Vacancy_2007
<script>
  <scene>
    <character>VACANCY</character>
    <dialogue>by</dialogue>
    <scene_description>Mark L Smith TheHalLieberman Company March 23, 2006 FADE IN: ARCHIVE NEWS FOOTAGE... VERY REAL AND AUTHENTIC. An AERIAL SHOT THROUGH THE LENS OF A TV NEWS CAMERA...</scene_description>
  </scene>
  <scene>
    <stage_direction>..of a structure... a roadside motel, sitting along a side road, surrounded by a vast, empty, brown wasteland. The image trembles... the O.S. RUMBLE OF HELICOPTER BLADES</stage_direction>
    <scene_description>WHIRLING. SEVERAL NEWS VANS, POLICE CARS, AND AMBULANCES are parked around the motel... PEOPLE mil about the scene. Behind the motel, a BACK-HOE tears into the ground. COPS circle the back-hoe, digging with shovels.</scene_description>
    <character>NEWSCASTER (V.O.)</character>
    <dialogue>This is a live shot of the Prairie View Motel, in the eastern side of McKinley County. We've been told police have been working out here for several hours, but the details we're getting from them are sketchy at best. What we do know is that they've borrowed some equipment from a local farmer, and started digging in the rear of the property. What they're looking for though, we're not exactly sure.</dialogue>
    <scene_description>The camera shot shakily zooms in on the back-hoe, as the machine drags its teeth out of the earth... raises into the air... and a DIRT-COVERED CORPSE HANGS FROM THE METAL CLAW.</scene_description>
    <character>NEWSCASTER (V.O.)</character>
    <dialogue>Oh, God!</dialogue>
    <scene_description>CUT TO: HAND-HELD FOOTAGE...</scene_description>
  </scene>
  <scene>
    <stage_direction>..floating among the swarm of media... not really part of this circus... just observing it... weaving in and out of the chaos... momentarily holding on a MALE REPORTER standing outside a motel room door.</stage_direction>
    <scene_description>CONTINUED:</scene_description>
    <character>MALE REPORTER</character>
    <dialogue>The best we can come up with is that some video tapes have been discovered that are somehow connected to the bodies the Sheriff's Department has found buried on the property.</dialogue>
    <scene_description>As the reporter continues, our POV drifts to the MOTEL ROOM DOORWAY... the door just hanging on its hinges... furniture inside SCATTERED ABOUT... BLOODSTAINS ON THE GROUND OUTSIDE THE DOOR.</scene_description>
    <character>MALE REPORTER (O.S.)</character>
    <dialogue>Obviously they're being very tight- lipped with details at this stage, so we don't know yet the content of the tapes.</dialogue>
    <scene_description>Our POV floats to MASKED PARAMEDICS CARRYING BODY BAGS past a FEMALE REPORTER.</scene_description>
    <character>FEMALE REPORTER</character>
    <dialogue>I've been told all the videos discovered are extremely violent and graphic.</dialogue>
    <scene_description>Our POV follows the paramedics past the female reporter... over a BLOODHOUND stretching its leash to claw at the dirt, as if something's buried just beneath it... we continue to a NEWS VAN. The side doors have been slid open, and POLICE crowd around the video equipment inside.</scene_description>
    <character>FEMALE REPORTER (O.S.)</character>
    <dialogue>The police are actually using our Channel Nine truck to view what they believe is the most recently recorded tape.</dialogue>
    <scene_description>We glide over another REPORTER.</scene_description>
    <character>REPORTER</character>
    <dialogue>The images I saw on tape are horrific... unimaginable.</dialogue>
    <scene_description>The POV turns... to the back of the McKinley County SHERIFF being interviewed by a NEWSWOMAN for a television camera beyond them.</scene_description>
    <character>FEMALE REPORTER</character>
    <dialogue>Sheriff, can you give us an idea of how many bodies have been found?</dialogue>
    <scene_description>CONTINUED: (2)</scene_description>
    <character>SHERIFF</character>
    <dialogue>As of about a half-hour ago, we were at twenty-seven. But we haven't covered much ground yet.</dialogue>
    <character>FEMALE REPORTER</character>
    <dialogue>So you expect to find more?</dialogue>
    <character>SHERIFF</character>
    <dialogue>I'm afraid so, yes.</dialogue>
    <scene_description>Our POV drifts past a SMALL PILE OF FULL BODYBAGS...</scene_description>
    <character>FEMALE REPORTER</character>
    <dialogue>And the vehicle that was found here... the BMW.</dialogue>
    <scene_description>...and stops on a WRECKED BMW sitting beside the motel. We TIGHTEN ON THE CAR.</scene_description>
    <character>FEMALE REPORTER (O.S.)</character>
    <dialogue>We ran a check on the car. It's registered to a David and Amy Fox, age 29 and 28, respectively.</dialogue>
    <scene_description>WE PAN DOWN TO THE DENTED CALIFORNIA LICENSE PLATE... hold on it for a beat, as...</scene_description>
    <character>FEMALE REPORTER (O.S.)</character>
    <dialogue>Can you tell us if they're related to any of this?</dialogue>
    <scene_description>As the female reporter's voice fades, we... DISSOLVE TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>..THAT SAME CALIFORNIA LICENSE PLATE. ONLY IT'S SMOOTH AND</stage_direction>
    <scene_description>UNMARKED. WE PULL BACK TO SEE THE FULL, PRISTINE BMW GLIDING DOWN A DARK STRETCH OF ROAD.</scene_description>
    <character>SHERIFF (V.O.)</character>
    <dialogue>I'd rather not say at this time.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BMW - NIGHT</stage_direction>
    <scene_description>DAVID FOX, (29), bloodshot eyes glazed over from a full day of driving, sits behind the wheel. AMY FOX, (28), sleeps in the passenger seat. CONTINUED:</scene_description>
    <character>SHERIFF (V.O.)</character>
    <dialogue>And you need to think about the families before you start reading off names on air like that.</dialogue>
    <scene_description>David shakes his head, trying to loosen the cobwebs.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. NEW MEXICO FOOTHILLS - NIGHT</stage_direction>
    <scene_description>The middle of the night in the middle of nowhere. An endless span of empty rolling hills, dissected by a two-lane highway. A raccoon scampers out of the brush to some road-kill at the center of the pavement. As the raccoon checks out the quality of the decaying rodent, a GLOW RISES OVER THE CREST... the BMW zooms up the pavement, its lights blinding the animal.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BMW - NIGHT</stage_direction>
    <scene_description>David catches sight of the raccoon. And his reflexes are a little slower than they were thirteen hours ago when he started this trek... but he manages to jerk the wheel... the car vaults sideways. Amy's tossed out of her slumber, snaps awake with a painful start.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ROAD - NIGHT</stage_direction>
    <scene_description>The BMW's tires squeal past the raccoon, just inches away. They tear through the high grass... bounce over a rock... hit a ditch.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BMW - NIGHT</stage_direction>
    <scene_description>David pulls the car out of the ditch and back onto the road. He steadies the wheel.</scene_description>
    <character>DAVID</character>
    <dialogue>Son of a bitch!</dialogue>
    <scene_description>He glances in the rearview... sees the raccoon shuffle back into the brush. David looks at Amy. She's staring back at him, not as happy as the raccoon. CONTINUED:</scene_description>
    <character>DAVID</character>
    <dialogue>There was a raccoon in the middle of the road.</dialogue>
    <character>AMY</character>
    <dialogue>Better to kill us than get a little road-kill on the new car, huh?</dialogue>
    <character>DAVID</character>
    <dialogue>We're still alive, Amy. I can tell by the pissy look you're giving me.</dialogue>
    <scene_description>Amy rolls her eyes, wipes the sleep from her face, grabs a bottle of water and takes a drink before looking out the window at the passing bushes.</scene_description>
    <character>AMY</character>
    <dialogue>This isn't the interstate, David.</dialogue>
    <character>DAVID</character>
    <dialogue>Taking a shortcut.</dialogue>
    <character>AMY</character>
    <dialogue>Through where?</dialogue>
    <character>DAVID</character>
    <dialogue>New Mexico I think. Maybe Arizona. Same place really.</dialogue>
    <scene_description>A FAINT O.S. CLANK from under the car.</scene_description>
    <character>DAVID</character>
    <dialogue>Did you hear that?</dialogue>
    <character>AMY</character>
    <dialogue>Hear wha...</dialogue>
    <scene_description>David holds up his hand, quieting Amy. He strains to listen to the engine.</scene_description>
    <character>DAVID</character>
    <dialogue>I think the engine made a noise.</dialogue>
    <scene_description>Amy throws a glance at the clock. It reads, "1:25".</scene_description>
    <character>AMY</character>
    <dialogue>It's kind of late for a breakdown. You should have stopped somewhere earlier.</dialogue>
    <scene_description>David doesn't hear anything else... shrugs. CONTINUED: (2)</scene_description>
    <character>DAVID</character>
    <dialogue>I popped some of those trucker pills back in Texas. Thought I could make it all the way.</dialogue>
    <character>AMY</character>
    <dialogue>Whatever it takes to get this trip over with as quickly as possible.</dialogue>
    <scene_description>Amy turns back to the window. David stares straight ahead. There's not much love in this car.</scene_description>
    <character>DAVID</character>
    <dialogue>You want a snack or something? There are some chips left in the back.</dialogue>
    <character>AMY</character>
    <dialogue>I'm fine.</dialogue>
    <scene_description>Amy pulls an apple and knife from a bag... cuts a chunk out of the apple. She offers it to David. He shakes his head and she pops it in her mouth.</scene_description>
    <character>DAVID</character>
    <dialogue>You were really dreaming over there earlier. Mumbling and jerking around.</dialogue>
    <character>AMY</character>
    <dialogue>I dreamt you were trying to kill me. We were at my parent's anniversary party, and my mother wouldn't stop talking. You started screaming you couldn't take it anymore, and you tried to strangle me.</dialogue>
    <character>DAVID</character>
    <dialogue>I'd never do that. Although the thought of strangling your mother did cross my mind.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>But at least you were dreaming about me, that's an improvement. Go on back to sleep. Maybe next I'll sexually assault you.</dialogue>
    <scene_description>David grins. Amy doesn't see the joke... just keeps working on the apple. The knife slices into it... just as the car BOUNCES OVER A POTHOLE. CONTINUED: (3) The knife slips off the apple... cuts across Amy's finger.</scene_description>
    <character>AMY</character>
    <dialogue>Shit.</dialogue>
    <scene_description>Amy sticks her finger into her mouth... tries to suck the pain away.</scene_description>
    <character>DAVID</character>
    <dialogue>You okay?</dialogue>
    <parenthetical>(off Amy's nod)</parenthetical>
    <dialogue>I keep telling you how stupid that is. Just bite the apple like the rest of the world.</dialogue>
    <character>AMY</character>
    <dialogue>Hurts my teeth.</dialogue>
    <character>DAVID</character>
    <dialogue>As bad as cutting your finger off?</dialogue>
    <scene_description>Amy tosses the bloody apple and knife back into the bag, then checks out the wound. Just a small cut.</scene_description>
    <character>AMY</character>
    <dialogue>It's not anything.</dialogue>
    <scene_description>She pulls a bandaid from the glove compartment... wraps it around her finger.</scene_description>
    <character>AMY</character>
    <dialogue>You want me to drive for a while?</dialogue>
    <character>DAVID</character>
    <dialogue>I'm good. Go on back to sleep.</dialogue>
    <scene_description>David reaches up and turns on the radio... flips through the stations... all the same... STATIC. David digs through his CD wallet... sees one that makes him smile, and pulls it out... slides it into the player. THE CHILDREN'S SONG... "Hush Little Baby" begins playing.</scene_description>
    <character>SINGING VOICE (V.O.)</character>
    <dialogue>"Hush little baby, don't say a word. Mama's gonna buy you a mockingbird. And if that mockingbird don't sing, Daddy's gonna buy you a diamond ring."</dialogue>
    <scene_description>Amy hears it... throws an angry glare at David. CONTINUED: (4)</scene_description>
    <character>AMY</character>
    <dialogue>Why do you have that?</dialogue>
    <character>DAVID</character>
    <dialogue>I don't know. I guess I like to hear it.</dialogue>
    <parenthetical>(off Amy's grunt)</parenthetical>
    <dialogue>You deal your way, Amy, and I'll deal mine, okay?</dialogue>
    <character>SINGING VOICE (V.O.)</character>
    <dialogue>"And if that looking glass gets broke, Mama's gonna buy you a..."</dialogue>
    <scene_description>Amy can't take it anymore... flips the stereo off and turns back toward the darkness of the night.</scene_description>
    <character>AMY</character>
    <dialogue>He's gone.</dialogue>
    <character>DAVID</character>
    <dialogue>At one-thirty in the middle of goddamn nowhere, I'll take whatever I can get.</dialogue>
    <character>AMY</character>
    <dialogue>It's been a year. You should know by now that all we've got left is each other.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>And that's not even close to enough.</dialogue>
    <scene_description>TIGHT ON AMY'S REFLECTION IN THE WINDOW...</scene_description>
  </scene>
  <scene>
    <stage_direction>..staring out into the night. She slips her injured finger back into her mouth.</stage_direction>
  </scene>
  <scene>
    <stage_direction>EXT. ROAD - NIGHT</stage_direction>
    <scene_description>The BMW glides down the road, its taillights fading into the darkness.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. NEW MEXICO FOOTHILLS - NIGHT</stage_direction>
    <scene_description>Another stretch of road. If possible, this one seems even more desolate than the last. The BMW moves slowly along the road, making a DEFINITE CLANKING NOISE.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BMW - NIGHT</stage_direction>
    <scene_description>Amy has an atlas open in her lap. David taps one of the narrow roads, winding across the page.</scene_description>
    <character>DAVID</character>
    <dialogue>That should be us about there.</dialogue>
    <character>AMY</character>
    <dialogue>Why didn't you just stay on the interstate?</dialogue>
    <character>DAVID</character>
    <dialogue>I don't know, I guess I just wanted to make this as miserable as possible. See just how big a bitch you could be about it.</dialogue>
    <scene_description>David stares down the road. His angry face softens a bit.</scene_description>
    <character>DAVID</character>
    <dialogue>I thought this would be faster.</dialogue>
    <scene_description>The GRIND OF METAL ON METAL from under the hood. David grimaces.</scene_description>
    <character>DAVID</character>
    <dialogue>Shit.</dialogue>
    <scene_description>Amy squints out through the windshield and points.</scene_description>
    <character>AMY</character>
    <dialogue>Is that something?</dialogue>
    <scene_description>The glow of a light ahead of them. They drive closer... ...the faded, old fluorescent sign of a service station draws into view.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. GARAGE - NIGHT</stage_direction>
    <scene_description>A small, paint-peeled building from the Forties, with a single gas pump sitting out front. There are several LARGE FIREWORKS SIGNS hanging along the roof. One of the hand- painted signs reads, "Every day is the Fourth Of July at Small's". The BMW cruises past the pump... rolls over a hose that runs across the ground. A LOUD RING ERUPTS as the tires bounce over the hose. CONTINUED: The BMW stops beside the pump.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BMW - NIGHT</stage_direction>
    <scene_description>David and Amy stare at the old building. Its windows are dark.</scene_description>
    <character>DAVID</character>
    <dialogue>Guess they're probably closed.</dialogue>
    <character>AMY</character>
    <dialogue>Since 1957.</dialogue>
    <scene_description>David glances out at the pump.</scene_description>
    <character>DAVID</character>
    <dialogue>Too bad. Good price on gas.</dialogue>
    <scene_description>They go back to the atlas.</scene_description>
    <character>DAVID</character>
    <dialogue>I remember going through that place there... Elida. You were asleep... probably two or three hours ago, maybe.</dialogue>
    <character>AMY</character>
    <dialogue>Then that has to put us down here somewhere.</dialogue>
    <character>DAVID</character>
    <dialogue>There's a town... Downey. Gotta be a real car place there.</dialogue>
    <character>AMY</character>
    <dialogue>If that's really where we are.</dialogue>
    <scene_description>David glances at the LED COMPASS in the dash.</scene_description>
    <character>DAVID</character>
    <dialogue>We're headed west. Eventually we have to hit California.</dialogue>
    <scene_description>Amy shrugs... looks up from the atlas and sees a FACE staring in David's window. She SCREAMS. David spins and sees the face of the garage MECHANIC, (20's), good-looking.</scene_description>
    <character>MECHANIC</character>
    <dialogue>Sorry.</dialogue>
    <scene_description>CONTINUED: David restarts his heart... rolls down his window.</scene_description>
    <character>MECHANIC</character>
    <dialogue>Just don't get much business around here. Wanted to make sure I got to you before you left. But I've gotta warn you, the gas price is a little steeper than the sign says.</dialogue>
    <character>DAVID</character>
    <dialogue>Actually, we're just having a little engine problem. I dodged a raccoon a few miles back.</dialogue>
    <character>AMY</character>
    <dialogue>And we're lost.</dialogue>
    <character>DAVID</character>
    <dialogue>She's lost. I know right where I am. We're on our way to Downey.</dialogue>
    <scene_description>David points down the road. The Mechanic nods... tries to subtly motion his head the opposite direction of David's finger. It takes a few times before David catches on. And Amy already has.</scene_description>
    <character>AMY</character>
    <dialogue>He's trying to tell you it's the other way, David.</dialogue>
    <character>MECHANIC</character>
    <dialogue>Yeah. Sorry. But it's real easy to get turned around out here without a map.</dialogue>
    <scene_description>Amy holds up their map.</scene_description>
    <character>MECHANIC</character>
    <dialogue>Oh. Well, Downey's about thirty miles back.</dialogue>
    <scene_description>David ignores Amy's smirk.</scene_description>
    <character>MECHANIC</character>
    <dialogue>If you wanna pop the hood, I'll take a look to make sure you'll get that far.</dialogue>
    <character>DAVID</character>
    <dialogue>I hate to bother you with it this late.</dialogue>
    <scene_description>CONTINUED: (2)</scene_description>
    <character>MECHANIC</character>
    <dialogue>It's no bother at all.</dialogue>
    <scene_description>David pulls the hood lever, then climbs out with the Mechanic.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. GARAGE - NIGHT</stage_direction>
    <scene_description>The Mechanic starts examining the engine.</scene_description>
    <character>DAVID</character>
    <dialogue>I went off the road... with the raccoon. Think I hit a low spot.</dialogue>
    <character>MECHANIC</character>
    <dialogue>Looks like it, yeah.</dialogue>
    <scene_description>The Mechanic reaches in... tinkers with the engine.</scene_description>
    <character>MECHANIC</character>
    <dialogue>Can you hit the gas for me?</dialogue>
    <scene_description>David hurries around the car.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BMW - CONTINUOUS</stage_direction>
    <scene_description>David climbs in... hits the gas. He and Amy peer under the crack of the open hood, watching the Mechanic's hands move around the engine... pull a wrench from his pocket... reach back under the hood.</scene_description>
    <character>AMY</character>
    <dialogue>Can he fix it?</dialogue>
    <character>DAVID</character>
    <parenthetical>(shrugs, to the Mechanic)</parenthetical>
    <dialogue>What do you think?</dialogue>
    <scene_description>The Mechanic slams the hood.</scene_description>
    <character>MECHANIC</character>
    <dialogue>Fan blade's bent. Rock musta hit it. She'll still drive fine. Just noisy is all.</dialogue>
    <scene_description>The Mechanic walks back to David's window. CONTINUED:</scene_description>
    <character>MECHANIC</character>
    <dialogue>You might wanna have somebody smarter than me check it when you get where you're goin' though.</dialogue>
    <character>DAVID</character>
    <dialogue>I'll do that, thanks. What do I owe you?</dialogue>
    <character>MECHANIC</character>
    <dialogue>We're good. I should pay you for finally giving me something to do. Now do you need to know how to get back to Downey?</dialogue>
    <character>DAVID</character>
    <dialogue>Actually, if you could point us back to the interstate... we're trying to get to California.</dialogue>
    <character>MECHANIC</character>
    <dialogue>You don't want Downey then.</dialogue>
    <scene_description>David feels Amy's eyes burning into his back. The Mechanic points down the road.</scene_description>
    <character>MECHANIC</character>
    <dialogue>About seven miles down, there'll be a road on your right with a grove of trees beside it. Take that and keep goin' till you hit Westcliff. You'll run into a four lane there. Hang a left on that and it'll take you right back where you need to be.</dialogue>
    <character>DAVID</character>
    <dialogue>Thanks a lot.</dialogue>
    <scene_description>David pulls a twenty dollar bill from his pocket and holds it out the window.</scene_description>
    <character>DAVID</character>
    <dialogue>Here. This way I won't feel guilty for dragging you out here so late.</dialogue>
    <scene_description>The Mechanic shrugs... takes the money. Then he reaches into his back pocket... pulls out a sparkler. He flicks his cigarette lighter... ignites the sparkler. CONTINUED: (2)</scene_description>
    <character>MECHANIC</character>
    <dialogue>You just bought yourself a twenty dollar sparkler.</dialogue>
    <scene_description>The Mechanic leans in David's window... hands it to Amy. Amy gingerly takes it.</scene_description>
    <character>MECHANIC</character>
    <dialogue>Every day's the Fourth Of July at Small's.</dialogue>
    <scene_description>The Mechanic rolls his eyes and motions to the sign.</scene_description>
    <character>MECHANIC</character>
    <dialogue>The owner makes me say that.</dialogue>
    <parenthetical>(waves)</parenthetical>
    <dialogue>Drive careful.</dialogue>
    <scene_description>Amy waves the sparkler out the window, as David pulls out.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BMW - CONTINUOUS</stage_direction>
    <scene_description>Amy grins, as she watches the sparkler shoot out the flaming dots. It's not a smile we've seen from Amy, and David notices.</scene_description>
    <character>DAVID</character>
    <dialogue>Guess I should go buy a box of sparklers, huh?</dialogue>
    <scene_description>Amy doesn't answer. Her smile fades with the sparks. She drops the charred black stick to her feet.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ROAD - NIGHT</stage_direction>
    <scene_description>The BMW cruises down the road.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BMW - NIGHT</stage_direction>
    <scene_description>David points ahead of them to the grove of trees and the side road veering past them.</scene_description>
    <character>DAVID</character>
    <dialogue>There we go.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. ROAD - NIGHT</stage_direction>
    <scene_description>The BMW turns down the side road.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BMW - NIGHT</stage_direction>
    <scene_description>Amy glances at the map, as David drives.</scene_description>
    <character>AMY</character>
    <dialogue>How far did he say this Westcliff place was?</dialogue>
    <character>DAVID</character>
    <dialogue>He didn't.</dialogue>
    <scene_description>Suddenly, the car lurches forward a bit.</scene_description>
    <character>AMY</character>
    <dialogue>What was that?</dialogue>
    <character>DAVID</character>
    <dialogue>I don't know. Did we hit something?</dialogue>
    <scene_description>Amy turns... there's nothing in the road.</scene_description>
    <character>AMY</character>
    <dialogue>I don't see anything.</dialogue>
    <scene_description>Another lurch... the engine skips.</scene_description>
    <character>DAVID</character>
    <dialogue>What the hell?</dialogue>
    <scene_description>And now the engine more than skips, it dies. David pulls onto the shoulder.</scene_description>
    <character>DAVID</character>
    <dialogue>Son of a bitch.</dialogue>
    <scene_description>David twists the ignition. The engine just turns over and over without starting.</scene_description>
    <character>DAVID</character>
    <dialogue>Son of a bitch! So much for being able to keep driving it.</dialogue>
    <scene_description>David tries again... no luck.</scene_description>
    <character>DAVID</character>
    <dialogue>Shit!</dialogue>
    <scene_description>Amy pulls out her cell phone... holds it up... NO SIGNAL. CONTINUED:</scene_description>
    <character>AMY</character>
    <dialogue>Nothing.</dialogue>
    <scene_description>David turns the key again... just that sickening groan.</scene_description>
    <character>DAVID</character>
    <dialogue>Dammit!</dialogue>
    <character>AMY</character>
    <dialogue>Can't a car run without a fan?</dialogue>
    <character>DAVID</character>
    <dialogue>Evidently not.</dialogue>
    <scene_description>David pounds the steering wheel and climbs out of the car.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SIDE ROAD - LATER</stage_direction>
    <scene_description>The BMW's hood is already up from where David has tried to work on the engine. David leans back under the hood.</scene_description>
    <character>DAVID</character>
    <dialogue>Try it again.</dialogue>
    <character>AMY</character>
    <dialogue>It's not going to work.</dialogue>
    <scene_description>David taps at the engine with a PLASTIC TRAVEL MUG... he's no mechanic.</scene_description>
    <character>DAVID</character>
    <dialogue>How do you know? Jesus, just try it.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BMW - NIGHT</stage_direction>
    <scene_description>Amy leans over and turns the key, as she watches David pound all over the engine with the handle of the mug. The engine WHIRRS over and over... doesn't start. David finally SLAMS THE MUG AGAINST THE ENGINE. The mug shatters.</scene_description>
    <character>DAVID</character>
    <dialogue>GODDAMMIT!</dialogue>
    <scene_description>Amy almost smiles... she knew it.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SIDE ROAD - NIGHT</stage_direction>
    <scene_description>David kicks at the ground, grabs the remains of the mug and heaves them into the bushes. He looks up and down the road.</scene_description>
    <character>DAVID</character>
    <dialogue>How far back was that station?</dialogue>
    <character>AMY</character>
    <dialogue>Five or six miles maybe. Too far to walk at night.</dialogue>
    <character>DAVID</character>
    <dialogue>That means we sit here the rest of the night. Hope some idiots like us happen to drive down this stagecoach trail.</dialogue>
    <character>AMY</character>
    <dialogue>Idiot like you, not us. I didn't get us lost.</dialogue>
    <character>DAVID</character>
    <dialogue>No, you slept through five states thanks to your prozac/zoloft cocktail.</dialogue>
    <scene_description>Amy flips David off through the window. He walks out to the center of the road, and SCREAMS. A flock of startled birds burst from a tree... scatter up into the night sky. David sees something... walks a few yards down the road, and lifts a TATTERED WOODEN SIGN from the high grass. Handpainted across it, "Prairie View Motel. One mile ahead." David holds the sign up toward Amy in the car.</scene_description>
    <character>DAVID</character>
    <dialogue>You feel like walking a mile?</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. SIDE ROAD - NIGHT</stage_direction>
    <scene_description>TIGHT ON DAVID AND AMY'S FEET...</scene_description>
  </scene>
  <scene>
    <stage_direction>..walking along the black tar pavement.</stage_direction>
    <scene_description>CONTINUED: The moon casts a bright glow over them as they make their way down the road. David gazes up at the star-filled sky.</scene_description>
    <character>DAVID</character>
    <dialogue>I never see stars anymore. Not in L.A.</dialogue>
    <parenthetical>(off their surroundings)</parenthetical>
    <dialogue>Kind of nice out here really. I bet Charlie would've like it.</dialogue>
    <character>AMY</character>
    <dialogue>Should've brought him sometime. But we never went anywhere, remember? The job was always too important to leave.</dialogue>
    <character>DAVID</character>
    <dialogue>Why do you do that?</dialogue>
    <character>AMY</character>
    <dialogue>What?</dialogue>
    <character>DAVID</character>
    <dialogue>Every time I mention his name, you take a shot at me.</dialogue>
    <character>AMY</character>
    <dialogue>Stop mentioning his name.</dialogue>
    <character>DAVID</character>
    <dialogue>I'm not like you, Amy. I don't want to forget our son so the pain will go away.</dialogue>
    <character>AMY</character>
    <dialogue>Aren't you the brave one, David.</dialogue>
    <scene_description>Amy picks up her pace... leaves David behind. He watches her move ahead, then veers off the road into a cluster of bushes... unzips and starts taking a piss.</scene_description>
    <character>DAVID</character>
    <parenthetical>(under his breath)</parenthetical>
    <dialogue>Such a bitch.</dialogue>
    <parenthetical>(louder, for Amy)</parenthetical>
    <dialogue>Maybe you'd be happier if you tried talking about it, instead of acting like it never happened. Like Charlie never happened.</dialogue>
    <scene_description>CONTINUED: (2) Amy just keeps walking. A few feet away from David, the BUSHES RATTLE. David squints toward the sound, but it's too dark and too overgrown to see what's in there. As he finishes up, the BUSHES RATTLE AGAIN... this time louder. David throws another nervous glance into the bushes... still nothing. He leans closer...</scene_description>
  </scene>
  <scene>
    <stage_direction>..just as a RACCOON darts out of the brush past him.</stage_direction>
    <scene_description>David leaps back, startled. He catches his breath as the animal scurries away.</scene_description>
    <character>DAVID</character>
    <dialogue>Goddamn raccoons are killing me.</dialogue>
    <scene_description>David turns... trots back toward the road after Amy. In the distance behind David, a FIGURE rises from the bushes, where David had just been. It's too far away to make out features. And the figure doesn't move... just watches David make his way down the road with Amy.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SIDE ROAD - LATER</stage_direction>
    <scene_description>David and Amy stand in the gravel parking lot, staring at a beaten down roadside motel. Eight rooms stretched out in an L-shape. The Bates Motel... in need of a paint job. A primer painted PICKUP TRUCK sits outside the office, under a "$19.00 A NIGHT" sign that hangs over the office screen door. Above that is a crooked "VACANCY" sign.</scene_description>
    <character>AMY</character>
    <dialogue>We could go back to the car. You could sleep on the hood and stare up at those stars you love so much.</dialogue>
    <character>DAVID</character>
    <dialogue>Maybe they'll have a phone we can use.</dialogue>
    <scene_description>They start toward the motel office.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL OFFICE - NIGHT</stage_direction>
    <scene_description>A BELL above the screen door JINGLES, as David and Amy enter. CONTINUED: The tiny wood-paneled room has SEVERAL SECURITY VIDEO MONITORS on the walls behind the desk. The images of David and Amy entering the office fill the screens. Around the room, a few stock scenery pictures hanging on the wall and a STUFFED JACK-A-LOPE, a rabbit with glued-on antlers, resting on the counter. At the rabbit's feet is a DESK BELL, with a sign... "Ring Me". There's some MUFFLED O.S. SCREAMING from the back room behind the counter. David and Amy hear it... exchange a glance before David taps the bell. There's some RUSTLING, then MASON, (40's), five- foot nothing and hundred thirty pounds in his sweaty t-shirt and jeans, appears from the back room.</scene_description>
    <character>MASON</character>
    <dialogue>Hey, folks. What can I do ya for?</dialogue>
    <character>DAVID</character>
    <parenthetical>(off the screams)</parenthetical>
    <dialogue>Everything okay back there?</dialogue>
    <scene_description>Mason cocks his head, unsure. David motions to the back room. Mason grins and raises a TELEVISION REMOTE... hits a button and the SCREAMS SILENCE.</scene_description>
    <character>MASON</character>
    <dialogue>Sorry about that. Gets a little boring around here late nights.</dialogue>
    <character>DAVID</character>
    <dialogue>I bet so. Listen, our car broke down about a mile back. Just needed to borrow a phone... see if we could get a tow truck or something.</dialogue>
    <character>MASON</character>
    <dialogue>All we've got is that pay phone outside.</dialogue>
    <scene_description>Mason points through the window to an OLD PHONE BOOTH along the motel wall.</scene_description>
    <character>MASON</character>
    <dialogue>She works off dimes if you need some.</dialogue>
    <scene_description>David digs a dollar from his pocket. Mason takes it and trades it for a cluster of dimes from his drawer. CONTINUED: (2)</scene_description>
    <character>MASON</character>
    <dialogue>Trouble is the only garage within ninety miles is Smalls. Little place on Route Six.</dialogue>
    <character>DAVID</character>
    <dialogue>Yeah. I think we stopped there earlier.</dialogue>
    <character>MASON</character>
    <dialogue>And Small's don't have a phone.</dialogue>
    <scene_description>David stares at Mason a beat, then down to the handful of dimes.</scene_description>
    <character>DAVID</character>
    <dialogue>So I probably don't need these then.</dialogue>
    <character>MASON</character>
    <dialogue>Not if you need a tow truck.</dialogue>
    <scene_description>David throws a glance to Amy before filling his pocket with dimes.</scene_description>
    <character>MASON</character>
    <dialogue>But I could run you back there in the morning if you want. Too late to do much right now no-ways.</dialogue>
    <scene_description>Amy looks at her watch... shrugs.</scene_description>
    <character>AMY</character>
    <dialogue>It's just a few hours.</dialogue>
    <character>DAVID</character>
    <dialogue>Yeah, okay. Guess we'll need one of those nineteen dollar rooms then.</dialogue>
    <scene_description>Mason nods... looks David and Amy over, then grins.</scene_description>
    <character>MASON</character>
    <dialogue>I can give you two the Honeymoon Suite for twenty-four. Got a few extras that the others don't.</dialogue>
    <character>DAVID</character>
    <dialogue>It's late. Regular room will do.</dialogue>
    <scene_description>Mason pulls a key from the hook behind him and slides it across the counter. CONTINUED: (3)</scene_description>
    <character>MASON</character>
    <dialogue>What the hell. I'll give it to ya for the same rate.</dialogue>
    <character>DAVID</character>
    <dialogue>Okay, whatever. Thanks.</dialogue>
    <scene_description>David jerks out his credit card.</scene_description>
    <character>MASON</character>
    <dialogue>'Fraid we're not set up for plastic. Cash only.</dialogue>
    <character>DAVID</character>
    <dialogue>Do you take dimes?</dialogue>
    <scene_description>Mason grins... doesn't get the joke. David snaps a twenty from the wallet and reaches for the key. Mason pulls the key back.</scene_description>
    <character>MASON</character>
    <dialogue>And I need one of your ID's... sort of a deposit on the contents of the room.</dialogue>
    <character>DAVID</character>
    <dialogue>Trust me, we're not going to take anything. I'm not up to carrying dirty towels a mile down the road.</dialogue>
    <character>MASON</character>
    <dialogue>I'm sure you won't. But rules is rules. I don't make 'em. I'm just the manager.</dialogue>
    <scene_description>It's too late for this shit. David pulls out his driver's license... trades it to Mason for the key.</scene_description>
    <character>MASON</character>
    <dialogue>It's the last one on the end there... number eight. Might have to jiggle the handle a bit to open her up. She's as sticky as an old whore.</dialogue>
    <parenthetical>(to Amy)</parenthetical>
    <dialogue>Excuse my language.</dialogue>
    <scene_description>Amy just turns and starts moving for the door.</scene_description>
    <character>MASON</character>
    <dialogue>Have a good night.</dialogue>
    <scene_description>CONTINUED: (4) David waves over his shoulder as they walk out. Mason watches them head across the gravel lot, then turns and disappears back into the back room. The O.S. SCREAMS OF THE HORROR FILM begin again.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/HONEYMOON SUITE - NIGHT</stage_direction>
    <scene_description>Dark. Until the door opens and Amy flips the light switch. David and Amy stand frozen in the doorway. Because this is rough. Stained shag carpet. Torn FARM ANIMAL PRINT CURTAINS. Cigarette holes are burned into the paisley bedspread draped across the bed. Artificial plants hang in the corners of the room.</scene_description>
    <character>DAVID</character>
    <dialogue>Good thing we upgraded.</dialogue>
    <scene_description>David closes the door... locks it and HOOKS THE CHAIN ACROSS.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/BATHROOM - CONTINUOUS</stage_direction>
    <scene_description>Amy enters and hits the light in the bathroom, illuminating the broken tile floor, rusty faucets and water-stained commode.</scene_description>
    <character>AMY</character>
    <dialogue>We've had our tetanus shots, right?</dialogue>
    <scene_description>Amy pulls a bottle of PILLS from her purse, shakes a couple into her palm. She turns on the faucet. BROWN WATER splashes out, gushing SEVERAL ROACHES out with it. The bugs scurry around the sink. Amy turns the water off... watches the bugs slither down the drain. She tosses the pills into her mouth... gulps them down.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/HONEYMOON SUITE - NIGHT</stage_direction>
    <scene_description>Amy walks out, sees David flipping through a TV GUIDE.</scene_description>
    <character>DAVID</character>
    <dialogue>If you want to know what shows were on during March of '97, I've got the answer.</dialogue>
    <scene_description>CONTINUED: David tosses the old magazine back to the table. Amy moves to the bed and pulls back the covers... inspects the sheets.</scene_description>
    <character>AMY</character>
    <dialogue>I'm sleeping in my clothes.</dialogue>
    <character>DAVID</character>
    <dialogue>I'm sleeping in my shoes.</dialogue>
    <scene_description>David glances around the room... moves to the closet... pulls open the door. It's empty.</scene_description>
    <character>DAVID</character>
    <dialogue>Could be worse I guess. We could still be jammed into that twin bed at your parents' house... trying to pretend we're the happy couple.</dialogue>
    <scene_description>Amy slides onto the bed... props herself against the wall, not getting too comfortable.</scene_description>
    <character>AMY</character>
    <dialogue>We should have told them about us.</dialogue>
    <character>DAVID</character>
    <dialogue>Why ruin their party. We can tell them after we sign the papers.</dialogue>
    <scene_description>David climbs up beside Amy... stares at the farm print curtains.</scene_description>
    <character>DAVID</character>
    <dialogue>What were you feeling... at the party... watching them celebrate being married all those years?</dialogue>
    <scene_description>A BEAT, then...</scene_description>
    <character>AMY</character>
    <dialogue>Pity.</dialogue>
    <scene_description>A LONG, QUIET BEAT THIS TIME.</scene_description>
    <character>DAVID</character>
    <dialogue>Sorry about this. Should've stayed on the interstate.</dialogue>
    <character>AMY</character>
    <dialogue>Our one last great adventure together.</dialogue>
    <scene_description>CONTINUED: (2)</scene_description>
    <character>DAVID</character>
    <dialogue>Did we ever have great adventures? I don't remember.</dialogue>
    <scene_description>Amy doesn't answer... just wraps her coat a little tighter around herself.</scene_description>
    <character>AMY</character>
    <dialogue>There had to be a couple.</dialogue>
    <scene_description>David leans closer... lightly kisses Amy's neck... up her skin toward her lips. Finally, Amy pulls away.</scene_description>
    <character>AMY</character>
    <dialogue>David, I can't.</dialogue>
    <character>DAVID</character>
    <dialogue>You really want to quit on us?</dialogue>
    <character>AMY</character>
    <dialogue>It hurts too much. I'm sorry.</dialogue>
    <character>DAVID</character>
    <dialogue>You can't just stop feeling because it hurts, Amy. Doesn't work that way.</dialogue>
    <character>AMY</character>
    <dialogue>That's all I can do.</dialogue>
    <scene_description>A KNOCK at the front door. David throws a pissed-off glance at his watch.</scene_description>
    <character>DAVID</character>
    <dialogue>Who the hell is that?</dialogue>
    <scene_description>David goes to the door... pulls it open. No one is outside.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PRAIRIE VIEW MOTEL/HONEYMOON SUITE - CONTINUOUS</stage_direction>
    <scene_description>David leans out... checks both ways. Nobody.</scene_description>
    <character>DAVID</character>
    <dialogue>Hello?</dialogue>
    <scene_description>No answer.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/HONEYMOON SUITE - CONTINUOUS</stage_direction>
    <scene_description>David closes the door.</scene_description>
    <character>DAVID</character>
    <dialogue>You heard that, right?</dialogue>
    <scene_description>Amy nods. Then ANOTHER KNOCK... this one down the wall... from the ADJOINING ROOM DOOR. David moves to the side door.</scene_description>
    <character>DAVID</character>
    <dialogue>Yeah?</dialogue>
    <scene_description>MORE KNOCKS. David throws Amy a glance, then reaches to unbolt the lock.</scene_description>
    <character>AMY</character>
    <dialogue>David, wait.</dialogue>
    <character>DAVID</character>
    <dialogue>It's the room beside us.</dialogue>
    <character>AMY</character>
    <dialogue>I know. Hang on a...</dialogue>
    <scene_description>But David turns the bolt. The door swings open... ...and there's nothing but ANOTHER DOOR behind it. The other room's door. No door handle for David to grab. The KNOCKING CONTINUES. David pounds back against their side of the partition.</scene_description>
    <character>DAVID</character>
    <dialogue>What do you need?</dialogue>
    <scene_description>The knocking stops.</scene_description>
    <character>DAVID</character>
    <dialogue>Hello?</dialogue>
    <parenthetical>(to Amy)</parenthetical>
    <dialogue>Were there any cars when we walked over?</dialogue>
    <scene_description>Amy goes to the window... squints outside. Just the OLD PICKUP TRUCK sitting outside the office. CONTINUED:</scene_description>
    <character>AMY</character>
    <dialogue>There's a truck. Probably the office guy's.</dialogue>
    <scene_description>David taps on the door.</scene_description>
    <character>DAVID</character>
    <dialogue>Whoever's in there, it's too late for this shit.</dialogue>
    <scene_description>Then the other room's door begins to SHAKE... like whoever's on the other side is jerking hard on the handle.</scene_description>
    <character>DAVID</character>
    <dialogue>What the hell is this?</dialogue>
    <character>AMY</character>
    <dialogue>Close the door, David.</dialogue>
    <scene_description>David just keeps watching the door vibrate.</scene_description>
    <character>AMY</character>
    <dialogue>Close the door!</dialogue>
    <scene_description>Amy pushes past David and SLAMS THEIR DOOR CLOSED. She bolts it back secure.</scene_description>
    <character>AMY</character>
    <dialogue>Jesus! Why mess with them?</dialogue>
    <character>DAVID</character>
    <dialogue>I'm not messing with them. I just want to know what they're doing.</dialogue>
    <scene_description>LOUD KNOCKS AT THE FRONT DOOR spin David and Amy. They exchange a glance, then David goes to the door.</scene_description>
    <character>DAVID</character>
    <dialogue>Who is it?</dialogue>
    <scene_description>No answer. David secures the chain across the door, then eases it open... peers out through the crack. As Amy watches him, a POUNDING ERUPTS from the door beside her. She jumps with a start... backs away from it. David BEATS AGAINST THE WALL WITH HIS FIST.</scene_description>
    <character>DAVID</character>
    <dialogue>What's your problem, asshole!</dialogue>
    <scene_description>The KNOCKING GETS LOUDER. CONTINUED: (2)</scene_description>
    <character>DAVID</character>
    <dialogue>Screw this.</dialogue>
    <scene_description>David scans the room for a phone... there isn't one. He pushes back a desk... an empty phone jack sits in the wall.</scene_description>
    <character>DAVID</character>
    <dialogue>Perfect.</dialogue>
    <scene_description>David starts out the front door.</scene_description>
    <character>AMY</character>
    <dialogue>David, wait.</dialogue>
    <scene_description>But David's too mad to wait. He stomps outside.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PRAIRIE VIEW MOTEL/HONEYMOON SUITE - CONTINUOUS</stage_direction>
    <scene_description>David goes to the adjacent door... ROOM NUMBER SEVEN. He bangs on the door.</scene_description>
    <character>DAVID</character>
    <dialogue>Open the door!</dialogue>
    <scene_description>No answer. David beats on it again.</scene_description>
    <character>DAVID</character>
    <dialogue>Come on. You want to play games, lets play.</dialogue>
    <scene_description>David jerks on the handle... locked. He knocks again, and this time a KNOCKING answers him. Just like in the room... a slow, steady KNOCKING. David peers in the dark window... can't see who's behind the door.</scene_description>
    <character>DAVID</character>
    <dialogue>Real funny, jerkoff.</dialogue>
    <scene_description>David turns to Amy in the doorway.</scene_description>
    <character>DAVID</character>
    <dialogue>Lock the door.</dialogue>
    <character>AMY</character>
    <dialogue>Where're you going?</dialogue>
    <character>DAVID</character>
    <dialogue>To go shut this prick up.</dialogue>
    <scene_description>CONTINUED: David starts across the lot to the motel office. Amy disappears behind the door.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/HONEYMOON SUITE - NIGHT</stage_direction>
    <scene_description>Amy bolts the door... pulls the rusty chain across. She checks the lock on the adjoining room door, then hurries to the window... watches David walk into the motel office.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL OFFICE - NIGHT</stage_direction>
    <scene_description>David smacks the bell between the Jack-a-lope's feet over and over. Mason leans out of the back room.</scene_description>
    <character>MASON</character>
    <dialogue>Everything all right, Mr. Fox?</dialogue>
    <character>DAVID</character>
    <dialogue>No. The asshole in the room beside us keeps banging on the walls. He won't stop.</dialogue>
    <character>MASON</character>
    <dialogue>Beside you?</dialogue>
    <character>DAVID</character>
    <dialogue>Yeah. Room seven. I went over to talk to him, but he just kept doing it. I don't know what his problem is.</dialogue>
    <character>MASON</character>
    <dialogue>That's strange.</dialogue>
    <scene_description>Mason turns to the RACK OF KEYS hanging behind the counter. Key Number Seven is still there.</scene_description>
    <character>MASON</character>
    <dialogue>You're the only guests we got tonight.</dialogue>
    <character>DAVID</character>
    <dialogue>Well somebody's in there.</dialogue>
    <character>MASON</character>
    <dialogue>You're sure it was number seven?</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>DAVID</character>
    <dialogue>We're the last one and we're eight, right? It's right beside us, with a big, rusty seven on the door, so I'm pretty sure, yeah.</dialogue>
    <character>MASON</character>
    <dialogue>Okay, I got ya. Every once a blue moon some drifter or college kids'll crawl through a window for a night's sleep. Cleanin' lady'll find some trash layin' around... shit in the toilet. Don't usually cause no disturbance though.</dialogue>
    <character>DAVID</character>
    <dialogue>Well this one is.</dialogue>
    <scene_description>Mason considers this a moment, then grabs the key.</scene_description>
    <character>MASON</character>
    <dialogue>I'll check her out for ya.</dialogue>
    <scene_description>David notices a PISTOL tucked on a shelf behind the counter.</scene_description>
    <character>DAVID</character>
    <dialogue>If that works, you might think about bringing that.</dialogue>
    <scene_description>Mason grins... picks up the pistol and twirls it like a gunfighter.</scene_description>
    <character>MASON</character>
    <dialogue>I'm ass-tired of just shootin' at crows.</dialogue>
    <character>DAVID</character>
    <dialogue>Good hunting.</dialogue>
    <character>MASON</character>
    <dialogue>Thanks, Mr. Fox.</dialogue>
    <scene_description>David walks out. Mason does a few more twirls with the gun.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PRAIRIE VIEW MOTEL - NIGHT</stage_direction>
    <scene_description>David strides out of the office, back into the darkness. He sees Amy peering out between the curtains. David waves.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/HONEYMOON SUITE - NIGHT</stage_direction>
    <scene_description>Amy unlatches the door... opens it. David enters.</scene_description>
    <character>AMY</character>
    <dialogue>What'd he say?</dialogue>
    <character>DAVID</character>
    <dialogue>Thinks it's just some drunk. He's going to take care of it.</dialogue>
    <scene_description>David closes the door... locks it back.</scene_description>
    <character>DAVID</character>
    <dialogue>Did you hear anything else?</dialogue>
    <character>AMY</character>
    <dialogue>No. I was almost wishing I would, so I'd know where they were.</dialogue>
    <character>DAVID</character>
    <dialogue>Probably saw me heading for the office and took off.</dialogue>
    <parenthetical>(glances around)</parenthetical>
    <dialogue>Now we can enjoy this luxury resort with some peace and quiet.</dialogue>
    <scene_description>David gives the adjoining room door a smack, then falls onto the bed.</scene_description>
    <character>AMY</character>
    <dialogue>Maybe we should just leave. Go back to the car.</dialogue>
    <character>DAVID</character>
    <dialogue>I'm not walking anymore. Let's just gut it out for a few hours and catch a ride back. We'll get the car fixed and get the hell out.</dialogue>
    <scene_description>Amy doesn't like it, but just shrugs... sits down on the bed beside David. David grabs the remote.</scene_description>
    <character>AMY</character>
    <dialogue>You're not going to watch that now?</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>DAVID</character>
    <dialogue>Just for a little while. Until we know our friend's gone from over there. Besides, gotta take advantage of the Honeymoon Suite perk. Worth at least an extra five bucks.</dialogue>
    <scene_description>David flips the television on... STATIC. He dances through the channels... nothing but more static.</scene_description>
    <character>DAVID</character>
    <dialogue>Maybe not.</dialogue>
    <character>AMY</character>
    <dialogue>The manager guy... he's going over there for sure, right?</dialogue>
    <character>DAVID</character>
    <dialogue>With his six-shooter. He'll take care of it. Gotta keep his only two guests happy.</dialogue>
    <scene_description>David notices a VCR with SEVERAL VIDEO TAPES stacked on top of it. He grabs a tape... no label.</scene_description>
    <character>DAVID</character>
    <dialogue>Bet this is a library of classics.</dialogue>
    <scene_description>David slips the tape into the VCR. The onscreen static disappears, replaced by footage from a NO- BUDGET SLASHER FILM... grainy picture... hollow sound. THREE MEN, stripped down to their underwear, are in a small room, TIED ON THE FLOOR. TWO SHADOWY FIGURES stand over them men. The three men are MOANING... BEGGING to the figures. Suddenly one of the figures raises a KNIFE. CUT TO: David's face... grimacing, as we hear the MAN'S SCREAMS.</scene_description>
    <character>DAVID</character>
    <dialogue>Jesus. The perfect movie to put newlyweds in the mood.</dialogue>
    <scene_description>CONTINUED: (2)</scene_description>
    <character>AMY</character>
    <dialogue>Turn it off. I hate those kind of films. And that's the last thing I need right now.</dialogue>
    <scene_description>David pops the tape out... replaces it with another.</scene_description>
    <character>DAVID</character>
    <dialogue>They should at least give you a little porn.</dialogue>
    <scene_description>The screen flashes on again... this time there are THREE COLLEGE GIRLS huddled on a bed. It's the same small room, and the camera angle is just as the last... looking down on the girls as they tremble and cry. One of the girls SCREAMS OUT.</scene_description>
    <character>GIRL (V.O.)</character>
    <dialogue>PLEASE!</dialogue>
    <scene_description>And a figure steps into the frame. The girls start flailing at him. Another figure steps into the picture. One of the figures drags a girl to the floor and starts tearing at her clothes.</scene_description>
    <character>AMY</character>
    <dialogue>God, at least mute it or something so I don't have to hear that.</dialogue>
    <scene_description>But David isn't listening, because he's noticed something. He moves closer to the screen... his reflection fills the glass, as he stares at the CURTAINS IN THE ONSCREEN ROOM. They're designed in a FARM ANIMAL PRINT... just like the ones in their room. David studies their curtains a beat, then looks back to the screen... watches as the attacker raises his blade over the girl lying on the GOLD SHAG CARPET. TIGHT ON DAVID'S FACE...</scene_description>
  </scene>
  <scene>
    <stage_direction>..frightened. His eyes dart down to his feet...</stage_direction>
  </scene>
  <scene>
    <stage_direction>..to the REDDISH STAIN ON THE GOLD SHAG CARPET.</stage_direction>
    <character>DAVID</character>
    <dialogue>Shit.</dialogue>
    <scene_description>CONTINUED: (3)</scene_description>
    <character>AMY</character>
    <dialogue>I told you to turn it off.</dialogue>
    <scene_description>David turns... glances around the room.</scene_description>
    <character>AMY</character>
    <dialogue>What is it?</dialogue>
    <scene_description>The girls' SCREAMS burst out from the tv. David's nervous, and Amy sees it.</scene_description>
    <character>AMY</character>
    <dialogue>David?</dialogue>
    <character>DAVID</character>
    <dialogue>Look at that room... in the movie.</dialogue>
    <scene_description>Amy stares at the screen... watches a figure throw one of the girls onto the bed.</scene_description>
    <character>AMY</character>
    <dialogue>What about it?</dialogue>
    <scene_description>Then Amy focuses on the PAISLEY BEDSPREAD. She looks down at the identical bedspread underneath her. Her eyes jump back to the screen. ANGLE ON THE SCREEN...</scene_description>
  </scene>
  <scene>
    <stage_direction>..and a girl trying to escape one of the figures... crawling off the bed... knocking off the CACTUS SHAPED LAMP. The lamp tumbles onto the bed.</stage_direction>
    <scene_description>Amy glances beside her... to the CACTUS SHAPED LAMP. Her face washes pale.</scene_description>
    <character>AMY</character>
    <dialogue>What movie is that?</dialogue>
    <character>DAVID</character>
    <dialogue>I don't know.</dialogue>
    <scene_description>David eyes one of the hanging plants. He grabs a chair and slides it over... stands up on the chair and pulls the dusty plant back. THERE'S A VIDEO CAMERA AIMED RIGHT AT HIM... its RED LIGHT BLINKING. The girls keep SCREAMING from the television. CONTINUED: (4) David's frozen... just stares back at the camera. Amy wants to scream, but has suddenly forgotten how. David stumbles back off the chair, his eyes still locked on the video camera.</scene_description>
    <character>AMY</character>
    <dialogue>David.</dialogue>
    <scene_description>David doesn't answer. Amy glances back to the camera, then points to the tv.</scene_description>
    <character>AMY</character>
    <dialogue>Is that this room?</dialogue>
    <character>DAVID</character>
    <dialogue>It looks like it.</dialogue>
    <scene_description>David walks across the room... reaches up and swings the other hanging plant. ANOTHER CAMERA IS SECURED TO THE WALL BEHIND IT.</scene_description>
    <character>AMY</character>
    <dialogue>This is some kind of joke, right?</dialogue>
    <character>DAVID</character>
    <dialogue>I don't know.</dialogue>
    <scene_description>They exchange a glance, then turn back to the tv... one of the figures swings the knife toward one of the girls. Amy takes a step back, almost as if she's afraid the figure's going to come right out of the screen at them.</scene_description>
    <character>AMY</character>
    <dialogue>They can't really be killing those girls. That can't be real.</dialogue>
    <scene_description>Amy ejects the girls' video tape and slides in another. The screen is filled with the same room... THEIR ROOM. And it's empty... until the door swings open, and an OLD COUPLE charge through the door, slam it closed. The OLD WOMAN is CRYING. The OLD MAN looks around in a panic. They hold each other, and stare at the door. As they do, one of the same figures steps out of the bathroom door behind them. They don't see him. CONTINUED: (5)</scene_description>
    <character>AMY</character>
    <dialogue>Turn around.</dialogue>
    <scene_description>The figure eases up behind the couple.</scene_description>
    <character>AMY</character>
    <dialogue>Turn around!</dialogue>
    <scene_description>The figure raises a knife.</scene_description>
    <character>AMY</character>
    <dialogue>No!</dialogue>
    <scene_description>As the attacker swings the knife down, the tv goes blank... THE ROOM FALLS INTO TOTAL DARKNESS... silence. The power's been turned off. David and Amy stand frozen in the darkness.</scene_description>
    <character>AMY</character>
    <dialogue>What happened?</dialogue>
    <scene_description>David fumbles through the dark... reaches the light switch... it doesn't work. Amy twists the knob on the lamp... nothing. And then THE SOFT KNOCKING AT THE WALL RETURNS.</scene_description>
    <character>AMY</character>
    <dialogue>Oh, God. David?</dialogue>
    <character>DAVID</character>
    <dialogue>It's okay.</dialogue>
    <scene_description>David and Amy huddle together at the center of the room, staring through the darkness toward the knocking. A LOUDER KNOCK AT THE DOOR... the door handle shakes. David and Amy freeze... don't even breathe. David puts his finger over his lips... the room is silent. AND THEN THE POWER FLASHES BACK ON... the room lights up... the television flickers back on... the old couple SCREAMS ONSCREEN. David and Amy's eyes jump to the tv... shit. They look to the door... the SHAKING IS MORE VIOLENT. David and Amy take a few steps back away from the door, eyeing the door handle... the RUSTY CHAIN that latches the door locked. CONTINUED: (6) The SCREAMS KEEP COMING FROM THE TV. Amy suddenly remembers the video... spins around, looking for the figure to step out behind them. No one's there. Suddenly, the power goes out again, sending the room back into dark silence. David grabs the cactus lamp off the table, ready to swing it. They back against the wall... slide down to the floor. The THUMPING ON THE ADJOINING DOOR BEGINS AGAIN... the lights go dark, then burst back on, then off again... repeating like a strobe... flashes of screams erupt from the television couple each time it restarts. And then with each flash of light, a FIGURE BECOMES VISIBLE... standing frozen just inside the bathroom doorway. He doesn't move... just stands there, filling the doorway, only a few feet away from David and Amy. David and Amy don't see him... just stay huddled against the wall. The pounding grows louder... the shakes on the door handle harder... the flashes of light over the figure come faster. Then suddenly everything falls still. The lights turn on, the thumping stops, the door handle isn't moving, and the figure IS GONE FROM THE DOORWAY. David places the lamp back on the table, scrambles over to the tv and turns it off.</scene_description>
    <character>AMY</character>
    <dialogue>I'm calling the police.</dialogue>
    <scene_description>Amy pulls out her cell phone... flips it on. NO SIGNAL... she forgot.</scene_description>
    <character>AMY</character>
    <dialogue>Shit. No signal.</dialogue>
    <character>DAVID</character>
    <dialogue>We have to get out of here.</dialogue>
    <scene_description>Amy starts for the door. David grabs her arm.</scene_description>
    <character>DAVID</character>
    <dialogue>Whoever was out there had to hear the tv. That means they know we watched it.</dialogue>
    <scene_description>CONTINUED: (7)</scene_description>
    <character>AMY</character>
    <dialogue>That asshole put us in here to watch it. He wasn't going to help us, David. He's part of this.</dialogue>
    <character>DAVID</character>
    <dialogue>So they know we watched it, and now they know we're going to run. They'll be waiting.</dialogue>
    <character>AMY</character>
    <dialogue>Maybe he won't know that we caught on... that we recognized anything.</dialogue>
    <scene_description>David turns... stares up at the camera... the red light blinking... watching them.</scene_description>
    <character>DAVID</character>
    <dialogue>He knows.</dialogue>
    <character>AMY</character>
    <dialogue>So what then?</dialogue>
    <scene_description>David leans into the bathroom... sees a WINDOW in the back wall.</scene_description>
    <character>DAVID</character>
    <dialogue>We climb out that way.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/BATHROOM - CONTINUOUS</stage_direction>
    <scene_description>David hurries to the window... turns the handle... it doesn't budge. He pulls on the crank... it starts to turn, but then stops. David sees the NAILS HAMMERED INTO THE WINDOWSILL, holding it shut... it won't budge.</scene_description>
    <character>DAVID</character>
    <dialogue>Shit!</dialogue>
    <scene_description>David starts banging against the window to jar it free.</scene_description>
    <character>AMY</character>
    <dialogue>Somebody's going to hear you.</dialogue>
    <character>DAVID</character>
    <dialogue>So what do we do then?</dialogue>
    <character>AMY</character>
    <dialogue>We go out the door, and we run... make it back to that gas station.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>DAVID</character>
    <dialogue>You think they're just going to let us stroll out of here, so we can go tell the police what we found?</dialogue>
    <character>AMY</character>
    <dialogue>They're not going to just let us sit in here either, David.</dialogue>
    <scene_description>David makes another desperate turn with the window handle... no luck.</scene_description>
    <character>DAVID</character>
    <dialogue>Shit!</dialogue>
    <scene_description>David hurries out of the bathroom. Amy starts after him, then stops... because she's just noticed something resting on the sink. HER HALF-EATEN APPLE.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/HONEYMOON SUITE - NIGHT</stage_direction>
    <scene_description>Amy walks out, carrying the apple. David's looking around, trying to come up with a plan.</scene_description>
    <character>AMY</character>
    <dialogue>Did you bring this?</dialogue>
    <character>DAVID</character>
    <dialogue>What?</dialogue>
    <character>AMY</character>
    <dialogue>Did you get this when we left the car?</dialogue>
    <character>DAVID</character>
    <dialogue>No. What are you talking about?</dialogue>
    <character>AMY</character>
    <dialogue>It was in there. On the sink. I didn't bring it either.</dialogue>
    <character>DAVID</character>
    <dialogue>You had to. You probably stuck it in your pocket and just forgot.</dialogue>
    <character>AMY</character>
    <dialogue>I bled all over it, remember. Then I threw it in the bag. There's no way I brought it. I left it in the car, David.</dialogue>
    <scene_description>CONTINUED: They hold a long look. Amy's about to cry.</scene_description>
    <character>AMY</character>
    <dialogue>What's happening?</dialogue>
    <scene_description>David walks into the bathroom.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/BATHROOM - CONTINUOUS</stage_direction>
    <scene_description>David enters... glances around the room. His eyes hold on the tub... its shower curtain extended, hiding whatever might be behind it. Amy walks in behind him. David grabs one of the dirty glasses from the sink, grips it like a baseball, then JERKS THE SHOWER CURTAIN OPEN. The shower rod pulls free from the wall and crashes down... and the tub's empty.</scene_description>
    <character>AMY</character>
    <dialogue>How'd it get in here?</dialogue>
    <character>DAVID</character>
    <dialogue>I don't know.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/HONEYMOON SUITE - NIGHT</stage_direction>
    <scene_description>David walks out of the bathroom.</scene_description>
    <character>DAVID</character>
    <dialogue>Turn off the lights.</dialogue>
    <character>AMY</character>
    <dialogue>What are we doing?</dialogue>
    <character>DAVID</character>
    <dialogue>We're leaving.</dialogue>
    <scene_description>Amy hits the lights... the room goes dark. Their shadows move about the room. David goes to the curtains.</scene_description>
    <character>DAVID</character>
    <dialogue>As soon as we get outside, we run to the trees, okay... get out of the open where they can't see us. And we've got to move fast, Amy.</dialogue>
    <character>AMY</character>
    <dialogue>Try to keep up.</dialogue>
    <scene_description>CONTINUED: David peers out through the farm animal curtains again. The moonlight shines over the empty gravel lot.</scene_description>
    <character>DAVID</character>
    <dialogue>I don't see anybody.</dialogue>
    <scene_description>David moves to the door... removes the chain... slowly opens the door and peers outside. He reaches his hand out to Amy. She takes it... probably the first time they've held each other in months. David and Amy slip out the door together.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PRAIRIE VIEW MOTEL - NIGHT</stage_direction>
    <scene_description>David and Amy ease out the door... press their backs against the wall of the motel, to stay tucked in the shadows. David points across the road, toward a thick forest of trees.</scene_description>
    <character>DAVID</character>
    <parenthetical>(whispering)</parenthetical>
    <dialogue>Over there. You ready?</dialogue>
    <scene_description>Amy nods... one last glance around, and they take off... sprint across the lot, hand in hand. They race across the road... down a grassy slope... charge toward the dark safety of the trees. But then A MAN, (KILLER ONE), a shadow with eyes, APPEARS FROM THE TREES.</scene_description>
    <character>AMY</character>
    <dialogue>David!</dialogue>
    <scene_description>Amy slides to a stop, pulling David with her. They squint toward the man, as he moves up from the trees.</scene_description>
    <character>AMY</character>
    <dialogue>Oh, God.</dialogue>
    <character>DAVID</character>
    <dialogue>C'mon. This way.</dialogue>
    <scene_description>David pulls Amy back toward the road. As they run, they see a SECOND SHADOWY MAN, (KILLER TWO), standing in the distance, blocking their escape. CONTINUED:</scene_description>
    <character>DAVID</character>
    <dialogue>Shit.</dialogue>
    <scene_description>They spin back the other direction, but Killer One is cutting them off... striding down the center of the road toward them.</scene_description>
    <character>AMY</character>
    <dialogue>David, it's them.</dialogue>
    <character>DAVID</character>
    <dialogue>GET AWAY FROM US!</dialogue>
    <scene_description>But the men just keep closing methodically in, tightening the angle around David and Amy. They have nowhere else to go but back toward the motel.</scene_description>
    <character>DAVID</character>
    <dialogue>COME ON!</dialogue>
    <scene_description>David and Amy turn and sprint back across the road... charge toward their motel room. Amy throws a glance back toward the figures. The men move calmly after them... converging... following.</scene_description>
    <character>AMY</character>
    <dialogue>They're coming!</dialogue>
    <scene_description>As Amy runs, her CELL PHONE falls from her pocket and crashes to the gravel. Amy sees it, but knows she can't go back... they continue on... reach the door... David grabs the handle and pushes... the door doesn't move. The two figures close in. They're in no hurry. ANGLE ON KILLER ONE'S FOOT...</scene_description>
  </scene>
  <scene>
    <stage_direction>..stepping down onto Amy's cell phone... crushing it.</stage_direction>
    <scene_description>David keeps pushing against the door.</scene_description>
    <character>AMY</character>
    <dialogue>Open it, David!</dialogue>
    <character>DAVID</character>
    <dialogue>I'm trying!</dialogue>
    <character>AMY</character>
    <dialogue>Shake it! The guy said to...</dialogue>
    <scene_description>David nearly shakes the handle off the door. Finally, it flies open.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/HONEYMOON SUITE - CONTINUOUS</stage_direction>
    <scene_description>David and Amy pour into the room. David slams the door shut behind them, turns the bolt and pulls the chain back across. David and Amy back away from the door, looking eerily similar to the old couple they watched on the video. O.S. FOOTSTEPS... heavy feet on gravel... growing louder... closer. David and Amy stare at the door, waiting... dreading. Then a SOFT CLICKING AT THE DOOR... like fingernails tapping at the wood. The CLICKING TURNS TO CLAWING... long, slow scratches down the door. Then the door THUMPS, like someone has just pressed their weight against it. David throws his body against the door, holding it secure. The THUMPING GROWS HARDER. David begins to jerk from the pounding.</scene_description>
    <character>DAVID</character>
    <parenthetical>(whispering)</parenthetical>
    <dialogue>Get the window open. In the bathroom.</dialogue>
    <character>AMY</character>
    <dialogue>David?</dialogue>
    <character>DAVID</character>
    <dialogue>I'll be right behind you. And don't turn on the light.</dialogue>
    <scene_description>Amy races into the bathroom.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/BATHROOM - CONTINUOUS</stage_direction>
    <scene_description>Amy doesn't turn on the light. Climbs onto the commode to reach the small window. She pulls on the handle with all her strength. The handle pops off its stem... falls to the floor. Amy jumps down to retrieve the handle... raises back up to slide it back on, AND THERE'S KILLER TWO AT THE WINDOW. Amy stumbles backward... falls into the wall. CONTINUED:</scene_description>
    <character>AMY</character>
    <dialogue>DAVID!</dialogue>
    <scene_description>Killer Two stares in at Amy. Amy spins out of the bathroom.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/HONEYMOON SUITE - NIGHT</stage_direction>
    <scene_description>Amy hurries back in with David. He's still pressed against the door.</scene_description>
    <character>AMY</character>
    <dialogue>They're out there.</dialogue>
    <character>DAVID</character>
    <dialogue>Where?</dialogue>
    <character>AMY</character>
    <dialogue>At the window!</dialogue>
    <scene_description>The door keeps shaking from the beating it's taking outside.</scene_description>
    <character>DAVID</character>
    <dialogue>I've got a gun! Get away or I swear to God I'll kill you!</dialogue>
    <scene_description>THE THUMPING AGAINST THE DOOR SUDDENLY STOPS. The world goes quiet. David doesn't dare step away, but he throws Amy a glance... Did it work? And then the room erupts with POUNDING... like clubs beating against the door and windows. Amy throws her hands over her ears... backs into the corner.</scene_description>
    <character>AMY</character>
    <dialogue>LEAVE US ALONE!</dialogue>
    <scene_description>The pounding continues, then dies away. The room goes silent again. Amy slides down the wall to the floor. David listens... doesn't hear anything. He peers out through the peephole. DAVID'S POV...</scene_description>
  </scene>
  <scene>
    <stage_direction>..through the peephole. A stretched, magnified image of the dark, empty lot. No one's there.</stage_direction>
    <scene_description>CONTINUED:</scene_description>
    <character>DAVID</character>
    <dialogue>I don't see them.</dialogue>
    <character>AMY</character>
    <dialogue>Why would they just leave?</dialogue>
    <character>DAVID</character>
    <dialogue>They wouldn't.</dialogue>
    <character>AMY</character>
    <dialogue>How many of them are there?</dialogue>
    <character>DAVID</character>
    <dialogue>At least two.</dialogue>
    <scene_description>David moves to the adjoining room door... pulls their door open and starts shoving against the next door.</scene_description>
    <character>AMY</character>
    <dialogue>Wait! They were over there.</dialogue>
    <character>DAVID</character>
    <dialogue>And there's nothing stopping them from coming in after us if that's what they want. So we've got to find another way out of here.</dialogue>
    <scene_description>David rams his shoulder against the door. It doesn't budge. He hurries into the bathroom.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/BATHROOM - CONTINUOUS</stage_direction>
    <scene_description>David rushes to the window... peers outside. A FIGURE FLASHES PAST... disappears into the cluster of trees behind.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/HONEYMOON SUITE - NIGHT</stage_direction>
    <scene_description>David walks back to the front window... slides the curtains open just a crack. DAVID'S POV ON THE PARKING LOT...</scene_description>
  </scene>
  <scene>
    <stage_direction>..empty... quiet. No sign of anyone.</stage_direction>
    <scene_description>Then our POV pans over to the old PAY PHONE standing across the lot against the motel wall. CONTINUED: DAVID...</scene_description>
  </scene>
  <scene>
    <stage_direction>..stares at the phone a beat, then slides away from the window. He digs those dimes out of his pocket.</stage_direction>
    <character>DAVID</character>
    <dialogue>I need to get to that phone.</dialogue>
    <character>AMY</character>
    <dialogue>What?</dialogue>
    <character>DAVID</character>
    <dialogue>It's a real phone. It'll have to work.</dialogue>
    <character>AMY</character>
    <dialogue>You're not going to get to it, David. They're not going to let you.</dialogue>
    <character>DAVID</character>
    <dialogue>Okay, Amy, then we just sit here. End up like all of them.</dialogue>
    <scene_description>David motions to the television.</scene_description>
    <character>DAVID</character>
    <dialogue>I saw somebody out back. Like they were watching the window. If we can keep their attention on that, it might give me a chance to get to the phone.</dialogue>
    <character>AMY</character>
    <dialogue>How do we do that?</dialogue>
    <scene_description>David throws Amy a look... she's not going to like it. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/BATHROOM - NIGHT</stage_direction>
    <scene_description>Amy stands at the window, nervously pulling at the handle, like she's trying to get it open. She scrapes her fingernails across the painted seams. Killer One darts past in the trees. Amy closes her eyes... trembles... tries to pretend no one's out there, as she continues working on the window... tries to keep their attention. CONTINUED:</scene_description>
    <character>AMY</character>
    <parenthetical>(whispers)</parenthetical>
    <dialogue>Please hurry.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. PRAIRIE VIEW MOTEL - NIGHT</stage_direction>
    <scene_description>The Honeymoon Suite door cracks open... David peers out... all clear. He slips out the door... ducks in the shadows, near the corner of the building. He scans the area... there's a cluster of OIL DRUMS about halfway between David and the phone. David takes off... sprints over the gravel, then ducks down at the center of the oil drums. He turns in a circle, checking out all sides. Still clear. He eyes the phone a moment, then notices a VIDEO CAMERA hanging from the corner of the building. Another camera is attached at the other end of the building, aimed at the parking lot. David stares back at them, then takes a breath and darts toward the phone booth.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PHONE BOOTH - CONTINUOUS</stage_direction>
    <scene_description>David hurries inside... starts to pull the door closed, but that sends the CEILING LIGHT FLASHING ON. David shoves the door back open... the phone booth goes dark again. He grabs the receiver, stretching cobwebs out from the old phone. He shoves the dimes into the slot.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/BATHROOM - NIGHT</stage_direction>
    <scene_description>Amy continues chipping away at the sealed window. Suddenly, Killer One appears just outside... presses his face against the glass. Amy SCREAMS... stumbles back out of the bathroom.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PHONE BOOTH - NIGHT</stage_direction>
    <scene_description>David dials 911... glances around the empty lot. CONTINUED:</scene_description>
    <character>DAVID</character>
    <parenthetical>(whispering)</parenthetical>
    <dialogue>Come on.</dialogue>
    <scene_description>A V.O. RINGING, then...</scene_description>
    <character>MAN'S VOICE (V.O.)</character>
    <dialogue>911 Emergency.</dialogue>
    <scene_description>David presses himself against the cracked phone booth glass to muffle his voice.</scene_description>
    <character>DAVID</character>
    <dialogue>We need help. Some people are trying to kill us.</dialogue>
    <character>MAN'S VOICE (V.O.)</character>
    <dialogue>Where are you located, sir?</dialogue>
    <character>DAVID</character>
    <dialogue>My wife and I, we're at this motel... the Prairie View Motel. It's near the mountains. They've got us trapped here.</dialogue>
    <character>MAN'S VOICE (V.O.)</character>
    <dialogue>Who has you trapped, sir?</dialogue>
    <character>DAVID</character>
    <dialogue>I don't know. We just need someone to help us. It's the Prairie View Motel.</dialogue>
    <character>MAN'S VOICE (V.O.)</character>
    <dialogue>Yes sir, you said that. Do you have an address?</dialogue>
    <character>DAVID</character>
    <dialogue>What? No. It's on some side road. Jesus Christ, look it up.</dialogue>
    <character>MAN'S VOICE (V.O.)</character>
    <dialogue>You need to settle down. You'll never survive if you lose control, Mr. Fox.</dialogue>
    <character>DAVID</character>
    <dialogue>What are you talking...</dialogue>
    <scene_description>And then David freezes... stares at the phone. CONTINUED: (2)</scene_description>
    <character>MAN'S VOICE (V.O.)</character>
    <dialogue>And you shouldn't be wandering around in the dark by yourself.</dialogue>
    <scene_description>Suddenly BRIGHT LIGHTS WASH OVER DAVID. He spins... to the headlights of his BMW blinding him. The car's racing off the road... blasting across the motel lot toward David.</scene_description>
    <character>MAN'S VOICE (V.O.)</character>
    <dialogue>It's just not safe.</dialogue>
    <scene_description>David drops the phone and dives out of the phone booth... just as the BMW SMASHES INTO THE PHONE BOOTH, shattering the glass, and sending it flying through the air. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/HONEYMOON SUITE - CONTINUOUS</stage_direction>
    <scene_description>Amy hears the crash... rushes to the window in time to see the BMW backing away from demolished phone booth... and David scrambling to his feet... sprinting back across the lot.</scene_description>
    <character>AMY</character>
    <dialogue>David!</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. PRAIRIE VIEW MOTEL - NIGHT</stage_direction>
    <scene_description>The BMW's tires spin in the gravel, as it reverses course... takes aim at David. David sprints across the lot.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/HONEYMOON SUITE - CONTINUOUS</stage_direction>
    <scene_description>Amy stands at the window, watching David race from the car.</scene_description>
    <character>AMY</character>
    <dialogue>Run, David. RUN!</dialogue>
    <scene_description>Amy rushes to the door. Swings it open.</scene_description>
    <character>AMY</character>
  </scene>
  <scene>
    <stage_direction>EXT. PRAIRIE VIEW MOTEL - NIGHT</stage_direction>
    <scene_description>David charges toward Amy... toward the open door... to his safety. The BMW SPEEDS UP... gains fast on David... its crushed, smoking front end steams down David's back. And David doesn't dare look back... just keeps heading for that door.</scene_description>
    <character>AMY</character>
    <dialogue>RUN, DAVID!</dialogue>
    <scene_description>The BMW lurches forward... is about to pull David under, when David reaches the door... dives inside. The BMW veers away, skidding across the lot, tossing gravel into the room at David and Amy.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/HONEYMOON SUITE - NIGHT</stage_direction>
    <scene_description>Amy slams the door closed... locks it, and falls onto David, holding him... kissing him.</scene_description>
    <character>AMY</character>
    <dialogue>Don't leave me again. Please don't ever leave me.</dialogue>
    <scene_description>David wraps his arms around her... holds her against him.</scene_description>
    <character>DAVID</character>
    <dialogue>I won't. I promise.</dialogue>
    <scene_description>A CAR HORN BLARES OUTSIDE, separating them. They go to the window... see the BMW sitting outside, its headlights flashing at them... taunting them.</scene_description>
    <character>AMY</character>
    <dialogue>Did you get anybody on the phone?</dialogue>
    <character>DAVID</character>
    <dialogue>No.</dialogue>
    <character>AMY</character>
    <dialogue>So what do we do now?</dialogue>
    <scene_description>The BMW backs up... tears out of the lot and around the back of the motel office. CONTINUED: David checks his watch.</scene_description>
    <character>DAVID</character>
    <dialogue>It's going to be light in a few hours. They'll want this to be over by then.</dialogue>
    <scene_description>David glances around the room.</scene_description>
    <character>DAVID</character>
    <dialogue>We need something. Do you have some scissors... anything?</dialogue>
    <scene_description>Amy digs through her purse. Shakes her head.</scene_description>
    <character>DAVID</character>
    <dialogue>What about the knife? The one with the apple?</dialogue>
    <character>AMY</character>
    <dialogue>In the car.</dialogue>
    <scene_description>David throws open some drawers... nothing but a BIBLE. He walks to the bathroom.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/BATHROOM - CONTINUOUS</stage_direction>
    <scene_description>David checks the drawers... tugs at the shower head pipe... there's nothing. He stares at his reflection in the mirror, then SLAMS HIS FIST INTO THE MIRROR. The mirror shatters... jagged shards of glass rain down over the sink. David grabs a washcloth, and lifts a large, dagger-like piece of mirror. He grips it like a knife.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/HONEYMOON SUITE - NIGHT</stage_direction>
    <scene_description>David walks out... waves his new weapon at Amy and shrugs.</scene_description>
    <character>DAVID</character>
    <dialogue>Best I could do.</dialogue>
    <scene_description>David joins Amy. They slide down the wall to the floor. Amy notices David's bleeding hand.</scene_description>
    <character>AMY</character>
    <dialogue>You cut yourself.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>DAVID</character>
    <dialogue>Let's hope that's as bad as it gets.</dialogue>
    <scene_description>Amy snuggles closer against David. They sit together in the darkness... staring at the door.</scene_description>
    <character>AMY</character>
    <dialogue>What are they doing?</dialogue>
    <scene_description>David glances up to the video camera, aimed toward them.</scene_description>
    <character>DAVID</character>
    <dialogue>They're enjoying themselves.</dialogue>
    <scene_description>We pull back away from David and Amy... back up toward the camera... farther... into the camera. David and Amy grow smaller... then darkness takes over for a moment... ...until we see David and Amy again... this time they're lit with a green glow, like we're watching them through nightvision goggles. And we pull back farther... realize the image is on a VIDEO MONITOR... we drift back even more... past the head of a MAN, watching the screen. The man presses a keyboard button... the image zooms in tight on Amy's frightened face. He reaches up... runs a finger along the screen... over her face. An O.S. DOOR OPENING. The man turns and for the first time, we see his face... it's Mason. And he looks very pleased. DISSOLVE TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/HONEYMOON SUITE - NIGHT</stage_direction>
    <scene_description>And Amy sitting against the wall, her closed eyes fluttering... her head slowly drifting forward... falling asleep. Suddenly a WOMAN'S O.S. SCREAM snaps Amy's head back up. Her eyes fly open. She looks around in a sleepy panic... ...sees David at the television, watching one of the video tapes... the old couple being attacked by the figure.</scene_description>
    <character>AMY</character>
    <dialogue>You let me fall asleep!</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>DAVID</character>
    <dialogue>Just for a minute. You're exhausted.</dialogue>
    <character>AMY</character>
    <dialogue>No. I want to be awake.</dialogue>
    <scene_description>Amy starts to move over beside David.</scene_description>
    <character>DAVID</character>
    <dialogue>I need you to stay there.</dialogue>
    <character>AMY</character>
    <dialogue>What?</dialogue>
    <scene_description>David points to a TINY BLACK WINDOW hidden in the wall directly across from Amy.</scene_description>
    <character>DAVID</character>
    <dialogue>They're watching you.</dialogue>
    <scene_description>Amy glances up to the corner cameras. There are towels hanging over them.</scene_description>
    <character>DAVID</character>
    <dialogue>I didn't want them to watch what I was doing. But they have to see you... know that we're not trying to get out.</dialogue>
    <scene_description>Amy looks back to the two-inch black window. She pulls her knees up against her chest.</scene_description>
    <character>AMY</character>
    <dialogue>What are you doing?</dialogue>
    <character>DAVID</character>
    <dialogue>Going through the tapes.</dialogue>
    <scene_description>David fast forwards the tape... ...it jumps along to shots of an OLD COUPLE racing around the room in a panic... into the bathroom... back out... crouching down in the corner.</scene_description>
    <character>DAVID</character>
    <dialogue>They've got cameras everywhere. Even outside. Then they edit them together to make their own snuff films. Remember the screaming we heard... from the tv that guy was watching in the office?</dialogue>
    <scene_description>CONTINUED: (2) DAVID (off Amy's nod) I'm sure it was one of these. It's not enough to just rob and kill people. They want to watch it too.</scene_description>
    <character>AMY</character>
    <dialogue>Why are you watching them?</dialogue>
    <character>DAVID</character>
    <dialogue>I'm looking for mistakes.</dialogue>
    <character>AMY</character>
    <dialogue>What kind of mistakes?</dialogue>
    <character>DAVID</character>
    <dialogue>Any kind that might save our lives. The other people... they weren't smart.</dialogue>
    <character>AMY</character>
    <dialogue>They were scared. Just like we are.</dialogue>
    <character>DAVID</character>
    <dialogue>Yeah. And they just stayed in here like this room would protect them. It won't. They can come in anytime they want.</dialogue>
    <scene_description>David motions to the screen... to the figure continuing his attack on the old couple. Suddenly, the image starts skipping back, as David rewinds the tape... the couple walks backward... crouches down in the corner of the room. Then David presses the button... the image starts playing... ...V.O. BANGING ON THE DOOR. The couple jumps up, rushes to the door to hold it shut. As they do, the figure steps out of the bathroom.</scene_description>
    <character>DAVID</character>
    <dialogue>They just wait until they get bored watching.</dialogue>
    <scene_description>David freezes the image... points to it.</scene_description>
    <character>DAVID</character>
    <dialogue>There.</dialogue>
    <character>AMY</character>
    <dialogue>What?</dialogue>
    <scene_description>CONTINUED: (3)</scene_description>
    <character>DAVID</character>
    <dialogue>It's happened in almost every one of these. He just shows up.</dialogue>
    <character>AMY</character>
    <dialogue>How does that help us?</dialogue>
    <character>DAVID</character>
    <dialogue>How'd he get in here? He wasn't inside before.</dialogue>
    <scene_description>David replays the tape again... the old couple moving about the room... sliding down into the corner... rushing to the door... the figure appearing.</scene_description>
    <character>DAVID</character>
    <dialogue>And he didn't come through that door.</dialogue>
    <character>AMY</character>
    <dialogue>What does it matter?</dialogue>
    <character>DAVID</character>
    <dialogue>I couldn't tell in the others, but the angle with this one... it's the bathroom.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>And that's where your apple came from.</dialogue>
    <scene_description>David moves to the bathroom.</scene_description>
    <character>DAVID</character>
    <dialogue>Stay there.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/BATHROOM - CONTINUOUS</stage_direction>
    <scene_description>David enters, closing the door behind him. He hangs a towel over the window, blocking any view from outside. He flips on the light... his eyes scan over the room, searching... until they settle on a MISSING TILE in the shower. ANOTHER CAMERA. David lifts the shower curtain back up, obstructing its view. Then he starts moving around, tugging on the commode, running his hands along the walls, looking for seams. He turns in a tight circle, studying the ceiling. CONTINUED: And then a SQUEAK from under David's feet. He looks down at the RUG he's standing on. He steps off... slides the rug away... and there's a TRAP DOOR IN THE FLOOR. David starts to tug it open, then...</scene_description>
    <character>AMY (O.S.)</character>
    <dialogue>David!</dialogue>
    <scene_description>David hurries back out.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/HONEYMOON SUITE - CONTINUOUS</stage_direction>
    <scene_description>David rushes out of the bathroom... sees Amy still sitting on the floor, and pointing out the window.</scene_description>
    <character>AMY</character>
    <dialogue>I saw lights.</dialogue>
    <scene_description>And now we hear the O.S. RUMBLE OF AN ENGINE. David and Amy rush to the window. Amy inches the curtains open. A BEER DELIVERY TRUCK pulls up outside the motel office.</scene_description>
    <character>AMY</character>
    <dialogue>Someone's here.</dialogue>
    <scene_description>They watch the truck grind to a stop. Amy starts for the door.</scene_description>
    <character>AMY</character>
    <dialogue>C'mon.</dialogue>
    <character>DAVID</character>
    <dialogue>Wait. We don't know who he is.</dialogue>
    <character>AMY</character>
    <dialogue>He's a ride out of this place.</dialogue>
    <character>DAVID</character>
    <dialogue>Unless he's one of them. What's he doing here so late?</dialogue>
    <scene_description>David and Amy watch the DRIVER climb down out of the truck.</scene_description>
    <character>AMY</character>
    <dialogue>Maybe he's lost. That could happen.</dialogue>
    <scene_description>CONTINUED: Amy gives David a look... couldn't it? They stand at the window, watching the driver step down out of the truck... pop the cricks out of his neck.</scene_description>
    <character>AMY</character>
    <dialogue>He looks like he's been driving a long time. He's not one of them, David.</dialogue>
    <scene_description>And then the Driver notices them standing in the window. They hold a look, until David raises his hand... just a bit... gives the driver the slightest wave. The driver glances around, a little confused, before returning it.</scene_description>
    <character>AMY</character>
    <dialogue>He can help us.</dialogue>
    <scene_description>Amy starts for the door again, but David grabs her.</scene_description>
    <character>DAVID</character>
    <dialogue>You can't go out there.</dialogue>
    <scene_description>So Amy just starts waving both arms.</scene_description>
    <character>AMY</character>
  </scene>
  <scene>
    <stage_direction>EXT. PRAIRIE VIEW MOTEL - CONTINUOUS</stage_direction>
    <scene_description>The driver stands by his truck, watching David and Amy flail wildly at their window. He can't hear anything over the RUMBLE OF HIS TRUCK'S ENGINE. He throws another glance around the empty, dark lot, then starts toward them.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/HONEYMOON SUITE - CONTINUOUS</stage_direction>
    <scene_description>David and Amy see the driver approaching.</scene_description>
    <character>AMY</character>
    <dialogue>He's coming.</dialogue>
    <character>DAVID</character>
    <dialogue>They won't let him. He needs to drive the truck over.</dialogue>
    <scene_description>CONTINUED: David motions to the truck. The driver doesn't understand... keeps walking.</scene_description>
    <character>DAVID</character>
    <dialogue>I have to tell him.</dialogue>
    <scene_description>David starts for the door, until...</scene_description>
    <character>AMY</character>
    <dialogue>DAVID!</dialogue>
    <scene_description>Amy's staring horrified out the window. David peers back out... to the driver halfway across the lot... ...to KILLER ONE AND KILLER TWO CLOSING IN ON HIM FROM THE SHADOWS BEHIND.</scene_description>
    <character>DAVID</character>
    <dialogue>No. NOOO!</dialogue>
    <scene_description>David and Amy start swinging their arms... pounding the window... pointing and yelling for the driver to turn around.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PRAIRIE VIEW MOTEL - CONTINUOUS</stage_direction>
    <scene_description>The driver still can't hear anything but his engine... doesn't look back... just keeps walking toward David and Amy going crazy in the window.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/HONEYMOON SUITE - CONTINUOUS</stage_direction>
    <scene_description>David beats against the glass.</scene_description>
    <character>DAVID</character>
    <dialogue>THEY'RE BEHIND YOU!</dialogue>
    <scene_description>But the driver doesn't even flinch... he can't hear him. David and Amy watch as Killer One and Killer Two near the driver... ten feet... five... the KNIVES GLISTENING IN THEIR HANDS.</scene_description>
    <character>AMY</character>
  </scene>
  <scene>
    <stage_direction>EXT. PRAIRIE VIEW MOTEL - CONTINUOUS</stage_direction>
    <scene_description>The driver continues toward them... no more than twenty yards from their window. Then... CONTINUED:</scene_description>
    <character>MASON (O.S.)</character>
    <dialogue>Hey!</dialogue>
    <scene_description>The truck driver turns... sees Mason trotting toward him, holding out a VIDEO TAPE.</scene_description>
    <character>MASON</character>
    <dialogue>Here ya go.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/HONEYMOON SUITE - CONTINUOUS</stage_direction>
    <scene_description>David and Amy watch as the driver starts to Mason, and Killer One and Killer Two continue right past him... right toward David and Amy. The driver takes the tape from Mason... shoves Mason a WAD OF CASH in return. Then the driver turns... looks right at David and Amy... and SMILES. David and Amy stare back at him in shock... watch as Killer One and Killer Two continue approaching. Amy begins to cry... she knows it's over. David snaps the curtains closed, blocking the killers' view inside.</scene_description>
    <character>DAVID</character>
    <dialogue>Come on!</dialogue>
    <scene_description>David pulls Amy to the bathroom.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/BATHROOM - CONTINUOUS</stage_direction>
    <scene_description>David shoves Amy toward the hole in the floor.</scene_description>
    <character>DAVID</character>
    <dialogue>Go.</dialogue>
    <character>AMY</character>
    <dialogue>What is this?</dialogue>
    <character>DAVID</character>
    <dialogue>JUST GO!</dialogue>
    <scene_description>Amy slides down into the hole. David follows her, then pulls the trap door back over the hole, sealing it.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CRAWLSPACE - NIGHT</stage_direction>
    <scene_description>A 6 x 6 dirt box. Nothing but the trap door in the ceiling and a small, sewer pipe-sized dirt tunnel leading out. David and Amy frantically feel over the walls, searching for another exit. There isn't one. Just that tunnel.</scene_description>
    <character>AMY</character>
    <dialogue>We can't go in that, David. We don't know what's in there.</dialogue>
    <scene_description>O.S. FOOTSTEPS ABOVE THEM. David looks up to the sound, then back to that narrow tunnel.</scene_description>
    <character>DAVID</character>
    <dialogue>We don't have any choice.</dialogue>
    <scene_description>David takes Amy's hand... eases her toward the mouth of the tunnel. Amy shakes her head... holds firm.</scene_description>
    <character>DAVID</character>
    <dialogue>Baby, we have to. Come on, I'll lead you.</dialogue>
    <scene_description>David squeezes into the tunnel... dirt falls over him, as he crawls deeper. Amy sticks just her upper body in the hole.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TUNNEL - CONTINUOUS</stage_direction>
    <scene_description>Dark, dank and claustrophobic... hand-dug through the earth. There's just enough room for them to slide on their stomach. David tries to look back to Amy, but it's so tight he can't even turn his head to her. This is what it feels like to be buried alive.</scene_description>
    <character>DAVID</character>
    <dialogue>Come on, Amy. It's gonna be okay.</dialogue>
    <scene_description>Amy watches David's feet slide further into the darkness.</scene_description>
    <character>DAVID (O.S.)</character>
    <dialogue>It's gonna lead us out of here.</dialogue>
    <scene_description>MORE STOMPING ABOVE AMY. She flinches at the sound, and it's enough to send her squirming into the tunnel after David.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TUNNEL - CONTINUOUS</stage_direction>
    <scene_description>The dirt walls of the tunnel squeeze their bodies as they crawl... rocks and underground vines jut out of the earth. David drags himself along the seemingly endless black hole. Nothing but darkness ahead of them... at least that's all they can see. Amy's crying... kicking at whatever she can't see behind her. Her breathing is quick... uneven... small gasps.</scene_description>
    <character>AMY</character>
    <dialogue>I can't, David. I have to go back.</dialogue>
    <character>DAVID</character>
    <dialogue>Amy, no. We can't go back. They'll be waiting for us.</dialogue>
    <character>AMY</character>
    <dialogue>I can't breathe.</dialogue>
    <character>DAVID</character>
    <dialogue>Yes you can. Just close your eyes. Grab hold of my leg and I'll lead you. It won't be much further.</dialogue>
    <scene_description>Amy takes hold of David's ankle, then squeezes her eyes shut and hangs on... willing her mind to another place, as she crawls behind David. They continue on... nothing but darkness in front and behind them. The tunnel squeezes even tighter... the walls have partially collapsed... just a sliver of space to drag themselves through. DIRT RAINS OVER THEM as they crawl... like the passage is only seconds from caving in.</scene_description>
    <character>AMY</character>
    <dialogue>David, please. It's going to fall.</dialogue>
    <character>DAVID</character>
    <dialogue>No it isn't. Come on.</dialogue>
    <scene_description>David pulls them along, squinting into the black... until his hand grabs a HANDFUL OF FLESH AND FUR... a LOUD SQUEAK. CONTINUED:</scene_description>
    <character>DAVID</character>
    <dialogue>Shit!</dialogue>
    <scene_description>David pulls his hand back... watches as a MOUSE scurries away... to a larger SHADOW... a MOVING SHADOW... DOZENS OF MICE fill the tunnel ahead.</scene_description>
    <character>AMY</character>
    <dialogue>What is it? What's the matter?</dialogue>
    <character>DAVID</character>
    <dialogue>You can't scream, Amy.</dialogue>
    <character>AMY</character>
    <dialogue>What?</dialogue>
    <character>DAVID</character>
    <dialogue>They'll hear us if you scream.</dialogue>
    <scene_description>David continues toward the mound... all the SQUEAKING GROWS LOUDER.</scene_description>
    <character>AMY</character>
    <dialogue>David?</dialogue>
    <character>DAVID</character>
    <dialogue>Just keep moving.</dialogue>
    <scene_description>David's hand drops into the center of the pile. Mice scatter... crawl over his hands... up his arm. David reaches further... more mice squirm out from under his hands... slither out a METAL GRATE IN THE WALL, or scurry beneath him... to Amy. Amy feels the movement... the tiny feet running all over her skin. She GASPS to hold back that scream. The frightened mice race up the tunnel walls... drop back down onto David and Amy's backs... into their hair... over their faces. Amy's about to fill this tunnel with her cries.</scene_description>
    <character>DAVID</character>
    <dialogue>We're almost there.</dialogue>
    <scene_description>They keep crawling... sliding over the tiny bodies... until finally, the SQUEAKS FADE. All we can hear is David and Amy breathing... desperately trying to make it to wherever this tunnel leads. CONTINUED: (2) And then a SLIVER OF LIGHT appears ahead. David sees it... his movement quickens.</scene_description>
    <character>DAVID</character>
    <dialogue>I see something.</dialogue>
    <character>AMY</character>
    <dialogue>What is it?</dialogue>
    <character>DAVID</character>
    <dialogue>Light. A door maybe.</dialogue>
    <scene_description>They drag themselves toward it... finally reach another 6 x 6 dirt box. David rolls out of the tunnel. He pulls Amy out, and she slaps away any remaining rodents. They stare up to a thin, square-shaped crack of light above them.</scene_description>
    <character>AMY</character>
    <parenthetical>(whispering)</parenthetical>
    <dialogue>Where are we?</dialogue>
    <scene_description>David shakes his head... no idea. He presses up against the square... inches it upward. CUT TO: DAVID'S POV...</scene_description>
  </scene>
  <scene>
    <stage_direction>..through the crack... scanning over the floor of a dimly lit room... legs of furniture... a plate of half-eaten food lies on the floor.</stage_direction>
    <character>MAN'S VOICE (O.S.)</character>
    <dialogue>OH, GOD, PLEASE NO!</dialogue>
    <scene_description>David lowers the square... holds a finger over his mouth to Amy... not a sound.</scene_description>
    <character>MAN'S VOICE (O.S.)</character>
    <dialogue>I'll give you money. As much as you want.</dialogue>
    <scene_description>We hear an O.S. STRUGGLE... but it's distant... false. David pushes the square up again... peers through the crack... widening... and that's when we see who's screaming... it's one of the snuff films playing on a VIDEO MONITOR. A MAN is begging Killer One for his life.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL OFFICE/BACK ROOM - CONTINUOUS</stage_direction>
    <scene_description>David rises up from the hole, pulling Amy up behind him. They see the LARGE PICTURE WINDOW overlooking the parking lot, and duck down out of sight. They glance around the room... a wall of monitors, all displaying different angles of the Honeymoon Suite and motel grounds. Video cameras and equipment are piled all over the place. There are shelves of VHS TAPES lining the walls, each one hand-labeled... "Steve and Sharon S.", "Glen and Flo D.", "Brian and Alex P.". This is Mason's private collection. Another shelf is stacked full of dusty watches, jewelry, toy dolls, truck stop souvenirs, a collection of REARVIEW MIRROR CRUCIFIXES AND RABBITS FEET... DRIVERS LICENSES OF VARIOUS PEOPLE... all victims. This is a very creepy room... especially with the man's O.S. PLEAS washing over the scene. They ease to the door... glance out into the MOTEL OFFICE.</scene_description>
    <character>AMY</character>
    <dialogue>We're no better off than we were.</dialogue>
    <character>DAVID</character>
    <dialogue>We're still alive. That's better.</dialogue>
    <scene_description>David spins... starts digging through the mess.</scene_description>
    <character>DAVID</character>
    <dialogue>There's gotta be something here we can use.</dialogue>
    <scene_description>Amy joins in... pulls back a blanket, revealing a TELEPHONE.</scene_description>
    <character>AMY</character>
    <dialogue>David.</dialogue>
    <scene_description>Amy grabs the phone... lifts the receiver... we hear the V.O. DIAL TONE. She dials "911". We hear the RING along with her.</scene_description>
    <character>DAVID</character>
    <dialogue>I tried that already. It was...</dialogue>
    <scene_description>And then... CONTINUED:</scene_description>
    <character>MAN'S VOICE (V.O.)</character>
    <dialogue>911 emergency.</dialogue>
    <character>AMY</character>
    <dialogue>They're trying to kill us. We're...</dialogue>
    <scene_description>The O.S. JINGLE OF THE OFFICE DOOR OPENING freezes Amy.</scene_description>
    <character>MAN'S VOICE (V.O.)</character>
    <dialogue>What is your location, ma'am.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL OFFICE - CONTINUOUS</stage_direction>
    <scene_description>Mason hurries across the room with Killer One right behind him.</scene_description>
    <character>MASON</character>
    <dialogue>They didn't just disappear.</dialogue>
    <scene_description>Mason strides into the back room. And we enter with him... expecting to see David and Amy sitting there waiting... ...but they're gone.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL OFFICE/BACK ROOM - CONTINUOUS</stage_direction>
    <scene_description>Mason moves to the wall of monitors... looks over all the angles.</scene_description>
    <character>MASON</character>
    <dialogue>They're out there somewhere.</dialogue>
    <scene_description>And then a MUFFLED VOICE...</scene_description>
    <character>PHONE VOICE (V.O.)</character>
    <dialogue>Hello, Ma'am.</dialogue>
    <scene_description>Mason turns... sees the receiver lying on the floor. He picks it up.</scene_description>
    <character>PHONE VOICE (V.O.)</character>
    <dialogue>I need your location.</dialogue>
    <scene_description>Mason TEARS THE CORD OUT OF THE WALL. He sees the CORNER OF THE RUG still flipped over above the trap door. He nods to Killer One.</scene_description>
    <character>MASON</character>
    <dialogue>Get down there after 'em.</dialogue>
    <scene_description>CONTINUED: Killer One throws open the trap door. Mason goes to the picture window... sees Killer Two standing in the Honeymoon Suite doorway. Mason motions behind Killer Two, to the bathroom... the trap door. Then he points to the ground.</scene_description>
    <character>MASON</character>
    <dialogue>They're under us.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TUNNEL - CONTINUOUS</stage_direction>
    <scene_description>David and Amy are squirming... sliding... crawling through the darkness... desperately trying to get to the other end of that tunnel. CUT TO: KILLER TWO... CLIMBING INTO THE MOUTH FROM THE CEMENT BOX... SCRAMBLING INTO THE TUNNEL. CUT TO: KILLER ONE...</scene_description>
  </scene>
  <scene>
    <stage_direction>..dragging himself along the tiny passage.</stage_direction>
    <scene_description>CUT TO: DAVID AND AMY...</scene_description>
  </scene>
  <scene>
    <stage_direction>..crawling as fast as they can. Their breathing is panicked and fast.</stage_direction>
    <scene_description>Amy keeps trying to glance behind them into the darkness... to what she knows is coming... but she can't turn... can't see. CUT TO: KILLER ONE...</scene_description>
  </scene>
  <scene>
    <stage_direction>..coming fast... moving smoothly through the tunnel. He's done this enough to be an expert.</stage_direction>
    <scene_description>CUT TO: KILLER TWO...</scene_description>
  </scene>
  <scene>
    <stage_direction>..stopping... listening... hearing movement ahead, and pulling the knife from his belt before he continues on.</stage_direction>
    <scene_description>CUT TO: DAVID AND AMY...</scene_description>
  </scene>
  <scene>
    <stage_direction>..their faces dripping with sweat... charging on into the black. No idea what's waiting just ahead of them.</stage_direction>
    <scene_description>CUT TO: KILLER ONE...</scene_description>
  </scene>
  <scene>
    <stage_direction>..seeing a FAINT SHAPE ahead of him in the darkness. We can't make it out, but we all know it's Amy. Killer One pulls his knife... closes in on the shape.</stage_direction>
    <scene_description>It grows closer... clearer... he readies the blade... pulls it back as far as the tunnel will allow so he can drive it down into Amy... only a few feet away... slipping out of the darkness... Killer One swings... then stops his motion just in time...</scene_description>
  </scene>
  <scene>
    <stage_direction>..because it isn't Amy. It's Killer Two, with his knife ready to stab as well.</stage_direction>
    <scene_description>They glance back... see the METAL GRATE PULLED DOWN FROM THE WALL. CUT TO: DAVID AND AMY...</scene_description>
  </scene>
  <scene>
    <stage_direction>..scrambling along the tunnel... finally reaching a RUSTY</stage_direction>
    <scene_description>LADDER.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TOOL SHED - CONTINUOUS</stage_direction>
    <scene_description>A square of the plank floor lifts up. David and Amy climb up out of the hole... find themselves inside a SMALL SHED. It's filled with crates... shelves of tools... piles of old luggage. David closes the trap door.</scene_description>
    <character>DAVID</character>
    <dialogue>Help me.</dialogue>
    <scene_description>David pulls at a large crate. Amy pushes... until they've got it sitting on top of the trap door. David goes to the window.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PRAIRIE VIEW MOTEL - CONTINUOUS</stage_direction>
    <scene_description>The tool shed sits at the back of the parking lot. We see David's face appear in the dirty window.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TOOL SHED - CONTINUOUS</stage_direction>
    <scene_description>David peers out the window.</scene_description>
    <character>DAVID</character>
    <dialogue>We're at the other end of the lot.</dialogue>
    <scene_description>Amy slides to the floor.</scene_description>
    <character>AMY</character>
    <dialogue>And they'll look for us here. Maybe not right away, but they will.</dialogue>
    <character>DAVID</character>
    <dialogue>But we can't try to run. Not yet. We have to let them think we've gotten away. Let them go after us. Then we can run.</dialogue>
    <character>AMY</character>
    <dialogue>What if they look in here first?</dialogue>
    <character>DAVID</character>
    <dialogue>Jesus, Amy, I don't know. I'm doing the best I can here.</dialogue>
    <scene_description>CONTINUED: Amy nods... fights back tears. David sees it. He slides down... wraps his arms around her... pulls her close to him, protecting her.</scene_description>
    <character>AMY</character>
    <dialogue>I'm sorry.</dialogue>
    <character>DAVID</character>
    <dialogue>Nothing to be sorry for. I'm the one that left the interstate.</dialogue>
    <character>AMY</character>
    <dialogue>No, I mean about everything else... about us... about Charlie. I should have watched him closer... made sure the gate was up... that he didn't go near the stairs.</dialogue>
    <character>DAVID</character>
    <dialogue>Shhhh. It isn't your fault. None of it was. It was an accident.</dialogue>
    <character>AMY</character>
    <dialogue>But he was so little. He thought I'd be there to catch him. I should've been there.</dialogue>
    <scene_description>And now Amy breaks down... sobs into David's chest.</scene_description>
    <character>DAVID</character>
    <dialogue>Listen to me, you have to stop blaming yourself. Nobody else does.</dialogue>
    <scene_description>David pushes her back so he can look into her face.</scene_description>
    <character>DAVID</character>
    <dialogue>We just have to get out of here first, okay? Everything starts over again once we make it out of this.</dialogue>
    <scene_description>Amy manages a nod. David kisses her. An O.S. RUMBLE... TIRES OVER GRAVEL. David rises back up to the window... sees a HIGHWAY PATROL CAR pull into the lot.</scene_description>
    <character>DAVID</character>
    <dialogue>Somebody else is out there.</dialogue>
    <scene_description>CONTINUED: (2) Amy joins David at the window. They watch as a COP steps out of the car.</scene_description>
    <character>AMY</character>
    <dialogue>The 911.</dialogue>
    <scene_description>Amy starts for the door. David grabs her... she looks at him like he's crazy. He motions out the window... to the smiling Mason walking out of the office... shaking hands with the cop.</scene_description>
    <character>DAVID</character>
    <dialogue>Or he's one of them. Like the truck driver.</dialogue>
    <scene_description>David studies Mason and the cop talking.</scene_description>
    <character>DAVID</character>
    <dialogue>You didn't even tell them where we were. Why would they come?</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PRAIRIE VIEW MOTEL - CONTINUOUS</stage_direction>
    <scene_description>Mason and the cop stand at the patrol car.</scene_description>
    <character>COP</character>
    <dialogue>There was a 911 call traced to this number.</dialogue>
    <character>MASON</character>
    <dialogue>Are you sure? It's just me here tonight.</dialogue>
    <scene_description>The cop scans the area.</scene_description>
    <character>COP</character>
    <dialogue>And you run the place?</dialogue>
    <parenthetical>(off Mason's nod)</parenthetical>
    <dialogue>Then I won't disturb anybody if I take a look around.</dialogue>
    <scene_description>The cop starts toward the motel rooms. Mason lags a step behind, throwing quick glances around the lot.</scene_description>
    <character>MASON</character>
    <dialogue>We don't even have phones in these rooms.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>COP</character>
    <dialogue>I still need to check it out.</dialogue>
    <scene_description>The cop veers straight for the Honeymoon Suite. Mason picks up his pace... gets his hand to the door before the cop... pulls the key from the wire on his belt and stretches it into the door. He jiggles that sticky handle.</scene_description>
    <character>MASON</character>
    <dialogue>Shit, I forgot, this one works on a different key than the rest. Lemme run back to the office and grab it.</dialogue>
    <scene_description>Mason starts away.</scene_description>
    <character>COP</character>
    <dialogue>Can I have that?</dialogue>
    <parenthetical>(motions to the key)</parenthetical>
    <dialogue>For the other rooms.</dialogue>
    <scene_description>Mason hesitates, then nods... tosses the key to the cop. Mason watches him move down to room 7... open the door. Mason spins toward the office.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TOOL SHED - CONTINUOUS</stage_direction>
    <scene_description>David and Amy watch Mason trot into the office... watch the cop disappear into Room #7.</scene_description>
    <character>DAVID</character>
    <dialogue>They're looking for us.</dialogue>
    <character>AMY</character>
    <dialogue>What if he's here to help us?</dialogue>
    <character>DAVID</character>
    <dialogue>He isn't. That guy wouldn't let him look around by himself like that. And I called 911 before, remember? It was them that answered.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/ROOM #7 - NIGHT</stage_direction>
    <scene_description>The cop moves around the room... glances around the bed.</scene_description>
    <character>COP</character>
    <dialogue>Hello?</dialogue>
    <scene_description>CONTINUED: No answer. He walks to the bathroom... flips on the light... the room's empty. He turns the light off... starts back for the door, then stops... looks to the adjoining room door... the door leading to the Honeymoon Suite. He flips the lock... pulls the door wide. And the Honeymoon Suite door is already open.</scene_description>
    <character>COP</character>
    <dialogue>Hello?</dialogue>
    <scene_description>He steps through the doorway.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/HONEYMOON SUITE - CONTINUOUS</stage_direction>
    <scene_description>The cop enters... scans over the room... the furniture tossed about... the shattered mirror pieces on the floor... the OPEN TRAP DOOR in the bathroom.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/BATHROOM - CONTINUOUS</stage_direction>
    <scene_description>The cop walks into the bathroom... crouches beside the hole... leans in. And it's too dark down there to see anything, so we're just waiting for one of the killers to come springing out of the hole, knife flailing. But they don't. And the cop pulls his flashlight... aims the beam into the dirt hole. It's empty. He studies it a beat, then stands... walks back into the room.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/HONEYMOON SUITE - CONTINUOUS</stage_direction>
    <scene_description>The cop moves past the overturned lamp, then glances up... to the TOWELS HANGING IN THE CORNERS. He pulls one of the towels away, REVEALING THE CAMERA. He stares back into the lens, DRAWING HIS GUN as he turns. And there are the VIDEO TAPES SCATTERED ABOUT. CONTINUED: The cop goes to the television... turns it on and presses play on the VCR. TIGHT ON THE COP'S FACE...</scene_description>
  </scene>
  <scene>
    <stage_direction>..as we HEAR THE O.S. SCREAMS. He flinches at what he sees. Shock and fear wash over his face.</stage_direction>
  </scene>
  <scene>
    <stage_direction>INT. TOOL SHED - NIGHT</stage_direction>
    <scene_description>David and Amy stare through the window... see the Honeymoon Suite door swing open... the cop step into the doorway, gun in hand. His nervous eyes dart around the empty lot.</scene_description>
    <character>AMY</character>
    <dialogue>He looks scared.</dialogue>
    <scene_description>David stares at the cop... tries to read what the cop's thinking.</scene_description>
    <character>DAVID</character>
    <dialogue>Maybe. I don't know.</dialogue>
    <scene_description>And then a THUD, as someone POUNDS ON THE TRAP DOOR, lifting the crate into the air. It SLAMS back to the floor. David and Amy spin to it, then look back to the cop... ...hustling toward his car.</scene_description>
    <character>AMY</character>
    <dialogue>He's going to leave, David.</dialogue>
    <scene_description>David's frozen... unsure. ANOTHER THUD FROM THE TRAP DOOR.</scene_description>
    <character>AMY</character>
    <dialogue>He's going to leave!</dialogue>
    <scene_description>And David knows they don't have a choice. He grabs Amy's arm... throws open the door, and they charge out of the shed.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PRAIRIE VIEW MOTEL - CONTINUOUS</stage_direction>
    <scene_description>The cop hurries toward the patrol car.</scene_description>
    <character>AMY (O.S.)</character>
    <dialogue>HELP US!</dialogue>
    <scene_description>The cop turns... sees David and Amy sprinting toward him, waving their arms. CONTINUED:</scene_description>
    <character>DAVID</character>
    <dialogue>WAIT!</dialogue>
    <scene_description>The cop raises his gun toward them, then sees the terror on their faces... their bodies covered in blood and dirt. And he's seen the tapes... he knows what's happened to them.</scene_description>
    <character>COP</character>
    <dialogue>GET IN THE CAR!</dialogue>
    <scene_description>David and Amy slide in the passenger side. The cop charges around to the other side.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PATROL CAR - CONTINUOUS</stage_direction>
    <scene_description>The cop leaps inside... turns the key in the ignition... CLICK. He flips the key back... repeats... MORE CLICKS.</scene_description>
    <character>DAVID</character>
    <dialogue>What's the matter with it?</dialogue>
    <scene_description>The cop shakes his head, then notices something... ...the hood is raised JUST A FEW INCHES... like someone worked on the engine then silently closed the hood. His eyes jump to the POLICE RADIO... gone... just wires.</scene_description>
    <character>AMY</character>
    <dialogue>They're not going to let us leave.</dialogue>
    <character>COP</character>
    <dialogue>I'm not givin' 'em a choice. Stay here.</dialogue>
    <scene_description>The cop climbs out, his gun cocked and ready.</scene_description>
    <character>DAVID</character>
    <dialogue>Wait!</dialogue>
    <scene_description>But the cop is already out. Amy reaches over, pounding the door lock down. David and Amy's heads are snapping in all directions... looking for an attack. They watch through the windshield as the cop moves around the front of the car, scanning the area as he lifts the hood. CONTINUED: The cop disappears behind the raised hood. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PATROL CAR - CONTINUOUS</stage_direction>
    <scene_description>ANGLE ON THE COP'S HAND...</scene_description>
  </scene>
  <scene>
    <stage_direction>..moving across the engine... to the battery... and the</stage_direction>
    <scene_description>SLICED BATTERY CABLES. TIGHT ON THE COP'S FACE...</scene_description>
  </scene>
  <scene>
    <stage_direction>..seeing the cables.</stage_direction>
    <character>COP</character>
    <dialogue>Shit.</dialogue>
    <scene_description>CUT TO: POV FROM BEHIND THE COP...</scene_description>
  </scene>
  <scene>
    <stage_direction>..as he raises his hand up onto the hood... pulls it back down.</stage_direction>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PATROL CAR - CONTINUOUS</stage_direction>
    <scene_description>David and Amy watching the cop reappear as the hood lowers. At that same moment, a SHAPE RISES UP FROM BEHIND THE COP... KILLER ONE. David and Amy CRY OUT. The cop has an instant beat of confusion, as he sees them SCREAM. But then he knows... raises the gun as he starts to spin...</scene_description>
  </scene>
  <scene>
    <stage_direction>..but Killer One SLAMS THE KNIFE INTO HIS BACK before he can turn.</stage_direction>
    <scene_description>CUT TO: THE FACES OF DAVID AND AMY...</scene_description>
  </scene>
  <scene>
    <stage_direction>..watching the murder in shocked horror. All the death they've seen on the video tapes is suddenly right in front of them... and very real.</stage_direction>
    <scene_description>Amy continues to SCREAM. David throws the door open, as we hear the STABBING THUDS and the cop'S PAINFUL GROANS. David grabs Amy... pulls her out of the car with him.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PRAIRIE VIEW MOTEL - CONTINUOUS</stage_direction>
    <scene_description>David and Amy scramble out... see the cop's legs lying in front of the patrol car... Killer One moving around the car toward them. They spin... see Mason standing at the center of the parking lot, twirling his gun.</scene_description>
    <character>MASON</character>
    <dialogue>You just had to drag him into this, didn't you. You might as well have stuck that knife in him yourselves.</dialogue>
    <scene_description>Now here comes Killer Two walking out of the tool shed. David and Amy search for a place to run... all they have are Mason and the killers closing in from all sides. So they take off back to the only place they have left... the Honeymoon Suite.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/HONEYMOON SUITE - CONTINUOUS</stage_direction>
    <scene_description>David and Amy rush inside... slam the door closed behind them.</scene_description>
    <character>AMY</character>
    <dialogue>They killed him, David! They just killed him.</dialogue>
    <scene_description>Suddenly the front door swings open, and Killer One's face jams through the crack. He reaches his hand up to snap the chain. David scoops up one of the shards of broken mirror from the floor raises it above his head to DRIVE IT INTO KILLER ONE'S HAND. CONTINUED: Killer One CRIES OUT... pulls back his hand. David slams the door closed again... bolts the lock. He points to the bed.</scene_description>
    <character>DAVID</character>
    <dialogue>Help me move it over!</dialogue>
    <scene_description>David and Amy drag the bed... jam it against the door. David tips a dresser onto its side... shoves it across the floor and over the HOLE IN THE BATHROOM FLOOR, blocking it. He jams the shower rod over the dresser, wedging it against the sink to secure the dresser against the floor.</scene_description>
    <character>AMY</character>
    <dialogue>They'll find another way in.</dialogue>
    <character>DAVID</character>
    <dialogue>I'm just trying to slow them down.</dialogue>
    <scene_description>David pulls open the adjoining room door... it's open into Room #7.</scene_description>
    <character>DAVID</character>
    <dialogue>Come on!</dialogue>
    <scene_description>David and Amy rush through the doorway.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/ROOM SEVEN - CONTINUOUS</stage_direction>
    <scene_description>They sprint across the room... pull open the next adjoining room door, revealing the door to Room #6. David pushes against it... locked. David slams his shoulder into the door... nothing.</scene_description>
    <character>DAVID</character>
    <dialogue>SHIT!</dialogue>
    <scene_description>David looks around... spots the television. He grabs it, jerks the cords loose from the wall, then carries it across the room and THROWS IT THROUGH THE DOOR. The door splinters open.</scene_description>
    <character>DAVID</character>
    <dialogue>Hurry!</dialogue>
    <scene_description>David and Amy race through the shattered door.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/ROOM SIX - CONTINUOUS</stage_direction>
    <scene_description>David and Amy charge into the room... race across it. David pulls open the next door, then KICKS THAT ADJOINING ROOM DOOR OPEN. They sprint into the next room.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/ROOM FIVE - CONTINUOUS</stage_direction>
    <scene_description>David and Amy repeat it all again... blast their way into the adjoining room... keep running.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/ROOM ONE - NIGHT</stage_direction>
    <scene_description>TIGHT ON THE ADJOINING DOOR...</scene_description>
  </scene>
  <scene>
    <stage_direction>..as it shatters open. David and Amy pour into the room... race across it, then realize there are no more doors.</stage_direction>
    <scene_description>David bolts the front door and secures the chain across it. They grab a dresser... drag it over the floor and prop it against the adjoining room door, blocking it.</scene_description>
    <character>AMY</character>
    <dialogue>They'll be coming, David.</dialogue>
    <parenthetical>(glancing around)</parenthetical>
    <dialogue>Where do we go now?</dialogue>
    <scene_description>David searches the room. He hurries into the bathroom.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/ROOM ONE BATHROOM - CONTINUOUS</stage_direction>
    <scene_description>David goes to the window... turns the handle. The window cranks open... pushes the rusty nail over, and swings open.</scene_description>
    <character>DAVID</character>
    <dialogue>Here.</dialogue>
    <scene_description>Amy enters... climbs up onto the commode to slide out. But the window's too small... no way to fit.</scene_description>
    <character>AMY</character>
    <dialogue>I can't. There's no way.</dialogue>
    <character>DAVID</character>
    <dialogue>Just keep trying.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>AMY</character>
    <dialogue>I'd barely get halfway out. You wouldn't even come close.</dialogue>
    <scene_description>David kicks up the bathroom rug, looking for another secret exit... nothing.</scene_description>
    <character>DAVID</character>
    <dialogue>Shit.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/ROOM ONE - NIGHT</stage_direction>
    <scene_description>David and Amy hurry back into the room. David peeks out the edge of the window.</scene_description>
    <character>DAVID</character>
    <dialogue>I don't see them.</dialogue>
    <character>AMY</character>
    <dialogue>They're out there.</dialogue>
    <character>DAVID</character>
    <dialogue>Maybe around the back... or underneath us. If I could make it to the office. He kept his gun there.</dialogue>
    <character>AMY</character>
    <dialogue>And he killed those people with it. What are the odds he put it back?</dialogue>
    <character>DAVID</character>
    <dialogue>Better than they are of them not finding us if we just wait here.</dialogue>
    <scene_description>Then David glances up... notices something. The ceiling is made of foam tiles. He grabs a chair... climbs up and pushes one of the tiles away.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ATTIC - NIGHT</stage_direction>
    <scene_description>David's head pokes up through the ceiling... scans the area.</scene_description>
    <character>DAVID</character>
    <dialogue>This could work.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/ROOM ONE - NIGHT</stage_direction>
    <scene_description>David drops back down. CONTINUED:</scene_description>
    <character>AMY</character>
    <dialogue>What?</dialogue>
    <scene_description>David tears a shred off of Amy's shirt.</scene_description>
    <character>AMY</character>
    <dialogue>What are you doing?</dialogue>
    <scene_description>David goes into the bathroom.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/ROOM ONE BATHROOM - CONTINUOUS</stage_direction>
    <scene_description>David rushes to the window... jams the piece of material over a sliver of splintered wood. The cloth hangs there... blows in the breeze.</scene_description>
    <character>DAVID</character>
    <dialogue>Leaving them a trail.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/ROOM ONE - NIGHT</stage_direction>
    <scene_description>David hurries back to the chair, motions Amy up.</scene_description>
    <character>DAVID</character>
    <dialogue>They'll think you made it out the window. They won't look up there.</dialogue>
    <character>AMY</character>
    <dialogue>What about you?</dialogue>
    <character>DAVID</character>
    <dialogue>I'll get to the office. To that asshole's gun.</dialogue>
    <character>AMY</character>
    <dialogue>It's not going to be there.</dialogue>
    <character>DAVID</character>
    <dialogue>Something will be there. Something I can use.</dialogue>
    <character>AMY</character>
    <dialogue>No. You said you wouldn't leave me again.</dialogue>
    <character>DAVID</character>
    <dialogue>It's just for a minute. Swear to God.</dialogue>
    <scene_description>Amy doesn't like this a bit, but she steps up onto the chair. CONTINUED:</scene_description>
    <character>DAVID</character>
    <dialogue>You just have to stay real quiet up there, Amy.</dialogue>
    <scene_description>Amy nods... pulls herself upward. David takes her legs and shoves her up into the hole.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ATTIC - NIGHT</stage_direction>
    <scene_description>Amy rises into the attic... crawls over the wooden joists.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/ROOM ONE - NIGHT</stage_direction>
    <scene_description>Amy looks down from the hole.</scene_description>
    <character>DAVID</character>
    <dialogue>Now pull the tile back over.</dialogue>
    <character>AMY</character>
    <dialogue>I don't want to do this, David.</dialogue>
    <character>DAVID</character>
    <dialogue>We have to. It's our only shot.</dialogue>
    <scene_description>Amy starts pulling the tile back over the hole.</scene_description>
    <character>DAVID</character>
    <dialogue>And you have to be quiet, baby. I mean not a sound. No matter what happens, you can't make a sound.</dialogue>
    <scene_description>Amy nods... looks like she's about to cry.</scene_description>
    <character>DAVID</character>
    <dialogue>We're going to make it out of here.</dialogue>
    <character>AMY</character>
    <dialogue>Promise?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ATTIC - CONTINUOUS</stage_direction>
    <scene_description>David's face stares up through the sliver of space at Amy.</scene_description>
    <character>DAVID</character>
    <dialogue>Promise.</dialogue>
    <scene_description>David motions for Amy to pull the tile across. As she does, David disappears. CONTINUED:</scene_description>
    <character>DAVID</character>
    <dialogue>Remember. Not a sound. Don't even move.</dialogue>
    <scene_description>Amy peers down through the cracks between the tiles... she can see slivers of movement... David pushing the chair back across the room.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/ROOM ONE - NIGHT</stage_direction>
    <scene_description>David shoves the chair back under the desk... hears O.S. RUSTLING from beyond the adjoining wall.</scene_description>
    <character>DAVID</character>
    <dialogue>They're coming, Amy. I have to go.</dialogue>
    <character>AMY (O.S.)</character>
    <dialogue>David?</dialogue>
    <character>DAVID</character>
    <dialogue>They won't know you're up there. Stay quiet and they'll never know.</dialogue>
    <scene_description>David starts toward the door... stops and glances back to the ceiling.</scene_description>
    <character>DAVID</character>
    <dialogue>I love you.</dialogue>
    <scene_description>And then David pulls the chain... opens the front door... and comes FACE TO FACE WITH KILLER TWO. Before David can react, Killer Two draws his knife back... swings an uppercut with it. TIGHT ON DAVID'S FACE...</scene_description>
  </scene>
  <scene>
    <stage_direction>..as he GASPS... his eyes go wide.</stage_direction>
    <scene_description>Killer Two shoves him back into the room... steps in after him. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ATTIC - CONTINUOUS</stage_direction>
    <scene_description>Amy stares down through the crack... sees David standing just below her. CONTINUED: She wants to scream... instead throws a hand over her mouth to silence a cry.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/ROOM ONE - NIGHT</stage_direction>
    <scene_description>Killer Two moves close to David... nose to nose... raises his knife again. CUT TO: AMY'S HORRIFIED FACE...</scene_description>
  </scene>
  <scene>
    <stage_direction>..as we hear DAVID'S AGONIZING MOAN.</stage_direction>
    <scene_description>Through the cracks, Amy sees David crumble to his knees. Amy swallows a scream... watches with tear-filled eyes.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/ROOM ONE - NIGHT</stage_direction>
    <scene_description>David GASPS... starts crawling out of the room. Killer Two watches the pathetic attempt at escape. David struggles every inch... drags himself toward the open door.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PRAIRIE VIEW MOTEL/ROOM ONE - NIGHT</stage_direction>
    <scene_description>David crawls out the door. He looks up. CUT TO: DAVID'S POV...</scene_description>
  </scene>
  <scene>
    <stage_direction>..on a smiling Mason standing over David, holding a VIDEO CAMERA to his eye.</stage_direction>
    <scene_description>CUT TO: POV THROUGH MASON'S CAMERA...</scene_description>
  </scene>
  <scene>
    <stage_direction>..grainy and trembling... zoomed in on David's face staring up at the camera... the life slipping away, until he finally slides to the ground.</stage_direction>
    <scene_description>BACK TO SCENE CONTINUED: Mason lowers the camera... nods to the Killers in the doorway.</scene_description>
    <character>MASON</character>
    <dialogue>Let's get her out here and do this.</dialogue>
    <scene_description>Mason walks into the room.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/ROOM ONE - NIGHT</stage_direction>
    <scene_description>Mason and the Killers scan the room... see the CLOTH FLAPPING IN THE WINDOW.</scene_description>
    <character>MASON</character>
    <dialogue>Find her.</dialogue>
    <scene_description>Killer One and Killer Two rush out of the room.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ATTIC - CONTINUOUS</stage_direction>
    <scene_description>Amy sees Mason standing just below her. She's trembling so much that she can barely support herself. Finally, Mason walks out. Amy eases back over the joists... leans against the wall, pulling her knees up tightly to her chest. Tears pour down her face... she's all alone.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PRAIRIE VIEW MOTEL - DAWN</stage_direction>
    <scene_description>The sky is just beginning to brighten. The motel grounds are empty and quiet.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ATTIC - DAWN</stage_direction>
    <scene_description>The early morning sun slips through the attic slats. Amy crawls along the joists... peers through the ceiling tile cracks... no sign of anyone. Amy inches one of the tiles over... strains to get an angle on the room. CUT TO: AMY'S POV...</scene_description>
  </scene>
  <scene>
    <stage_direction>..on the empty room... at least what she can see of it.</stage_direction>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/ROOM ONE - DAWN</stage_direction>
    <scene_description>The ceiling tile inches to the side. Amy appears... climbs down... hangs from the ceiling, scanning the room before she drops to the floor. Amy lands as softly as she can... stays crouched on the floor, waiting for someone to come charging after her. But no one appears. Amy looks out the open front door... sees David's body still lying on the ground. Amy begins to convulse, as she fights the tears. She starts toward him. CUT TO: POV FROM DAVID'S BODY...</scene_description>
  </scene>
  <scene>
    <stage_direction>..on Amy moving toward us. And then KILLER TWO STEPS OUT OF</stage_direction>
    <scene_description>THE BATHROOM DOOR BEHIND AMY. Amy has no idea he's there. She keeps moving to David. And Killer Two keeps walking after her... PULLS THE KNIFE FROM HIS BELT. ANGLE ON AMY'S FACE...</scene_description>
  </scene>
  <scene>
    <stage_direction>..hearing the movement behind her.</stage_direction>
    <scene_description>She spins... sees Killer Two approaching.</scene_description>
    <character>AMY</character>
    <dialogue>NO!</dialogue>
    <scene_description>Amy takes off out the door.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PRAIRIE VIEW MOTEL - CONTINUOUS</stage_direction>
    <scene_description>Amy races past David's body. She sees the BMW sitting tucked around the corner of the building. Amy charges toward it... throws open the door and leaps inside.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BMW - CONTINUOUS</stage_direction>
    <scene_description>Amy slams the door closed behind her... locks it. Reaches to the ignition, and THERE'S A HOMEMADE KEY... A JAGGED SLIVER OF METAL... JAMMED INTO IT. Amy turns the piece of metal... the engine TRIES TO CRANK...</scene_description>
    <character>AMY</character>
    <dialogue>Please...</dialogue>
    <scene_description>...then ROARS TO LIFE. She throws it into gear... the car lurches forward. Amy spins the wheel... aims for the road... ...just as KILLER TWO'S FIST COMES SMASHING THROUGH HER WINDOW. Amy SCREAMS... tries to fight him off, but he's hanging on... CRAWLING IN THROUGH THE BROKEN WINDOW ONTO AMY. She steps on the gas... the BMW PICKS UP SPEED. As they struggle, the steering wheel is JERKED SIDEWAYS... the car takes a hard turn toward the MOTEL ROOMS. Killer Two's upper body is inside the window. He's clawing at Amy... choking her. And Amy's forgotten all about steering this car... she's just trying to escape...</scene_description>
  </scene>
  <scene>
    <stage_direction>..doesn't even see the Motel Room doorway approaching fast... or KILLER ONE RUSHING OUT OF THE DOORWAY TO SEE THE</stage_direction>
    <scene_description>COMMOTION...</scene_description>
  </scene>
  <scene>
    <stage_direction>..and finding THE GRILL OF THE BMW RIGHT ON TOP OF HIM.</stage_direction>
    <scene_description>Killer One has no time to react before the car PLOWS INTO THE DOORWAY... SLAMS INTO HIM. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/ROOM - CONTINUOUS</stage_direction>
    <scene_description>Concrete, plaster and wood erupt, as the front end of the BMW crashes in, TEARING OUT THE FRONT WALL OF THE ROOM. And Killer One is pinned against the grill, as the BMW thrusts him backward.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BMW - CONTINUOUS</stage_direction>
    <scene_description>The car slams into the back wall, vaulting KILLER TWO OUT THE WINDOW. He sails forward, disappearing in the cloud of dust and debris. The force throws Amy up into the windshield. The glass splinters around her. The jolt knocks the breath from her lungs. She rolls back down to the seat... tries to catch her breath... shake the dizziness away. Then she raises up... ...and there's KILLER ONE PEERING OVER THE FRONT END OF THE BMW AT HER. Amy starts to scream... but then sees his body's frozen... his face is lifeless. He's pinned between the car and the wall... crushed. Amy glances around for Killer Two... she can't see him. She turns the handmade key to restart the engine... it only CLICKS. She pounds her foot on the pedal... turns the key again... MORE CLICKS. Amy throws a nervous glance around, then opens her door... climbs out...</scene_description>
  </scene>
  <scene>
    <stage_direction>..and here comes KILLER TWO RISING OUT OF THE RUBBLE... still GRIPPING HIS KNIFE.</stage_direction>
    <scene_description>Amy scrambles back... trips among the debris. Killer Two keeps coming... slowly raising the knife. But then instead of swinging it down, the KNIFE SLIPS FROM HIS HAND... tumbles to the floor. And then we see why... the THICK SHARD OF WOOD jutting out of his stomach. Blood seeps out around it. He falls to his knees... makes one last grab for Amy, then collapses dead beside her.</scene_description>
    <character>MASON (O.S.)</character>
    <dialogue>NO!</dialogue>
    <scene_description>Amy looks down the open partition door... to Mason racing through the rooms toward her. Amy crawls over the wreckage... takes off out of the room.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PRAIRIE VIEW MOTEL - CONTINUOUS</stage_direction>
    <scene_description>Amy sprints across the gravel lot... reaches the PICKUP TRUCK. She looks inside... NO KEYS.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL/ROOM - CONTINUOUS</stage_direction>
    <scene_description>Mason runs into the room... sees the bodies of Killer One and Killer Two. Tears fill his eyes.</scene_description>
    <character>MASON</character>
    <dialogue>Oh, Jesus. No.</dialogue>
    <scene_description>He bends down over Killer Two.</scene_description>
    <character>MASON</character>
    <dialogue>What did she do?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL OFFICE - CONTINUOUS</stage_direction>
    <scene_description>Amy races inside, locking the door behind her... peers out through the window for some sign of Mason. He isn't out there. She hurries behind the counter... frantically searches the shelves for a gun... a weapon... keys... anything. ANGLE ON THE SECURITY MONITORS...</scene_description>
  </scene>
  <scene>
    <stage_direction>..Amy's onscreen, searching the office... finding nothing. She runs into the back room.</stage_direction>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL OFFICE/BACK ROOM - CONTINUOUS</stage_direction>
    <scene_description>The television screen is filled with STATIC. Amy hurries through the mess... sinks to her knees beneath the large window... scans the area for Mason. He isn't there. She turns... shoves a dresser over onto the trap door, blocking it. She grabs the phone... starts to dial, then stops... taps the buttons... follows the cord along the floor... to the SHREDDED END OF THE CORD. She grabs it... tries to shove it back into the wall jack. As she fights with it, we pan up to the VIDEO MONITORS... and the image of Mason WALKING OUT OF THE MOTEL ROOM. CONTINUED: He strides out of frame... disappears... appears again in another monitor... closer... then vanishes again. We pan back to Amy, and she's too busy working on the phone to have seen him. But the cord is broken... useless. She throws another glance back out the window... nothing. And then the O.S. JINGLE OF THE OFFICE DOOR OPENING. Amy freezes... grabs a VIDEO CAMERA TRIPOD, moves to the doorway... peeks around the edge. The OFFICE DOOR IS CRACKED OPEN. The breeze sways it back and forth, RINGING THE BELL. Amy readies the tripod in her hand... eases through the doorway.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL OFFICE - CONTINUOUS</stage_direction>
    <scene_description>Amy moves toward the door. Her eyes dance around, just waiting for Mason to spring upon her. But Mason doesn't show... and Amy's getting closer to the door, until she sprints the final steps... slams the door shut, bolting it. She spins... hurries back around the counter... through the doorway.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL OFFICE/BACK ROOM - CONTINUOUS</stage_direction>
    <scene_description>Amy rushes back into the room... moves to the window to look outside. And that's when the RUSTY TRASH CAN COMES FLYING THROUGH THE WINDOW, shattering the glass and knocking Amy back to the floor. The tripod flies from her hand... slides away. Mason leaps through the broken window. Amy reaches for the tripod, but Mason kicks her, sending her sprawling. Amy crawls for the door, but Mason kicks it closed and grabs Amy by the hair... snaps her head back so she can get a good look at him.</scene_description>
    <character>MASON</character>
    <dialogue>You shoulda let my brothers kill you last night.</dialogue>
    <scene_description>CONTINUED: Mason SLAMS HIS HEAD AGAINST AMY'S... BAM... knocks her back to the floor. She sits on the dirty shag carpet, dazed. CUT TO: AMY'S BLURRED POV...</scene_description>
  </scene>
  <scene>
    <stage_direction>..on Mason grabbing a VIDEO CAMERA from the table... plugging in some electrical equipment.</stage_direction>
    <character>MASON</character>
    <dialogue>'Cause we're gonna need at least two batteries to get everything I'm gonna do to you.</dialogue>
    <scene_description>Mason raises the video camera to his eye... the light on the front FLASHES RED. CUT TO: MASON'S POV THROUGH THE CAMERA...</scene_description>
  </scene>
  <scene>
    <stage_direction>..on Amy staring half-conscious back at us. She can't say anything.</stage_direction>
    <scene_description>The barrel of Mason's gun rises to the edge of the frame... aims right at Amy.</scene_description>
    <character>MASON (V.O.)</character>
    <dialogue>Now tell me your name.</dialogue>
    <scene_description>A beat, as Amy gathers her thoughts, then...</scene_description>
    <character>AMY</character>
    <dialogue>Amy... Amy Fox.</dialogue>
    <character>MASON (V.O.)</character>
    <dialogue>Hello, Amy. You've done a lotta bad things here tonight, haven't you?</dialogue>
    <scene_description>Amy doesn't answer. We see Mason's thumb COCK THE HAMMER OF THE GUN... CLICK.</scene_description>
    <character>MASON (V.O.)</character>
    <dialogue>Haven't you, Amy?</dialogue>
    <scene_description>Amy finally nods. CONTINUED:</scene_description>
    <character>MASON (V.O.)</character>
    <dialogue>Yes you have. But now you're gonna try and make up for all that, aren't you?</dialogue>
    <scene_description>Amy nods again.</scene_description>
    <character>MASON (V.O.)</character>
    <dialogue>Trouble is, Amy, your clothes are all bloody. Don't you wanna look nice for everyone?</dialogue>
    <scene_description>Amy doesn't answer.</scene_description>
    <character>MASON (V.O.)</character>
    <dialogue>Take off your shirt, Amy.</dialogue>
    <scene_description>Amy shakes her head.</scene_description>
    <character>AMY</character>
    <dialogue>No.</dialogue>
    <scene_description>Mason waves the gun again.</scene_description>
    <character>MASON (V.O.)</character>
    <dialogue>That's the last time you say no to me.</dialogue>
    <scene_description>Amy's still so dazed... finally reaches for her buttons... just nudges them... can't make her fingers work.</scene_description>
    <character>MASON (V.O.)</character>
    <dialogue>You can do it.</dialogue>
    <scene_description>But Amy can't. She's trying, but her fingers just won't cooperate.</scene_description>
    <character>MASON (V.O.)</character>
    <dialogue>Shit.</dialogue>
    <scene_description>Our POV drops to the floor, as Mason lowers the camera. BACK TO SCENE Mason goes to Amy, reaches out to unbutton her shirt himself. And Amy's too out of it to even try to stop him. Mason gives her face a light smack.</scene_description>
    <character>MASON</character>
    <dialogue>Now don't you pass out on me. I want you to know every little thing I'm doin' to you.</dialogue>
    <scene_description>CONTINUED: (2) Amy's heavy arms just hang beside her, as Mason pops open the first button. And that's when we realize Amy isn't as dazed as Mason and the rest of us thought she was. Her hand moves quickly... grabs the tripod and SLAMS IT AGAINST MASON'S HEAD. Mason stumbles back to the couch. Amy leaps to her feet, charges to the door, throwing it open.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL OFFICE - CONTINUOUS</stage_direction>
    <scene_description>Amy runs through the doorway... starts around the counter, but that's as far as she gets before Mason springs from the back room, tackling Amy against the counter. Mason grabs Amy by the hair... slams her head onto the counter over and over, RINGING THE BELL AT THE JACK-A-LOPE'S FEET AGAIN AND AGAIN. He turns her around to press his gun against her head. As Amy spins, her hand finds the Jack-A-Lope... she swings it, DRIVING THE ANTLERS INTO MASON'S SHOULDER. Mason GASPS... loses his grip on the gun... it tumbles across the counter to the floor. Amy crawls over the counter... hits the floor and scrambles for the gun. Mason pulls the Jack-A-Lope out of his shoulder... charges around the counter and tackles Amy as she reaches the gun... it slides across the floor. They wrestle on the floor, trading blows... using lamps, chairs, books... anything they can get their hands on... each gaining, then losing control... almost getting their hand on the gun before the other knocks them away. ANGLE ON THE VIDEO MONITORS...</scene_description>
  </scene>
  <scene>
    <stage_direction>..displaying various angles of this bloody, welterweight fight to the death.</stage_direction>
    <scene_description>BACK TO SCENE And Mason is on top of Amy, his sweaty hands clamped around her throat... strangling the life out of her... all thoughts of torture and pleasure long gone. As Amy GASPS her final breaths, she reaches up... tears down Mason's cheek with her fingernails. CONTINUED: Mason CRIES OUT IN PAIN, and that gives Amy a moment to squirm free... to start crawling for the gun. Mason dives after her... grabs her ankle, jerking her back toward him. But Amy got her fingers on the gun... rolls onto her back... BOOM... BOOM... BOOM... BOOM. She empties the gun into Mason... knocking him back with each blast, until he hits the wall... slides down to the floor. He stares at Amy, the life blinking from his eyes. Amy stares back... exhausted... almost dead herself. ANGLE ON THE VIDEO MONITORS BEHIND THE COUNTER...</scene_description>
  </scene>
  <scene>
    <stage_direction>..and different angles of Amy and Mason on each screen... watching each other. Mason's body twitching... jerking.</stage_direction>
    <scene_description>Amy stands up and walks out of frame. We hear the BELL ABOVE THE OFFICE DOOR JINGLE. And we hold on our various perspectives of the Mason... his body finally falling still.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PRAIRIE VIEW MOTEL - MORNING</stage_direction>
    <scene_description>Amy limps across the gravel parking lot toward David's fallen body. She reaches him... falls to her knees... begins crying. She slumps over... lays across David, holding him. ANGLE ON AMY'S ANKLE...</scene_description>
  </scene>
  <scene>
    <stage_direction>..as a HAND GRABS IT.</stage_direction>
    <scene_description>Amy SCREAMS... shoots up... and sees that it's DAVID'S HAND HOLDING HER LEG. His mouth opens... tries to speak... can't. But it doesn't matter, because HE'S ALIVE.</scene_description>
    <character>AMY</character>
    <dialogue>Oh, God. David. David, can you hear me?</dialogue>
    <scene_description>She rolls him onto his back. David gurgles... coughs blood down over his lips. Amy doesn't care... she kisses him... runs her hands along his face.</scene_description>
    <character>AMY</character>
    <dialogue>I've got you, baby. I'm here.</dialogue>
    <scene_description>CONTINUED: Amy looks around in a panic... her eyes settle on Mason's PICKUP TRUCK.</scene_description>
    <character>AMY</character>
    <dialogue>I'll be right back, David.</dialogue>
    <scene_description>Amy jumps up... sprints toward the office.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAIRIE VIEW MOTEL OFFICE - MORNING</stage_direction>
    <scene_description>Amy charges inside... runs to Mason's body and crouches over it. She pulls at him... tries to get to his pockets... and we're waiting for Mason to spring to life... to grab her with that hand of his that's flopped beside them. She runs her hands over his clothes... to his pants... his pockets... digging inside, then pulling out his TRUCK KEYS. And Mason never flinches.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PRAIRIE VIEW MOTEL - MORNING</stage_direction>
    <scene_description>Amy runs outside... jumps into the pickup truck. The engine starts. She steers it to David... skids to a stop beside him and leaps out. She starts to lift him. David MOANS IN PAIN.</scene_description>
    <character>AMY</character>
    <dialogue>We have to go, David. I'm going to take you to a doctor.</dialogue>
    <scene_description>Amy grabs David's hands and pulls him to the truck. She eases him up into the cab, then climbs in.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PICKUP TRUCK - CONTINUOUS</stage_direction>
    <scene_description>Amy rattles the truck into gear, then pulls out. She reaches over and strokes David's head, as he lies slumped in the seat.</scene_description>
    <character>AMY</character>
    <dialogue>I love you, David. Can you hear me? I love you too.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. PRAIRIE VIEW MOTEL - CONTINUOUS</stage_direction>
    <scene_description>The pickup truck races away, leaving the Prairie View behind.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ROAD - MORNING</stage_direction>
    <scene_description>The pickup truck speeds along the road.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PICKUP TRUCK - MORNING</stage_direction>
    <scene_description>David's breathing is slow... fading. And then Amy sees something ahead of her... the FLASHING LIGHTS OF A SHERIFF'S PATROL CAR AND AMBULANCE racing toward them. Amy jerks the wheel of the truck, sliding to a stop in the middle of the road. She leaps out.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ROAD - CONTINUOUS</stage_direction>
    <scene_description>Amy frantically waves her arms at the oncoming vehicles. They slow to a stop. COPS and PARAMEDICS hurry toward her. Amy rushes back around the truck to David. She opens the door... strokes his face.</scene_description>
    <character>AMY</character>
    <dialogue>Everything's good now. You were right, David. We're going to be okay.</dialogue>
    <scene_description>Then we pull away... up into the sky... looking down on Amy and David, as the cops and paramedics reach them. DISSOLVE TO: THAT HAND-HELD POV WE BEGAN WITH...</scene_description>
  </scene>
  <scene>
    <stage_direction>..only the scene is different... the sun is sinking into the horizon... all but the most dedicated reporters are gone. A few COPS and PARAMEDICS still walk about.</stage_direction>
    <scene_description>We pan across the remains of the Prairie View... the bulldozer shut down, resting beside the empty, mass grave behind the motel... to a SIDE SHOT of a FEMALE REPORTER and CAMERAMAN completing a report.</scene_description>
    <character>FEMALE REPORTER</character>
    <dialogue>Authorities will continue the digging early tomorrow.</dialogue>
    <scene_description>We glide off the Female Reporter... past the WRECKED BMW... over an EXHAUSTED BLOODHOUND sleeping... CONTINUED:</scene_description>
    <character>FEMALE REPORTER (O.S.)</character>
    <dialogue>And we've been told the police have gone to McKinley County Hospital to question a couple found earlier today. Supposedly, they match the descriptions of victims seen on one of those infamous video tapes.</dialogue>
    <scene_description>...to the Prairie View Motel Office... the front window shattered.</scene_description>
    <character>FEMALE REPORTER (O.S.)</character>
    <dialogue>Hopefully, they'll be able to fill in some blanks for the authorities, regarding the horrible atrocities that occurred here.</dialogue>
    <scene_description>We hold on the RUSTY VACANCY SIGN hanging on the wall.</scene_description>
    <character>FEMALE REPORTER (O.S.)</character>
    <dialogue>As for the immediate future, local authorities will be removing the vacancy sign that until today hung here outside the Prairie View Motel. This is Nina Juarez reporting live for Channel 9 News.</dialogue>
    <scene_description>FADE OUT.:</scene_description>
    <character>THE END</character>
  </scene>
</script>
On their way home from a family party, David and Amy Fox, who are on the verge of divorce, are on a remote mountain road due to a wreck slowing down the interstate. They stop at an old auto repair garage after their car starts making a noise. A mechanic apparently fixes the car but says he is about to close. Soon after leaving, their car breaks down. When they find that there is no cell phone reception, they walk back to the garage, only to find it has already closed. They walk to a nearby motel to seek help. When they arrive at the reception office, they hear a piercing scream coming from the room at the back of the reception, only for it to be coming from the television. The motel manager, Mason turns it off and meets the couple. He explains the auto repair garage across the street is closed until the morning, so they book a room for the night. While getting ready for bed, David and Amy are alarmed by loud banging on their door and the door to the adjacent room. David goes to reception to tell Mason about the situation, and Mason tells them they are his only guests. Back in the room, David watches a videotape that's been left in the room's VCR. At first it seems to be a horror film, but then they realize it is a snuff film that was made in their room. David searches the room and finds multiple hidden security cameras and realizes that Mason is watching them. The recording shows previous guests being assaulted by two men then murdered by them. David and Amy flee the room for the woods, but are confronted by two men wearing masks, so they return to the room and lock the door. In the bathroom, they are shocked to find the half-eaten apple Amy left in the car. David runs to the motel's payphone and dials 911, but Mason answers. David escapes the phone booth just before the men crash their car into it and chase him back to the room. Moments later, David and Amy hear a truck pull into the parking lot. From the window, they attract the driver's attention, but soon realize he is working with Mason. They then discover a trapdoor in the bathroom, leading to various tunnels to different rooms of the motel. They end up in the manager's room. Amy attempts to call the police but is interrupted by Mason. Followed by the masked men, they sneak back into the tunnel and take a different route, ending up in the auto garage across from the motel. Meanwhile, a sheriff appears, having responded to Amy's attempted call. Upon searching one of the rooms, he witnesses a snuff film and flees. David and Amy run to him, and they all attempt to leave but find the engine wire to the police car has been cut. When the officer gets out, the masked men kill him. David and Amy run into one of the other rooms. David hides Amy in the ceiling while he plans to make it to Mason's office to retrieve a revolver, but the men stab him as he leaves. He collapses as Amy watches from above. In the morning, Amy comes down and leaves, finding one of the killers' car. As she attempts to drive away, a masked man breaks into the car from the sun roof, and she crashes the car into the motel, killing him and the other man (the latter of which is revealed to be the mechanic who "helped" the couple earlier.) Amy then runs into the reception, where she finds the revolver. Mason appears and begins to strangle her with the telephone cord, then beats her as he records the struggle with his video camera. Amy fights back and manages to gain the upper hand, finally shooting Mason dead. Amy returns to David and finds he is still alive. She goes back to reception, takes the phone cord from Mason's jacket pocket, and connects it to the phone to call 911. She then goes back to David, comforting him while waiting for the police to arrive.