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COMMENCEMENT: A SLASHER FILM by Jon Lickness Testisuit Productions 1303 Smith Ave 507-360-4689 FADE IN ON: EXT LAKE MINNETONKA (NIGHT) At first, all that appears to be on the screen is BLACKNESS - but we can see RIPPLES in the blackness - we are looking at the middle of a lake. We slowly PULL UP from the lake to show the full moon, ever present in horror films, watching over the screen. As we HOLD on the full moon, something becomes apparent that holds true for the remainder of this film - the film stock looks choppy, dirty and very grainy, just like a rental copy of an '80s horror movie that has been seen countless times. CUT TO: EXT DIRT LOT (NIGHT) We are in a parking lot adjacent to the lake, a single street light illuminates the area. Heavily forested area surrounds the lot. A pair of HEADLIGHTS speed toward the camera from the background, finally coming to a stop in the lot. Screen text - "JUNE, 2003." The HEADLIGHTS turn out, and two occupants exit the vehicle - on the driver's side is MARK - late teens, handsome, wearing a Letterman's jacket and jeans. On the other side is TIFFANY - young, hot, brunette, wearing a tank top and tiny shorts. TIFFANY This is it, Mark? This is the place? MARK I told you. Stubby said that there's a really good area to swim here. TIFFANY Stubby is full of shit. MARK Just trust me, Tiffany. Mark takes Tiffany's hand, and they begin walking down a PATH cutting into the surrounding woods... CUT TO: EXT PATH (NIGHT) Mark and Tiffany continue to walk down the path, the woods oppressing them on all sides. Tiffany is now listening to her iPod, the faint sounds of Marilyn Manson's "Mutilation is the Most Sincere Form of Flattery" discernible in the background. MARK You brought that thing with you? TIFFANY This thing goes with me wherever I go. MARK That's pretty sad, Tiff. TIFFANY Fuck you! God! How much farther is this, anyway? MARK Not that much further. TIFFANY God, I hope not. I don't want to happen to us what happened to...well, you know. MARK What do you mean? TIFFANY All that shit that the papers are talking about. MARK That's exactly what it is, Tiff. It's shit. Besides, all of that stuff is supposedly going down in Minneapolis West. That's miles away from us. Every single one, Tiff. TIFFANY I know. But I'm still scared. MARK It's alright. I won't let anything happen to you. Tiffany stops her iPod and pockets it, looking up into Mark's eyes. TIFFANY Promise? MARK (stroking her hair) Promise. They KISS briefly, and quickly break. MARK Come on, just a little bit further. Mark and Tiffany continue WALKING down the path... CUT TO: EXT MINNETONKA BEACH (NIGHT) From a distance, we see Mark and Tiffany as they reach a small stretch of beach - the expanse of Lake Minnetonka is laid out in front of them, the full moon lighting the scene. We CUT IN closer on Mark and Tiffany. TIFFANY So, what are we gonna do now? MARK You want to swim? TIFFANY Maybe just for a little while. MARK Well, come on then, I'll meet you out there. Mark quickly REMOVES his letterman's jacket and his undershirt - he's chiseled and muscular underneath, and Tiffany appears to be appreciating it. Following suit, she takes off her own shirt and pants to stand in a blue bikini. Mark, now in just his boxers, lets out a rebellious yell before RUNNING into the water, diving in head first. We CUT to Tiffany, standing there on the beach, looking pretty, smiling at her boyfriend's antics. We CUT back to Mark, swimming out into the lake. He TURNS BACK and begins TREADING WATER. MARK Come on! The water's fucking awesome! TIFFANY Mark - I don't know. Swimming in lakes... MARK Oh, come on! I did it! Reluctantly, and with some false innocence, Tiffany resigns herself and walks up to the water, testing it out with her foot, then DIVING IN. She SWIMS OUT to Mark. TIFFANY You were right. This is really nice. MARK Nothing to be scared of... CUT TO: EXT WOODS (NIGHT) Almost as if on cue, and almost as if in a cheesy slasher movie, there's a MUSICAL BEAT letting us know that something is up - and then an eerie POINT-OF-VIEW shot to the right of Mark and Tiffany - the camera moves up and down. Someone is watching them. CUT TO: EXT MINNETONKA BEACH (NIGHT) Back to Mark and Tiffany, TREADING WATER in the middle of the lake. MARK Listen, you know that I really like you, right? TIFFANY I know. MARK Do you like me? TIFFANY Yes. MARK Prove it. Tiffany MOVES FORWARD in the water, launching into a PASSIONATE KISS with Mark. They BREAK APART. MARK Take your top off. TIFFANY Mark... MARK Come on, do it... (a beat) TIFFANY OK. TREADING WATER with just her legs, Tiffany undoes the straps on her top, and then, with her own rebellious yell, THROWS IT back toward the beach. We get a couple GLIMPSES of her bare breasts in the process. CUT TO: EXT WOODS (NIGHT) Back to the eerie POINT-OF-VIEW - the camera slowly MOVES FORWARD, back from a safe position deep in the woods, closer to the beach itself... The stalker is getting closer, as we see what he sees - Mark and Tiffany removing the rest of their clothes. CUT TO: EXT MINNETONKA BEACH (NIGHT) Back to Mark and Tiffany, their hands all over each other, continuing to MAKE OUT in the water. They BREAK. MARK You're sure you wanna do this? TIFFANY I'm sure. I'm ready. MARK OK. They begin SWIMMING TOWARD shore, eventually reaching it - to make it fair, there's even a few friendly for-the-ladies shots of Mark's physique. They continue to CLOWN AROUND and PLAY as they reach the shore, still KISSING occasionally, and they appear to be in the opening stages of sex. They eventually COLLAPSE on the beach, and Tiffany STRADDLES Mark on the beach, throwing herself forward and KISSING HIM...we HOLD on this for a long time, but then Tiffany's head TURNS UP as she notices something. TIFFANY Oh my God... MARK What? Tiffany quickly GETS UP, and Mark FOLLOWS SUIT - the camera holds on their upper bodies to keep the shot from being X Rated. In the foreground, we see the figure - THE RIPPER - for the first time in this film. All we can see is his back, outlined in PURE BLACKNESS. He's male, tall, not burly, but definitely fit. He is danger to the core. To his right, we see his prey - Mark and Tiffany, still both nude, although they don't appear too offput by what they see. MARK Good God, man, you scared us to death. Are you lost or something? You need some help? We CUT to an ominous sight - the Ripper's RIGHT HAND, concealed to Mark and Tiffany, holds a large KNIFE. Mark continues WALKING toward the figure. MARK Look man, I'll get some clothes on, and then I'll help you... We STAY in the Ripper's POINT OF VIEW for the remainder of the sequence - a HAND come into view, now holding the knife, as Mark BENDS DOWN to pick up his clothes. It brings the force of the knife down directly ON TOP OF HIS HEAD. We don't see much graphic gore, but the music PICKS UP in a big way as something else becomes apparent - this film is populated with stark, grating VIOLIN MUSIC a la "Friday the 13th." Mark SLUMPS TO THE GROUND, DEAD - and then the POV turns to Tiffany, now SCREAMING at the top of her lungs. She FALLS on the beach. The Ripper ADVANCES on her... Tiffany begins PLEADING for her life, the usual "No, please God, no, don't kill me" slasher film pleading, all the while backpedaling along the beach, half-crawling, half-running, but as she nears the woods and BUMPS into a tree, we see the Ripper's HANDS come into his own POV again - they SLICE Tiffany directly across the stomach. Blood SPRAYS from the wound, and Tiffany looks DIRECTLY into the eyes of the camera, shocked, before slumping to her knees and then the ground... DISSOLVE TO: OPENING CREDITS We FADE TO BLACK - from the right-hand side of the screen, the title comes in on a marquee scroll - very cheap and low budget-looking. COMMENCEMENT As it reaches the center of the screen, a RED SLASH, complete with sound effect, SWIPES underneath it, and a RED SPRAY of blood flows from the cut... The CREDITS themselves appear in PLAIN WHITE TEXT, in various locations on the screen. The actors and actresses all appear in groups of three. There are no huge stars in this movie - they are all horror film victims, as very angry violin music sets the scene. We flash the final credit - WRITTEN AND DIRECTED BY JON LICKNESS - before we FADE TO WHITE and... DISSOLVE TO: EXT PRAIRIE GROVE MENTAL HOSPITAL (NIGHT) Closeup of a sign - "Prairie Grove Mental Hospital." We slowly PAN LEFT until we are looking at the parking lot of the facility - it is completely empty, and it is in the middle of a city. A few cars whiz by in the distance - and one PRISONER TRANSFER vehicle pulls into the lot from the distance. It nears the camera and COMES TO A STOP. Two SECURITY GUARDS - PETER and VINCENT, both late 20s, both scream "STEREOTYPICAL THROWAWAY VICTIM" - exit the vehicle and begin WALKING toward the front entrance of the facility. We can see a RECEPTION AREA through the glass door. Screen text - "June, 2008." VINCENT This is the place? PETER Yeah. Said they'd only do this at night. VINCENT Why is that? PETER How the fuck should I know? CUT TO: INT PRAIRIE GROVE MENTAL HOSPITAL (NIGHT) The two guards ENTER the facility - it is empty, with the exception of the RECEPTION AREA in front of them, a mid-40s African-American RECEPTIONIST behind it. RECEPTIONIST Can I help you? PETER Yeah, we're with Craven Sanitarium, here to transfer a patient of yours. RECEPTIONIST The very last one. PETER Yeah, this place is closing down. RECEPTIONIST And don't I know it. Hold on, I'll buzz Dr. Crawford down. The Receptionist turns her attention downward to her desk, HITTING a button and SPEAKING into an electronic device. RECEPTIONIST Dr. Crawford, the 1:00 A.M. transfer is here. The Receptionist STANDS UP. RECEPTIONIST He'll be right down. The Receptionist WALKS down a hallway in the opposite direction. Vincent, who is also profoundly overweight, begins looking around - empty hallways line this almost deserted looking mental institution. VINCENT Way it looks, this place is almost shut down already. PETER They might as well. Seems like we get all the fuckin' action, anyway. From behind them, a mid-50s man in a white lab coat, DR. CRAWFORD, rounds a corner, holding a CLIPBOARD. The two men turn their attention to him. DR. CRAWFORD You guys with Craven? PETER Yeah. Craven Sanitarium. Here to pick up a transfer. DR. CRAWFORD (writing on the clipboard) Chalk one more up in our graves. VINCENT Yeah, we heard about this place closing down. DR. CRAWFORD The State Department of Minnesota feels that it is more necessary to divulge in more social programs than it is to insure that some of these people are locked up. VINCENT Really? Did you have any killers in here? PETER Shut the fuck up, Vincent. VINCENT Well, I'm sorry, Peter, you know, I may drive back through here someday. DR. CRAWFORD To answer your question, yes, we had some convicted killers. Although since this is a sanitarium, not a prison, all were profoundly psychotic and thus found not guilty by reason of insanity. Just as the person you're transporting tonight. PETER The guy we're moving was a killer? DR. CRAWFORD Was. This subject was, to put it bluntly, a lunatic. Crawford FINISHES WRITING on his clipboard, and hands the top sheet to Peter, who TAKES IT. PETER So - in one week, this all goes down, huh? DR. CRAWFORD Unfortunately, yes. VINCENT So what happens to you? DR. CRAWFORD I have a transfer of my own. Donald Wing Center for the Mentally Ill. PETER I've heard of that - that's up north? DR. CRAWFORD Something like that. Listen - I'm off someplace new in a week. And since I'm leaving the person you're transporting tonight behind forever, I don't want any unfortunate incidents involving him on my conscience. PETER You said he was a killer. What did he do? Was it in the papers? DR. CRAWFORD The less you know about this man's personal history, the better. So, a few words of warning. While this man was deemed insane by the court, he displays several parameters that are very rare. Do not let this man out of your sight. Keep one set of eyes on him during your entire trip - change drivers if you have to, you need to stay alert. Do not underestimate him. He has shown a history of showing an extremely lethal cunning. PETER What? Has he tried to escape or something? DR. CRAWFORD More than once - and very close to success more than once. PETER Jesus. DR. CRAWFORD Jesus gave up on this man a long time ago. If he pretends to be sick or wounded, don't believe it, no matter how much of an Academy Award-winning performance he puts on. Once, he faked an epileptic seizure. The nurse who went into his room has had twelve reconstructive surgeries since, and her face is still not repaired. VINCENT (terrified) What did he do to her? DR. CRAWFORD You're better off not knowing. CUT TO: EXT PRAIRIE GROVE MENTAL HOSPITAL (NIGHT) We are back in front of the mental hospital. Peter, Vincent, and Dr. Crawford STEP OUT of the front door. PETER I'll go fire up the car. Peter WALKS to the foreground and ENTERS his vehicle, starting it. Vincent OPENS the back door while Dr. Crawford hovers near Vincent. DR. CRAWFORD I'm not kidding. Take my warnings seriously. VINCENT Believe me. We're professionals - we handle this sort of thing all the time. DR. CRAWFORD Just be careful. Crawford TURNS BACK to the entrance. DR. CRAWFORD Bring him out! At the front entrance stand three men - two burly SEUCRITY GUARDS stand on either side of an extremely scary-looking sight. In the middle is THE RIPPER - although we can't see any of his features. He wears a strait jacket, and is BOUND at the hands with handcuffs. He also wears what appear to be BANDAGES over his face, as he looks like the invisible man. We CUT to Vincent, who appears very scared. The Security Guards WALK The Ripper to the back of the vehicle, where they help him into the back - he enters without protest. We see the inside of the back - it is separated from the front by a thick metal door, with a thin slit of glass for the transporters to observe him. There's also a bench, which The Ripper sits on. He has done all this like he knows the drill - which he does. Vincent and Dr. Crawford SHUT THE DOOR. Crawford motions for the Security Guards to re-enter the hospital, which they do, leaving Crawford alone with Vincent. DR. CRAWFORD There aren't any bars on your side of the glass? VINCENT No. DR. CRAWFORD Only look at him from a distance. Stay the fuck away from that glass. VINCENT Alright, sir. Crawford TURNS AROUND and begins WALKING toward the entrance of the hospital. We HOLD on Vincent, who now appears more scared than ever. He LOOKS to the back door of the vehicle, then scampers around to the other side. PETER (O.C.) Come on, already, fatass! VINCENT Coming, Peter! Vincent GETS IN the passenger's side. The vehicle SPEEDS OFF... CUT TO: EXT RURAL HIGHWAY (NIGHT) The armored vehicle speeds through the night, the headlights PIERCING the darkness... CUT TO: INT ARMORED VEHICLE (NIGHT) Vincent, keeping his distance, LOOKS THROUGH the single pane of glass while Peter drives. The Offspring's "Hypodermic" plays on the soundtrack, giving the scene an ominous, forboding tone. PETER What is he doing back there? VINCENT Nothing. PETER Then why are you staring at him? VINCENT Dr. Crawford says don't take your eyes off him. PETER An Honest-to-God serial killer. Gives me the creeps. VINCENT You're telling me. We CUT to what Vincent sees - the Ripper sits on the bench, staring at the ground, completely unmoving. Back to the front seat. VINCENT You know, nobody will believe this. PETER What is this guy's name again? VINCENT I don't know. PETER Look it up. Vincent takes ONE LAST GLANCE through the pane of glass - the Ripper still sits there, unmoving. Then he turns his attention to the glove box. PETER It's in that big stack of papers somewhere. Looking nervously between the glass and the glove box, he makes his decision, shuffling his position forward, opening the glove box, and sifting through a huge mound of papers that FALL OUT of the box. VINCENT Shit. Vincent BENDS DOWN to pick up the papers, then begins comically trying to PIECE THEM BACK TOGETHER. PETER You fuckin' moron. VINCENT I'm sorry, Peter. PETER Just find it. I know I heard about this guy - supposedly he was plastered all over the news. VINCENT Fuck. I better keep an eye on him. Vincent SETS the stack of papers down on the seat, then turns back to the pane. We SEE WHAT HE SEES - there's nobody at the bench - just a strait jacket. VINCENT Uh, Peter, we have a problem. PETER What? VINCENT The guy. He's not there. PETER What do you mean he's not there? VINCENT I mean he's not there. He's not on the bench! PETER He's probably at the back of the car or something. Look closer. And then Vincent makes his cardinal horror movie mistake - ever-so-slowly, he LEANS IN to the pane of glass, the action slows down, and as he GETS CLOSER AND CLOSER to the pane of glass... CUT TO: INT BACK OF ARMORED VEHICLE (NIGHT) As Vincent peers DIRECTLY through the glass, we slowly PULL BACK into the prisoner's area of the vehicle - the Ripper is STANDING to the right of the glass, back against the wall - and just as Vincent sits there with his nose pressed up against it, he makes his move... CUT TO: INT ARMORED VEHICLE (NIGHT) Back to Vincent, staring through the glass... TWO HANDS EXPLODE through the glass, one of them grabbing Vincent by the throat... Vincent begins SCREAMING LOUDLY... Peter begins SWERVING THE CAR... One of the hands grabs a SHARD OF GLASS that broke from the pane, and now sits on top of the seat... QUICKLY and with GREAT FORCE, the Ripper strikes, SLICING THROUGH VINCENT'S NECK with the glass - and then the hands RETREAT back into the glass... CHAOS STILL REIGNS in the front of the vehicle - blood GUSHES from Vincent's neck wound, and he begins CHOKING on his words, seeing the life escape from his eyes. All the while, Peter is SCREAMING as well, attempting to gain control of the vehicle, but as he sees his friend SLUMPING OVER DEAD, he LOSES IT, and the vehicle LURCHES to the LEFT... CUT TO: EXT RURAL HIGHWAY (NIGHT) Back to the highway - the vehicle makes a BEELINE to the left, and begins TURNING OVER ON ITS END... It TUMBLES ON ITS SIDE, and ever-so-subtly, we can see that the BACK DOOR is being damaged as well as WINDOWS BREAK AND STEEL DENTS... The vehicle SCREECHES AND WHINES on the pavement of the road, eventually coming to a HALT after a long slide. We ANGLE ON Peter, still in the driver's seat, the vehicle TILTED his direction. He UNDOES his seatbelt while the wheels still ROLL around him... He KICKS the windshield out, which comes CRASHING DOWN, and he slowly CRAWLS out of the seat. CUTS and assorted WOUNDS GOUGE his body... He REACHES the pavement, and begins CRAWLING AWAY from the wreckage, but eventually, we hear something. Footsteps. Peter SLOWLY turns back... PETER No. Oh God, no... Peter begins CRAWLING faster, and we hold EXTREMELY CLOSE on him as he does so. Eventually, he TURNS again - the Ripper is closer... PETER (yelling) No! We CUT to the front of the vehicle - the Ripper's HANDS are all we see, both still BOUND by the restraints, as they GRAB a piece of the vehicle's GRILL, RIPPING it off with SAVAGE FORCE... And now we see The Ripper, virtually unscathed, escaped, free, and brandishing a weapon - and he is ADVANCING on the prone form of Peter. He BENDS DOWN, picking up another SHARD OF GLASS from the wreckage... His BANDAGED FACE is all we can really make out in the darkness. PETER (yelling) No! We see what Peter sees - the bandaged face, the all-gray Sanitarium uniform, and his weapons - the grill piece and the glass. For a second. The Ripper BRINGS THE GLASS DOWN, HARD, on Peter's shoulder - and blood SPURTS from the wound as Peter SCREAMS IN PAIN... But then we HOLD on the Ripper's face as he STANDS BACK UP - his head TILTS first to the right, then to the left, he appears to be GREATLY ENJOYING Peter's pain... Peter CONTINUES SCREAMING - and finally, the Ripper BRINGS the piece of the vehicle down, almost DIRECTLY on top of the camera's lens. We CUT FORWARD in time - EXTREME CU of the Ripper's hands - the restraints have been CUT and drop harmlessly to the pavement below. Then we see what was in his hand - a small MEDICAL SAW, in the front of the vehicle with the officers. We CUT FORWARD in time again - he has SWAPPED CLOTHES with the Officer, and there is an ATMOSPHERIC SHOT of this man, 23 years old, lithe but strong at the same time, walking forward wearing Peter's clothes - although we just see this from the back. CUT TO: INT CRAVEN SANITARIUM (DAY) We are now in a LARGE MEETING OFFICE at the Craven Sanitarium - three or four DESKS sit in front of a large FRONT DESK AREA. There is a WHIRLWIND OF ACTIVITY - There are half-a-dozen people in this room, as a single POLICE OFFICERS talk to PSYCHIATRISTS, but at the forefront of the DESKED AREA are two older, mid-60s looking DOCTORS - WYNN and GORDMAN, and a mid-30s, mustached POLICE OFFICER is talking to them. WYNN What can you tell us? POLICE OFFICER The same thing that all of these guys can say - that right now, we're assuming the worst. GORDMAN And the worst would be? POLICE OFFICER Well, that both of the guards appeared to have been murdered in an escape attempt. WYNN Oh, Jesus Christ... POLICE OFFICER We're all canvassing the area as we speak. WYNN Thank you, Officer. POLICE OFFICER He really messed one of them up... Just then, DOUBLE DOORS at the front of the room BURST OPEN - and we meet MICHAEL PLEASENCE for the first time. Michael STARES the rest of the room down - who all immediately STOP TALKING. Pleasence is the main hero of our story, and, as he is to be played by a character actor who can be serious when necessary and ham it up when necessary, we can tell that while he's part everyman - he is late-50s but physically fit, dressed in working clothes and boots - he is also capable of great strength when necessary. He also carries a gun at his side - a .45 Revolver. PLEASENCE Why wasn't I told that this man was being transported? WYNN Excuse me, sir, can I help you? PLEASENCE I specifically requested that if this patient were ever to be moved from one facility to another, I was to be the one in charge of the operation! POLICE OFFICER Sir, this is a police matter. What are you... Pleasence RUSHES the scene - in particularly, the second group, now visibly miffed. PLEASENCE You're goddamn right it's a police matter! Do you have any idea where he went? POLICE OFFICER We're canvassing the area. PLEASENCE How many men do you have on it? POLICE OFFICER Well, right now, three squad cars. PLEASENCE Three? A five-year-old could get through that. GORDMAN Sir, do you mind telling us your name and what business you have here? PLEASENCE I'm police. The Officer appears to be eyeing Pleasence up - he can tell that he's a little advanced in age. POLICE OFFICER Active? PLEASENCE I'm retired. POLICE OFFICER We're sorry, but this meeting was deemed a police matter. PLEASENCE Just see to it that your superior gets this message - get more fucking cops on this case. Pleasence TURNS AROUND, and as all the onlookers appear dumbfounded, he WALKS to the double doors. POLICE OFFICER Wait! Where are you going? PLEASENCE To look for Ben Glover. Pleasence EXITS the room... CUT TO: EXT GAS STATION (DAY) We are now in a dirty, slightly unkempt RURAL GAS STATION - one of the MINNESOTA HIGHWAYS is nearby, but there is NO TRAFFIC. CHUCK - a mid-20s, slightly gawky kid, STANDS BEHIND THE COUNTER, the RESTROOM AREA and a small, dingy door to his right. He appears very near sleep. Suddenly, we hear an OPENING DOOR and CHUCK PERKS UP - although he appears somewhat shocked by what he sees. We HOLD on Chuck - we never show The Ripper. CHUCK Jesus, man, you look like you're in rough shape, Officer. THE RIPPER Do you have a phone? CHUCK Yeah, right outside, on the right. CUT TO: EXT PHONE BOOTH (DAY) CU of the Ripper's hands - they are GOING THROUGH the yellow pages on a phone book - the "H" seciton. He FLIPS TWO PAGES - and then FINDS what he is looking for... We see it - "HIGH SCHOOLS" - the audience in on the joke. He RIPS OUT the page, and we HOLD on him in EXTREME CU as he puts the paper in his pocket. But he's not done at this location - not by a long shot. We PULL BACK slightly on the Ripper from the back, although we don't see his head - to his right is a broken down, mid '80s Chevy vehicle - but it will suit his purposes just fine. Slowly, and much like Michael Myers or Jason Voorhees, he WALKS AROUND the exterior of the Gas Station - which is just as grungy as the inside - and WALKS THROUGH the main door. CUT TO: INT GAS STATION (DAY) We are now in the Ripper's POV, as Chuck is still there, behind the counter. We get CLOSER AND CLOSER to him as the Ripper nears. He also has a name badge on his all-blue workwear denoting his name. CHUCK Hey, man, is there anything else I can do for you? THE RIPPER Your clothes. (a beat) CHUCK My clothes? And then the Ripper's hands come into focus in the POV once again - and they GRIP Chuck's neck in a vicelike snare, Chuck's eyes GO WIDE WITH PANIC... CUT TO: INT RESTROOM (DAY) Chuck's dead, lifeless body - HEAD FIRST - HITS the ground of the dirty restroom - and now he is wearing the security guard's outfit. The Ripper has changed his mold once again - and we make a QUICK CUT to the door leading into the restroom as we see the Ripper DEPART the room. CUT TO: INT GAS STATION (DAY) In one continuous shot, we see the following... We see the dingy-looking door next to the register area - we GO IN. Inside is the worker's area, dark, barely lit, but with all sorts of TOOLS hanging up on the wall and a dirty WORKBENCH. Of course, by where the Ripper's eyes are, we know what he is interested in - implements of Hell. There is an AXE with a carrying sheathe hanging above the workbench - we slowly WALK toward the bench, and then a HAND comes into frame and TAKES the axe down. Then our eyes turn to the left - and next to a can of gasoline lies a MACHETE, also with a carrying sheathe. We squat down and TAKE IT along with the Ripper. Finally, we do a 180 degree turn, and can't seem to find anything else - but then, by some auto supplies near the door itself, is a TIRE IRON - he TAKES IT, and then we EXIT the room. We CUT BACK to a shot of the Ripper walking from behind, once again showing everything but the head. He has the AXE slung around his back, as it also has a strap, while he has the MACHETE in his belt loop and HOLDS the tire iron in his left hand. He WALKS THROUGH the station, and appears ready to leave, but then one final thing CATCHES HIS EYE - something CLOSE to the front door... We see what he sees - HALLOWEEN MASKS. One in particular - a GRIM REAPER MASK. It is ALL BLACK, and appears to have a small HOOD. The area over the face is also TOTALLY BLACK, and is designed to allow the wearer to see, and also conceal the face. The Ripper's hand once more passes into view, and he TAKES THE MASK... CUT TO: EXT GAS STATION (DAY) HIGH-ANGLE SHOT of Chuck's '80s-model Chevy SPEEDING OUT of the parking lot and ONTO THE HIGHWAY - we HOLD on the car from a distance as it travels, setting the foreboding tone. DISSOLVE TO: INT GYMNASIUM (DAY) We are now in a huge HIGH-SCHOOL GYMNASIUM - we are looking at a HUGE SECTION OF BLEACHERS, with DOZENS of HIGH-SCHOOL SENIORS lining the seats. We SLOWLY COME DOWN onto a STAGE in the middle of the gym - and look at the Valedictorian of the school, PATRICK, from the side - a good-looking kid, curly hair tufting out from below his cap. The PRINCIPAL and VICE PRINCIPAL sit beside him while he concludes his speech, and we see that SCORES of GRADUATES are also seated on the gym in front of him. PATRICK ...thus, ladies and gentleman, we are reminded over and over again that our entire lives have prepared us for commencement. And the word commencement technically means to begin, so with all due respect to the gentlemen seated at each side of me, let's begin and get the hell out of here! Patrick THROWS HIS CAP in the air - as do ALL of the seniors in the audience as well... CUT TO: EXT CARPENTER HIGH SCHOOL (DAY) We are looking at one of the SIDE EXITS of the high school, as screen text informs us - "Carpenter High School." Smash Mouth's "Getaway Car" sets the scene. KIDS FILE OUT of the door, an absolute mass of humanity, some of them still wear their cap and gown while others have changed into street clothes. We begin FOLLOWING two of the kids who come out of the door - a boy and a girl. The girl is KATIE KRUEGER - she's tanned, beautiful, tall and lithe, and wears tight blue jeans and a red shirt. The other is her twin brother, SEAN - handsome, wears a Chicago Cubs baseball cap, appears straight-arrow and eager to please. They begin WALKING to the middle of the large PARKING LOT as they talk. KATIE Oh thank God, it was fucking hot in there! SEAN You're not shitting. I thought we were never going to get out of there. KATIE Well - four years. Feel any different? SEAN Not really. How come you didn't sit with Jason? KATIE Well, boyfriends may come and go, but siblings are for life. Not to mention twins. Sean PUTS AN ARM around Katie now, signifying that while they wheedle each other, the siblings do love each other. SEAN Where was Jason, anyway? I didn't see him. KATIE Probably with his friends. Way up in the rafters. SEAN Oh, man, already? KATIE Sean, he's not that bad. SEAN I know he's not that bad - but we're not even at the lake yet! Sean and Katie REACH their car - a mid-21st century Pontiac, nice rig. They STAND by the back of the car, kids still SWIRLING around them, while cars TAKE OFF and exit the high school forever. KATIE Alright, so where's your girlfriend? How long has it been? SEAN Oooh, Burn. KATIE I wasn't trying to burn you. SEAN You were trying to burn me. KATIE I wasn't. SEAN Burn! KATIE Alright, I'm sorry I burned you. SEAN Apology accepted. KATIE Real mature. SEAN Hey, there's your loverboy now. Katie's EYES LIGHT UP... We CUT to one of the rows over - JASON ALVERS walks toward them. He's a little taller than Sean, blonde, spiky dyed blonde hair, a good-looking guy who screams "PARTY ANIMAL" from the first time we see him - and he's wearing a very loud shirt and blue jeans to match. He sees Katie and SMILES, then begins RUNNING TO HER. When he reaches her, Katie JUMPS UP into his embrace and straddles him briefly, and as Jason sets her down, he SLAPS HANDS with Sean, who is smiling as well. Clearly, he's alright with his sister's boyfriend. JASON Man, we got a house all weekend! No fucking adults anywhere in sight! Hey, yo, Sean, how you doing, man! Jason GRABS Sean in a bear-hug, which he returns meekly. SEAN Not bad, Jason. JASON Goddamn, I never thought this day would come. Senioritis, fuck, it's a fucking bitch! KATIE Oh, is that what you call it... JASON Hey, Kat, no need for your bro to know anything about that. SEAN I can only imagine. Through all of this, Sean smiles - we can tell how nice and easy-going he is. SAMANTHA (O.C.) We did it, guys!! The three friends TURN THEIR ATTENTION O.C. - and SAMANTHA CURTIS walks to them. Samantha is shorter, pretty, but in much more of a natural way than the heavily made up Katie. She wears glasses, a no-frills top, and blue jeans, and wears a small Crucifix around her neck. She WAVES LIGHTLY at the bunch, then HUGS Sean first, then Katie. SAMANTHA I have to say, as much as I'm looking forward to this, it's really sad. KATIE I know - after this, it's all over. JASON Oh, fuck all that - you're starting to kill the party buzz already. KATIE Shut up! JASON Well, hey, Samantha, you know, not everybody has a friend whose daddy is a rich lawyer. We gotta take advantage of this shit! I don't know about you, but I'm stoked! SAMANTHA And I am stoked, but in a very different way. JASON Samantha doesn't get stoked in that way. KATIE Jason, Goddammit... SAMANTHA No, it's alright, Katie. You know, after this weekend, the mirth level in my life will be a lot lower when you're out of it, Jason... With that, the big softie grabs Samantha in one of his patented bear-hugs as well, and as she drops her down, Sean butts in... SEAN Hey, where's Amanda? She should've been here by now? KATIE Oh, I think I can figure out where she was. SEAN How? KATIE That's her right there. Katie POINTS FORWARD - and through the parking lot come AMANDA VOORHEES, blonde, hot, wearing tiny shorts and a tank top, arm-in-arm with her boyfriend DEREK BAKER - a burly, football-player type, but one we can tell has a big heart. SAMANTHA Already? KATIE Everybody's trying to get a jump on the fun. Amanda and Derek reach the group, still standing arm-in-arm. By now, the herd has thinned out somewhat in the parking lot, and it is only about half as loud as the beginning of the scene. KATIE What's up with you guys? Derek and Amanda break their embrace, and begin HUGGING their friends. DEREK What's up with you? SAMANTHA (hugging Derek) Mr. Big football hero, we didn't know if you'd show to slum it with us. DEREK That's crap, Sam. You guys are like my second family. AMANDA He means it. He talks about you all constantly at his FLA meetings. KATIE Why would you need to bring us up at Future Leaders of America? DEREK Because - I believe that one of the founding qualities of leadership is friendship. KATIE Wow. That's so sweet it makes me want to fucking vomit. AMANDA Nice, Kat. You know, I still can't believe my father is letting us use the lake house this weekend. DEREK I'm not complaining. SEAN Neither are we. Is it really as big as she says it is? AMANDA It's huge. I've spent countless invigorating family gatherings there. This time, we can actually do something fun at the damn place. KATIE So - I just got to know. You're the last ones here - where were you, just now, up until you walked up here? (a beat) AMANDA Take a fucking guess. Everybody in the group MOANS. SEAN Oh God... KATIE Where? DEREK Bathroom - right after Patrick got done with his speech. The group begins LAUGHING... CUT TO: EXT CITY STREET (DAY) We are looking through the Ripper's POV - he is on a street with a nice view of the school's parking lot, the green of the school's football field visible in the background behind the parking lot. We then CUT to the usual view of the Ripper's body, but not his face - behind him is the car, and then we REVERSE ANGLE, behind his head, overlooking his shoulder - he now WEARS the Grim Reaper mask along with the gray workshirt of the gas station attendant. We look through his eyes again, going from one group of teens to the next, as several of them TEAR OFF through the parking lot - and as groups FILE OUT, he begins HOLDING on the group toward the middle of the parking lot. The stars of the show. Our unlucky quintet. CUT TO: EXT CARPENTER HIGH SCHOOL (DAY) We are now looking closely at a new character - blonde, heavily-made-up ELLIE HARRIS, popular cheerleader to the core. She constantly has a pouty look on her face, an air of superiority. This should be saying "ONE OF THE FIRST VICTIMS" to any educated horror-watcher. She WALKS toward one of the cars in the parking lot - there is a good-looking, athletic kid - DAN - who is attempting to get into his car in a huff. ELLIE Oh come on, Dan, that's a lot of shit and you know it! DAN I don't want to have this discussion with you anymore. ELLIE Dan, you know how this fucking high school is - they make up rumors about everybody. It's worse than the fucking news with Lindsay Lohan, or something. DAN I have it on good authority that you did the things you did. ELLIE Dan, if I wanted to cheat on you, I would have... DAN What? Picked somebody other than my friends? ELLIE That isn't what I was going to say. DAN Sure you weren't. We're done, Ellie. ELLIE Dan - you have to let me go with you! DAN Ellie, I thought we were done with this shit, I'm going out with my friends - more than one of whom you probably fucked! ELLIE Oh, fuck you, Dan! Dan GETS INTO HIS CAR and speeds off, leaving Ellie - dressed in an overly extravagant top and skirt - by herself. ELLIE Fuck. All alone on graduation day - now this is pure shit. With this, Ellie begins SCANNING the parking lot for a new party to hang out with on this day - she is a popularity queen, she doesn't take well to not being the center of attention - we scan with her. She goes from group to group - and much like the Ripper, only in a much different fashion, she zeroes in on our likable protagonists. ELLIE Katie Krueger, her brother, and Amanda Voorhees. This might work. She begins RUNNING TOWARD THEM - Katie, Sean and Jason are beginning to enter Katie's car, while the other three are beginning to pile into a LARGE SUV parked next to it - Amanda's rig. ELLIE Hey! Hey, you guys! Katie! Sean! With this, the group begins LOOKING at Ellie... She reaches them, and they all stare at her. SEAN Hey, Ellie. What's up? ELLIE Where are you guys going? KATIE Well, uh...Amanda's father owns a little house up by Lake Bellossa. We're headed up there for the weekend. ELLIE Really, what are you doing up there? JASON Man, what do you think we're doing? Lots of weed and sex, dude! Katie SLAPS HIM playfully...and Ellie then notices Jason and begins PLAYING HIM... ELLIE Really? You like to smoke? JASON Shit, I love it! ELLIE I'll bet you like lots of things I like. KATIE Alright, let's get going. ELLIE You guys - I was wondering, would it be okay if I crashed with you for the weekend? I was supposed to go to a party with my boyfriend, but he won't let me come. SAMANTHA Oh my God - that's terrible! ELLIE Tell me about it, he's such a fucking dick! We cut to Jason, who appears to be eyeing Ellie as well. AMANDA I don't know, Ellie. We've had this trip planned out for a long time. KATIE Yeah. It was kind of just supposed to be us. SAMANTHA Do you have any spare rooms? How many do we really need? AMANDA Well...one for me and Derek, probably one for Katie and Jason, and one each for you and Sean. So that's four. And it's a four bedroom house. SAMANTHA You have the guest house. JASON A guest house? Awesome! We'll take it! SAMANTHA See? Come on, she doesn't have anywhere to go. AMANDA I don't know... ELLIE Please, Amanda? (a beat) AMANDA (annoyed) Alright. Come on. You're riding with us. Amanda GETS IN to drive the SUV, while Derek piles shotgun. Samantha gets in the back, and Ellie gives Jason another flirty smile as she passes him to sit in the SUV. CUT TO: EXT CITY STREET (DAY) Back to the Ripper's POV, as he sees the two groups get into their respective vehicles. We hold on an EXTREME CU of his mask - directly where the eyes are - for a time, and then REVERSE ANGLE to show his POV again. The two rigs begin SPEEDING OFF - and then the Ripper makes his move. All we see at first are his feet as he begins WALKING toward the parking lot from his vantage point... We HOLD on him from behind, the parking lot in front of him and just a few scattered TEENS around as he TAKES OFF HIS MASK... CUT TO: EXT CARPENTER HIGH SCHOOL (DAY) We are now LOOKING at the same exit of the high school - and one man exits. This is VINNIE, wearing a Letterman's jacket, blue jeans, blonde and good-looking. He also carries a large GYM BAG with him, and he LOOKS AROUND WISTFULLY at the parking lot. As he begins WALKING to his car, a young male ATHLETE calls out to him as he walks by... ATHLETE Hey, Vinnie! What's with the bag? VINNIE Still had it in my locker. Hadn't cleaned it out yet. Vinnie SETS the bag down next to his car, a nice, mid-90s Mercedes. Vinnie then WALKS AROUND to the other side of the car to talk to the Athlete. VINNIE Can't believe all this is over, man. ATHLETE I know, ain't it the shit... We CUT to a shot of the Ripper's feet, standing next to the school. Nobody pays the intruder any mind - apparently, he is quite inconspicuous. Silently and stealthily, he OPENS the bag and REMOVES a baseball bat...then he scampers off. ATHLETE I'll talk to you later, man. VINNIE Later. The Athlete GETS IN a car next to Vinnie's, then quickly SPEEDS OFF... And just like that, Vinnie is all alone at the school. He LOOKS AROUND, one last time, a high school athlete's glory days coming to a close. He MOVES AROUND the car - tears almost start welling up in his eyes. VINNIE Fuck. Then he moves to pick up his gym bag - and as he picks it up, he notices it feels different. VINNIE What the fuck... Vinnie begins FRANTICALLY OPENING the bag - and sees that his bat is missing. VINNIE Motherfucker! We then CUT to the Ripper's POV - he is standing JUST BEHIND Vinnie, and the shot gets CLOSER... THE RIPPER Batter up... Vinnie TURNS AROUND - and comes face to face with his maker. VINNIE Shit! VERY FAST SHOT - the Ripper is now WEARING his mask - and he SWINGS THE BAT with FULL FORCE directly at Vinnie's face... It CONNECTS with a SICKENING THUD - and Vinnie FLAILS to the ground in pain... VINNIE Oh, fuck!!! Vinnie's face is already barely recognizable after a single hit. We then CUT to the Ripper, to the way we will see him for the remainder of the film as he stalks - grey worksuit with "Chuck" nameplate, and his Grim Reaper mask. He then begins SWINGING THE BAT, HARD, and begins RAINING the blows on top of Vinnie's FACE and NECK... With each shot, the pavement below him turns a CRIMSON RED, giving the murder a sense of poetic artistry. And finally, Vinnie is dead - at the very same place that he didn't want to leave. And we CUT to the Ripper, another notch in his belt, triumphant. He is also wearing LEATHER GLOVES now - something that he picked up at the gas station, and DROPS the baseball bat... We make another QUICK CUT forward in time - the Ripper is now behind the wheel of Vinnie's Mercedes, the dead body of Vinnie lying on the pavement as the Ripper SPEEDS OFF and OUT of the now empty parking lot... CUT TO: EXT CITY HIGHWAY (DAY) We are now looking at a busy, bustling highway, in the Metropolitan Minneapolis Area. We follow one car - a nondescript blue one. Pleasence's car. CUT TO: INT PLEASENCE'S CAR (DAY) Pleasence DRIVES the car, look of intense concentration on his face. He also has a POLICE SCANNER in his vehicle. There is nothing but STATIC for a time, as Pleasence looks around for something - anything - suspicious as he passes underneath an overpass. But finally, the scanner PICKS SOMETHING UP... VOICE (O.C.) Attention all units - we have a code 217, repeat, a code 217 at Larry's Gas Station, Highway 169. Repeat again, code 217 at Larry's Gas Station, Highway 169, any available units converge immediately. While the man is talking, Pleasence perks up immediately... PLEASENCE Him. CUT TO: EXT CITY HIGHWAY (DAY) Pleasence's car makes a QUICK U-TURN on the busy street, doubling over the median and TURNING the other way as cars HONK THEIR HORNS at him... CUT TO: INT GAS STATION (DAY) We are BACK in the gas station - but now, there are FOUR OFFICERS in the room - and TWO OF THEM are slumped over by the dead body of Chuck - one of them is a mid-30s man in a suit, square-jawed, slicked hair, LIEUTENANT DAVE CHALMERS - although he is younger, we can tell that he busts his ass and is a good cop. The other is his partner, CRAIG TOOMEY - a late-20s, uniformed officer with a crew cut. CRAIG How many shots do you think he took? CHALMERS I can't really say, Craig. We have to get forensics in here. More than one huge contusion, however. CRAIG The guy who did this was some kind of psycho. PLEASENCE (O.C.) You're right about that. Both Chalmers and Craig's heads WHIP BACK - and there stands Pleasence behind them, looking down at the dead body of Chuck and the two officers, as other officers still MILL AROUND behind them, DUSTING for prints... The two officers STAND UP to greet him... CHALMERS Sir, this is a police matte, for your own safety... PLEASENCE I know it's a police matter. I'm police. CHALMERS We weren't informed of anyone else coming here - we have forensics on their way, but no more than what we got. MPD is booked. PLEASENCE I'm retired. CHALMERS If you're retired, I can't let you on this property. You're going to have to leave. PLEASENCE Listen, my name is Michael Pleasence, I was on the force for thirty years. I'm very intimate with this case. Craig appears ready to remove Pleasence by force, but Chalmers CALMS him with a hand motion. CHALMERS It's alright, Craig. Michael Pleasence, I know that name. You're quite the name up at MPD homicide. Lieutenant Dave Chalmers. Chalmers offers Pleasence his hand, which he accepts and shakes. CRAIG Sir? CHALMERS As long as he can humor me. You know something about this case? PLEASENCE I know what you're up against, and I know that you need all the help you can get. CHALMERS The way it looks, it appears to be just some robbery gone bad. PLEASENCE It certainly appears that way. But it's not. This is way too messy. CHALMERS Is this some guy that you turned in? PLEASENCE The Minneapolis Ripper. (a beat) CHALMERS Let's take a walk. CUT TO: EXT GAS STATION (DAY) Another POLICE CAR pulls up in front of the building, and two OFFICERS enter it as Chalmers, Craig and Pleasence walk outside, finally winding up at Chalmers and Craig's squad car. PLEASENCE You remember? CRAIG The Minneapolis Ripper...I remember. CHALMERS Yeah. Five years ago, some kid in one of the Minneapolis high schools. Supposedly went berzerk and killed a bunch of kids. PLEASENCE It was eight, Lieutenant. Eight kids - all of them couples, four sets, all out on dates or some other romantic getaway. CRAIG He was a serial killer? PLEASENCE The courts don't seem to think so - and still don't. All of these kids were killed in a one-month span, so the courts deemed him a spree killer. They believed he was just some fuck up trying to go out in a blaze of glory, and that he wasn't keyed up in any way by all of this carnage. But he was. CHALMERS So you're saying he was a serial killer? PLEASENCE I know it. I was in charge of his investigation. CHALMERS You still haven't explained what brought you here. You think this is the Ripper? I thought he was locked up. PLEASENCE It's Ben Glover. CRAIG Ben Glover? Ben Glover just made it across our wires this morning - mental patient that went missing after his vehicle flipped. PLEASENCE That's what they say - but he escaped. People forget fast, Mr. Chalmers, they forget how dangerous people can become. Ben Glover was the Minneapolis Ripper, and now he's on the loose. And this is his M.O. CHALMERS Didn't the Minneapolis Ripper use stabbing weapons? Machetes and knives and the such? PLEASENCE Sometimes. But not always. We've got work to do, gentlemen. CHALMERS It certainly appears so. Just then, the RADIO in Chalmers' car goes off. VOICE (O.C.) Lieutenant Chalmers, Sgt. Toomey, pick up, over. Chalmers OPENS his squad car door and TAKES the radio. CHALMERS This is Chalmers. VOICE (O.C.) Lieutenant, we have another code 217. Carpenter High School, we need you to get there right away to assist. PLEASENCE It's him. He's picking up right where he left off. CHALMERS We'll be there, over and out. Chalmers SETS DOWN his radio and begins GETTING into the squad car - as does Craig. CHALMERS I hope for all of our sakes that you're wrong and that this is just another robbery gone bad. PLEASENCE So do I. But I fear that I'm not. Pleasence begins GETTING into his own car... CUT TO: EXT CITY HIGHWAY (DAY) Once again, we LOOK through the Ripper's POV - about a half mile ahead of him on a busy city highway are the two vehicles - Katie's car and Amanda's SUV. We CUT to the back seat of the Ripper's car - all we can see are his hands on the wheel and the outline of his head as he continues to follow, ready, prepared, and ready to strike. We MONTAGE now, while Our Lady Peace's "Walking in Circles" plays - to various shots of the teens in their vehicles, and to the Ripper, always following, watching and waiting. Eventually, the vehicles begin passing onto a dirt road, surrounded by woods in all directions. We wind up with the road next to a lake. The montage lasts a solid minute before we... DISSOLVE TO: EXT LAKESIDE HOUSE (DAY) We are just COMING OUT of the montage, looking through the SUV's windshield - it is a gorgeous lakeside residence. First there's a small, one-story guest house next to the lake, up the road from here is a BOAT HOUSE - a small boat lies in the mooring, and a moderate-sized building is parked next to it to boot. About a quarter mile away from the guest residence and boat house is the MAIN HOUSE - a huge residence, two-storied, Victorian, gorgeous. We CUT to a shot from the main house, as we see first the SUV park next to the lake, then the car. CUT TO: EXT LAKESIDE AREA (DAY) We can see a small PICNIC AREA, with lakeside chairs and tables, next to the clean-looking lake. We are focusing on Katie, Jason and Sean as they EXIT the car... KATIE Wow! This is awesome! JASON Man, you're not fuckin' kidding! The trio joins Samantha, Amanda, Derek and Ellie, who have also exited their SUV and stand in front of it. SEAN (putting an arm around Katie) Your old man must be a pretty damn successful lawyer, Amanda. AMANDA I'm sure he is. Voorhees, Lichter and Law all the way. ELLIE Fuckin' awesome. We look over their shoulders, the seven of them lined up - and there's the main house, large window looking directly out at the lake, patio area on the outside, as nice and made up as you could possibly imagine. We CUT back to the group of teens. ELLIE I had in my head it was bigger, Amanda. (looks directly at Jason) You're sure there's enough bedrooms, or do we have to split? Katie looks with disdain back at Ellie. KATIE There's plenty, Ellie. Jason appears to be ogling Ellie, and Katie notices. Claiming her territory, she grabs Jason's face and forcefully MAKES OUT with him - which he reciprocates, shocked look on his face as he looks back at Ellie as well. JASON What was that for? KATIE We only graduate once. JASON Fuckin' right. Ellie and Katie continue to STARE EACH OTHER DOWN. AMANDA Well, let's claim our spots. The group of teens begins WALKING TOWARD THE HOUSE, and as we do, we begin focusing on the group at the forefront - Samantha and Amanda. SAMANTHA It's been a long time, Amanda. Did you ever think we'd get here? AMANDA Sure, eventually, after calculus, notebooks, and more fucking boredom than I would ever care to mention, I knew we'd get there. SAMANTHA No, not just graduating, Amanda. I mean, everything that comes after this. After this weekend. AMANDA Like what? College? SAMANTHA Yeah, that's part of it. And then us. We might not be best friends anymore. AMANDA Sure we will, Samantha. SAMANTHA You're sure about that? AMANDA How long have we known each other now? Eight years. SAMANTHA Fourth grade. AMANDA We've been through a lot, Samantha. I'm not ready to make anything as stupid as graduation get in the way of us. Samantha and Amanda share a friendly hug. AMANDA Don't talk like that anymore. It's really fucking depressing. Just have fun this weekend. SAMANTHA Alright. We CUT to a different group - Katie and Jason, with Sean and Ellie a decent distance behind them. KATIE That Ellie, why did she have to come? JASON Hey man, her friends ditched her. KATIE So what? This was supposed to be our weekend! JASON Well, it's not like she's gonna be sleeping with us or anything... KATIE Well, she wants to with one of us. JASON What do you mean, baby? KATIE What do you mean, what do I mean? You can't tell? JASON No. KATIE Ughhhh. Men. JASON Whatever. Say, think they have a big bed in one of those rooms? KATIE Always one thing on their minds. Katie launches to the side and MAKES OUT with Jason again. CUT TO: INT LIVING ROOM (DAY) Samantha SETS her bag of personal items down on a couch in the living room - Amanda is also in the room. We can see the remainder of the teens now PARTYING by the lakeside through the large window. The interior of the house is just as nice - large-screen TV on one side of the room, well-decorated, hardwood floors - clearly, wealthy people own this house. SAMANTHA You have an incredible place. AMANDA Hey, I don't. My folks do. They're just loaning it to me. SAMANTHA At any rate, this place is unbelievable. They WALK to the window, and watch their friends - Derek is there, and WAVES at Amanda. Katie and Jason begin WALKING toward the house now. SAMANTHA I always wanted to ask - who made the first move? AMANDA I did. He was really shy. SAMANTHA That's surprising. Mr. All Conference football player was shy? AMANDA Around me? Yeah. SAMANTHA I wish I had that kind of power. AMANDA You sell yourself short, Sam. You always have. SEAN (O.C.) Sell yourself short at what? SAMANTHA Oh, nothing. I thought you were in your room. Sean STANDS behind them. SEAN I was. Katie and Jason wanted to use the room. If you get my drift. SAMANTHA They certainly do work through their arguments in weird ways. That Ellie is quite the character. AMANDA I know. SAMANTHA We did the right thing, though. AMANDA I suppose you're right. But that doesn't mean I have to like it. SEAN She does have kind of a reputation, but she seems nice so far. SAMANTHA Agreed. So, Sean, how come you didn't have a hot date to bring to this thing? I thought I was going to be the only one. SEAN You'd be surprised. I'm just a lowly baseball player. Baker - he's a football player. He's got it made. SAMANTHA So is that what you equate having it made with? SEAN No, not at all. That sort of thing isn't for me. SAMANTHA Well, that's a little refreshing to hear. Derek then ENTERS the house - via a main door to the left of the characters. DEREK Amanda, please, please get outside now. AMANDA Why? DEREK I'm alone with Ellie. AMANDA So? Make with the small talk! DEREK Amanda! AMANDA What can I say? He's got me wrapped. Amanda WALKS AWAY from the window, and EXITS the house with Derek. CUT TO: EXT LAKESIDE ROAD (DAY) The GRILL OF A CAR comes into frame on a dirt road next to the lake. CUT to the Ripper's POV - he is LOOKING at the Voorhees house from across the lake. We HOLD on this for a long time, letting the tension linger. CUT TO: INT LIVING ROOM (DAY) Back to the living room, with Sean and Samantha, our two virtuous characters. SEAN How come I never really see you around in school, except when you're with Amanda? SAMANTHA I just...I just try to keep busy. SEAN Well, if you don't mind me saying so, you seem a little out of place with Amanda. SAMANTHA It might seem that way, but we've known each other for a long time. SEAN Not just her - I mean, the rest of this bunch, too. SAMANTHA They're my friends, Sean, and they're very important to me. SEAN Hey, I wasn't trying to be mean, or anything... SAMANTHA I know you weren't. I know, Sean. Come on, let's go out and see what they're up to. Samantha and Sean begin LEAVING the living room for the outside... CUT TO: EXT LAKESIDE AREA (DAY) The Donnas' "Better off Dancing" cranks on... We are looking at Derek - who has a large grill out, and is preparing hot dogs on it, wearing a big, theatrical chef's hat. Amanda is seated next to him, while Katie and Jason sit at the picnic table. Samantha and Sean EXIT the house in the background, and begin walking toward them. The remaining teens are improving some dialogue - usual teenage chit-chat stuff, and then we CUT back to the main house in the background - from the side garage door exits ELLIE, now sporting a tiny blue bikini. She's absolutely stacked, and wears Paris Hilton-style glasses pulled up around her bangs as well. We CUT to Katie and Jason - Katie eyeing her with much hate, and Jason attempting not to look her direction, but failing miserably. Samantha and Sean reach the group first. SAMANTHA Looks good, Derek. DEREK Well, as you know, I rejected several offers from the finest culinary schools in all of Paris. AMANDA They're hot dogs, Derek. DEREK Hey, hot dogs are a very revered delicacy in Europe. SAMANTHA They're not too bad here, either. Samantha TAKES one of the hot dogs from a plate of prepared ones that Derek has on the side of the grill, plops it in the bun, and begins eating it. SAMANTHA Good. DEREK Thank you. (to Amanda) See? Samantha Curtis understands the value of great cooking. We CUT back to Ellie, who walks up to Katie and Jason and STOPS. ELLIE Hey, guys! You wanna do some swimming? KATIE That's okay, Ellie. You go ahead. ELLIE (to Jason) Oh, come on, it's no fun alone. KATIE We're good, Ellie. Ellie WALKS OFF in a huff, and begins HEADING DOWN to the lake. We see her DIVE in the water and begin swimming as the others continue to talk. Samantha and Sean SIT DOWN next to Amanda, and then we CUT to Katie and Jason at the picnic table. KATIE I hate that bitch. JASON Oh, she's just trying to have some fun. KATIE Yeah, with you! JASON What the fuck... KATIE How dumb can one person be? She wants to fuck your brains out! At this, Derek takes notice and heads over to the picnic table for some damage control. DEREK Hey, are you guys going to be alright? KATIE No. That numb cunt in the water back there is ruining this trip! DEREK Listen, I know what she's like. She was one of the cheerleaders on all of our bus trips, and she was this way then, too. She's just insecure, Katie, she does these sort of things to get attention. KATIE Well, she certainly seems to be succeeding. JASON Look, Katie, I'm sorry... DEREK Just be nice to her, and she'll come around. KATIE There's Mr. Student Council talking. I'm going inside for a while. JASON Why? KATIE To get some fresh air. Katie GETS UP and begins LEAVING the area. As she walks past Sean in a huff, he also GETS UP and begins following her... We CUT back to Derek and Jason. DEREK When she comes back, fix it. JASON There's nothing to fix! She's just being weird! DEREK Fix it or I'll fix you. And with that, there is a definite change in Jason's attitude - the aloofness and nonchalantness is gone, and he's back to being normal. JASON Alright, dude. DEREK Good. CUT TO: INT LIVING ROOM (DAY) Katie ENTERS the house, badly shaken, and then LEANS OVER the couch - she looks like she's ready to cry. Sean ENTERS the house behind her. SEAN Hey. Katie TURNS AROUND quickly - she didn't expect her brother. KATIE Hey. SEAN How you doing? KATIE Like shit. SEAN I can imagine. Listen - this whole thing with Ellie, it's nothing to be worried about. KATIE Yes it is! This is our graduation day. It wasn't supposed to be like this. SEAN Listen, you've been with Jason for a year now. Now, when you first started going out with him, I didn't like him - but I have to admit, he's really grown on me. And I know him really well now. KATIE You think you know people... We CUT to the main door of the house - Samantha ENTERS, quietly - the siblings don't even notice she's there. KATIE And then they turn your back on you. SEAN I know him better than you think. I know that he loves you. KATIE Did he tell you that? SEAN More than once. He's a good guy, Katie, and he's got a big heart. And that whole "dude" stoner act that he puts on? That's all it is - an act. He's as soft as they come, and he won't leave you for her. We CUT to Samantha as she listens to Sean, as she sees him in a new light now. She quietly CLOSES the door and begins WALKING BACK outside... Sean WALKS to Katie. SEAN Come on, I hate it when you cry. Don't make me relive that night you made me watch "The Notebook" again. Sean and Katie quickly HUG, and then break. CUT TO: EXT LAKESIDE AREA (DAY) Jason is still SEATED at the picnic table, and Ellie now SITS beside him, still wearing the bikini. ELLIE So...how long have you and Katie been together? JASON Over a year now. ELLIE A year. Wow - commitment. JASON Ellie, what are you getting at? ELLIE Oh, come on - graduation day only happens once. Later on, you don't think that you could sneak over to the big house for a little surprise? Ellie plays with the straps on her top to illustrate the point. JASON No, I don't think. We CUT to the view of the main house, as Sean and Katie are now walking toward the group. JASON Look, Ellie, knock this shit off - it's getting really tiresome. I love Katie. I haven't told her that yet, but I love her, and a mindless fuck isn't worth jeopardizing that. We CUT to Katie, who can hear - and she's very happy. Not even able to say anything, Ellie GETS UP and STORMS OFF onto the dirt road path... Then Jason TURNS AROUND and sees Katie. JASON Hey, Katie. KATIE Hey, you. Katie WALKS to Jason and then KISSES HIM passionately - he reciprocates while the rest of the bunch looks on, satisfied. CUT TO: EXT WOODS (DAY) POV shot - the Ripper is LOOKING at the group of teens, fifty yards away, deep in the cover of the surrounding woods - and most specifically, he's looking at the stacked blonde walking down the path - just his direction. We HOLD on the POV for a while and build the suspense. CUT TO: EXT LAKESIDE AREA (DAY) Samantha SITS next to Amanda, eating her hot dog - she's looking at Katie and Jason, now all lovey-dovey on the picnic table. AMANDA How disgusting is this? DEREK Are you kidding me? This is way better than the Ellie show. SAMANTHA You know, that was a really nice thing you did. When you talked to Jason. DEREK He needed the wake-up call, and now look at 'em. SEAN That guest house is gonna be rockin' tonight. DEREK You know it. SAMANTHA (to Sean) You were really great, too. SEAN When? SAMANTHA When you went in the house. SEAN You heard that? SAMANTHA I was coming in to get some blankets - I didn't want to disturb you, so I just left, but I heard what you said to her. SEAN She's my twin sis. She deserves to be happy. Samantha looks at Sean, and he looks back at her, feelings starting to brew between them. CUT TO: EXT BEACH AREA (DAY) We OPEN UP on an establishing shot of the treeline, and then COME DOWN to a beach area next to the lake - we can see the main house in the distance across the lake. CUT TO: EXT WOODS PATH (DAY) Ellie WALKS down the dirt road path, and is headed directly to the beach area. We HOLD on her from behind for a while, and then a TWIG SNAPS. Ellie TURNS AROUND - we see what she sees - nothing in any direction, although she appears very apprehensive. She gradually TURNS AROUND and CONTINUES WALKING to the lake... CUT TO: EXT BEACH AREA (DAY) Ellie REACHES the beach, and SLOWLY walks up to the water. She DIPS A FOOT into the water, testing it. She THROWS HER ARMS AT HER SIDES, and begins talking to herself. ELLIE Mindless fuck. I'll show them what a mindless fuck is. Don't know how to have any fun. She LOOKS AROUND to see if anyone is watching - nobody is. Then she TAKES HER TOP OFF, revealing her breasts, and she throws the top to the beach floor. Quickly, she does the same with her bottom to stand completely nude. Then she WALKS INTO THE WATER... CUT TO: EXT WOODS PATH (DAY) The Ripper's POV shot - we see what he sees, as the music sets the ominous tone. He is following Ellie, walking up the same path she walked, and nearing the lake... CUT TO: EXT BEACH AREA (DAY) We are out in the middle of the lake with Ellie, who swims, smiling, having fun. After she reaches the middle, she TREADS WATER for a bit, and then begins SWIMMING back to shore. She eventually REACHES IT, and emerges from the water, completely nude. But as she bends down to pick up her suit, it's not there. ELLIE What the fuck? Jason - is that you? Ellie LOOKS AROUND - there's the path parting the woods in front of her, and nothing more. ELLIE This isn't funny, you guys! Ellie FOLDS HER ARMS over her bare breasts, now modest. ELLIE Bunch of fuckers, that's what you all are! Then another TWIG SNAPS, and Ellie's face begins contorting with fear. She begins slowly WALKING toward the path, and then begins to RUN - but just as she reaches the path, he emerges. The Ripper STEPS OUT from behind a large oak tree, and we gather him in in his hunter mode for the first time - he wears the grim reaper mask, still has the gray worksuit with 'Chuck' nameplate - but we also see his weapons. On his belt is a sheathe with the machete, and a tire iron hangs from the other side. On his back, we can see the top of an axe, also in its own holder. Ellie is actually very close to him when he emerges, and she looks SHOCKED - but has no time to react. The Ripper REARS BACK and PUNCHES HER in the jaw - she FLIES BACKWARD and FALLS ON THE BEACH, her perfect face BLOODIED. Groggily, she tries to GET TO HER FEET - we see what she sees for a short while as the Ripper slowly WALKS TO HER. He TAKES THE MACHETE out of its sheathe, and holds it in front of her, almost like an executioner. ELLIE No...oh God, no... Ellie STRUGGLES on the beach, kicking sand as she attempts to stand, and just as she gets to her feet, the Ripper strikes again. He SWINGS the machete across her midsection and connects, and we CLOSE on the wound as he creates it - a DEEP GASH directly across her stomach... Ellie FALLS TO THE GROUND, SCREAMING... CUT TO: EXT LAKESIDE AREA (DAY) Back to the group of friends, still sitting and eating at the lake. Faintly, they can hear the sounds of Ellie screaming. JASON What the fuck is that about? DEREK Ah, she's just some pissed off PMS bitch. CUT TO: EXT BEACH AREA (DAY) Back to the carnage. Ellie SLUMPS to the ground on her back - blood is SPRAYING from her stomach, and as she attempts to CRAWL AWAY from her attacker, it creates a fantastic TRAIL OF BLOOD on the sand below her. We see the Ripper from Ellie's POV - he stops, just standing there and looking at her, achieving great delight from her torment as she continues to SCREAM IN PAIN. This lasts about THIRTY SECONDS - The Ripper merely STARES at the beautiful girl at his complete mercy, attempting to CRAWL to the lake, SHOOTING BLOOD from her stomach... Finally, he SHEATHES the machete and quickly WALKS TO HER... He GRABS HER BY THE HAIR and begins DRAGGING HER to the lake himself, and as they both reach it, he HOLDS HER HEAD UNDERWATER... She STRUGGLES MIGHTILY as best she can for the first fifteen seconds, but then begins slowing down - and then dies. The Ripper YANKS her head up and then THROWS her lifeless body back to the beach, his first kill of this teenage clan claimed. CUT TO: INT CORONER'S OFFICE (DAY) We are now looking at the DEAD FACE of Vinnie - he's LYING on a coroner's table in a morgue. Above him stands the CORONER - an older male, mid-50s, white hair. To his left are Craig, Chalmers, and Pleasence. The White Stripes' "Jimmy the Explorer" plays lightly on a radio in the background. We LOOK AGAIN at Vinnie's face - it is barely recognizable as human, beaten to such a degree that the bones are melded into some grotesque, Salvador Dali-like painting. PLEASENCE It's him. CHALMERS You're sure this was Ben Glover that did this? PLEASENCE It has to be. It's his M.O. CRAIG Well, what exactly was his M.O.? PLEASENCE He preferred edged weapons, and if he couldn't have those, he'd use blunt force trauma, over and over again, to the head until victim died from the shock of being hit in the fucking head so many times. That was his M.O. CHALMERS OK, Pleasence, straight talk only in here. You're dead certain that Ben Glover - fuck-up mental patient - is responsible for this? PLEASENCE I'm dead certain. And if we don't get more MPD officers on this thing, there'll be a lot of kids who are dead certain, too. This is graduation day! CORONER Will you guys be needing any more? CHALMERS No, thanks, that will be all we need. CUT TO: EXT CORONER'S OFFICE (DAY) The three officers WALK outside to their respective cars, the Coroner's office in the background. CHALMERS Alright, Pleasence, I want to know. I want to know about this case. PLEASENCE Believe me, you don't. CHALMERS You seem to be dead certain that the Minneapolis Ripper is resuming his rampage. This was your last case? How bad did he get to you? PLEASENCE Ben Glover took everything from me. CRAIG But you caught him? PLEASENCE Catching him had nothing to do with what he took from me. I had a family. I had a wife, a daughter. Within one year, they were gone because of this man. CRAIG They left you because of your devotion to the case? The three officers REACH their cars, and resign themselves to the Sam Loomis-style exposition scene. The excellent charactor actor weaves a masterpiece. PLEASENCE There was absolutely nothing, Toomey. Nothing in Ben Glover's background that would have led you to believe that the man would wind up being the absolute personification of human evil. You know, whenever one of these madmen is caught, we always get article after article, news report after news report attempting to explain it. Why, there must always be a why in these cases, why do they kill, why do they partake in a certain pattern. Ben Glover was nothing. CHALMERS There was nothing? I don't understand. PLEASENCE His father was a good man. Carpenter by trade, worked a lot, provided for his family well, his mother stayed behind early in his life and raised him. When he was arrested, the psychologists made attempt after stupid attempt to try to get into his psyche, to try to unearth something, anything that would explain away the monster that we found. But there was nothing. There was no molestation, no child abuse, not even any of the lesser traits associated with killers of this...nature. No bedwetting, no firestarting, no animal torture. One day, Ben Glover just decided...that he liked killing people. CRAIG What did he do? PLEASENCE It was always the same. It started on May 1st, 2003. Ben Glover's parents were out, and there happened to be two kids who committed the sin of attempting to make love in a parked car across the street from his residence. They found these two kids the next day floating on Lake Minnetonka - their throats had been slashed, but what was truly grisly was what had been done to them afterward. Their faces were barely recognizable, and their bodies were etched with a weapon that had been found on the bank - a hunter's knife with a blow torch. CHALMERS Jesus. PLEASENCE There were six more after that, Lieutenant. Eight victims, four couples, all within the space of thirty-two days. CHALMERS Thirty-two days? PLEASENCE Once he had his first taste, he was addicted. You know, I told you that the press thought he was a spree killer, perhaps some man diagnosed with a terminal disease taking as many people down with him as possible. But after I saw those first victims, I knew. I knew that this man was a monster, and he had to be stopped. CHALMERS How did you find him? PLEASENCE I didn't. I'd like to say that it was some sort of well thought-out plan, but it wasn't. It was blind luck. I stayed behind late at the office - my family was already starting to fall apart. I was at the station every night, sometimes until the sun came up the next day, trying to find some...meaning, some answer to all the violence and rage. It just so happened that one day, I happened to drive home at three in the morning - and there they were, these two kids in a parked car in a city park, being butchered by this 18-year-old kid. I saw him take his final two victims - and I was powerless to stop him. Like I said, we didn't outsmart him - it was blind luck. You have to understand, the man that we pursued for those thirty two days, this 18-year-old boy - he was so clever. He covered his tracks unlike anyone I've ever seen. He was physically strong - and despite how clearly malnourished his brain is, he's mentally stronger than any of us, Chalmers. CHALMERS But you arrested him. PLEASENCE I had to shoot him in the shoulder, because he started to rush me. And even that barely stopped him. CHALMERS OK, so you saw him kill. But he started before you could do anything about it. You stopped him, Pleasence. You stopped him from committing any more murders. PLEASENCE But look at him now. What scares me most of all now is what I could have done at that moment, when he came rushing at me with that hunter's knife baring down at me. What scares me most is that I didn't kill him. CHALMERS You did the right thing. You took him down. You let the justice system take over. PLEASENCE You don't understand - I wish that I had killed him. That's what scared my wife. That's why she left me, and why she hasn't allowed me to see my own daughter in four years. CRAIG I'm sorry, Michael. PLEASENCE Don't be sorry for me. Be sorry for the man laying in that office. Be sorry for those two security guards who drew the extraordinarily unlucky task of transporting him. Be sorry for the people that he's looking at...right now. And just like five years ago, he's covered his tracks - we have no idea where he is. Pleasence begins ENTERING his car. CHALMERS Where are you going? PLEASENCE I'm going to try to find him. I don't know where - I'm going to look at every park, every alleyway, every dive that I drove through every night all that time ago. Chalmers RUNS to Pleasence's driver's window as he SHUTS his door. CHALMERS Pleasence? Chalmers ROLLS DOWN HIS WINDOW. PLEASENCE Yes? CHALMERS You find anything, you let us know, alright? PLEASENCE I hope to God that one of you finds him before me. And if one of your men does find him, instruct them shoot to kill. And with this, Pleasence BACKS UP and begins DRIVING AWAY, leaving the bewildered officers behind. CUT TO: EXT NIGHT SKY (DUSK) An eerie establishing shot - the SETTING SUN falling into the tops of trees, introducing the unholy night that will follow... CUT TO: EXT WOODS (NIGHT) The Ripper's POV shot - he is looking at the group of teens, all circled around a campfire, all of them now sitting in deck chairs, talking and laughing. We SEE HIM now - his Grim Reaper mask is well-hidden by the darkness as he crouches in the bushes, waiting, only thirty yards from the group... CUT TO: EXT LAKESIDE AREA (NIGHT) The campfire lights the scene as the teens sit around and talk. Derek, Amanda, and Jason all have beers in their hands. The Hives' "Antidote" plays on a stereo. JASON No, man, there is no way that Captain America could beat up Mr. Dettweiller? DEREK I happen to disagree. Mr. Dettweiller is the freakiest son of a bitch I have ever met. He's the only biology teacher capable of sending grown men into states of psychological delirium. AMANDA Do you even know what you're saying sometimes, or are you just talking out of your ass? DEREK I like to think it's a little bit of both. SAMANTHA I wonder whatever happened to Ellie. I thought she'd be back by now. KATIE Who cares. SAMANTHA Serious, Katie - it's pitch black out in the woods. KATIE So what? She probably found some other group to shack up with. Probably out fucking some guy in the bushes right now. AMANDA Alright, fellow commencees - let's get down to business. Amanda PULLS something out of her pocket - a bag of weed. AMANDA Who else has this stuff? The rest of the group GROANS. JASON How much of it do you have? AMANDA I have two more bags twice this size in the house. It's on me tonight, people. JASON Amanda, you're awesome. AMANDA Thank you. Derek? DEREK Later. I have to keep watch. AMANDA Right. Derek here has volunteered to be the parent watch. SEAN The parent watch? AMANDA Yeah. The parent watch. You know, I love my dad and everything, but he can be kind of a badass. I wouldn't put it past him to come out here to check on us. SEAN So where are you going, Derek? CUT TO: EXT WOODS (NIGHT) Back to the Ripper's POV Shot - we also see his face for a short time as he sits there, watching and waiting. DEREK We drove past it - there's a treehouse about a half mile up the road there. I'll stand in there and ring you guys at the house if either the father or the cops show up. Where's your phone at, anyway? AMANDA It's in the SUV. CUT TO: EXT LAKESIDE AREA (NIGHT) Back to the kids around the campfire. DEREK Then how am I supposed to call you if he shows up? AMANDA Dig this - my dad actually has that taken care of. When I was a little girl and we'd come up here, he added this little emergency switch in that house - it's connected to the house somewhere. Hit that button and it turns into the fourth of July in there. DEREK Alright. So, all the sleeping arrangements are still set, right? KATIE As long as me and Jason get the guest house, we're happy. DEREK Right - so me and Amanda in one room, Ellie's not here, so Sean and Samantha, you can take your pick. We CUT to Amanda, who has already ROLLED UP A JOINT and is now LIGHTING UP. DEREK Jesus Christ, can't it wait? AMANDA Fuck that. We only graduate once. The rest of the group LAUGHS. JASON Hey, give me some of that. AMANDA Sure. Amanda REACHES ACROSS and HANDS her joint to Jason, who takes a deep drag. JASON Some good shit, right there. You got a lot of this, huh? AMANDA As much as we need for this weekend. Sam, you be needing any? SAMANTHA No thanks. AMANDA That's cool. Sean? Sean looks around nervously, keeping in mind Samantha's image of him. SEAN Uh, no. No thanks. AMANDA Well, then. I guess it's me and the two lovebirds over there. Derek GETS UP. DEREK You better save some of that for me when I get back. AMANDA Of course, Derek. DEREK Alright. Well, have fun, but not too much fun - I'll be back in two hours. Somebody has to take my place. Who's the first volunteer? SAMANTHA I will. DEREK Samantha, you're a true team player. Alright, two hours, somebody better be out there, or I walk. CUT TO: EXT WOODS (NIGHT) The Ripper's POV, the camera shaking to indicate movement. Derek begins WALKING AWAY from the group, while Katie and Jason head off toward the guest house along with Derek on the road. Samantha, Sean and Amanda begin HEADING BACK to the house... CUT TO: EXT PATH (NIGHT) Derek, Jason and Katie are walking down the path. DEREK Go figure that I get first dibs. JASON Man, you volunteered yourself for the job just by being Amanda's boyfriend. DEREK Nice. What are you guys gonna go do? KATIE Guess. DEREK Everybody gets to have fun but me. CUT TO: EXT LAKESIDE AREA (NIGHT) Back to the Ripper's POV shot - and he's on the move. We follow his eyes and he MAKES HIS WAY from his hiding spot, down to the bottom of the ridge - the SUV is within his grasp. His eyes SHIFT TO THE LEFT - there's LIGHTS TURNING ON AT THE MAIN HOUSE. We HOLD on this for a while, and then the Ripper resumes his path. He slowly maneuvers DOWN TO THE SUV - and then OPENS the BACK DOOR. He LOOKS DOWN - and there's a schoolbag. We see his hands now - he PICKS IT UP and OPENS IT - and finds a CELL PHONE. His hands CRUSH THE CELL PHONE. CUT TO: EXT GUEST HOUSE (NIGHT) We are now looking at the GUEST HOUSE - about a half mile down the road from the main house, which is illuminated in the distance. It's single story, not directly on the lake, but still definitely posh and expensive-looking. We slowly PAN LEFT - and down the path walk Derek, Katie and Jason. Derek BIDS THEM ADIEU, and resumes walking down the path. Katie and Jason MAKE OUT, then WALK to the front door of the guest house. CUT TO: INT GUEST HOUSE (NIGHT) Katie SLAMS Jason down hard on the couch in the guest house - sliding glass doors and all sorts of amenities present in the room, a minibar in one corner of the room, a door leading to an extremely expensive looking bathroom in the other. Katie STRADDLES Jason, and begins MAKING OUT with him hard on the couch. He PUSHES HER AWAY. JASON Take it easy, Kat, just for a second. KATIE Oh, come on, Jason... JASON There'll be time for that, Katie. She rests her head on his shoulder. JASON Hold up for just a second. KATIE What is it, baby? JASON Let's have some fun first. Jason SITS UP and PULLS SOMETHING OUT OF HIS POCKET - two freshly-rolled joints. He offers Katie one, and she takes it. He also PULLS OUT a lighter, and the two kids light up and begin taking hits. JASON Amanda got some good stuff. KATIE She can afford it. JASON Yeah, dude. KATIE Is that all you can ever say when you have some of this shit? Yeah, dude? Katie begins LAUGHING AT HERSELF. JASON Well, I got something I really want to say to you. KATIE JASON Something that I'm really scared to say. Ellie was coming on to me pretty hard, and, you know, there's a lot of guys who want to be that dude. KATIE Where are you going with this? JASON I love you, Katie. That's where I'm going. That's the first time I've ever said that to anybody, dude. There's a slow, tender moment, and then Katie KISSES Jason, lightly this time, the joke not lost on the audience - although we have a tender moment, both teen characters are holding joints, which, in horror movie parlance = death. KATIE Listen - this is graduation night. I saw this little spot down by the boathouse. There's something I've always wanted to try. JASON Sounds disgusting. Let's go. Katie GETS UP, taking Jason's hand, and they EXIT THE SHOT... CUT TO: EXT WOODS (NIGHT) The Ripper's POV shot - he is now STALKING Katie and Jason - he sees them EXIT THE HOUSE, talking and laughing, hand in hand and RUNNING UP THE PATH... CUT TO: EXT MAIN HOUSE (NIGHT) Establishing shot of the main house, the lights illuminating hte night. CUT TO: INT MAIN HOUSE (NIGHT) Close on Amanda's face - she has a joint in her mouth, and sits on the couch. The TV in the room is also on - we CUT TO IT. It's playing Wes Craven's "Last House on the Left." CUT BACK to Amanda - she PULLS A LIGHTER close to herself, lights the joint, and takes a drag. She PUFFS IT. Sean is LOOKING AT HER in the background, by the window overlooking the lake. Samantha COMES INTO FRAME and JOINS HIM. SEAN Jesus, take it easy with that stuff a little. AMANDA You do not know what you're missing. SEAN Horror movies and weed? I've had better things. AMANDA I highly doubt it. SAMANTHA Better get in all the words you can to her. In an hour, she won't be able to tell the difference between that and the yellow submarine. SEAN Tell me about it. When Derek gets back, I don't even know if she'll be up for what he has on his mind. Samantha LAUGHS. SAMANTHA This was really great today, wasn't it? SEAN It all begins again tomorrow. Another full day of Derek making great grilled products and equally as lame jokes, Jason and Katie making out, and Amanda trying to pry Derek away from his pulpit long enough to fuck him. We CUT to a shot of Amanda, with Samantha and Sean in the background again - she's already starting to get woozy. SAMANTHA Sean! SEAN Don't worry about it. She's in another world. SAMANTHA Still, she might hear you. SEAN Trust me, she won't. I've been friends with Derek long enough to know. More than one football party. (a beat) SEAN So...how come you didn't, you know, bring anybody here? SAMANTHA I would if there was somebody to bring. SEAN There's no guy? SAMANTHA No. No guy. That's just the way it's always been. There's actually never been a guy. SEAN That really surprises me. SAMANTHA Why? SEAN Well, because you're pretty, Samantha. SAMANTHA (embarrassed) Thank you, Sean. And...you know, I've known Katie really well for a while, Sean, she may not always say it to you, but she really appreciates you. SEAN Did you know that we were orphaned? SAMANTHA How long ago? SEAN When we were real young - four years old. We were state kids for a month or so until the people that you know as my parents took us in. When we got a little older, Katie came to me one day, and she asked why our parents chose to ditch us. I told her I didn't know, but I said that I'd never ditch her. So I look out for her. What about you? Who do you live for? SAMANTHA Nobody. I don't live for anybody. SEAN Oh, come on, there's got to be somebody. SAMANTHA Well...my folks are split. It happened when I was nine. My dad, he was just unbelievable - he was a businessman. He hated his job, and he took it out on us. I hated him. I hated what he did to us, just because of something that he hated. So, I made up my mind that day to find something that I loved, and it wound up being a subject. Psychology. SEAN Psychology? SAMANTHA Criminology. I'm majoring in it. SEAN What do you want to do? SAMANTHA I'd like to be a profiler. Learn how to catch criminals before they even act. I think preventing things like that from happening would be the ultimate way of giving back. SEAN How long has it been since you've seen your dad? SAMANTHA Ten years. I don't want to see him. And neither does my mom. Still, they say that your father is like your touchstone - someone who gives you unconditional support. And after I got rejected by him, it's just...hard for me to let anyone in. SEAN Well, I'm there for you. SAMANTHA I know you are, Sean. SEAN So, since you're off to be a criminology major, does this scare you? This whole thing - graduation, commencement, the big world, whatever you want to call it? SAMANTHA It does. But there's scarier things. We CUT AGAIN to Amanda on the couch, Sean and Samantha in the background, still SMOKING WEED, her beautiful face now starting to look wasted. AMANDA Shut the fuck up back there! CUT TO: EXT BOAT HOUSE (NIGHT) Establishing shot of the BOAT HOUSE - an older, comparatively dingier building next to the lake, with a large boat connected to it. The building itself is housed within the water. We quickly PAN DOWN, and see that Katie and Jason are RUNNING toward the boat house, occasionally stopping to MAKE OUT. Yeah Yeah Yeahs' "Fancy" sets the scene. CUT TO: INT BOAT HOUSE (NIGHT) Katie and Jason WALK THROUGH THE DOOR, hand-in-hand, giggling to themselves. They turn around and MAKE OUT. Then they look around. The interior of the boat house is very "Jason's shack" from Friday the 13th Part II - without the dead bodies, of course. On the wall line plenty of implements that the Ripper could use - and may or may not have already taken. Axes, awls, augers, you name it, it's there. Enclosed within the area is the boat itself - the building is actually OPEN and not entirely closed. JASON Wow. Hell of a place. KATIE I'll say. It's, uh...really...private. Katie and Jason MAKE OUT some more, and Katie begins gradually dragging Jason to the water next to the boat. They BREAK. KATIE Come on, Jason. I've always wanted to. JASON Always wanted to what? KATIE You know...in water. JASON In there? KATIE Yeah, in there. JASON There could be bugs in there, dude. KATIE Oh, quit being a fucking pussy. Katie LIFTS UP HER SHIRT, standing before Jason in just a bra. Jason looks on, appreciatively. Katie continues, and TAKES OFF HER PANTS. She then quickly removes both her bra and underwear, but we only see her from behind. Jason gets a shit-eating grin on his face - "I am one lucky bastard" - and begins taking off his own clothes. We also see him from behind in a ladies-friendly moment. They MAKE OUT some more on land, and then Katie DIPS herself into the water. There's some graphic nudity here, as Katie shows her bare chest on the screen, waist deep in water next to the boat. KATIE Come on, big boy. Coming in or not? JASON Seriously - it's not weird in there? KATIE You know what's waiting, right? JASON I think I do. Jason LOWERS HIMSELF into the water from the dock, then slowly WALKS to Katie. They KISS. Jason takes the lead from here, TURNING HER AROUND, and PUSHES HER UP against the side of the dock landing... CUT TO: EXT BOAT HOUSE (NIGHT) The Ripper's POV shot - the camera moves, indicating walking movement, outside near the main entrance to the boat house. CUT TO: INT BOAT HOUSE (NIGHT) CLOSE ON Katie's face, holding Jason's neck tightly, as he is now GRINDING into her from the water, their breath turning heavy. This continues for about thirty seconds, then Katie begins PANTING, eventually reaching a CLIMAX, and STOPPING. They KISS again. KATIE I love you. JASON Back at 'cha. Katie lowers her head on his shoulder. CUT TO: EXT BOAT HOUSE (NIGHT) Back to the Ripper's POV shot - he is now LOOKING at the main door of the boat house - then he TURNS, looking at the path, presumably towards Derek - and the camera begins MOVING in that direction, indicating more walking... CUT TO: EXT TREEHOUSE (NIGHT) Establishing shot of Derek, standing in a single-floor, roofed TREEHOUSE on a random tree, looking out of the window. We then CLOSE on him - he is HUNCHED OVER near the window. He LOOKS BACK - and, indeed, there is a nice, big red button that says "ALARM." Derek LAUGHS to himself. Then he hears something - RUSTLING BUSHES. The music picks up, and the mood becomes thick. DEREK Hello? Who's out there? Derek looks down - we see what he sees - nothing but the path below, and infinite wilderness as far as the eye can see. He then turns around - in the distance is the boat house and guest house. He looks back - nothing. And he hears the bushes RUSTLING once more. DEREK Hello? He pauses, apprehensively, wondering what to do. DEREK Shit. Derek OPENS A DOOR on the floor - there's a ladder to connect to the ground, and he begins LOWERING HIMSELF. CUT TO: EXT PATH (NIGHT) LONG SHOT of Derek, climbing down the ladder of the treehouse. He REACHES THE GROUND. DEREK Hello? Anybody? Derek begins WALKING FORWARD into the wilderness. DEREK You guys playing a fucking joke on me, or what? Then, right in front of Derek, the GRASS PARTS - and he looks down, shocked. To see a raccoon. DEREK Fuck me. CUT TO: INT GUEST HOUSE (NIGHT) We are in darkness, looking outside from the guest house at the main door - we see Jason first, then Katie. Jason is already fully clothed, while Katie has her shirt strategically placed over her breasts. They ENTER the house, and Jason immediately PLOPS on the couch. KATIE Wuss. JASON I don't know, Katie, that was quite a workout. Katie STEPS BEHIND THE COUCH and KISSES HIM. KATIE I'm gonna go freshen up a little, and then I'll be back for round two. JASON I don't know, Kat. Round two might have to wait...for twenty minutes or so. KATIE Guys and their refractory periods. Alright, I'll come back, we'll watch ESPN, cuddle on this couch, and then...round two. JASON I can live with that. KATIE Good. They KISS again, and Katie WALKS to the bathroom and SHUTS THE DOOR. Jason PICKS UP a remote control on the end table, and turns on the television - it is, indeed, SportsCenter, and he begins watching it, engrossed, smiling, perfectly content with his life. ClOSE on his face as he watches the TV, and we begin gradually CIRCLING around his face - until we are looking at the corner of the room opposite the minibar - there is a LARGE PLANT, with something BLACK behind it. Then the black object begins moving - and in horror, we realize it is the Ripper's mask - the Ripper himself is in the room. He SLOWLY WALKS up behind Jason - and then the action explodes. He REARS BACK with his tire iron, and SMACKS Jason in the face, hard, JUST as he senses his presence in the room and looks the Ripper's direction. Jason SLUMPS TO THE FLOOR, MASSIVE CUT on his face from the impact of the blow, dead from a single shot. CUT TO: INT BATHROOM (NIGHT) Katie STANDS before the mirror in the bathroom, her shirt still DRAPED over her shoulders. She REMOVES it, giving us one last glimpse of nudity, and THROWS IT OVER her head - she looks at herself to see if she passes inspection. Then she EXITS the bathroom. CUT TO: INT GUEST HOUSE (NIGHT) Slowly, tensely, Katie as she OPENS THE DOOR and CROSSES OVER into the room. KATIE Jason? We SWITCH to Katie's POV - no Jason on the couch, although the TV is on and blaring. KATIE Jason? Where did you go? Then her eyes TURN DOWNWARD - and at the base of the couch is Jason, blood oozing out of his nose, eyes WIDE OPEN with shock - dead and wasted. Katie begins SCREAMING, the actress showing off her scream queen powers to full hilt. Then her eyes SHIFT LEFT to the minibar - and in front of it stands the Ripper. All of his weapons are sheathed - but he holds something new, something he got from the boat house. A large HUNTER'S KNIFE - and before Katie can react, the Ripper RUSHES HER, SLICING HER THROAT with the knife - but LIGHTLY. Katie STOPS SCREAMING - the knife has severed her windpipe, and blood begins SEEPING - not GUSHING - from the wound, as Katie GRABS AT HER THROAT... She FALLS TO THE GROUND, CHOKING ON HER OWN BLOOD... The Ripper STANDS above her, looking downward, enjoying her agony. Katie begins trying to CRAWL BACKWARD, one hand on her bleeding throat, the other on the ground, looking upward in horror. The Ripper ADVANCES ON HER, slowly... KATIE (choking) Please...please don't... The Ripper LEANS OVER, and slowly REACHES FORWARD - he STROKES HER HAIR lightly, ramping up the creepy factor severely. Katie tries to CRAWL AWAY. The Ripper STANDS UP, and SETS HIS KNIFE DOWN on the end table. He REACHES BEHIND HIS BACK... KATIE (choking) No... The Ripper's hands emerge - with the AXE in tow. He HOLDS IT IN FRONT OF HIM - like an executioner, he's showing his victim her method of death... Katie RAISES HER HANDS - pleading without words. The Ripper RAISES the axe and PLUNGES the money end directly into Katie's HEAD - and we get the CLOSE-UP shot of the AXE SINKING IN... Blood SPRAYS from her head, a veritable GEYSER of red stuff SHOOTING UPWARD in the air and DOWSING THE GROUND... She DIES And SLUMPS to the floor, the AXE EMBEDDED IN HER FOREHEAD. We HOLD on the Ripper - who still looks downward at Katie. Just like Michael Myers, he turns his head first to the left, then to the right, admiring his kill like a great sculptor. CUT TO: INT TREEHOUSE (NIGHT) HARD CUT to Derek's face, as it SNAPS UP in front of the window. We SWITCH TO HIS POV - the guest house - the lights TURN OFF, then ON. Back to Derek's face, much apprehension. He heard Katie screaming. He OPENS THE HATCH, and then BEGINS CLIMBING again... CUT TO: EXT TREEHOUSE (NIGHT) Derek CLIMBS DOWN the ladder, and with a determined look on his face, begins walking down the path toward the guest house. CUT TO: INT VOORHEES HOME (NIGHT) We are now looking at a new character - ARI VOORHEES, mid 50s, sweater and khaki-clad, wealthy-looking - Amanda's father. A nice kitchen and living area are behind him - he is HOLDING A PHONE to his ear. He SETS THE PHONE DOWN on the hook. Ari's wife - NANCY, also mid-50s and quite affluent, ENTERS THE ROOM behind him. NANCY Still no answer? ARI All I can get is her voicemail. NANCY She doesn't have her phone on? ARI I explicitly told her to have her phone on at all times, and to check it every hour. NANCY Well, it's her graduation, Ari. So she's not doing quite everything she's told. ARI Maybe. But I still don't like this. NANCY (leaving the room) Oh, kids will be kids, Ari. CUT TO: EXT GUEST HOUSE (NIGHT) CLOSE on Derek, from the front, walking forward slowly. We REVERSE ANGLE - the GUEST HOUSE is in front of him - the LIGHTS ARE NOW OFF. DEREK Katie? Jason? You guys in there? Derek WALKS to the door, and KNOCKS ON IT. DEREK Hello? You guys fooling around, or what? Derek SLOWLY opens the door and enters the house... CUT TO: INT GUEST HOUSE (NIGHT) Continuous shot of Derek as he STEPS INTO the house. He attempts to adjust his eyes to the darkness, and FUMBLES AROUND for a bit. DEREK Jason? Hey, come on, guys! What's going on? The tension builds some more - and then he FINDS A LIGHT SWITCH. His eyes go WIDE when he sees something. We SWITCH TO HIS POV - on the ground is a HUGE POOL OF BLOOD where Katie hit the floor. Derek HIGH-TAILS IT... CUT TO: EXT GUEST HOUSE (NIGHT) Derek SPRINTS out of the guest house and begins RUNNING UP THE PATH... CUT TO: EXT PATH (NIGHT) Derek as he RUNS toward the main house... DEREK Amanda! Amanda! Sean! Anybody! He CONTINUES RUNNING - we SWITCH TO HIS POV, the main house LOOMING in the distance. DEREK Amanda! Samantha! Help me! We SWITCH TO HIS POV - and from the woods, in front of him on the path, steps The Ripper - in one hand is a CHAIN SAW, fresh from the boat house, and in the other is the dead, naked body of Katie - and she's TIED UP at the hands and feet, like a hunter's trophy. He was DRAGGING Katie to the boat house, which is VISIBLE in the background... Derek STOPS DEAD IN HIS TRACKS, looking down at Katie, horrified, and then looking at the masked man in the worksuit with even more horror - and especially what he holds. He does an about-face and begins RUNNING DOWN THE OPPOSITE SIDE OF THE PATH... We HOLD on him for a long-time, SPRINTING in the darkness down the path. He occasionally LOOKS BACK over his shoulder - and while he sees the Ripper at first, he PUTS SOME DISTANCE ON, and eventually LEAVES HIM IN THE DUST... The action slows down, and Derek makes the cardinal horror movie chase mistake - he STOPS, believing the chase to be over. He WALKS to a large tree, and the action SLOWS TO A CRAWL, as Derek LOOKS AROUND and AROUND - no sign of the Ripper - then he STEPS to the other side of the tree, and is HIT IN THE GUT with a punch, KNOCKING HIM OVER. As Derek LOOKS UP - the Ripper stands above him, brandishing the chain saw - and he REVS IT UP, starting it, the buzz of the implement sounding glorious on the big screen and looking magnificent on the grainy footage. DEREK No! Please, no, don't kill me! The Ripper pays Derek's pleas no mind! DEREK (screaming) No! No! The Ripper ADVANCES on Derek, and APPLIES THE CHAIN SAW to his MIDSECTION - and he STARTS AT THE SIDE. Derek SCREAMS with all of his power, as blood begins FLYING out of the cut on the ground below him - and in one continuous cut, the Ripper MOVES the saw blade from his right side all the way to his left. The kill is shown in COMPLETE GRAPHIC DETAIL - RED STUFF COMING RIGHT AT YOU as Derek dies in fantastic fashion. Derek's head FALLS TO THE GROUND, his eyes still WIDE OPEN with terror and hellish pain... The Ripper has cut Derek completely in half - and we get the shot to boot, from above - Derek, upper section and lower section, blood still SHOOTING from the now two separate areas of his body. We CUT to a shot from behind the Ripper - as he still holds the chain saw, he looks the the main house - signifying, "this is my next quarry." CUT TO: EXT SUBURBAN HIGH SCHOOL (NIGHT) A LONE CAR sits in the parking lot of a suburban Minneapolis high school - one of the Ripper's old stomping grounds. There are FOUR KIDS STANDING AROUND THE CAR - two guys, and two girls, drinking and having fun. CUT TO: INT PLEASENCE'S CAR (NIGHT) CLOSE on Pleasence - and we CUT to his POV - he is STAKING OUT the high school. He is INTERRUPTED by a radio squeal. CHALMERS (O.C.) Pleasence, you there? Pleasence PICKS UP the radio. PLEASENCE This is Pleasence. CHALMERS (O.C.) Hey, Pleasence. Lieutenant Chalmers. PLEASENCE I recognized your voice, Lieutenant. Any luck? CHALMERS (O.C.) None whatsoever. You? PLEASENCE I'm at one of his old haunts. No sign of him all night. We CUT to Pleasence's POV - the kids PACK INTO THE CAR and begin SPEEDING OFF... PLEASENCE Another chance missed, right? CHALMERS (O.C.) Give me a buzz if you find anything. PLEASENCE Will do, Chalmers. Over and out. Pleasence SETS the radio down and WATCHES the car as it DISAPPEARS down a street full of HOUSES... PLEASENCE Goddamn you, Ben, you son of a bitch. I know you're out there. I know you're out there doing God knows what to somebody right now. CUT TO: INT VOORHEES HOME (NIGHT) Back to Ari at the Voorhees home - he once again has the phone plastered to his ear. He SETS IT DOWN - Nancy is already in the room this time. ARI Still no answer. NANCY You're not... ARI I'm going over there. I have to know what's going on. NANCY Just leave them be. ARI It's probably something really stupid, Nancy, but what if it isn't? What if one of those guys did what I think they did? NANCY We made her promise - no drugs. ARI Yeah, you remember last year? NANCY It was just once. ARI I knew it. I knew this would happen tonight. Ari REACHES into a closet and pulls out his jacket, putting it on. ARI I'm going out there. Ari STORMS OUT of the kitchen. CUT TO: INT MAIN HOUSE (NIGHT) Amanda still SITS ON THE COUCH - looking even more wasted than before, still SMOKING JOINTS, half-conscious. Samantha and Sean occupy CHAIRS near Amanda, a TV blaring in the background - the climactic killing scene in "Last House." SEAN Hey, I don't think she's going anywhere tonight. You wanna take a walk? SAMANTHA Sure. They GET UP. CUT TO: EXT PATH (NIGHT) We have FLASH FORWARDED IN TIME - Samantha and Sean WALK DOWN the path, already in conversation, now much more comfortable with each other. SEAN You know, you have no idea how rare it is to see someone who actually has the guts to do what you do. SAMANTHA It doesn't take any guts to do what I do. SEAN Why do you do that? SAMANTHA Why do I do what? SEAN I will never understand why you're so down on yourself. It takes tons of guts to do what you do - not to do what Amanda's doing right now, or probably what Katie and Jason are doing right now. SAMANTHA It's just not what I'm about, Sean. SEAN That's crap. SAMANTHA How? SEAN Listen - I love these guys, and they're my friends and everything, but I'm looking forward to leaving all this behind. All this hooking up and the "dude, where are you getting stoned tonight?" All this high school shit. Samantha LAUGHS. SEAN It's true. It's crap - all of it. It takes real guts to buck the system, and you do it. SAMANTHA I just can't get close to people. That's all it comes down to. SEAN Why? Why is that? SAMANTHA I'm not sure I want to tell you. SEAN I want to know. SAMANTHA It's about my dad. I've never told anyone this before. They STOP WALKING. SAMANTHA It wasn't my dad that walked out on us, Sean. It was my mom that threw him out. He didn't just hit her. He used to do things to me. SEAN He hit you? SAMANTHA He did more than that. I have a hospital wristband for every day of the month. SEAN Oh my God. I'm sorry. SAMANTHA Don't be. I've learned to deal with it. SEAN You don't deal with stuff like that. SAMANTHA There's nothing I can do to change it. So I just do what I can from this point forward to make sure it never happens to anyone else. In any way. SEAN Well, I know for a fact that you're going to do just that. SAMANTHA How do you know that? SEAN Because I know you. Sean REACHES FORWARD AND STROKES HER HAIR. They look into each other's eyes deeply, both of them perhaps going farther than they ever have. Samahtha is the one who makes the move. She PULLS HIM FORWARD AND KISSES HIM, and he reciprocates - but unlike the other couples in the film, it's slow, tender, and full. And they BREAK - and that's all the farther it goes, as they SMILE AT EACH OTHER. SEAN Come on, let's go back to the house. They begin WALKING THE PATH AGAIN, hand-in-hand... CUT TO: INT MAIN HOUSE (NIGHT) Amanda continues to SIT AT THE COUCH - now just HOLDING A JOINT in her hand, looking upward, utterly stoned and wasted. The TV still blares - and we hear a DOOR OPEN. We continue to HOLD on Amanda - we hear FOOTSTEPS. We assume they belong to Samantha and Sean, but after thirty seconds of the TV blaring and the footsteps SLOWLY GETTING CLOSER - it is The Ripper who STEPS INTO FRAME - and DIRECTLY IN FRONT of Amanda, no less. She's so wasted, she doesn't even realize the danger. He LOOKS DOWN AT HER - her eyes, glazed over, peer back at him. He REACHES FOR THE MACHETE, and he pulls it out of the sheathe - but he then PUTS IT BACK. He WALKS to the other side of the couch, slowly again. He LOOKS AROUND the room - we CUT to his POV - there's a FIRE POKER at the fireplace that we hold on, as well as a large BOOKEND on top of the fireplace. We realize that the Ripper is debating with himself how to kill Amanda. Finally, he settles for one of his own weapons. Amanda, through all this, continues to just SWAY BACK AND FORTH on the couch, paying the man behind her no mind. He REMOVES the axe from his back, and begins to RAISE IT, but he LOWERS IT, then REACHES FORWARD, lightly TOUCHING HER HAIR... He lets the hair fall, and then, in one clean, crisp motion, ROCKS BACK with the axe and LETS FLY. He HITS HER DIRECTLY IN THE NECK - and, in overly theatrical fashion, her head FLIES OFF and BOUNCES on the ground below, as blood SHOOTS UPWARD from the CUT. The kill, on film, is absolutely majestic - mind-blowing in its sheer ferocity, as the Ripper stands there afterward, looking on in appreciation of his creativity. DISSOLVE TO: EXT MAIN HOUSE (NIGHT) Samantha and Sean WALK, still holding hands, down the yard to the entrance of the main house, and WALK TO THE DOOR... Dreadful, dreary music sets the scene... CUT TO: INT MAIN HOUSE (NIGHT) Samantha and Sean SLOWLY ENTER THE MAIN HOUSE - all the lights are now turned off. SAMANTHA Amanda? Amanda, where are you? Sean FLIPS THE LIGHTS ON, and the action SLOWS DOWN as they round the corner into the living room. We HOLD ON THEM from the front, expecting the worst. But... SEAN Where did she go? SAMANTHA I don't know. She's way too wasted to get anywhere on her own. We see what they see - to our surprise, the house is SPOTLESS - the Ripper has done a very, very good job cleaning up after himself this time. SAMANTHA Maybe Katie and Jason came over here and took her to the guest house. SEAN Why would they do that? SAMANTHA You have any better explanation? SEAN Maybe she just got up and started wandering around. SAMANTHA Could be. I say we check out that guest house first. I don't want to paw around the forest until we absolutely have to. SEAN Good plan. CUT TO: INT GUEST HOUSE (NIGHT) Samantha WALKS INTO the guest house, followed by Sean. She FLIPS ON the light switch... To our surprise, they don't seem shocked - they begin WALKING AROUND the guest house, looking for clues. Sean CHECKS THE BATHROOM, while Samantha LOOKS BEHIND THE MINIBAR - nothing. SAMANTHA Anything? SEAN Nothing. Then Samantha sees a HUGE RED STAIN on the floor in front of the couch - while he covered his tracks well, not well enough. SAMANTHA Sean? What's that? Samantha POINTS to the stain. Sean CIRCLES AROUND and looks at it. SEAN I don't know. Maybe they had some wine or something. SAMANTHA They're not really the wine type. Sean NOTICES SOMETHING now. SEAN It's over here, too. Samantha WALKS to Sean and sees what he sees - a HUGE RED SPOT on the floor where Katie met her end... SAMANTHA This is creepy. SEAN Agreed. Let's go make a phone call. They have walk, half jog out the door... CUT TO: EXT LAKESIDE AREA (NIGHT) We FOLLOW THE CHARACTERS as they jog past their previous party area - straight to Amanda's SUV. Samantha reaches the backseat first, and OPENS THE DOOR. She GOES THROUGH the school bag. SAMANTHA Shit! SEAN What? SAMANTHA It's not there! SEAN She didn't have it on her! SAMANTHA I know that, Sean! Screw this - we're getting out of here! Samantha GETS IN THE DRIVER's SEAT, while Sean does the same on the other side... CUT TO: INT SUV (NIGHT) The KEYS ARE STILL IN THE IGNITION. Samantha TURNS THEM - and the car WHIRS, but doesn't start. SEAN What the hell else can go wrong? Samantha KEEPS TRYING to start the rig - and it won't turn over. SAMANTHA It's out of gas. Oh my God - what's happening Sean? SEAN I don't know. Samantha SETTLES DOWN at this moment - for the first time in the film, we can sense her inner strength, her inner courage as well as her meek outer self. SEAN What the fuck are we gonna do? SAMANTHA Just calm down, Sean. Samantha EXITS the SUV... CUT TO: EXT LAKESIDE AREA (NIGHT) The two characters STEP OUT of the SUV, and talk to each other as they LEAN AGAINST the vehicle. SAMANTHA I think I know what's going on here. SEAN Well, what is it? 'Cus I'm really starting to panic, if you can't tell! SAMANTHA You said it yourself - these people are our friends, but we're the quote unquote squares, right? SEAN Right. SAMANTHA So this is probably all just some elaborate, sick, demented joke, probably dreampt up by none other than Mr. Jason Alvers. A look of relief passes over Sean's face. SEAN Shit. I should've guessed. SAMANTHA Whatever they're planning, I say we just don't let them get away with it - let's get back to house and just stay there. SEAN Good plan. They begin WALKING AWAY... CUT TO: EXT MAIN HOUSE (NIGHT) Samantha, again at the lead, ENTERS the main house - the music even more dire and intense now. Sean FOLLOWS, and they STEP INTO the living room, FLIPPING the light switch again. SAMANTHA Sean, the lights were on when we left. SEAN Which means that all of our friends are here right now! Come out, come out, wherever you are! SAMANTHA Robert DeNiro, right? SEAN Right. I've always wanted to say it. (a beat) SAMANTHA They're not going to spring the trap yet? SEAN There's something I want to say, then. Hey, Katie, I have a girlfriend now! Samantha LAUGHS, as Sean puts his arm around her. Then the mood TURNS DIRE - Samantha sees something in the distance - past the living room is a small HALLWAY - bathroom on the left, garage door in the distance. The two begin WALKING DOWN THE HALLWAY - and OPEN the GARAGE DOOR. They ENTER IT. CUT TO: INT GARAGE (NIGHT) Inside the garage, several other large CUTTING IMPLEMENTS line the walls - perhaps the Ripper got the chain saw from here, as well. Fishing poles and hunting equipment also line the walls - for a garage, it doesn't look like it's meant for car storage. SEAN What a garage. SAMANTHA They're not here. SEAN Where else could they be? SAMANTHA Just upstairs. That's the only other place. Let's go surprise 'em. They TURN AROUND, and REENTER THE HOUSE... CUT TO: INT MAIN HOUSE (NIGHT) Continuous shot of the two slowly walking down the hallway. SAMANTHA I've got a bad feeling about this. SEAN It's your imagination. A SHADOW MOVES in the hallway. SAMANTHA Sean, there's somebody right there. SEAN It's nobody. SAMANTHA Sean, there's somebody in this fucking room! And at that moment, the Ripper STEPS OUT of the Bathroom, BLOCKING their path to the rest of the house. He immediately RUSHES Sean as they begin SCREAMING - Sean heroically THROWS Samantha behind himself. The Ripper PUNCHES him, HARD, in the face, and he FALLS TO THE GROUND - Samantha STANDS BY THE DOOR of the garage, the Ripper occasionally eyeing her as well. He PUNCHES HIM SEVERAL MORE TIMES, as blood begins to LINE HIS FACE... SEAN Run, Samantha! Run, dammit, run! Samantha RUNS INTO THE GARAGE... CUT TO: INT GARAGE (NIGHT) She FLIPS ON THE LIGHTS, and FRANTICALLY begins seraching the room for the garage door opener... She can't find it... SAMANTHA Goddammit... She STEPS BACK to the opposite wall of the room - and then the door BURSTS OPEN - and the Ripper stands there. He DRAWS HIS MACHETE - which DRIPS WITH BLOOD, theatrically, and we assume that this is from Sean. Samantha SCREAMS - note to casting director - find a girl who can scream well - it is IMPERATIVE for this role. The Ripper begins ADVANCING ON HER - and tries to CORNER HER AGAINST THE WALL... Samantha GRABS a garden tool from the wall - the Ripper SWINGS HIS MACHETE... Samantha DUCKS IT - and it gets STUCK IN THE WALL... Samantha BOBS AND WEAVES to the opposite side of the Ripper, and attempts to HIT HIM with the garden tool - but he EASILY DODGES IT, and SHOVES HER TO THE GROUND... She quickly GETS UP and ATTEMPTS TO RUN TO THE DOOR - but the Ripper is FAST - he CATCHES HER, and GRABS HER BY THE THROAT with one arm - he RAISES THE MACHETE WITH THE OTHER... CLOSE ON Samantha's eyes, which WIDEN IN HORROR as she realizes death is near... Then the DOOR OPENS - and Sean BURSTS IN... As the Ripper BRINGS THE MACHETE DOWN at full speed, Sean DIVES IN FRONT of the Ripper's HANDS - and ABSORBS THE BLOW IN THE CHEST - Blood begins POURING from underneath his shirt... Samantha SCREAMS as Sean TURNS TO HER... SEAN Run, Samantha! Samantha begins to CRY, and then quickly HIGH-TAILS IT out of the garage - meanwhile, the Ripper RAISES HIS MACHETE again, and STABS Sean with it - directly in his heart - he TWISTS THE BLADE as Sean SCREAMS IN PAIN, and then YANKS THE MACHETE OUT. Sean FALLS to the ground, another likable teenager slain. And then the Ripper LOOKS TO THE GARAGE DOOR, and begins WALKING TOWARD IT... The chase is on. CUT TO: EXT MAIN HOUSE (NIGHT) Samantha BURSTS out of the door of the main house and begins RUNNING down the forest path. The Ripper FOLLOWS SUIT - he still has his machete drawn, and unlike other horror villains, he has no qualms about running as he gives chase. CUT TO: EXT PATH (NIGHT) The chase continues, as The Ripper pursues Samantha, constantly SCREAMING and LOOKING OVER HER SHOULDER. Eventually, the Ripper is able to GAIN GROUND. He CATCHES UP TO HER, and TACKLES her from behind. She tries to CLAW at the ground in an effort to get away, but he PULLS HER BACK by the leg. He SWINGS the machete down hard, directly across her chest, but she ROLLS OUT OF THE WAY. Extremely quickly, Samantha GETS UP, and GRABS the axe off the Ripper's back. He TURNS AROUND, surprised, and Samantha TAKES A SWING at the Ripper's head - he DUCKS. She SWINGS the axe again, HITTING the Ripper, in the head - but not with the sharp part of the metal, although it's still a blunt blow. The Ripper SLUMPS to the ground, knocked clean out. Samantha LOOKS DOWN at him, believing the night to be over. She DROPS THE AXE - as all horror heroines do - and begins WALKING back down the path toward the main house. We CLOSE on the Ripper's hand, clasped loosely around the handle of the machete. It TIGHTENS. CLOSE on his mask - he begins MOVING HIS NECK. He slowly SITS UP - and we see his POV - Samantha WALKING back down the path. He GETS UP, and begins first WALKING, then RUNNING toward Samantha. She TURNS BACK AROUND - and sees the horrific man running toward her. She TAKES OFF RUNNING TOWARD THE MAIN HOUSE, and the chase is resumed. Again, Samantha tries her best to outrun him, but he is TOO FAST - he CATCHES UP AGAIN, but doesn't take chances this time. As he reaches her, he SWINGS the machete, and SLICES HER IN THE LEG - Blood spurts from the wound, staining her jeans. She SPLAYS to the ground, and the Ripper slows as well - just as his M.O. states, he likes to prolong the death of the women. Samantha begins CRAWLING AWAY, now CRYING, believing her fight to be over. The Ripper WALKS and follows her - he could easily kill her, but chooses not to. The BOAT HOUSE looms in the background - this is what Samantha sees, and what she is crawling to. This continues for a solid 45 seconds, as Samantha CRAWLS on the ground, attempting not to scream, with the Ripper just following her, enjoying her torment and terror. Finally, she REACHES the boat house, putting pressure on her wounded leg to OPEN THE DOOR and ENTER... CUT TO: INT BOAT HOUSE (NIGHT) Samantha SLAMS the door shut behind her, now slightly mad at herself for losing her cool. There is a primitive DOOR LOCK on the door - a small hook that connects to a hole, which she applies. She SLUMPS BACKWARD against the door, her eyes red and puffy from crying. Then she LOOKS UP - and lets out a GIANT SCREAM... We SWITCH TO HER POV - on the walls to the boat house is the most horrific sight she's ever seen - all of her friends, with the exception of Sean, are either NAILED TO THE WALL or TIED UP WITH BARBED WIRE. This is the eponymous horror movie trophy room - the axe is still embedded in Katie's forehead, Jason's face is barely recognizable, Ellie has a huge slash on her midsection, Amanda's head rests near her feet, and Derek's torso and legs sit there, separated by barbed wire. The bodies of all the females are nude. Samantha finishes her SCREAM, cutting herself off with a hand to her mouth. The door begins SHAKING behind her, and Samantha begins LIMPING AWAY toward the boat itself - there's a SMALL WALKWAY leading from the main area to the boat, and she slowly MAKES HER WAY ACROSS this walkway - then, behind her, the door SLAMS OPEN - the Ripper has kicked it in, and he stands there, still brandishing the machete. He LOOKS UPWARD at his trophies first - proud of his achievement - then sees Samantha, who CRAWLS ONTO the boat. She SLOUCHES DOWN, staring upward at him, mixture of hate and fear now starting to envelop her. Then she sees something - the BOAT OARS. She GRABS ONE with one of her hands as the Ripper WALKS to the walkway. SAMANTHA Come on, motherfucker! What are you waiting for, kill me! The Ripper STANDS THERE, staring at her. SAMANTHA (yelling) What are you waiting for? Come on and get it over with! The Ripper begins LUMBERING ACROSS the walkway, and as he REACHES the boat, Samantha STRIKES - she SWINGS UPWARD with the oar with all her might, and HITS HIM IN THE FACE - the Ripper FLIES BACKWARD, hitting the edge of the dock and TUMBLING INTO THE WATER - his MACHETE escapes his hands and RESTS on the dock. Samantha slowly GETS UP - and LOOKS DOWN at the water. TENSE SCENE as she wonders whether or not to chance it - and she's brave. She begins CRAWLING ACROSS THE WALKWAY - and finally REACHES THE DOCK. She GRABS the Ripper's machete - and then the Ripper RISES FROM THE WATER... He GRABS SAMANTHA and attempts to PULL HER IN, but she PUSHES HIM OFF... She BACKS UP against the wall of the boat house and TOWARD the door - and the Ripper begins CLIMBING UP and REACHES the LEDGE. He begins WALKING TOWARD Samantha, but appears apprehensive when he sees the machete. She LURCHES FORWARD and begins SWINGING the weapon at him - he BACKS AWAY each time, and she isn't able to connect, and on the final blow, she SLICSE HIM on his thigh - he FALLS TO THE GROUND, holding his leg, and even lets out a slight CRY of pain. Samantha, rage in her eyes, prepares for the death blow. SAMANTHA Who the fuck are you? CLOSE on the Ripper's hand - he is reaching for his final weapon - the tire iron. Samantha RAISES the machete overhead, and tries to BRING IT DOWN onto the Ripper's dark heart - but he PULLS OUT the tire iron and SWINGS it, BLOCKING the blow and sending the machete FLYING INTO the water... Samantha considers her options for a moment, and then begins HALF-LIMPING, HALF-RUNNING out of the boat house... The Ripper slowly SITS UP, and while he is also wounded, he starts WALKING out of the door... CUT TO: EXT BOAT HOUSE (NIGHT) The Ripper EXITS the boat house, holding the tire iron. He LOOKS AROUND - we SWITCH TO HIS POV. He looks to the main house first - there is nothing - no lights on, no signs of life. Then he looks to the forest - there is nothing but the sounds of wind and leaves rustling from the force of the gale. The Ripper begins LUMBERING down the path, back toward the direction of the guest house. As he continues down the road, we slowly ZOOM IN to a large log on the side of the path. Samantha HIDES behind the log, STARING at the path through a small hole in the structure. We see what she sees - the Ripper, slowly walking down the path, oblivious to her presence. The suspense builds, and then he passes, as Samantha rests her head on the log. CUT TO: INT POLICE STATION (NIGHT) We are now in a busy, bustling POLICE STATION - two OFFICERS EXIT the station as Pleasence ENTERS. There's a FRONT DESK area - and Chalmers and Craig are both there, appearing deep in conversation about something. Pleasence WALKS to them. CHALMERS Anything? PLEASENCE No. What about you? CHALMERS No confirmed deaths since the kid at the high school. Although we did just receive something that we want to check out. PLEASENCE What is it? CHALMERS Ari Voorhees just called here. He's one of the more prominent local lawyers. PLEASENCE I know Ari. He helped put away a lot of people. CHALMERS Well, his daughter went on a graduation getaway with a bunch of friends at his lake house. He's tried calling her a few times, and can't get anything but her voicemail. There's no answer on the house phone, either. PLEASENCE It's him. CHALMERS We don't know that, Pleasence. PLEASENCE I know it. He followed these kids out there. CRAIG Ari Voorhees is on his way down there right now to check on them. But he also requested that they send a squad car. PLEASENCE You guys? CRAIG Yes. PLEASENCE I'm coming. CHALMERS Fine by me. Come on, let's go. The three officers WALK out of the police station... CUT TO: INT MAIN HOUSE (NIGHT) We are back inside the main house - Samantha ENTERS, and SHUTS THE DOOR, locking it behind her. She FLIPS ON THE LIGHTS - and again begins CRYING LIGHTLY when she sees the body of Sean in the distance. SAMANTHA Oh God, Sean... She GATHERS herself, and then walks to the KITCHEN next to the living area. There is a land phone on the wall - she PICKS IT UP - it's DEAD. SAMANTHA Dammit! She GOES to the living room - there is a small bag full of Sean's stuff. She begins RUMMAGING through it... SAMANTHA Come on, cell phone... There is none. SAMANTHA Shit. She then WALKS TO THE GARAGE - and looks for something to defend herself with. She SETTLES ON A BASEBALL BAT, and picks it up. She then RETURNS through the hallway, walking past the body of Sean, and WALKS UP THE STAIRS - still favoring her leg - in between the living area and kitchen... CUT TO: INT GUEST ROOM (NIGHT) Continuous shot as Samantha climbs the stairs and ENTERS a door on the top floor hallway - she SHUTS IT. It's a small guest room - a bed, a TV, and a couple endtables with a window overlooking the lake. She LOOKS for a door lock - there is none, so she TAKES a small chair next to an endtable and PROPS IT UP against the handle. She then SHOVES BOTH endtables behind the chair - she's attempting to bolt herself inside. Then she, along with us, hears something. A CAR ENGINE. SAMANTHA Oh, thank God. She UNDOES her primitive barricade, and begins LIMPING DOWN THE STAIRS... CUT TO: EXT MAIN HOUSE (NIGHT) CLOSE ON a car's headlights - they TURN OFF as it comes to a stop next to the lakeside area. It's a nice Lincoln Continental - and Ari Voorhees EXITS THE CAR, looking toward the main house apprehensively. Not five seconds pass before Samantha, no longer carrying the bat, BURSTS OUT OF THE DOOR, CRYING, and she RUNS TOWARD Ari. She is in HYSTERICS, and we can't make out what she's saying. ARI Samantha? Samantha - what's going on? Samantha REACHES Ari, and HUGS HIM TIGHT. SAMANTHA You have to get me out of here! ARI What's going on? SAMANTHA Dead -- they're all dead. ARI Dead? Samantha -- where's my daughter? SAMANTHA The boat house. I saw her. It's awful. We have to get out of here! ARI I want to see her! SAMANTHA Just get in the car! Samantha quickly ENTERS the passenger's side, while Ari ENTERS the driver's side. The car SPINS AROUND and begins SPEEDING OFF... CUT TO: EXT BOAT HOUSE (NIGHT) HIGH-ANGLE SHOT of Ari's car as it comes to a stop next to the boat house... CUT TO: INT ARI'S CAR (NIGHT) Ari and Samantha in the car. SAMANTHA What are you doing? ARI You said she's in there! SAMANTHA You don't want to see! ARI I have to. Ari EXITS the car, and Samantha follows. CUT TO: INT BOAT HOUSE (NIGHT) Ari THROWS the door open, and immediately LOOKS UP. Samantha appears in the door behind him. We again SEE the grotesque sight on the walls - and we HOLD on Amanda's body for a long time. CLOSE on Ari's face as he sees his dead daughter - much sadness and despair pass over his face. He WALKS to the wall... SAMANTHA Come on, Mr. Voorhees, we have to get out of here. ARI Who did this? SAMANTHA Come on, we have to... ARI Who did this??! Suddenly, the door SLAMS OPEN behind them - and the Ripper ENTERS, still brandishing his tire iron. There's a moment of silence, as the Ripper sizes his prey up - he is surprised to see two people. The Ripper begins ADVANCING on them, and he SWINGS the tire iron at Ari - he sideswipes it, and PUNCHES the Ripper in the face. Samantha takes the opportunity to RUN OUT of the boat house... CUT TO: EXT BOAT HOUSE (NIGHT) Continuos shot of Samantha as she LIMPS as she runs, and immediately RUNS to Ari's car... CUT TO: INT BOAT HOUSE (NIGHT) Ari actually has the Ripper on the ground - he is RAINING BLOWS on the Ripper's face, who is COVERING UP - the tire iron is at the floor, as Ari has knocked it out of his hands. He continues PUNCHING the Ripper, and then he PICKS UP the tire iron. He BRINGS IT DOWN on the Ripper, but he ROLLS OUT OF THE WAY, and then KICKS Ari hard, in the face, who SPRAWLS BACKWARD. The Ripper's eyes turn up - he knows the boat house well. There's a SCYTHE - just like the grim reaper himself - and the Ripper GRABS IT. Ari SPRAWLS ON THE GROUND, almost unconscious from the single blow. The Ripper WALKS to the prone Ari, and SWINGS THE SCYTHE - it connects with Ari's neck, and blood begins SPURTING from his jugular vein. The Ripper TURNS AROUND and EXITS the boat house... CUT TO: INT ARI'S CAR (NIGHT) Samantha is now inside Ari's car, and is SLUMPED DOWN by the steering wheel - she has taken the panel off, and is FUMBLING WITH WIRES, trying to hot-wire it... SAMANTHA Come on! Come on! She LOOKS UP - and sees the Ripper, who stands in the doorway of the boat house. She PLAYS WITH THE WIRES FASTER, frantically trying ot start the vehicle... She LOOKS UP again, the Ripper RUNS to the driver's side door... The Scythe SLAMS THROUGH the window, shattering it, as Samantha DUCKS the blow and COVERS her head, protecting herself from the reign of glass. The scythe COMES THROUGH again, looking for its target. Then the Ripper's hands come through the broken glass, and he GRABS Samantha by the throat, attempting to choke her as she weakly PUNCHES BACK at his mask. Then, in the same soft voice he used before, he speaks. THE RIPPER Why won't you just give up like the others? This sets off a chain of emotions in Samantha - mostly rage. Samantha OPENS THE DOOR, and it SLAMS the Ripper in the midsection, knocking him to the ground and sending the scythe to the ground. Samantha EXITS THE CAR... CUT TO: EXT BOAT HOUSE (NIGHT) Continuous, as Samantha PICKS UP the scythe as the Ripper FUMBLES to his feet. She TURNS THE SCYTHE AROUND, and HITS HIM HARD in the mask. He JERKS BACKWARD, still on his feet, and we CLOSE on Samantha's face - she's not resigning herself to him anymore. She HITS HIM AGAIN, and then AGAIN with the wooden end of the scythe, making him groggy first. He SLUMPS TO HIS KNEES. Then she TURNS THE SCYTHE AROUND AGAIN - she wants to use the money end. The Ripper GETS UP - and Samantha SWINGS the scythe - he dodges the first hit, then the second, but then she LOWERS her aim, and HITS HIM in the leg - an ANGRY CUT is formed in his worksuit. The Ripper GROANS AGAIN, and HOLDS HIS LEG, slumping to the ground... Then she SWINGS THE SCYTHE again, and HITS HIM across the chest, blood seeps through his worksuit, and he appears done for. She ADVANCES on the Ripper, ready to pass judgment on him - but she wants to know something first. She KNEELS DOWN by The Ripper's head, and we know what's coming. She REACHES DOWN and REMOVES HIS MASK... CLOSE on the Ripper's chest - and we slowly MOVE UP and are shocked by what we see. It's not a monster. It's not a scarred man, he has no burned face, and doesn't look like Jason Voorhees. Instead, it is the face of a 23-year-old kid -- he has black hair, cut short. He is even a little handsome, even with his face being bloodied from the punches and blows he has absorbed. Samantha STANDS UP - taken aback a little by what she has seen. She STARES AT HIM, and he STARES BACK. Samantha REARS BACK to deliver the killing blow with the scythe, but he RISES UP and PUNCHES HER in the face - her shock allowed him time to recover. The scythe FLIES OUT OF HER HANDS - but she quickly GETS UP and begins LUMBERING AWAY toward the main house... The Ripper SITS UP, and watches her limp away. He PICKS UP his mask and PUTS IT BACK ON. He slowly STANDS UP and begins WALKING down the path... DISSOLVE TO: EXT MAIN HOUSE (NIGHT) The Ripper's POV - we see the main house from the front yard - all the lights are on in the house. We CUT to the Ripper, standing there, no weapons, defiantly looking for his final prey. He WALKS - still limping - through the front yard and REACHES THE DOOR... CUT TO: INT MAIN HOUSE (NIGHT) The Ripper HEADS RIGHT into the kitchen - he sees something very interesting to him - a rack of knives. He TAKES the biggest kitchen knife he can find - a Norman Bates-style "Psycho" knife. Then he CONTINUES through the living room, looking around, slowly, the tension building as the music reduces to a low rumble... Then he CHECKS the bathroom - nobody there. He WALKS DOWN the hallway and OPENS the door to the garage... CUT TO: INT GARAGE (NIGHT) He ENTERS the garage, holding the knife in front of him, ready to stab... Samantha EMERGES from a corner of the garage - she's holding a large GAS CAN - the CAP is off - she DOWSES the Ripper with the gasoline, then TAKES a lighter from her pocket and TOSSES IT ONTO THE RIPPER... In fantastic fashion, the Ripper is completely enveloped by flames...he begins SCREAMING IN PAIN - but he doesn't drop the knife... The garage door is also OPEN - and Samantha RUNS OUT OF THE GARAGE... Still screaming and completely covered in flames from head to toe, the Ripper RUNS BACK OUT OF THE DOOR... CUT TO: EXT LAKESIDE AREA (NIGHT) From the area, we see the Ripper EXIT the house from the main door - he quickly RUNS from the door all the way past the lakeside area, and eventually DIVES in the lake, screaming all the while... And he disappears. The music turns light and heroic, and Samantha EMERGES from a hiding place behind a tree in the woods. She WALKS to the edge of the water - a la "Friday the 13th", this is our feel-good comfort moment, the night finally over, her trap that she set for the Ripper successful. She KNEELS DOWN on the beach, and begins CRYING, finally succumbing to the whirlwind of emotions she has been through over the night. We slowly CIRCLE AROUND her with the camera - and just as we believe the comfort to be at a peak, we see the Ripper EMERGE from the water and STAND UP. Samantha's head slowly TURNS to the direction of the Ripper - she STARES at him... SAMANTHA No...oh God, no... We CLOSE on the Ripper - he is now barely recognizable. His worksuit is burned and charred - and his face is incredibly grotesque. Parts of the mask are completely BURNED ONTO HIS FACE - just as he wishes to be, he is now completely the Grim Reaper, and parts of his face are also CHARRED AND MELTED. Then we CLOSE on his hand - he still holds the knife. Samantha CRIES HARDER now - but out of terror. SAMANTHA No. She SLUMPS BACK on the beach - and the Ripper ADVANCES on Samantha - he finally REACHES HER. Samantha prepares herself for the inevitable. The Ripper RAISES THE KNIFE... And then a gunshot echoes out. The Ripper's CHEST EXPLODES - and blood begins POURING OUT OF THE WOUND... He SLUMPS TO HIS KNEES - and Samantha gets an eye-to-eye view of his now-grotesque face - he STARES BACK AT HER. And then he FALLS TO THE BEACH - DEAD. Samantha LOOKS PAST the Ripper - behind him, on the lakeside area - is a POLICE CAR - and next to the car is Michael Pleasence, holding a SMOKING GUN. Pleasence RUNS to Samantha while Chalmers and Craig EXIT THE CAR... CRAIG My God - it was him! PLEASENCE We got a survivor! CHALMERS Toomey, check the house for survivors. CRAIG After what we saw in the baot... CHALMERS Just check it, goddammit! Pleasence REACHES Samantha, and she HUGS HIM HARD... PLEASENCE It's alright, sweetheart. It's alright - it's all over. Come on, I'll take you home. Pleasence GRABS Samantha around the shoulder, and DRAGS HER AWAY from the beach - and the Ripper - arm-in-arm as Chalmers TAKES HER and puts her in the back of the police car... DISSOLVE TO: INT POLICE STATION (NIGHT) We are back in the police station - in a small debriefing room. Samantha SITS ALONE in the room - she again shows her strength here, she's calm and coherent, with a blanket wrapped around her. We can see Pleasence talking to Chalmers and Craig in the background - he finishes with them, and ENTERS the room. Samantha TURNS to him. PLEASENCE How are you doing? SAMANTHA How do you think? PLEASENCE Like shit, I would imagine. SAMANTHA They're dead. They're all dead. PLEASENCE So is he, if that's a comfort. Pleasence SITS DOWN next to Samantha. SAMANTHA Who was he? PLEASENCE You're sure you want to know? SAMANTHA This man - he killed all of my friends, people who did nothing to him. I want to know who he is. PLEASENCE His name was Ben Glover. Five years ago, he was a senior in high school, just like you. He was a serial killer, and we caught him and put him away. Last night, they were transporting him from one institution to another - and he escaped. SAMANTHA Why us? PLEASENCE It was what he did - he liked killing high school students, especially women. I don't know for sure, but I'd imagine he staked out a high school - and he just happened to pick your group. SAMANTHA He killed all of us just because he thought it would be fun? PLEASENCE That's as good of a way to put it as I've ever heard. You know, I have to give you a lot of credit. You're the only one of his victims to ever survive. SAMANTHA How many people? How many has he killed? PLEASENCE There was eight, five years ago. There were another four before he found you and your friends. SAMANTHA My friends, Ellie, Mr. Voorhees-- PLEASENCE He should have waited for us. SAMANTHA Nineteen. Nineteen people - just because he liked it. PLEASENCE He was an anomaly, Samantha. Most serial killers have what they call a cooling-off period - but this guy, he could never get enough. He was like one of those fucking horror movie villains. SAMANTHA Horror movie. That's what this was. PLEASENCE Perhaps. Pleaesnce STANDS UP. PLEASENCE You've a very strong girl, Samantha. You should be proud of yourself for surviving. SAMANTHA Then why do I feel like I lost? Samantha GETS UP. SAMANTHA I want to go home. PLEASENCE I'll take you. Pleasence PUTS AN ARM around Samantha and GUIDES HER out of the small room... We HOLD on the window of the door, and slowly... FADE TO BLACK. END CREDITS Smash Mouth's "Hey L.A." plays, as we do a fantastic montage - all of the surviving heroines of the great franchise films - "Friday the 13th," "Halloween", "Nightmare on Elm Street," etc. - a tribute to this movie's surviving heroine, Samantha Curtis.
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