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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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