -
CONTINUED
54
54
som eth ing cat che s BUD's eye . He squ int s his eye s to get
a be tte r loo k.

BUD
ow
Hey Ken, thre--
for a mi nut you r bri gh ts on

nd th e roa d in fro nt of them lig hts up twi ce

KEN °?l ige s a
as bri gh t. The beam str etc he ~ out far in fro nt of the m.
KEN now see s wh at BUD was try ing to get a be tte r loo k at.

DSIDE 55
55 EXT. ABANDONED CAR AT THE ROA
sho uld er
e CHEVY NOVA sit s par ked on the
A pow der bluthe
up ahe ad of m.
KEN o.s .
Loo ks lik e som eon e had car
tro ub le •••

BUD o.s .
Co uld be kid s nec kin g ..•

KEN o.s .
Na w-- no t at thr ee A.M.
56
56 REV ERS E ANGLE
app roa ch, tur nin g off to
The tru ck slo ws as it ma kes itsls to a rum bli ng sto p rig ht
the sid e of the roa d. - It rolBUD pok es his hea d ou t the
alo ng sid e the dis ab led car .
car .
win dow and sta res down at the

BUD
(ca llin g to Ken)
You wi n-- it' s a fla t tir e. !I
KEN lea ns ov er and ge ts a loo k.

KEN
ong s to
r kno w tha t ca r. It belbac
one of the wa itr ess es k at
the ba r. She wa s lea vin ' jus ~
wi th
as we wa s cor nin ' in. Blo nde
ass .
big tit s and a tig ht lit tle

CONTINUED ,
 -50-
56
56 CONTINUED
BUD
Are you sure?

KEN
I walked her to her car one
night an' she showed 'em to
me-- and this is the car.

BUD
So where is she?

KEN
I don't know. I hope she's
not trying to walk it ...
CUT TO
ANGLE FURTHER DOWN ROAD 57
57
ANGIE MARTIN, the cocktai l waitres s in questio n, is
walking along the dark road. She looks thoroug hly dis-
gusted with her dilemma. She is wearing a rabbit pelt
jacket thrown over her skimpy waitres s outfit. The heel
of one of her shoes is broken, causing her to walk along
with a limp. She seems to be mutterin g obscen ities to
herself as she limps.
58 ON ANGIE 58

sne continu es along at a very weary pace, thinkin g to

herself that maybe this wasn't such a good idea after
all. She stumble s on the loose gravel and nearly falls
flat.
ANGIE
Goddamn it!

She reaches down and takes off both of her shoes and
slings them over her shoulde r.

ANGIE
Thorn McCann's gonna get suckers
right back in their face--

She stops what she's doing to listen to a disturb ance.

She cocks her ear in the directio n of the heavy brush
alongsi de the road. She hears a rustling in the bushes.

ANGIE
(soundin g scared)
Shit • • •
CONTINUED
 -51-
58
58
coNTINUED
she looks to the other side of her and sees a DEER XING
SIGN poste d besid e the road. She looks back at the
bushe s.
ANGIE
(begi nning to leave )
I hope that' s you, Bambi ..•
As she conti nues , the SOUND of an appro achin g truck can
be heard in the dista nce.
59
59 WIDER ANGLE- ANGIE AND ROAD
aroun d
From behin d her, a pair of head light s appea r from the
ning as BIG
a corne r and the sound grows almo st deafe
RIG roars towar ds her.
the
ANGIE stops and turns . She begin s wavin g her arms so
truck ers will see her.

ANGIE
(call ing out)
Over here, cowbo ys!
g
The truck pulls off the road and onto the shou lder, comin
up along side of ANGIE. She runs up to the cab.
60
60 ON CAB
she hops onto the step on the passe nger' s side to get
a look insid e.

ANGIE
(reco gnize s Ken)
Arn I glad to see you two boys!

KEN
Hey Angi e, th!s ain'. t no pl~ce
to go hikin g this time of nigh t.
c•mo n, get in!
·s door and helps ANGIE climb in.
BUD open s Up h 1

BUD
we saw your car back there so ~e.
figur ed you were proba bly walk in
up ahead some where - ~-
CONTINUED
 r

Revise d 10/8/80 -52-

60
coNTINUED
KEN
I recogn ized your old clunke r--

ANGIE
Just wait til I get up there, Ken
Turner --

she climbs into the open cab and BUD slams the door shut
behind her.
61
INT. CAB, THREE SHOT
61
It's a pretty tight squeez e but the trucke rs don't seem to
mind the inconv enienc e at all.
I

ANGIE I
Thought I'd never see the day when I'd II
be glad to see a couple of big sweaty
trucke rs.
KEN
I'm sure you'll think of a way to thank
us ...

she knows what he's driving at but she sets him straig ht.

ANGIE
Sure. Next time you two boys come into the
bar I'll buy you both a beer ...

KEN
I'll let you blow the head off mine--

As he says this, A SCRAPING SOUND is heard agains t the metal

side of the truck.

62 EXT. TRUCK- ON BACK WHEELS 62

A DARK SHADOW appear s along the side of the truck. It stops

beside one of the massiv e back tires. With one quick motion ,
an ARM swings down and a gleami ng METAL CLAW sinks deep into
the black rubber and jerks down in a RIPPING motion .

There is a LOUD BANG follow ed by the whistl ing of air escapi ng

from the large GASH.
63 INT. CAB 63

The banter inside abrupt ly stops at the noise outsid e. The

threeso me stares at one anothe r.

CONTINUED
 .,
I

-53-
coNTINUED 63
63
ANGIE
Someone shootin g at us?

BUD
Sounds likP. a blowout . I'll
go check •.•

He opens his door and jumps out.

ANGIE
Must be an epidemi c or some-
thing. First me, now you guys.

64 EXT. TRUCK- ON BACK TIRES 64

BUD walks around the truck checkin g all the tires. He

finds the blowout in the back and stops to examine it.
He's puzzled that it is ripped open the way it is.

BUD
Hoooowwweeee!
(calls out)
Hey Kenny! Corne down here and
take a look at this!

The sound of the door opening and slamming tells us KEN's

on his way. A couple of beats pass before he is alongsi de
his buddy.

KEN
Find it?

BUD
Yeah, but look at it.

He points to the wide gaping TEAR.

KEN
How the fuck did that happen?
we'da had to run somethi ng over
to do that and we weren't even
moving. Well shit, h 7lp me
change it, we're falling way
behind schedul e •••

CONTINUED
 ~ co,'i1 uroro
6
BOO
~ell it ' & e good lhlnq ve t ook
this short cvt .• •

OtSSOtNi TO

65 SA~I "1,;iCLt- O.'tt. flO\U~. ~T'!'R

aoth TRVCKDS are f1 n1 shinq up tlw! job. Qreeay end 111eetl@r

than ever. They both look tired from the heevy 'fflt~.

t(f.N
( looks at watch)
Shi t , we won ' t even be in
Palmdale until--

He is 1nterrupted by• LOUD SCREAA from A.NOlt 1n1ide the

cab, lt la followed by the aound of SMASHlNO OLASS, loth
TRUCKiRS look Up at each other in ahock.

KEN
What the fuck --
ThoY drop tho1r tool• and run for th• cab .

b6 INT . CAD 66
It is ~mpty . The front windshield ia SMASHED IN and there
i i brokan GLASS covering the front seat where ANGIE wa1
sittin9 . The TRUCKERS pull open thei r doors and jump in
only t o find her gone.

BUD
Jesus Christ! What's 9oing on?

KEN
Check outs i de-- all around the
truck .
67 £XT . TRUO< 67
Both men j ump out and check the a.rea frantically but
there is nothing to be seen. There is no trace of ANGIE.

KEH
Angie! Angi.e, where are you?

CONTINUED
 Rev ised 10/ 8/8 0
-55 -
coNTINUED
67
BUD 67
(sca red )
Thi s is fuc kin g wei rd, man.
bet ter cal l the pol ice . We'd
They run bac k to the rig , tot all y
con fuse d now.
68 INT. CAB
68
BUD gra bs the C.B . mik e and
hel p. KEN gra bs h' pro cee ds to mak the cal l for
BROKE
N ANTENN im by th e arm to sto p. He e poi nts to the
A he' s hol din g in his han d.

KEN
Do n't bot her . It was lay ing th
gro und . on e
KEN shu ts his doo r and tur ns the key
truc k up. to sta rt the mo nstr ous

KEN
We 'd bet ter get into town fas t and
som eon e out her e. get

He put s on the lig hts and thro ws the

The tru ck rum bles and slow ly lurc hes gea rsh ift into fir st.
forw ard .
As the cab sha kes from the bum pine
vib rat ion sha kes down a dan glin g ss of the sho uld er, the
roo f, foll ow ed by the RIPPED OPEN BLOODY ARM from the cab 's
ups ide down from the roo f. Her facTORSO OF ANGIE, han gin g
and the blo od is ste adi ly dra inin g e is lite ral ly TORN AWAY
BUD let s out a hor rifi ed scre am- - from the larg e ope n gas hes .

69 EXT. TRUCK- LONG SHOT

69
The tru ck rol ls to a sto p, wit h the
the roo f and down acr oss the win dsh blo ody bod y dan glin g from
ield . BUD's scre am ech oes
off int o the nig ht.

FADE OUT
FADE IN
Xl INT. LOCAL SHE RIF F'S DEPARTMENT-
DAY Xl
OFFICER BRAVERMAN wal ks from the
cof
cor ner of the cram ped lit tle off ice fee per col ato r in the
of SGT GEORGE WILKES. WILKES is and hea ds to the des k
rea din g a rep ort from a
ma nill ~ env elo pe wit h some con cer
n. He is a gru f~ but kin d
hea rted man who se yea rs beh ind a
des k hav e tak en its tol l,
lea vin g him wit h a pro nou nce d bel
ly.

CONTINUED
coNTINUED
Revise d 10/8/8 0

SGT. WILKES
-SSA-
Xl
l
Braver man, here's your autops y report on
the Riley girl. You were right.

BRAVERMAN places his cup of coffee down on the desk and takes
the folder from WILKES and examin es it.
BRAVERMAN
Hmm. I though t so. No one gets that ripped
up going throug h a windsh ield.
SGT. WILKES
'I
This ties right in with last night' s
murder up there.
BRAVERMAN
(sound ing disapp ointed )
Yeah. I guess this means you're going to
turn it all over to Homici de now, right?

SGT. WILKES knows BRAVERMAN wants this ·case.

SGT. WILKES
I like your hunche s so far, Braver man. I
think I'm going to keep you on this one.
You're probab ly tired of Juveni le Crime
by now so I'm going to let you use your
brain a little . You natura lly won't be
workin g alone, Homici de will be in on
this too.
BRAVERMAN
Thank you, sir.
SGT. WILKES
Don't thank me yet. This looks like it
might be kind of tough . There aren't too
many clues to go on or any concre te motive s .

BRAVERMAN
But we do have a witnes s .
SGT. WILKES
Those two trucke rs? They said they didn't
see anythi ng.
BRAVERMAN
No. Art Willia mson.
SGT. WILKES
I don't see how much of a help he's going
to be . He's in a coma.

CONTINUED
 Re vis ed 10 /8/ 80
coNTINUED -55 B-
I'l l h BRAVERMAN Xl I
c eek wi th th
hi s co nd iti' on is.
. e ho sp ita l an d see wh at

Yo u mi gh t SGT. WILKES
\
.
fil es . As als o wa t
I rec al~ to che ck Ho mi cid e's
of tro ub le up the r~ we
had th is sam e kin d
ba ck -- tee na ge rs a~ ou t fif tee n ye ars
ge tti ng sla sh ed .
AS WILKES say s th 'is, the do or
wa l te r HATCHER en ter s wi th a to t~e of fic e op ens and SG
de pa rtm en t. p pe rs in his T.
ve ter an of the han d. He is an oth er

BRAVERMAN
I'l l si ft thr ou h t
som eth ing in th~ hem . Th ere mi gh t be
re I can us e.
HA
saTCH ER to
tio n ap pro
en d.ac he s the m and wa its
im pa tie ntl y fo r the co nv
er-
SGT. WILKES ·
Go od --
(he the n rem em ber s)
Oh , yo u go t a ca ll fro m
som e gi rl Sh e
ca
Bulle
rked. a few tim es · Bu rke,
som eth:ing

BRAVERMAN
Ma de lin e or Sh aro n?
HATCHER is re al ly los ing
his pa tie nc e.
SG T. WILKES
Th at' s it- - Sh aro n Bu rke
.
BRAVERMAN
(gr im ac ing )
Fo rg et it. Th an ks.

HATCHER
He llo Br av erm an . , How are
thi ng s in Juv ey
Ha ll?
WILKES kn ow s th es e tw o
do n't ge t alo ng .
SGT WILKES
Th at wi ll be al l Br av erm
an , tha nk yo u.
BRAVERMAN tak es th e au top
sy re po rt wi th him an d hi
the n lea ve s. s co ffe e
HATCHER wa tch es him ca
re fu lly .

CONTINUED
T coNT!NUED
Revised 10/8/80 -SSC-
Xl
HATCHER
Well, how did he take it?

SGT. WILKES
I'm putting him in with Homicide on the
Shadow Hills murders.

HATCHER
What? That's one hell of a reprimand,
George--

SGT. WILKES
B~a~e~man•s a smart kid. The Juvenile
Division was just wrong for him.
HATCHER ,
Not if you're into seducing sixteen year
old girls --

SGT. WILKES
(raising his voice)
I'm giving him another chance, all right?
He's got a lot of good ideas and I'd hate
to lose him over some minor transgressi on.
HATCHER
Minor is right. What if that girl was
your daughter?

SGT. WILKES
They were just accusation s. Besides, Braverman
denies it and I believe him.

HATCHER
Who wouldn't deny it?

SGT. WILKES
The subject is closed, Hatcher.

HATCHER
Sure. Whatever you say •..

FADE OUT
FADE IN
70 EXT. SHARON BURKE'S BACKYARD- POOLSIDE- DAY
SHARON is in her bikini and is swimming laps in her parents•
swimming pool. It's a hot day and the water is inviting.
SHARON's boyfriend, ROD LANDERS, is in his trunks ~unbathing
on the chaise lounge at the edge of the water. He is an
attractive youth of about seventeen.

CONTINUED
V coNTINUED
Revise d 10/8/8 0 -56-
70
70
ais deep tan i nd icates ~hat sunbat hing is probab ly what he
knows how to do be st . His lack of motiva tion seems appare nt.
_ANGLE ON GATE 71
71
MADDIE opens th e gate and enters . She is in her bathin g suit
and has a towel draped over her should er.

MADDIE
Hi Sharon !

,ANGLE ON POOL 72
72
SHARON stops in the middle of her lap and sees her cousin .
she swims to the edge of the pool to meet her. MADDIE walks
over.
SHARON
So where 's Richar d?

MADDIE
Ha ha, very funny.

SHARON
Give it anothe r day and you'll forget
all about him.

MADDIE
That's the proble m. I don't want to.

SHARON
well forget him for now anyway . Did you
hear about what happen ed last night?

MADDI_E
No, what?

SHARON
A woman was murde red up on Shadow Hills
road!

MADDIE
Well you don't have to sound so excite d
about it. Who was she?

CONTINUED
 -57-
coNTINUED 72
72
SHARON
A cocktail waitress from McGinty's
Bar. M~ddie, don't you see what's
happening?

MADDIE
Sharon, I don't want to talk about
that anymore, all right?
(she sees Rod)
Hello Rod--

73 ON ROD 73

He lathargically rolls over and opens his eyes. He's

annoyed at the energy he's had to use to turn on the lounge.

ROD
(lazily uninterested)
Oh, hi. ••

He rolls back over again.

?4 ANGLE ON GIRLS 74
MADDIE is not particularly fond of ROD. He's one of the
most unmotivated people she knows.

SHARON
(trying to make her
point)
Maddie, it's because Rebecca
Lange has come back!

MADDIE
(changing subject)
Did your parents leave for
Palm Springs yet?

SHARON
· This morning •••
(then)
The ghost of the killer knows
she's back and he's looking
for her!

CONTINUED
 -58-
coNTINUED 74
74
MADDIE
Why did your parents go all the
way to Palm Springs to lay out
by a swimming pool when they've
got one right here?

SHARON
(splashes Maddie with
wate:i; annoyedly)
Will you listen to me for a
minute? There's a similarity
between the murder last night
and what happened to Denise.

MADDIE
What?

SHARON
Smashed in windshields. The
woman last night was pulled
through the windshield of a
truck. That's what happened
to Denise, too.

MADDIE
Denise was thrown through the
windshield.

SHARON
Where were the skid marks? There
weren't any because they were
parked when something happened.

MADDIE
(hesitantly)
You' re crazy ••.

MADDIE throws her towel onto a patio chair then steps onto
the diving board. She runs to the end, springs and dives
into the pool. SHARON swims to the other side where MADDIE
is about to surface.

75 NEW ANGLE 75
MADDIE comes to the surface and is met by SHARON waiting
for her,

CONTINUED
 Revised 10/8/80 -59-
75
coNTINUED
75
SHARON
1
You ve got to admit you were wondering
where the skid marks were too.

MADDIE
Are you going to the funeral tomorrow?

SHARON
It's been postponed for a couple of days.
I heard they were going to do an autopsy.
(losing patience)
Look, if Art slammed on the brakes, why
didn't he hit the windshield too?

MADDIE
He was wearing his seatbelts, that's why.

SHARON
Art? Are you kidding? You're as crazy as
Braverman if you believe that.
MADDIE ducks under the water and swims the length of the pool.
SHARON follows her.
76 ANGLE ON OTHER SIDE (AWAY FROM ROD) 76

MADDIE surfaces and SHARON is right behind her.

MADDIE
You kind of like Braverman, don't you?

SHARON
Now I know you're crazy.

MADDIE
All I know is that whenever you argue with
anybody as much as I saw you with Braverman
that usually means you like them.

SHARON
Why should I like someone I always argue
with , huh?

CONTINUED
 ~
I

Revised 10/8/80 -60- I

coNTINUED 76 I
MADDIE
It's just your way of getting someone to
take notice of you. You've always been
that way. That's why you never get asked
out-- you scare everyone off.

SHARON
Well I happen to know for a fact that
Braverman's got his eye on you.

MADDIE
What?

SHARON
You heard me. You should have seen the way
he was staring at you the whole time we
were up on Shadow Hills Drive that day.

SHARON looks away from MADDIE hopelessly, as if her own words

are a confession of her inadequecy.

SHARON
(almost sounding
desparate)
Maddie, if he asks you out or anything,
try and get as much information out of
him as possible-- for me, okay?
The extension TELEPHONE on the umbrella covered table in the
patio area RINGS. SHARON pulls herself out of the water and
walks to the phone.
MADDIE
Sharon, you really amaze me sometimes.

76X PATIO AREA 76X

SHARON, dripping wet, picks up the reciever.

SHARON
Hello?
(face lights up)
Oh hello! Did you-- did you get my
messages I left?
(her face drops)
Oh ..• yeah, she's here-- hold on.

CONTINUED
V Revised 10/8/80 -60A-
76X
76'/.
sHARON puts th e reciever slowly down on the table top and
iooks over towards MADDIE.

SHARON
It's for you, it's Braverman.

MAf)DIE gets out of the pool and grabs her towel on the way,
patting he:self dry. She shoots a confused look at SHARON
and then picks up the receiver.

MADDIE
Hello? Yes •.. yes, I remember you ...
Well, I don't know .•. tonight?

sHARON's expression changes to utter shock as she listens in.

MADDIE
(cont.)
.•• if, it's business, yes ..• Eight o'clock
is fine. Do you have my address? Oh, right.
Okay ••• I'll see you tonight .•. goodbye.

MADDIE hangs up the phone and stares at SHARON who is looking

off across the yard, unable to face her cousin.

MADDIE
He wants to get together with me tonight.

SHARON
Oh, what a surprise.

MADDIE
It's not what you think. He said it had
to do with sometping a nurse heard Art
mumbling. He wants to get together and
ask me some more questions.

SHARON
Right. Why couldn't he ask me?

MADDIE
He said Art mentioned my name •..

FADE OUT
 Revised 10/16/80 -61-

FADE IN
EXT. LANGE HOME- NIGHT 77
77
The street is dark and quiet. The modest house is dark
with only a yellow porchlight shining in the night .
INT. HOUSE- REBECCA'S ROOM 78
78
The room is cold and bare. The only furniture in the room
is a small bed and a chest of drawers beside it . On the wall
is a single portrait of Christ. The floor is bare wood. The
room is so stark i t resembles a hospital room in appearance.
ANGLE ON REBECCA 79
79
she us asleep but restless. Her body is in constant motion,
twisting and rearranging itself under the white sheets. Her
head sways from side to side as her tongue moistens her dry
cracked lips. She's in a deep and troubling sleep, involved
in a disturbing dream.
SHIMMER DISSOLVE TO

DREAM SEQUENCE:

INT. LANGE LIVINGROOM 80

80
The dream is a reenactment of the THREE YOUTHS, RICHARD,
SHARON and MADDIE interrogating MR. LANGE. RICHARD is face
to face with LANGE but is now much more aggresive in his
approach. The two GIRLS are present in the room but not
clearly visible.

RICHARD
(yelling)
Two of them died, didn't they?
Didn't they! But one of them I'
lived--
,1
LANGE
(timidly)
Rebecca ... she's my daughter ...

RICHARD
How did they die?
I I

LANGE
They- - they were drivi ng . . .

CONTINUED
 coNTINUED
BO
-62-
Lia r! RICHARD 80

LANGE turn s away to

reth ink his
answ er.

They Were h~NGE

l hik·ing ··· 1. t was
da r k . . . and ltch
ate...
DIRECT CUT TO

81 EXT. SHADOW HILLS ROAD- NIGHT

It is sti ll with in th
and dark . An omi nous :.dr eam sequ ence Th e road is twis ting
t
ist Clin gs low 0 th
In the dist anc e are the f' e grou nd.
es of thre e GIRLS .
slow ly alon g, stum blin g asigur k
thou gh dru n • walk ing
82 ANGLE ON GIRLS
82
They are REBECCA, MADDIE and SH
abs olu tely pla ster ed. The ir 1 ARON . All thre e girl s look
nigh t. augh ter echo es thro ugh the

REBECCA
(sto ps the othe rs to
list en)
I hea r a car •..

All thre e stop and look off down the road .

83 WIDER ANGLE 83

ness . The
is spe edin g the ir way from out of the dark the
A CAR edge of
d at
thre e GIR LS, obv ious ly need ing a ride , stan thei r arms . The
the pav eme nt and beg in holl erin g and waving the nigh t and
car nev er slow s dow n, spee ding pas t them in
disa ppe arin g bac k into the dark ness .

SHARON
(ye llin g at car)
You son of a bitc h-- you come
bac k her e!
CONTINUED
V coNTINUED -63-
83
s3
MADDIE
(gett ing Sharo n' 8
atten tion)
Wait , here comes anoth er one!

sfV.RON and REBECCA turn and look down the road, seein g the
oncoming head light s.

SHARON
I know how to make 'em s t op ...

she unbu ttons her blou se and takes it off, stand ing in the
road with only her bra on.

SHARON
(to the othe rs)
Corne on! Get 'em off, quick !

sy
MADDIE begin s to unbu tton. REBECCA looks a li-ttle unea
off and
but follo ws orde rs. Both GIRLS take their blous es
the midd le of the road .
the three of them stand shirt less in
84 ANGLE IN MIDDLE OF ROAD 84

The speed ing vehi cle is head ing strai ght for the three as the
girls . The head light s grow close r and close r then dip
ALLING
brakes are quic kly appl ied. The loud sound of SQUE
TIRES echo es loud ly over ,
85
lj
85 cu .REBECCA I S FACE
with her
REBECCA is laug hing and enjoy ing her reck lessn ess rds them
two comp anion s. The scree ching tires coming towa omes
quick ly ahan ges her attit ude and a look of horro r overc
her face. The tires cont inue scree ching over,
ii
DIRECT CUT TO I

I,
86
86 INT. REBECCA'S ROOM- ANGLE ON BED I
I

and
The DREAM SEQUENCE abru ptly ends as REBECCA awakensquic kly
bolts uprig ht in her bed. The tires schre echin g
tmar e.
stops . she is wild eyed and terri fied from her nigh I I

I,
rven-
Her night gown is dren ched with swea t as she sits hype · 11 I
lo~ks aroun d ~he
tilat ing, unab le to calm hers elf. She ng
room , unac custo med to being back home again and feeli
1,,/
di sorie nted .
CONTINUED
 Revised 10/14/ 80
-64-
86
REBECCA
96 Nurse! Nurse!

FADE OUT
E IN
fl'>O
RESTAURANT- NIGHT 87
etr-
01 p!E is waiting bes~de a lighted telephone booth in the
~king lot 0 ~ a seaside restaurant. Parking lot ATTENDANTS
par bUSY parking the large expensive cars that pull up.
are
IE looks a little shaken and nervously watches each set
:o~eadlights that appear coming into the parking lot.

HARD'S c.AMARO appear s , turning off from the main street

RIC uicklY pulls up alongside the telephone booth where
an~DiE is waiting. She runs to the passenger door and gets
MA . de the car.
iOSl

INT· c:AMARO 88
BB
RICHARD looks a little confused. In a dishevelled state, he
looks as though he was summoned without advance notice.
MADDIE
(sounding relieved)
oh Richard, thanks for coming out here to
get me--
She wraps her arms around his neck and kisses him gratefully.

RICHARD
I
l
I hope this was important, Maddie. You
interrupted a hot game of Scrabble bet- IIl
ween me and my mother ...
she continues kissing him, glad to be back together with him I I
again. He feels the same way.

RICHARD
(confessing)
I was losing anyway.
MADDIE
Richard, remember Officer Braverman
from the other day?
RICHARD
Yeah, why?

CONTINUED
 Revised 10/14/80
coNTINUED
98 MADDIE 88
I was having dinner
With him tonight.
RICHARD
Great. This is what
way out here for t 0 I rushed all the
hot date-- ' hear about your

MADDIE
It was supposed to be b .
wanted to ask me usiness. He
that night on th sobme questions about
e each.
RICHARD
What do you mean, 'it
was supposed to be?'
MADDIE
He got fresh with me.

RICHARD
What?

MADDIE
He tried grabbing me under the table and
asked me to go to bed with him.
RICHARD's face turns red with anger.
RICHARD
I'm going to break that guy's fucking
neck!

MADDIE
I'm going to report him to the Sheriff's
in the morning, don't worry. Ii
RICHARD 'I
Are you all right? I mean, how do you I

feel? III
I
MADDI.E
I feel like getting back together with
you, that's how.

They move close together to kiss, but RICHARD suddenly bolts

up in his seat--

RICHARD
Conciliatory! Twelve letters and a
triple word score. Damn!

DISSOLVE TO
 --- --- --- -~ ·I
Revised 10/14/8 0
saAPOW HILLS DRIVE- NIGHT -64B-
it1·
XXl
.
MP,N'S CAR 1s travel ling down the dark road. The area
13fl;,.V£~ et and there are no Oth er cars or signs of life any-
j,5 qt1J. to be seen.
wl'lere
rN1· cAR XX2
·ng in the seat beside BRAVERMAN is a young PROSTI TUTE.
5j,ttJ.an 't be older th an sevente en. Arms folded across her
s11e c she looks somewh at disgus ted.
cl'lest,
BRAVERMAN
was busine ss that bad tonigh t that you
had to hustle a cop?

PROSTIT UTE
Hitchh iking isn't hustlin g and I'm not
a hooker ! If you're a cop then let's
see your badge.

BRAVERMAN
It's in my other pants.

PROSTITUTE
(laughs )
Huh-- it always is.

BRAVERMAN
You want to make a little wager?

PROSTITUTE
sure, I've got nothing to lose.

BRAVERMAN reache s for his POLICE RADIO MIKE.

BRAVERMAN
I'll bet you haven' t .••
(into mike)
This is One Baker Three, Office r Braverm an
checkin g in. I'm on Shadow Hills Drive
headed north ••.

CUT TO
XX3 INT. ROD LANDERS' VAN- NIGHT
XX3
SHARON and ROD are in the front seat. They're parked at a
drive-in hambur ger stand and are having dinner . SHARON has
turned on ROD's POLICE SCANNER and is overhe aring BRAVERMAN's
call.

BRAVERMAN o.s .
..• I'm approa ching the scene of the
Riley girl's murder and will be in the
area locatin g furthe r eviden ce. Over.
I I
I
CONTINUED
 Revised 10/14/80 -64C-
XX3
DISPATCHER o.s.
Roger, One Baker Three, we copy. Over.

ON jabs ROD in th e ribs with her elbow and he spits up

S~coJ<e .
11.is
SHARON
Listen!

ROD
So?

SHARON
Braverm an's supposed to be out with
Maddie rig~t now! And did you hear
what he said-- the Riley Girl's !!!Y.£-
der!

5he ybegins
into
picking up their remainin g food and stuffing it
the
awa bags to throw away.

SHARON
Come on. I want to know what they're
doing up there--

ROD
(protest ing)
I haven't finished eating yet!

she reaches over and turns on the ignition for him.

SHARON
Finish later, let's go--

CUT TO
XX4 INT. BRAVERMAN ' S CAR
XX4
He hangs the mike back up then lo~ks over to the PROSTITU TE.

BRAVERMAN
You lose.

PROSTITUTE
Yeah, how badly?

BRAVERMAN looks towards the edge of the road and slows down.
He pulls over onto the shoulde r.

PROSTITUTE
Ohh, I get it. . . ,Ii 1
1

DISSOLV E TO ! I

.1
 '-.;
I
1\
Revised 10/14/80 I
-65- I

aNJOW HILLS ROAD- NIGHT 89

Cl'· S
VAN appears from around a shrp turn and proceeds down
pusuallY dark_ st retch of road. The headlights flash on
15
JP
1e ui nt, along wi th th e fr~nt yellow fog lights, antenna
, P~ ~nd every 0th er cu st omized light attached to the van.
_gh
89X
r'1' • VAN
N 1ooks over to ROD, who looks less than thrilled with
1;,.RO hole idea.
1iS 'W
SHARON
stop looking annoyedl It's not like I
always ask you to do me a favor.
I I

ROD
Hal
SHARON
well it•s the least you can do after
inviting yourself over to use my parent's
pool every day. That•s why they went to
Palm Springs-- they were tired of tripping
over you.
ROD
very funny. I bet you go around telling
everybody that all I know how to do is
get a suntan.
SHARON
You're the only person I know that drives
around at night with domelight on inside
the car.
ROD
(mock coolness}
Hey, rays are rays •••

SHARON
It's because you're trying to look good
for Wendy Palmer, that's why.

ROD
You're crazy.
r. VAN 90

= very lit up VAN turns another sharp corner. A~ound the

1d and up ahead of them is a dark shape resembling a CAR.
' s pulled off to the side of the road.
r Revised 10/14/8 0
sf!ADOW HILLS ROAD- NIGHT -65-
eiT•
g9 89
'S VAN appear s from around a shr
FoD unusua lly dark stretch of road P turn and proceed s down
thebrig ht, along with the front Y i1The headlig hts flash on
t~ ht and every other custom ized~ . how fog lights, antenna
llg lg t attache d to the van.
1NT· VAN
89X
.,~QoN 1ooks over to ROD, who looks 1
s~- whole idea. ess than thrille d with
thlS
SHARON
stop looking annoyed ! It's not like I
always ask you to do me a favor.
ROD
Ha!
SHARON
Well itls the least you can do after
invitin g yourse lf over to use my parent' s
pool every day. That's why they went to
Palm Spring s-- they were tired of trippin g
over you.
ROD
very funny. I bet you go around tell~ng
everybo dy that all I know how to do 1s
get a suntan .
SHARON
You're the only person I 1a:ow that drives
around at night with dornelig ht on inside
the car.
'
ROD I
(mock coolnes s) I

Hey, ray s are rays ••• II

SHARON• e trying
. I

to loo k goo d I
It's becaus e you rthat's why.
for Wendy Palmer , \
I' .
I 1·l
ROD I

You're crazy. 90 I:
I I

90 EXT. VAN the

corner. Around CAR.
1
• '!1
I
anothe r sharp resembl ing a
The very lit up VAN turns · s a dark shape
bend and up ahead of th e~ 1 f the road. I I I
It's pulled off to the side o I I
r Revis ed 10/14 /80 -66-
91
gt the first to notic e the auto. \'
SHARON
(poin ting)
Look, a car!
ROD
so'?
SHARON
so slow down, huh'?
lets out a weary sigh and bring s their speed down to a
ROD 1 He pulls off the road and along side the desol ate car.
craw .
oMIT 92
92
INT- VAN 93
93
sHARON stare s in horro r at the empty car.
SHARON
That' s Brave rman' s car! Where are
they'?
ROD
(equa lly scare d)
I don't know'?

SHARON
Go out and take a close r look.

ROD
What'?

SHARON
Go on! What if Madd ie's been hurt'?
ROD hesit antly turns the i _~ni tion off and opens the drive r'
door. s

SHARON
Be caref ul .•• and leave me the keys.

ROD
Stay here and lock the doors until I
get back.
~~ tosse s the keys onto the seat then shuts the door behin d
im. SHARON leans over and quick ly locks it.
 Revised 10/14/80 -67-
~ ON TWO VEHICLES 94
Afi!GL.i:,
ix 1 · ookS cautiously around him as he slowly makes his way
oO 1 ERMAN's car. He walks up to the passenger window
~o aRAVbers the courage to look inside. Nothing and nobody.
aJ'l
a gat
98 OMITTED 95-98
tllfl.l
95 , s pOV FROM VAN 99
sf!ARON
99 tcbeS with apprehension as ROD looks up from the car.
she ~a als by shrugging his shoulders.
ae s1gn
ROD
I want to check out these bushes ...

SHARON
No-- come on back. I'm getting
scared!

EXT• ANGLE ON BUSHES 100

I I

D ignores her pleas and begins walking towards the brush,

RO trained on the ground, looking for any kind of clue. As
5
~!ewalks, he disappears from SHARON's view.

INT. VAN 101

101
SHARON is feeling more and more like her idea wasn't such
a good one after all.
SHARON
(to self)
You stupid jerk-- where are you?

she gives a start at a NOISE. She holds her breath to listen. II

The sound of FOOTSTEPS can faintly be heard outside the VAN. I
SHARON sits motionless , afraid to do anything, not even to 'I
I

turn and look around her. I

II I
There is a SUDDEN TAPPING on the window right beside her fac e I

and she lets out a terrifi_ed SCREAM. It's ROD. I I

II I
He looks as pale as she does, each having completely scared
the other. II •
SHARON rolls down her window, trembling with fear. II
SHARON i !I
(tryi ng to catch her
bre ath)
I I I

Jes us Christ, Rod! You scared me half ·!li,,

to fuck i n g death!
I
I II
CONTINUED I
I
I" 11
 co NTINUED
101
Ron
(trembling)
You didn•t do me much
101
9ooa either ...
SHARON
Did You see anything?

Ron
~o.tThhebcar•s empty ana
in e Us bes either. there's nothing

SHARON
I don't like this. We•a
back into town ana rep ~e~ter drive
to call Maddie's house or dit. !_want
all right. an see lf she•s

ROD
They
t Probably
1 just had car tr bl
.
go a about f
1 t
b ack . ou e ana
worry it. . into
. town. I would n' t

ROD is looking
the driver's a little
door to getmore
back courageous
inside. as he Walks back to
lOlX ANGLE ON BUSHES

Further down the embankment of the road, a BLOODY LEG Pokes 101x
out of the bushes. It's the lifeless body of the young PROST-
ITUTE. It remains unseen by SHARON and ROD.
102 INT. VAN

102
ROD VAN.
the is looking more relieved now that he's safely back inside

ROD
I don't know why you're getting so
worried. I
I

SHARON ' ii
Because She 's my cousin,
that's why. I

\I
,I

ROD puts the key into the ignition,

his mirror. . . . then casually re adjusts

ROD
She's with a cop. You can't get any
safer than--

OMIT PAGES 69 and 70

 'I

-71 -
102
..1,r!NVED
CO!'
a GLOVED HAND sho ots thr ou gh
iS int err up ~e dd as cla
io2 mp ing
~o0 oN 'S op en win ow, aro u nd he r thr oa t wi tho ut
S~ · ng.
warnJ.
tri es to scr eam bu~ r the gr ip is t 0 .
at des par a~ 1 tig ht o~ he r. She
sne . 1s he lpl es sly in he sefie d, un abl ~ , Y gra ~p 1ng at the
f~a J.fo r he lp. ROD is ho rri of wh at to
air a h e eye to thi nk
a1 r. st- SHARON ga sps for s er s ro ll bac k in he r
do f1r
nead-
wa ist when he see s he r be ing
oD gra bs on to he r aro un d the tow ard s the ope n win dow .
rif ted ou t of he r se at and

ROD
Oh my Go d! Oh my Go d-- ,,I
. e up
r key s, sta rti ng the eng.:i.n
ue pa nic s dand gra bs H the h.ca
f , spi nn ing the
.n
wit h a lou ro ar. es 1 ts and gun s the van /:
ste eri ng wh eel sh arp ly.
103
ON SHARON
103
oa t loo sen s as the int rud er
The HAND aro un d SHARON'S thr RON fee ls he r cha nce and e
ob vio usl y los es ba lan ce . heSHA
rse lf fro m the de ath gri p. Sh
sur ges for wa rd, fre ein g spi ng de spa rat ely for air .
cru mp les on to the se at ga
104
EXT. ANGLE ON VAN
104
for the do or han dle bu t ca n't
The HAND gra bs fra nt ica lly
kee p ah old .
105
105 INT.VAN
r-
den ed fac e as she cri es hy ste
1 1

Tea rs flo od dow n ~HARON's red I

ica lly fo r the att ac k to end
. I I
I I

SHARON
{sc rea mi ng )
Go aw ay!
APING alo ng the sid e of the
The sou nd of FINGERNAILS SCR
van is br ief ly he ard . 106
106 EXT. ANGLE ON DARK ROAD
n
nig ht, ne arl y mi ssi ng a tur
The van tea rs of f in to the
aro un d a co rne r. I I
and cra sh ing . It dis ap pe ars

i{
tr
 111111111!!! .-·
'
T VAN
!N.
io1 -72-
J<OD, not the pillar of st
shaking. He tries hopeleren gth by a 107
ss 1y to 1ongshot
calm his . ' is Visibl
girlfriend d Y
ROD own.
(stammering)
It's ov
er-- You're saf'
with me Sharon-- it• e. You're
s all right!
sfiARON can only babble unintell·
ROD tries to calm her down as ~~e~!;~· She's in shock.
on the road at the same time. ggles to keep the van

SHARON
(screaming)
I know too much-- He knows I
do!

ROD
Sharon, plese be quiet!

SHARON
He knows Rebecca's back and he's
looking for her. He tried to kill
me! Look--

she pulls back her collar like a madwoman and shows ROD the
red finger impressions around her neck.

ROD
I know, I know but you're all right
now. You're safe--

SHARON
(choking back tears)
I know too much! I know too much!

Her body is
She buries her head in her boyfriend's lap. 11
I

wracked with tremors. ·

• 'I

FADE OUT
I
I I
 Re vis ed 10 /lG / 80 -7 3-

!N
ff\pf: INGROOM- DAY
RrcHARD TYLER'S HOME, LIV 10 8
r~'l'· . vo rit e so a P op era on th e
~r,ER is wa tch in g he r fa
t 1
Th e va cu um c ea ne r 's le an i .
r.1 'l' J.
~fl'r> . sio n se . st th e
~·n dic ati ng th at al l ho us ec lea ni ng tn g ag ain
en "T he
te1 ev co me s on . s op s wh
ofda., a~ d th e Re ck les s"
5
1301
HARD wa lks in . He se es hi' s
ro nt do or op en s an dviRIC
sio n.
,r11e f glu ed to th e te le
motner
RICHARD
I'm ba ck mom ...

RUTH
(en gr os se d in show)
Th at 's go od da rli ng ...

RICHARD
e on the
Do n't fix me lun ch . Ispat
ita l.
way ba ck fro m th e ho

RUTH
I wo n't ...

he rs el f ba ck
co mm erc ial co me s on an d RUTH mo me nta ril y sn ap s
A
int o re al ity .
RU TH
eli ng ?
Ri ch ard , ho w' s Sh aro n fe

RICHARD
e th is
Be tte r. Th ey se nt he r tohom
sta y ov er
mo rn ing . Sh e's go ing
re nt 's fly
M ad die 's un til he r parin gs .
ba ck in fro m Pa lm Sp

RU TH
ha ve be en a
Po or Sh aro n! Th at mu st ey sa id on
te rr ib le ex pe rie nc e! Th at a po lic e-
th e ne ws th is mo rni ng th
man is a su sp ec t.
I
' I I

RICHARD
. Th ey fou nd
Pe ter Br av erm an , I know th e ro ad la st
a gi rl mu rde red up on
rk ed ne arb y. He 's
ni gh t an d hi s ca r pa
dr op pe d ou t of sig ht .
CONTINUED
 ~
·1

Re vi se d 10 /1 6/ 80 -7 4-
10 8
RICHARD
(c on t.) I
· th
Th e sc ar ie st pa rt 1.s Maddi' e
wa s wi th th is gu y ea 1·ieatr th at
r
ev en in g.

RUTH
's st il l lo os e th en
Good Lo rd ! If heda
sh e co ul d be in ng er !

RICHARD
an ey e on
Th e po lic e ar e ke ep in g
Sh ar on 's ho us e un til th ey ca tch him .
(h~ sh ak es hi s he ad )
cr ee p when
I kn ew th at gu y wa s a ow, r was up1
fi rs t me t him . r-Yo u kn
th er e th e ot he -

I I
RUTH
(in te rru pt in g)
So rry de ar , my sh ow 's ba ck on . W e'l l
ta lk ab ou t it la te r .. .

d wa lks ou t
RICHARD thr ow s hi s arm
s up in ex as pe ra tio n an
of the roo m.
he r sh ow . A momentiopa ss es when th e
H se ttl e~ ba ck in to pt n sh e qu ick ly
RUT
tel ep ho ne rin gs . Anitno ye d at th e in te rrubl
on th e ne ar by ta e.
ge ts up an d an sw er s

RUTH
(in to ph on e)
'd be tte r be
If th is is yo u Be th itin g The Bo ld
go od , yo u' re in te rru pt
an d th e Re ck les s .. . lis te ns )
(sh e sto ps an d mi nu te ...
oh , I'm so rry . Ju st a II

rd s th e te le vi sio n as no t to
mi ss I I
th e ph on e to wa
She ca rri es id ac tio n.
a sin gl e moment of so rd

RUTH
Ri ch ar d- - tel ep ho ne .• .

CONTINUED
 Revised 10/16/80 -75-
108
r:rNtJBP
co~ the phone and receiver down on the couch beside
io0 pl.aces tinues watching her show.
511e aPd con
11er ppears from down the hallway and follows the
cfL1>.RP reaord until he finds the phone. He picks it up
~:r,epnoP~ c i t to the other side of the room so as not to
te;. rries
d ca h's mother.
a~ turb l
d.J.S
RICHARD
Hello?
(no reply}
Hello?

holding the phone in the middle of the room, con-

stands
ae
fused•
RICHARD
Last chance-- hello?

up and annoyedly puts the phone down on the table.

ae tangs
RICHARD
(to Ruth}
y 0 u sure that was for me? There was
no one on the other end.

RUTH
she said Richard Tyler ...

RICHARD
But who was it?

RUTH
Didn't say--

The phone rings again. RICHARD quickly picks up the reciever.

RICHARD
Hello? ... Just a minute--
He walks the phone over to his mother. She takes the reciever
from him without her eyes ever leaving the T.V. screen.

RUTH
Hello?
(her face drops}
Beth, this better be good ... you're
interrupting The Bold and the Reckless ...
Yes, it's after two o'clock ... I
I I

OMIT PAGE 76
CONTINUED

u
 ~
·/

Re vi se d 10 /1 6/ 80 -7 7- I

,1'frNlJED
10 8
co1• w ar ds th e ha ll way,
D he ad s ba ck toba
I
in th e ck gr ou nd • hi s m ot he r ' s vo ic e
0 rc
ff~ g of f
~ •1 ln
tr al RUTH o. s.
go th
Ye ah .• • B et ty ju st th at e~ op er at io n
an d W ar re n ad m itt ed ic a e was th e
on e th at ra pe d V er
on ...
AFTE RNOON DISSOLVE TO
HO US E- LA TE
saARON BURKE'S
tXT • es th
ER IF F'S PATROL de CAR sl ow ly pa ss ne ck te ho us e. It st op s
cr an es hi s
A SBthe DEPUTY in
si
OL CA R t ko ch ec k agth e pr em is es
l. Th e PA TR a es of f ai n.
and ny th in g un us ua
fo r a
11 0
LIVINGROOM
rNT •
DDIE ar e si tt in g qu ie tly on th e co uc h w atIEchis in g
,,~ooN an d MA · · h
SHARON is in er ro be , co nv al es ci ng . MA DD
Snru' th e ba ck -
te le vi si on .
a m ag az in e as th e news dr on es on in ' I
yi ng to re ad do wn .
tr und sh e pu ts it
.
gr o
MADDIE
e' re su pp os ed to be
C' mo n Sh ar on , win .
ge tt in g yo ur th gs
SHARON
d th e ni gh t at yo ur
I do n' t w an t to sp ensl ee p in my own be d.
pa re nt s. I wa nt to
MADDIE
he y' ll be ba ck to m or ro w. You ca n sl ee p
T --
in yo ur own be d th en
an s ov er
to at te nt io n at th e t. v. sc re en an d le
SHARON ju mp s
to tu rn up th e vo lu m e.
NEWSCASTER o. s. g
y sh ow ed th at a yo un
A C or on er 's au to ps sc en e of a ca r ac ci de nt
gi rl fo un d at th e hi ll s was ac tu al ly a
la st we ek in th e D en is e Ri le y of Wood-
vi ct im of m ur de r.
ha ve be en sl as he d to
m on t wa s fo un d to pr on gl ik e weapon .. .
de at h w ith a sh ar p
SHARON A rt 's
I wa s ri gh t. D en is e 1@..§. m ur de re d.d ri gh t
Sh e was pu lle · '•
va n ne ve r sk id de d.
in do w ...
th ro ug h th e fr on t w
I
CONTINUED I
I
I
r Rev·
coN 'l'JNUED lsea l0/1
6/80
MADDIE -78-
What did you think B llo
to say when y ~ k drav~rman
e him ...
Was going
SHARON
Braverman didn•t do it
...
MADDIE
Who was it then? You
see who t ried
. to· grab saia you couldn•t
and the whole Sheriff,You last night
off looking for Bra,. s Department is
verrnan--
. NEWSCASTER o.s
Residents of the area ·
remain off the road af:re urged to
advised to call the W .e r dark and
Department if they muo~d~ont Sheriff's
escort in or out of ths travel for an
a secluded
area ...
MADDIE walks over to the television d .
an switches it off.
MADDIE , I
You're not going to get bett 'f
k eep on th in. k ing
. about what her l You
It , 1 t t. appened.
s a mos ime for another sedative ...
SHARON
He's after .~ now. He knows I'm the
only one with the right answers about
what's going on up there ...
MADDIE
Sharon, there are no such things as
ghosts. Why can't I get you to accept
that? There~ such things as sick
people running around who like kill
other people.

SHARON
We should warn Rebecca ...

MADDIE takes a SMALL BOTTLE from the coffee table and opens
it, shaking a couple PILLS out into her hand. She hands them
to SHARON. SHARON obediantly takes them.

SHARON
I know too much. He'll come for me--
I
~here
0th S a KNOCK at the front door and SHARON a nd MADDIE
Jump at the sound .

OMt'l' PAGE 79
CONTINUED

l
 Re vi se d 10 /1 6/ 80 -8 0-

11 0
MADDIE
rd . H~ sa id he wa s
Re la x, it 's R ic ha .
an d gi ve us a ha nd
go i ng to dr op by
e sl id '
a fe w pa ce s to th do or th at fa ce s
E 'W'alkS ba ck ya rd an d pu ll s th e ~n g gl as s . Sh e th en
.,1-nDI to th e
f'lP" on on t do or to an sw er it .r ap es cl os ed
0 t1t to th e fr
wa11<S 11 1
ON EN TR YW AY
pflGr.,S
DDIE re ac he s th e fr on t do or . Sh e
or be ll ri ng s as thMA
en he si ta te s fo a mo me nt. Sh e lo ok s
The do s fo r th e kn
ob r
rea ch ele u ne as y.
· tt
a 1l
I
MADDIE
II
Who is it ?
I

RICHARD o. s.
It 's m e.

fo r hi m .
rn s th e ha nd le an d op en s th e do or ki ss .
Re lie ve d, sh e tu an d gi ve s MADDIE an
em br ac in g
RICHA RD st ep s in si de

RICHARD
wo ul d be ?
W ho 'd yo u th in k it

MADDIE
s.
Ta ke th re e gu es se

RICHARD
g?
Ho w' s Sh ar on fe el in
th e se da tiv es
w ar ds th e liv in gr oo m an d se es th at
MADDIE lo ok s to th e co uc h.
ta ki ng af fe ct . SHARON is do zi ng on
are

MADDIE
do wn on th e co uc h.
Sh h. Sh e' s la yi ng 's
le of se da tiv e. L et
I ga ve he r a co up
ro om .
go in to th e ne xt ." 111
vi ng -
IE do wn th e ha llw ay ad jo in in g th e li
RICHARD fo l l ow s MA
DD
room.
j

Re vised 10/16/80 - 21 -
11~
a SLtal l pile 0£ £ 0 ~
h"',t: Degtt:!i.! -

EUa::m..tm
Did iro-u ca1l my house earlier-- l fr..e
~..ma tvo?

~.DOIE

EUm..,-1-_qo
.:=l ii t:ha~ • s .;unny. __

~E
't.'oc. ~ 2b:Mt Deni s e ?

EUo=::?/SID
~ f:he 0~ ?eah. 'Tile nm.era! • S
ft:mrno:~ 2 . l . . ~ ~ - Jesus C"nri.st, Sire:rm: • s
.!~ t:.o oe a 11 i ve . __

~LB
~ • =e ba!LE~ii rrg ~?re roaii up here
.:...L~ a::x:i ~ ~ 1e ~ -

81:C::-i!.ID
=:c:cr.-_ :r P:c::d'. a: ael l o= 2 ti.are uyi ~
~ g::."':: c.FL~...q'r:_ ":fr:ey .er-en •t: goi r..-;- to
!e:: .1IE' :::;r tere.

Y>..:JOIZ
:::--:::::z.-::: • E r-~: .sur~ to UJO'• et _le:P_zt: -

~ ~2Z)
r .::e:::--- ~ ~ -'~eJ • t ~ ~ r-4 w L~

n-m1:z
'Y.? -:: :r...:;.o-.i' ~~ z ~ , it , 11, ,-y~ 1:-o ;-,-~..,
~ -¥~ ~ 1½!U.t ~ ~~.,,ctY,m t.1:P t.e-it".e .. , ,
 -82-
113
RICHARD
pid you bring yours?

MADDIE
MY what?

forward and begins to unbutton MADDIE's

FrcfiARPf;~a~!r, leaning over and kissing her earlobe at the
use
i:,lO time.
5aJl\e

RICHARD
your protection •••

.,. iays back on the bed and lets RICHARD continue to

..nDl"" her- Her heart doesn't look like it's in this at
.,rv-
ndres 5
u .., ment. 0
the 1
" (I

MADDIE
Richard .••

RICHARD
(unbuttoning)
say anything except that you're
not in the mood .••

MADDIE
I'm sorry Richard but I'm really
not .••
RICHARD
It's because you can't relax. I'm
relaxed-- and I'm in the mood .•.

MADDIE
I heard from NYU today ...

RICHARD
(sits up)
I ' m out of the mood.

~DIE sits up and rebuttons her blouse. RICHARD sits on

e edge of the bed, sulking.

CONTINUED
 .,,r:rt:JUED
coi•
MADDIE -83 -
we ll? 113

RICHARD
We ll wh at?

MADDIE
Well are n't you goi n
wh at the y sai d? g to ask me

RICHARD
(ex pre ssi onl ess )
What did the y say ?
DDIE is abo ut to spe ak when she
:e 1ivingroorn. h
ear s a LOUD SCREAM from

MADDIE
Sha ron !

TheY bot h jump off the bed and rac

e out f
o the room.

114 LIVINGROOM
MADDIE is in the room fir st and 114
she is hud dle d in a cor ner of div es to SHARON' .
the sof a, tre mb lin ~.s ide .

MADDIE
Sha ron ! What is it!

SHARON
(hy ste ric al)
Th ere 's sorneon_e at the gla ss
door!

MADDIE loo ks ove r to RICHARD who

the sli din g gla ss do ors . MADDI is alr ead y walking towards
as RICHARD slo wly edg es his way E and SHARON sta nd tra nsf ixe d
the sound of the han dle rat tli to the drawn dra pes . There is
ng and RICHARD pauses.
MADDIE is ho ldi ng her bre ath and
of the sof a pil low s. SHARON is hid ing behind one

RICHARD con tin ues tow ard s the dra I I H

for the dra ws trin g alo ng the sid pes and cau tio usl y r~ache~
e of the window. He fin ds it
and giv es it a qui ck yan k--

CONTINUED
 -84-
114
open and RICHARD is facet f
with
· h is
· in
is •
· swimming trunks o 'thace
radio in his hand. wi a towel

ROD
(barely audible through
glass doors)
I'm going to use the pool, okay?

still holding the drawstring, can only stare at

Rica~P, sheer disbelief.
ROD 1n

ROD
Is it okay'?

~on closes the drapes on ROD in utter disgust.

RICH~

ROD o.s. I I
How's Sharon?

FADE OUT
FADE IN
T. REBECCA LANGE'S HOUSE- NIGHT 115
115 EX
The house is dark and quiet. LANGE and his daughter have
retired for the evening.
DISSOLVE TO
116 INT. REBECCA ' S BEDROOM 116

The room is completely dark. In the woodframed bed sleeping

is REBECCA. It is another night of tormented sleep as she
thrashes about under the covers.
117 CU REBECCA 117

Her brow is perspiration soaked. Her eyes are clamped shut

and her teeth clenched. Her hands form tight fists gripping
th e bedsheets as she rocks to and fro. Her eyes suddenly
flash open wide and terrified and she lets out a SCREAM as
she sits up quickly in her bed.
She 1·
ce ~_awake but as terrified as ever . She looks around her
11 lke room, searching for a way out. She throws back the
cove-
r s and climbs out o f bed. ' Ii
 -85 -
118
wIDER ANGLE OF ROOM
118 pu lls out a dre ss. ~he
BECCA wal ks to her clo set and pai r of sho es. St ill
y
RE s d o wn and pic ks up her onl rib le rev ela tio n
in
end
b kin g as tho ugh she has had som e hor
ioo
dly und res s and get int o
her sle ep, she beg ins to hur rie
her str eet clo the s.
FADE OUT

FADE IN 119
EXT- THE BEACH- NIGHT
lay ing on a bla nke t, hud dle d
It's dar k and a lon e cou ple is
s in the bac kgr oun d.
clo se tog eth er. The sur f cra she
120
CLOSER ANGLE
120
are ROD LANDERS and his
It is now rev eal led tha t the two DY is a dee p tan ned
WEN
oth er gir lfr ien d WENDY PALMER. s to acc ent uat e her dar k
blo nde wea ring all wh ite clo the
ROD loo k mad e for eac h
and ma inta ine d col or. WENDY and n. The y are pas sin g bac k
oth er- - the Cop per ton e Ge ner atioir stro kin g and fon dli ng
and for th a joi nt inb etw een the
eac h oth er.

WENDY
(mo ck jea los y)
Why are n't you see ing Sha ron
ton igh t?

ROD
You kno w, I was goi ng to. I was
swi m
goi ng to go ove r the re for a
I
but I was thi nki ng of you so
dec ide d to see you ins tea d.
(tak es a dra g)
sit -
Bes ide s, I'm get tin g tire d of
tin g aro und wit h her and doi ng
not hin g. Sic k peo ple can be a
n?
rea l dra g. Ya _-,kno w wh at I mea

WENDY
mea n,
Why is she sti ll so ups et? I
day s
tha t thi ng tha t hap pen ed a few
ove r
ago . You 'd thi nk she 'd a got ten
you
i t by now ••• Yo u're oka y and
wer e the re.

CONTINUED
 -86-
120
CONTINUED

ROD
Well, men bounc e back faste r than
women in thing s like that. She"s
paran oid that whoev er attac ked us
is still gonna get her ...

WENDY
Are you paran oid too?

ROD
Me? Hell no!

WENDY
(take s a drag)
So when are you going to tell her
I
you want to break up with her?
I
ROD
I'm waiti ng until she feels a
littl e bette r •.. maybe tomor row.

WENDY
Well, you'd bette r. It's not fair
to me. Why do I have to share you
with her? I mean, I don't know why
you took so long to tell her ••.
Ther e's no comp arison . I'm five
times bette r than she is in every
way .•.

She giggl es and ROD rolls over close r to her.

ROD
You don't have to tell me. I got
eyes.

all over
They embra ce passi onate ly. ROD is movin g his hands
seems to be
her body , feeli ng every last inch of her. WENDY
enjoy ing it very much judgi ng by her moan s.
WENDY
Let's do it in the ocean .

CONTINUED
 coNTINUED
-87-
izO 120
ROD
Let's do it here ...
I want WENDY
On -- to go in the Wat
er. Corne

ROD
I don't want to ...
WENDY
Why not?

ROD
.
I don't like swimming in the
ocean-- it's not chlorin ated. ,I

she gives him a playful punch and then stands up.

WENDY
Well I'm going 1·n. y ou can watch.

She begins to unbutto n her blouse.

ROD
You don't have a bathing suit.

WENDY
So what? There's no one around.
'1

She pulls off her top and stands bare breasted . She then un-
zips her pants and struggl es to get them off.

WENDY
These pants are •.• too ... tight--

She grunts and struggl es until she falls over onto ROD's face.

ROD
(muffled ) ' ':
Bull's eye!
WENDY gets her pants off and hops to her feet then runs to-
ward the water before ROD can grab her.

CONTINUED
 -88-
CONTINUED 120

ROD
(call ing out to her)
Watch out for sh ar k s ...

121
ANGLE ON WENDY
12 1
ing
she runs to the wate r and dives into the first oncom
loud
wave: A moment late r she surfa ces, letti ng out a
shre ik.

WENDY
It's fuck ing cold!

vani shes
Anot her wave crash es over the top of her and she
unde rneat h it.
122
122 ANGLE ON ROD
flick s
He lays on the blan ket finis hing up the join t. He
behin d his
the butt away and lays back , putti ng his hands
head .
s arou nd.
He hear s a soun d behin d him and· he sits up and turn
He look s up to an unsee n figur e in the dark ness.

ROD
(beli gera ntly)
Yeah -- what do you want?
a terr ified
ROD's expr essio n sudd enly chan ges and he lets out
SCREAM.
123
123 ANGLE ON SURF
to the
WENDY reap pear s from unde r the wate r and head s back
beac h.
WENDY
That 's enou gh for me! It's too
cold !
as she
She cont inue s hold ing a one sided conv ersat ion
walk s back towa rds wher e she left ROD.
WENDY
I'll bet Shar on's nipp les don' t
get this hard !
 -89-
124
l24 ANGLE ON BEACH BLANKET

WENDY now notice s the absenc e of ROD.

WENDY
(looki ng around )
Rod? Rod, where 'd you go?

She grabs a towel and quick ly dries off. As she's doing_

this, she notice s a long TRAIL in the sand as if somet hing
had been dragge d from where ROD was sittin g to a nearb y
lifegu ard statio n.

WENDY
Why'd you run off? You were all
hot a minute ago?

She throw s her top back on and pulls herse lf awkwa rdly back
into her pants .

WENDY
I don't feel like gettin g in and
out of these pants all night you
know .•.

She zips herse lf up and begins to follow the trail.

WENDY
What are you, too stoned to walk
or somet hing?

125 TRUCKING WITH WENDY 125

She contin ues follow ing the trail and she nears the Life
guard post.

WENDY
What are you doing, taking a leak?

There is no answe r from ROD. The close r she gets to the

lifegu ard statio n, there more uneasy she's becom ing.

WENDY
Rod? Corne on, what are you
doing?
 -9 0-
12 6
ION
6 ON LIFEGUARD STAT
12
b tt th e
Th e tr ai l e en ds at th e Wo om of th e ra m p le ad in g to
n in g
do or of th st at io he r ENDY be gi ns th e cl im b, ex pe ctgi gg le
ROD to ju m p ou t at e be gi ns to
y. at an y m om en t. Sh
ne rv ou sl
'
wo od en do or an d ta ke s th e ha nd le in he r
Sh edre acthe s th e
· at es fo r a m om en t.
h es it
h an b u

WENDY
Th is is it -- I'm co m.in g in .. •

in si de .
th or op en ab ru pt ly -- th er e is no on e
Sh e pu sh es e do
d.
WENDY lo ok s an no ye

WENDY
(l os in g pa tie nc e)
is ge tt in g
Come on Ro d , th is
st up id --
sa nd
fro m th e do or to lo ok ou t ov er th e e '
ay th
As sh e tu rn s aw sw in gs do wn fro m th e ce il in g of , he
ly
RO D' S BODY su dd en by hi s fe et an d ha ng in g up si de do wn t.
es
sh ac k. Su sp en de d SHES ru nn in g th e le ng th of hi s ch g
e BLOO DY GA ds , sq ui rt in
ha s th re e wo un
l pu m pi ng ou t of th
Th e bl oo d is st il --
on to WENDY'S BA CK
WENDY
(f ee ng th e bl oo d)
li
yo u do in g- -
W ha t th e he ll ar e
! R iv et te d to
d se es RO D an d sh es C R E A M s yf ri en d.
Sh e tu rn s an ly st ar e at he r m ur de re d bo
ca n on
th e sp ot sh e
d ru n, a
sh e fi nd s th e st re ng th to tu rn an to w ar ds
No so on er th an od en ra m p an d
FI GU RE gl id es qu ic kl y up th e wo
DARK
wa y. WENDY ga sp s.
he r, bl oc ki ng th e 12 7
12 7 ECU WENDY'S CHEST d
se co nd be fo re sh e ca n fu ll y re sp on
of a in to he r
W ith in a fr ac ti on E SH AR P CLAWLIKE TINES si nk dy .
, TH RE y do wn he r bo
to th e at ta ck er n RI PP IN G th ei r wa
t an d th en be gi
ch es 12 8
SERTED BEAC H
12 8 WIDE MASTER OF DE s
pe ar s ve rf sm al l on th e e~ pt y sa nd
io n ap tr ai l o f f in
Th e li fe gu ar d st at W EN DY 'S ag on i ze d sc re ams
an ce . su rf .
fr om th is di st
l al l th at is he ar d is th e cr as hi ng
th e ni gh t un ti
FADE OUT
 -9 1-
FA DE IN 12 9
RIAL PARK- DAY
EXT• SHADOW HI LL S MEMO
of th e
row of ca rs lin es on e of th e sh ad y dr iv esrs -- va ns ,
A lo ng ge rs' ca
ce me tar y. A go od ma ny of the m ar e tee na
.
pic ku ps an d mo to rc yc les
13 0
ANGLE ON FUNERAL
130 th at he r
lay ed to re st . Th e ne ws
DE NI SE RI LE Y is be in ged a mu rde r sa dd en s an d co nf us es th e
de ath is no w co ns id er
mo ur ne rs at th e gr av es ite .
me to
rg e cro wd , mo stl y sc ho ol fri en ds wh o ha ven coco ff in ,
rt is a la ts. Be fo re the m lay s th
e pl ai
pa y th ei r la st re sp ec ing in th e br ig ht su n. Th e cl ea r
its br as s ha nd les gle amsee m inc on gr uo us to su ch a sa d
sk ie s an d wa rm we ath er
oc ca sio n.
13 1
CLOSER ANGLE
13 1 de s by
EI ST fin ish es re ad in g a pr ay er an d co nc luRI LE Y FAMILY
Th e PR cro wd fo llo ws su it. Th e
cr os sin g hi m se lf. Th e EY br ea ks
so bb in g in th e row of mo ur ne rs. MRS. RILco ns ol e he r
si ts MR RIL EY an d th ei r so n
do wn at on e po in t an d
th e be st th ey ca n.

PR EI ST
(d ro ni ng on )
Al th ou gh th is se ns el es s ac t of
ou r mo rta l
vi ol en ce see ms be yo nd fin d pe ac e
co mp reh en sio n, we ca n hi s wi sdo m
in kn ow ing th at Go d in a re as on to
ha s ch os en De ni se fo r
kin gd om .••
dw ell in Hi s et er na l
13 2
OWD
13 2 ANGLE ON RIC HA RD IN CR
he co ns id er s
si ts un co mf or tab ly as he lis te ns to wh at
He
c.
sh all ow r~ lig io us lo gi

PR EI ST o. s.
pe ris h at
An d th ou gh se em ing to y be re -
ma
th e ha nd s of Sa tan we I·
ir it is no w
as su re d to kn ow he r sp ey es th at
ith
on e wi th ou r Lo rd . W
th at ca nn ot
ca nn ot se e an d ea rs
Lo rd , on ly
he ar th e wa ys of ou r
to co mp re-
ou r fa ith ma y he lp us
he nd . Am en .

CONTINUED

I
J
r coNTINUED -92-

CROWD 132
Amen .••

RICHARD remains silent. A school .

who was at the beach party th t ~riend, MARK WASSERMAN,
RICHARD. He is the same age :nd ateful night, approaches
a close friend.

MARK
Hello Richard .••

RICHARD snaps out of his thoughts

and looks up.

RICHARD
Hey Mark, how are you?

MARK
As well as can be expected under the
circumstances.

RICHARD
(sounding bitter)
Yeah ••.

MARK
Did you know there's someone in the
crowd asking for you?

RICHARD
( looks confused)
Do you know what he wants?

MARK
She. No but she said she'd meet
you at the bench in front of that
fountain over there.

RICHARD
Who is she?

• I
MARK
I haven't the slightest idea.

CONTINUED
p C

-9 3-
I[

132
CONTINUED
132
MARK
(co nt. )
y?
Wha~•s yo ur se cr et anywa ev en
You re Mr. Pic ku p Ar tis t
us
at ~ fu ne ral . I mean, Jeslit tle
Ch ri st , Ri ch ard , sho w a
fo r a
re sp ec t an d tur n it of f
wh ile , hu h?

CUT TO
13 3
133 MEMORIAL FOUNTAIN
n.
MA N is sit tin g on the be nc h fac ing the fo un taithe
A YOUNG WO ck is to us . Her fe et sc
uf f at
Sh e is alo ne an d he r ba de r the be nc h th at the gre en sm an fo r
lon g bla de s of gr as s un his tra cto r mower.
the ce me tar y mi sse d wi th
pro ac he s the fo un tai n. The fu ne ral is fin ish in g
RICHARD ap d him .
up in th e di sta nc e be hin 13 4
134 ANGLE ON BENCH
man who
d si ts down be sid e the wo
He rea ch es th e be nc h an. He shows no sig n of rec og nit ion
is ou t of cam era fra me
in hi s fa ce .

RICHARD
He llo , my name is Ri ch ard Ty ler . d
yo u wa nte
A fri en d of mi ne to ld me
to ta lk to me.

WOMAN o. s.
(q uie tly )
Th at' s rig ht .

sh y.
She is ve ry so ft spo ke n and

WOMAN o. s.
bu t I'v e
You ••• yo do n't know me
u
se en you be fo re •••
ess and he lps he r
. woman's pa in fu l sh ynib
is 5 re ce pt iv e as po ss le.
RICHARD ca n ~e ns etot~ea
alo ng by try in g
CONTINUED
 -9 4 -
134
co N T IN V E D
134 RICHARD
W hen w as th is ?
You h a v e ?
135
WIDER SHOT m id ,
135
d th a t th e .
R E B E C C A . S h e is s o tiS h e
ll e is _ .
I t 's r e v e ab r in g h e r s e lf ;i m ;~ k in to RICHARD's e yge sth e g r a s s .
she c a n 't ke d o w n o s s c u ff in
o s t c h il d li a t h e r sh o e
s ta r e s a lm

REBECCA
t • .• m y h o m e. My n am e is R e b e c c a
t
A
a n g e . Y o u c a m e to my h o u se la s
L b e r?
w e e k , re m e m
w what
v e h is e a rs . He d o e s n 't q u it e k n o
RICH ARD c a n 't b e li e
to s a y .
RICHARD ow c a n
u h y e s , I re m e m b e r. H
Y e s .• • •
I f o r g e t .•

REBECCA you
r y m y f a th e r tr e a te d t
I' m s o r a d ly . I
n d y o u r f r ie n d s s o b h a v e s a id
a t o f h im to
w a s n 't r ig hh e d id .
th e th in g s

RICHARD ld n 't
g iz e , w e r e a ll y s h o u r
D o n 't a p o lo e r e . He w as r ig h t f ov e
th b e li e
have been o u t li k e th a t,
g u s
th ro w in
me he was.

REBECCA
d)
( e m b a rr a s ~ e me w h o c a ll e d y o u
w a s
I , I - - th a tn d h u n g u p . I c o u ld n 't
a
y e s te r d a y
sorry •••
ta lk . I' m
it h in
u re th e r e 's n o o n e w
k in g s
to lo o k a ro u n d , m a
S h e s to p s
' II
e a r s h o t.
REBECCA a in .
h e a r th a t s to r y a g
I want to

CONTINUED

rd
ttm!N
 -95-

135 CONTINUED 135

RICHARD
Oh no .•. you heard me tell that
story?

REBECCA
I was in the hallway listening. I
heard almost everything .

RICHARD
But why do you want to hear it?
Apart from the accident, you know
the rest is nonsense. It's just a
ridiculous story that got made up
a long time ago that people keep
on telling. There's no truth in
any of it •••

REBECCA looks him straight in the eyes. She looks troubled

and her eyes seem to be silently pleading for help.

REBECCA
But there is •••

RICHARD is beginning to feel a little uneasy now. He's

wondering if he ' s dealing with a fully rational person.

REBECCA
I don't know if you know this but
I've been institution alized since
I was nineteen ..• after my accident.

RICHARD
No ••• no I didn't.

REBECCA
When my father told you I was home
for a visit, it was really because
he couldn't afford to keep me there
anymore. Besides, they were going
to release me anyway •••

CONTINUED
 -96-
CONTINUED 135
135

RICHARD
~~u don't have to tell me this
i_ you don't want to but-- wh
did your father try and keep y
you there?

REBECCA
~o forget some things. Or to put
it more correctly- - for brainwashin g.

RICHARD
To forget everything about the
accident?

REBECCA
Yes ••• but when you and your friends
came by the other day and began
talking about it--- I started remem-
bering things •••

RICHARD
I'm sorry.

REBECCA
Don't be. I want to remember.

REBECCA, with all her courage takes RICHARD'S hand and presses
it in hers in a desparate plea.

REBECCA
You've got to help me.

RICHARD
Help you with what?

REBECCA
Help me to remember everything .

RICHARD 'I
But how can I? Everything I know
is just a story-- it's all made up.

CONTINUED
 Rev ise d 10/ 18/ 80
-97 -
CONTINUED
136
REBECCA
The man wit h the cla w- - it' s
tru e .

137 INT. SHARON'S HOME, BEDROOM- LAT CUT TO

E AFTERNOON 137
MADDIE pla ces SHARON's ove rni ght
the n wa lks to the bed and tur ns bag on the flo or. She
and flu f~s up the pil low . Fee lin bac k the bed spr ead on it
to the window loc ate d rig ht abo g a dra ft, she rea che ~ ove r
ve the bed and clo ses it .
SHARON ent ers the room, dre sse
wra ppe d aro und her hea d. She is d in her rob e and wit h a tow el
her onc e viv aci ous per son ali ty slo w and lif ele ss, far fro m
of onl y a few day s bef ore .
MADDIE
Did the hot bat h hel p any ?

SHARON
A lit tle . I thi nk I'l l sle ep be
in my own bed ton igh t. tte r

MADDIE
(lo oks at wri stw atc h)
We ll, you r par ent s sho uld be hom
in a cou ple of hou rs. What do youe
wa nt to do bet wee n now and the n?

SHARON
Ma ddi e, it' s alm ost sev en. What
din ner you 're sup pos ed to go to abo ut
you r par ent s? wit h

MADDIE
I tol d the m to go wit hou t me. The
do n't eve n wan t to go but it' s y
aw ard s din ner my fat he r's firm an
is
giv ing .

SHARON
~ wis h you 'd sto p bab yin g me
fee lin g we ll eno ugh 7 I'm
to d~ t~i
we sho uld 've gon e to Den ise sngs .
era l tod ay. I fee l bad tha t we fu~ - ,
did n t .
MADDIE
I had Ric har d sen d our sym pat hie
s.

SHARON
we sho uld 've gon e ...

CONTINUED

:I
 Revised 10/18/80 -98-

i37 CONTINUED 137

•
MADDIE is still concerned over SHARON , s behavior. It's
obvious that her ..
condition really hasn't improved much.

MADDIE
Are you up to having Richard drop
by?

SHARON
Sure, it's okay ...

MADDIE
The funeral was over hours ago. He
was supposed to give me a call.

SHARON
Well, don't nag him when he comes
in. You two should be getting along
better ..•

Now MADDIE is really concerned. She puts her hand on SHARON'S

forehead to feel if she's feverish.

MADDIE
I'm telling your parents to take
you back to the doctor's tomorrow.

SHARON
Why? Because I want you and Richard
to get along?

MADDIE
You've got to admit that's kind of
odd hearing that from you. You're
the one that voted him in school Most
Likely to Get Pushed in Front of a
Truck, remember?

SHARON
It's what you were sayi~g about me
. with people I like. I mean,
arguing . dl f d I
't' always been a fr1en y eu.
~hi~k he really likes me .•. don't you?

CONTINUED
 !37 CONTINUED
-99 -
137
Ye ah, I thiMADDIE
nk so .

SHARON
St ay
to finWi
d.
th him . Ni ce
gu ys are ha rd

You know I MADDIE

tho ug h ... go t ac ce pte d to
NYU

SHARON
It 's yo ur ch oic e bu t I wa
be ha pp y .•• nt you to

SHARON sm ile s an MADD

co us in 's un us ua l d sho IE is a lit tle ov erw hel me
w of em oti on . d by he r

13 8 EXT. HIGHWAY- EARLY EV DISSOLVE TO

ENING
13 8
RICHARD'S Ca rna ro cr ui se
be gin nin g to gro w da rk san down the ma in roa d of tow n. It is
alo ng th e sid ew alk . Be d the str ee t lig ht s are com ing on
sid e him in the ca r is REBE
CCA.
13 9 IN T. CAMARO
13 9
RICHARD is fin ish in g hi s
ve rsi on of the gh os t sto ry
REBECCA lis te ns to it clo as
se ly .

RICHARD
an d wh en Ma dd ie fin ish ed
it: te lli
a co up le qf ou r fri en ds wa ng
~te d
to try dr iv in g ~h e roa d
to se e if an yth ing wo uld th at nig ht
ha pp en •••

REBECCA
Ta ke me d own th at roa d ••.

RICHARD
W he n-- now'?

CONTINUED
,;s»t

-1 00 -
139
139 CONTINUED
REBECCA
Ye s. I ca n te ll yo u how to ge t
wo rry .
th er e fro m he re , do n't

RICHARD
It 's no t th at . I know how to ge t
De pa rtm en t
th er e bu t th e Sh er iff 's du sk be ca us e
pu ts up a ro ad blo ck ate.
of th e mu rde rs up th er

REBECCA
Th ey 'll le t us thr ou gh ...

DISSOLVE TO
14 0
- DUSK
140 EXT. SHADOW HILLS DRIVE
sto p at
th e ro ad the n slo ws to a
RICHARD'S ca r tu rn s on tot in to pl ac e ac &s s th e hig hw ay by
th e ba rra ca de s be ing pu them pu ll up an d wa lks ov er to th e
a lo ne DEPUTY. He se es
dr iv er 's window.
141
141 ANGLE ON CAMARO
ro lls down th e window an d sti ck s hi s he ad ou t.
RICHARD

DEPUTY
d to
So rry , th e ro ad 's clo se th er e?
tr af fi c. Do you liv e up

RICHARD
I do n' t bu t sh e do es . I ' m tak in g
he r home.

th e se at to REBECCA.
The DEPUTY lo ok s ac ro ss

DEPUTY
Is th at rig ht , Mi ss?

REBECCA
Yes • • •
CONTINUED
 Revised 10/18/80 -101-
CONTINUED 141
141
DEPUTY
Do you have any identification
with your name and address on
it-- like a driver's license?

REBECCA
I-- I don't drive anymore ...

DEPUTY
What's your name and where do you
live?

REBECCA
Rebecca Lange, 3221 Piedmont Place.

DEPUTY
(turning to Richard)
And what about you?

RICHARD
(losing patience)
Hey-- do I look like Peter Braverman?
DEPUTY
Braverman's not a suspect anymore.
RICHARD
(surprised)
What?
DEPUTY
They found his body locked in the
trunk of his car.
RICHARD can't believe his ears.
DEPUTY
If you'll wait here just a minute,
I'll verify your address and be
right back.
RICHARD
Thanks.
They watch as the DEPUTY walks to his patrol car and runs a
check.
RICHARD
He'd better let us through. I want
to meet my girlfriend up at her cousin's
house and tell her the news about Braver-
man . She's staying with her cousin until
her parents get back .

CONTINUED
-
Revised 10/18/80 -l0lA- .

141 CONTINUED 141

RICHARD
(cont.)
Sharon was the one who was attacked
a few nights ago up here.

REBECCA
Did she see who it was?

RICHARD
No, but if it wasn't Braverman then
it could only be the Ghost of Shadow
Hills.
 -102-
141 CONTINUED
141
RICHARD
(cont.)
You see, according to Sharon, he
gho~t of the killer won't rest
until he's found you-- and now
you've come back, he's on the
warpath again.
(emphasizing his
mock tone)
It makes perfect sense ...

REBECCA
(sounding hurt)
Sorry I asked.

RICHARD
I just don't want you to start
believing this bullshit. It's
not the truth--
The DEPUTY reappears at the window and RICHARD jumps out of
his seat in fright.

RICHARD
Jesus! What have you got, rubber
soles on?

DEPUTY
It's okay, you check out. You both
can go through but keep your eyes
open and don't pull over for any
reason.

RICHARD
we did our necking while you did
your checking •••

The DEPUTY is annoyed.

DEPUTY
(unfriendly) .
tra ight to your destina-
Just gos
. f u have any trou bl e,
tion. I yo ·t patrolling the road
there's a uni
up there.

CONTINUED
 -103-
141 CONTINUED 141

RICHARD
t
(S arting the engine)
Thanks--
142 EXT. ANGLE ON ROAD 142
The Camaro dr·
h ives off and quickly around the barracade in
t e middle of the road ahead. The DEPUTY stands watching
with a disgusted look.
143 INT. CAMARO 143

~ 1though RICHARD doesn't believe the story his driving

1
~ unusually safe, obeying the posted speed and other warning
signs.

RICHARD
How did you get to the cemetary
today if you don't drive? Did
your father take you?

REBECCA
Nol I didn't tell him I was leaving.
He doesn't know I'm gone.

RICHARD
He probably does by now.

REBECCA
The milkman gave me a ride into
town this morning-- before my
father got up.

DISSOLVE TO
144 INT. SHARON'S HOUSE- LIVINGROOM

MADDIE is alone in the large room. She puts down the book
she's reading and gets up from the sofa, heading for the
front window.

As she reaches for the drawstrings on the curtains to close

them she looks outside across the front yard.

145 MADDIE'S POV 145

Parked in the street directly in front of the house is
ALBERT LANGE'S gardening TRUCK. LANGE himself is in the
front garden working away, even though it is growing darker.
 Revised 10/18/80 -104-

146 ON MADDIE 146

She th inks th is is a bit odd . Slowly closing the drapes,

she ducks back when LANGE
distractio n. looks up from his work at the

The TELEPHONE on a nearby table

jumps. She calms herself and an~!~;; f~~dly and MADDIE

MADDIE
Hello?

RUSSELL BURKE o.s.

Hello Maddie? It's Uncle Russ.
MADDIE
Oh, hello. Are you back?
RUSSELL o.s.
No. I called to tell you that your
aunt and I missed our flight out.
We won't be able to catch another
one until tomorrow morning ...
MADDIE
Oh, dear ...
RUSSELL o.s.
Would it be all right if Sharon stayed
with you again tonight?
MADDIE realizes that her parents have left for the evening.
She doesn't want to worry her uncle.
MADDIE
Uh, sure. No problem ...
DISSOLVE TO

7 INT. RICHARD'S CAMARO- EVENING 147

It is now almost completely dark outside as RICHARD and

REBECCA approach the accident site. RICHARD's driving is
very cautious as he looks a little uneasy. REBECCA is silent,
almost trancelike as she recognizes the spot.
REBECCA
Here we are .•.

RICHARD looks over to her, worried.

RICHARD
Do you feel okay?

REBECCA
(distant)
Pull over • • •
CONTINUED
; i& Rt fri ;r:z::rw;r:sc

Revised 10/18/80 -104A-

147 CONTINUED 147
~!CHARD obeys a~d pulls the car off the road and puts it
into park, leaving the motor running.

REBECCA opens the car door and begins to get out, looking
almo st somnarnbular. RICHARD is rapidly losing courage.

RICHARD
(sounding uneasy)
I don't think it would be a good
idea to get out of the car around
here with a murderer running around ...

148 EXT. CAMARO 148

REBECCA walks around to the front of the car and stops

at the edge of the paved roadway, still looking entranced.
She holds out her thumb as though she was hitchhiking. RICHARD
is really getting spooked now. He gets out of the car and
trots up along side of her, constantly looking over his
shoulder.
tE.£1, fij§i»iiil- s6¥ , .., Sf#,:. a sf-- Edit

-105 -
148
INUED
14 g CONT
RICHARD
Rebe cca, what are you doing ?

REBECCA
We were hitch hikin g •••
s re-
It dawns on RICHARD what is happ ening to her. She' back to her.
livin g that nigh t in her mind . It's all cornin g

RICHARD
No-- go back furth er-- to the
begin ning .

DIRECT CUT TO
149
149 EXT. SHADOW HILLS DRIVE- NIGHT (FLASHBACK)
er of
The old PLYMOUTH appe ars from aroun d a darke ned cornin the
the road . It is not showroom new like the one seen It is
open ing sequ ence , but rathe r a broke n down wrec k.road at such
listi ng to and fro from swer ving on the wind ing
a reck less spee d.
150
150 INT. PLYMOUTH
is
A young REBECCA is behin d the whee l of the car. She e her
besid
laugh ing, thoro ughl y enjoy ing hers elf. Sitti ngKATIE and
on the large fron t seat are her two comp anion s gst them as
ALICE. They are pass ing a bott le of Bourbon amontake s a swig
they screa m and holl er at the wild ride. ALICE y. She spil ls
of the bott le as REBECCA nego tiate s a turn badl
the bott le all over them .

ALICE
Care ful on those turns Rebe cca!

REBECCA
(drun kenly )
Don' t worr y, I'm a safe driv er.
I a i n't gonn a get us kille d--

ALICE
No-- you made me spil l half the
bott le out, that 's all •••

CONTINUED
>

-106-

150 CONTINUED 150

KATIE is so drunk she barely notices anything wrong with

the way REBECCA is driving.

KATIE
Having fun Rebecca?

REBECCA
It's the best time I ever had!

KATIE
Here that Alice? And she never even
thanked us! Well, I'm not gonna
worry about you anymore-- that's
for sure!

ALICE
Hell no! Anyone who gets invited
into Bobbie Wyler's backseat after
just saying hello--

REBECCA
It's because its the first time
he's seen me in anything but my
school uniform.

ALICE
Naw, that ain't it. Guys are hot
for parochial school girls. They
like to think they're corrupting
sweet innocent girls .••

KATIE
-Well Rebecca disproved that myth
once and for all. Did you go all
the way with him?

REBECCA nods and the two other girls squeal with laughter.
They hit a sharp turn and slam against each other.

ALICE
What was he like?

CONTINUED
►
-107-
CONTINUED 150

REBECCA
(slightly embarrassed )
I don't know. It all happened so
fast--

KATIE
That's what everyone says about
Bobby Wyler!

They all laugh out loud at the remark. Just then, there is
a loud BANG and the car goes out of control. REBECCA panics
and the two other GIRLS grab the steering wheel to help.
151 EXT. ANGLE ON CAR 151

It is a rearwheel blowout and the car fishtails off the

road and onto the dirt shoulder where it comes to a dusty
halt, narrowly missing the retaining fence and the cliff
below.
INT. PLYMOUTH 152
152
The three GIRLS are shaken for a moment, then realizing
they're all safe, laugh out of relief.

KATIE
Shit Rebecca, that was pretty good
driving there!

ALICE
Does anybody know how to change a
flat? I don't.

KATIE
(slurring words)
I do, just leave it to me.

She gets out of the car and the two others follow her.

15 3 EXT. ANGLE ON CAR 153

KATIE staggers to the back of the car and pulls at the

trunk.
KATIE
Got a key for this?

CONTINUED
 ( p'e I

-10 8-
153
153 CONTINUED
in and wal ks to the
REBECCA find s the trun k key on the chalock and ope ns it.
back of the car . She put s it in the
spa re tire . She is
KATIE nea rly fal ls in reac hin g for the
hav ing a har d tim e pul ling it out .

KATIE
Don 't jus t stan d the re- - hel p me
wit h it!
the tire fre e. They
REBECCA lean s in and help s her pul l ont o the gro und at the ir
both have it and awkwardly dro p it
fee t. KATIE ben ds ove r it.

KATIE
It's fla t Goddamn it!

ALICE
Hel l! Tha t means we' re stuc k out
in the mid dle of nowhere!

REBECCA
I'm too drun k to wal k.

KATIE
Me too .

ALICE
I saw a cou ple of car s go by. Why
don 't we hitc h a ride ? We 're not
far from Rog er's hou se and he' s
got a car . He can driv e us all
home. Corne on·..•

gir ls foll ow her to the

She lead s the way and the oth er two
edge of the high way .
154
154 ANGLE ON GIRLS
are corning.
The thre e line up pat ien tly. No car s

KATIE
The re isn 't gonna be any tra ffic
out thi s lat e-- it's aft er one •••

CONTINUED
 -109-

lS4 CONTINUED 154

REBECCA
After~ !

KATIE
Hey, you'd better get used to the
late hours honey if you want to
stick with us. We're the original --

ALICE
Shut up, I think I hear a car coming.

All three cock their ears and listen through the stillnes s.
They look off down the road and pretty soon the faint sound
of an automob ile engine becomes audible.
155 WIDER ANGLE 155

The three girls step out into the road, thumbs out and their
arms waving wildly.
The car approach es and then quickly passes, never slowing
down. It disappea rs back into the darkness of the road.

KATIE
You son of a bitch-- you come back
here!

ALICE
(getting Katie's
attention )
Wait, here comes another one!

They step out a little f~rther to be seen and again they

wave their arms and holler.
·
Aga1n, th e car passes without ever slowing down to acknow-
ledge them.
156
156 ANGLE ON GIRLS

They are furious by now.

KATIE
.
I don't be 1 1eve th1's •1 You wouldn't
want to stop and pick up two-- three
beautifu l girls?

CONTINUED
 -110-
156 CONTINUED 156

REBECCA
Wait a minu te-- I think I hear
anoth er one c om1ng
· •••

ALICE is getti ng tired of waiti ng aroun d.

ALICE
l know how to make them stop for
us--

~he reach e~ d~wn and unbu ttons her blous e and quick ly takes
it off, sling ing it over her shoul der and stand ing in the
road with only her bra on. She turns to the other s.

ALICE
C'mo n-- get 'em off, quick !

KATIE giggl es and begin s to unbut ton hers. REBECCA looks

littl e wary but still wanti ng to be accep ted by her frien a
unbu ttons hers too. ds,

They take them off and stand besid e ALICE, strik ing a pose.
The three of them look like a bad adver tisem ent for linge
rie.

KATIE
(yell ing to oncoming
vehic le)
Corne on and stop for the Sears '
Catal ogue Girls !

KATIE reach es up and drops the strap s off her shoul ders
added affec t. REBECCA looks over and giggl es. for

157 ANGLE ON ROAD 157

The speed ing vehic le is headi ng direc tly for the three
girls . The head light s light them up like a stage spotl ight.
A loud sound of tires squea lling echoe s in the hills as
the
drive r pulls to a stop.
158 CU REBECCA 158
She's laugh ing and enjoy ing herse lf thoro ug~ly . This is
the crazi est thing she's ever done. She shiel ds her eyes
to get a bette r look at the car but the head light s are too
stron g. It appea rs that it isn't a car at all but rathe r,
a
truck .
 . I

-111-
158
CONTINUED
158
REBECCA slowly stops laughing and a look of absolut e th
doorn spreads across her face as her eyes grow wide wi
horror.
159
59 ANGLE ON ALBERT LANGE
1
He steps out of his gardenin g truck and into the light of_ ·a
11 1
the headlam ps. He is much younger in appearan ce and is ~ e
with rage. He walks slowly and delibera tely towards the t re
GIRLS.
160
!60 WIDER ANGLE

KATIE and ALICE don't know this man and continue to laugh
and carry on. They are both amused by the express ion of
shock on his face.

KATIE
What's the matter? Haven't you ever
seen three naked women before?

LANGE continue s to walk. He pushes KATIE aside, nearly

knocking her to the ground with his strength .

KATIE
Hey!

LANGE
(shaking with fury)
Rebecca!

She is already back into her blouse and is quickly buttonin g

it back up again.

KATIE and ALICE look over at one another in shock, then put
their hands over their mouths to stifle their laughs, real-
izing this is REBECCA 's father.

REBECCA
(stammer ing)
Daddy-- Daddy, we had a flat tire
and and--we, we couldn't fix it
and we--

He slaps her across the face with the back of his hand,
sending her reeling to the ground.

CONTINUED
►

-112-
!60 CONTINUED 160

LANGE
Ycu sneak out without letting me
know.so you can go whoring around!
Get into the truck! Now!

She scrambles to her feet and huddles among her two frie nds
for safety.

REBECCA
(timidly)
Could-- could you give my friends
a ride into town?

ALICE and KATIE are both putting their blouses back on again.

ALICE
(not the least bit
intimidate d)
We'd really appreciate it , Mr.
Lange.

He doesn't say anything as he walks past them and back to

his truck. REBECCA looks at them as she passes and motions
them to come along.

REBECCA has quickly sobered up but her two friends are just
as drunk as ever, giggling uncontrol lably at this new twist
in the evening.

They follow her to the truck's passenger door. KATIE gets in

first, followed by ALICE and finally a very reluctant REBECCA.

161 INT. TRUCK CAB 161

All three GIRLS are jammed into the front seat of the truck
beside the fuming MR LANGE. He snaps the ignition key angrily
and takes a hold of the steering wheel as though he were
going to strangle it. He puts the truck in gear and speeds off.

KATIE and ALICE are doing their very best to control their
laughter but they just can't help it. LANGE can hear their
muffled laughs.
LANGE
You think this is funny, do you?

CONTINUED
b & +tr o-+a , o?4s• ew = , ,a 4

-11 3-
161
161 CONTINUED

LANGE
(co nt.)
Stin kin g of boo ze and und ress ing on
the mid dle of the roa d at all hou rs!

LANGE's fac e turn s

ALICE let s out an unc ont roll ed sno rt.
dee p red .

LANGE
Slu ts! I rais ed my dau ght er to be a
God fea ring Chr isti an and not to end
up like a che ap whore!

KATIE
(tak ing offe nse )
make
Hey now wai t a min ute. We did n't to
her do any thin g she did n't wan t do.
So don 't blame it all on us!

ALICE
Yea h-- how do you know she did n't get
us dru nk, huh?
tole ran t of the se two lou d-
LANGE is grow ing les s and less nt, sha kin g vio len tly at the
mou thed gir ls. REBECCA is sile
tho ugh t of her pun ishm ent.

KATIE
der
Your swe et litt le dau ght er was wil We
tha n the bot h of us put tog eth er.
hat e to disa ppo int you -- sir •••

LAN~E
Lia rs!
ALICE
Why don 't you ask her wha t a goo
d
tim e she had in the bac kse at of
Bobby Wy ler' s car ton igh t?

s on the bra kes and the

LANGE is liv id wit h rag e. He slam dle of the roa d.
tru ck scr eec hes to a sto p in the mid

CONTINUED
 -114-
161 CONTINUED
161
LANGE
(turn ing to Alice )
That '-s ~ot true! Rebec ca
do a thing like that! woul dn't

ALICE
(amused)
If you'r e so sure then why don't
you ask her?

KATIE
(addi ng)
~ou don' t even have to ask her--
Just look at her. Is that the
face of a virgi n'? -

KATIE and ALICE burs t into laugh ter at the remar k.

162 ANGLE ON TRUCK FLOORBOARD
162
LANGE'S hand slow ly moves under the seat of the truck ,
searc hing . His hand stops , findi ng what he wants
pulls his hand out to revea l a THREE PRONGED GARDE. N WEEDE
He slowl y
clutc hed tigh tly in his sweat y hand. R

163 ANGLE ON FRONTSEAT

163
LANGE looks poses sed as the GIRLS conti nue their drunk
laug hter. His lips are moving but his voice is barel y en
audi ble.

LANGE
Stop it •••

Thei r laug hter conti nues to grow. REBECCA is cryin g silen

as the tears strea m down her cheek s •. She glanc es over tly
at
her fathe r and notic es his odd beha vior.

LANGE
Stop it •••

The laug hter conti nues .

LANGE
(scre amin g)
STOP IT!
 -115-
163 CONTINUED 163
ae brings th e deadly tool in~o view and before anyone can
react, he brings its sharp tines down into KATIE'S chest
with a dull thud.

KATIE lets out~ horrible scream but the attack is unrelent-

ing as LAN?E q~ickly pulls it out of her only to slash back
i~to_her wi th it. H7 pulls viciously with downward motions,
r1pp1n~ de7p gash7s into the girl's quivering body. The
truck 15 filled with horrified screams of the other girls.

REBECCA
(screaming)
Daddy stop!

LANGE
(to Katie)
You lying little slut!

ALICE makes a dash for the passenger door, scrambling over

the top of REBECCA. LANGE turns and sees her trying to es-
cape and jumps towards her, sinking the sharp tines into her
back. ALICE lets out a terrible moan. REBECCA continues to
scream and cowers against the door, covering her face from
the brutal attack.
Both LANGE and his daughter are splattered with blood as his
attack continues. He rips into ALICE's flailing body until
she is almost completely drawn and quartered. Her body goes
limp and she slumps onto the floor.
The sound of her low gutteral breathing slowing down is the
only sound remaining-- the death rattle. It stops with one
last gurgling breath.
REBECCA has her hand on the door handle and leans against
it, opening the door. Sobbing hyster~cally, she rolls out
of the truck and onto the ground outside.
LANGE sits motionless, staring at the two dead GIRLS. ~e
begins to come out of his murderous trance and plots his
next move.
164 EXT. TRUCK
164

LANGE gets out of the truck and looks down .the r~ad both
ways to see if they're alone. He ~eaches ibntlo hd1sfpfohc~et
an d pu 11 s ou t a h an dker chief and wipes the _oo o 1s
arms.

CONTINUED