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                               COMMENCEMENT: A SLASHER FILM
                                       Jon Lickness
               Testisuit Productions
               1303 Smith Ave

                                                            FADE IN ON:


               At first, all that appears to be on the screen is BLACKNESS -
               but we can see RIPPLES in the blackness - we are looking at
               the middle of a lake.

               We slowly PULL UP from the lake to show the full moon, ever
               present in horror films, watching over the screen.

               As we HOLD on the full moon, something becomes apparent that
               holds true for the remainder of this film - the film stock
               looks choppy, dirty and very grainy, just like a rental copy
               of an '80s horror movie that has been seen countless times.

                                                                CUT TO:

               EXT DIRT LOT (NIGHT)

               We are in a parking lot adjacent to the lake, a single street
               light illuminates the area.  Heavily forested area surrounds
               the lot.  A pair of HEADLIGHTS speed toward the camera from
               the background, finally coming to a stop in the lot.

               Screen text - "JUNE, 2003."

               The HEADLIGHTS turn out, and two occupants exit the vehicle -
               on the driver's side is MARK - late teens, handsome, wearing
               a Letterman's jacket and jeans.  On the other side is TIFFANY
               - young, hot, brunette, wearing a tank top and tiny shorts.  

                         This is it, Mark?  This is the

                         I told you.  Stubby said that
                         there's a really good area to swim

                         Stubby is full of shit.

                         Just trust me, Tiffany.

               Mark takes Tiffany's hand, and they begin walking down a PATH
               cutting into the surrounding woods...

                                                                CUT TO:

               EXT PATH (NIGHT)

               Mark and Tiffany continue to walk down the path, the woods
               oppressing them on all sides. 

               Tiffany is now listening to her iPod, the faint sounds of
               Marilyn Manson's "Mutilation is the Most Sincere Form of
               Flattery" discernible in the background.

                         You brought that thing with you?

                         This thing goes with me wherever I

                         That's pretty sad, Tiff.

                         Fuck you!  God!  How much farther
                         is this, anyway?

                         Not that much further.

                         God, I hope not.  I don't want to
                         happen to us what happened
                         to...well, you know.

                         What do you mean?

                         All that shit that the papers are
                         talking about.  

                         That's exactly what it is, Tiff. 
                         It's shit.  Besides, all of that
                         stuff is supposedly going down in
                         Minneapolis West.  That's miles
                         away from us.  Every single one,

                         I know.  But I'm still scared.

                         It's alright.  I won't let anything
                         happen to you.

               Tiffany stops her iPod and pockets it, looking up into Mark's


                         (stroking her hair) Promise.

               They KISS briefly, and quickly break.

                         Come on, just a little bit further.

               Mark and Tiffany continue WALKING down the path...

                                                                CUT TO:


               From a distance, we see Mark and Tiffany as they reach a
               small stretch of beach - the expanse of Lake Minnetonka is
               laid out in front of them, the full moon lighting the scene.

               We CUT IN closer on Mark and Tiffany.

                         So, what are we gonna do now?

                         You want to swim?

                         Maybe just for a little while.

                         Well, come on then, I'll meet you
                         out there.

               Mark quickly REMOVES his letterman's jacket and his
               undershirt - he's chiseled and muscular underneath, and
               Tiffany appears to be appreciating it.  

               Following suit, she takes off her own shirt and pants to
               stand in a blue bikini.

               Mark, now in just his boxers, lets out a rebellious yell
               before RUNNING into the water, diving in head first.  

               We CUT to Tiffany, standing there on the beach, looking
               pretty, smiling at her boyfriend's antics.

               We CUT back to Mark, swimming out into the lake.  He TURNS
               BACK and begins TREADING WATER.

                         Come on!  The water's fucking

                         Mark - I don't know.  Swimming in

                         Oh, come on!  I did it!

               Reluctantly, and with some false innocence, Tiffany resigns
               herself and walks up to the water, testing it out with her
               foot, then DIVING IN.

               She SWIMS OUT to Mark.

                         You were right.  This is really

                         Nothing to be scared of...

                                                                CUT TO:

               EXT WOODS (NIGHT)

               Almost as if on cue, and almost as if in a cheesy slasher
               movie, there's a MUSICAL BEAT letting us know that something
               is up - and then an eerie POINT-OF-VIEW shot to the right of
               Mark and Tiffany - the camera moves up and down.

               Someone is watching them.

                                                                CUT TO:


               Back to Mark and Tiffany, TREADING WATER in the middle of the

                         Listen, you know that I really like
                         you, right?

                         I know.

                         Do you like me?


                         Prove it.

               Tiffany MOVES FORWARD in the water, launching into a
               PASSIONATE KISS with Mark.  They BREAK APART.

                         Take your top off.


                         Come on, do it...

               (a beat)


               TREADING WATER with just her legs, Tiffany undoes the straps
               on her top, and then, with her own rebellious yell, THROWS IT
               back toward the beach.  We get a couple GLIMPSES of her bare
               breasts in the process.

                                                                CUT TO:

               EXT WOODS (NIGHT)

               Back to the eerie POINT-OF-VIEW - the camera slowly MOVES
               FORWARD, back from a safe position deep in the woods, closer
               to the beach itself...

               The stalker is getting closer, as we see what he sees - Mark
               and Tiffany removing the rest of their clothes.

                                                                CUT TO:


               Back to Mark and Tiffany, their hands all over each other,
               continuing to MAKE OUT in the water.

               They BREAK.

                         You're sure you wanna do this?

                         I'm sure.  I'm ready.


               They begin SWIMMING TOWARD shore, eventually reaching it - to
               make it fair, there's even a few friendly for-the-ladies
               shots of Mark's physique.

               They continue to CLOWN AROUND and PLAY as they reach the
               shore, still KISSING occasionally, and they appear to be in
               the opening stages of sex.

               They eventually COLLAPSE on the beach, and Tiffany STRADDLES
               Mark on the beach, throwing herself forward and KISSING
               HIM...we HOLD on this for a long time, but then Tiffany's
               head TURNS UP as she notices something.

                         Oh my God...


               Tiffany quickly GETS UP, and Mark FOLLOWS SUIT - the camera
               holds on their upper bodies to keep the shot from being X

               In the foreground, we see the figure - THE RIPPER - for the
               first time in this film.  All we can see is his back,
               outlined in PURE BLACKNESS.  He's male, tall, not burly, but
               definitely fit.  He is danger to the core.

               To his right, we see his prey - Mark and Tiffany, still both
               nude, although they don't appear too offput by what they see.

                         Good God, man, you scared us to
                         death.  Are you lost or something? 
                         You need some help?

               We CUT to an ominous sight - the Ripper's RIGHT HAND,
               concealed to Mark and Tiffany, holds a large KNIFE.

               Mark continues WALKING toward the figure.

                         Look man, I'll get some clothes on,
                         and then I'll help you...

               We STAY in the Ripper's POINT OF VIEW for the remainder of
               the sequence - a HAND come into view, now holding the knife,
               as Mark BENDS DOWN to pick up his clothes.

               It brings the force of the knife down directly ON TOP OF HIS
               HEAD.  We don't see much graphic gore, but the music PICKS UP
               in a big way as something else becomes apparent - this film
               is populated with stark, grating VIOLIN MUSIC a la "Friday
               the 13th."

               Mark SLUMPS TO THE GROUND, DEAD - and then the POV turns to
               Tiffany, now SCREAMING at the top of her lungs.

               She FALLS on the beach.

               The Ripper ADVANCES on her...

               Tiffany begins PLEADING for her life, the usual "No, please
               God, no, don't kill me" slasher film pleading, all the while
               backpedaling along the beach, half-crawling, half-running,
               but as she nears the woods and BUMPS into a tree, we see the
               Ripper's HANDS come into his own POV again - they SLICE
               Tiffany directly across the stomach.

               Blood SPRAYS from the wound, and Tiffany looks DIRECTLY into
               the eyes of the camera, shocked, before slumping to her knees
               and then the ground...

                                                           DISSOLVE TO:

               OPENING CREDITS

               We FADE TO BLACK - from the right-hand side of the screen,
               the title comes in on a marquee scroll - very cheap and low


               As it reaches the center of the screen, a RED SLASH, complete
               with sound effect, SWIPES underneath it, and a RED SPRAY of
               blood flows from the cut...

               The CREDITS themselves appear in PLAIN WHITE TEXT, in various
               locations on the screen.  The actors and actresses all appear
               in groups of three.  There are no huge stars in this movie -
               they are all horror film victims, as very angry violin music
               sets the scene.

               We flash the final credit - WRITTEN AND DIRECTED BY JON
               LICKNESS - before we FADE TO WHITE and...

                                                           DISSOLVE TO:


               Closeup of a sign - "Prairie Grove Mental Hospital." 

               We slowly PAN LEFT until we are looking at the parking lot of
               the facility - it is completely empty, and it is in the
               middle of a city.

               A few cars whiz by in the distance - and one PRISONER
               TRANSFER vehicle pulls into the lot from the distance.

               It nears the camera and COMES TO A STOP.

               Two SECURITY GUARDS - PETER and VINCENT, both late 20s, both
               scream "STEREOTYPICAL THROWAWAY VICTIM" - exit the vehicle
               and begin WALKING toward the front entrance of the facility. 
               We can see a RECEPTION AREA through the glass door.

               Screen text - "June, 2008."

                         This is the place?

                         Yeah.  Said they'd only do this at

                         Why is that?

                         How the fuck should I know?

                                                                CUT TO:


               The two guards ENTER the facility - it is empty, with the
               exception of the RECEPTION AREA in front of them, a mid-40s
               African-American RECEPTIONIST behind it.

                         Can I help you?

                         Yeah, we're with Craven Sanitarium,
                         here to transfer a patient of

                         The very last one.

                         Yeah, this place is closing down.

                         And don't I know it.  Hold on, I'll
                         buzz Dr. Crawford down.

               The Receptionist turns her attention downward to her desk,
               HITTING a button and SPEAKING into an electronic device.

                         Dr. Crawford, the 1:00 A.M.
                         transfer is here.

               The Receptionist STANDS UP.

                         He'll be right down.

               The Receptionist WALKS down a hallway in the opposite

               Vincent, who is also profoundly overweight, begins looking
               around - empty hallways line this almost deserted looking
               mental institution.

                         Way it looks, this place is almost
                         shut down already.

                         They might as well.  Seems like we
                         get all the fuckin' action, anyway.

               From behind them, a mid-50s man in a white lab coat, DR.
               CRAWFORD, rounds a corner, holding a CLIPBOARD.

               The two men turn their attention to him.

                                   DR. CRAWFORD
                         You guys with Craven?

                         Yeah.  Craven Sanitarium.  Here to
                         pick up a transfer.

                                   DR. CRAWFORD
                         (writing on the clipboard) Chalk
                         one more up in our graves.

                         Yeah, we heard about this place
                         closing down.

                                   DR. CRAWFORD
                         The State Department of Minnesota
                         feels that it is more necessary to
                         divulge in more social programs
                         than it is to insure that some of
                         these people are locked up.

                         Really?  Did you have any killers
                         in here?

                         Shut the fuck up, Vincent.

                         Well, I'm sorry, Peter, you know, I
                         may drive back through here

                                   DR. CRAWFORD
                         To answer your question, yes, we
                         had some convicted killers. 
                         Although since this is a
                         sanitarium, not a prison, all were
                         profoundly psychotic and thus found
                         not guilty by reason of insanity. 
                         Just as the person you're
                         transporting tonight.

                         The guy we're moving was a killer?

                                   DR. CRAWFORD
                         Was.  This subject was, to put it
                         bluntly, a lunatic.

               Crawford FINISHES WRITING on his clipboard, and hands the top
               sheet to Peter, who TAKES IT.

                         So - in one week, this all goes
                         down, huh?

                                   DR. CRAWFORD
                         Unfortunately, yes.

                         So what happens to you?

                                   DR. CRAWFORD
                         I have a transfer of my own. 
                         Donald Wing Center for the Mentally

                         I've heard of that - that's up

                                   DR. CRAWFORD
                         Something like that.  Listen - I'm
                         off someplace new in a week.  And
                         since I'm leaving the person you're
                         transporting tonight behind
                         forever, I don't want any
                         unfortunate incidents involving him
                         on my conscience.

                         You said he was a killer.  What did
                         he do?  Was it in the papers?

                                   DR. CRAWFORD
                         The less you know about this man's
                         personal history, the better.  So,
                         a few words of warning.  While this
                         man was deemed insane by the court,
                         he displays several parameters that
                         are very rare.  Do not let this man
                         out of your sight.  Keep one set of
                         eyes on him during your entire trip
                         - change drivers if you have to,
                         you need to stay alert.  Do not
                         underestimate him.  He has shown a
                         history of showing an extremely
                         lethal cunning.

                         What?  Has he tried to escape or

                                   DR. CRAWFORD
                         More than once - and very close to
                         success more than once.  


                                   DR. CRAWFORD
                         Jesus gave up on this man a long
                         time ago.  If he pretends to be
                         sick or wounded, don't believe it,
                         no matter how much of an Academy
                         Award-winning performance he puts
                         on.  Once, he faked an epileptic
                         seizure.  The nurse who went into
                         his room has had twelve
                         reconstructive surgeries since, and
                         her face is still not repaired.

                         (terrified) What did he do to her?

                                   DR. CRAWFORD
                         You're better off not knowing.

                                                                CUT TO:


               We are back in front of the mental hospital.  Peter, Vincent,
               and Dr. Crawford STEP OUT of the front door.

                         I'll go fire up the car.

               Peter WALKS to the foreground and ENTERS his vehicle,
               starting it.

               Vincent OPENS the back door while Dr. Crawford hovers near

                                   DR. CRAWFORD
                         I'm not kidding.  Take my warnings

                         Believe me.  We're professionals -
                         we handle this sort of thing all
                         the time.

                                   DR. CRAWFORD
                         Just be careful.

               Crawford TURNS BACK to the entrance.

                                   DR. CRAWFORD
                         Bring him out!

               At the front entrance stand three men - two burly SEUCRITY
               GUARDS stand on either side of an extremely scary-looking

               In the middle is THE RIPPER - although we can't see any of
               his features.  He wears a strait jacket, and is BOUND at the
               hands with handcuffs.  He also wears what appear to be
               BANDAGES over his face, as he looks like the invisible man.

               We CUT to Vincent, who appears very scared.

               The Security Guards WALK The Ripper to the back of the
               vehicle, where they help him into the back - he enters
               without protest.

               We see the inside of the back - it is separated from the
               front by a thick metal door, with a thin slit of glass for
               the transporters to observe him.  There's also a bench, which
               The Ripper sits on.  He has done all this like he knows the
               drill - which he does.

               Vincent and Dr. Crawford SHUT THE DOOR.  Crawford motions for
               the Security Guards to re-enter the hospital, which they do,
               leaving Crawford alone with Vincent.

                                   DR. CRAWFORD
                         There aren't any bars on your side
                         of the glass?


                                   DR. CRAWFORD
                         Only look at him from a distance. 
                         Stay the fuck away from that glass.

                         Alright, sir.

               Crawford TURNS AROUND and begins WALKING toward the entrance
               of the hospital.  We HOLD on Vincent, who now appears more
               scared than ever.

               He LOOKS to the back door of the vehicle, then scampers
               around to the other side.

                                   PETER (O.C.)
                         Come on, already, fatass!

                         Coming, Peter!

               Vincent GETS IN the passenger's side.

               The vehicle SPEEDS OFF...

                                                                CUT TO:

               EXT RURAL HIGHWAY (NIGHT)

               The armored vehicle speeds through the night, the headlights
               PIERCING the darkness...

                                                                CUT TO:


               Vincent, keeping his distance, LOOKS THROUGH the single pane
               of glass while Peter drives.

               The Offspring's "Hypodermic" plays on the soundtrack, giving
               the scene an ominous, forboding tone.

                         What is he doing back there?


                         Then why are you staring at him?

                         Dr. Crawford says don't take your
                         eyes off him.

                         An Honest-to-God serial killer. 
                         Gives me the creeps.

                         You're telling me.

               We CUT to what Vincent sees - the Ripper sits on the bench,
               staring at the ground, completely unmoving.

               Back to the front seat.

                         You know, nobody will believe this.

                         What is this guy's name again?

                         I don't know.

                         Look it up.

               Vincent takes ONE LAST GLANCE through the pane of glass - the
               Ripper still sits there, unmoving.

               Then he turns his attention to the glove box.

                         It's in that big stack of papers

               Looking nervously between the glass and the glove box, he
               makes his decision, shuffling his position forward, opening
               the glove box, and sifting through a huge mound of papers
               that FALL OUT of the box.


               Vincent BENDS DOWN to pick up the papers, then begins
               comically trying to PIECE THEM BACK TOGETHER.

                         You fuckin' moron.

                         I'm sorry, Peter.

                         Just find it.  I know I heard about
                         this guy - supposedly he was
                         plastered all over the news.

                         Fuck.  I better keep an eye on him.

               Vincent SETS the stack of papers down on the seat, then turns
               back to the pane.

               We SEE WHAT HE SEES - there's nobody at the bench - just a
               strait jacket.

                         Uh, Peter, we have a problem.


                         The guy.  He's not there.

                         What do you mean he's not there?

                         I mean he's not there.  He's not on
                         the bench!

                         He's probably at the back of the
                         car or something.  Look closer.

               And then Vincent makes his cardinal horror movie mistake -
               ever-so-slowly, he LEANS IN to the pane of glass, the action
               slows down, and as he GETS CLOSER AND CLOSER to the pane of

                                                                CUT TO:


               As Vincent peers DIRECTLY through the glass, we slowly PULL
               BACK into the prisoner's area of the vehicle - the Ripper is
               STANDING to the right of the glass, back against the wall -
               and just as Vincent sits there with his nose pressed up
               against it, he makes his move...

                                                                CUT TO:


               Back to Vincent, staring through the glass...

               TWO HANDS EXPLODE through the glass, one of them grabbing
               Vincent by the throat...

               Vincent begins SCREAMING LOUDLY...

               Peter begins SWERVING THE CAR...

               One of the hands grabs a SHARD OF GLASS that broke from the
               pane, and now sits on top of the seat...

               QUICKLY and with GREAT FORCE, the Ripper strikes, SLICING
               THROUGH VINCENT'S NECK with the glass - and then the hands
               RETREAT back into the glass...

               CHAOS STILL REIGNS in the front of the vehicle - blood GUSHES
               from Vincent's neck wound, and he begins CHOKING on his
               words, seeing the life escape from his eyes.

               All the while, Peter is SCREAMING as well, attempting to gain
               control of the vehicle, but as he sees his friend SLUMPING
               OVER DEAD, he LOSES IT, and the vehicle LURCHES to the

                                                                CUT TO:

               EXT RURAL HIGHWAY (NIGHT)

               Back to the highway - the vehicle makes a BEELINE to the
               left, and begins TURNING OVER ON ITS END...

               It TUMBLES ON ITS SIDE, and ever-so-subtly, we can see that
               the BACK DOOR is being damaged as well as WINDOWS BREAK AND
               STEEL DENTS...

               The vehicle SCREECHES AND WHINES on the pavement of the road,
               eventually coming to a HALT after a long slide.

               We ANGLE ON Peter, still in the driver's seat, the vehicle
               TILTED his direction.

               He UNDOES his seatbelt while the wheels still ROLL around

               He KICKS the windshield out, which comes CRASHING DOWN, and
               he slowly CRAWLS out of the seat.  CUTS and assorted WOUNDS
               GOUGE his body...

               He REACHES the pavement, and begins CRAWLING AWAY from the
               wreckage, but eventually, we hear something.


               Peter SLOWLY turns back...

                         No.  Oh God, no...

               Peter begins CRAWLING faster, and we hold EXTREMELY CLOSE on
               him as he does so.

               Eventually, he TURNS again - the Ripper is closer...

                         (yelling) No!

               We CUT to the front of the vehicle - the Ripper's HANDS are
               all we see, both still BOUND by the restraints, as they GRAB
               a piece of the vehicle's GRILL, RIPPING it off with SAVAGE

               And now we see The Ripper, virtually unscathed, escaped,
               free, and brandishing a weapon - and he is ADVANCING on the
               prone form of Peter.

               He BENDS DOWN, picking up another SHARD OF GLASS from the

               His BANDAGED FACE is all we can really make out in the

                         (yelling) No!

               We see what Peter sees - the bandaged face, the all-gray
               Sanitarium uniform, and his weapons - the grill piece and the

               For a second.

               The Ripper BRINGS THE GLASS DOWN, HARD, on Peter's shoulder -
               and blood SPURTS from the wound as Peter SCREAMS IN PAIN...

               But then we HOLD on the Ripper's face as he STANDS BACK UP -
               his head TILTS first to the right, then to the left, he
               appears to be GREATLY ENJOYING Peter's pain...

               Peter CONTINUES SCREAMING - and finally, the Ripper BRINGS
               the piece of the vehicle down, almost DIRECTLY on top of the
               camera's lens.

               We CUT FORWARD in time - EXTREME CU of the Ripper's hands -
               the restraints have been CUT and drop harmlessly to the
               pavement below.

               Then we see what was in his hand - a small MEDICAL SAW, in
               the front of the vehicle with the officers.

               We CUT FORWARD in time again - he has SWAPPED CLOTHES with
               the Officer, and there is an ATMOSPHERIC SHOT of this man, 23
               years old, lithe but strong at the same time, walking forward
               wearing Peter's clothes - although we just see this from the

                                                                CUT TO:


               We are now in a LARGE MEETING OFFICE at the Craven Sanitarium
               - three or four DESKS sit in front of a large FRONT DESK

               There is a WHIRLWIND OF ACTIVITY - There are half-a-dozen
               people in this room, as a single POLICE OFFICERS talk to
               PSYCHIATRISTS, but at the forefront of the DESKED AREA are
               two older, mid-60s looking DOCTORS - WYNN and GORDMAN, and a
               mid-30s, mustached POLICE OFFICER is talking to them.

                         What can you tell us?

                                   POLICE OFFICER
                         The same thing that all of these
                         guys can say - that right now,
                         we're assuming the worst.

                         And the worst would be?

                                   POLICE OFFICER
                         Well, that both of the guards
                         appeared to have been murdered in
                         an escape attempt.  

                         Oh, Jesus Christ...

                                   POLICE OFFICER
                         We're all canvassing the area as we

                         Thank you, Officer.

                                   POLICE OFFICER
                         He really messed one of them up...

               Just then, DOUBLE DOORS at the front of the room BURST OPEN -
               and we meet MICHAEL PLEASENCE for the first time.

               Michael STARES the rest of the room down - who all
               immediately STOP TALKING.  Pleasence is the main hero of our
               story, and, as he is to be played by a character actor who
               can be serious when necessary and ham it up when necessary,
               we can tell that while he's part everyman - he is late-50s
               but physically fit, dressed in working clothes and boots - he
               is also capable of great strength when necessary.

               He also carries a gun at his side - a .45 Revolver.

                         Why wasn't I told that this man was
                         being transported?

                         Excuse me, sir, can I help you?

                         I specifically requested that if
                         this patient were ever to be moved
                         from one facility to another, I was
                         to be the one in charge of the

                                   POLICE OFFICER
                         Sir, this is a police matter.  What
                         are you...

               Pleasence RUSHES the scene - in particularly, the second
               group, now visibly miffed.

                         You're goddamn right it's a police
                         matter!  Do you have any idea where
                         he went?

                                   POLICE OFFICER
                         We're canvassing the area.

                         How many men do you have on it?

                                   POLICE OFFICER
                         Well, right now, three squad cars.

                         Three?  A five-year-old could get
                         through that.

                         Sir, do you mind telling us your
                         name and what business you have

                         I'm police.

               The Officer appears to be eyeing Pleasence up - he can tell
               that he's a little advanced in age.

                                   POLICE OFFICER

                         I'm retired.

                                   POLICE OFFICER
                         We're sorry, but this meeting was
                         deemed a police matter.

                         Just see to it that your superior
                         gets this message - get more
                         fucking cops on this case.

               Pleasence TURNS AROUND, and as all the onlookers appear
               dumbfounded, he WALKS to the double doors.

                                   POLICE OFFICER
                         Wait!  Where are you going?

                         To look for Ben Glover.

               Pleasence EXITS the room...

                                                                CUT TO:

               EXT GAS STATION (DAY)

               We are now in a dirty, slightly unkempt RURAL GAS STATION -
               one of the MINNESOTA HIGHWAYS is nearby, but there is NO

               CHUCK - a mid-20s, slightly gawky kid, STANDS BEHIND THE
               COUNTER, the RESTROOM AREA and a small, dingy door to his
               right.  He appears very near sleep.

               Suddenly, we hear an OPENING DOOR and CHUCK PERKS UP -
               although he appears somewhat shocked by what he sees.

               We HOLD on Chuck - we never show The Ripper.

                         Jesus, man, you look like you're in
                         rough shape, Officer.

                                   THE RIPPER
                         Do you have a phone?

                         Yeah, right outside, on the right.

                                                                CUT TO:

               EXT PHONE BOOTH (DAY)

               CU of the Ripper's hands - they are GOING THROUGH the yellow
               pages on a phone book - the "H" seciton.

               He FLIPS TWO PAGES - and then FINDS what he is looking for...

               We see it - "HIGH SCHOOLS" - the audience in on the joke.

               He RIPS OUT the page, and we HOLD on him in EXTREME CU as he
               puts the paper in his pocket.

               But he's not done at this location - not by a long shot.

               We PULL BACK slightly on the Ripper from the back, although
               we don't see his head - to his right is a broken down, mid
               '80s Chevy vehicle - but it will suit his purposes just fine.

               Slowly, and much like Michael Myers or Jason Voorhees, he
               WALKS AROUND the exterior of the Gas Station - which is just
               as grungy as the inside - and WALKS THROUGH the main door.

                                                                CUT TO:

               INT GAS STATION (DAY)

               We are now in the Ripper's POV, as Chuck is still there,
               behind the counter.  We get CLOSER AND CLOSER to him as the
               Ripper nears.

               He also has a name badge on his all-blue workwear denoting
               his name.

                         Hey, man, is there anything else I
                         can do for you?

                                   THE RIPPER
                         Your clothes.

               (a beat)

                         My clothes?

               And then the Ripper's hands come into focus in the POV once
               again - and they GRIP Chuck's neck in a vicelike snare,
               Chuck's eyes GO WIDE WITH PANIC...

                                                                CUT TO:

               INT RESTROOM (DAY)

               Chuck's dead, lifeless body - HEAD FIRST - HITS the ground of
               the dirty restroom - and now he is wearing the security
               guard's outfit.

               The Ripper has changed his mold once again - and we make a
               QUICK CUT to the door leading into the restroom as we see the
               Ripper DEPART the room.

                                                                CUT TO:

               INT GAS STATION (DAY)

               In one continuous shot, we see the following...

               We see the dingy-looking door next to the register area - we
               GO IN.

               Inside is the worker's area, dark, barely lit, but with all
               sorts of TOOLS hanging up on the wall and a dirty WORKBENCH.

               Of course, by where the Ripper's eyes are, we know what he is
               interested in - implements of Hell.

               There is an AXE with a carrying sheathe hanging above the
               workbench - we slowly WALK toward the bench, and then a HAND
               comes into frame and TAKES the axe down.

               Then our eyes turn to the left - and next to a can of
               gasoline lies a MACHETE, also with a carrying sheathe.  We
               squat down and TAKE IT along with the Ripper.

               Finally, we do a 180 degree turn, and can't seem to find
               anything else - but then, by some auto supplies near the door
               itself, is a TIRE IRON - he TAKES IT, and then we EXIT the

               We CUT BACK to a shot of the Ripper walking from behind, once
               again showing everything but the head.  He has the AXE slung
               around his back, as it also has a strap, while he has the
               MACHETE in his belt loop and HOLDS the tire iron in his left
               hand.  He WALKS THROUGH the station, and appears ready to
               leave, but then one final thing CATCHES HIS EYE - something
               CLOSE to the front door...

               We see what he sees - HALLOWEEN MASKS.

               One in particular - a GRIM REAPER MASK.  It is ALL BLACK, and
               appears to have a small HOOD.  The area over the face is also
               TOTALLY BLACK, and is designed to allow the wearer to see,
               and also conceal the face.

               The Ripper's hand once more passes into view, and he TAKES
               THE MASK...

                                                                CUT TO:

               EXT GAS STATION (DAY)

               HIGH-ANGLE SHOT of Chuck's '80s-model Chevy SPEEDING OUT of
               the parking lot and ONTO THE HIGHWAY - we HOLD on the car
               from a distance as it travels, setting the foreboding tone.

                                                           DISSOLVE TO:

               INT GYMNASIUM (DAY)

               We are now in a huge HIGH-SCHOOL GYMNASIUM - we are looking
               SENIORS lining the seats.

               We SLOWLY COME DOWN onto a STAGE in the middle of the gym -
               and look at the Valedictorian of the school, PATRICK, from
               the side - a good-looking kid, curly hair tufting out from
               below his cap.

               The PRINCIPAL and VICE PRINCIPAL sit beside him while he
               concludes his speech, and we see that SCORES of GRADUATES are
               also seated on the gym in front of him.

                         ...thus, ladies and gentleman, we
                         are reminded over and over again
                         that our entire lives have prepared
                         us for commencement.  And the word
                         commencement technically means to
                         begin, so with all due respect to
                         the gentlemen seated at each side
                         of me, let's begin and get the hell
                         out of here!

               Patrick THROWS HIS CAP in the air - as do ALL of the seniors
               in the audience as well...

                                                                CUT TO:


               We are looking at one of the SIDE EXITS of the high school,
               as screen text informs us - "Carpenter High School."

               Smash Mouth's "Getaway Car" sets the scene.

               KIDS FILE OUT of the door, an absolute mass of humanity, some
               of them still wear their cap and gown while others have
               changed into street clothes.

               We begin FOLLOWING two of the kids who come out of the door -
               a boy and a girl.  The girl is KATIE KRUEGER - she's tanned,
               beautiful, tall and lithe, and wears tight blue jeans and a
               red shirt.  The other is her twin brother, SEAN - handsome,
               wears a Chicago Cubs baseball cap, appears straight-arrow and
               eager to please.

               They begin WALKING to the middle of the large PARKING LOT as
               they talk.

                         Oh thank God, it was fucking hot in

                         You're not shitting.  I thought we
                         were never going to get out of

                         Well - four years.  Feel any

                         Not really.  How come you didn't
                         sit with Jason?

                         Well, boyfriends may come and go,
                         but siblings are for life.  Not to
                         mention twins.

               Sean PUTS AN ARM around Katie now, signifying that while they
               wheedle each other, the siblings do love each other.

                         Where was Jason, anyway?  I didn't
                         see him.

                         Probably with his friends.  Way up
                         in the rafters.

                         Oh, man, already?

                         Sean, he's not that bad.

                         I know he's not that bad - but
                         we're not even at the lake yet!

               Sean and Katie REACH their car - a mid-21st century Pontiac,
               nice rig.

               They STAND by the back of the car, kids still SWIRLING around
               them, while cars TAKE OFF and exit the high school forever.

                         Alright, so where's your
                         girlfriend?  How long has it been?

                         Oooh, Burn.

                         I wasn't trying to burn you.

                         You were trying to burn me.

                         I wasn't.


                         Alright, I'm sorry I burned you.

                         Apology accepted.

                         Real mature.

                         Hey, there's your loverboy now.

               Katie's EYES LIGHT UP...

               We CUT to one of the rows over - JASON ALVERS walks toward
               them.  He's a little taller than Sean, blonde, spiky dyed
               blonde hair, a good-looking guy who screams "PARTY ANIMAL"
               from the first time we see him - and he's wearing a very loud
               shirt and blue jeans to match.

               He sees Katie and SMILES, then begins RUNNING TO HER.

               When he reaches her, Katie JUMPS UP into his embrace and
               straddles him briefly, and as Jason sets her down, he SLAPS
               HANDS with Sean, who is smiling as well.  Clearly, he's
               alright with his sister's boyfriend.

                         Man, we got a house all weekend! 
                         No fucking adults anywhere in
                         sight!  Hey, yo, Sean, how you
                         doing, man!

               Jason GRABS Sean in a bear-hug, which he returns meekly.

                         Not bad, Jason.

                         Goddamn, I never thought this day
                         would come.  Senioritis, fuck, it's
                         a fucking bitch!

                         Oh, is that what you call it...

                         Hey, Kat, no need for your bro to
                         know anything about that.

                         I can only imagine.  

               Through all of this, Sean smiles - we can tell how nice and
               easy-going he is.

                                   SAMANTHA (O.C.)
                         We did it, guys!!

               The three friends TURN THEIR ATTENTION O.C. - and SAMANTHA
               CURTIS walks to them.  Samantha is shorter, pretty, but in
               much more of a natural way than the heavily made up Katie. 
               She wears glasses, a no-frills top, and blue jeans, and wears
               a small Crucifix around her neck.

               She WAVES LIGHTLY at the bunch, then HUGS Sean first, then

                         I have to say, as much as I'm
                         looking forward to this, it's
                         really sad.

                         I know - after this, it's all over. 

                         Oh, fuck all that - you're starting
                         to kill the party buzz already.

                         Shut up!  

                         Well, hey, Samantha, you know, not
                         everybody has a friend whose daddy
                         is a rich lawyer.  We gotta take
                         advantage of this shit!  I don't
                         know about you, but I'm stoked!

                         And I am stoked, but in a very
                         different way.

                         Samantha doesn't get stoked in that

                         Jason, Goddammit...

                         No, it's alright, Katie.  You know,
                         after this weekend, the mirth level
                         in my life will be a lot lower when
                         you're out of it, Jason...

               With that, the big softie grabs Samantha in one of his
               patented bear-hugs as well, and as she drops her down, 
               Sean butts in...

                         Hey, where's Amanda?  She should've
                         been here by now?

                         Oh, I think I can figure out where
                         she was.


                         That's her right there.

               Katie POINTS FORWARD - and through the parking lot come
               AMANDA VOORHEES, blonde, hot, wearing tiny shorts and a tank
               top, arm-in-arm with her boyfriend DEREK BAKER - a burly,
               football-player type, but one we can tell has a big heart.


                         Everybody's trying to get a jump on
                         the fun.

               Amanda and Derek reach the group, still standing arm-in-arm.  

               By now, the herd has thinned out somewhat in the parking lot,
               and it is only about half as loud as the beginning of the

                         What's up with you guys?

               Derek and Amanda break their embrace, and begin HUGGING their

                         What's up with you?

                         (hugging Derek) Mr. Big football
                         hero, we didn't know if you'd show
                         to slum it with us.

                         That's crap, Sam.  You guys are
                         like my second family.

                         He means it.  He talks about you
                         all constantly at his FLA meetings.

                         Why would you need to bring us up
                         at Future Leaders of America?

                         Because - I believe that one of the
                         founding qualities of leadership is

                         Wow.  That's so sweet it makes me
                         want to fucking vomit.

                         Nice, Kat.  You know, I still can't
                         believe my father is letting us use
                         the lake house this weekend.

                         I'm not complaining.

                         Neither are we.  Is it really as
                         big as she says it is?

                         It's huge.  I've spent countless
                         invigorating family gatherings
                         there.  This time, we can actually
                         do something fun at the damn place.

                         So - I just got to know.  You're
                         the last ones here - where were
                         you, just now, up until you walked
                         up here?

               (a beat)

                         Take a fucking guess.

               Everybody in the group MOANS.

                         Oh God...


                         Bathroom - right after Patrick got
                         done with his speech.

               The group begins LAUGHING...

                                                                CUT TO:

               EXT CITY STREET (DAY)

               We are looking through the Ripper's POV - he is on a street
               with a nice view of the school's parking lot, the green of
               the school's football field visible in the background behind
               the parking lot.

               We then CUT to the usual view of the Ripper's body, but not
               his face - behind him is the car, and then we REVERSE ANGLE,
               behind his head, overlooking his shoulder - he now WEARS the
               Grim Reaper mask along with the gray workshirt of the gas
               station attendant.  

               We look through his eyes again, going from one group of teens
               to the next, as several of them TEAR OFF through the parking
               lot - and as groups FILE OUT, he begins HOLDING on the group
               toward the middle of the parking lot.

               The stars of the show.  Our unlucky quintet.

                                                                CUT TO:


               We are now looking closely at a new character - blonde,
               heavily-made-up ELLIE HARRIS, popular cheerleader to the
               core.  She constantly has a pouty look on her face, an air of

               This should be saying "ONE OF THE FIRST VICTIMS" to any
               educated horror-watcher.

               She WALKS toward one of the cars in the parking lot - there
               is a good-looking, athletic kid - DAN - who is attempting to
               get into his car in a huff.

                         Oh come on, Dan, that's a lot of
                         shit and you know it!

                         I don't want to have this
                         discussion with you anymore.

                         Dan, you know how this fucking high
                         school is - they make up rumors
                         about everybody.  It's worse than
                         the fucking news with Lindsay
                         Lohan, or something.

                         I have it on good authority that
                         you did the things you did.

                         Dan, if I wanted to cheat on you, I
                         would have...

                         What?  Picked somebody other than
                         my friends?

                         That isn't what I was going to say.

                         Sure you weren't.  We're done,

                         Dan - you have to let me go with

                         Ellie, I thought we were done with
                         this shit, I'm going out with my
                         friends - more than one of whom you
                         probably fucked!

                         Oh, fuck you, Dan!

               Dan GETS INTO HIS CAR and speeds off, leaving Ellie - dressed
               in an overly extravagant top and skirt - by herself.

                         Fuck.  All alone on graduation day -
                         now this is pure shit.

               With this, Ellie begins SCANNING the parking lot for a new
               party to hang out with on this day - she is a popularity
               queen, she doesn't take well to not being the center of
               attention - we scan with her.  She goes from group to group -
               and much like the Ripper, only in a much different fashion,
               she zeroes in on our likable protagonists.

                         Katie Krueger, her brother, and
                         Amanda Voorhees.  This might work.

               She begins RUNNING TOWARD THEM - Katie, Sean and Jason are
               beginning to enter Katie's car, while the other three are
               beginning to pile into a LARGE SUV parked next to it -
               Amanda's rig.

                         Hey!  Hey, you guys!  Katie!  Sean!

               With this, the group begins LOOKING at Ellie...

               She reaches them, and they all stare at her.

                         Hey, Ellie.  What's up?

                         Where are you guys going?

                         Well, uh...Amanda's father owns a
                         little house up by Lake Bellossa. 
                         We're headed up there for the

                         Really, what are you doing up

                         Man, what do you think we're doing? 
                         Lots of weed and sex, dude!

               Katie SLAPS HIM playfully...and Ellie then notices Jason and
               begins PLAYING HIM...

                         Really?  You like to smoke?

                         Shit, I love it!

                         I'll bet you like lots of things I

                         Alright, let's get going.

                         You guys - I was wondering, would
                         it be okay if I crashed with you
                         for the weekend? 
                         I was supposed to go to a party
                         with my boyfriend, but he won't let
                         me come.

                         Oh my God - that's terrible!

                         Tell me about it, he's such a
                         fucking dick!

               We cut to Jason, who appears to be eyeing Ellie as well.

                         I don't know, Ellie.  We've had
                         this trip planned out for a long

                         Yeah.  It was kind of just supposed
                         to be us.

                         Do you have any spare rooms?  How
                         many do we really need?

                for me and Derek,
                         probably one for Katie and Jason,
                         and one each for you and Sean.  So
                         that's four.  And it's a four
                         bedroom house.

                         You have the guest house. 

                         A guest house?  Awesome!  We'll
                         take it!

                         See?  Come on, she doesn't have
                         anywhere to go.

                         I don't know...

                         Please, Amanda?

               (a beat)

                         (annoyed) Alright.  Come on. 
                         You're riding with us.

               Amanda GETS IN to drive the SUV, while Derek piles shotgun. 
               Samantha gets in the back, and Ellie gives Jason another
               flirty smile as she passes him to sit in the SUV.

                                                                CUT TO:

               EXT CITY STREET (DAY)

               Back to the Ripper's POV, as he sees the two groups get into
               their respective vehicles.

               We hold on an EXTREME CU of his mask - directly where the
               eyes are - for a time, and then REVERSE ANGLE to show his POV

               The two rigs begin SPEEDING OFF - and then the Ripper makes
               his move.

               All we see at first are his feet as he begins WALKING toward
               the parking lot from his vantage point...

               We HOLD on him from behind, the parking lot in front of him
               and just a few scattered TEENS around as he TAKES OFF HIS

                                                                CUT TO:


               We are now LOOKING at the same exit of the high school - and
               one man exits.  This is VINNIE, wearing a Letterman's jacket,
               blue jeans, blonde and good-looking.  He also carries a large
               GYM BAG with him, and he LOOKS AROUND WISTFULLY at the
               parking lot.

               As he begins WALKING to his car, a young male ATHLETE calls
               out to him as he walks by...

                         Hey, Vinnie!  What's with the bag?

                         Still had it in my locker.  Hadn't
                         cleaned it out yet.

               Vinnie SETS the bag down next to his car, a nice, mid-90s

               Vinnie then WALKS AROUND to the other side of the car to talk
               to the Athlete.

                         Can't believe all this is over,

                         I know, ain't it the shit...

               We CUT to a shot of the Ripper's feet, standing next to the
               school.  Nobody pays the intruder any mind - apparently, he
               is quite inconspicuous.  Silently and stealthily, he OPENS
               the bag and REMOVES a baseball bat...then he scampers off.

                         I'll talk to you later, man.


               The Athlete GETS IN a car next to Vinnie's, then quickly
               SPEEDS OFF...

               And just like that, Vinnie is all alone at the school.

               He LOOKS AROUND, one last time, a high school athlete's glory
               days coming to a close.

               He MOVES AROUND the car - tears almost start welling up in
               his eyes.


               Then he moves to pick up his gym bag - and as he picks it up,
               he notices it feels different.

                         What the fuck...

               Vinnie begins FRANTICALLY OPENING the bag - and sees that his
               bat is missing. 


               We then CUT to the Ripper's POV - he is standing JUST BEHIND
               Vinnie, and the shot gets CLOSER...

                                   THE RIPPER 
                         Batter up...

               Vinnie TURNS AROUND - and comes face to face with his maker.


               VERY FAST SHOT - the Ripper is now WEARING his mask - and he
               SWINGS THE BAT with FULL FORCE directly at Vinnie's face...

               It CONNECTS with a SICKENING THUD - and Vinnie FLAILS to the
               ground in pain...

                         Oh, fuck!!!

               Vinnie's face is already barely recognizable after a single

               We then CUT to the Ripper, to the way we will see him for the
               remainder of the film as he stalks - grey worksuit with
               "Chuck" nameplate, and his Grim Reaper mask.  He then begins
               SWINGING THE BAT, HARD, and begins RAINING the blows on top
               of Vinnie's FACE and NECK...

               With each shot, the pavement below him turns a CRIMSON RED,
               giving the murder a sense of poetic artistry.

               And finally, Vinnie is dead - at the very same place that he
               didn't want to leave.

               And we CUT to the Ripper, another notch in his belt,
               triumphant.  He is also wearing LEATHER GLOVES now -
               something that he picked up at the gas station, and DROPS the
               baseball bat...

               We make another QUICK CUT forward in time - the Ripper is now
               behind the wheel of Vinnie's Mercedes, the dead body of
               Vinnie lying on the pavement as the Ripper SPEEDS OFF and OUT
               of the now empty parking lot...

                                                                CUT TO:

               EXT CITY HIGHWAY (DAY)

               We are now looking at a busy, bustling highway, in the
               Metropolitan Minneapolis Area.

               We follow one car - a nondescript blue one.  Pleasence's car.

                                                                CUT TO:

               INT PLEASENCE'S CAR (DAY)

               Pleasence DRIVES the car, look of intense concentration on
               his face.  He also has a POLICE SCANNER in his vehicle.

               There is nothing but STATIC for a time, as Pleasence looks
               around for something - anything - suspicious as he passes
               underneath an overpass.

               But finally, the scanner PICKS SOMETHING UP...

                                   VOICE (O.C.)
                         Attention all units - we have a
                         code 217, repeat, a code 217 at
                         Larry's Gas Station, Highway 169. 
                         Repeat again, code 217 at Larry's
                         Gas Station, Highway 169, any
                         available units converge

               While the man is talking, Pleasence perks up immediately...


                                                                CUT TO:

               EXT CITY HIGHWAY (DAY)

               Pleasence's car makes a QUICK U-TURN on the busy street,
               doubling over the median and TURNING the other way as cars
               HONK THEIR HORNS at him...

                                                                CUT TO:

               INT GAS STATION (DAY)

               We are BACK in the gas station - but now, there are FOUR
               OFFICERS in the room - and TWO OF THEM are slumped over by
               the dead body of Chuck - one of them is a mid-30s man in a
               suit, square-jawed, slicked hair, LIEUTENANT DAVE CHALMERS -
               although he is younger, we can tell that he busts his ass and
               is a good cop.

               The other is his partner, CRAIG TOOMEY - a late-20s,
               uniformed officer with a crew cut.

                         How many shots do you think he

                         I can't really say, Craig.  We have
                         to get forensics in here.  More
                         than one huge contusion, however.

                         The guy who did this was some kind
                         of psycho.

                                   PLEASENCE (O.C.)
                         You're right about that.

               Both Chalmers and Craig's heads WHIP BACK - and there stands
               Pleasence behind them, looking down at the dead body of Chuck
               and the two officers, as other officers still MILL AROUND
               behind them, DUSTING for prints...

               The two officers STAND UP to greet him...

                         Sir, this is a police matte, for
                         your own safety...

                         I know it's a police matter.  I'm

                         We weren't informed of anyone else
                         coming here - we have forensics on
                         their way, but no more than what we
                         got.  MPD is booked.

                         I'm retired.

                         If you're retired, I can't let you
                         on this property.  You're going to
                         have to leave.

                         Listen, my name is Michael
                         Pleasence, I was on the force for
                         thirty years.  I'm very intimate
                         with this case.  

               Craig appears ready to remove Pleasence by force, but
               Chalmers CALMS him with a hand motion.

                         It's alright, Craig.  Michael
                         Pleasence, I know that name. 
                         You're quite the name up at MPD
                         homicide.  Lieutenant Dave

               Chalmers offers Pleasence his hand, which he accepts and


                         As long as he can humor me.  You
                         know something about this case?

                         I know what you're up against, and
                         I know that you need all the help
                         you can get.

                         The way it looks, it appears to be
                         just some robbery gone bad.

                         It certainly appears that way.  But
                         it's not.  This is way too messy.

                         Is this some guy that you turned

                         The Minneapolis Ripper.

               (a beat)

                         Let's take a walk.

                                                                CUT TO:

               EXT GAS STATION (DAY)

               Another POLICE CAR pulls up in front of the building, and two
               OFFICERS enter it as Chalmers, Craig and Pleasence walk
               outside, finally winding up at Chalmers and Craig's squad

                         You remember?

                         The Minneapolis Ripper...I

                         Yeah.  Five years ago, some kid in
                         one of the Minneapolis high
                         schools.  Supposedly went berzerk
                         and killed a bunch of kids.

                         It was eight, Lieutenant.  Eight
                         kids - all of them couples, four
                         sets, all out on dates or some
                         other romantic getaway.

                         He was a serial killer?

                         The courts don't seem to think so -
                         and still don't.  All of these kids
                         were killed in a one-month span, so
                         the courts deemed him a spree
                         killer.  They believed he was just
                         some fuck up trying to go out in a
                         blaze of glory, and that he wasn't
                         keyed up in any way by all of this
                         carnage.  But he was.

                         So you're saying he was a serial

                         I know it.  I was in charge of his

                         You still haven't explained what
                         brought you here.  You think this
                         is the Ripper?  I thought he was
                         locked up.

                         It's Ben Glover.

                         Ben Glover?  Ben Glover just made
                         it across our wires this morning -
                         mental patient that went missing
                         after his vehicle flipped.

                         That's what they say - but he
                         escaped.  People forget fast, Mr.
                         Chalmers, they forget how dangerous
                         people can become.  Ben Glover was
                         the Minneapolis Ripper, and now
                         he's on the loose.  And this is his

                         Didn't the Minneapolis Ripper use
                         stabbing weapons?  Machetes and
                         knives and the such?

                         Sometimes.  But not always.  We've
                         got work to do, gentlemen.

                         It certainly appears so.

               Just then, the RADIO in Chalmers' car goes off.

                                   VOICE (O.C.)
                         Lieutenant Chalmers, Sgt. Toomey,
                         pick up, over.

               Chalmers OPENS his squad car door and TAKES the radio.

                         This is Chalmers.

                                   VOICE (O.C.)
                         Lieutenant, we have another code
                         217.  Carpenter High School, we
                         need you to get there right away to

                         It's him.  He's picking up right
                         where he left off.

                         We'll be there, over and out.

               Chalmers SETS DOWN his radio and begins GETTING into the
               squad car - as does Craig.

                         I hope for all of our sakes that
                         you're wrong and that this is just
                         another robbery gone bad.

                         So do I.  But I fear that I'm not.

               Pleasence begins GETTING into his own car...

                                                                CUT TO:

               EXT CITY HIGHWAY (DAY)

               Once again, we LOOK through the Ripper's POV - about a half
               mile ahead of him on a busy city highway are the two vehicles
               - Katie's car and Amanda's SUV.

               We CUT to the back seat of the Ripper's car - all we can see
               are his hands on the wheel and the outline of his head as he
               continues to follow, ready, prepared, and ready to strike.

               We MONTAGE now, while Our Lady Peace's "Walking in Circles"
               plays - to various shots of the teens in their vehicles, and
               to the Ripper, always following, watching and waiting. 
               Eventually, the vehicles begin passing onto a dirt road,
               surrounded by woods in all directions.  We wind up with the
               road next to a lake.  The montage lasts a solid minute before

                                                           DISSOLVE TO:

               EXT LAKESIDE HOUSE (DAY)

               We are just COMING OUT of the montage, looking through the
               SUV's windshield - it is a gorgeous lakeside residence. 
               First there's a small, one-story guest house next to the
               lake, up the road from here is a BOAT HOUSE - a small boat
               lies in the mooring, and a moderate-sized building is parked
               next to it to boot.

               About a quarter mile away from the guest residence and boat
               house is the MAIN HOUSE - a huge residence, two-storied,
               Victorian, gorgeous.  

               We CUT to a shot from the main house, as we see first the SUV
               park next to the lake, then the car.

                                                                CUT TO:

               EXT LAKESIDE AREA (DAY)

               We can see a small PICNIC AREA, with lakeside chairs and
               tables, next to the clean-looking lake.

               We are focusing on Katie, Jason and Sean as they EXIT the

                         Wow!  This is awesome!

                         Man, you're not fuckin' kidding!

               The trio joins Samantha, Amanda, Derek and Ellie, who have
               also exited their SUV and stand in front of it.

                         (putting an arm around Katie) Your
                         old man must be a pretty damn
                         successful lawyer, Amanda.

                         I'm sure he is.  Voorhees, Lichter
                         and Law all the way.

                         Fuckin' awesome.

               We look over their shoulders, the seven of them lined up -
               and there's the main house, large window looking directly out
               at the lake, patio area on the outside, as nice and made up
               as you could possibly imagine.

               We CUT back to the group of teens.  

                         I had in my head it was bigger,
                         Amanda.  (looks directly at Jason)
                         You're sure there's enough
                         bedrooms, or do we have to split?

               Katie looks with disdain back at Ellie.

                         There's plenty, Ellie.

               Jason appears to be ogling Ellie, and Katie notices. 
               Claiming her territory, she grabs Jason's face and forcefully
               MAKES OUT with him - which he reciprocates, shocked look on
               his face as he looks back at Ellie as well.

                         What was that for?

                         We only graduate once.

                         Fuckin' right.

               Ellie and Katie continue to STARE EACH OTHER DOWN.

                         Well, let's claim our spots.

               The group of teens begins WALKING TOWARD THE HOUSE, and as we
               do, we begin focusing on the group at the forefront -
               Samantha and Amanda.

                         It's been a long time, Amanda.  Did
                         you ever think we'd get here?

                         Sure, eventually, after calculus,
                         notebooks, and more fucking boredom
                         than I would ever care to mention,
                         I knew we'd get there.

                         No, not just graduating, Amanda.  I
                         mean, everything that comes after
                         this.  After this weekend.

                         Like what?  College?

                         Yeah, that's part of it.  And then
                         us.  We might not be best friends

                         Sure we will, Samantha.

                         You're sure about that?

                         How long have we known each other
                         now?  Eight years.

                         Fourth grade.

                         We've been through a lot, Samantha. 
                         I'm not ready to make anything as
                         stupid as graduation get in the way
                         of us.

               Samantha and Amanda share a friendly hug.

                         Don't talk like that anymore.  It's
                         really fucking depressing.  Just
                         have fun this weekend.


               We CUT to a different group - Katie and Jason, with Sean and
               Ellie a decent distance behind them.

                         That Ellie, why did she have to

                         Hey man, her friends ditched her.

                         So what?  This was supposed to be
                         our weekend!

                         Well, it's not like she's gonna be
                         sleeping with us or anything...

                         Well, she wants to with one of us.

                         What do you mean, baby?

                         What do you mean, what do I mean? 
                         You can't tell?


                         Ughhhh.  Men.  

                         Whatever.  Say, think they have a
                         big bed in one of those rooms?

                         Always one thing on their minds.

               Katie launches to the side and MAKES OUT with Jason again.

                                                                CUT TO:

               INT LIVING ROOM (DAY)

               Samantha SETS her bag of personal items down on a couch in
               the living room - Amanda is also in the room.

               We can see the remainder of the teens now PARTYING by the
               lakeside through the large window.

               The interior of the house is just as nice - large-screen TV
               on one side of the room, well-decorated, hardwood floors -
               clearly, wealthy people own this house.

                         You have an incredible place.

                         Hey, I don't.  My folks do. 
                         They're just loaning it to me.

                         At any rate, this place is

               They WALK to the window, and watch their friends - Derek is
               there, and WAVES at Amanda.  Katie and Jason begin WALKING
               toward the house now.

                         I always wanted to ask - who made
                         the first move?

                         I did.  He was really shy.

                         That's surprising.  Mr. All
                         Conference football player was shy?

                         Around me?  Yeah.

                         I wish I had that kind of power.

                         You sell yourself short, Sam.  You
                         always have.

                                   SEAN (O.C.)
                         Sell yourself short at what?

                         Oh, nothing.  I thought you were in
                         your room.

               Sean STANDS behind them.

                         I was.  Katie and Jason wanted to
                         use the room.  If you get my drift.

                         They certainly do work through
                         their arguments in weird ways. 
                         That Ellie is quite the character.

                         I know.  

                         We did the right thing, though.  

                         I suppose you're right.  But that
                         doesn't mean I have to like it.

                         She does have kind of a reputation,
                         but she seems nice so far.

                         Agreed.  So, Sean, how come you
                         didn't have a hot date to bring to
                         this thing?  I thought I was going
                         to be the only one.

                         You'd be surprised.  I'm just a
                         lowly baseball player.  Baker -
                         he's a football player.  He's got
                         it made.  

                         So is that what you equate having
                         it made with?  

                         No, not at all.  That sort of thing
                         isn't for me.

                         Well, that's a little refreshing to

               Derek then ENTERS the house - via a main door to the left of
               the characters.

                         Amanda, please, please get outside


                         I'm alone with Ellie.

                         So?  Make with the small talk!


                         What can I say?  He's got me

               Amanda WALKS AWAY from the window, and EXITS the house with

                                                                CUT TO:

               EXT LAKESIDE ROAD (DAY)

               The GRILL OF A CAR comes into frame on a dirt road next to
               the lake.

               CUT to the Ripper's POV - he is LOOKING at the Voorhees house
               from across the lake.

               We HOLD on this for a long time, letting the tension linger.

                                                                CUT TO:

               INT LIVING ROOM (DAY)

               Back to the living room, with Sean and Samantha, our two
               virtuous characters.

                         How come I never really see you
                         around in school, except when
                         you're with Amanda?

                         I just...I just try to keep busy.

                         Well, if you don't mind me saying
                         so, you seem a little out of place
                         with Amanda.

                         It might seem that way, but we've
                         known each other for a long time.

                         Not just her - I mean, the rest of
                         this bunch, too.  

                         They're my friends, Sean, and
                         they're very important to me.

                         Hey, I wasn't trying to be mean, or

                         I know you weren't.  I know, Sean. 
                         Come on, let's go out and see what
                         they're up to.

               Samantha and Sean begin LEAVING the living room for the

                                                                CUT TO:

               EXT LAKESIDE AREA (DAY)

               The Donnas' "Better off Dancing" cranks on...

               We are looking at Derek - who has a large grill out, and is
               preparing hot dogs on it, wearing a big, theatrical chef's

               Amanda is seated next to him, while Katie and Jason sit at
               the picnic table.

               Samantha and Sean EXIT the house in the background, and begin
               walking toward them.

               The remaining teens are improving some dialogue - usual
               teenage chit-chat stuff, and then we CUT back to the main
               house in the background - from the side garage door exits
               ELLIE, now sporting a tiny blue bikini.  She's absolutely
               stacked, and wears Paris Hilton-style glasses pulled up
               around her bangs as well.  

               We CUT to Katie and Jason - Katie eyeing her with much hate,
               and Jason attempting not to look her direction, but failing

               Samantha and Sean reach the group first.

                         Looks good, Derek.

                         Well, as you know, I rejected
                         several offers from the finest
                         culinary schools in all of Paris.

                         They're hot dogs, Derek.

                         Hey, hot dogs are a very revered
                         delicacy in Europe.

                         They're not too bad here, either.

               Samantha TAKES one of the hot dogs from a plate of prepared
               ones that Derek has on the side of the grill, plops it in the
               bun, and begins eating it.


                         Thank you. (to Amanda) See? 
                         Samantha Curtis understands the
                         value of great cooking.

               We CUT back to Ellie, who walks up to Katie and Jason and

                         Hey, guys!  You wanna do some

                         That's okay, Ellie.  You go ahead.

                         (to Jason) Oh, come on, it's no fun

                         We're good, Ellie.

               Ellie WALKS OFF in a huff, and begins HEADING DOWN to the
               lake.  We see her DIVE in the water and begin swimming as the
               others continue to talk.

               Samantha and Sean SIT DOWN next to Amanda, and then we CUT to
               Katie and Jason at the picnic table.

                         I hate that bitch.

                         Oh, she's just trying to have some

                         Yeah, with you!

                         What the fuck...

                         How dumb can one person be?  She
                         wants to fuck your brains out!

               At this, Derek takes notice and heads over to the picnic
               table for some damage control.

                         Hey, are you guys going to be

                         No.  That numb cunt in the water
                         back there is ruining this trip!

                         Listen, I know what she's like. 
                         She was one of the cheerleaders on
                         all of our bus trips, and she was
                         this way then, too.  She's just
                         insecure, Katie, she does these
                         sort of things to get attention.

                         Well, she certainly seems to be

                         Look, Katie, I'm sorry...

                         Just be nice to her, and she'll
                         come around.  

                         There's Mr. Student Council
                         talking.  I'm going inside for a


                         To get some fresh air.

               Katie GETS UP and begins LEAVING the area.

               As she walks past Sean in a huff, he also GETS UP and begins
               following her...

               We CUT back to Derek and Jason.

                         When she comes back, fix it.

                         There's nothing to fix!  She's just
                         being weird!

                         Fix it or I'll fix you.

               And with that, there is a definite change in Jason's attitude
               - the aloofness and nonchalantness is gone, and he's back to
               being normal.

                         Alright, dude.


                                                                CUT TO:

               INT LIVING ROOM (DAY)

               Katie ENTERS the house, badly shaken, and then LEANS OVER the
               couch - she looks like she's ready to cry.

               Sean ENTERS the house behind her.


               Katie TURNS AROUND quickly - she didn't expect her brother.


                         How you doing?

                         Like shit.

                         I can imagine.  Listen - this whole
                         thing with Ellie, it's nothing to
                         be worried about.

                         Yes it is!  This is our graduation
                         day.  It wasn't supposed to be like

                         Listen, you've been with Jason for
                         a year now.  Now, when you first
                         started going out with him, I
                         didn't like him - but I have to
                         admit, he's really grown on me. 
                         And I know him really well now.

                         You think you know people...

               We CUT to the main door of the house - Samantha ENTERS,
               quietly - the siblings don't even notice she's there.

                         And then they turn your back on

                         I know him better than you think. 
                         I know that he loves you.

                         Did he tell you that?

                         More than once.  He's a good guy,
                         Katie, and he's got a big heart. 
                         And that whole "dude" stoner act
                         that he puts on?  That's all it is -
                         an act.  He's as soft as they come,
                         and he won't leave you for her.

               We CUT to Samantha as she listens to Sean, as she sees him in
               a new light now.  She quietly CLOSES the door and begins
               WALKING BACK outside...

               Sean WALKS to Katie.

                         Come on, I hate it when you cry. 
                         Don't make me relive that night you
                         made me watch "The Notebook" again.

               Sean and Katie quickly HUG, and then break.

                                                                CUT TO:

               EXT LAKESIDE AREA (DAY)

               Jason is still SEATED at the picnic table, and Ellie now SITS
               beside him, still wearing the bikini.

                long have you and Katie
                         been together?

                         Over a year now.

                         A year.  Wow - commitment.

                         Ellie, what are you getting at?

                         Oh, come on - graduation day only
                         happens once.  Later on, you don't
                         think that you could sneak over to
                         the big house for a little

               Ellie plays with the straps on her top to illustrate the

                         No, I don't think.  

               We CUT to the view of the main house, as Sean and Katie are
               now walking toward the group.

                         Look, Ellie, knock this shit off -
                         it's getting really tiresome.  I
                         love Katie.  I haven't told her
                         that yet, but I love her, and a
                         mindless fuck isn't worth
                         jeopardizing that.

               We CUT to Katie, who can hear - and she's very happy.

               Not even able to say anything, Ellie GETS UP and STORMS OFF
               onto the dirt road path...

               Then Jason TURNS AROUND and sees Katie.

                         Hey, Katie.

                         Hey, you.

               Katie WALKS to Jason and then KISSES HIM passionately - he
               reciprocates while the rest of the bunch looks on, satisfied.

                                                                CUT TO:

               EXT WOODS (DAY)

               POV shot - the Ripper is LOOKING at the group of teens, fifty
               yards away, deep in the cover of the surrounding woods - and
               most specifically, he's looking at the stacked blonde walking
               down the path - just his direction.

               We HOLD on the POV for a while and build the suspense.

                                                                CUT TO:

               EXT LAKESIDE AREA (DAY)

               Samantha SITS next to Amanda, eating her hot dog - she's
               looking at Katie and Jason, now all lovey-dovey on the picnic

                         How disgusting is this?

                         Are you kidding me?  This is way
                         better than the Ellie show.

                         You know, that was a really nice
                         thing you did.  When you talked to

                         He needed the wake-up call, and now
                         look at 'em.

                         That guest house is gonna be
                         rockin' tonight.

                         You know it.

                         (to Sean) You were really great,


                         When you went in the house.

                         You heard that?

                         I was coming in to get some
                         blankets - I didn't want to disturb
                         you, so I just left, but I heard
                         what you said to her.

                         She's my twin sis.  She deserves to
                         be happy.

               Samantha looks at Sean, and he looks back at her, feelings
               starting to brew between them.

                                                                CUT TO:

               EXT BEACH AREA (DAY)

               We OPEN UP on an establishing shot of the treeline, and then
               COME DOWN to a beach area next to the lake - we can see the
               main house in the distance across the lake.

                                                                CUT TO:

               EXT WOODS PATH (DAY)

               Ellie WALKS down the dirt road path, and is headed directly
               to the beach area.  We HOLD on her from behind for a while,
               and then a TWIG SNAPS.

               Ellie TURNS AROUND - we see what she sees - nothing in any
               direction, although she appears very apprehensive.

               She gradually TURNS AROUND and CONTINUES WALKING to the

                                                                CUT TO:

               EXT BEACH AREA (DAY)

               Ellie REACHES the beach, and SLOWLY walks up to the water.

               She DIPS A FOOT into the water, testing it.

               She THROWS HER ARMS AT HER SIDES, and begins talking to

                         Mindless fuck.  I'll show them what
                         a mindless fuck is.  Don't know how
                         to have any fun.

               She LOOKS AROUND to see if anyone is watching - nobody is.

               Then she TAKES HER TOP OFF, revealing her breasts, and she
               throws the top to the beach floor.  Quickly, she does the
               same with her bottom to stand completely nude.

               Then she WALKS INTO THE WATER...

                                                                CUT TO:

               EXT WOODS PATH (DAY)

               The Ripper's POV shot - we see what he sees, as the music
               sets the ominous tone.  He is following Ellie, walking up the
               same path she walked, and nearing the lake...

                                                                CUT TO:

               EXT BEACH AREA (DAY)

               We are out in the middle of the lake with Ellie, who swims,
               smiling, having fun.  After she reaches the middle, she
               TREADS WATER for a bit, and then begins SWIMMING back to

               She eventually REACHES IT, and emerges from the water,
               completely nude.  But as she bends down to pick up her suit,
               it's not there.

                         What the fuck?  Jason - is that

               Ellie LOOKS AROUND - there's the path parting the woods in
               front of her, and nothing more.

                         This isn't funny, you guys!

               Ellie FOLDS HER ARMS over her bare breasts, now modest.

                         Bunch of fuckers, that's what you
                         all are!

               Then another TWIG SNAPS, and Ellie's face begins contorting
               with fear.  She begins slowly WALKING toward the path, and
               then begins to RUN - but just as she reaches the path, he

               The Ripper STEPS OUT from behind a large oak tree, and we
               gather him in in his hunter mode for the first time - he
               wears the grim reaper mask, still has the gray worksuit with
               'Chuck' nameplate - but we also see his weapons.  On his belt
               is a sheathe with the machete, and a tire iron hangs from
               the other side.  On his back, we can see the top of an axe,
               also in its own holder.

               Ellie is actually very close to him when he emerges, and she
               looks SHOCKED - but has no time to react.

               The Ripper REARS BACK and PUNCHES HER in the jaw - she FLIES
               BACKWARD and FALLS ON THE BEACH, her perfect face BLOODIED.

               Groggily, she tries to GET TO HER FEET - we see what she sees
               for a short while as the Ripper slowly WALKS TO HER.

               He TAKES THE MACHETE out of its sheathe, and holds it in
               front of her, almost like an executioner.

                         No...oh God, no...

               Ellie STRUGGLES on the beach, kicking sand as she attempts to
               stand, and just as she gets to her feet, the Ripper strikes

               He SWINGS the machete across her midsection and connects, and
               we CLOSE on the wound as he creates it - a DEEP GASH directly
               across her stomach...

               Ellie FALLS TO THE GROUND, SCREAMING...

                                                                CUT TO:

               EXT LAKESIDE AREA (DAY)

               Back to the group of friends, still sitting and eating at the

               Faintly, they can hear the sounds of Ellie screaming.

                         What the fuck is that about?

                         Ah, she's just some pissed off PMS

                                                                CUT TO:

               EXT BEACH AREA (DAY)

               Back to the carnage.

               Ellie SLUMPS to the ground on her back - blood is SPRAYING
               from her stomach, and as she attempts to CRAWL AWAY from her
               attacker, it creates a fantastic TRAIL OF BLOOD on the sand
               below her.

               We see the Ripper from Ellie's POV - he stops, just standing
               there and looking at her, achieving great delight from her
               torment as she continues to SCREAM IN PAIN.

               This lasts about THIRTY SECONDS - The Ripper merely STARES at
               the beautiful girl at his complete mercy, attempting to CRAWL
               to the lake, SHOOTING BLOOD from her stomach...

               Finally, he SHEATHES the machete and quickly WALKS TO HER...

               He GRABS HER BY THE HAIR and begins DRAGGING HER to the lake
               himself, and as they both reach it, he HOLDS HER HEAD

               She STRUGGLES MIGHTILY as best she can for the first fifteen
               seconds, but then begins slowing down - and then dies.

               The Ripper YANKS her head up and then THROWS her lifeless
               body back to the beach, his first kill of this teenage clan

                                                                CUT TO:

               INT CORONER'S OFFICE (DAY)

               We are now looking at the DEAD FACE of Vinnie - he's LYING on
               a coroner's table in a morgue.  Above him stands the CORONER -
               an older male, mid-50s, white hair.  To his left are Craig,
               Chalmers, and Pleasence.

               The White Stripes' "Jimmy the Explorer" plays lightly on a
               radio in the background.

               We LOOK AGAIN at Vinnie's face - it is barely recognizable as
               human, beaten to such a degree that the bones are melded into
               some grotesque, Salvador Dali-like painting.

                         It's him.

                         You're sure this was Ben Glover
                         that did this?

                         It has to be.  It's his M.O.

                         Well, what exactly was his M.O.?

                         He preferred edged weapons, and if
                         he couldn't have those, he'd use
                         blunt force trauma, over and over
                         again, to the head until victim
                         died from the shock of being hit in
                         the fucking head so many times. 
                         That was his M.O.

                         OK, Pleasence, straight talk only
                         in here.  You're dead certain that
                         Ben Glover - fuck-up mental patient
                         - is responsible for this?

                         I'm dead certain.  And if we don't
                         get more MPD officers on this
                         thing, there'll be a lot of kids
                         who are dead certain, too.  This is
                         graduation day!

                         Will you guys be needing any more?

                         No, thanks, that will be all we

                                                                CUT TO:

               EXT CORONER'S OFFICE (DAY)

               The three officers WALK outside to their respective cars, the
               Coroner's office in the background.

                         Alright, Pleasence, I want to know. 
                         I want to know about this case.

                         Believe me, you don't.

                         You seem to be dead certain that
                         the Minneapolis Ripper is resuming
                         his rampage.  This was your last
                         case?  How bad did he get to you?

                         Ben Glover took everything from me.

                         But you caught him?

                         Catching him had nothing to do with
                         what he took from me.  I had a
                         family.  I had a wife, a daughter. 
                         Within one year, they were gone
                         because of this man.

                         They left you because of your
                         devotion to the case?

               The three officers REACH their cars, and resign themselves to
               the Sam Loomis-style exposition scene.  The excellent
               charactor actor weaves a masterpiece.

                         There was absolutely nothing,
                         Toomey.  Nothing in Ben Glover's
                         background that would have led you
                         to believe that the man would wind
                         up being the absolute
                         personification of human evil.  You
                         know, whenever one of these madmen
                         is caught, we always get article
                         after article, news report after
                         news report attempting to explain
                         it.  Why, there must always be a
                         why in these cases, why do they
                         kill, why do they partake in a
                         certain pattern.  Ben Glover was

                         There was nothing?  I don't

                         His father was a good man. 
                         Carpenter by trade, worked a lot,
                         provided for his family well, his
                         mother stayed behind early in his
                         life and raised him.  When he was
                         arrested, the psychologists made
                         attempt after stupid attempt to try
                         to get into his psyche, to try to
                         unearth something, anything that
                         would explain away the monster that
                         we found.  But there was nothing. 
                         There was no molestation, no child
                         abuse, not even any of the lesser
                         traits associated with killers of
                         this...nature.  No bedwetting, no
                         firestarting, no animal torture. 
                         One day, Ben Glover just
                         decided...that he liked killing

                         What did he do?

                         It was always the same.  It started
                         on May 1st, 2003.  Ben Glover's
                         parents were out, and there
                         happened to be two kids who
                         committed the sin of attempting to
                         make love in a parked car across
                         the street from his residence. 
                         They found these two kids the next
                         day floating on Lake Minnetonka -
                         their throats had been slashed, but
                         what was truly grisly was what had
                         been done to them afterward.  Their
                         faces were barely recognizable, and
                         their bodies were etched with a
                         weapon that had been found on the
                         bank - a hunter's knife with a blow


                         There were six more after that,
                         Lieutenant.  Eight victims, four
                         couples, all within the space of
                         thirty-two days.

                         Thirty-two days?

                         Once he had his first taste, he was
                         addicted.  You know, I told you
                         that the press thought he was a
                         spree killer, perhaps some man
                         diagnosed with a terminal disease
                         taking as many people down with him
                         as possible.  But after I saw those
                         first victims, I knew.  I knew that
                         this man was a monster, and he had
                         to be stopped.

                         How did you find him?

                         I didn't.  I'd like to say that it
                         was some sort of well thought-out
                         plan, but it wasn't.  It was blind
                         luck.  I stayed behind late at the
                         office - my family was already
                         starting to fall apart.  I was at
                         the station every night, sometimes
                         until the sun came up the next day,
                         trying to find some...meaning, some
                         answer to all the violence and
                         rage.  It just so happened that one
                         day, I happened to drive home at
                         three in the morning - and there
                         they were, these two kids in a
                         parked car in a city park, being
                         butchered by this 18-year-old kid. 
                         I saw him take his final two
                         victims - and I was powerless to
                         stop him.  Like I said, we didn't
                         outsmart him - it was blind luck. 
                         You have to understand, the man
                         that we pursued for those thirty
                         two days, this 18-year-old boy - he
                         was so clever.  He covered his
                         tracks unlike anyone I've ever
                         seen.  He was physically strong -
                         and despite how clearly
                         malnourished his brain is, he's
                         mentally stronger than any of us,

                         But you arrested him.

                         I had to shoot him in the shoulder,
                         because he started to rush me.  And
                         even that barely stopped him.

                         OK, so you saw him kill.  But he
                         started before you could do
                         anything about it.  You stopped
                         him, Pleasence.  You stopped him
                         from committing any more murders.

                         But look at him now.  What scares
                         me most of all now is what I could
                         have done at that moment, when he
                         came rushing at me with that
                         hunter's knife baring down at me. 
                         What scares me most is that I
                         didn't kill him.

                         You did the right thing.  You took
                         him down.  You let the justice
                         system take over.

                         You don't understand - I wish that
                         I had killed him.  That's what
                         scared my wife.  That's why she
                         left me, and why she hasn't allowed
                         me to see my own daughter in four

                         I'm sorry, Michael.

                         Don't be sorry for me.  Be sorry
                         for the man laying in that office. 
                         Be sorry for those two security
                         guards who drew the extraordinarily
                         unlucky task of transporting him. 
                         Be sorry for the people that he's
                         looking at...right now.  And just
                         like five years ago, he's covered
                         his tracks - we have no idea where
                         he is.

               Pleasence begins ENTERING his car.

                         Where are you going?

                         I'm going to try to find him.  I
                         don't know where - I'm going to
                         look at every park, every alleyway,
                         every dive that I drove through
                         every night all that time ago.

               Chalmers RUNS to Pleasence's driver's window as he SHUTS his


               Chalmers ROLLS DOWN HIS WINDOW.


                         You find anything, you let us know,

                         I hope to God that one of you finds
                         him before me.  And if one of your
                         men does find him, instruct them
                         shoot to kill.

               And with this, Pleasence BACKS UP and begins DRIVING AWAY,
               leaving the bewildered officers behind.

                                                                CUT TO:

               EXT NIGHT SKY (DUSK)

               An eerie establishing shot - the SETTING SUN falling into the
               tops of trees, introducing the unholy night that will

                                                                CUT TO:

               EXT WOODS (NIGHT)

               The Ripper's POV shot - he is looking at the group of teens,
               all circled around a campfire, all of them now sitting in
               deck chairs, talking and laughing.

               We SEE HIM now - his Grim Reaper mask is well-hidden by the
               darkness as he crouches in the bushes, waiting, only thirty
               yards from the group...

                                                                CUT TO:

               EXT LAKESIDE AREA (NIGHT)

               The campfire lights the scene as the teens sit around and
               talk.  Derek, Amanda, and Jason all have beers in their

               The Hives' "Antidote" plays on a stereo.

                         No, man, there is no way that
                         Captain America could beat up Mr.

                         I happen to disagree.  Mr.
                         Dettweiller is the freakiest son of
                         a bitch I have ever met.  He's the
                         only biology teacher capable of
                         sending grown men into states of
                         psychological delirium.

                         Do you even know what you're saying
                         sometimes, or are you just talking
                         out of your ass?

                         I like to think it's a little bit
                         of both.

                         I wonder whatever happened to
                         Ellie.  I thought she'd be back by

                         Who cares.

                         Serious, Katie - it's pitch black
                         out in the woods.

                         So what?  She probably found some
                         other group to shack up with. 
                         Probably out fucking some guy in
                         the bushes right now.

                         Alright, fellow commencees - let's
                         get down to business.  

               Amanda PULLS something out of her pocket - a bag of weed.

                         Who else has this stuff?

               The rest of the group GROANS.

                         How much of it do you have?

                         I have two more bags twice this
                         size in the house.  It's on me
                         tonight, people.

                         Amanda, you're awesome.

                         Thank you.  Derek?

                         Later.  I have to keep watch.

                         Right.  Derek here has volunteered
                         to be the parent watch.

                         The parent watch?

                         Yeah.  The parent watch.  You know,
                         I love my dad and everything, but
                         he can be kind of a badass.  I
                         wouldn't put it past him to come
                         out here to check on us.  

                         So where are you going, Derek?

                                                                CUT TO:

               EXT WOODS (NIGHT)

               Back to the Ripper's POV Shot - we also see his face for a
               short time as he sits there, watching and waiting.

                         We drove past it - there's a
                         treehouse about a half mile up the
                         road there.  I'll stand in there
                         and ring you guys at the house if
                         either the father or the cops show
                         up.  Where's your phone at, anyway?

                         It's in the SUV.  

                                                                CUT TO:

               EXT LAKESIDE AREA (NIGHT)

               Back to the kids around the campfire.

                         Then how am I supposed to call you
                         if he shows up?

                         Dig this - my dad actually has that
                         taken care of.  When I was a little
                         girl and we'd come up here, he
                         added this little emergency switch
                         in that house - it's connected to
                         the house somewhere.  Hit that
                         button and it turns into the fourth
                         of July in there.

                         Alright.  So, all the sleeping
                         arrangements are still set, right?

                         As long as me and Jason get the
                         guest house, we're happy.

                         Right - so me and Amanda in one
                         room, Ellie's not here, so Sean and
                         Samantha, you can take your pick.  

               We CUT to Amanda, who has already ROLLED UP A JOINT and is
               now LIGHTING UP.

                         Jesus Christ, can't it wait?

                         Fuck that.  We only graduate once.

               The rest of the group LAUGHS.

                         Hey, give me some of that.


               Amanda REACHES ACROSS and HANDS her joint to Jason, who takes
               a deep drag.

                         Some good shit, right there.  You
                         got a lot of this, huh?

                         As much as we need for this
                         weekend.  Sam, you be needing any?

                         No thanks.

                         That's cool.  Sean?

               Sean looks around nervously, keeping in mind Samantha's image
               of him.

                         Uh, no.  No thanks.

                         Well, then.  I guess it's me and
                         the two lovebirds over there.

               Derek GETS UP.

                         You better save some of that for me
                         when I get back.

                         Of course, Derek.

                         Alright.  Well, have fun, but not
                         too much fun - I'll be back in two
                         hours.  Somebody has to take my
                         place.  Who's the first volunteer?

                         I will.

                         Samantha, you're a true team
                         player.  Alright, two hours,
                         somebody better be out there, or I

                                                                CUT TO:

               EXT WOODS (NIGHT)

               The Ripper's POV, the camera shaking to indicate movement. 
               Derek begins WALKING AWAY from the group, while Katie and
               Jason head off toward the guest house along with Derek on the
               road.  Samantha, Sean and Amanda begin HEADING BACK to the

                                                                CUT TO:

               EXT PATH (NIGHT)

               Derek, Jason and Katie are walking down the path.

                         Go figure that I get first dibs.

                         Man, you volunteered yourself for
                         the job just by being Amanda's

                         Nice.  What are you guys gonna go


                         Everybody gets to have fun but me.

                                                                CUT TO:

               EXT LAKESIDE AREA (NIGHT)

               Back to the Ripper's POV shot - and he's on the move.

               We follow his eyes and he MAKES HIS WAY from his hiding spot,
               down to the bottom of the ridge - the SUV is within his

               His eyes SHIFT TO THE LEFT - there's LIGHTS TURNING ON AT THE
               MAIN HOUSE.

               We HOLD on this for a while, and then the Ripper resumes his

               He slowly maneuvers DOWN TO THE SUV - and then OPENS the BACK

               He LOOKS DOWN - and there's a schoolbag.  We see his hands
               now - he PICKS IT UP and OPENS IT - and finds a CELL PHONE.  

               His hands CRUSH THE CELL PHONE.

                                                                CUT TO:

               EXT GUEST HOUSE (NIGHT)

               We are now looking at the GUEST HOUSE - about a half mile
               down the road from the main house, which is illuminated in
               the distance.  It's single story, not directly on the lake,
               but still definitely posh and expensive-looking.

               We slowly PAN LEFT - and down the path walk Derek, Katie and

               Derek BIDS THEM ADIEU, and resumes walking down the path. 
               Katie and Jason MAKE OUT, then WALK to the front door of the
               guest house.

                                                                CUT TO:

               INT GUEST HOUSE (NIGHT)

               Katie SLAMS Jason down hard on the couch in the guest house -
               sliding glass doors and all sorts of amenities present in the
               room, a minibar in one corner of the room, a door leading to
               an extremely expensive looking bathroom in the other.

               Katie STRADDLES Jason, and begins MAKING OUT with him hard on
               the couch.

               He PUSHES HER AWAY.

                         Take it easy, Kat, just for a

                         Oh, come on, Jason...

                         There'll be time for that, Katie.

               She rests her head on his shoulder.

                         Hold up for just a second. 

                         What is it, baby?

                         Let's have some fun first.

               Jason SITS UP and PULLS SOMETHING OUT OF HIS POCKET - two
               freshly-rolled joints.  He offers Katie one, and she takes

               He also PULLS OUT a lighter, and the two kids light up and
               begin taking hits.

                         Amanda got some good stuff.

                         She can afford it.

                         Yeah, dude.  

                         Is that all you can ever say when
                         you have some of this shit?  Yeah,

               Katie begins LAUGHING AT HERSELF.

                         Well, I got something I really want
                         to say to you.


                         Something that I'm really scared to
                         say.  Ellie was coming on to me
                         pretty hard, and, you know, there's
                         a lot of guys who want to be that

                         Where are you going with this?

                         I love you, Katie.  That's where
                         I'm going.  That's the first time
                         I've ever said that to anybody,

               There's a slow, tender moment, and then Katie KISSES Jason,
               lightly this time, the joke not lost on the audience -
               although we have a tender moment, both teen characters are
               holding joints, which, in horror movie parlance = death.

                         Listen - this is graduation night. 
                         I saw this little spot down by the
                         boathouse.  There's something I've
                         always wanted to try.

                         Sounds disgusting.  Let's go.

               Katie GETS UP, taking Jason's hand, and they EXIT THE SHOT...

                                                                CUT TO:

               EXT WOODS (NIGHT)

               The Ripper's POV shot - he is now STALKING Katie and Jason -
               he sees them EXIT THE HOUSE, talking and laughing, hand in
               hand and RUNNING UP THE PATH...

                                                                CUT TO:

               EXT MAIN HOUSE (NIGHT)

               Establishing shot of the main house, the lights illuminating
               hte night.

                                                                CUT TO:

               INT MAIN HOUSE (NIGHT)

               Close on Amanda's face - she has a joint in her mouth, and
               sits on the couch.  The TV in the room is also on - we CUT TO

               It's playing Wes Craven's "Last House on the Left."

               CUT BACK to Amanda - she PULLS A LIGHTER close to herself,
               lights the joint, and takes a drag.  She PUFFS IT.

               Sean is LOOKING AT HER in the background, by the window
               overlooking the lake.

               Samantha COMES INTO FRAME and JOINS HIM.

                         Jesus, take it easy with that stuff
                         a little.

                         You do not know what you're

                         Horror movies and weed?  I've had
                         better things.

                         I highly doubt it.

                         Better get in all the words you can
                         to her.  In an hour, she won't be
                         able to tell the difference between
                         that and the yellow submarine.

                         Tell me about it.  When Derek gets
                         back, I don't even know if she'll
                         be up for what he has on his mind.

               Samantha LAUGHS.

                         This was really great today, wasn't

                         It all begins again tomorrow. 
                         Another full day of Derek making
                         great grilled products and equally
                         as lame jokes, Jason and Katie
                         making out, and Amanda trying to
                         pry Derek away from his pulpit long
                         enough to fuck him.

               We CUT to a shot of Amanda, with Samantha and Sean in the
               background again - she's already starting to get woozy.


                         Don't worry about it.  She's in
                         another world.

                         Still, she might hear you.

                         Trust me, she won't.  I've been
                         friends with Derek long enough to
                         know.  More than one football

               (a beat)

                come you didn't, you know,
                         bring anybody here?

                         I would if there was somebody to

                         There's no guy?

                         No.  No guy.  That's just the way
                         it's always been.  There's actually
                         never been a guy.

                         That really surprises me.


                         Well, because you're pretty,

                         (embarrassed) Thank you, Sean. 
                know, I've known Katie
                         really well for a while, Sean, she
                         may not always say it to you, but
                         she really appreciates you.

                         Did you know that we were orphaned?

                         How long ago?

                         When we were real young - four
                         years old.  We were state kids for
                         a month or so until the people that
                         you know as my parents took us in. 
                         When we got a little older, Katie
                         came to me one day, and she asked
                         why our parents chose to ditch us. 
                         I told her I didn't know, but I
                         said that I'd never ditch her.  So
                         I look out for her.  What about
                         you?  Who do you live for?

                         Nobody.  I don't live for anybody.

                         Oh, come on, there's got to be

                folks are split.  It
                         happened when I was nine.  My dad,
                         he was just unbelievable - he was a
                         businessman.  He hated his job, and
                         he took it out on us.  I hated him. 
                         I hated what he did to us, just
                         because of something that he hated. 
                         So, I made up my mind that day to
                         find something that I loved, and it
                         wound up being a subject. 


                         Criminology.  I'm majoring in it.

                         What do you want to do?

                         I'd like to be a profiler.  Learn
                         how to catch criminals before they
                         even act.  I think preventing
                         things like that from happening
                         would be the ultimate way of giving

                         How long has it been since you've
                         seen your dad?

                         Ten years.  I don't want to see
                         him.  And neither does my mom. 
                         Still, they say that your father is
                         like your touchstone - someone who
                         gives you unconditional support. 
                         And after I got rejected by him,
                         it's just...hard for me to let
                         anyone in.

                         Well, I'm there for you.

                         I know you are, Sean.

                         So, since you're off to be a
                         criminology major, does this scare
                         you?  This whole thing -
                         graduation, commencement, the big
                         world, whatever you want to call

                         It does.  But there's scarier

               We CUT AGAIN to Amanda on the couch, Sean and Samantha in the
               background, still SMOKING WEED, her beautiful face now
               starting to look wasted.

                         Shut the fuck up back there!

                                                                CUT TO:

               EXT BOAT HOUSE (NIGHT)

               Establishing shot of the BOAT HOUSE - an older, comparatively
               dingier building next to the lake, with a large boat
               connected to it.  The building itself is housed within the

               We quickly PAN DOWN, and see that Katie and Jason are RUNNING
               toward the boat house, occasionally stopping to MAKE OUT.

               Yeah Yeah Yeahs' "Fancy" sets the scene.

                                                                CUT TO:

               INT BOAT HOUSE (NIGHT)

               Katie and Jason WALK THROUGH THE DOOR, hand-in-hand, giggling
               to themselves.  They turn around and MAKE OUT.

               Then they look around.

               The interior of the boat house is very "Jason's shack" from
               Friday the 13th Part II - without the dead bodies, of course. 
               On the wall line plenty of implements that the Ripper could
               use - and may or may not have already taken.  Axes, awls,
               augers, you name it, it's there.  Enclosed within the area is
               the boat itself - the building is actually OPEN and not
               entirely closed.

                         Wow.  Hell of a place.

                         I'll say.  It's,

               Katie and Jason MAKE OUT some more, and Katie begins
               gradually dragging Jason to the water next to the boat.

               They BREAK.

                         Come on, Jason.  I've always wanted

                         Always wanted to what?

                         You water.

                         In there?

                         Yeah, in there.

                         There could be bugs in there, dude.

                         Oh, quit being a fucking pussy.

               Katie LIFTS UP HER SHIRT, standing before Jason in just a

               Jason looks on, appreciatively.

               Katie continues, and TAKES OFF HER PANTS.  She then quickly
               removes both her bra and underwear, but we only see her from

               Jason gets a shit-eating grin on his face - "I am one lucky
               bastard" - and begins taking off his own clothes.  We also
               see him from behind in a ladies-friendly moment.

               They MAKE OUT some more on land, and then Katie DIPS herself
               into the water.  There's some graphic nudity here, as Katie
               shows her bare chest on the screen, waist deep in water next
               to the boat.

                         Come on, big boy.  Coming in or

                         Seriously - it's not weird in

                         You know what's waiting, right?

                         I think I do.

               Jason LOWERS HIMSELF into the water from the dock, then
               slowly WALKS to Katie.  They KISS.

               Jason takes the lead from here, TURNING HER AROUND, and
               PUSHES HER UP against the side of the dock landing...

                                                                CUT TO:

               EXT BOAT HOUSE (NIGHT)

               The Ripper's POV shot - the camera moves, indicating walking
               movement, outside near the main entrance to the boat house.

                                                                CUT TO:

               INT BOAT HOUSE (NIGHT)

               CLOSE ON Katie's face, holding Jason's neck tightly, as he is
               now GRINDING into her from the water, their breath turning
               heavy.  This continues for about thirty seconds, then Katie
               begins PANTING, eventually reaching a CLIMAX, and STOPPING.

               They KISS again.

                         I love you.

                         Back at 'cha.

               Katie lowers her head on his shoulder.

                                                                CUT TO:

               EXT BOAT HOUSE (NIGHT)

               Back to the Ripper's POV shot - he is now LOOKING at the main
               door of the boat house - then he TURNS, looking at the path,
               presumably towards Derek - and the camera begins MOVING in
               that direction, indicating more walking...

                                                                CUT TO:

               EXT TREEHOUSE (NIGHT)

               Establishing shot of Derek, standing in a single-floor,
               roofed TREEHOUSE on a random tree, looking out of the window.

               We then CLOSE on him - he is HUNCHED OVER near the window.

               He LOOKS BACK - and, indeed, there is a nice, big red button
               that says "ALARM."

               Derek LAUGHS to himself.

               Then he hears something - RUSTLING BUSHES.

               The music picks up, and the mood becomes thick.

                         Hello?  Who's out there?

               Derek looks down - we see what he sees - nothing but the path
               below, and infinite wilderness as far as the eye can see.  He
               then turns around - in the distance is the boat house and
               guest house.

               He looks back - nothing.  And he hears the bushes RUSTLING
               once more.


               He pauses, apprehensively, wondering what to do.


               Derek OPENS A DOOR on the floor - there's a ladder to connect
               to the ground, and he begins LOWERING HIMSELF.

                                                                CUT TO:

               EXT PATH (NIGHT)

               LONG SHOT of Derek, climbing down the ladder of the
               treehouse.  He REACHES THE GROUND.

                         Hello?  Anybody?

               Derek begins WALKING FORWARD into the wilderness.

                         You guys playing a fucking joke on
                         me, or what?

               Then, right in front of Derek, the GRASS PARTS - and he looks
               down, shocked.

               To see a raccoon.

                         Fuck me.

                                                                CUT TO:

               INT GUEST HOUSE (NIGHT)

               We are in darkness, looking outside from the guest house at
               the main door - we see Jason first, then Katie.  Jason is
               already fully clothed, while Katie has her shirt
               strategically placed over her breasts.

               They ENTER the house, and Jason immediately PLOPS on the


                         I don't know, Katie, that was quite
                         a workout.

               Katie STEPS BEHIND THE COUCH and KISSES HIM.

                         I'm gonna go freshen up a little,
                         and then I'll be back for round

                         I don't know, Kat.  Round two might
                         have to wait...for twenty minutes
                         or so.

                         Guys and their refractory periods. 
                         Alright, I'll come back, we'll
                         watch ESPN, cuddle on this couch,
                         and then...round two.

                         I can live with that.


               They KISS again, and Katie WALKS to the bathroom and SHUTS
               THE DOOR.

               Jason PICKS UP a remote control on the end table, and turns
               on the television - it is, indeed, SportsCenter, and he
               begins watching it, engrossed, smiling, perfectly content
               with his life.

               ClOSE on his face as he watches the TV, and we begin
               gradually CIRCLING around his face - until we are looking at
               the corner of the room opposite the minibar - there is a
               LARGE PLANT, with something BLACK behind it.

               Then the black object begins moving - and in horror, we
               realize it is the Ripper's mask - the Ripper himself is in
               the room.

               He SLOWLY WALKS up behind Jason - and then the action

               He REARS BACK with his tire iron, and SMACKS Jason in the
               face, hard, JUST as he senses his presence in the room and
               looks the Ripper's direction.

               Jason SLUMPS TO THE FLOOR, MASSIVE CUT on his face from the
               impact of the blow, dead from a single shot.

                                                                CUT TO:

               INT BATHROOM (NIGHT)

               Katie STANDS before the mirror in the bathroom, her shirt
               still DRAPED over her shoulders.

               She REMOVES it, giving us one last glimpse of nudity, and
               THROWS IT OVER her head - she looks at herself to see if she
               passes inspection.

               Then she EXITS the bathroom.

                                                                CUT TO:

               INT GUEST HOUSE (NIGHT)

               Slowly, tensely, Katie as she OPENS THE DOOR and CROSSES OVER
               into the room.


               We SWITCH to Katie's POV - no Jason on the couch, although
               the TV is on and blaring.

                         Jason?  Where did you go?

               Then her eyes TURN DOWNWARD - and at the base of the couch is
               Jason, blood oozing out of his nose, eyes WIDE OPEN with
               shock - dead and wasted.

               Katie begins SCREAMING, the actress showing off her scream
               queen powers to full hilt.

               Then her eyes SHIFT LEFT to the minibar - and in front of it
               stands the Ripper.

               All of his weapons are sheathed - but he holds something new,
               something he got from the boat house.

               A large HUNTER'S KNIFE - and before Katie can react, the
               Ripper RUSHES HER, SLICING HER THROAT with the knife - but

               Katie STOPS SCREAMING - the knife has severed her windpipe,
               and blood begins SEEPING - not GUSHING - from the wound, as
               Katie GRABS AT HER THROAT...


               The Ripper STANDS above her, looking downward, enjoying her

               Katie begins trying to CRAWL BACKWARD, one hand on her
               bleeding throat, the other on the ground, looking upward in

               The Ripper ADVANCES ON HER, slowly...

                         (choking) Please...please don't...

               The Ripper LEANS OVER, and slowly REACHES FORWARD - he
               STROKES HER HAIR lightly, ramping up the creepy factor

               Katie tries to CRAWL AWAY.

               The Ripper STANDS UP, and SETS HIS KNIFE DOWN on the end

               He REACHES BEHIND HIS BACK...

                         (choking) No...

               The Ripper's hands emerge - with the AXE in tow.

               He HOLDS IT IN FRONT OF HIM - like an executioner, he's
               showing his victim her method of death...

               Katie RAISES HER HANDS - pleading without words.

               The Ripper RAISES the axe and PLUNGES the money end directly
               into Katie's HEAD - and we get the CLOSE-UP shot of the AXE
               SINKING IN...

               Blood SPRAYS from her head, a veritable GEYSER of red stuff
               SHOOTING UPWARD in the air and DOWSING THE GROUND...

               She DIES And SLUMPS to the floor, the AXE EMBEDDED IN HER

               We HOLD on the Ripper - who still looks downward at Katie. 
               Just like Michael Myers, he turns his head first to the left,
               then to the right, admiring his kill like a great sculptor.

                                                                CUT TO:

               INT TREEHOUSE (NIGHT)

               HARD CUT to Derek's face, as it SNAPS UP in front of the

               We SWITCH TO HIS POV - the guest house - the lights TURN OFF,
               then ON.

               Back to Derek's face, much apprehension.  He heard Katie

               He OPENS THE HATCH, and then BEGINS CLIMBING again...

                                                                CUT TO:

               EXT TREEHOUSE (NIGHT)

               Derek CLIMBS DOWN the ladder, and with a determined look on
               his face, begins walking down the path toward the guest

                                                                CUT TO:

               INT VOORHEES HOME (NIGHT)

               We are now looking at a new character - ARI VOORHEES, mid
               50s, sweater and khaki-clad, wealthy-looking - Amanda's
               father.  A nice kitchen and living area are behind him - he
               is HOLDING A PHONE to his ear.

               He SETS THE PHONE DOWN on the hook.

               Ari's wife - NANCY, also mid-50s and quite affluent, ENTERS
               THE ROOM behind him.

                         Still no answer?

                         All I can get is her voicemail.

                         She doesn't have her phone on?

                         I explicitly told her to have her
                         phone on at all times, and to check
                         it every hour.

                         Well, it's her graduation, Ari.  So
                         she's not doing quite everything
                         she's told.

                         Maybe.  But I still don't like

                         (leaving the room) Oh, kids will be
                         kids, Ari.

                                                                CUT TO:

               EXT GUEST HOUSE (NIGHT)

               CLOSE on Derek, from the front, walking forward slowly.

               We REVERSE ANGLE - the GUEST HOUSE is in front of him - the
               LIGHTS ARE NOW OFF.

                         Katie?  Jason?  You guys in there?

               Derek WALKS to the door, and KNOCKS ON IT.

                         Hello?  You guys fooling around, or

               Derek SLOWLY opens the door and enters the house...

                                                                CUT TO:

               INT GUEST HOUSE (NIGHT)

               Continuous shot of Derek as he STEPS INTO the house.

               He attempts to adjust his eyes to the darkness, and FUMBLES
               AROUND for a bit.

                         Jason?  Hey, come on, guys!  What's
                         going on?

               The tension builds some more - and then he FINDS A LIGHT

               His eyes go WIDE when he sees something.

               We SWITCH TO HIS POV - on the ground is a HUGE POOL OF BLOOD
               where Katie hit the floor.

               Derek HIGH-TAILS IT...

                                                                CUT TO:

               EXT GUEST HOUSE (NIGHT)

               Derek SPRINTS out of the guest house and begins RUNNING UP
               THE PATH...

                                                                CUT TO:

               EXT PATH (NIGHT)

               Derek as he RUNS toward the main house...

                         Amanda!  Amanda!  Sean!  Anybody!

               He CONTINUES RUNNING - we SWITCH TO HIS POV, the main house
               LOOMING in the distance.

                         Amanda!  Samantha!  Help me!

               We SWITCH TO HIS POV - and from the woods, in front of him on
               the path, steps The Ripper - in one hand is a CHAIN SAW,
               fresh from the boat house, and in the other is the dead,
               naked body of Katie - and she's TIED UP at the hands and
               feet, like a hunter's trophy.

               He was DRAGGING Katie to the boat house, which is VISIBLE in
               the background...

               Derek STOPS DEAD IN HIS TRACKS, looking down at Katie,
               horrified, and then looking at the masked man in the worksuit
               with even more horror - and especially what he holds.

               He does an about-face and begins RUNNING DOWN THE OPPOSITE
               SIDE OF THE PATH...

               We HOLD on him for a long-time, SPRINTING in the darkness
               down the path.

               He occasionally LOOKS BACK over his shoulder - and while he
               sees the Ripper at first, he PUTS SOME DISTANCE ON, and
               eventually LEAVES HIM IN THE DUST...

               The action slows down, and Derek makes the cardinal horror
               movie chase mistake - he STOPS, believing the chase to be

               He WALKS to a large tree, and the action SLOWS TO A CRAWL, as
               Derek LOOKS AROUND and AROUND - no sign of the Ripper - then
               he STEPS to the other side of the tree, and is HIT IN THE GUT
               with a punch, KNOCKING HIM OVER.

               As Derek LOOKS UP - the Ripper stands above him, brandishing
               the chain saw - and he REVS IT UP, starting it, the buzz of
               the implement sounding glorious on the big screen and looking
               magnificent on the grainy footage.

                         No!  Please, no, don't kill me!

               The Ripper pays Derek's pleas no mind!

                         (screaming) No!  No!

               The Ripper ADVANCES on Derek, and APPLIES THE CHAIN SAW to
               his MIDSECTION - and he STARTS AT THE SIDE.

               Derek SCREAMS with all of his power, as blood begins FLYING
               out of the cut on the ground below him - and in one
               continuous cut, the Ripper MOVES the saw blade from his right
               side all the way to his left.  The kill is shown in COMPLETE
               in fantastic fashion.

               Derek's head FALLS TO THE GROUND, his eyes still WIDE OPEN
               with terror and hellish pain...

               The Ripper has cut Derek completely in half - and we get the
               shot to boot, from above - Derek, upper section and lower
               section, blood still SHOOTING from the now two separate areas
               of his body.

               We CUT to a shot from behind the Ripper - as he still holds
               the chain saw, he looks the the main house - signifying,
               "this is my next quarry."

                                                                CUT TO:


               A LONE CAR sits in the parking lot of a suburban Minneapolis
               high school - one of the Ripper's old stomping grounds. 
               There are FOUR KIDS STANDING AROUND THE CAR - two guys, and
               two girls, drinking and having fun.

                                                                CUT TO:

               INT PLEASENCE'S CAR (NIGHT)

               CLOSE on Pleasence - and we CUT to his POV - he is STAKING
               OUT the high school.

               He is INTERRUPTED by a radio squeal.

                                   CHALMERS (O.C.)
                         Pleasence, you there?

               Pleasence PICKS UP the radio.

                         This is Pleasence.

                                   CHALMERS  (O.C.)
                         Hey, Pleasence.  Lieutenant

                         I recognized your voice,
                         Lieutenant.  Any luck?

                                   CHALMERS (O.C.)
                         None whatsoever.  You?

                         I'm at one of his old haunts.  No
                         sign of him all night.

               We CUT to Pleasence's POV - the kids PACK INTO THE CAR and
               begin SPEEDING OFF...

                         Another chance missed, right?

                                   CHALMERS (O.C.)
                         Give me a buzz if you find

                         Will do, Chalmers.  Over and out.

               Pleasence SETS the radio down and WATCHES the car as it
               DISAPPEARS down a street full of HOUSES...

                         Goddamn you, Ben, you son of a
                         bitch.  I know you're out there.  I
                         know you're out there doing God
                         knows what to somebody right now.

                                                                CUT TO:

               INT VOORHEES HOME (NIGHT)

               Back to Ari at the Voorhees home - he once again has the
               phone plastered to his ear.

               He SETS IT DOWN - Nancy is already in the room this time.

                         Still no answer.  

                         You're not...

                         I'm going over there.  I have to
                         know what's going on.

                         Just leave them be.

                         It's probably something really
                         stupid, Nancy, but what if it
                         isn't?  What if one of those guys
                         did what I think they did?

                         We made her promise - no drugs.

                         Yeah, you remember last year?

                         It was just once.

                         I knew it.  I knew this would
                         happen tonight.

               Ari REACHES into a closet and pulls out his jacket, putting
               it on.

                         I'm going out there.

               Ari STORMS OUT of the kitchen.

                                                                CUT TO:

               INT MAIN HOUSE (NIGHT)

               Amanda still SITS ON THE COUCH - looking even more wasted
               than before, still SMOKING JOINTS, half-conscious.

               Samantha and Sean occupy CHAIRS near Amanda, a TV blaring in
               the background - the climactic killing scene in "Last House."

                         Hey, I don't think she's going
                         anywhere tonight.  You wanna take a


               They GET UP.

                                                                CUT TO:

               EXT PATH (NIGHT)

               We have FLASH FORWARDED IN TIME - Samantha and Sean WALK DOWN
               the path, already in conversation, now much more comfortable
               with each other.

                         You know, you have no idea how rare
                         it is to see someone who actually
                         has the guts to do what you do.

                         It doesn't take any guts to do what
                         I do.

                         Why do you do that?

                         Why do I do what?

                         I will never understand why you're
                         so down on yourself. 
                         It takes tons of guts to do what
                         you do - not to do what Amanda's
                         doing right now, or probably what
                         Katie and Jason are doing right

                         It's just not what I'm about, Sean.

                         That's crap.


                         Listen - I love these guys, and
                         they're my friends and everything,
                         but I'm looking forward to leaving
                         all this behind.  All this hooking
                         up and the "dude, where are you
                         getting stoned tonight?"  All this
                         high school shit.

               Samantha LAUGHS.

                         It's true.  It's crap - all of it. 
                         It takes real guts to buck the
                         system, and you do it.

                         I just can't get close to people. 
                         That's all it comes down to.

                         Why?  Why is that?

                         I'm not sure I want to tell you.

                         I want to know.

                         It's about my dad.  I've never told
                         anyone this before.

               They STOP WALKING.

                         It wasn't my dad that walked out on
                         us, Sean. 
                         It was my mom that threw him out. 
                         He didn't just hit her.  He used to
                         do things to me.

                         He hit you?

                         He did more than that.  I have a
                         hospital wristband for every day
                         of the month. 

                         Oh my God.  I'm sorry.

                         Don't be.  I've learned to deal
                         with it.

                         You don't deal with stuff like

                         There's nothing I can do to change
                         it.  So I just do what I can from
                         this point forward to make sure it
                         never happens to anyone else.  In
                         any way.

                         Well, I know for a fact that you're
                         going to do just that.

                         How do you know that?

                         Because I know you.


               They look into each other's eyes deeply, both of them perhaps
               going farther than they ever have.

               Samahtha is the one who makes the move.  She PULLS HIM
               FORWARD AND KISSES HIM, and he reciprocates  - but unlike the
               other couples in the film, it's slow, tender, and full.

               And they BREAK - and that's all the farther it goes, as they
               SMILE AT EACH OTHER.

                         Come on, let's go back to the

               They begin WALKING THE PATH AGAIN, hand-in-hand...

                                                                CUT TO:

               INT MAIN HOUSE (NIGHT)

               Amanda continues to SIT AT THE COUCH - now just HOLDING A
               JOINT in her hand, looking upward, utterly stoned and wasted.

               The TV still blares - and we hear a DOOR OPEN.

               We continue to HOLD on Amanda - we hear FOOTSTEPS.  We assume
               they belong to Samantha and Sean, but after thirty seconds of
               the TV blaring and the footsteps SLOWLY GETTING CLOSER - it
               is The Ripper who STEPS INTO FRAME - and DIRECTLY IN FRONT of
               Amanda, no less.

               She's so wasted, she doesn't even realize the danger.

               He LOOKS DOWN AT HER - her eyes, glazed over, peer back at

               He REACHES FOR THE MACHETE, and he pulls it out of the
               sheathe - but he then PUTS IT BACK.

               He WALKS to the other side of the couch, slowly again.

               He LOOKS AROUND the room - we CUT to his POV - there's a FIRE
               POKER at the fireplace that we hold on, as well as a large
               BOOKEND on top of the fireplace. 

               We realize that the Ripper is debating with himself how to
               kill Amanda.

               Finally, he settles for one of his own weapons.

               Amanda, through all this, continues to just SWAY BACK AND
               FORTH on the couch, paying the man behind her no mind.

               He REMOVES the axe from his back, and begins to RAISE IT, but
               he LOWERS IT, then REACHES FORWARD, lightly TOUCHING HER

               He lets the hair fall, and then, in one clean, crisp motion,
               ROCKS BACK with the axe and LETS FLY.

               He HITS HER DIRECTLY IN THE NECK - and, in overly theatrical
               fashion, her head FLIES OFF and BOUNCES on the ground below,
               as blood SHOOTS UPWARD from the CUT.

               The kill, on film, is absolutely majestic - mind-blowing in
               its sheer ferocity, as the Ripper stands there afterward,
               looking on in appreciation of his creativity.

                                                           DISSOLVE TO:

               EXT MAIN HOUSE (NIGHT)

               Samantha and Sean WALK, still holding hands, down the yard to
               the entrance of the main house, and WALK TO THE DOOR...

               Dreadful, dreary music sets the scene...

                                                                CUT TO:

               INT MAIN HOUSE (NIGHT)

               Samantha and Sean SLOWLY ENTER THE MAIN HOUSE - all the
               lights are now turned off.

                         Amanda?  Amanda, where are you?

               Sean FLIPS THE LIGHTS ON, and the action SLOWS DOWN as they
               round the corner into the living room.

               We HOLD ON THEM from the front, expecting the worst.


                         Where did she go?

                         I don't know.  She's way too wasted
                         to get anywhere on her own.

               We see what they see - to our surprise, the house is SPOTLESS
               - the Ripper has done a very, very good job cleaning up after
               himself this time.

                         Maybe Katie and Jason came over
                         here and took her to the guest

                         Why would they do that?

                         You have any better explanation?

                         Maybe she just got up and started
                         wandering around.

                         Could be.  I say we check out that
                         guest house first.  I don't want to
                         paw around the forest until we
                         absolutely have to.

                         Good plan.

                                                                CUT TO:

               INT GUEST HOUSE (NIGHT)

               Samantha WALKS INTO the guest house, followed by Sean.

               She FLIPS ON the light switch...

               To our surprise, they don't seem shocked - they begin WALKING
               AROUND the guest house, looking for clues.

               Sean CHECKS THE BATHROOM, while Samantha LOOKS BEHIND THE
               MINIBAR - nothing.



               Then Samantha sees a HUGE RED STAIN on the floor in front of
               the couch - while he covered his tracks well, not well

                         Sean?  What's that?

               Samantha POINTS to the stain.

               Sean CIRCLES AROUND and looks at it.

                         I don't know.  Maybe they had some
                         wine or something.

                         They're not really the wine type.

               Sean NOTICES SOMETHING now.

                         It's over here, too.

               Samantha WALKS to Sean and sees what he sees - a HUGE RED
               SPOT on the floor where Katie met her end...

                         This is creepy.

                         Agreed.  Let's go make a phone

               They have walk, half jog out the door...

                                                                CUT TO:

               EXT LAKESIDE AREA (NIGHT)

               We FOLLOW THE CHARACTERS as they jog past their previous
               party area - straight to Amanda's SUV.  Samantha reaches the
               backseat first, and OPENS THE DOOR.

               She GOES THROUGH the school bag.



                         It's not there!

                         She didn't have it on her!

                         I know that, Sean!  Screw this -
                         we're getting out of here!

               Samantha GETS IN THE DRIVER's SEAT, while Sean does the same
               on the other side...

                                                                CUT TO:

               INT SUV (NIGHT)


               Samantha TURNS THEM - and the car WHIRS, but doesn't start.

                         What the hell else can go wrong?

               Samantha KEEPS TRYING to start the rig - and it won't turn

                         It's out of gas.  Oh my God -
                         what's happening Sean?

                         I don't know.

               Samantha SETTLES DOWN at this moment - for the first time in
               the film, we can sense her inner strength, her inner courage
               as well as her meek outer self.

                         What the fuck are we gonna do?

                         Just calm down, Sean.

               Samantha EXITS the SUV...

                                                                CUT TO:

               EXT LAKESIDE AREA (NIGHT)

               The two characters STEP OUT of the SUV, and talk to each
               other as they LEAN AGAINST the vehicle.

                         I think I know what's going on

                         Well, what is it?  'Cus I'm really
                         starting to panic, if you can't

                         You said it yourself - these people
                         are our friends, but we're the
                         quote unquote squares, right?


                         So this is probably all just some
                         elaborate, sick, demented joke,
                         probably dreampt up by none other
                         than Mr. Jason Alvers.

               A look of relief passes over Sean's face.

                         Shit.  I should've guessed.

                         Whatever they're planning, I say we
                         just don't let them get away with
                         it - let's get back to house and
                         just stay there.

                         Good plan.

               They begin WALKING AWAY...

                                                                CUT TO:

               EXT MAIN HOUSE (NIGHT)

               Samantha, again at the lead, ENTERS the main house - the
               music even more dire and intense now.

               Sean FOLLOWS, and they STEP INTO the living room, FLIPPING
               the light switch again.

                         Sean, the lights were on when we

                         Which means that all of our friends
                         are here right now!  Come out, come
                         out, wherever you are!

                         Robert DeNiro, right?

                         Right.  I've always wanted to say

               (a beat)

                         They're not going to spring the
                         trap yet?

                         There's something I want to say,
                         then.  Hey, Katie, I have a
                         girlfriend now!

               Samantha LAUGHS, as Sean puts his arm around her.

               Then the mood TURNS DIRE - Samantha sees something in the
               distance - past the living room is a small HALLWAY - bathroom
               on the left, garage door in the distance.

               The two begin WALKING DOWN THE HALLWAY - and OPEN the GARAGE

               They ENTER IT.

                                                                CUT TO:

               INT GARAGE (NIGHT)

               Inside the garage, several other large CUTTING IMPLEMENTS
               line the walls - perhaps the Ripper got the chain saw from
               here, as well.

               Fishing poles and hunting equipment also line the walls - for
               a garage, it doesn't look like it's meant for car storage.

                         What a garage.

                         They're not here.

                         Where else could they be?

                         Just upstairs.  That's the only
                         other place.  Let's go surprise

               They TURN AROUND, and REENTER THE HOUSE...

                                                                CUT TO:

               INT MAIN HOUSE (NIGHT)

               Continuous shot of the two slowly walking down the hallway.

                         I've got a bad feeling about this.

                         It's your imagination.

               A SHADOW MOVES in the hallway.

                         Sean, there's somebody right there.

                         It's nobody.

                         Sean, there's somebody in this
                         fucking room!

               And at that moment, the Ripper STEPS OUT of the Bathroom,
               BLOCKING their path to the rest of the house.

               He immediately RUSHES Sean as they begin SCREAMING - Sean
               heroically THROWS Samantha behind himself.

               The Ripper PUNCHES him, HARD, in the face, and he FALLS TO
               THE GROUND - Samantha STANDS BY THE DOOR of the garage, the
               Ripper occasionally eyeing her as well.

               He PUNCHES HIM SEVERAL MORE TIMES, as blood begins to LINE
               HIS FACE...

                         Run, Samantha!  Run, dammit, run!

               Samantha RUNS INTO THE GARAGE...

                                                                CUT TO:

               INT GARAGE (NIGHT)

               She FLIPS ON THE LIGHTS, and FRANTICALLY begins seraching the
               room for the garage door opener...

               She can't find it...


               She STEPS BACK to the opposite wall of the room - and then
               the door BURSTS OPEN - and the Ripper stands there.

               He DRAWS HIS MACHETE - which DRIPS WITH BLOOD, theatrically,
               and we assume that this is from Sean.

               Samantha SCREAMS - note to casting director - find a girl who
               can scream well - it is IMPERATIVE for this role.

               The Ripper begins ADVANCING ON HER - and tries to CORNER HER
               AGAINST THE WALL...

               Samantha GRABS a garden tool from the wall - the Ripper
               SWINGS HIS MACHETE...

               Samantha DUCKS IT - and it gets STUCK IN THE WALL...

               Samantha BOBS AND WEAVES to the opposite side of the Ripper,
               and attempts to HIT HIM with the garden tool - but he EASILY
               DODGES IT, and SHOVES HER TO THE GROUND...

               She quickly GETS UP and ATTEMPTS TO RUN TO THE DOOR - but the
               Ripper is FAST - he CATCHES HER, and GRABS HER BY THE THROAT
               with one arm - he RAISES THE MACHETE WITH THE OTHER...

               CLOSE ON Samantha's eyes, which WIDEN IN HORROR as she
               realizes death is near...

               Then the DOOR OPENS - and Sean BURSTS IN...

               As the Ripper BRINGS THE MACHETE DOWN at full speed, Sean
               DIVES IN FRONT of the Ripper's HANDS - and ABSORBS THE BLOW
               IN THE CHEST - Blood begins POURING from underneath his

               Samantha SCREAMS as Sean TURNS TO HER...

                         Run, Samantha!

               Samantha begins to CRY, and then quickly HIGH-TAILS IT out of
               the garage - meanwhile, the Ripper RAISES HIS MACHETE again,
               and STABS Sean with it - directly in his heart - he TWISTS
               THE BLADE as Sean SCREAMS IN PAIN, and then YANKS THE MACHETE

               Sean FALLS to the ground, another likable teenager slain.

               And then the Ripper LOOKS TO THE GARAGE DOOR, and begins
               WALKING TOWARD IT...

               The chase is on.

                                                                CUT TO:

               EXT MAIN HOUSE (NIGHT)

               Samantha BURSTS out of the door of the main house and begins
               RUNNING down the forest path.

               The Ripper FOLLOWS SUIT - he still has his machete drawn, and
               unlike other horror villains, he has no qualms about running
               as he gives chase.

                                                                CUT TO:

               EXT PATH (NIGHT)

               The chase continues, as The Ripper pursues Samantha,
               constantly SCREAMING and LOOKING OVER HER SHOULDER.

               Eventually, the Ripper is able to GAIN GROUND.  He CATCHES UP
               TO HER, and TACKLES her from behind.  

               She tries to CLAW at the ground in an effort to get away, but
               he PULLS HER BACK by the leg.

               He SWINGS the machete down hard, directly across her chest,
               but she ROLLS OUT OF THE WAY.

               Extremely quickly, Samantha GETS UP, and GRABS the axe off
               the Ripper's back.  He TURNS AROUND, surprised, and Samantha
               TAKES A SWING at the Ripper's head - he DUCKS.

               She SWINGS the axe again, HITTING the Ripper, in the head -
               but not with the sharp part of the metal, although it's still
               a blunt blow.

               The Ripper SLUMPS to the ground, knocked clean out.

               Samantha LOOKS DOWN at him, believing the night to be over. 
               She DROPS THE AXE - as all horror heroines do - and begins
               WALKING back down the path toward the main house.

               We CLOSE on the Ripper's hand, clasped loosely around the
               handle of the machete.  It TIGHTENS.

               CLOSE on his mask - he begins MOVING HIS NECK.  He slowly
               SITS UP - and we see his POV - Samantha WALKING back down the

               He GETS UP, and begins first WALKING, then RUNNING toward

               She TURNS BACK AROUND - and sees the horrific man running
               toward her.

               She TAKES OFF RUNNING TOWARD THE MAIN HOUSE, and the chase is

               Again, Samantha tries her best to outrun him, but he is TOO
               FAST - he CATCHES UP AGAIN, but doesn't take chances this
               time.  As he reaches her, he SWINGS the machete, and SLICES
               HER IN THE LEG - Blood spurts from the wound, staining her

               She SPLAYS to the ground, and the Ripper slows as well - just
               as his M.O. states, he likes to prolong the death of the
               women.  Samantha begins CRAWLING AWAY, now CRYING, believing
               her fight to be over.

               The Ripper WALKS and follows her - he could easily kill her,
               but chooses not to.

               The BOAT HOUSE looms in the background - this is what
               Samantha sees, and what she is crawling to.

               This continues for a solid 45 seconds, as Samantha CRAWLS on
               the ground, attempting not to scream, with the Ripper just
               following her, enjoying her torment and terror.

               Finally, she REACHES the boat house, putting pressure on her
               wounded leg to OPEN THE DOOR and ENTER...

                                                                CUT TO:

               INT BOAT HOUSE (NIGHT)

               Samantha SLAMS the door shut behind her, now slightly mad at
               herself for losing her cool.  There is a primitive DOOR LOCK
               on the door - a small hook that connects to a hole, which she

               She SLUMPS BACKWARD against the door, her eyes red and puffy
               from crying.  Then she LOOKS UP - and lets out a GIANT

               We SWITCH TO HER POV - on the walls to the boat house is the
               most horrific sight she's ever seen - all of her friends,
               with the exception of Sean, are either NAILED TO THE WALL or
               TIED UP WITH BARBED WIRE. 
               This is the eponymous horror movie trophy room - the axe is
               still embedded in Katie's forehead, Jason's face is barely
               recognizable, Ellie has a huge slash on her midsection,
               Amanda's head rests near her feet, and Derek's torso and legs
               sit there, separated by barbed wire.

               The bodies of all the females are nude.

               Samantha finishes her SCREAM, cutting herself off with a hand
               to her mouth.

               The door begins SHAKING behind her, and Samantha begins
               LIMPING AWAY toward the boat itself - there's a SMALL WALKWAY
               leading from the main area to the boat, and she slowly MAKES
               HER WAY ACROSS this walkway - then, behind her, the door
               SLAMS OPEN - the Ripper has kicked it in, and he stands
               there, still brandishing the machete.

               He LOOKS UPWARD at his trophies first - proud of his
               achievement - then sees Samantha, who CRAWLS ONTO the boat.

               She SLOUCHES DOWN, staring upward at him, mixture of hate and
               fear now starting to envelop her.  Then she sees something -
               the BOAT OARS.

               She GRABS ONE with one of her hands as the Ripper WALKS to
               the walkway.

                         Come on, motherfucker!  What are
                         you waiting for, kill me!

               The Ripper STANDS THERE, staring at her.

                         (yelling) What are you waiting for? 
                         Come on and get it over with!

               The Ripper begins LUMBERING ACROSS the walkway, and as he
               REACHES the boat, Samantha STRIKES - she SWINGS UPWARD with
               the oar with all her might, and HITS HIM IN THE FACE - the
               Ripper FLIES BACKWARD, hitting the edge of the dock and
               TUMBLING INTO THE WATER - his MACHETE escapes his hands and
               RESTS on the dock.

               Samantha slowly GETS UP - and LOOKS DOWN at the water.  TENSE
               SCENE as she wonders whether or not to chance it - and she's
               brave.  She begins CRAWLING ACROSS THE WALKWAY - and finally
               REACHES THE DOCK.  She GRABS the Ripper's machete - and then
               the Ripper RISES FROM THE WATER...

               He GRABS SAMANTHA and attempts to PULL HER IN, but she PUSHES
               HIM OFF...

               She BACKS UP against the wall of the boat house and TOWARD
               the door - and the Ripper begins CLIMBING UP and REACHES the

               He begins WALKING TOWARD Samantha, but appears apprehensive
               when he sees the machete.  She LURCHES FORWARD and begins
               SWINGING the weapon at him - he BACKS AWAY each time, and she
               isn't able to connect, and on the final blow, she SLICSE HIM
               on his thigh - he FALLS TO THE GROUND, holding his leg, and
               even lets out a slight CRY of pain.

               Samantha, rage in her eyes, prepares for the death blow.

                         Who the fuck are you?

               CLOSE on the Ripper's hand - he is reaching for his final
               weapon - the tire iron.

               Samantha RAISES the machete overhead, and tries to BRING IT
               DOWN onto the Ripper's dark heart - but he PULLS OUT the tire
               iron and SWINGS it, BLOCKING the blow and sending the machete
               FLYING INTO the water...

               Samantha considers her options for a moment, and then begins
               HALF-LIMPING, HALF-RUNNING out of the boat house...

               The Ripper slowly SITS UP, and while he is also wounded, he
               starts WALKING out of the door...

                                                                CUT TO:

               EXT BOAT HOUSE (NIGHT)

               The Ripper EXITS the boat house, holding the tire iron.

               He LOOKS AROUND - we SWITCH TO HIS POV.

               He looks to the main house first - there is nothing - no
               lights on, no signs of life.

               Then he looks to the forest - there is nothing but the sounds
               of wind and leaves rustling from the force of the gale.

               The Ripper begins LUMBERING down the path, back toward the
               direction of the guest house.  As he continues down the road,
               we slowly ZOOM IN to a large log on the side of the path.

               Samantha HIDES behind the log, STARING at the path through a
               small hole in the structure.  We see what she sees - the
               Ripper, slowly walking down the path, oblivious to her

               The suspense builds, and then he passes, as Samantha rests
               her head on the log.

                                                                CUT TO:


               We are now in a busy, bustling POLICE STATION - two OFFICERS
               EXIT the station as Pleasence ENTERS.

               There's a FRONT DESK area - and Chalmers and Craig are both
               there, appearing deep in conversation about something.

               Pleasence WALKS to them.


                         No.  What about you?

                         No confirmed deaths since the kid
                         at the high school.  Although we
                         did just receive something that we
                         want to check out.

                         What is it?

                         Ari Voorhees just called here. 
                         He's one of the more prominent
                         local lawyers.

                         I know Ari.  He helped put away a
                         lot of people.

                         Well, his daughter went on a
                         graduation getaway with a bunch of
                         friends at his lake house.  He's
                         tried calling her a few times, and
                         can't get anything but her
                         voicemail.  There's no answer on
                         the house phone, either.

                         It's him.

                         We don't know that, Pleasence.

                         I know it.  He followed these kids
                         out there.  

                         Ari Voorhees is on his way down
                         there right now to check on them. 
                         But he also requested that they
                         send a squad car.

                         You guys?


                         I'm coming.

                         Fine by me.  Come on, let's go.

               The three officers WALK out of the police station...

                                                                CUT TO:

               INT MAIN HOUSE (NIGHT)

               We are back inside the main house - Samantha ENTERS, and
               SHUTS THE DOOR, locking it behind her.  She FLIPS ON THE
               LIGHTS - and again begins CRYING LIGHTLY when she sees the
               body of Sean in the distance.

                         Oh God, Sean...

               She GATHERS herself, and then walks to the KITCHEN next to
               the living area.  There is a land phone on the wall - she
               PICKS IT UP - it's DEAD.


               She GOES to the living room - there is a small bag full of
               Sean's stuff.  She begins RUMMAGING through it...

                         Come on, cell phone...

               There is none.


               She then WALKS TO THE GARAGE - and looks for something to
               defend herself with.  She SETTLES ON A BASEBALL BAT, and
               picks it up.

               She then RETURNS through the hallway, walking past the body
               of Sean, and WALKS UP THE STAIRS - still favoring her leg - 
               in between the living area and kitchen...

                                                                CUT TO:

               INT GUEST ROOM (NIGHT)

               Continuous shot as Samantha climbs the stairs and ENTERS a
               door on the top floor hallway - she SHUTS IT.

               It's a small guest room - a bed, a TV, and a couple endtables
               with a window overlooking the lake.

               She LOOKS for a door lock - there is none, so she TAKES a
               small chair next to an endtable and PROPS IT UP against the

               She then SHOVES BOTH endtables behind the chair - she's
               attempting to bolt herself inside.

               Then she, along with us, hears something.

               A CAR ENGINE.

                         Oh, thank God.

               She UNDOES her primitive barricade, and begins LIMPING DOWN
               THE STAIRS...

                                                                CUT TO:

               EXT MAIN HOUSE (NIGHT)

               CLOSE ON a car's headlights - they TURN OFF as it comes to a
               stop next to the lakeside area.

               It's a nice Lincoln Continental - and Ari Voorhees EXITS THE
               CAR, looking toward the main house apprehensively.

               Not five seconds pass before Samantha, no longer carrying the
               bat, BURSTS OUT OF THE DOOR, CRYING, and she RUNS TOWARD Ari.

               She is in HYSTERICS, and we can't make out what she's saying.

                         Samantha?  Samantha - what's going

               Samantha REACHES Ari, and HUGS HIM TIGHT.

                         You have to get me out of here!

                         What's going on?

                         Dead -- they're all dead.

                         Dead?  Samantha -- where's my

                         The boat house.  I saw her.  It's
                         awful. We have to get out of here!

                         I want to see her!

                         Just get in the car!

               Samantha quickly ENTERS the passenger's side, while Ari
               ENTERS the driver's side.  The car SPINS AROUND and begins
               SPEEDING OFF...

                                                                CUT TO:

               EXT BOAT HOUSE (NIGHT)

               HIGH-ANGLE SHOT of Ari's car as it comes to a stop next to
               the boat house...

                                                                CUT TO:

               INT ARI'S CAR (NIGHT)

               Ari and Samantha in the car.

                         What are you doing?

                         You said she's in there!

                         You don't want to see!

                         I have to.

               Ari EXITS the car, and Samantha follows.

                                                                CUT TO:

               INT BOAT HOUSE (NIGHT)

               Ari THROWS the door open, and immediately LOOKS UP.

               Samantha appears in the door behind him.

               We again SEE the grotesque sight on the walls - and we HOLD
               on Amanda's body for a long time.

               CLOSE on Ari's face as he sees his dead daughter - much
               sadness and despair pass over his face.  He WALKS to the

                         Come on, Mr. Voorhees, we have to
                         get out of here.

                         Who did this?

                         Come on, we have to...

                         Who did this??!

               Suddenly, the door SLAMS OPEN behind them - and the Ripper
               ENTERS, still brandishing his tire iron.

               There's a moment of silence, as the Ripper sizes his prey up -
               he is surprised to see two people.

               The Ripper begins ADVANCING on them, and he SWINGS the tire
               iron at Ari - he sideswipes it, and PUNCHES the Ripper in the

               Samantha takes the opportunity to RUN OUT of the boat

                                                                CUT TO:

               EXT BOAT HOUSE (NIGHT)

               Continuos shot of Samantha as she LIMPS as she runs, and
               immediately RUNS to Ari's car...

                                                                CUT TO:

               INT BOAT HOUSE (NIGHT)

               Ari actually has the Ripper on the ground - he is RAINING
               BLOWS on the Ripper's face, who is COVERING UP - the tire
               iron is at the floor, as Ari has knocked it out of his hands.

               He continues PUNCHING the Ripper, and then he PICKS UP the
               tire iron.

               He BRINGS IT DOWN on the Ripper, but he ROLLS OUT OF THE WAY,
               and then KICKS Ari hard, in the face, who SPRAWLS BACKWARD.

               The Ripper's eyes turn up - he knows the boat house well. 
               There's a SCYTHE - just like the grim reaper himself - and
               the Ripper GRABS IT.

               Ari SPRAWLS ON THE GROUND, almost unconscious from the single
               blow.  The Ripper WALKS to the prone Ari, and SWINGS THE
               SCYTHE - it connects with Ari's neck, and blood begins
               SPURTING from his jugular vein.

               The Ripper TURNS AROUND and EXITS the boat house...

                                                                CUT TO:

               INT ARI'S CAR (NIGHT)

               Samantha is now inside Ari's car, and is SLUMPED DOWN by the
               steering wheel - she has taken the panel off, and is FUMBLING
               WITH WIRES, trying to hot-wire it...

                         Come on!  Come on!

               She LOOKS UP - and sees the Ripper, who stands in the doorway
               of the boat house.

               She PLAYS WITH THE WIRES FASTER, frantically trying ot start
               the vehicle...

               She LOOKS UP again, the Ripper RUNS to the driver's side

               The Scythe SLAMS THROUGH the window, shattering it, as
               Samantha DUCKS the blow and COVERS her head, protecting
               herself from the reign of glass.

               The scythe COMES THROUGH again, looking for its target.

               Then the Ripper's hands come through the broken glass, and he
               GRABS Samantha by the throat, attempting to choke her as she
               weakly PUNCHES BACK at his mask.

               Then, in the same soft voice he used before, he speaks.

                                   THE RIPPER
                         Why won't you just give up like the

               This sets off a chain of emotions in Samantha - mostly rage.

               Samantha OPENS THE DOOR, and it SLAMS the Ripper in the
               midsection, knocking him to the ground and sending the scythe
               to the ground.

               Samantha EXITS THE CAR...

                                                                CUT TO:

               EXT BOAT HOUSE (NIGHT)

               Continuous, as Samantha PICKS UP the scythe as the Ripper
               FUMBLES to his feet.  She TURNS THE SCYTHE AROUND, and HITS
               HIM HARD in the mask.

               He JERKS BACKWARD, still on his feet, and we CLOSE on
               Samantha's face - she's not resigning herself to him anymore. 
               She HITS HIM AGAIN, and then AGAIN with the wooden end of the
               scythe, making him groggy first.

               He SLUMPS TO HIS KNEES.

               Then she TURNS THE SCYTHE AROUND AGAIN - she wants to use the
               money end.

               The Ripper GETS UP - and Samantha SWINGS the scythe - he
               dodges the first hit, then the second, but then she LOWERS
               her aim, and HITS HIM in the leg - an ANGRY CUT is formed in
               his worksuit.

               The Ripper GROANS AGAIN, and HOLDS HIS LEG, slumping to the

               Then she SWINGS THE SCYTHE again, and HITS HIM across the
               chest, blood seeps through his worksuit, and he appears done

               She ADVANCES on the Ripper, ready to pass judgment on him -
               but she wants to know something first.

               She KNEELS DOWN by The Ripper's head, and we know what's
               coming.  She REACHES DOWN and REMOVES HIS MASK...

               CLOSE on the Ripper's chest - and we slowly MOVE UP and are
               shocked by what we see.

               It's not a monster.  It's not a scarred man, he has no burned
               face, and doesn't look like Jason Voorhees.  Instead, it is
               the face of a 23-year-old kid -- he has black hair, cut
               short.  He is even a little handsome, even with his face
               being bloodied from the punches and blows he has absorbed.

               Samantha STANDS UP - taken aback a little by what she has

               She STARES AT HIM, and he STARES BACK.

               Samantha REARS BACK to deliver the killing blow with the
               scythe, but he RISES UP and PUNCHES HER in the face - her
               shock allowed him time to recover.

               The scythe FLIES OUT OF HER HANDS - but she quickly GETS UP
               and begins LUMBERING AWAY toward the main house...

               The Ripper SITS UP, and watches her limp away.  He PICKS UP
               his mask and PUTS IT BACK ON.

               He slowly STANDS UP and begins WALKING down the path...

                                                           DISSOLVE TO:

               EXT MAIN HOUSE (NIGHT)

               The Ripper's POV - we see the main house from the front yard -
               all the lights are on in the house.

               We CUT to the Ripper, standing there, no weapons, defiantly
               looking for his final prey.

               He WALKS - still limping - through the front yard and REACHES
               THE DOOR...

                                                                CUT TO:

               INT MAIN HOUSE (NIGHT)

               The Ripper HEADS RIGHT into the kitchen - he sees something
               very interesting to him - a rack of knives.

               He TAKES the biggest kitchen knife he can find - a Norman
               Bates-style "Psycho" knife.  Then he CONTINUES through the
               living room, looking around, slowly, the tension building as
               the music reduces to a low rumble...

               Then he CHECKS the bathroom - nobody there.  He WALKS DOWN
               the hallway and OPENS the door to the garage...

                                                                CUT TO:

               INT GARAGE (NIGHT)

               He ENTERS the garage, holding the knife in front of him,
               ready to stab...

               Samantha EMERGES from a corner of the garage - she's holding
               a large GAS CAN - the CAP is off - she DOWSES the Ripper with
               the gasoline, then TAKES a lighter from her pocket and TOSSES
               IT ONTO THE RIPPER...

               In fantastic fashion, the Ripper is completely enveloped by
               flames...he begins SCREAMING IN PAIN - but he doesn't drop
               the knife...

               The garage door is also OPEN - and Samantha RUNS OUT OF THE

               Still screaming and completely covered in flames from head to
               toe, the Ripper RUNS BACK OUT OF THE DOOR...

                                                                CUT TO:

               EXT LAKESIDE AREA (NIGHT)

               From the area, we see the Ripper EXIT the house from the main
               door - he quickly RUNS from the door all the way past the
               lakeside area, and eventually DIVES in the lake, screaming
               all the while...

               And he disappears.

               The music turns light and heroic, and Samantha EMERGES from a
               hiding place behind a tree in the woods.

               She WALKS to the edge of the water - a la "Friday the 13th",
               this is our feel-good comfort moment, the night finally over,
               her trap that she set for the Ripper successful.

               She KNEELS DOWN on the beach, and begins CRYING, finally
               succumbing to the whirlwind of emotions she has been through
               over the night.

               We slowly CIRCLE AROUND her with the camera - and just as we
               believe the comfort to be at a peak, we see the Ripper EMERGE
               from the water and STAND UP.

               Samantha's head slowly TURNS to the direction of the Ripper -
               she STARES at him...

                         No...oh God, no...

               We CLOSE on the Ripper - he is now barely recognizable.  His
               worksuit is burned and charred - and his face is incredibly
               grotesque.  Parts of the mask are completely BURNED ONTO HIS
               FACE - just as he wishes to be, he is now completely the Grim
               Reaper, and parts of his face are also CHARRED AND MELTED.

               Then we CLOSE on his hand - he still holds the knife.

               Samantha CRIES HARDER now - but out of terror.


               She SLUMPS BACK on the beach - and the Ripper ADVANCES on
               Samantha - he finally REACHES HER.

               Samantha prepares herself for the inevitable.

               The Ripper RAISES THE KNIFE...

               And then a gunshot echoes out.

               The Ripper's CHEST EXPLODES - and blood begins POURING OUT OF
               THE WOUND...

               He SLUMPS TO HIS KNEES - and Samantha gets an eye-to-eye view
               of his now-grotesque face - he STARES BACK AT HER.

               And then he FALLS TO THE BEACH - DEAD.

               Samantha LOOKS PAST the Ripper - behind him, on the lakeside
               area - is a POLICE CAR - and next to the car is Michael
               Pleasence, holding a SMOKING GUN.

               Pleasence RUNS to Samantha while Chalmers and Craig EXIT THE

                         My God - it was him!

                         We got a survivor!

                         Toomey, check the house for

                         After what we saw in the baot...

                         Just check it, goddammit!

               Pleasence REACHES Samantha, and she HUGS HIM HARD...

                         It's alright, sweetheart.  It's
                         alright - it's all over.  Come on,
                         I'll take you home.

               Pleasence GRABS Samantha around the shoulder, and DRAGS HER
               AWAY from the beach - and the Ripper - arm-in-arm as Chalmers
               TAKES HER and puts her in the back of the police car...

                                                           DISSOLVE TO:


               We are back in the police station - in a small debriefing
               room.  Samantha SITS ALONE in the room - she again shows her
               strength here, she's calm and coherent, with a blanket
               wrapped around her.

               We can see Pleasence talking to Chalmers and Craig in the
               background - he finishes with them, and ENTERS the room.

               Samantha TURNS to him.

                         How are you doing?

                         How do you think?

                         Like shit, I would imagine.

                         They're dead.  They're all dead.

                         So is he, if that's a comfort.

               Pleasence SITS DOWN next to Samantha.

                         Who was he?

                         You're sure you want to know?

                         This man - he killed all of my
                         friends, people who did nothing to
                         him.  I want to know who he is.

                         His name was Ben Glover.  Five
                         years ago, he was a senior in high
                         school, just like you.  He was a
                         serial killer, and we caught him
                         and put him away.  Last night, they
                         were transporting him from one
                         institution to another - and he

                         Why us?

                         It was what he did - he liked
                         killing high school students,
                         especially women.  I don't know for
                         sure, but I'd imagine he staked out
                         a high school - and he just
                         happened to pick your group.

                         He killed all of us just because he
                         thought it would be fun?

                         That's as good of a way to put it
                         as I've ever heard. 
                         You know, I have to give you a lot
                         of credit.  You're the only one of
                         his victims to ever survive.

                         How many people?  How many has he

                         There was eight, five years ago. 
                         There were another four before he
                         found you and your friends.  

                         My friends, Ellie, Mr. Voorhees--

                         He should have waited for us.

                         Nineteen.  Nineteen people - just
                         because he liked it.

                         He was an anomaly, Samantha.  Most
                         serial killers have what they call
                         a cooling-off period - but this
                         guy, he could never get enough.  He
                         was like one of those fucking
                         horror movie villains.

                         Horror movie.  That's what this


               Pleaesnce STANDS UP.

                         You've a very strong girl,
                         Samantha.  You should be proud of
                         yourself for surviving.

                         Then why do I feel like I lost?

               Samantha GETS UP.

                         I want to go home.

                         I'll take you.

               Pleasence PUTS AN ARM around Samantha and GUIDES HER out of
               the small room...

               We HOLD on the window of the door, and slowly...

                                                         FADE TO BLACK.

               END CREDITS

               Smash Mouth's "Hey L.A." plays, as we do a fantastic montage -
               all of the surviving heroines of the great franchise films -
               "Friday the 13th," "Halloween", "Nightmare on Elm Street,"
               etc. - a tribute to this movie's surviving heroine, Samantha

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