Scene 5 continued...

While the cops talk to the Collingwood's, the crooks have run into a bit of trouble. Their car has broke down, and they have stopped directly infront of Mari's home! This is the only point in Craven's film which asks you to have a pretty decent imagination - after all, it's a bloody big coincidence! Krug practically orders his son to fix the vehicle, and goes round to the trunk to retrieve a toolbox. Phyllis bites Krug on the hand, and in rage, he pulls her out of the car, kicking her in a brutal manner. He reaches for Mari, and as she emerges from the vehicle, she notices the postbox to her home. Knowing that they might be in this situation for a while, Krug decides to have a little fun, giving the cue for the most terrifying segment of the movie. The criminals drag Mari and Phyllis off into the woods, across the street from the Collingwood home.
Mari spots the postbox to her home.
As the cops leave in their squad car, they pass the criminal's vehicle. Stopping for a moment, the Deputy discusses the idea of taking a look. The Sheriif objects, stating that it "ain't going to help us find Mari Collingwood". How wrong they are. In retrospect, you may notice that a theme of idiotic policemen has been found in some of Craven's key movies, culminating with the character Dewey, in the blockbuster Scream series.

Scene 6: If you go down to the woods today...

The most infamous (and most censored) part of Last House is the scene in the woods. Not many other films have provided such grisly scenes of terror, and this is the defining moment in the film, and a testament to the abilities of it's director. The following half of the film really unleashes it's raw power upon the viewer.

Having dragged the two helpless girls off into the woods, Krug tells Weasel to get out his knife, and the horror begins. Krug asks Phyllis to do something for him, and if she doesn't comply, Weasel will cut Mari. Showing his full sadistic nature, Krug asks Phyllis to "piss her pants". Phyllis is disgusted by his request, and Krug gets Weasel to cut Mari. At the sight of blood, and the possible death of her friend, Phyllis relents, and a wet spot appears on her trousers. With much sickness, the criminals find this incredibly amusing, while an equally disgusted Junior watches with discomfort. The whole process is very difficult to watch, and this part of the film has lost none of it's power to shock. It is worth mentioning that most of this scene was in fact improvised by the cast, which gives it a chilling feel, and an extra ounce of reality. Craven quite successfully makes you believe that this is really happening. Krug then gets Phyllis to remove her trousers, and orders her to hit Mari. Reaching boiling point, Junior rushes over to his father, and pleeds with him to stop this madness, stating that "someone's gonna' get killed!" Krug pushes his junkie son aside, and it isn't until a worried Junior suggests that they "make out with each other", that Krug stops the violence. It is here that we get a very strong sense of that exploitative sleaze that inhabited Craven's first screenplay draft.
The gang force Mari and Phyllis to strip, and with much discomfort they stand naked in the forest. Whichever version of Last House you own, there will be various cuts to the shots of Mari and Phyllis performing sexual acts upon each other, spurred on by the cruel and sadistic torments of Krug and his posse. Mari inparticular, is falling apart under the circumstances.

After this cruel exhibition has ended, Krug states that he is returning to the car, in order to get something "that'll cut fire wood". He leaves Weael in charge of watching the girls. Weasel allows Phyllis to put her clothes back on, and she comforts Mari.
Very quietly, Phyllis whispers to Mari that she is going to make a run for it. She asks Mari to go and get help when they go after her. Grasping her opputunity, Phyllis bounds off into the forest, and a suddenly startled Weasel and Sadie chase after her. Junior is left guarding the scared Mari.

With surprising ease, Phyllis manages to stay out of sight, as Weasel and Sadie frantically search for her. Meanwhile, Mari pleeds with Junior to her let her go, but he stands his ground. Weasel has finally spotted Phyllis, and they stand staring at each other from across the river. The rebellious Phyllis gives him the finger, and Weasel looks more than a little pissed.

We cut to the local police station, where the bumbling Sheriff and Deputy enjoy a game of Checkers. Suddenly, the police radio splutters to life, and details are given upon the criminal vehicle - the car that they passed on their way from the Collingwood residence. Realising their stupidness (in true deadpan style) they hop into the squad car and screech off toward the Collingwood home.

Phyllis, now becoming tired, has retreated deep into the forest. Sadie is hot on her tail, and she soon catches up with her. They struggle on the ground for a moment, but the determined Phyllis slams a rock against her head. She rushes away, as a worried Weasel comes to the rescue. We follow Phyllis as she continues to run through the woodland. In a brilliant bit of camerawork, we are made to feel her tiredness, and the soundtrack pulses in time to her heartbeat. The effect was achieved by the use of a hand-held camera, which following scenes would utilise also. The soundtrack comes to an abrupt stop, as Phyllis reaches an old cemetery. She spots the road, as cars rush past. For the last time, Phyllis shows sign of happiness, and bounds off in the direction of the road, in hope of finding help. Before she can reach her salvation, Krug jumps out from behind a bush, wielding a machete...Their is no escape...
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