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THE TEXAS CHAINSAW MASSACRE Screenplay by Brandon Mau & Aubrey Stafford Based on a screenplay by Tobe Hooper & Kim Henkel REVISED FINAL DRAFT 8/11/03 FADE IN: ON A DARK SCREEN. MUSIC RISES as we see a scroll of red lettering rise up from the bottom of the screen and disappear into the top of the screen. A narrator reads it as it does. NARRATOR On August 20th, 1973, police were dispatched to the remote farmhouse of Thomas Hewitt, a former head skinner at the local slaughterhouse in Travis County, Texas. What they found within the confines of his cryptic residence was the butchered remains of 33 victims, a chilling discovery that shocked and horrified a nation in which many still call the most gruesome mass murder case of all time. The film that you are about to see is the shocking truth of what happened to five young friends who were traveling down that lonely country highway in Travis County, Texas. Now, for the first time, the only known survivor of that terrifying day has broken the silence, and has come forward to tell the truth of what really happened on that deserted road when the group suddenly found themselves being stalked by a chainsaw wielding madman who would leave a trail of blood and terror that would forever be known as The Texas Chainsaw Massacre... Soon after, the CREDITS BEGIN TO ROLL in dark yellow lettering as we see A MONTAGE OF FAST MOVING CLIPS. The clips are of old and decayed bodies. Other noises can be heard in the background, such as screaming, laughter, and the buzzing of a loud chainsaw. One final scream can be heard as the CREDITS END and we CUT TO BLACK. CUT TO: EXT. TRAVIS COUNTY POLICE STATION_RAINING_NIGHT SUPERIMPOSE: AUGUST 20TH, 1973 INT. HALLWAY_TRAVIS COUNTY POLICE STATION_SAME Doctors and policemen walk around quietly. A single policeman turns a corner and heads down another hallway. At the end of the hallway is a door. A young man wearing a white doctors suit stands next to it. The policeman walks towards the door and the young man. Then, another police officer steps out and stands face-to-face with the first policeman we had seen before. They both walk to the side and look back at the door. POLICEMAN So? POLICEMAN #2 Nothing. She's not talking. POLICEMAN She's not saying anything? POLICEMAN #2 She won't talk to anyone. I doubt you're going to get anything out of her. POLICEMAN I can try. I'm not giving up on this girl. I want all the facts. Keep all those damn reporters outside, alright? That's your job from now on. The second policeman nods and walks away. The policeman looks back at him and then makes his way towards the door. The man standing next opens the door for him and the policeman steps inside of it. The door slams shut in front of the CAMERA. INT. OBSERVATION ROOM_(CONT.) Inside is a single table sitting in the middle of the room, along with a single light bulb hanging from a cord above it. Sitting at the table is ERIN HARDESTY, a young girl of seventeen. She is very pretty and smart, but right now, she is shaking severely. Her wet hair sits in front of her face...covering it. The policeman sits in a chair across from her. Silence. POLICEMAN Erin? Erin looks down, scared. She starts to cry silently. POLICEMAN Erin, you have to talk to us. You have to tell us exactly what happened... Erin tries to say something but can't. She stutters. ERIN (crying) No... POLICEMAN Erin, you have to. ERIN (stuttering) I...I...I can't... POLICEMAN No one's here but us. No one is going to hurt you in any way. All I want to know are the facts. Just tell me everything that happened. We'll take you home after this, I promise. Erin shakes her head. The policeman sighs. He takes out a single tape recorder and sets it on top of the table. She looks up and sniffs. POLICEMAN Please. Erin looks down and cries. We can tell that the policeman is getting very upset. He closes his eyes and sighs silently. POLICEMAN No one's here, Erin...No one's going top hurt you...You have to talk to me... The policeman presses a single button on the tape recorder. Erin looks up. She pulls her hair back and sets her hands in her lap. She wipes her tears and sighs. Slowly, we FADE TO: EXT. LONELY COUNTRY ROAD_DAY SUPERIMPOSE: AUGUST 18TH, 1973 There is no sound. The sun is larger than the frame and white-hot. A long, golden arc sweeps across the upper right hand corner; it is the explosive, gaseous profile of the sun. There is a burst of light and a liquid rope of molten gases arcs into space and then slowly, heavily falls back to the sun. The yellow-white sun nearly fills the frame. There is a low, crackling noise. The sun begins to dissolve and to become an eye, the purple glazed eye of a dead dog. Flies swarm the staring eye and the crackling noise becomes the buzzing of the flies. In the extreme foreground and to the right of center is the long dead and putrid carcass of a dog. The lower jaw, nearly ripped from the head, hangs wildly askew. The belly is a living, writhing mass of gray maggots; flies swarm the purple, glazed eyes. The carcass lies some feet from the shoulder of a narrow, chuckhole two-lane highway. It is midday and midsummer and the brutal southwestern sun blasts the dusty, chocking landscape. The air is still and heavy. In the background is the out of focus image of a van. Slowly, it comes closer and closer to the CAMERA. Suddenly, it zooms past us very quickly. We stare at the empty road for a few seconds. We pan down to the dog once again. INT. VAN_LONELY COUNTRY ROAD_DAY The van looks much better on the inside than it does on the outside. In the back of the van is nothing but a collection of old records, an old mattress lying on the ground, a cooler, and bottles of half drunken water. Behind the back of the mattress lie many bags of marijuana and weed. As we look around, we see five teenagers in the van. Sitting in the passenger's seat is ERIN, the same girl from the police station, only now, she is looking much prettier and cleaned up. She also wears a white cowboy hat and eats a small carrot stick. As we look past at her tie-die t-shirt, we see a belly button piercing on her stomach. Driving is her boyfriend, KEMPER STERLING, a young, somewhat attractive boy of eighteen. Sitting in the backseat is ANDY PARTAIN, a young boy of eighteen. He is a very handsome and smart boy. In his arms is his girlfriend, PEPPER HARRINGTON, a very pretty and smart girl of about his age. Pepper sits on top of Andy's lap while they both kiss and hug. Sitting on the floor in the back of the van is Erin's brother, MORGAN HARDESTY. He is a very smart and handsome boy. The group looks up to him for any help that they might need, but he's something of an asshole. He reads a magazine while Andy and Pepper make their way to the mattress and continue to kiss. Erin reaches her hand up towards Kemper's face and smiles. He grabs her hand and kisses it. She smiles and looks into his eyes. KEMPER Tell me how much you love me. Erin brings her pointer finger very close to her thumb. They are barely touching. ERIN (laughs) This much. KEMPER Bullshit! Erin laughs and pretends to stick her tongue out in disgust. She widens her fingers. ERIN This much. KEMPER (mimics) This much? ERIN That much. Kemper widens his finger so he can't widen it any longer. KEMPER (laughs) This much?! Erin laughs and pulls down his hand. She holds it and looks at him. The both come close to eachother and close their eyes. They kiss. Morgan stands up and reaches his hand over to the air conditioning, pulling Erin and Kemper apart. ERIN Morgan you ass! MORGAN What? It's hot in here. I'm just trying to get a little cool. KEMPER I'm afraid the air conditioning won't help. It's like hell out there. ERIN (to Morgan) Well could you do it when Kemper and I are not so close together, please? MORGAN That would be impossible. Morgan grabs Erin's carrot sticks and bites it. He smiles and shows his gleaming white teeth. Erin smacks him. He sits back down and goes back to reading his book. He looks up from his book at Andy and Pepper, who seem to be enjoying themselves. Pepper pulls herself away from Andy and they both breathe hard. They are covered in sweat. Pepper smiles while Andy leans on his side. PEPPER (breathing hard) You...are...incredible. ANDY (also breathing hard) This is the first breath I've taken since this trip began...You are a sex machine. PEPPER I take pride in my work. They both lie down on their sides and look into eachother's eyes. PEPPER Tell me you love me. ANDY You mean you haven't gotten tired of it yet? Pepper puts her pointer finger on Andy's lips and laughs. PEPPER Nope. She pulls her finger away. He smiles and looks at her once again. A long moment of silence. ANDY I love you. PEPPER (smiles) I know. Andy and Pepper laugh and giggle. Andy smiles and comes closer to her. Soon, they are kissing again. Pepper moves on top of Andy and starts to giggle. She starts to kiss him all over. Morgan looks over at them and rolls his eyes. He continues to listen to Pepper giggle, and then reaches over to the radio and turns it on, hitting the song Whatever Gets You Through the Night by John Lennon. He sits back and starts to read his book. KEMPER Maybe Andy and Pepper could sit up here and drive and we could have a chance back there. Erin smiles and holds his hand. ERIN You wouldn't stop. KEMPER That's just how I work. ERIN You're telling me you have batteries inside you or something? KEMPER Something like that. ERIN Maybe on the next pit stop. Kemper brings her hand up to his mouth and kisses it. MORGAN Which will be when exactly? KEMPER As soon as we find a town. Just calm down, okay? You've been complaining ever since this trip began. MORGAN Maybe that's because we have no ice or water. Just a couple of horny teenagers. Andy sits up and takes a deep breath. ANDY Whoa...Maybe we do need a pit stop. I need water just as the next guy in here. PEPPER (fanning herself) Tell me about it. This guy can go on for hours. Andy winks and holds her hand. She smiles and he growls. Everyone laughs, even Morgan. He rolls his eyes. Andy and Pepper continue to kiss. MORGAN Can we hurry it up, please? I need to make it to Mexico before eight. KEMPER Morgan, will you calm down? Everything is going to be fine. There has to be a town around here somewhere. We can stop; get some drinks, ice, and gas. ERIN Morgan, we'll make it in time okay. In the meantime, why don't you smoke some of that yourself? MORGAN You know, that's not such a bad idea. Anyone want some? Andy, while still kissing Pepper, waves his hand in a "no thank you". Erin shakes her head. Morgan looks at Kemper who shrugs. Morgan rolls his eyes and makes his way to the back of the mattress. He ignores Andy and Pepper and grabs one of the full bags. ERIN We need gas? KEMPER It's almost empty. ERIN Perfect. MORGAN (O.S.) Anyone have a match? Kemper rolls his eyes and pulls out a packet of matches from his pocket and hands them to Morgan. MORGAN (O.S.) Thanks. KEMPER (sarcastically) No problem. Erin rolls her eyes and leans her head against the window. EXT. VAN_LONELY COUNTRY ROAD_DAY We watch as the van rolls down the long country road and pass a sign that reads: TRAVIS COUNTY, TEXAS! DRIVE SLOW, SEE OUR CITY DRIVE FAST, SEE OUR SHERIFF! As the van disappears up the hill, dust comes flying everywhere, even into the CAMERA. We watch as the van becomes a small speck. INT. VAN_LONELY COUNTRY ROAD_(CONT.) Erin leans her head on Kemper's shoulder. He smiles and continues driving. We look inside the back of the van to see that Morgan is smoking a now rolled up paper full of weed. He smiles as smoke fills the air. Andy separates from Pepper and fans his hand in the air. ANDY Jesus, Morgan, can't you at least roll down a window or something? MORGAN You do it. I'm too busy. Andy gives Morgan the finger, who makes a face. Pepper sits up and opens the window to the side of her. She lies back down and gives Morgan look. Andy sits next to her and smiles. ANDY Thanks. PEPPER Anything for my baby. They smile and kiss. Morgan rolls his eyes and takes a huge whiff of the weed. Erin still has her head against Kemper's shoulder. KEMPER I love you. Erin says nothing, but snuggles closer to him and lets out a love-filled sigh. MORGAN You two make me sick, you know that? Erin sits up from Kemper's shoulder and grabs Morgan's rolled up paper of weed and throws it out the window. MORGAN BITCH! ERIN The feeling is mutual, shithead. MORGAN Now, must we resort to name-calling? ERIN Of course not...we can skip right to the part where I beat the crap out of you, if you wish. KEMPER Talk about sibling rivalry. MORGAN (ignoring Kemper) The day you kick the crap out of me will be the day that Pepper takes a vow of celibacy. PEPPER (from behind the backseat) The thought makes my skin crawl. Although, he does have a point. Sorry, Erin. ERIN (to Morgan) I could wipe the windshield with you right now, you weak-ass little weasel! MORGAN Oh yeah...I'm the weasel! (laughing) Look who you choose for a boyfriend! Erin gives Morgan a look of pure venom and, without warning, pulls back and punches him in the face, causing his lip to bleed. ANDY (stops kissing Pepper) I see that weed has finally knocked some sense into you, huh, Morgan? Morgan gives Andy the finger and sits up. Morgan just has a look of pure shock on his face as he reaches his hand to the cut on his lip. Erin seems surprised at her actions, also, but she is breathing hard and is obviously still angry. Pepper and Andy have separated themselves from each other and are now looking open-mouthed from Erin to Morgan and back again. KEMPER Alright, that's it! Kemper slams on the brakes and the van halts in the middle of the road. Everyone in the van is slammed. PEPPER What the hell is wrong with you!? KEMPER (to Morgan) Look...if you insist on being an asshole, I suggest you pick up your over-inflated ego and lug it back to the crack pipe you crawled out of! It's 200 degrees outside, it's God-knows-how-many miles to the nearest town and I am not going to sit here and listen to you two! Kemper takes a deep breath and continues, while Erin lowers her eyes and Morgan's smirk returns to his face. KEMPER (in a calmer tone) Now, I want you both to just...ignore eachother until we get to a town. (turns to Andy and Pepper) And you two can...get back to business. Andy and Pepper look at eachother, smile and begin to kiss passionately, soon disappearing again behind the back seat. Erin turns back around to look through the windshield and Morgan tries to nurse his lip as well as he can with a greasy napkin. Erin turns around to look at Morgan. ERIN I'm sorry, Morgan. MORGAN I'm sure you are. ERIN I am, I don't know what I was thinking. MORGAN You never do. ERIN What the hell is that suppose to mean? MORGAN There's nothing in that small head of yours. ERIN Do you want me to hit you again? MORGAN Stay the fuck away from me. Erin looks ahead out into the road and leans her head against the window. Morgan shakes his head and pulls the napkin away from his mouth. Blood is all over the napkin. He sighs. KEMPER You know, I think I might need some of that weed right about now. Silence. Andy pulls away from Pepper and looks into her eyes. ANDY Would you really take a vow of celibacy? PEPPER Andy, do I look like I'm the kind of person who would do that? I mean...especially when you love... Pepper reaches her hand over to Andy's ass and squeezes it. PEPPER (cont.) ...This? Andy laughs and growls as Pepper pulls herself back towards Andy, kissing him again. She moves on top of him and messes with his hair. They both smile and laugh. MORGAN I am officially nauseated. Erin rolls her eyes and looks ahead to see an open road, full of dirt and rocks. KEMPER (sighs; sarcastically) Have you ever seen anything so beautiful? ERIN (huffs) If I could only see this every single day of my life. MORGAN I'd rather blow my brains out. ERIN That might come sooner than you think. MORGAN Just hurry up and drive the car. I need to get to Mexico soon. ERIN Why are you in such a hurry? MORGAN Do you know how much all this is worth? I'll be living in style! ERIN Not when I tell mom and dad the real reason why you went on this trip. MORGAN You were in on it, too. ERIN I was not! MORGAN You cam along, and that's all that matters! KEMPER You want another fat lip? Sit back and relax. Morgan sighs and leans back. As Erin looks ahead out the windshield, she sees a young girl of about their age walking down the side of the road, wearing a very dirty flower dress. She hugs herself and cries. ERIN Hey...hey, look... KEMPER Oh my god...Should we pick her up? MORGAN Hell no. We're already late. Just keep driving. ERIN Morgan, do you always just think about yourself? MORGAN No, I just want to get there on time so I can collect my money. ERIN Money's not an option right now, Morgan. KEMPER We wouldn't make it anyway. The gas is low. ERIN Pull over and pick her up. Erin rolls down her window and pokes her head out. The rest of them look out their windows. EXT. VAN_LONELY COUNTRY ROAD_(CONT.) The girl continues to walk down the road, not even looking up. ERIN Hey, are you okay? The girl shakes her head without looking up. Erin looks at Kemper, who nods. ERIN Can we give you a ride? GIRL I don't know where I'm going... ERIN Do you live anywhere near here? GIRL No... ERIN Well, we could at least give you a ride. You look exhausted. Come on in, we'll take you wherever you want to go. Pepper slides open the side of the van. The girl looks up and stays silent for a second, then, she climbs into the van. The door slides shut and the van continues to make its way down the road. INT VAN_LONELY COUNTRY ROAD_(CONT.) Kemper continues to drive while Erin looks back at the girl, who sits on the mattress, crying and rocking back and forth. PEPPER What's your name? GIRL Jane... PEPPER Hi, Jane. I'm Pepper. And this is Andy, Morgan, Kemper, and Erin. Erin smiles and waves. Everyone says hi to her except for Morgan. He rolls his eyes and looks down at his book. PEPPER We can take you wherever you want to go. JANE I don't know where I want to go...I just want to get out of here... PEPPER If you don't mind me asking, what happened to you? Why were you out here alone? JANE I...I wasn't alone... PEPPER Well then...Who were you with? JANE My friends... PEPPER Where are your friends? Jane looks down and starts to cry again. Andy reaches over and hands her a soft napkin. She wipes her tears. JANE They're all dead... Erin looks at Kemper, who looks back at Jane. He turns his head to Erin, and they both look into eachother's eyes for a moment. ERIN Who...um...who killed them? JANE I...I don't know... KEMPER What are we suppose to do now? ERIN Just keep driving. If she was out here then there has to be a gas station or house or something out here...It can't be that deserted. KEMPER I wouldn't be so sure about that. I mean, look around... Kemper looks ahead and sees a sharp turn ahead. He decides to take it and suddenly turns into it. Ahead of him are still nothing but dirt, grass, and old trees. MORGAN I'm not gonna make it...This is fucking perfect. I came on this stupid trip for nothing. I sure as hell didn't come on this trip to see four teens get off. Especially one with such an airless head. ERIN You're the one who's stoned all the time! You want me to punch you again, don't you?! MORGAN Don't fucking touch me! KEMPER Then shut up, Morgan! I've had it with you two. ERIN (to Kemper) I'm sorry. Erin leans in and hugs Kemper. In the back, we see Andy come and sit next to Morgan. ANDY You could at least pretend to be a little nice on this trip. MORGAN You'd have to kill me. ANDY That'll be easy. Morgan gives Andy a look of venom. ANDY I bet you have never even experienced physical pleasure, have you, Morgan? MORGAN What's your point? ANDY I'm just saying I wouldn't be talking if I were you. (makes his way back towards Pepper) Virgin. Morgan smirks. Pepper rubs Jane's back as she begins to cry again. Jane covers her ears and rocks back and forth. JANE He's a bad man... PEPPER Who? ANDY What are you talking about, Jane? You need to talk to us. Jane doesn't speak. She moves to the back of the van, up against the back window. Pepper moves up to the front of the van. PEPPER I don't know what we should do. ERIN We need to find someone. KEMPER That's not gonna happen. This van is going to stop any second. MORGAN It better not! I knew we should have taken my van! I fucking new it! What the hell are we suppose to do with the girl? KEMPER We'll take he as far as she needs to go. MORGAN Which will be right here. Stop the van and let her out. ERIN Morgan! MORGAN What!? Erin smirks at Morgan, who rolls his eyes. MORGAN And then? KEMPER And then find someway to get home. MORGAN You mean...we're not going to Mexico? KEMPER No, we're not. MORGAN Jesus, Kemper! I came all the way on this trip for this shit? This is bull. ERIN Morgan, I really think that Jane is a little more important than some stupid weed. MORGAN (whisper) Stupid weed my ass. Erin turns back towards Kemper, who looks at the gas gauge once again. ERIN So...? KEMPER Shit... ERIN What? EXT. VAN_LONELY COUNTRY ROAD_(CONT.) Slowly, we watch the van as it pulls over to the dirt. Slowly, the engine stops, and it is silence. We pan up from a sky view of the van as it lies perfectly still. INT. VAN_LONELY COUNTRY ROAD_(CONT.) We watch as everyone looks around. Kemper puts his head on the wheel, smacking his head against it. ANDY What happened? KEMPER The van's down. ANDY What does that mean? KEMPER We need gas, that's what it means. MORGAN Damnitt! PEPPER How long do you think until we can find someone? KEMPER I don't know. It's best of we all get out and look for help. ERIN I'll come with you. Kemper and Erin step out of the van, leaving us with Andy, Morgan, Pepper, and Jane. Silence... MORGAN I'm not staying in here with you three. Excuse me. Morgan slides open the side of the door and pops out. He slams it shut. Pepper looks at Jane and Andy. PEPPER Look, I think we should go look for help, too. That way we can double our chances of actually finding someone. ANDY I think so, too. Jane? You wanna come with us? Jane shakes her head and moves towards the corner of the van. Pepper slides open the door and steps out, followed by Andy. He looks back at Jane, who still hides in the corner. He shrugs and slams the door shut. Jane watches as they all start to walk away. She presses her hand against the glass and starts to cry again. JANE You're all gonna die... The CAMERA zooms in on her slowly and we suddenly CUT TO: EXT. VAN_LONELY COUNTRY ROAD_(CONT.) The group stands alone, wondering what to do. KEMPER I think we should go in groups. I'll go with Erin and Andy can go with Pepper. Morgan- MORGAN I work better alone. ERIN That's for sure. Morgan smirks at Erin, who puts her hands in her back pocket. KEMPER Okay. We'll all meet back here in about an hour or so. They all nod and walk off in different directions. We watch as they all disappear into the vast, empty field. The CAMERA pans up to the hot blazing sun as we slowly FADE TO: INT. DARK ROOM_DAY We pan around the room to see old cans, water dripping from the ceiling, old collections of records, old dolls, some with no eyes, and just many different kinds of old antiques that look like they were never taken care of. As we pan around, we pull into a long stairway, which lead into more darkness. We hear distant screams in the background. Suddenly, a young, wet girl of twenty runs out from behind the stairs! She runs up them and heads towards an open, dirty sliding door. She steps out of it and slides it, leading herself into a INT. HALLWAY_OLD HOUSE_(CONT.) The girl stands still, and suddenly slams the sliding door shut. From the outside, there are no handles or anything else that can be seen to open it, just a small circular peephole in the middle of the door. The girl looks around and pants, wondering what to do. She stands still as she hears loud footsteps making their way up the stairs. The girl runs towards a closed door and tries to open it, but can't. She looks around and sees a flight of stairs leading to the second floor. She looks back at the sliding door, and then runs up the stairs, disappearing into a sharp corner. Large footsteps can be heard making their way towards the long flight of stairs. INT. DARK ROOM_UPSTAIRS_OLD HOUSE_(CONT.) The girl walks around the room, trying to find a place to hide. She looks around and finds nothing. More footsteps can be heard. She pears outside a slight crack to see two large boots walk past the door and search somewhere else. The girl sighs and looks behind her, only to see a window covered in wood planks. She cries and leans up against the door. A few seconds pass. She stands up and looks through the crack. Nothing is there. She slowly opens the door and steps into the INT. HALLWAY_UPSTAIRS_OLD HOUSE_(CONT.) The girl looks around, but sees nothing. We follow her to the stairs, were she slowly starts to walk down them step by step. A small crack can be heard, and she looks up, but no one is there. She sighs and closes her eyes. She continues to walk down the stairs until she reaches the front door. She tries to open it, but can't. GIRL Shit... She tries to unlock the door, but it is budged tight. She looks behind her, seeing if she can find anything to break open the lock. She hesitates, but can't find anything. She looks to the sliding door, which stays silent. She walks down the hallway, turning a corner into the INT. KITCHEN_OLD HOUSE_(CONT.) The kitchen is old, but the girl doesn't seem to notice. She opens a small drawer and pulls out a long knife. She looks at it and then turns around after hearing a small noise. She walks quietly towards the open door, raising the knife high. As she makes her way towards the door, she looks around, but sees nothing but the same old thing. INT. HALLWAY_OLD HOUSE_(CONT.) The girl slowly walks down the hallway, looking back every second. Her eyes are focused on the front door. She sighs and walks towards the closed door. Suddenly, she turns around after hearing a loud noise. A large figure wearing a strange, leather-like mask pops out from behind the sliding door! The girl screams and runs towards the closed door. She swings the knife at the lock, but nothing happens, and the knife suddenly drops. The man, LEATHERFACE, runs after her, screaming himself. He grabs her by the waist and holds her up. She screams and kicks wildly as he pulls her through the sliding door. As she screams, the door suddenly slams shut and there is pure silence. INT. DARK ROOM_OLD HOUSE_(CONT.) We pull down the stairs and move across the old collectables and the dripping water. We pan around the room to see an old furnace, a table full of weapons of destruction, and water dripping everywhere. We pan into another room where we see Leatherface still holding the girl, making his way to a large hook which lies in the middle of the air hung onto by a wire from the ceiling. The girl continues to scream as Leatherface sticks her on the hook from her back! She screams wildly as we CUT TO: EXT. OLD HOUSE_FIELD_DAY We continue to hear the screams in the background as we see a very old large two-story house surrounded by old trees and no neighbors. The screams suddenly fade as we see a young hippie of the same age of the girl start walking towards the house. HIPPIE Marilyn? You there? The hippie finally makes his way to the EXT. PORCH_OLD HOUSE_(CONT.) The hippie sighs and knocks on the door, which still remains closed. HIPPIE Hello? Is anyone home? Silence. Just as the hippie starts to walk away from the house, we hear a loud bang in the backyard. The hippie stops and slowly makes his way into the EXT. BACKYARD_OLD HOUSE_(CONT.) As the hippie makes his way further into the backyard, where he sees a large laundry wire hanging in mid air, covered by dry sheets. He walks around, losing himself in the sheets. HIPPIE Marilyn? Where are you? Stop goofing on me! Suddenly, the buzz of a chainsaw can be heard and the boy turns around to see Leatherface, standing in front of him, holding a chainsaw in the air! The hippie screams as we CUT TO BLACK. EXT. FIELD_LONELY COUNTRY ROAD_DAY We watch as Erin and Kemper walk through the fields, holding hands and looking around. ERIN I don't know why we're even looking out here, I mean clearly there is no one here... KEMPER We have to keep looking. For Jane's sake. ERIN What the hell was she talking about in there? Who killed her friends? KEMPER I don't know...But she was obviously traumatized by the whole thing. I think we should just find a phone and call the police. ERIN If we find anyone. Erin sighs as she suddenly pears through the fields to see a large two-story house...the same old house from before. ERIN Hey... KEMPER What? Erin pushes through the fields, letting go of Kemper's hand and making her way towards the house. Feet away from the house, she stops, letting Kemper catch up to her. ERIN This is unbelievable. KEMPER Who would build a house all the way out here? ERIN Let's just go and call the police. Erin and Kemper walk slowly towards the house and quickly reach the EXT. PORCH_OLD HOUSE_(CONT.) This time, the door is open, but the screen door is closed. Kemper knocks to the side of the door and waits. There is no response. Erin pears inside but sees nothing. Kemper knocks again, but there is still no response. KEMPER (into screen) Excuse me? ERIN (into screen) Is anyone home? KEMPER (into screen) Hello? Erin pears into the house again but continues to see nothing. Old music can be heard in the background. A record player can be seen in a distant room. ERIN Somebody has to be home. KEMPER It's out in the middle of nowhere. They sigh. ERIN Just go and get the others and I'll stay here. KEMPER You sure? ERIN Yeah, I'm sure. KEMPER You don't have to do this. I'll wait with you. ERIN Kemper, just go get the others. I'll be fine. Kemper reaches over and kisses Erin's cheek. She moves her head so that he kisses her lips. She smiles as he walks away. Soon, he disappears through the field. She sighs and looks back inside the house. ERIN Hello? Silence. ERIN We need help...Is anyone here? More silence. Erin reaches over and opens the screen door, walking inside the INT. HALLWAY_OLD HOUSE_(CONT.) The screen door suddenly slams shut. She jumps and turns around. She rolls her eyes and laughs. She turns back around and walks slowly down the hallway, seeing all sorts of collectables and records lying all over the place. ERIN Hello? Silence. She walks down the hallway and into the INT. DINING ROOM_OLD HOUSE_(CONT.) There is a long wooden table sitting in the middle of the table, complete with old candles and seats fit for six. She walks through the dining room and sees another swinging door behind the table. She slowly walks over to it and opens it, revealing the INT. KITCHEN – OLD HOUSE – (CONT.) It is the same as we had last seen it. Dirty dishes can be seen all over. Feathers can be seen all over the ground. Erin cringes and walks around, looking above her to see different sorts of bones hanging from the air by string. She opens her mouth and covers it with her hand. She coughs and makes her way through another open door, leading her back into the INT. HALLWAY – OLD HOUSE – (CONT.) There is nothing in front of her but the same old hallway leading towards the open door. As she turns around, she sees the closed sliding door complete with the peephole. She knocks on it, revealing an echo. She puts her ear up against it and knocks again. ERIN Hello? Nothing. She sighs turns around, walking back down the hallway. Beside the stairs is another open doorway, which leads to another empty room. She ignores it and looks up the stairs. She sighs and starts to walk up it very slowly. EXT. FIELD_LONELY COUNTRY ROAD_(CONT.) Andy and Pepper can be seen walking around, looking for someone. They stop. ANDY This is hopeless. PEPPER We have to keep looking. Please, Andy? Andy stops and looks into her eyes. ANDY Okay... The smile and kiss. Slowly, they fall onto the field and laugh. EXT. FIELD_LONELY COUNTRY ROAD_(CONT.) We watch Morgan walk around the field, sighing and rolling his eyes. A small noise can be heard from behind him. He stops in his tracks and turns around. Silence. MORGAN Hello? Nothing. The field sways back and forth from the wind. MORGAN Kemper? Get your cheep ass out here. Silence. Morgan looks around and then continues walking. Suddenly, he bumps right into KEMPER! Morgan jumps and steps back. They both breathe deeply. MORGAN Kemper, you ass. KEMPER Don't give me that right now, Morgan. Erin found a house. Let's go find Andy and Pepper. Morgan rolls his eyes as they both walk off into the field. EXT. FIELD_LONELY COUNTRY ROAD_(CONT.) Andy and Pepper lie down on the ground, kissing passionately. Suddenly, they are covered with shadows as they both look up to see Kemper and Morgan staring at them. MORGAN Is that the only thing you guys do? Andy smirks as he helps himself and Pepper up. KEMPER Erin and I found a house back in the field. Erin's there looking for a phone. I told her I'd come back and get you guys and Jane. MORGAN Who cares about Jane? PEPPER I'll go get Jane. Just point of the direction of the house. KEMPER (points) It's that way. But you better hurry. PEPPER (walking away) Will do! Kemper walks away with Andy and Morgan as we watch Pepper walk back towards the van. INT. UPSTAIRS_OLD HOUSE_(CONT.) Erin walks around, looking for any person she can find. She hears a slight noise from downstairs and quickly runs down the stairs, making her way towards the INT. HALLWAY_OLD HOUSE_(CONT.) Erin looks around, but sees nothing but the same old thing. ERIN Hello? Is anyone here? Silence. She sighs. EXT. VAN_LONELY COUNTRY ROAD_(CONT.) Pepper finally makes her way to the van and slowly opens it. PEPPER Great news, Jane, Erin found a- No one is in the van. Pepper looks around, but sees nothing. She looks around the field, but doesn't see Jane anywhere. PEPPER Shit... She slides the door shut and makes her way back towards the field. INT. HALLWAY_OLD HOUSE_(CONT.) Erin slowly walks towards the closed sliding door and knocks on it again. There is still nothing. She slowly moves her eye towards the peephole and pears inside. There is nothing there. She pulls herself back and leans her back up against the door. She sighs and closes her eyes. Slowly, we watch as the peephole slowly starts to squeak. Erin moves her head back towards the peephole. It is the same as it was. She slowly continues to pear through the peephole, but there is still nothing. We watch her through the other side of the door, her eye up against the screen in a circular motion. Suddenly, a hand taps her shoulder and she screams! She turns back around to see Kemper, staring at her and smiling. ERIN Jesus, Kemper, you scared the shit out of me. KEMPER I'm sorry... ERIN Don't worry about it. Find everyone? KEMPER Pepper's making her way back with Jane. Did you find anyone? ERIN Not even a phone. KEMPER Let's wait outside. Kemper and Erin walk outside into the porch as the CAMERA slowly moves into the peephole. EXT. PORCH_OLD HOUSE_(CONT.) Kemper and Erin walk down the porch stairs to join Andy and Morgan, who sit on the last step of the porch. ANDY Find anything? ERIN It doesn't seem like anyone's home. MORGAN Figures. They all look up and see Pepper walking towards them, alone. Andy stands up while Kemper and Erin walk towards her. Morgan continues to sit down. KEMPER Where's Jane? PEPPER She wasn't in the van. ANDY What? PEPPER When I went back, no one was in the van. She was gone. ERIN Great... ANDY Where do you think she is? MORGAN (O.S.) Mexico. They all ignore him and turn back to Pepper. PEPPER What are we suppose to do now? KEMPER We need to find someone first. And if we do, then we have to call the cops I guess. It's not safe for Jane to be out here alone. Let's all just wait here. PEPPER Where exactly? KEMPER Maybe they're in the back. Let's go. They all walk towards the backyard of the house, even Morgan. We pan back to reveal the large house as they all disappear into the backyard. EXT. BACKYARD_OLD HOUSE_(CONT.) They all pass the blowing sheets and walk all the way towards the back of the yard. It is a mess. There is a row of old cars sitting in the backyard, all warn out and from the forties. ERIN Oh my god... KEMPER They sure are collectors aren't they? Erin walks towards the cars, followed by Morgan and Kemper. Pepper walks over to an old Volkswagen and pears inside of it. It is very dirty and smelly, from the look of Pepper's face. PEPPER (covers her nose) Oh my god... KEMPER Do you think any of them start? MORGAN I highly doubt that. Erin looks around and passes a large row of tires, making her way towards a very large black truck. She looks inside of it and then looks around some more, passing more cars. Pepper walks away from the cars and makes her way towards a large opening in the back of the house, a greenhouse if you will. There is no door, and it is very dusty and black. Pepper doesn't look inside of it, she just sits down on the nearest log. She covers her forehead and sighs. PEPPER I guess we just have to wait here. ERIN I'm going back in there as soon as I can. I know there's a phone in there. I can feel it. MORGAN Than get in there and call the cops so we can get our car fixed. ERIN Do you only think of yourself, Morgan? MORGAN The only two things I care about in this world are my drugs and I. Erin gives him the finger and continues to walk around. ANDY Smooth, Morgan. Smooth. Morgan huffs and rolls his eyes. He sits near Pepper on a small wooden chair. Andy walks over to Pepper. She stands up and holds him. She puts her head against his chest. PEPPER So what do we do now? ANDY Like you said...Wait I guess. PEPPER That really stinks. ANDY Why's that? Pepper looks into his eyes and smiles. PEPPER Because I'm in the mood. Andy smiles as the both come together and kiss. They both olds eachother's hands. ANDY Why don't we go... Andy points his head to the old house. Pepper smiles. PEPPER Are you sure no one's home? ANDY Erin said she didn't see anyone. Pepper bites her lip and smiles. She tugs at Andy's arm. ANDY Um...we're going to go look around more. We'll be back later. Pepper giggles as they disappear around the corner. MORGAN You know that they're not really going to look around, right? Erin looks at Kemper and sighs. INT. HALLWAY_OLD HOUSE_SECONDS LATER Andy and Pepper open the screen door and step inside. ANDY Wow... PEPPER It's really old... ANDY Let's go upstairs. Andy starts to walk upstairs, Pepper in hand. They both look around and continue to make their way up the stairs. They finally make it up the stairs and turn a sharp corner, making their way into a dark room. EXT. BACKYARD_OLD HOUSE_(CONT.) Erin sits on the old log like Pepper was and covers her forehead. Kemper stands next to her while Morgan continues to sit on the small wooden chair. KEMPER How long are they going to be in there? ERIN Knowing them, forever. MORGAN No shit. INT. DARK ROOM_UPSTAIRS_OLD HOUSE_(CONT.) Andy and Pepper lie on a dirty bed. They both smile and start to kiss. PEPPER So what do you want to do first? ANDY You mean I get to decide? PEPPER Yep. Andy smiles and pulls Pepper towards him. They kiss passionately. EXT. BACKYARD_OLD HOUSE_(CONT.) Erin stands up and is about to walk away when a black FIGURE runs across the dark greenhouse. She jumps and Morgan stands up. KEMPER What? MORGAN What's the he'll is wrong with you? ERIN I...I...(pointing) I just saw something... KEMPER That's impossible. No one's here...Are they? Erin slowly steps inside the room, seeing a bunch of old furniture and other sorts of dirty and old material. Morgan looks around as well. He makes his way to a large cupboard and looks down to see a small jar rolling its way towards him. He stops it with his foot and picks it up. Inside is a single picture of Jane. Also inside the jar seems to be green water, the color of pickle juice. MORGAN Hey, guys...Come look at this... Erin and Kemper walk over to Morgan and stare at the jar. Erin picks it up and examines it. ERIN Oh my god...It's Jane... KEMPER What was she doing here? MORGAN Do you think this has anything to do with that thing she was talking about in the van? KEMPER What thing? MORGAN About her friends being dead...A bad man killing them or something like that? KEMPER I don't know... ERIN Just put it back, Morgan. Morgan takes it and slowly makes his way to the cupboard. He slowly opens it and sees millions of the same kind of jars, all with different pictures inside of them. MORGAN Jesus... Erin turns around and her mouth drops open. She and Kemper walk towards it slowly. They all pick up a different jar and examine them. ERIN Oh my god... KEMPER What the hell is wrong with these people? ERIN Their completely twisted, you know that? ERIN What were they all doing here? They examine the jars once again and then put them back, shutting the cupboard quickly. INT. DARK ROOM_UPSTAIRS_OLD HOUSE_(CONT.) We watch as Andy and Pepper continue to talk and laugh. Suddenly, a loud bang can be heard from downstairs. They both jump and stay silent. PEPPER What was that? ANDY It's probably Erin or somebody. Come on, let's go. They both get up and hold eachother's hands as they walk out of the room and head towards the stairs. INT. HALLWAY_OLD HOUSE_(CONT.) From the bottom of the stairs, we watch Andy and Pepper slowly make their way down the stairs. Andy walks outside to the porch, followed by Pepper. EXT. PORCH_OLD HOUSE_(CONT.) They look around, but see nothing. They hold eachother's hands and make their way to the back of the house. EXT. BACKYARD_OLD HOUSE_(CONT.) Erin, Kemper, and Morgan continue to look around just as Andy and Pepper arrive. ERIN You guys have to check this out. Andy and Pepper move to the cupboard where the group stands. Erin hands Andy the jar with Jane's picture in it. ANDY What the hell is that? ERIN We don't know...I think these people have something to do with the thing Jane was talking about in the van. PEPPER You mean...about her friends dying and all that shit? ERIN That's what we think. KEMPER And someone's here, too. Erin just saw them. MORGAN Where did they go? ERIN I'm not sure...I think they went back inside the house. KEMPER I'm going back inside. ERIN Not without me you're not. Kemper and Erin make their way back towards the house. Morgan shrugs and walks with them. Andy and Pepper soon join them. From behind, we see the black FIGURE runs across the room once again. INT. HALLWAY_OLD HOUSE_(CONT.) Everyone arrives in the house and looks around. ERIN I need to find a phone. Erin walks into the dining room followed by Kemper. She looks around and sees a large box full of collectables while Kemper looks around and makes his way into the kitchen. We cut back to Andy, Morgan, and Pepper. They walk down the hallway and come face- to-face with the closed sliding door. Pepper knocks on it and looks into the peephole. PEPPER IS anyone here? Andy stands with Pepper, who continues to knock on the door. Morgan look to the right of the sliding door and sees a closed white door. He opens it and looks down a long flight of stairs. MORGAN Hey... Andy and Pepper look at the open door. They all look at eachother and start to walk down the stairs. INT. STAIRS_OLD HOUSE_(CONT.) They all walk down the dark stairs and breathe deeply. Suddenly, the door suddenly slams shut. They all turn around and jump. MORGAN Jesus... PEPPER Keep going. They all shrug and continue to walk down the stairs. INT. KITCHEN_OLD HOUSE_(CONT.) Kemper looks around and sees all the feathers and bones hanging in the air. INT. BASEMENT_OLD HOUSE_(CONT.) Andy, Pepper and Morgan finish walking down the stairs and make their way further down into the pitch-black basement. They all look around to see pipes clinging to all the sides of the walls. Steam erupts from them slowly. Noise forms all around them. They all look around for a light switch. Morgan looks around under one of the pipes and a light switch. ANDY Could someone turn on a light? MORGAN I'm working on it! Morgan finally switches on a light. A loud steam can be heard from above them. They all look up and watch as lights flicker on and off at the end of the wet hallway. Water drips from the pipes. They all start to walk forward. A single door lies at the end of the hallway. ANDY Do you think there's even a phone in there? PEPPER There's only one way to find out. They all start to walk down the hallway slowly, looking around from time to time. INT. KITCHEN_OLD HOUSE_(CONT.) Kemper looks around some more and cringes. He turns around and makes his way back into the INT. DINING ROOM_OLD HOUSE_(CONT.) Erin continues to look through the old box. Kemper joins her. ERIN Look at this stuff... Old records and vases can be seen all over the place. Old pictures from the 1800's are with it. Erin picks up an old broken telephone. ERIN If only it worked. Erin huffs and looks around some more. Kemper joins her and picks up an old vase. Suddenly, a loud bang can be heard behind them. Erin suddenly drops what she was looking at and looks ahead of herself, breathing deep. ERIN What the hell was that? She looks over at Kemper, who shrugs. They both walk towards the hallway and look around. INT. HALLWAY_OLD HOUSE_(CONT.) They both look around. ERIN Where is everybody? KEMPER I don't know... They look past the stairs and see another room, the INT. LIVING ROOM_OLD HOUSE_(CONT.) A single couch can be seen in the corner of the room, along with an old small table with an antique cord phone. Erin sees it and runs towards it. She picks it up and tries to dial. She stops and sits still, the phone glued to her ear. ERIN Hello? Silence. She throws down the phone and sighs. She turns around and bumps into Kemper. KEMPER So? ERIN There's no dial tone. KEMPER Shit...Are you sure you saw someone? ERIN Someone has to be here. Why would all this shit be here? KEMPER I don't know... Erin looks behind her to see another door. She walks towards it and opens it. She screams as she bumps into Andy, Pepper and Morgan. They all jump and breathe hard. PEPPER Did you find anything? ERIN Old collectables and a broken phone. MORGAN That's just perfect. KEMPER Where were you guys? ANDY Basement. We didn't find much. Just a locked door and some old pipes. ERIN Let's just go back to the yard. ANDY What about a phone? We need to fix the van and Jane's missing. MORGAN Who cares about Jane!? PEPPER Did you guys check upstairs? ERIN Nope. ANDY I'll stay in here and try to find a phone. You guys can just wait outside, alright? PEPPER But Andy, I- ANDY Pepper, just go outside. It'll be fine. They all nod and start to walk outside. Pepper stands with Andy. PEPPER You sure you don't need any help? ANDY I'll be perfectly fine. Pepper smiles and kisses him for a long time. She lets him go and starts to walk away, his hand her hers. She lets it go and walks out of the house. He sighs and walks towards the hallway. INT. HALLWAY_OLD HOUSE_(CONT.) Andy steps inside the hallway and looks up the stairs. ANDY Hello? Is anyone here? There is a slight noise behind the closed slide door. He slowly walks towards it and continues to look around. He makes his way to the sliding door and knocks on it. ANDY Hello? Nothing. He looks through the peephole and looks around. He sees nothing and suddenly backs away. He sighs and looks around, trying to find a phone. He continues to stand in front of the door while still trying to find someone or something. EXT. BACKYARD_OLD HOUSE_(CONT.) Everyone sits back down in front of the greenhouse. They all sigh. PEPPER If he's not back in ten minutes, I'm going in there. INT. HALLWAY_OLD HOUSE_(CONT.) ANDY Hello? We need help is anyone there? Silence. Andy turns and opens the door to the basement. INT. BASEMENT_OLD HOUSE_(CONT.) Andy walks down the stairs and makes his way down the now lit basement hallway. The door at the end of the hallway remains the same. He finally makes his way to the door and tries to open it, but it won't budge. He kicks on it, but nothing happens. He kicks at it one more time and pounds on it. Suddenly, it opens, and he falls inside. INT. ROOM_BASEMENT_OLD HOUSE_(CONT.) Andy gets up from the wet and feather filled floor and dusts himself off. He looks up to see meat hanging from hooks all over the ceiling. He holds his nose and watches as flies fly around everywhere. He looks around more to see feathers all around the floor. Bones hang from the ceiling as well. He cringes and walks out of the room. INT. BASEMENT_OLD HOUSE_(CONT.) Andy covers his nose as he runs down the hall and back towards the door. He makes his way up the stairs and opens the door to the INT. HALLWAY_OLD HOUSE_(CONT.) He shuts the door and closes his eyes in disgust. He stands next to the closed sliding door and sighs. He brushes his hand through his hair and closes his eyes once again. Suddenly, the sliding door opens and Leatherface stands there wearing a bloody apron and rubber gloves. ANDY (turns around) OH SHIT! Leatherface screams as Andy starts to run towards the door. Leatherface runs after him quickly! Andy tries to open the door, but turns to see Leatherface nearly inches away from him. He turns and starts to run up the stairs, followed by Leatherface! INT. UPSTAIRS_OLD HOUSE_(CONT.) Andy runs down a long hallway and turns into a room we have not seen before. He enters it and shuts the door and locks it, just as Leatherface pounds on the door. INT. ROOM_OLD HOUSE_(CONT.) Leatherface continues to pound on the door while Andy looks around for a place to escape. There is nothing. ANDY SHIT! As the pounding continues, we see Andy run towards a closed window. He pounds on it, but it does not move! As he runs towards the door, Leatherface's hand comes crashing through it, reaching for him, but he backs away. Suddenly, the door comes crashing down and Leatherface stands there, screaming through the thick mask. Andy backs away into a corner and tries to fight him off. Leatherface tries to grab him just as Andy runs out of the room and down the stairs. INT. HALLWAY_OLD HOUSE_(CONT.) Andy makes his way to the front door, Leatherface running after him wildly. He manages to open it, but doesn't have enough time to get through it. Leatherface grabs him, putting his bloody hand over his mouth. Leatherface shuts the door with a loud bang. INT. HALLWAY_OLD HOUSE_(CONT.) Leatherface still holds onto Andy, who kicks and screams wildly. He grabs him and throws him into the open sliding door, sending him toppling down the wet stairs. Leatherface walks in and slams the sliding door right into the CAMERA. INT. DARK ROOM_OLD HOUSE_(CONT.) As Andy comes falling down to the wet ground, he looks up to see Leatherface coming right after him! He stands up and starts to run to the end of the room, finally facing a corner! ANDY Shit! Leatherface grabs his bloody chainsaw from the table and starts it up, letting us hear the buzz all around the screen. Andy makes his way into the other room, where all the hooks lay in the air. There is nowhere to hide now. As he turns around, he sees Leatherface standing right in front of him, waving his chainsaw in the air! Andy screams as the chainsaw comes down and slices into his stomach! Blood pours everywhere as Andy pulls his head back, just as blood comes pouring out of his mouth. Andy's distant screams fade away as we CUT TO: EXT. BACKYARD_OLD HOUSE_(CONT.) Everyone still stands still, looking around and waiting for Andy to get back. PEPPER It's been long enough. I'm going in there. ERIN Pepper, just wait, okay? He'll be out in a second. It takes a long time to tell the cops exactly where this house is located. KEMPER Yeah, Kemper, I mean, I couldn't even tell anyone directions to where this place is. ERIN Which is probably why he's taking so long. MORGAN The guy's a jackass, what can you do? Morgan looks around just as Pepper approaches him. He looks up and smiles. PEPPER How's that lip? MORGAN Better. Suddenly, Pepper punches him right in the lip! Morgan goes flying back for a second and then comes back up, holding his bloody lip. Erin and Kemper laugh. MORGAN Bitch. Pepper air kisses him and sits down. She sighs and looks at Morgan, who stops the blood flow with his shirt. PEPPER If he isn't here in five minutes, I'm going in there, whether you like it or not. Morgan rolls his eyes as Erin and Kemper hold eachother and sigh. EXT. OLD HOUSE_DAY We stare at the lonely house for a moment or two, then follow back in the EXT. BACKYARD_OLD HOUSE_LATER Everyone is the same as they were but Pepper cannot stand it any longer. She stands up and walks towards the porch. MORGAN Where are the hell are you going? PEPPER I'm going to go find Andy. ERIN Pepper, I'm coming with you. KEMPER So am I. Pepper, Erin, and Kemper start to walk off into the corner. Morgan stands still, and then gets up and walks towards them. INT. HALLWAY_OLD HOUSE_(CONT.) We watch as Pepper, Erin, Kemper, and Morgan walk in slowly through the front door. They all look around, but see nothing than the same thing they had all seen before. MORGAN This house is fucking creepy... KEMPER Did you just notice that? PEPPER Andy? Andy, where are you? Pepper walks over to the closed sliding door and knocks on it. PEPPER Andy? Silence. Everyone else looks around as Pepper starts to turn around, but sees the door to the basement. PEPPER Guys, I'm going back in the basement to see if he's there. ERIN I'll check upstairs. The rest of you can join Pepper. She needs all the help she can get. They all nod as Erin walks off. Pepper opens the door and starts to walk down the stairs, followed by Kemper and Morgan. INT. BASEMENT_OLD HOUSE_(CONT.) Pepper takes the lead, followed by Morgan and Kemper. They all look around while the steam continues to rise from the pipes. A bang can be heard from behind the closed door ahead of them. PEPPER Andy? MORGAN Face it, he's not here. We've been down here before. KEMPER Shut up, Morgan and just look for him. PEPPER Andy? Where the hell are you? INT. UPSTAIRS_OLD HOUSE_(CONT.) Erin walks around the hallways, searching the rooms, but finds nothing. ERIN Andy? Andy, are you here? Nothing. A small creak can be heard downstairs, and Erin rushes towards it. She runs down the stairs only to find the same old INT. HALLWAY_OLD HOUSE_(CONT.) Nothing. Erin looks around, but there is no one there. She turns to the left of the stairs and walks into the INT. DINING ROOM_OLD HOUSE_(CONT.) She looks around to see the same box. She looks ahead to see another phone in the corner! She runs towards it and picks it up. Her smile soon turns into a frown. She slams down the phone and sighs. She pulls back her hair and walks back into the hallway. INT. BASEMENT_OLD HOUSE_(CONT.) Pepper looks at the smoky, water filled pipes as Kemper and Morgan suddenly jump back as a loud footstep can be heard. KEMPER What the hell... PEPPER Andy? Is that you? MORGAN It's not Andy, Pepper, get over it. PEPPER Andy!? Another footstep can be heard and Kemper steps out. KEMPER All right, that's it, if somebody's out there just come on out! Silence. Another footstep can be heard. Kemper steps out again. KEMPER Come on out now! There is a loud bang and the group jumps as they turn and see Erin, standing on the stairway. ERIN What the hell is going on? KEMPER Let's just get out of here. PEPPER What about Andy? I'm not going to leave him! KEMPER We'll go back to the van and if he doesn't show up in an hour or so, then we'll go look for him. PEPPER It would be just as easy to look for him now! MORGAN Just shut the fuck up and let's get out of here. Pepper stares at Morgan for a second, and then storms out on the rest of them. In a second, they all follow her all the way up to the INT. HALLWAY_OLD HOUSE_(CONT.) They all step out of the basement door and quickly shut it. Pepper stands, looking at everyone. PEPPER All right, but if he doesn't show up I swear I am coming back here. MAN (O.S.) Oh no you won't! They all jump and turn around to see GRANDPA DRAYTON SAWYER, an old man in his late seventies. He sits in a wheelchair and smokes a cigar. DRAYTON What the hell are you doing in my house? Drayton slams down a large cane and stares at them. ERIN I'm sorry...We were only looking for a phone. DRAYTON I don't have one. Get out now. ERIN Please, we need to call the police. DRAYTON Unless you have a good reason for trespassing, there is no way I am going to let you use the phone. KEMPER Look, our car broke down and a friend of ours is missing. Not to mention a hurt girl. DRAYTON Go find another phone. And get out of my house. Erin, Kemper, Morgan, and Pepper make their way towards the door. They all walk out except for Pepper. PEPPER We just wanted to use the phone. DRAYTON I don't really think that was a good enough excuse so get the hell out of my house. Now. PEPPER Is it illegal to ask someone for a simple phone call? DRAYTON Get out. As Pepper walks out of the door, she gives Drayton the finger. He smirks as the door slams shut. EXT. OLD HOUSE_FIELD_(CONT.) They all step down from the porch and stand still. ERIN What do we do now? KEMPER We go back to the van and wait. MORGAN We can't go back here! Not with that crazy bastard hanging around here! PEPPER So you're saying we just have to wait at the van until he shows up? Hell no! I am not going to sit on my ass waiting for him to get back, which will probably take hours! I say we search for him now! KEMPER There's nothing we can do now. Kemper starts to walk away. Erin shrugs and walks with him. Morgan joins them. Pepper stands still. A small tear forms in her eye. She wipes it and looks back at the house. She sighs and walks off with the group. FADE TO: EXT. VAN_LONELY COUNTRY ROAD_SUNSET We watch the sun as it comes closer towards sunset. We pan into the windows of the van very quietly. INT. VAN_LONELY COUNTRY ROAD_(CONT.) Everyone is asleep, except for Pepper, who sits up, rocking back and forth and biting her nails. She looks to see Morgan lying down on the mattress and Erin holding onto Kemper's waits as she sleeps. Kemper's face is turned towards Erin's face. It's like it's the perfect image...The perfect couple. Pepper sighs and slides open the door. She looks at everyone and sighs. PEPPER I'm sorry. She bites her lip and then shuts the door quietly. FADE TO: EXT. OLD HOUSE_LONELY FIELD_(CONT.) We watch as Pepper comes closer and closer towards the house. In a matter of seconds, she reaches the EXT. PORCH_OLD HOUSE_(CONT.) She looks around and then knocks on the door. Silence. She knocks again, but still nothing. She sighs and opens the screen door, walking right into the INT. HALLWAY_OLD HOUSE_(CONT.) Everything is the same as it was the last time we saw it. She looks around but sees no one. She looks upstairs but there is no sound. She sighs and stands in the middle of the hallway. PEPPER Andy? Silence. She walks towards the closed sliding door and stands right next to it. She puts her ear on it to hear a few loud bangs and footsteps. She knocks on it. PEPPER Andy? Suddenly, the noises stop, and Pepper knocks again. PEPPER Andy, are you down there? More silence. She tries to open it, but there is no handle or anything to try and open it. She looks around and makes her way into the INT. KITCHEN_OLD HOUSE_(CONT.) She looks around but finds nothing. She opens a drawer and pulls out a long knife. She runs back to the INT. HALLWAY_OLD HOUSE_(CONT.) She sticks the knife in the slit of the sliding door and pulls to the left. Slowly, the door forms a crack, big enough just so she can open the rest of it with her hands. She throws down the knife and slides open the door, revealing two flights of stairs. She looks around and cringes. She steps inside and turns the corner and walks down the stairs. INT. DARK ROOM_OLD HOUSE_(CONT.) Pepper makes her way to the bottom of the old, wet cellar and continues to look around. PEPPER Andy? There is pure silence. She looks ahead, only to see a table full of weapons, an apron, and a black door way in the back. She looks around and sees another door to the left of her. She walks towards it slowly, still looking around. As she walks in, she sees all the bloody hooks hanging from the ceiling. PEPPER Jesus... She steps further into the room and looks back. PEPPER Andy? More silence. A loud bang can be heard from behind her. Pepper runs out of the room and heads towards the black door in the back of the room. PEPPER Andy? Suddenly, the door swings open, and Leatherface stands there! Both Pepper and Leatherface scream horribly! Pepper runs towards the stairs with Leatherface running after her! He suddenly grabs her by the waist and drags her to another room. She screams and kicks madly as she puts his hand on her mouth. He finally makes his way to the room with the hooks, still holding Pepper. Pepper turns and sees the horrifying sight and continues to scream. Slowly, Leatherface pulls Pepper closer and closer to the hooks. She closes her eyes and screams as Leatherface sticks her onto the hook! She screams and tries to pull herself off but can't! Leatherface covers his ears and screams himself as we FADE TO: INT. VAN_LONELY COUNTRY ROAD_(CONT.) Erin stirs as she wakes up and slowly opens her eyes. Morgan and Kemper are still asleep...but Pepper is missing! She shakes Kemper. ERIN (loud whisper) Kemper! Kemper, wake up! KEMPER (groans) Hmm...? Erin, what's wrong? ERIN Pepper's gone. KEMPER What do you mean, gone? ERIN What do you think I mean by gone? She isn't here! KEMPER Okay, calm down. I'm sure she's fine. ERIN Oh, God...she could get herself killed out here! KEMPER I'm sure she just went looking for Andy. A groan behind them from Morgan startles them both. MORGAN (sleepily) What's going on? ERIN Pepper's missing. MORGAN (coming fully awake) What? KEMPER Erin, we don't know that for sure. MORGAN But, she isn't here? ERIN Of course she isn't here, moron! MORGAN Don't fucking call me a moron! KEMPER Enough! Shut up, the both of you...what time is it? Morgan looks at his watch. MORGAN It's almost eight. ERIN I'm gonna go look for her. Anyone coming? KEMPER I'll go. MORGAN Me too. I'd rather go with you guys than stay in this ratty old dump. They all make their way to the sliding door of the van and open it, stepping outside quietly. They slam the door and go walking off. We watch them from the window. INT. OLD HOUSE_SUNSET The group makes there up the old house's porch and knocks on the door. There is silence. MORGAN Why don't we just go in, she's probably already in there. KEMPER Just go in. Erin sighs and opens the door. INT. HALLWAY_OLD HOUSE_(CONT.) The group walks in the house slowly. They all look around. KEMPER Pepper? You in here? MORGAN Listen, I'd love to stick around and wait for Pepper and all, but if that old man comes out again, we're fucking dead. ERIN I'm not leaving. Not until we find Pepper and Andy, okay? Morgan rolls his eyes and walks down the hallway. Erin and Kemper move to the INT. DINING ROOM_OLD HOUSE_(CONT.) Everything remains the same. KEMPER If I see that old man again, I'm getting the hell out of here. ERIN I've never seen such a family with so many collectables before. Not even my grandmother could afford shit like this... Kemper continues to look around while Erin accidentally drops an old porcelain doll. ERIN Shit... Erin leans over to grab it when suddenly, they both hear a loud bang. Erin quickly jumps up. ERIN Morgan? Kemper look at Erin as they both run out into the INT. HALLWAY_OLD HOUSE_(CONT.) ...Where they both run smack into Morgan. They all jump. ERIN Was that you? MORGAN No, I was just about to ask you the same thing... They all look at eachother. ERIN I'm gonna look upstairs. MORGAN You sure love it up there, don't ya? Erin smacks Morgan. She runs upstairs and Kemper joins her. Morgan rolls his eyes as another loud bang can be heard. He turns around to see the closed sliding door. He walks towards it slowly. MORGAN Pepper? Andy? Silence. MORGAN I'm in the no mood for games so stop goofing on me... More silence. He starts to turn around when there is another loud bang heard from behind the door. Morgan walks towards it slowly and looks into the peephole. Silence. He steps back and continues to look at the door. He knocks at it. MORGAN Andy? Pepper? Where the hell are you? Morgan looks around and suddenly sees the knife lying on the floor where Pepper had left it. He picks it up and sticks it in the slit of the sliding door and pulls. The door slides open. Morgan falls on the floor and the knife comes close to hitting his leg. He kicks it away and stands up. He looks around and makes his way into the sliding door. INT. DARK ROOM_OLD HOUSE_(CONT.) Morgan makes his way down the familiar stairs and walks into the dark room. He looks around and covers his nose. He looks up as a drip of water falls on his face. He wipes it off and cringes. He continues to look around and spots the door in the back of the room. He walks towards it slowly and finally makes his way in front of it. He slowly opens the door and we watch him from inside the INT. ROOM_OLD HOUSE_(CONT.) The room is very dark, and Morgan makes his way farther and farther into the room. He looks around but can't see a thing. He finally grabs the handle of a light and pulls it. A single light bulb hangs from the middle of the ceiling, peering its light across four dead teens! Two of them are Pepper and Andy. They all lay on more hooks that are held up by wire. MORGAN HOLY SHIT! Morgan steps back and covers his mouth. INT. DARK ROOM_OLD HOUSE_(CONT.) Morgan steps out of the room and slams the door. He leans against it and covers his mouth. He breathes deep. He makes his way towards the stairs but is stopped at Leatherface appears! Morgan screams and suddenly looks around for a way to escape. A single rectangular window can be seen to the right. He runs towards it and breaks it open. Leatherface runs after him, also screaming as well. Andy is half and half through the window. Leatherface grabs his legs as he kicks. Leatherface is kicked back as Morgan pulls out of the window! Leatherface screams and runs up the stairs. EXT. BACKYARD_OLD HOUSE_(CONT.) Morgan breathes deep and looks up. He is standing at the side of the house. He runs into the backyard where he runs into the clothesline of dry sheets. He looks back every second to see if he's alone. MORGAN ERIN! KEMPER! Silence. The sheets are blown by the wind. He hears a noise and continues to run. He suddenly falls to the ground and looks up. No one is there. As he stands up, he continues to run forward when we suddenly see Leatherface standing in front of him! Morgan screams as Leatherface raps the clothesline around his neck! Morgan tries to pull it off, but can't. He breathes deep and tries to kick away. MORGAN (whisper) Erin... Leatherface pulls the wire closer and closer to Morgan's neck. He can barely movie anything. Morgan reaches out, but can't seem to do anything else. Suddenly, Leatherface lets go, and Morgan falls to the ground. He slowly turns around and holds on to his neck. He coughs horribly. As he looks up, he sees Leatherface, holding the opposite end of a hammer! Morgan tries to scream but is still in pain. Suddenly, the hammer comes crashing down into Morgan's head, splattering blood all across the white sheets, which continue to be blown by the wind. INT. UPSTAIRS_OLD HOUSE_(CONT.) Erin and Kemper continue to look around the upstairs bedrooms, only finding nothing but old furniture, old broken dolls, and chicken feathers everywhere. Erin walks deeper and deeper into the dark hallway and suddenly turns a corner into another room. A slight noise can be heard from inside of it. She knocks and puts her ear to the door. ERIN Andy? Pepper? Silence. She knocks again and there is another loud noise. ERIN Open the door you guys. I know what you're doing in there...Come on...open the door! Suddenly, Erin busts open the door and she goes falling into the INT. BEDROOM_OLD HOUSE_(CONT.) Erin coughs and looks up to see many different kind of human bones being hung by a string from the ceiling. She looks down to see that the room is covered in feathers. She looks up to see five small cages sitting in mid air by string, all containing one chicken. They all make noises and try to get out of the cages. They all peck at the cage. As Erin looks around and continues to cringe, so looks ahead to see a couch made completely out of human bones. She coughs and stands up, wiping all the feathers off of her. She runs out of the door. ERIN KEMPER! INT. HALLWAY_OLD HOUSE_(CONT.) Kemper pops up from behind a door and catches Erin as she falls into his arms. KEMPER What, what's wrong? ERIN We have to get out of here. We need to get Morgan and get out of here. KEMPER Why? What happened? ERIN These people are fucking crazy that's what now let's go! Erin grabs Kemper's hand and they both go running down the stairs and into the INT. HALLWAY_OLD HOUSE_(CONT.) ERIN Morgan! KEMPER Where are Andy and Pepper? ERIN I don't know but if they're not at the van then god knows where the hell they might be. MORGAN! Kemper wonders around the house, searching for Morgan. He is nowhere to be seen. ERIN Morgan, where the hell are you, come on! There is no noise but the sounds of Kemper's footsteps. KEMPER Come on. Kemper grabs Erin's hand and they both go running at the sliding door. KEMPER (knocking) Morgan!? Are you down there? ERIN Morgan! We have to get out of here, this isn't funny! Open the door! Suddenly, a loud bang can be heard and Kemper and Erin turn around immediately, seeing Drayton sitting in his wheelchair in the middle of the hallway. The sound was of his wooden cane banging against the floor. He continues to smoke a cigar. DRAYTON I told you to stay the hell away from my house! ERIN Where is everybody? DRAYTON What are you talking about? KEMPER Our friends! Where the hell are our friends!? DRAYTON No one has been in here besides you. ERIN Bullshit! My friends were in here and I want to know what the hell you did with them!? DRAYTON If you keep talking to me like that, young lady, I'll have you both arrested for trespassing! This is private property! KEMPER We just want to know where our friends are, then we'll leave you alone, okay? DRAYTON Get out. ERIN Not until we find our friends! Suddenly, the sliding door behind the swings open, and they both turn around to see Leatherface! Erin screams with fright! KEMPER Jesus Christ! Leatherface screams as Erin and Kemper run towards the door. EXT. PORCH_OLD HOUSE_(CONT.) Erin swings open the door and runs out. She turns around to see Kemper fall to the ground! ERIN KEMPER! Kemper tries to get up, but can't. Leatherface makes his way closer and closer towards him. Erin runs up the stairs and grabs Kemper's hands. She pulls as hard as she can until he finally makes free, just escaping the clutches of Leatherface! Erin and Kemper run into the field as Leatherface covers his ears and screams and Drayton laughs hysterically. We fade out the laughter as we FADE TO: EXT. VAN_LONELY COUNTRY ROAD_(CONT.) It is nearly dark, and no sounds can be heard whatsoever. We watch as Erin and Kemper run towards the van, sliding the door open and climbing inside very quickly. They shut the door as we slowly pan up from the quiet lonely highway. INT. VAN_LONELY COUNTRY ROAD_(CONT.) Erin lies on the mattress, crying while Kemper sits at the wheel, covering his eyes and wiping away the sweat from his forehead. ERIN (crying) Jesus Christ, Kemper... Kemper looks back at her. They both breathe hard. ERIN What the hell are we suppose to do!? KEMPER Do you think that they have Jane and everyone else? ERIN I wouldn't think of anything else...Kemper, what the hell are we gonna do! The van doesn't work and our friends are fucking missing! Erin cries and lies down on her side on the mattress. She cries as Kemper stands up and lies down next to her. He pulls back her hair and whispers into her ear. KEMPER Hey...I'm not going to let anything happen to you, okay? Erin continues to cry, but looks up into Kemper's eyes. She nods and let's Kemper pull her into his arms. She hugs his waist as we pan away from them, going out the window and into the EXT. LONELY COUNTRY ROAD_(CONT.) We watch from the sky as the sunset slowly becomes to turn dark. Our heroes find themselves in another world as they lie down in the van on the lonely stretch of country road. FADE TO: EXT. VAN_LONELY COUNTRY ROAD_NIGHT Crickets chirp in the background as we pan in on the lonely, deserted van. INT. VAN_LONELY COUNTRY ROAD_(CONT.) The van is completely silent. Erin sleeps on the mattress with Kemper lying next to her, his arm around her waits. They both sleep quietly. Slowly, Kemper stirs and looks around. He looks down at Erin and kisses her forehead. She moans and turns around. He smiles and sits up. He wipes his eyes and looks at his watch. 9:35 He sighs and sits up in the driver's seat. He looks ahead of him and sees nothing but the lonely country road. He tries to start the van, but it just stutters. He leans back and hits the steering wheel. He looks back and suddenly smacks his head. KEMPER (whisper) Stupid fuck. He smiles and laughs. He crawls into the backseat and reaches behind the mattress. He lifts up a few bags and suitcases and finds a plastic milk bottle full of gas. He takes it and slides open the door. He looks at Erin, smiles, and shuts the door. We look at Erin for a few moments, then CUT TO: EXT. VAN_LONELY COUNTRY ROAD_(CONT.) We watch as Kemper makes his way to the side of the van and opens the gas tank. He opens the milk bottle and dips it into the gas tank. He looks around to see nothing but open fields and the still lonely road. He finishes up filling up the tank and throws the plastic bottle in the middle of the road. He puts the cap back on the tank and opens the driver's door. He steps inside and shuts the door quietly. INT. VAN_LONELY COUNTRY ROAD_(CONT.) He looks back and sees Erin sleeping silently. He sighs and reaches over to start the car but can't find the car keys. KEMPER Shit... He looks around but can't find them. He sits up and makes his way to the back of the van. He taps Erin on the shoulder and waits for her to wake up. KEMPER Erin...Erin, wake up... Erin's eyes suddenly open and she sees Kemper sitting above her. ERIN Hey... KEMPER Hey...I just found a bottle full of gas in the back. ERIN You're shitting me. KEMPER No. But now I can't find the keys. Do you have them? ERIN No...I thought you had them. KEMPER That's why I'm asking you. Did anyone take them for some reason? ERIN I don't think so...Everyone was with us...No one could have taken them except for- Silence. Erin's mouth hangs open. KEMPER What is it? Who took them? ERIN Jane...You said Jane wasn't here when Pepper came back, right? Kemper looks up. His mouth drops open. KEMPER Why would she take the keys? ERIN I don't know. But wherever she is, I'm going to go look for her. KEMPER Erin, you can't! ERIN Why not? KEMPER It's pitch black outside and you might get lost! ERIN Didn't you bring a flashlight? Kemper sighs and looks around. He opens a bag and pulls out a flashlight. He switches it on and shines it on Erin's face. ERIN Let me see it. KEMPER I'm coming with you. ERIN Okay, but let me hold the flashlight. Kemper reaches over and hands the flashlight to Erin, who slides open the door and steps out. Kemper follows her and shuts the door on the way out. EXT. VAN_LONELY COUNTRY ROAD_(CONT.) They both look around. Erin starts to walk the opposite direction of the house. Kemper follows her. KEMPER This is crazy, you know that? She could be anywhere out here. ERIN She could be at that house but I'm not going back there. KEMPER Why the hell would she be at that god-forsaken house? ERIN I don't know. Why the hell couldn't we find everybody, huh? KEMPER Erin, this is crazy. Jane wouldn't take the keys in the first place. ERIN She could and she couldn't have, but I'm not taking any fucking chances. I'm looking for her. KEMPER If we don't find anything we're just going to have to wait in the van until morning. ERIN Whatever you say. Kemper sighs as they both continue to walk. KEMPER I'm sorry this trip has turned into such a wreck. ERIN It's not your fault. It's not anyone's fault. KEMPER I still want to apologize. This isn't exactly what I planned on doing. ERIN I know, Kemper. Even though you didn't cause any of this, I accept your apology. Kemper stops Erin from walking. They both look into eachother's eyes. He holds her chin and brushes back her hair. KEMPER I promise none of this will happen again. ERIN Kemper... KEMPER Shh... They both come close and kiss passionately. They pull back and look at eachother. ERIN I love you. Kemper smiles and kisses her again. KEMPER Come on. Kemper continues to walk. Erin flows him, pointing the flashlight in front of them. They suddenly enter the dark woods. KEMPER Erin, let's just go back. ERIN I need to find her. We need to get those keys and get the hell out of here. Kemper stops walking and Erin walks into the woods. He stands still. Erin looks back at him. ERIN Come on. Kemper sighs and walks in with her. She reaches out her hand and soon they are walking into the woods, hand-in-hand. EXT. WOODS_LONELY COUNTRY ROAD_(CONT.) We watch as Erin and Kemper walk deeper and deeper into the woods. Erin shines the light everywhere, but nothing else can be seen but branches, bushes, leaves, and old, dead trees. They both look around every few seconds, but always see the same old thing. KEMPER Erin, I don't think we're going to find much out here. ERIN Let's just keep checking. KEMPER Why don't we just go back? ERIN We can't go anywhere in the van unless we have the keys. Now we have to find her. KEMPER How do we know if she even has them? ERIN Who else could have them? Didn't you leave them in the ignition when we left? KEMPER Yeah, but- ERIN No one was in there after we left except Jane, and she was gone when Pepper came back. How can you explain that? KEMPER I can't. Let's go. Erin looks at him and then looks back ahead into the woods. She sighs and they continue to walk. ERIN Something has got to be out here. KEMPER We are definitely not going back to that house. ERIN No shit. They might be there, but I'm not taking any chances. We need to find somebody else than those creeps. As they walk, the sound of a branch breaking can be heard from behind them. They both turn around and Erin shines the flashlight directly ahead of them. KEMPER What the hell was that? ERIN I don't know... Silence. KEMPER Andy? ERIN Pepper? Morgan? Silence. KEMPER Let's go. ERIN Wait... Erin slowly walks back towards the way they come from. She stops in her tracks. ERIN Guys!? More silence. KEMPER It's not them, Erin. ERIN You don't know for sure...Andy! Pepper! Morgan! Kemper walks towards her and looks ahead of themselves. KEMPER I'll go look. Erin stays still while Kemper walks slowly into the woods. Erin watches him and shines the flashlight in front of him as well. She sighs as we hear thunder rumbling in the clouds. Erin looks up and sighs. She shines the flashlight at Kemper, who looks around, but sees nothing. He turns towards her and shrugs. KEMPER I don't see anything. Suddenly, the buzz of a chainsaw can be heard from behind Kemper. He quickly turns around to see Leatherface cutting through the branches and making his way right towards Kemper and Erin! Erin screams and accidentally drops the flashlight. ERIN KEMPER! COME ON! Kemper runs towards Erin and grabs her hand. They both take off running deeper and deeper into the woods. Leatherface makes his way through the branches and goes chasing after them while more thunder can be heard. As we go back to Erin and Kemper, we watch as Erin continues to look back. She sees Leatherface coming up right behind them! ERIN Kemper... Kemper turns around. His mouth drops open. KEMPER LET'S GO! Kemper leads as he pulls Erin's hand and they both go running down the branches and bushes. They stop as a large branch sits right in front of their faces with Leatherface coming closer and closer! KEMPER GO! ERIN Not without you! KEMPER JUST GO, ERIN! NOW! She looks at him and suddenly pulls her way through the branch. She looks as Kemper tries to get in himself, but can't. He reaches out his hand as she grabs it. She tries to pull him in but can't! ERIN COME ON! KEMPER I'M STUCK! ERIN WHAT IS THIS, A FUCKING MOVIE!? GET OUT! NOW! Kemper suddenly falls as Leatherface comes up closer to him. Erin falls to the ground she looks up and starts to cry. KEMPER GO! ERIN No...! KEMPER Go find help! ERIN Kemper, I'm not leaving you! KEMPER GO! Erin cries harder and starts to run into the woods. She looks back to see Leatherface at Kemper's feet. She cries and looks ahead of her, seeing nothing but pitch black. More thunder rolls as we suddenly see it start to rain. Erin runs faster and faster, looking back every two seconds. As she looks, she sees no one in sight but herself. The only sounds that can be heard if the rain falling onto the soft ground. She looks up and starts to cry. Suddenly, she trips, sliding into the wet mud. She stands up and looks around. Nothing but falling rain surrounds her. She stands up and starts to walk back towards the van. She walks slowly. No one and nothing can be seen around her. She gives off a sigh of relief and continues to walk. The rain begins to pour harder now. She wipes the mud off of her face and continues to cry. Another sound of a branch breaking is heard behind her. She turns around and sees nothing. She turns back around and continues to walk. Another noise is heard from behind her. She turns around again just as the chainsaw lights up! She screams and runs into the woods. Leatherface chases after her like a wild animal, waving the chainsaw in the air like a maniac. She looks back and sees him coming closer. She stops and looks down to see Kemper lying face down in the mud. He is not moving. She cries and continues to run. ERIN SOMEBODY HELP ME! Erin runs faster and faster until she finally reaches the EXT. LONELY COUNTRY ROAD_RAINING_(CONT.) Erin looks ahead of her to see the van sitting to the side of the road. She looks back to see Leatherface still chasing after her, but still very far in the woods. EXT. VAN_LONELY COUNTRY ROAD_RAINING_(CONT.) Erin makes her way to the van and slides open the door. She steps into the van and slides the door shut. INT. VAN_LONELY COUNTRY ROAD_RAINING_(CONT.) Erin ducks down and lies down on the mattress. She is very close to the side of the van. Only the sound of the rain tapping against the roof can be heard around her. She squeezes herself and closes her eyes tight. She starts to cry quietly. She pushes herself into the back of the van and covers herself with her hands. She stays silent as the rain continues. We look around the van from Erin's point of view and then return to the CAMERA. Erin ducks down more and continues to cry silently. She wipes her tears and looks up. Nothing but the rain. She crawls her way to the side window and slowly looks out of it. There is no one in sight. Not even Leatherface. She sighs and leans back down on the mattress. Suddenly, the buzzing of the chainsaw starts again and Leatherface can be seen standing outside the window! Erin screams and covers her eyes as Leatherface tries to scrape his way into the van with the chainsaw. Erin looks around and suddenly jumps into the driver's seat. She looks back and sees Leatherface still trying to break in. She opens the driver's door and suddenly falls out of the wet mud. EXT. VAN_LONELY COUNTRY ROAD_RAINING_(CONT.) Erin stands up and quickly starts to run down the road. She looks back and sees Leatherface running after her. She cries and continues to run faster. She makes her way into the lonely field and runs through the wet grass. She looks back and sees Leatherface tearing through the grass with the chainsaw. Erin runs and runs, and cries and cries. She falls, but quickly gets back up again. She is very far ahead of Leatherface, but she can still hear his chainsaw buzzing in the distance. Erin pushes through the grass and suddenly sees the old house full of light in front of her. She screams as Leatherface comes closer and closer. She starts to run towards the old house until she is on the EXT. PORCH_OLD HOUSE_RAINING_(CONT.) Erin pounds on the door and looks back to see Leatherface coming closer and closer towards her. ERIN SOMEBODY! PLEASE! Erin suddenly tears open the door and runs inside, shutting it tightly and locking it. INT. HALLWAY_OLD HOUSE_RAINING_(CONT.) Erin, soaking wet, looks around the house for any place to hide. No noise is outside but the rain. ERIN Hello? Somebody please help me! Erin looks around. There is no answer. ERIN PLEASE! Erin looks ahead and sees the sliding door. She pounds on it and waits for a response, which she does not get. ERIN HELLO? SOMEBODY...PLEASE HELP ME! She pounds on it again, but there is still no answer. She tries to open it with her bare hands, but can't. She sighs and tries again. She pulls once more and the door comes sliding open. She falls to the ground and looks at the front door, which remains still. She stands up just as the chainsaw comes running through the door! Erin screams as the chainsaw tears apart the front door. She screams again and runs into the room behind the sliding door. She looks at what's left of the front door to see Leatherface almost step inside. She tries to shut the sliding door, but can't! ERIN COME ON! The door still won't move, and Leatherface busts down the door and comes running towards her! She screams and the door slides shut! INT. DARK ROOM_OLD HOUSE_(CONT.) Erin locks the door with three locks that can be seen all over the sides of the door. She reaches over and looks into the peephole. From her point of view, we see nothing but the dead door. Suddenly, Leatherface's eye comes directly in front of hers! She screams and comes falling back down the stairs. She suddenly sits up as she goes sliding into the dark room, which is full of water. The water is up to Erin's waist. She cries and stands up. She looks around to see the other door in the back, and the door to the left of her, which is closed. She looks up to see the broken window, which Morgan slid out of. Rain comes pouring down into the room, flooding it. She sighs and looks around. She stands up and slowly starts to walk up towards the door on the far left. She opens the door quietly and steps in. She cringes at the bloody hooks. She covers her nose and looks around. Meat and bones lie everywhere on the ground. A loud bang is heard above her. She ducks down and hides behind the door. Footsteps pass her from the hallway. They disappear and Erin opens the door slowly. As she looks around, she sees...MORGAN! He is lying face down on the floor. She runs over to him and falls next to him. ERIN Morgan...Morgan, we must get out of here now! Morgan stands still. ERIN Morgan...? She reaches out to him and movies his shoulders. He sits still. ERIN Morgan...Morgan! Get up! Morgan doesn't move. ERIN Morgan! Erin moves his body up to see that he is completely dead! Water flies everywhere as his body falls to the ground. Erin screams with terror. She stands up and starts to run towards the door when she suddenly hears more footsteps making their way towards the sliding door. Erin turns around and sees the closed door in the back of the room. She runs towards it and opens it to find Andy and Pepper's dead bodies! She screams and slams the door. She panics and suddenly sees the open window. Why didn't she see it before? She runs towards it just as the sound of the chainsaw can be heard tearing at the sliding door. She makes her way out of the window and goes running away from the house. EXT. LONELY FIELD_RAINING_(CONT.) Erin runs through the long stalks of grass and continues to look back. We see through her point of view that Leatherface is coming out of the front door! She screams as Leatherface runs towards her very quickly, waving his chainsaw in the air. We cut back to him and Erin in between shots. Erin screams while she runs. ERIN SOMEBODY! PLEASE! The chainsaw grows nearer and nearer towards her. She screams louder. ERIN HELP ME! Erin runs faster and faster, and no matter what she does, Leatherface seems to be coming closer and closer to her. She falls into the ground and looks up, seeing the van. She gets up and runs past it and finally starts to run down the EXT. LONELY COUNTRY ROAD_RAINING_(CONT.) In a series of shots, we watch as Erin runs down the road and makes her way into the woods, followed by the maniac himself. In a montage of fast moving clips, we watch Erin runs through the woods, Leatherface coming after her, and the rain pouring down on both of them. Erin screams and screams but nothing seems to help. She stops running and looks up, seeing a lonely gas station through the trees. She screams and continues to run towards it. ERIN HELP ME! PLEASE! Erin suddenly gets caught in the branches, tearing her shirt and her pants. She screams and tries to get herself loose. Leatherface comes closer and closer, waving the chainsaw everywhere. She pulls on her shirt, which seems to be tearing. She looks back to see Leatherface comes closer and closer. She tugs on her shirt as hard as she can and she soon falls to the ground, her shirt a little torn. She stands up and starts to run. Leatherface stops at the branches and cuts through them with the chainsaw. Erin runs through the trees until she finally reaches the EXT. GAS STATION_LONELY COUNTRY ROAD_RAINING_(CONT.) As Erin runs, she looks up to see a police car parked in front of the gas station. Just as she runs towards it, SHERIFF HOYT, an old man in his very late fifties, steps out, holding a large mug of coffee. Erin runs towards him. ERIN PLEASE! PLEASE HELP ME! SHERIFF Whoa, whoa, whoa, little lady. ERIN Please help me! Erin falls to the ground, he face covered with dirt and mud. SHERIFF Just slow down and tell me what's wrong. ERIN HE'S KILLING THEM! SHERIFF Who's killing who? ERIN THE MAN...HE'S KILLING MY FRIENDS! PLEASE! HELP ME! SHERIFF Hold on, ma'am. Just calmly tell me what happened. Sheriff Hoyt helps Erin up, who is not leaning against the police car, crying. SHERIFF Just tell me what happened, ma'am. ERIN There was a man...and he was killing all my friends...He was coming after me...With a chainsaw. SHERIFF Oh, come now, miss- ERIN I'M NOT LYING! He's in the woods with a chainsaw! He killed all of my friends! SHERIFF I'll go take a look. ERIN NO! Please! Please don't leave me! SHERIFF Everything gonna be okay, just hold on a minute. Sheriff Hoyt walks away as Erin stares at him, pulling her hair back and wiping her tears. Sheriff Hoyt walks over into the woods and looks into it. The rain slowly comes to a stop. Erin sniffles and tries to help herself from crying. Sheriff Hoyt looks out. He turns around and heads back towards Erin. SHERIFF There's nobody out there. ERIN But he was chasing me with a chainsaw! SHERIFF I understand that, just let me take you to the nearest police station and they can sort it out there, alright? Erin sniffs and then nods. Sheriff Hoyt opens the car door for her and she steps in. SHERIFF I'll be right back, okay? You just sit still. Erin nods and Sheriff Hoyt shuts the door. He looks at her and then makes his way into the gas station. INT. POLICE CAR_GAS STATION_(CONT.) Erin holds herself and looks around. She wipes her tears and looks outside into the woods. She knows what she saw, and she knows that no one believes her. She sets her head down and continues to cry. The gas station door swings open and Sheriff Hoyt walks out, followed by HENRIETTA SAWYER, a young girl of about eighteen. She is very dirty at the moment and holds a young baby. She talks with Sheriff Hoyt as they both make their way to the car. Henrietta opens the passenger's door and steps inside. She looks over at Erin and smiles. Sheriff Hoyt sits himself down in the driver's seat. He looks at Erin and smiles again. SHERIFF This is my daughter, Henrietta. HENRIETTA Hello. ERIN (wipes her tears) Hi... Henrietta smiles as Sheriff Hoyt starts the car. EXT. POLICE CAR_LONELY COUNTRY ROAD_CONT.) We watch as the police car makes its way down the lonely country road. INT. POLICE CAR_LONELY COUNTRY ROAD_(CONT.) Erin looks outside as Henrietta and Sheriff Hoyt stay silent. The baby whines and groans. SHERIFF So what brings you all the way out to Travis County, um... ERIN Erin. SHERIFF Erin. ERIN My friends and I were on our way to Mexico...Then our van broke down. SHERIFF That's never good, is it? ERIN No... SHERIFF So what happened? ERIN We went looking for help...But we didn't find anything. Are you taking me to the police station? SHERIFF I just need to make a little stop at our house...You don't mind, do you? ERIN No... SHERIFF (smiles) Good. HENRIETTA Do you think that we could have her for dinner? SHERIFF That's up to her, honey. Would you like to join us? ERIN I'd rather just go to the station. HENRIETTA Oh, but you must join us. My uncle makes the best meat, right, pop? SHERIFF The best in the county. ERIN I just want to go to the station please. HENRIETTA Alright, but you don't know what your missing. ERIN I just want to go home. SHERIFF That's not going to be for a while, darling. So why don't you just sit back and join us? ERIN I don't know. HENRIETTA Please? For us? We seldom ever get company. SHERIFF Usually we just scare them off, right, sweetie? HENRIETTA That's right. Sheriff Hoyt and Henrietta smile. Erin leans over towards the door. She closes her eyes and looks outside. They pass the van. Erin watches it as it disappears from behind them. They suddenly take a sharp turn into the field. ERIN Where are we going? HENRIETTA We told you. Our house, silly! Erin pants. She pulls her hair back and looks out into the wet grass. EXT. POLICE CAR_FIELD_(CONT.) We watch as the police car makes its way to the same old house we had seen before. Light surrounds it from the windows, making it very eerie. We follow the police car as it suddenly parks in front of the house. INT. POLICE CAR_OLD HOUSE_(CONT.) Erin looks at the house and starts to panic. HENRIETTA Please come on and join us. ERIN No...NO! GET ME OUT OF HERE! SHERIFF Oh come now. Don't be shy. Suddenly, Sheriff Hoyt grabs Erin and pulls her out of the police car. She screams and kicks wildly. Henrietta, who is outside, smiles and watches. She bounces the baby. SHERIFF Open the front door, will you, honey? HENRIETTA Sure, pop. EXT. POLICE CAR_OLD HOUSE_(CONT.) Henrietta makes her way up the stairs and opens the front door. Erin screams and screams, but nothing can be done about it. Henrietta looks at the front door, which is nearly destroyed from the chainsaw. HENRIETTA Hey pop! SHERIFF What is it now? HENRIETTA Look what Bubba did to this door. Sheriff Hoyt turns around and looks at it. SHERIFF That son of a bitch. When he gets here I'm gonna give him a piece of my mind! HENRIETTA I'll go get grandpa. Henrietta walks into the house as Sheriff Hoyt carries the screaming Erin up to the porch. SHERIFF No why are you screaming? I promise you, we're gonna have some fun! Erin screams as we watch them both go into the house. As they walk inside, it begins to rain again. INT. HALLWAY_OLD HOUSE_(CONT.) Sheriff Hoyt walks in the house with Erin while Henrietta makes her way up the stairs. HENRIETTA Grandpa! INT. LIVING ROOM_OLD HOUSE_(CONT.) Sheriff Hoyt walks into the very dirty living room and sets Erin down on the couch. SHERIFF Jedidiah! Sheriff Hoyt smiles at Erin as he covers her mouth. A very young boy, JEDIDIAH SAWYER, runs down the stairs and into the living room, joining his father. He is a boy of about six or seven. JEDIDIAH Yes, pop? SHERIFF Go get some rope for our new friend here. JEDIDIAH Alright. Jedidiah runs out of the living room and into the kitchen. Sheriff Hoyt smiles at Erin, who starts to cry. SHERIFF Now don't you worry. Everything's gonna be okay. Erin closes her eyes and tries to scream. Jedidiah runs into the living room with a long stretch of rope. SHERIFF Thank you, son. Now go fix up the dinner table. Jedidiah runs into the kitchen and runs into the dining room, his hands full of plates. Sheriff Hoyt grabs Erin's arms and ties them up, letting go of her mouth. She screams horribly. Henrietta walks into the living room and sticks a dirty sock in her mouth. SHERIFF Thank you, honey. Now where's your grandfather? HENRIETTA He's coming, He just needs a little help coming down the stairs. Sheriff Hoyt laughs as Erin accidentally spits out the sock. Sheriff Hoyt smiles and grabs her face. SHERIFF You simmer down, now. ERIN WHAT'S WRONG WITH YOU PEOPLE!? SHERIFF Just stay quiet now. And don't move a muscle. Sheriff Hoyt picks up the sock and stuffs it into her mouth again. Erin's muffled screams can barley be heard. A single tear rolls down her cheek. Sheriff Hoyt smiles and stands up, leaving Erin alone on the dirty couch. Just then, Leatherface walks into the house. Sheriff Hoyt walks over to him. SHERIFF What the hell did you do to this door!? Leatherface says nothing but starts to cry and wail. SHERIFF NOW WE'RE GOING TO HAVE TO GET ANOTHER DOOR! YOU DAMN FOOL! Sheriff Hoyt smacks Leatherface, who makes his way down the hall. Sheriff Hoyt follows him as we stay on Erin, who cries and tries to scream. EXT. OLD HOUSE_FIELD_RAINING_(CONT.) From a high angle, we watch the lit up house as the rain starts to pour even harder. Thunder rumbles and lightning strikes. INT. LIVING ROOM_OLD HOUSE_(CONT.) Erin lies on the couch without moving. Suddenly, she turns to see Jane walk into the living room! She smiles and walks over to Erin. Erin moves and moves, trying to break free from the ropes. JANE DAD! What should I do with the girl? A few seconds pass, then Sheriff Hoyt walks in the room and looks at Erin. SHERIFF Take her to the dining room. Your grandfather is getting a little hungry. Sheriff Hoyt smiles as Jane grabs Erin by the feet and drags her on the floor into the hallway. INT. HALLWAY_OLD HOUSE_(CONT.) Jane continues to drag Erin across the hall until she makes her way into the INT. DINING ROOM_OLD HOUSE_(CONT.) The table is completely set, and very nice, too. One extra chair has been added to the front of the table. Jane picks up Erin and sets her down into it. She looks at her. JANE Car trouble? Jane laughs as we hear Erin's muffled cries. JANE Jedidiah! Get in here! Jedidiah comes running in through the kitchen door. JEDIDIAH What? JANE Do me a big favor and get some more rope, please? JEDIDIAH Why do I always have to get the rope? SHERIFF (from hallway) Do what your sister tells you. Jedidiah stomps off into the kitchen while Jane tends to Erin. JANE Where are your car keys? Couldn't find them, could you? From behind, Sheriff Hoyt steps into the dining room. Jane doesn't notice. JANE (holds keys in air) You're never gonna get 'em back either! Sheriff Hoyt grabs them and stuffs them into his pocket. Jane turns around. JANE Daddy! SHERIFF Jane, now I told you, you cannot keep taking things from a person, that's just not right! JANE But, dad, I was just- SHERIFF Don't but dad me. Now go downstairs and get those other kids for dinner. Jane nods and walks out of the dining room. Sheriff Hoyt leans over towards Erin. SHERIFF Daughters. What can you do? Erin closes her eyes tight as a slight tear rolls down her cheek. SHERIFF Now don't you worry. Everything's gonna be okay. Sheriff Hoyt pulls back Erin's hair and smiles at her. Jedidiah steps in from the kitchen, holding the rope. SHERIFF Give it here, son. Jedidiah hands the rope to his father and then steps back into the kitchen, joining Henrietta. SHERIFF Now, just stay still. Erin kicks as Sheriff Hoyt tries to tie her feet to the chair. He looks up to Erin and gives her a death stare. SHERIFF Just stay still. Sheriff Hoyt tries to do it again, but Erin continues to kick and scream. He sits up and slaps her. Her head goes falling back. SHERIFF I told you to stay still! Erin breathes hard as Sheriff Hoyt comes back down and ties her feet to the chair. He sits up and wipes his hands. SHERIFF That's a good girl. Erin tries to kick and scream but we only hear her muffled cries. Erin looks up and sees Drayton wheel himself into the dining room. Erin looks up as Drayton makes his way to the side of the table, next to Erin. Leatherface makes his way into the room from the hallway. He joins Drayton at the table. Sheriff Hoyt walks into the room, holding a small pocketknife. Sheriff Hoyt smiles and makes his way over towards Erin. Henrietta and Jedidiah follow them. SHERIFF Now this will only hurt for a second. Sheriff Hoyt unties Erin's hands and grabs one of Erin's fingers. He brings the knife closer and closer towards her finger. Everyone laughs and smiles. Leatherface jumps up with excitement. Soon, the blade comes down and cuts Erin's finger! She groans and closes her eyes tight. Sheriff Hoyt holds her finger and brings it close to Drayton. SHERIFF You were hungry, weren't you, Grandpa? Drayton smiles as Erin's finger comes closer and closer to his mouth. Soon, her finger is in Drayton's mouth. He sucks on the blood for a long time. Erin leans her head back and continues to moan and scream. Everyone laughs and leans their heads back. Leatherface jumps up and down and claps his hands together. From Erin's point of view, we see everything slowly fade out and the laughter continue in the background. We slowly fade to a white screen and then FLASH CUT TO: A DARK SCREEN. Then, the sliding door opens, and we suddenly find ourselves in the INT. DARK ROOM_OLD HOUSE_(CONT.) The sliding door opens and we see Leatherface holding Erin by the waist. The ropes are off of her, and the sock is out of her mouth. She screams as Leatherface throws her down into the dark room. Erin goes toppling down the stairs and suddenly falls onto the ground. The room becomes dark after Leatherface slams the skidding door shut. A small light can be seen spreading across Erin's closed eyes. We pan closer and closer towards her closed eye until it suddenly opens. She sits up and looks at the supposedly open window. As she looks over to it, she sees that wooden planks have covered it up. She sighs and looks at her finger. A small amount of blood pours from it. She cries and closes her eyes. She looks around and sees the closed door to the left. She stands up and opens it, almost running smack into one of the hooks. She turns around and shuts the door. As she looks around, she sees Kemper's body lying face down on the ground, his arms outstretched. She cries and sits down next to him. She takes him and holds him tight. Soon, he slowly moves. He isn't dead! Erin looks at his face. His eyes slowly open and Erin smiles happily. ERIN Kemper! Kemper! KEMPER Where the hell are we... ERIN Kemper, we have to get the fuck out of here now! KEMPER I can barley move... ERIN I'll help you, just get up! We need to leave, now! Kemper tries to stand up, but quickly falls to his knees. ERIN Oh, god, Kemper... KEMPER I can't walk... Erin looks around, but sees nothing that can help Kemper. ERIN SHIT! Footsteps can be heard above them. They both stay silent as the footsteps continue to be heard. From above, we hear Sheriff Hoyt screaming at someone. It slowly fades out and Erin turns back to Kemper. ERIN We need to get you out of here... KEMPER How? ERIN I don't know...There's no way except for the front... KEMPER Shit... Kemper can barely talk. He sighs and closes his eyes. ERIN Kemper, no! Just stay with me, okay? You're not going to leave me! Just stay the fuck awake! KEMPER I can try but I doubt anything will happen...I can't feel my legs... Erin pulls her hair back and starts to cry. ERIN Shit... Erin stands up and looks around. She opens the door and looks around for anything to break the wooden boards from the window. She finally finds a large hook and runs over to the window with it. She jabs it into the crack of the boards and tries and pull at it hard. The boards do not come loose. ERIN SHIT! Erin throws down the hook and looks on the table for anything else she can find. She spots a hammer and grabs it. She runs back over to the window and slams the hammer on top of the boards. One of the boards suddenly come loose. She tugs on the board and it comes falling down to the floor. Two more are left, but it's still a small space. She smiles and does the same with the other boards. One of them comes falling down. There is one more left at the bottom of it. She sticks the hammer into it and it suddenly comes loose! She grabs it and throws it down, along with the hammer. She smiles and runs over to the dark room. She leans over to Kemper, whose eyes are half closed. ERIN Kemper, I found a way out, but you need to stand up. You need to help me. KEMPER I can try... Erin picks him up and they both make their way towards the window. He looks up and groans. KEMPER I can't do this... ERIN Kemper, don't do this! We need to get out of here now! Suddenly, there are many footsteps above them. Erin pulls Kemper up towards the window. ERIN COME ON! Kemper finally makes his way through the window. Erin pushes him out of the window. She looks back and hears the sliding door open. ERIN Oh, shit... Erin jumps up and pushes herself through the window. We watch as Sheriff Hoyt runs down the stairs. He sees her and runs towards her. She is almost out the window. SHERIFF Henrietta! GET IN HERE NOW! Sheriff Hoyt reaches for her feet but misses just as she makes her way out of the window. SHERIFF Damnitt! Sheriff Hoyt runs up the stairs. EXT. BACKYARD_OLD HOUSE_RAINING_(CONT.) Erin and Kemper lie down on the wet ground. Erin stands up and grabs Kemper by the waist. ERIN WE NEED TO GO! Erin grabs Kemper and they start to run into the field. INT. HALLWAY_OLD HOUSE_(CONT.) Sheriff Hoyt runs through the sliding door and looks around. He makes his way into the kitchen and comes back out holding a rifle. SHERIFF Henrietta! Stay in here with your brother! I'm gonna bring home the dinner... Sheriff Hoyt runs past the CAMERA and runs through the front door. EXT. FIELD_OLD HOUSE_RAINING_(CONT.) Erin still holds Kemper, who can barely walk, but they are somewhat far away from the house. Sheriff Hoyt runs out and stands at the porch. The rain continues to fall. SHERIFF GET BACK HERE! Sheriff Hoyt fires a shot into the air. Erin and Kemper duck. They both stand up and continue to try and run. Sheriff Hoyt runs towards the police car and steps inside. He starts it up and drives after them. Erin and Kemper fall down into the field, and the police car drives right past them. Sheriff Hoyt did not see them. KEMPER WHAT THE FUCK DO WE DO- ERIN Just stay down...We're going to get the hell out of here. JANE (O.S.) Hell no you're not. They both look up to see Jane standing still, smiling. She reaches down and grabs both of them by the shoulders. JANE HEY, POP! The police car stops and turns around, the headlights flashing on Erin and Kemper. JANE I got 'em! ERIN NO! LET ME GO! JANE You want him, pop? Sheriff Hoyt sticks his head out of the window and smiles. SHERIFF Drop the boy. Jane drops him and the police car zooms towards his body. ERIN No! Jane grabs Erin and runs back into the house. Kemper looks up as the headlights come closer and closer to him. From Kemper's point of view, we watch until the headlights cover the entire screen. We watch as Jane and Erin run back into the house. Kemper's screams can be heard in the background. ERIN (O.S.) NO! Sheriff Hoyt laughs as he drives back towards the house. INT. HALLWAY_OLD HOUSE_(CONT.) Jane holds Erin and drags her into the dining room. She kicks and screams wildly but cannot get loose. INT. DINING ROOM_OLD HOUSE_(CONT.) Jane sets Erin in the seat and grabs a piece of rope. Erin suddenly runs out of the chair and runs out of the dining room! JANE WHERE THE FUCK DO YOU THINK YOU'RE GOING? INT. HALLWAY_OLD HOUSE_(CONT.) Erin runs towards the front door and stops right in her tracks as Sheriff Hoyt stands in front of her. SHERIFF You're not going anywhere. He laughs as Erin turns around to see Jane, Henrietta, Jedidiah, Drayton, and Leatherface standing there. They all laugh as Erin back away. She looks up and starts to run up the stairs. SHERIFF FOLLOW HER YOU FOOL! Leatherface runs up the stairs, screaming. INT. UPSTAIRS_OLD HOUSE_(CONT.) Erin looks around and makes her way into an old room. INT. OLD ROOM_OLD HOUSE_(CONT.) Erin runs inside and shuts the door. She locks it and looks around. There is nothing in the room except feathers lying all over the place and old bones. A loud bang can be heard behind her. Leatherface is trying to get in. She looks around and sees a closed glass window. She looks at the door and then back at the window. She runs towards the window and breaks through it! EXT. BACKYARD_OLD HOUSE_(CONT.) We watch as Erin comes flying through the window in slow motion. She screams as she comes falling down on all the wet sheets. She stays till for a second...Is she dead? Suddenly, she moves and looks up. The window is completely broken. She stands up and runs over to the front of the house. She stops and ducks as she sees Sheriff Hoyt running towards his car. SHERIFF I'll be back! You get her, do you hear me!? Erin stays silent until the police car drives off. She stands up and runs into the backyard. She looks around and sees the old cars. She runs over towards them and opens the door to an old truck. INT. TRUCK_BACKYARD_OLD HOUSE_RAINING_(CONT.) Erin falls to the ground of the truck and stays completely silent. She breathes deep and watches as the rain continues to pound hard on the glass windshield. She breathes hard and closes her eyes tight. She looks around at the dark truck. Noises can be heard from outside. She starts to sit up and looks out the window. Nothing seems to be wrong. She starts to open the door when suddenly Leatherface appears from outside the window! Erin screams and steps back. Leatherface holds the large chainsaw and jabs at the large door. She steps back and makes her way to the driver's door. She tries to open it, but it seems to be stuck! ERIN OH, GOD, NO! The chainsaw continues as Erin tries harder and harder to open the door. Finally, it busts open and she steps out. EXT. TRUCK_BACKYARD_OLD HOUSE_RAINING_(CONT.) Erin runs back towards the house and looks back to see Leatherface chasing after her! She turns the corner to the house and makes her way towards the field. EXT. FIELD_RAINING_(CONT.) Erin screams and runs faster and faster into the field. She looks back and sees Leatherface running towards her, not stopping. She cries and cries, but nothing is helping. ERIN SOMEBODY HELP ME! She screams and runs into the field until she can barely see the house anymore. She looks around and sees that she can no longer see or hear Leatherface or his chainsaw. She stops and looks around. She starts to walk slower into the field. She looks back and starts to run again. INT. POLICE CAR_LONELY COUNTRY ROAD_RAINING_ (CONT.) Sheriff Hoyt drives faster and faster into the road. He looks around and sighs deeply. An angry frown spreads across his face. EXT. VAN_LONELY COUNTRY ROAD_RAINING_(CONT.) Erin can be seen running through the field and stops, out of breath. She looks up and sees the van. She runs towards it and slides open the wet door. She steps in, shuts the door, and locks it. INT. VAN_LONELY COUNTRY ROAD_RAINING_(CONT.) Erin leans over to the mattress and cries into it. She bangs on the side of the door in guilt. She leans down and presses her back against the door. Suddenly, a loud bang can be heard behind her. She jumps and leans back over to the mattress. She cries as Leatherface tries to get in the van with the chainsaw. She cries and cries and covers her ears. Sparks fly as the chainsaw almost opens the door. As they do, Erin covers her ears and cries. She turns and opens the driver's door and runs out, not shutting it behind her. EXT. LONELY COUNTRY ROAD_RAINING_(CONT.) Erin runs down the road, followed by a far away Leatherface. She continues to scream and run down the road. She runs down the road more and more until she sees a small car parked on the side of the road. She runs towards the car and continues to look back. Leatherface is far away, but is coming closer and closer towards her. ERIN HELP ME! INT. CAR_LONELY COUNTRY ROAD_RAINING_(CONT.) Inside, an old chubby woman of about forty-five sits in the driver's seat, smoking a cigarette and tuning the radio. Suddenly, Erin bashes on the side of the passenger's window. The woman jumps and sees her. ERIN PLEASE! OPEN THE DOOR! WOMAN (trying to calm her down) Alright, alright! The woman opens the door and Erin steps inside and slams the door. She locks it quickly. WOMAN What happen- ERIN Just go! Please! WOMAN What's the hurry? ERIN DRIVE! PLEASE! The woman looks at Erin and then starts the car. EXT. CAR_LONELY COUNTRY ROAD_RAINING_(CONT.) The car goes zooming down the road just as Leatherface approaches it. It zooms down until it becomes a small speck. Leatherface screams and waves the chainsaw in the air. INT. CAR_LONELY COUNTRY ROAD_RAINING_(CONT.) Erin looks back and watches at Leatherface becomes a small speck. She turns back and looks ahead at the road. The woman sits still and drives. She wears very thick glasses and dark lipstick. WOMAN What was going on with you back there? ERIN (trying not to cry) It's a long story, I just want to go home. WOMAN How about the nearest police station? ERIN I dunno... WOMAN I have a house just a little further up here. You can rest there for a second while I call the police. Does that sound alright? Erin nods. There is silence after that. ERIN Thanks...for the ride... WOMAN I always try to help someone. It's my job. The woman smiles and Erin half smiles. She looks out the window and covers her forehead. She is trying hard not to cry. WOMAN It's alright, dear. You can just tell me everything that happened when we get to the house. ERIN How much longer is it? WOMAN Just a few minutes. You know not many people live out here. It's just like our own little town. There's so little of what you can do. Erin stays silent and listens. WOMAN I can't even imagine what happened to you...But I promise you that I will take care of you. Erin nods and closes her eyes. She cries silently and breathes deep. EXT. CAR_LONELY COUNTRY ROAD_RAINING (CONT.) We watch as the car makes its way closer towards a small house on a hill. Lights from inside of it blare on. The car suddenly turns a corner and we watch as it finally makes it way to the house. INT. HOUSE_RAINING_(CONT.) The woman and Erin walk inside the house quietly. Erin looks around to see that the house is very warm and cozy. Different kinds of sculptures are everywhere. A warm fire burns in the corner in a furnace. Erin runs over it and warms herself up. WOMAN Oh, dear, come back here, I'll get you a warm blanket. Would you like some tea? ERIN No...No thank you... The woman nods and disappears into the back of the house. Erin turns back towards the furnace and warms herself up. She starts to cry silently. The woman comes back and wraps the blanket around Erin's shoulders. She then walks over to a large rocking chair and sits in it, grabbing a ball of yarn and some needles. Erin looks at her and then back at the furnace. WOMAN Do you mind telling me why you were out here in the rain? And alone, no less! Why if I was stuck out there I'd at least bring a friend. Erin stays silent. She looks at the woman and then at the furnace. She looks down and wipes her tears. We fade to a clock, which moves from one time to a half of an hour later. The CAMERA turns back to Erin, who still lies down on the floor. The woman shakes her head. WOMAN Tsk, tsk, tsk, tsk, tsk. Erin looks down and looks at the furnace. WOMAN That is just unbelievable. How could something like that happen to such a nice and pretty girl like you? Erin stays silent. WOMAN Oh...my, my, my, my my...Are you sure you wouldn't like any tea? I make the best tea in the county. ERIN I...I just want to go home. WOMAN I understand. You can stay here until I get you to the nearest police station. I'm going to call the police. Just wait here. The woman stands up and makes her way into the next room. Erin sighs and leans over to the floor. She closes her eyes and falls asleep on the floor. The woman returns later to see her on the floor. The woman smiles and sits back down in her chair. EXT. LONELY COUNTRY ROAD_RAINING_(CONT.) We watch as a familiar police car makes its way towards the tea lady's house. INT. HOUSE_RAINING_(CONT.) Erin stays silent, sleeping on the floor. A loud knock can be heard from behind the front door. The tea lady comes out from behind a door and makes her way towards the front door. She looks at Erin, who stays silent. The tea lady opens the door and the CAMERA zooms in on SHERIFF HOYT! He smiles and takes his hat off to the tea lady. SHERIFF Hello, Kathryn. How are you this evening? WOMAN I'm just fine, Sheriff. She's right in here if you follow me. The woman shuts the door and Sheriff Hoyt makes his way towards the living room, where Erin continues to sleep. From the point of view of Erin, we watch as she slowly opens her eyes to see Sheriff Hoyt standing up looking down at her. SHERIFF Hello, little lady. Erin stands up and screams. She slowly makes her way to the corner of the room. SHERIFF Now hold on, now. You get your ass back here right now! ERIN No...NO! Erin screams and runs through the house into the INT. HALLWAY_HOUSE_(CONT.) She runs through the hallway, looking around for a place to hide. She turns and sees an opens door leading into an empty room. She runs into it and slams the door in front of the CAMERA. INT. BEDROOM_HOUSE_(CONT.) Erin looks around and tries to lock it, but there is no lock! She cries and falls onto the ground. Footsteps can be heard from the hallway. She cries and crawls towards the corner. Slowly, the door opens, and Sheriff Hoyt stands there with the tea lady. He smiles and wags his pointer finger at her. SHERIFF You naughty girl. You get back here right now! Erin screams as Sheriff Hoyt grabs her and covers his hand over her mouth. She screams and kicks wildly and we watch as they all walk out of the room. The woman shuts the door quietly. INT. LIVING ROOM_HOUSE_(CONT.) Sheriff Hoyt holds Erin who continues to scream while the tea lady opens the front door for them. SHERIFF Thank you again, Kathryn. WOMAN Oh, it's my pleasure, Sheriff Hoyt. Come back sometime and have a cup of tea! SHERIFF You know I will! WOMAN Goodbye! Sheriff and Erin run through the door while the tea lady shuts it. She smiles and starts to hum. EXT. POLICE CAR_HOUSE_RAINING_(CONT.) Sheriff Hoyt still holds Erin will all his might as she continues to kick and scream. He opens the police car door and throws her inside. She tries to open it to get out but can't. Sheriff Hoyt laughs and makes his way to the driver's seat. He steps inside and shuts the door. INT. POLICE CAR_HOUSE_RAINING_(CONT.) Sheriff Hoyt smiles as Erin tries to open the door. She pounds on it and screams wildly. SHERIFF Now you shut the fuck up before I go back there and teach you a lesson you'll never forget! Erin WHY ARE YOU DOING THIS!? SHERIFF That's for you to decide. You see, I don't make the rules. I just follow them! Erin screams and kicks at the door. Nothing helps. Sheriff Hoyt starts the car and laughs at Erin, who continues to scream and kick wildly. EXT. POLICE CAR_HOUSE_RAINING_(CONT.) We watch as Erin pounds on the window and the car drives off into the lonely country road. EXT. OLD HOUSE_RAINING_LATER The police car is already parked outside and the rain continues to pour down faster and faster. INT. DINING ROOM_OLD HOUSE_(CONT.) The dining room in empty, and the only person at the table is Erin, who sits in front of the table, all tied up with tape over her mouth. Her eyes are closed, and her head is moving back and forth. She slowly opens her eyes and looks around. She starts to scream but we can only hear her muffled cries. From the kitchen door, Jedidiah walks in with a large stick. He walks over to Erin and smiles. Erin starts to cry. Jedidiah smiles once again and starts to poke Erin with the stick. She cries and Jedidiah starts to laugh. Then, he starts to hit her. A large tear rolls down her cheek. Jedidiah stops poking and hitting her and drops the stick. He looks down and sees Erin's belly button piercing. He looks at it and touched it with his finger. He doesn't say a word but smiles. JEDIDIAH Hey pop! From the kitchen door comes Sheriff Hoyt, wiping his bloody hands with a cloth. He smiles to his son and walks over towards him. SHERIFF What is it, son? JEDIDIAH Look! He points to the piercing and Sheriff Hoyt reaches his finger at it. Erin starts to cry. SHERIFF Oh my! This is some hole you got there! Suddenly, Sheriff Hoyt starts to tug at it! Erin closes her eyes and cries more. We hear her muffled cries from behind the tape. Sheriff Hoyt pulls harder and harder on it, until it almost looks like it is about to rip off. Jedidiah smiles and so does Sheriff Hoyt. Erin cries as Sheriff Hoyt lets it go. Erin's sighs can be heard from behind the tape. Sheriff Hoyt stands up and puts his arms to his sides. SHERIFF Now what are we going to do with you? JEDIDIAH Oh please pop can I play with her!? SHERIFF No, son! She's our guest! And she hasn't even had the proper dinner yet! Erin shakes her hand and cries more as she tries to escape the clutches of the rope. JEDIDIAH Hey! Why don't we go get grandpa! He'll know what to do! SHERIFF Great idea, Jedidiah! (to Erin) Grandpa's the best damn killer in the entire county! He'll know exactly how to handle you! Erin screams as Jedidiah and Sheriff Hoyt make their way back inside the kitchen. Moments pass, and we see Sheriff Hoyt roll Drayton in from his wheelchair. Jedidiah, Henrietta, the baby in her clutches, Jane, and Leatherface, who wears a new mask, follow them all. This time, it is more like a woman's face. Makeup covers it entirely. Jedidiah carries a very large silver bucket. It is bigger then him. He sets it down on the floor and Sheriff Hoyt unties Erin. He pulls the tape off of her mouth. She tries to escape, but is stopped by Henrietta. HENRIETTA Oh no you don't! I got her pop! Sheriff Hoyt grabs her by the neck and pulls her face towards the empty bucket. SHERIFF Jedidiah, go get the hammer from the kitchen! Grandpa's going to do a little killing tonight! Jedidiah nods and runs into the kitchen. Leatherface jumps up and down with excitement. Moments pass and Jedidiah runs in with the hammer. He hands it to Drayton. SHERIFF Now remember, grandpa, hit her hard. DRAYTON I know what I'm doing you fool! Sheriff holds Erin head into the bucket, his hand covering her mouth. She can't scream. Drayton raises the hammer in the air and swings it down towards Erin, but misses. The hammer falls into the bucket. JANE Just try again, grandpa! Jane hands the hammer to Drayton, who nods. The hammer wiggles from side to side from Drayton's shaking hands. They all laugh and jump up with excitement. SHERIFF Hit her, grandpa! Hit her! Drayton raises the hammer once again, but misses again. It falls into the bucket. Sheriff Hoyt let's go of Erin's mouth and grabs the hammer. She screams loudly. ERIN NO! PLEASE! SHERIFF Hit her hard, grandpa! DRAYTON I know what I'm doing! JANE No you're not! Let's me do it! HENRIETTA No let me do it! JEDIDIAH I never get to hit anyone! Please, daddy! Please! They all argue and fight over the hammer. Sheriff Hoyt let's go of Erin, who stands still for a second, and then looks up to see a window in the dining room. She stands up and runs towards it! Everyone watches as she busts through the glass! EXT. OLD HOUSE_SUNRISE_(CONT.) The rain has stopped, and Erin lies face first in the wet mud. She stands up and looks back to see the white curtains from the broken window sway back and forth. She stands up and runs into the field. We watch her as she disappears. We look back at the porch to see the door swing open, and Sheriff Hoyt stands there. He starts to run after her, followed by Leatherface, who holds the wild chainsaw. He turns it on and follows Sheriff Hoyt down into the field. EXT. FIELD_LONELY COUNTRY ROAD_(CONT.) Erin screams and cries as she looks back to see Sheriff Hoyt and Leatherface running after her from a far away distance. The sun sets behind the house. EXT. LONELY COUNTRY ROAD_SUNRISE_(CONT.) It is very quiet. Soon, Erin runs into the road through the field and starts to run down the road. She looks back and sees Sheriff Hoyt running directly after her! She screams and watches as Leatherface rises from the field, cutting the grass with the mad chainsaw. She looks back to see a large red truck making its way towards her! She steps in front of it and waves her hands. ERIN PLEASE! HELP ME! The truck comes to a stop and Erin runs to the side of the truck. She tries to open the door, but can't! ERIN NO! Leatherface catches up with Sheriff Hoyt, who stops running and looks up and Leatherface and Erin. SHERIFF GET HER, LEATHER! GET HER! Erin runs down the road, followed by the truck driver, who steps out of the truck with a large hammer. Erin and the truck driver run down the road, followed by an angry Leatherface. The truck driver stops and looks back at Leatherface. He throws the large hammer at his head and watches as he falls to the ground. The chainsaw falls onto Leatherface's leg, cutting into the flesh! He screams and stands up, running after the truck driver. He catches up to him and cuts through his stomach! Blood falls everywhere! Erin looks back and screams! ERIN NO! Leatherface lets the truck driver's body fall to the ground. He looks up and chases after Erin, who screams madly! She looks back to see a small truck making its way towards her! She smiles but continues to scream. ERIN PLEASE! STOP! The truck stops, and Erin climbs into the back of it, followed by Leatherface, who tries to catch her, but can't. Erin pounds on the outside window of the truck while she still sits in the back of it. ERIN GO! GO! The truck drives faster and faster into the sunrise. Erin screams and laughs at the same time. She smiles and watches as Leatherface becomes a small speck. As we go back to Leatherface, who stands in the road, he screams and waves the chainsaw in the air! He screams and screams and screams. The chainsaw waving through the air madly. He screams once more and we CUT TO BLACK. INT. OBSERVATION ROOM_TRAVIS COUNTY POLICE STATION_(CONT.) Erin sits still, and the policeman stops the tape recorder. He sighs and stands up. POLICEMAN Thank you, Erin. A policeman will be taking you home shortly. Erin nods and watches as the policeman walks out of the room. She stays silent, and then screams wildly. INT. HALLWAY_(CONT.) The policeman stands in front of the hallway, holding the tape recorder. The second policeman walks up to him. POLICEMAN #2 That took longer than expected. Did she talk? POLICEMAN Oh yeah, and I got the whole thing on tape. Take this to Officer Hooper please. The policeman hands the tape recorder to the second policeman, who runs down the hallway. The policeman stands still and covers his forehead. POLICEMAN I need someone to take this girl home. Any volunteers? VOICE (O.S.) I'll do it, sir. POLICEMAN Great. Just make sure you get her home safe. The policeman pats the policeman on the back and walks way. VOICE (O.S.) Oh I will, sir. The CAMERA moves to see that it is SHERIFF HOYT! He smiles and walks towards the room. SHERIFF Oh believe me...I will. He smiles once more and walks inside the room, letting the door slam in front of the CAMERA. CUT TO BLACK. Erin's screams can be heard in the background as the MUSIC RISES and CREDITS ROLL. 97
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