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A NIGHTMARE ON ELM STREET by Jon Lickness Based on the characters and film created by Wes Craven FADE IN ON: NEWS REPORT We COLD OPEN on grainy, stocky footage of a NEWS BROADCAST - a mid-40s, professional-looking ANCHORMAN - DAN THOMAS - sits in a studio, and, with stern deliberation, introduces our story to us. The logo KRGR-19 NEWS hangs on the wall behind him. DAN Thank you for joining us on KRGR-19 news, I'm Dan Thomas. Tragedy again today... The INSET flashes a grim-looking graphic - THIRD DEATH IN SPRINGWOOD HIGH. DAN At Springwood High School in suburban Illinois. A third victim in the recent string of serial homicides was found dead today in her own home. This is the third similar death of a Springwood High School student in as many months. The INSET envelops the screen - NEWS FOOTAGE of two EMT's loading a covered body into the back of an ambulance. DAN According to police reports, this death followed the same Modus Operandi as the previous two. While the name of the victim is being withheld, what police have told us is that the victim's parents heard their daughter's alarm clock go off to wake her up for school in the morning. After ten minutes, she had not come down to get ready, and the parents walked upstairs to find their daughter dead in her own bed. Once again, as in previous murders, there was no evidence of a break in, but the body was found horribly mutilated, which police believed to be post-mortem. Another PICTURE pops up on the INSET - an attractive, brunette teenage girl, with the name CARRIE KING in bold letters underneath it. DAN If you'll recall, just a little over three weeks ago, the body of Carrie King, 17, was found dead in her own bedroom in a similar fashion. One month before that... Yet another PICTURE pops up - this time, a slightly punkish looking kid - CODY BREWER. DAN Cody Brewer, with the exact same M.O. - a wake-up call that was never answered, and a pair of grieving parents. Police still have no leads in either murder case, and information for the present murder case has yet to be released. Reporters in the field were unable to procure information from Lieutenant Donald Thompson, the lead investigator into the murder cases... We CUT directly to the INSET - a MAN HOLDING A MICROPHONE's first-person POV, chasing after an older, mid-50s, slightly balding man wearing a badge around his neck - LT. DON THOMPSON in the flesh, several CAMERAS flashing in his face, heading into a house TAPED OFF for evidence-gathering - he appears sullen and angry with the reporters. REPORTER (O.C.) Sir, what can you tell us what happened in there? LT. THOMPSON The only thing we know is that there's another murder - there's still nothing to connect this with the King and Brewer homicides. REPORTER (O.C.) Is there any chance that there are more murders coming? LT. THOMPSON I don't think that's any of your business to be spreading that sort of panic. My men and me are working on this around the clock... REPORTER (O.C.) Lieutenant Thompson, this is three deaths in three months in a town with a population of less than... LT. THOMPSON I know damn well what it is! Thompson RUSHES the camera with his hand... LT. THOMPSON Now turn that
thing off! The INSET fades away, as Dan talks directly to the camera. DAN While Lieutenant Thompson was not cooperative with us, we certainly know what he is going through in an attempt to solve these heinous crimes. We do not know much, but what we appear to know for certain is that a dangerous serial killer appears to be on the loose in the city of Springwood, Illinois. It is someone with a definite M.O., And the killer appears to have excellent resourcefulness and ability to avoid authorities and avoid leaving evidence behind. The city of Springwood will continue to leave in effect its 9:00 P.M. curfew until the case is solved. DISSOLVE TO: INT TINA'S BEDROOM (MORNING) All we see is a BLACK SCREEN, and then... TINA WHITE, 17, blonde, long-haired, attractive, and wearing pajamas, DARTS UPWARD in bed, sweat beading on her forehead - she looks like she's terrified. We CUT OUT to show her entire bedroom as she sits on bed, still scared - she looks around, and the morning sun is piercing through the window, an end to her apparently horrific night. TINA Jesus Christ... She WIPES THE SWEAT off her forehead, then THROWS HER COVERS OFF and gets out of bed. CUT TO: INT TINA'S HOUSE (MORNING) Tina CLIMBS DOWN the stairs of her house, now dressed in blue jeans and a T-shirt. It's a DINGY-LOOKING HOUSE, a little dirty and unkempt. Her MOTHER - KAREN - a heavyset woman, is FRYING EGGS in the kitchen while her father - GEORGE - sits at a table EATING TOAST. Both are wearing in their mid-50s, and both are wearing FACTORY CLOTHES. TINA Morning, dad. Morning, Mom. GEORGE Morning, Tina. KAREN Morning, Tina. What was all the screaming about? TINA What? KAREN You were screaming something fierce in the middle of the night. Your father went to your door, but you were sound asleep. TINA I was? I was. It was just...a really bad nightmare. GEORGE What was it about? TINA I can't remember. GEORGE Must have been some wowser of a dream. TINA I was really screaming? KAREN Enough to scare the shit out of me. We ANGLE on Tina's face, showing that there may be more to her dream recall than meets the eye. TINA Well, it's just a dream, right? GEORGE You scared the shit out of me, too, Tina - you know how much it scares your mother and me that you work at that damned diner until midnight. Why can't you quit? TINA I can't quit, Dad. I'm saving up for college. GEORGE Honey, that's what loans are for. TINA What did I tell you, dad? My goal is to finish without owing those bastards at the University a damn cent. GEORGE Well, I still wish you were here more. Tina WALKS to her father and hugs him. TINA Dad, I wish I was here more, too - but it will pay off someday. Someday, I will be able to be your little girl again. GEORGE Sooner rather than later, Tina. You know how guilty I feel sometimes. TINA You guys work really hard just to keep this roof over my head - I can do the rest. Tina TURNS AROUND and begins HEADING out the front door... KAREN Tina! Tina SNAPS BACK AROUND. TINA Yeah, Mom? KAREN Come right home after school. TINA I have work! KAREN Come home anyway. That psycho on the news scares me. TINA Mom, they don't even know what it is yet. I can take care of myself. Tina flashes her parents the big, PR smile, and WALKS OUT THE DOOR... DISSOLVE TO: MONTAGE SCENE A short montage - maybe thirty seconds of screen time - as we follow Tina throughout her school day. She does work, studies hard, and even gives a speech in front of a group of students - the montage establishes her as an admirable character, a teen who works hard and is socially outgoing and likable. DISSOLVE TO: INT LUNCH ROOM (DAY) Tina SITS DOWN at a table in the middle of the Springwood High lunch room - it's all enclosed, with windows overlooking the leafy terrain of the school itself. Tina is in the center of the shot - to her right is GLEN, 18. He's good-looking, with black hair, wears a Jeans company's logo shirt and blue jeans. He's a nice guy, outgoing and easy to get along with. To her left is NANCY THOMPSON - shorter, attractive (but in a nonthreatening way), long brown hair, dressed conservatively. Nancy is a friendly girl, well-liked but not condescending, and is the daughter of Lt. Thompson seen in the prologue. Across from her sits KARA - all alone. Kara wears glasses, has curly red hair, is good-looking but we can tell by looking at her that she is not confident, and the target of some pranks and humiliations. TINA Is this seat taken? She WEDGES herself between Glen and Nancy. GLEN Hey, Tina. KARA What's up, Tina? TINA Nothing that a cup of coffee wouldn't cure. NANCY What's up with the bags? TINA What? NANCY You have bags under your eyes. Did you have to stay and work a double again, or what? TINA No. It's stupid. I didn't really sleep well last night. GLEN Oh yeah? Why? TINA Glen, not because of what you think. NANCY What is it? TINA It's not because of what you think, either. Miss daughter of the goddamned chief of police - it had nothing to do with the deaths. NANCY I'm just worried - that's all. It's one person after another. People of this nature, they escalate - they start out slow, and then... TINA They pop, yeah, I know. Where do you learn all this stuff? From your dad? NANCY Books. KARA Speaking of said killer - Nancy, did your father tell you anything? NANCY No...uh, he didn't mention anything about the murder. TINA What are you talking about? Did they find something out about Carrie? NANCY No. It was... KARA You don't know? Tina, there was another one. TINA Another one? When? KARA Last night. The police, in their infinite wisdom, have not released the name yet - but I think I can deduce by the fact that Katie Milton wasn't in geometry today that it's a good bet that she's the one that the sicko got last night. GLEN That might not mean anything, Kara. Maybe she was just sick - there were a few empty seats in my class today, too. Look around - this whole school is on barely hidden panic mode. Everybody does a good job pretending everything's normal, but-- ROD (O.C.) It ain't fuckin' normal, that's for sure. ROD, 18 - a handsome baseball player, wearing a Letterman's jacket and blue jeans, LEANS DOWN and KISSES Tina, his girlfriend. ROD How's it going, Tina? TINA Not bad, Rod. Where were you in Math today? ROD Coach wanted to talk to me. GLEN Scholarship? ROD Nope. MLB draft. GLEN Oh yeah? Which team? ROD I should be in the starting rotation for the Yankees next year. To answer your question, Glen, yes, it was about a scholarship. (to Tina) Didn't mean to freak you out. TINA You didn't. I know you'd know what to do with yourself if some psycho killer snuck into your room. ROD You bet your ass I would. I would introduce the fear of fuckin' Buddha into that sack of shit. Hey, what's up with the baggage? Didn't you sleep? TINA Not well. NANCY Seems Tina had some bad nightmares last night. ROD Oh yeah? About what? NANCY She doesn't remember. ROD You don't? TINA No. ROD Weird. I always remember my dreams. At least one a night. Have ever since I was just a little kid. NANCY Guys - you're missing the real point in all of this. KARA What is the real point in all of this, Nancy? NANCY Life and death. The most important game we'll ever play. Like you said, Kara - every empty seat today could have been one of us. And with how little talking my father has done lately, this guy must be scary good at what he does. ROD Okay - Jesus, fuck, now I'm creeped out. NANCY Just...everybody stay on your feet. When my father talks, it means it's good and close to being solved. I haven't heard a word for three months. It's bad. With this, all of the other friends LOOK at Nancy - she's achieved her desired effect. She has put the fear of death into her friends. CUT TO: EXT CLASSROOM (DAY) CU on a teacher's face - MISS CRAVEN, mid-40s, glasses. She stands in front of a group of students giving a lecture - in the back row is Nancy. MISS CRAVEN So, students, this soliloquy is the most talked about, dissected piece of dialogue in the history of literature. Hamlet's soliloquy begins with a simple statement - "to be or not to be, that is the question," and divulges into the very ruination of one man's soul - of his decision to live or not to live, to act or not to act, tying into the very theme of action that is the central point of "Hamlet" - his failure to act, to the point that it will eventually cost him his life... As Miss Craven DRONES ON, we very slowly ZOOM IN on Nancy in the back row - she holds a pencil with one hand, and appears to be NODDING OFF. As we GET CLOSER, she DROPS the pencil, and we are practically TOUCHING HER FOREHEAD with the camera... CUT TO: INT BOILER ROOM EXTREME CU of Nancy's eyes as they SNAP OPEN--- They DART AROUND... We SEE WHAT SHE SEES - she is now in a very scary setting -- the CATACOMBS OF A SCHOOL - PIPES AND METAL stretch as far as the eye can see, with walkways of steel both above and below her. Nancy is now in a boiler room - for what purpose and what reason, we do not know yet. She is also LAYING DOWN - and she GETS UP, still LOOKING AROUND QUIZZICALLY... A CATWALK is below her, with railings on either side - rivers of pipes stretch out below her, and a huge BOILER is at the center of the room. Nancy GRABS THE RAILING and begins walking along the catwalk... She ROUNDS A CORNER, slowly, as the music intensifies and the mood on the screen becomes tighter, more constrictive, as someone or something appears ready to coil and strike at any moment. Nancy ENTERS A DOOR at the end of the catwalk, and we FOLLOW HER STRAIGHT THROUGH to the other side - but as she does, a huge HISS is heard... She TURNS BACK and LOOKS DOWN - the boiler has now STARTED UP, the fires are now BILLOWING THROUGH in a very old-style boiler... She TURNS BACK again, and heads through the door... She is now on another CATWALK, at the top of some stairs. She HEADS DOWN the stairs - as she reaches the bottom, STEAM shoots out of several pipes DIRECTLY INTO HER FACE - she BACKS UP, panicking, and then TURNS AROUND - it is a wide open room on the bottom floor. Then we HEAR something else - SCREECHING, like METAL SCRAPING ACROSS METAL... Nancy LOOKS UP - there is nobody on the catwalk... But the SCRAPING GETS LOUDER - and then we hear footsteps...almost as if she can't control herself, Nancy begins WALKING back up the stairs toward the door, where the noise seems to be coming from... She REACHES the top, and we can just begin to hear a sound not unlike LAUGHTER when... CUT TO: INT CLASSROOM (DAY) EXTREME CU of Nancy's face - there is a HAND near her face, but she begins to SCREAM WILDLY, THRASHING ABOUT in her chair... And then she is fully awake - and back in the classroom - some of the other children are LAUGHING at her. One student - DANIEL, 17, stereotypical practical joker with a flashy haircut, wearing expensive-looking clothes, is LEANING OVER in his desk next to her. Miss Craven has JUST REACHED Nancy, and begins consoling her. MISS CRAVEN Nancy! Nancy! What's the matter? (to Daniel) What did you do to her? Nancy continues to look around the classroom, now a little less terrified - she gathers her wits very quickly. DANIEL Nothin', Miss Craven. She was sleeping - I just stuck my hand over there to wake her up. Besides, she was starting to drool. NANCY You're a fucking moron, you know that, Daniel? MISS CRAVEN Miss Thompson - there is no need for that kind of language-- DANIEL Yeah, fuck you too, Nancy... MISS CRAVEN Excuse me? DANIEL I said, fuck you too, Nancy... CUT BACK to Nancy - eyes full of hatred. MISS CRAVEN Daniel, go down to the office... DANIEL She said it first... MISS CRAVEN Daniel! Daniel GETS UP, begrudgingly, and WALKS OUT of the room. The rest of the classroom CALMS DOWN. Miss Craven SQUATS DOWN next to Nancy. MISS CRAVEN Are you alright? NANCY Yeah. I must...I must have been dozing off, and I was just in that place between awake and asleep when he tried to wake me up - that can be a little shocking. MISS CRAVEN You're sure you're alright? NANCY I'm sure Miss Craven. Miss Craven GETS BACK UP, and begins walking to the front of the row, resuming her lecture... We HOLD on Nancy's face, EYES FROZEN FORWARD as some of the other students continue to stare at her... CUT TO: EXT SPRINGWOOD HIGH SCHOOL (DAY) ESTABLISHING SHOT of the main entrance of Springwood High School - green, leafy terrain surrounds the suburban high, as students FILE OUT of the building. Tina is standing next to the entrance steps, SMOKING A CIGARETTE. Eventually, Rod EXITS the school, and begins WALKING AWAY down the sidewalk with Tina... ROD Hey, Tina! What's up? TINA Nothing. Thanks for walking home with me. ROD You asked. TINA It's just...everybody's so goddamned worked up about all this killer shit. ROD As they should be. TINA Why do you say that? ROD They don't know what it is. I do. TINA And just what is it? ROD The guy behind this is some kind of sadistic sex maniac. Not only that, he's fuckin' night-stalker esque in his ability to get in and out of windows. He comes through the windows, that's my theory - he's a cat burglar who's gotten really good at what he does. TINA One thing - everybody keeps calling the killer "he." Have you ever thought that it might be a woman? ROD Oh, this has to be a dude. I can't see how any chick could do these kinds of things. TINA Well, at any rate, your theory certainly calmed my mind. ROD Hey, I'm sorry, Tina. TINA Don't be. ROD So what's up with these dreams that you're having? They some pretty freaky shit, or what? TINA It was just last night, Rod. ROD But you remember it. TINA That's the thing. I remember every little bit of it like it actually happened. This was the worst dream I've ever had. ROD What happened? By now, Tina and Rod have walked down the sidewalk quite a ways - and STOP TO TALK underneath a tree. TINA I really don't want to talk about it. ROD Oh, come on, Tina -- I want to know. TINA Well, alright. I was in a boiler room. ROD A boiler room? You're aware that boiler rooms haven't been a part of the school landscape for the better part of three decades now... TINA Do you want to hear this or not? It scared the fucking daylights out of me. ROD Alright, go. TINA Well, I was lying down in the middle of this huge boiler room. I mean, it was just huge - I looked around, and it was like a football stadium - no doors in sight, and all these kind of walkways above me. And then I heard this sound, like metal scraping across metal - and then I heard some guy laughing. ROD Jesus. TINA I saw him. He was right above me - he was awful. He wore this hat, and his face was all scarred up and burned. But what I remember the most is his hand... ROD His hand? What about his hand? TINA He had this glove on. It looked like something he made himself - and on the ends of the glove were these huge razor blades. He didn't say anything - he just looked at me. When he was looking at me, I was more scared than I've ever been in my entire life - he raised that hand of blades, really slowly like he meant it, and then he pointed his index finger right at me. I just froze - I couldn't move. I wanted to run, but my muscles wouldn't respond to my mind. And... ROD That's when you woke up. TINA How did you know that? ROD Because it was a dream, Tina. Might have been a really bad dream, but that's the way they all are - when they reach the point where you think it's just too scary, that's when your mind can't really take any more of it and just tells you to wake up. TINA This one was different, Rod. That guy - I can't get the look that he had on his face out of my mind. He was looking at me like he wanted to fucking kill me - and he was just so human... ROD It's just a dream, Tina - you're safe now. You want to know another theory that I have? TINA Believe me - I'm aching for any kind of explanation as to what the fuck I went through last night. ROD You had a freaky dream. Another thing that I know about dreams is that sometimes they get really weird when someone hasn't had any sexual experiences in a while. TINA You're an asshole, Rod. Tina begins WALKING AWAY in a huff, angry with Rod. ROD What? I'm just saying... TINA I know exactly what you're saying. I just poured my heart out to you about something that scared the living shit out of me and the only thing you have to say is how you're not getting fucked enough. ROD Tina... TINA Just shut the fuck up and leave me alone! Tina LEAVES the shot, as Rod stands behind, exasperated. CUT TO: EXT SPRINGWOOD STREETS (DAY) We follow Nancy as she ROUNDS a corner, the picturesque, suburban rivers of homes behind her as she walks down the sidewalk... GLEN (O.C.) Hey... Nancy TURNS to her right, and is then joined by Glen. NANCY Hey. GLEN So I heard you freaked out in English class today. NANCY I'm sure I'm the talk of school as we speak. GLEN What the hell happened? NANCY I fell asleep. I had a bad dream, and then Daniel Bertrum woke me up right in the middle of it. GLEN So how'd you freak? NANCY It was a really bad dream. When I woke up, I thought I was still in it - I started screaming. God, I've never had a dream like that. GLEN Freaky stuff. You know, we've been neighbors since I was six years old, and in all that time, I don't remember you ever saying anything about any of your dreams. NANCY Supposedly, people who don't remember their dreams have kind of a backed up mind. If that's the case, I have constipation of the brain. I barely remember any of my dreams. But this one-- GLEN Tina remembered her dream... CUT TO: EXT ELM STREET (DAY) They ROUND ANOTHER CORNER - and in a HIGH-ANGLE shot we see that the street sign is marked "ELM STREET." NANCY I know. Weird, huh? GLEN A little. So what are you doing tonight? Think your parents will let me come over? NANCY They haven't liked you since you were six years old and we played basketball together. Why would they start now? GLEN Just wondering. They still fighting? NANCY No, they're not. GLEN Well that's good, isn't it? NANCY No, it's not good. It was better when they fought. Now, they just--they act like the other one doesn't even exist. GLEN It will get better. NANCY Maybe, but maybe not. And to answer your question, I thought I was just going to finish up my poetry assignment and watch a flick. GLEN I don't think we have anything to worry about. I never offered up my theory. NANCY What's your theory? GLEN See, everybody assumes that this guy is some kind of raving maniac - I think this is a social maniac at work. See, all three victims have come from really high-level income homes. And we're in suburbia - the symbol of everything that most of America aspires to be. My theory -- this killer is some kind of depraved polemic who's trying to prove a point about the hypocrisy of wealth. NANCY Glen - please, lay off the Lou Dobbs. GLEN I'm just saying. You wanted my theory - there it is. We hear FOOTSTEPS behind them now - although the scene is still nonthreatening. NANCY That some crazed Karl Marx wannabe is wandering around town methodically choosing victims based on social strata? That's some theory... HEATHER (O.C.) Some fuckin' dumbass theory. Nancy and Glen turn around - behind them walks HEATHER - 17, very attractive, blonde, wearing a V-neck shirt and tight blue jeans. The expression on her face and the cocksure manner that she walks indicate both a degree of popularity and condescension. GLEN Hey, Heather. HEATHER You really believe this guy's crap, Nancy? NANCY Well, I... HEATHER Well, I'm not sure I want to hear it from you, given a certain incident that happened in English class today. NANCY Heather, I'm sorry about Daniel. I didn't mean for anything to happen to him. GLEN What happened? HEATHER He was suspended for two days. NANCY Two days? HEATHER He's been sent down to the office before - third strike, two day suspension. He's damn lucky he didn't get kicked off the baseball team - he could have blown his scholarship. NANCY Look - I was having a bad dream, and I started screaming. I didn't even know he was trying to wake me up. HEATHER I think you did. NANCY Believe whatever you want, Heather. HEATHER Someday, I'm going to get you back, Nancy... Heather begins WALKING DOWN a walkway leading to the front door of a very expensive-looking, large house, casting an icy glare at Nancy on the way up. BACK TO Glen and Nancy. GLEN Quite a classy character she is, huh? NANCY The best. Someday, somebody will knock Heather Wester off her pedestal. GLEN Say, you never said your theory. NANCY About the murders? GLEN Yeah, of course. NANCY I'm not sure I have one. GLEN But you always have a theory. You can always pull those obscure factoids out of your head regardless of the subject. They STOP in front of Glen's house - a modest suburban-style two-level home. GLEN So, let's hear it. NANCY Sorry to disappoint you, Glen, but I have no idea why these people died. GLEN Oh, what a gyp. Listen -- I'll call you tonight, alright? Glen LEANS FORWARD to kiss Nancy, and she returns it. NANCY Bye. GLEN Bye. Glen HEADS UP the walkway to his house, and Nancy WALKS ACROSS THE STREET - we see her home for the first time. CUT TO: EXT NANCY'S HOUSE (DAY) 1428 Elm Street - two levels, white paint, black doors and windows, the ideal American home. She nears the door and ENTERS IT... CUT TO: INT NANCY'S HOUSE (DAY) Nancy STEPS INTO her house. MARGE THOMPSON - a mid-40s, brunette woman, slightly overweight, is SITTING ALONE in a kitchen. The house is nicely laid out on the inside - a family room sits to one side and a dining room to the other, with the kitchen in the middle. As Nancy enters the house, Marge is TAKING A SWIG from an alcohol bottle, which she immediately HIDES in one of the kitchen cupboards when the door opens. MARGE Hi, Nancy. NANCY Hi, Mom. MARGE How was school? NANCY It was alright. MARGE Nothing happened? NANCY No...nothing happened. The mother and daughter coldly look at each other, and then Nancy HEADS UP SOME STAIRS - apparently to her room... DISSOLVE TO: INT DINING ROOM (DAY) We are now in the Thompson's dining room - immediately adjacent to the main entrance. Nancy and Marge sit across from each other at a long table, silently eating. The main door OPENS - and in walks Don Thompson, the same man from the news footage, and Nancy's father. He still wears his black sweater, his badge around his neck...and a gun. He WALKS to the table. LT. THOMPSON Hi, Nancy. NANCY Hi, Dad. He LOOKS to Marge - who is still looking straight down at her food. LT. THOMPSON Hi, Marge. MARGE Hi. LT. THOMPSON What's for dinner? MARGE Why don't you look down and find out? He looks down - the plate is already set for him - a vague kind of meat and potatoes. Lt. Thompson looks around quizzically, then sits down and begins eating his food. We HOLD on the family for a few seconds as awkward silence ticks by - no one has a word to say to each other. CUT TO: INT NANCY'S ROOM (NIGHT) Nancy SITS in her room next to a computer desk - a bed, television, and posters adorning various rock bands line the background. She is WRITING in her notebook. There's a KNOCK on her door. Lt. Thompson STICKS HIS HEAD through the door. LT. THOMPSON Hey, Nancy? NANCY Hi, Dad. LT. THOMPSON Is it alright if I come in for a second? NANCY Sure. He comes in, no longer wearing his gun or his badge. LT. THOMPSON Listen - you know, your mother and I, we're going through some rough times. NANCY I know, Dad. LT. THOMPSON I know you do. You're a smart girl. NANCY So when does the facade that we're something other than just a paper family end? LT. THOMPSON I don't think it's going to come to that. NANCY When I came home from school today, she had that look on her face again. She was drinking at three in the afternoon, Dad - I know it's getting worse. LT. THOMPSON We're trying to work things out. NANCY Well, please do it right, okay? LT. THOMPSON I'll try. Listen -- all these crazy murders, they're taking a toll on all of us. I wish I could be with you every second of every day - that school can't be safe. NANCY I can take care of myself. He LEANS DOWN and KISSES Nancy's forehead. LT. THOMPSON I know you can, baby. I just wish I could be there for you more, Nancy. Soon, we'll have this guy. NANCY How close are you? LT. THOMPSON He'll slip up sooner or later, they always do. Thompson TURNS AROUND and leaves Nancy's bedroom, shutting the door on the way out. We HOLD on Nancy alone in her room, sad look on her face. CUT TO: EXT TINA'S HOUSE (NIGHT) We OPEN on the full moon, eerily lighting the unholy night. We slowly COME DOWN from the moon to Tina's house - which is most definitely NOT located on Elm Street - the paint is chipped, the lawn is small, and there's no patio or other extraneous items. We see a girl walking up the walkway - Tina, wearing waitress clothing, hair in a ponytail. She ENTERS the door... CUT TO: INT TINA'S HOUSE (NIGHT) Tina carefully SHUTS THE DOOR, then LOOKS AROUND - there's no activity in the house. Everyone is asleep. She quietly WALKS UP THE STAIRS to her room... CUT TO: INT TINA'S BEDROOM (NIGHT) Tina TAKES OFF her workshirt - she wears a white t-shirt underneath. She tosses the workshirt on her bed and WALKS AROUND her room for a while. Suddenly, a figure POUNCES ON HER - and turns on the lights. It's Rod. Tina PUSHES HIM AWAY. TINA Goddammit, Rod! You scared the shit out of me! ROD Hey, it was just a joke! TINA I thought you were the killer! Rod, despondent look on his face, SITS on the bed. ROD Well, listen -- I just wanted to see you, alright? TINA Alright. Not the best way to go about it. ROD How was work? TINA It was alright. ROD Get a lot of tip money? TINA Enough for another five minutes of college. ROD Tina -- I'm sorry. I was a dumbass earlier today. TINA Yeah. Yeah, you were. So what are you going to do to make up for it? Tina TAKES THE TIE out of her hair, letting her beautiful locks down. Rod GETS UP and walks to Tina. ROD Well, I was hoping we could-- TINA My parents are right downstairs. ROD We can be real quiet. Rod begins kissing Tina, and although reluctant with her parents so close, so reciprocates. TINA Just how quiet can you be? ROD I can be like the fuckin' Pink Panther. TINA Well, since you put it that way... They KISS EACH OTHER passionately now, and slowly move to the bed. We get a PG-13 sex scene now - no nudity, just faces, covers, and lots of heavy breathing. We DISSOLVE FORWARD in time, after they are already done. Tina has just finished PUTTING ON her t-shirt, and she LAYS DOWN on the bed. Rod HOLDS her from behind. ROD So you're not mad at me anymore? TINA I'll get over it. On one condition. ROD What more do you want me to do? TINA Can you stay with me tonight? ROD What? Sleep with you over here? TINA Just for a while. I'll set my alarm - and you can leave real early, before my folks even get up. ROD What's the deal? TINA You think you'll understand? ROD I know you've been having some scary dreams. I get it. But... TINA I just...need somebody here with me tonight. So I can fall asleep. And I want that someone to be you. The couple look into each other's eyes, and we can tell that they're very much in love. ROD Sure, Tina. Tina KISSES Rod one final time. TINA Thank you. Tina SETTLES IN, as Rod lays there, eyes wide open... DISSOLVE TO: INT BOILER ROOM EXTREME CU - Tina's eyes OPEN. We CUT AWAY - Tina is LAYING in the same boiler room that Nancy was in - directly in front of the large boiler, still wearing just her t-shirt and panties. She SITS UP and LOOKS AROUND - PIPES AND WALKWAYS as far as the eye can see... She STANDS UP, and LOOKS AROUND - the music and the enclosed atmosphere make the tension palpable. Suddenly, the boiler ROARS TO LIFE behind her - and flames start BILLOWING UPWARD... Tina turns around and SCREAMS, eyes wide with terror, sweat beading on her forehead... Then we hear something - DIABOLICAL, EVIL LAUGHTER... Tina TURNS AROUND AGAIN AND LOOKS UP... Standing on the walkway above her is a DARK FIGURE - outlined completely in blackness... FREDDY Tina... The figure begins LAUGHING HARD... TINA Who are you? He CONTINUES LAUGHING... TINA (yelling) Who the fuck are you? FREDDY Tina, have you ever been crazy with fear? The figure STEPS FORWARD on the walkway - and we meet FREDDY KRUEGER - he wears a fedora on his head, a red-and-black striped sweater, and work pants. His face is hideously burned, and, of course, he wears a makeshift glove on his right hand - metal claps envelop every finger, with huge blades protruding from each finger. He's Freddy - and he's everyone's worst nightmare. He begins LAUGHING DIABOLICALLY AGAIN... Tina SCREAMS... Freddy RAISES HIS GLOVE high overhead, whipping the fingers around menacingly, and then he POINTS the glove directly at Tina... TINA Please, God! FREDDY God has no place in here. Then Freddy DISAPPEARS INTO THIN AIR... BACK TO Tina, on ground level, who LOOKS AROUND in every direction - every pipe seems to hide a spot where Freddy could jump from. Then Tina SPOTS A DOOR on the far side of the room. She begins BACKING TOWARDS IT, always looking around for her attacker... She NEARS the door as STEAM SHOOTS OUT of various pipes, but just as she reaches it, it WHIPS OPEN -- Tina SCREAMS, and Freddy EMERGES from the door. He RUSHES her, and PUNCHES HER HARD in the face, KNOCKING HER TO THE GROUND... Before she can react, he POUNCES ON HER, and begins CHOKING HER with his left hand - she begins GASPING FOR AIR... Freddy SMILES, enjoying the torment he's inflicting on his victim. He LEANS DOWN until his face is inches from Tina's, and TAKES HIS HAT OFF - we really see his face now, as RIVERS of burn marks and charred flesh line his face... He slowly BACKS AWAY from her face, and PUTS HIS HAT back on... He LETS GO of the hold on her neck, and Tina begins COUGHING FOR AIR... TINA (gasping) What the fuck do you want? Tina SNAPS his glove in front of Tina - and by a force she can't control - her ARMS RAISE... FREDDY To hear you scream until you're crazier than me. Freddy LAUGHS hard, and Tina SCREAMS... METAL FROM THE FLOOR begins RIPPING out of the floor, and as Tina still lays there, unable to move, the metal begins WRAPPING AROUND HER WRISTS and ANKLES... It TIGHTENS - and BLOOD BEGINS SEEPING as it CUTS INTO HER SKIN... CUT TO: INT TINA'S BEDROOM (NIGHT) HIGH-ANGLE SHOT, as Tina SCREAMS in the real world...Rod SNAPS AWAKE next to her - and we see that Tina's ARMS ARE OUTSTRETCHED, in the same position as she was in the dream... Rod TURNS TO HER, and sees BLOOD POURING out of her wrists... CUT TO: INT BOILER ROOM Freddy is now KNEELING DOWN, claws outstretched before Tina's face... He LOWERS THEM, her eyes wide with terror... FREDDY Tina, do you know how many nerve endings there are on the face? Close to a thousand...so many ways for glorious, glorious pain to be introduced... Freddy CUTS Tina's face - first below each eye, then on her chin, and then on her forehead, as Tina SCREAMS and blood begins SEEPING through the cuts as Freddy LAUGHS... CUT TO: INT TINA'S BEDROOM (NIGHT) We see the CUTS FORMING on Tina's face as Rod LOOKS ON, terrified... Tina is SCREAMING, but her eyes are closed - she's unresponsive as Rod tries to SHAKE HER AWAKE... CUT TO: INT BOILER ROOM Freddy is now CUTTING Tina's thighs, STABBING INTO her with his claws... FREDDY What's the matter, Tina? Too much for you to handle? TINA Yes! FREDDY You'd be surprised the amounts of suffering that a person can survive. And that suffering - it makes you something so much better... Freddy CUTS her stomach as Tina SCREAMS LOUDER... HIGH-ANGLE SHOT - a veritable POOL OF BLOOD has formed underneath Tina from the wounds that Freddy has inflicted on her... He MOUNTS HER from above and raises his glove HIGH OVERHEAD... TINA What are you going to do? FREDDY Look at me. Look at me closer - and tell me what you think I'm going to do. Freddy LEANS IN... FREDDY Closer. Freddy LEANS IN further... FREDDY Closer! What am I going to do? TINA I don't know. Freddy REARS BACK and LAUNCHES HIS GLOVE forward - directly into Tina's chest...Tina SCREAMS, and blood POURS out of the wound... CUT TO: INT TINA'S BEDROOM (NIGHT) Rod JUMPS OUT OF BED, as the SAME WOUND is opened up - the bed is now a MACABRE MASTERPIECE of blood... Rod continues to look at Tina, who shakes for a while in the pangs of pain - and then dies. The mood is tense and sad, as Rod stands there, clad in his T shirt and boxers, saddened at the death of someone he loves. He doesn't have much time for relief. There's a LOUD KNOCKING ON THE DOOR... GEORGE (O.C.) What's going on in there? KAREN (O.C.) Tina - open up! The parents continue YELLING LOUDLY on the other side of the door - Rod LOOKS AROUND, and GRABS his blue jeans on one of Tina's chairs. He then quickly OPENS THE WINDOW and JUMPS OUT... We CUT BACK to the door - with a loud THUMP, George KNOCKS IT OPEN - he BURSTS into the room, Karen behind him, and they're both wearing night clothes. They both LOOK - and then appear TERRIFIED... KAREN Oh, God... GEORGE Call 911... KAREN George! GEORGE Do it now! Karen RUNS AWAY, already crying... George LOOKS at his dead daughter, blood everywhere - he then sees the OPEN WINDOW, and seems to put the piece together - he believes somebody came in and did this to her. He then EXITS the room, the sounds of Karen SOBBING UNCONTROLLABLY in the background... DISSOLVE TO: EXT TINA'S HOUSE (NIGHT) A WHIRLWIND of police lights, cameraman and anchorpeople, and cops line the area in front of Tina's house - it is already taped off. A POLICE CAR rolls up to the carnage, and Lt. Thompson EXITS the car, dressed for action. One of the cops, dressed in uniform - OFFICER DOBBS - breaks free of the pack and guides Lt. Thompson through the maze... LT. THOMPSON Is it another one? DOBBS Same M.O., same result. LT. THOMPSON Jesus Christ. Suddenly, they are STOPPED by a microphone being SHOVED INTO THEIR FACE - meet HEIDI BORLAND, mid-30s, attractive anchorwoman. A CAMERAMAN backs her up - they've shoved their way past the taped off area. HEIDI Lieutenant Thompson? He SLOWLY TURNS AROUND, noticing the microphone. LT. THOMPSON Yes? HEIDI Heidi Borland, KRGR-19 News. I was just wondering if you could confirm that this is the fourth death in the Springwood slayings... LT. THOMPSON The Springwood slayings? That's the best they could come up with? HEIDI We're just looking for confirmation. Is it a similar M.O.? LT. THOMPSON Look - I haven't even been inside yet. And not only that - I don't want to go in there. But another kid just died tonight. Now I don't know if that means much to you, but since this is my case, it matters a hell of a lot to me, because it means that I could have prevented it and I failed. But if the only thing that matters to you is the glorious type and copy that it makes for your goddamn circus act, so be it. Lt. Thompson and Dobbs TURN AROUND and HEAD INTO the house, leaving Heidi and the Cameraman in a huff. HEIDI Did you get that? CAMERAMAN I got it... HEIDI Good. CUT TO: INT TINA'S BEDROOM (NIGHT) CLOSE ON Tina's upper body - her eyes are closed, blood LINES her t-shirt - we CUT OUT to show her in the grotesque position she was left in. Lt. Thompson and Dobbs are in the doorway, while two COPS stand guard behind them. LT. THOMPSON They found her like this? DOBBS From what I understand. Her parents heard her screaming, then ran up here, but before they could open the door-- LT. THOMPSON Forensics been through here yet? DOBBS No. LT. THOMPSON Tell them to look for prints. Anything else I should know right now? DOBBS We might finally know what this guy is doing. Parents said that when they came up here the window was open. ANGLE ON the window - indeed, it is still open. LT. THOMPSON Still is. They think that somebody came through the window? DOBBS Looks that way. Lt. Thompson walks over to the window. LT. THOMPSON This is a bad one, Dobbs. DOBBS Aren't they all, Lieutenant? LT. THOMPSON I'm not looking forward to going home tonight. I know this girl. DOBBS Sir? LT. THOMPSON This is Tina White. Good friend of my daughter's. DOBBS Jesus. I'm sorry. LT. THOMPSON Don't be. It's my problem. When forensics comes in here, tell them to concentrate their efforts around this area (motions to window). Examine the body for trace evidence - hair, skin, fibers. DOBBS Sooner or later this guy is going to slip up, sir. LT. THOMPSON I pray for that every day. Lt. Thompson EXITS the room... CUT TO: INT NANCY'S ROOM (NIGHT) Nancy in her bed, asleep, wearing a Chicago Bulls t-shirt. There's a KNOCK on her door - it OPENS - Lt. Thompson stands there as Nancy's eyes slowly come open. She RUBS them, and looks to the door... LT. THOMPSON Sweetheart, I have to tell you something. NANCY What is it, Dad? Nancy LOOKS to her alarm clock - 4:07 A.M. NANCY This better be good. It's four in the morning. LT. THOMPSON I have to tell you something. It's better you hear it for the first time from me than somebody at school. Your friend, Tina... NANCY What happened? LT. THOMPSON I was called to her house tonight. She's dead, Nancy. NANCY What? No, it can't-- LT. THOMPSON I saw her body. Nancy appears ready to cry, but stifles her emotions, trying to stay strong in front of her father. NANCY Is it...the killer? Was it the same as the others? LT. THOMPSON We don't know anything for a fact yet. But...she was murdered, Nancy. She was murdered in her house. I'm sorry. We HOLD on Nancy now, still suppressing her emotions - but she eventually gives in, and begins CRYING... Lt. Thompson doesn't say a word - he walks to his daughter and HOLDS HER as she lets it out... DISSOLVE TO: INT LUNCH ROOM (DAY) CLOSE ON Nancy's face - she's staring down at her tray. She can't eat. Glen and Kara WALK UP from the side - Glen LEANS DOWN and kisses her on the cheek, and Kara HUGS her. They SIT DOWN on either side of Nancy. GLEN How are you holding up? NANCY Like shit. GLEN You know I really liked Tina too, right? NANCY I know you did, Glen. KARA I knew Tina since I was in second grade. The first day I met her, there were some bullies that had me on the ground and were trying to steal my lunch box. She chased them off. Tina was one of the best people I ever knew. She's in a better place. NANCY I certainly hope so. My dad - when he told me last night, after I - gathered myself - I asked him if they had anything. KARA Do they? NANCY A little more this time. They have an open window. GLEN I knew it! I knew that's how the bastard was getting in! NANCY Nothing is certain. He's got his men looking for any kind of evidence in the room. Just like all the others. KARA They'll find him, Nancy. And he'll be punished. And one day, we'll all be together again. NANCY Have any of you guys seen Rod? GLEN No. KARA No, I haven't seen him either. Poor Rod... GLEN I called him in the morning when I found out. No answer on his cell. I left him a message. KARA I left him a message, too. At his house. NANCY Neither of you have actually spoken to him? GLEN I'm sure Rod wants to be left alone. If he's not answering his calls, I'm not going to push it. NANCY I want to see him. I want to talk to him. GLEN Why would you want to do that? NANCY He needs someone to talk to right now, that's why. He was closer to Tina than any of us. HEATHER (O.C.) That's a real shame about what happened to Tina. The trio LOOK UP - and HEATHER is now STANDING by their table, still wearing tight clothes, still standing in a strutty, cocksure manner. HEATHER She was a really good girl. NANCY Thanks, Heather. HEATHER Did your dad say anything... NANCY They don't know anything for certain yet, Heather. GLEN Look, what business-- HEATHER It's my business when the very student body that I've spent four years socializing with start up and vanishing like Freddie Prinze's career. You know, I knew Tina for a long time, too...(looking directly at Kara) - at least longer than some people. KARA I've known Tina since second grade, Heather. HEATHER Poor Tina. For all her good qualities, sometimes she just couldn't choose friends. One friend, anyway. An especially hanger-oner friend... GLEN Look, fuck you, alright! HEATHER On that note, I'll take my leave. Heather TURNS AROUND and WALKS AWAY... GLEN Don't let her get to you, Kara. She overcompensates. KARA For what? GLEN She thinks everyone has to like her, and when people don't, she gets insecure and she lashes out at people. KARA It doesn't matter what I feel, anyway. One of our friends is gone forever. NANCY Forever. The three friends HOLD each other, as we... DISSOLVE TO: INT GYMNASIUM (DAY) Kara, wearing shorts and a t-shirt, stands on a volleyball court - many GIRLS surround her, running and yelling, playing volleyball. A volleyball suddenly FLIES over Kara's head, and she reacts a second too late. VOICE (O.C.) Good one, Kara! Kara looks forward, forlorn, as girls LAUGH at her in the background... CUT TO: INT LOCKER ROOM (DAY) We are now in the school's girls' locker room - many TEENAGE GIRLS line a long wooden bench, GRABBING clothes and personal items from small one-person lockers. Kara STEPS IN FRONT OF the camera, and fiddles with the padlock for a while before unlocking it - and when she OPENS the door, we see what she sees - NOTHING on the inside. KARA Goddammit. Kara SLAMS the door shut, then goes WALKING the length of the bench, past all the girls dressing. At the end of the row is Heather, now wearing just a bra and her jeans. She has two friends on either side of her - KATIE, an attractive brunette, and AMBER - a smoking redhead. Kara GRABS Heather by the shoulder and turns her around - the mood is tense. KARA What the fuck did you do with my stuff? HEATHER Shut up, Kara. Like I want your kind of stuff anyway. KARA You're the coach's daughter. I know you have the master key. HEATHER I don't have your fucking stuff, cunt. The other two girls LAUGH at Kara. Kara suddenly LUNGES toward Heather's locker door and RIPS IT OPEN - inside, she sees her clothes - along with a small wallet. KARA Give me my stuff... Heather SHOVES HER BACK and shuts the door. KATIE I think she should have to do something to get it back. HEATHER Great idea, Katie. What do you want to do for it, Kara? KARA That's my wallet in there - you had no right to take it. HEATHER And yet, I did it anyway. KARA What's your problem with me, Heather? HEATHER You exist. So, what do you want to do for it? Amber, what do you think she should do? AMBER We should make her beg. KATIE Or give us some of that money. AMBER Do some of our homework for us? HEATHER Well, those are all excellent ideas, but... Heather OPENS THE DOOR again and GRABS Kara's wallet - the other two girls HOLD KARA BACK as Heather begins WALKING AWAY toward the shower of the locker room... HEATHER I have an even better one. Heather REACHES the toilet section - and she TOSSES the wallet into one of the toilets... HEATHER Go fish for it, Kara. The three girls LAUGH at Kara cruelly, leaving Kara in a huff, staring at her wallet floating in the toilet... CUT TO: EXT SPRINGWOOD HIGH SCHOOL (DAY) Kara, now wearing her normal school clothes, STANDS IN FRONT of the main entrance - she's holding her wallet, SHAKING IT to dry it off as kids FILE OUT of the building. Glen and Nancy STAND next to her. GLEN I really hate those girls. NANCY What a couple of assholes. KARA It could be worse. At least they didn't make me reenact a scene from "Deliverance." GLEN That is also true. Sure you're going to be okay? KARA I'll survive. Later, guys. NANCY Later, Kara. Kara WALKS AWAY, and Glen and Nancy begin WALKING DOWN THE STREET... CUT TO: EXT SPRINGWOOD STREETS (DAY) CONTINUOUS SHOT as Glen and Nancy WALK down the sidewalk. GLEN What the fuck did Kara ever do to them, anyway? NANCY What did Kara ever do to anybody? What did Tina do to anybody? GLEN Injustice, right? NANCY Like you say - that's the cop's daughter in me coming out. Nancy TURNS TO HER RIGHT, and GRABS GLEN'S ARM. NANCY Glen... GLEN What? Glen TURNS to where Nancy is looking - we SEE WHAT THEY SEE - Rod STANDS THERE, only the side of his face visible, in an ALLEYWAY with a gravel road. NANCY That's Rod. GLEN Holy shit - it is! Glen and Nancy TURN, and begin WALKING TOWARD THE ALLEYWAY... As they get closer, Rod TURNS TO THEM, looking them both in the eyes - he looks as sad and despondent as one can possibly look. He's also still wearing the same clothes that he was the night before. NANCY You weren't in school today. ROD I couldn't. Rod's eyes look totally empty, his face blank and emotionless. ROD I couldn't be there - everything just reminds me of her... Nancy REACHES him first and HUGS HIM, hard, which he returns. Glen DOES THE SAME. There's no more that needs to be said, as we... DISSOLVE TO: INT NANCY'S HOUSE (NIGHT) We are back on the main floor of the Thompson house - Nancy's mother is in the background, watching television, taking a swig from a large bottle of whiskey. Suddenly, the FRONT DOOR of the house opens, and Lt. Thompson ENTERS. And just as this happens, Glen WALKS DOWN from the stairs, and the two men come face to face in an awkward moment. He's holding a couple LARGE TEXTBOOKS. GLEN Hello, Mr. Thompson. LT. THOMPSON Glen. What are you doing here? GLEN Studying. There's a bitch of a history test tomorrow. LT. THOMPSON Studying, huh? Not doing anything else? We CUT to Marge, on the couch. MARGE Shut up, Donald. I've been here the whole time. Nothing happened. GLEN Nothing like that happens, sir. I don't want it, and neither does she. LT. THOMPSON Yeah, I'll just bet. GLEN Well, with all due respect, sir, you're the one with the gun, so I'll be on my way. Glen quickly SLINKS past Lt. Thompson, EXITING the house and shutting the door behind him. Lt. Thompson turns his attention to Marge, and WALKS to her. LT. THOMPSON Hello, Marge. MARGE Lieutenant. LT. THOMPSON Don't call me that. I hate it when you call me that. MARGE Why not? That's what everybody else you know calls you. LT. THOMPSON Exactly. I hear it all the time. I don't need to hear it from you. Marge TAKES ANOTHER SWIG of whiskey. LT. THOMPSON Jesus Christ - it's not even ten o'clock! He GRABS the bottle of whiskey from her - he then WALKS to the front door and THROWS IT outside. MARGE Do you plan on paying me for that? LT. THOMPSON I'm sure you'll find another one sooner or later, anyway. He WALKS BACK to her. LT. THOMPSON Marge -- this is going to be over someday. Maybe tomorrow, maybe six months from now - but I will be able to come back to you again. MARGE I can't wait forever, Donald. LT. THOMPSON I know you can't. He LEANS DOWN and kisses her forehead. MARGE I can't wait forever. Lt. Thompson doesn't have another retort, he GETS UP and begins WALKING UP THE STAIRS... CUT TO: INT NANCY'S ROOM (NIGHT) Nancy SITS at her computer desk, listening to a modern pop song. She also has a LARGE TEXTBOOK open in front of her, and is still fully clothed. There's a KNOCK on the door. Lt. Thompson ENTERS the room. NANCY Hi, Dad. LT. THOMPSON Nancy -- does Glen make you happy? NANCY I've been going out with him for almost a year now, Dad. This is the first you've asked about him. LT. THOMPSON Well, does he? NANCY Yeah, he does. LT. THOMPSON Good. You need somebody in your life to do that. I'm learning that right now. NANCY You'll catch the guy, Dad. LT. THOMPSON I pray to God that I do every day. Good night. NANCY Good night, Dad. Lt. Thompson SHUTS THE DOOR... We HOLD on Nancy, sad look on her face, looking at the clock - 9:58 P.M. We DISSOLVE FORWARD in time - HIGH-ANGLE SHOT of Nancy lying down in her bed, now wearing her Chicago Bulls nightshirt again - we ZOOM CLOSER AND CLOSER to her face - her eyes are TWITCHING BACK AND FORTH in REM SLEEP... CUT TO: EXT FOREST (DUSK) Nancy is LAYING DOWN in a strange setting - the middle of a forest. Steam atmospherically RISES from the ground, and fog ENVELOPS THE AREA in the midst of TREES AS FAR AS THE EYE CAN SEE... Nancy suddenly GETS UP - and appears to be WAKING UP... She LOOKS AROUND at her surroundings, in disbelief as to where she is... NANCY Where the hell am I? She STANDS UP - and TURNS AROUND, and AROUND again - there's no one near her in the forest. She begins SLOWLY walking forward, and we HOLD on this for a while - until a sound stops her and us - a slight LAUGH - eerily similar to the one in Tina's dream. Tina's head SNAPS BACK AROUND - we see what she sees - nothing but FOG, which now seems much thicker, more claustrophobic... Nancy TURNS BACK, trying not to panic, and continues WALKING DOWN the forest... Suddenly, there's a SCRAPING SOUND nearby - as if something is running pieces of metal along one of the trees... Nancy TURNS AROUND, then SPINS AROUND in a similar fashion - the camera becomes her eyes, shaking nervously as she begins PANICKING, BREATHING HEAVILY with fear... Suddenly, there's another LAUGH - LOUDER this time... Nancy TURNS AROUND and begins SPRINTING through the forest, the dense fog covering her as she periodically TURNS AROUND, unable to see who - or what - is chasing her... We HOLD on the chase for almost forty-five seconds, until she suddenly begins SINKING INTO THE GROUND... Nancy LOOKS DOWN - she is now in WATER - a SWAMP... She SCREAMS... NANCY Oh, God, no... Nancy TURNS AROUND - but then two VINES LEAP UP from the water - they GRAB HER AROUND EACH WRIST, immediately BINDING HER in the water... Nancy SCREAMS EVEN LOUDER, the terror in her voice now palpable... NANCY (screaming) No.... Just as suddenly as we were in the forest, the entire scene MORPHS in a fantastic effect - the water turns into a metal walkway, the vines become STRIPS OF SCRAP METAL, the trees become PIPES - and we are now back in the... CUT TO: INT BOILER ROOM Nancy begins FRANTICALLY SHAKING her wrists against the as-of yet loose restraints of the metal, which haven't completely tied themselves yet. Nancy LOOKS UP - and we see what she sees - a dark shape, outlined in black, at the far end of the ground floor of the boiler room. Suddenly, the figure SAUNTERS OUT into the light of day, as Freddy confronts Nancy face to face for the first time. He LAUGHS DIABOLICALLY. NANCY Oh, God-- FREDDY God, God, God, everybody always has to bring up God when they see me - but it's fitting. In here, I'm God! Freddy RAISES HIS GLOVE, and as Nancy sees his implements of destruction, she SCREAMS, and Freddy LAUGHS once again... CUT TO: EXT NANCY'S HOUSE (NIGHT) Glen STANDS outside Nancy's house, wearing a spring jacket and jeans - he's looking STRAIGHT UP at a window - Nancy's bedroom. He THROWS A ROCK at it. No answer. GLEN Damn. CUT TO: INT BOILER ROOM Nancy's face, terror-stricken, as her arms are BOUND to the ground... Freddy WALKS TO HER, lording over her. FREDDY Now comes the part where you ask me who I am... Freddy LEANS DOWN, his claws INCHES from her face... FREDDY It doesn't matter. This is the only thing that matters. Death is the only thing that matters. It's the only thing - in LIFE - that means anything. It's pure - and soon, you're going to be purified, Nancy... Freddy begins CARESSING Nancy's hair with his claws... CUT TO: INT NANCY'S ROOM (NIGHT) HIGH-ANGLE shot of Nancy from above - she is SHAKING VISIBLY in her bed, letting out a few light moans of protest... CUT TO: EXT NANCY'S HOUSE (NIGHT) Glen THROWS another pebble up to the window - still no response. Glen LOOKS AROUND - there's nobody watching on the street. Glen CLIMBS up on a piece of fencing holding some loose plant material - he slowly makes his way up to the ROOF around Nancy's window... CUT TO: INT BOILER ROOM Freddy RUNS HIS CLAWS through Nancy's hair - then DROPS the strands... FREDDY When you look at my face, what do you see, Nancy? Is it grotesque? Is it inhuman? Is it a piece of fucking neo-classic art, is that what it is, Nancy? Freddy SNAPS his claws forward, inches from Nancy's face, yet again, as she continues to SHRIEK - she begins to CRY... FREDDY Don't cry - this is so much fun. Freddy DROPS his claw between Nancy's breasts - then lowers it to her stomach -- and then lower -- Nancy SHRIEKS even more... FREDDY You're a tight one, virgin bitch, huh? Well, be warned - this might be a little rough. Freddy REARS BACK with his claw, and then LAUNCHES FORWARD - and it's obvious what his target is - the females in the audience will especially be bracing. Just before he makes contact -- CUT TO: INT NANCY'S ROOM (NIGHT) Nancy SCREAMS - and then SNAPS UP, in bed - Glen is HOLDING HER ARM, SITTING on top of her bed next to her. Nancy continues to SCREAM for a little bit, then GATHERS herself as Glen HOLDS her... GLEN Hey, it's alright, it's alright, Nancy -- it was just a dream! The scene QUIETS DOWN... NANCY A dream... GLEN You must have been having some fucking dream. You were out of it - I tried waking you up the usual way... Suddenly, there's a KNOCK on Nancy's door. NANCY Get down! Glen DUCKS DOWN behind Nancy's bed. Lt. Thompson ENTERS the room - and he's still wearing his police clothing. LT. THOMPSON Nancy! Are you alright? NANCY I'm fine, Dad. LT. THOMPSON I heard you screaming -- it's just... NANCY I know, Dad. It was just a bad dream. LT. THOMPSON Well, Jesus Christ, do you need anything? You scared me half to death! NANCY No, I'm good, Dad, I just need to get back to sleep. LT. THOMPSON Ok. I said a prayer on the way up here. NANCY It's alright. Goodnight. LT. THOMPSON Goodnight. He SHUTS THE DOOR - we WAIT A FEW SECONDS, and then Glen SITS BACK UP from behind the bed. GLEN He doesn't like me, does he? NANCY I think he's warming up to you. GLEN I've known you since I was six, and he didn't like me then. What did I ever do to him? NANCY It's dominant male reflex. In the atavistic sense of things, I'm his property. GLEN What happened in your dream? (a beat) NANCY It was the worst dream I ever had. Scared the living daylights out of me. GLEN What was it? NANCY There was this guy. He had knives for fingers. I tried to run away from him, but he trapped me - he had me totally at his mercy. He wanted to kill me. GLEN Jesus. NANCY It was...so real. GLEN It was just a dream, Nancy - I'm here now. It's alright. Everybody's thinking so damn much about Tina - and this killer and all this bullshit. It's on your mind - that's all it was. NANCY I don't know, Glen. Glen TAKES Nancy in his arms... NANCY I don't know. DISSOLVE TO: INT CLASSROOM (DAY) We slowly FADE IN on a classroom - we START at the front of the room - once again, it's Miss Craven's class. It is, however, a different period, as Kara and Rod sit in the back of the room... MISS CRAVEN So, who in this class has any inkling what any of the motivations are in Macbeth? Anybody at all? We ZOOM CLOSER to Kara - she HOLDS HER PENCIL at the side of her face - and is FALLING ASLEEP... We CUT to Rod, who SITS NEXT to her - he is LOOKING at Kara, almost in a scared way... Back to Kara - whose eyes suddenly POP OPEN - she looks forward. A male STUDENT is answering the question. STUDENT Well, uh, I think that Lady Macbeth's obsessive need for power is really what motivates Macbeth more than anything. In a way, Lady Macbeth is controlling him through the lure of sex. MISS CRAVEN An interesting take. Back to Kara, whose eyes slowly SHUT AGAIN - we HOLD ON HER for a few seconds. She slowly OPENS HER EYES again... We see what she sees - the action around her has SLOWED - the students are now STILL and ZOMBIELIKE - and then she looks to the teacher's desk itself... CLOSE on the claw, coming into frame - it LOWERS on the camera, and Freddy SITS at the teacher's desk, SMILING an evil smile at Kara. Kara SNAPS UP in her desk - but suddenly, the three desks in FRONT OF HER BEGIN MOVING ON THEIR OWN... They MOVE FORWARD, and BLOCK Kara in against the wall - one on each side, one in front, each PINNING into her flesh... Freddy STANDS UP in front of the class... FREDDY Hey, Kara, didn't anyone ever tell you that nobody likes a know-it all? He LAUGHS diabolically again... The STUDENTS in the room TURN AROUND, and all begin LAUGHING at Kara... FREDDY I know what you're afraid of. We JUXTAPOSE back to the real world - CLOSE on Kara, asleep, although she is PANTING and BREATHING quickly and heavily... Rod STARES AT HER, TERRIFIED... We CUT BACK to Dream World - Kara PINNED AGAINST THE WALL, and Freddy begins ADVANCING ON HER... FREDDY I know what you've been afraid of your entire life! You're afraid to be accepted - why? Do you think you're better than everybody else? Or is it the other way around - you think you're worse! You think you're worse, and you are, you bitchy little cunt! Do you think I was ever accepted? Do you think anybody gave me a chance? Kara begins CRYING now, panting heavily... Freddy LEANS FORWARD with his claw, and he lightly SLICES her cheek with his index finger while LAUGHING HEAVILY... JUXTAPOSE BACK to the real world - a small, tiny CUT forms on Kara's sleeping face, blood TRICKLING from it... Back to Rod - who looks on - he looks like he wants to SCREAM... Back to DREAM WORLD - as Freddy continues to slice Kara... FREDDY At the moment you die, just think about your mother - this blood is on her hands. And one more thing - there's going to be a lot of it. KARA (panting) What? Freddy again REARS BACK and SLICES KARA'S THROAT with his claw - blood begins POURING OUT OF HER THROAT as she begins CHOKING ON HER OWN BLOOD... Back to the REAL WORLD - as Kara STANDS UP, Blood SHOOTING OUT of her throat, which is SLIT EAR TO EAR... She CHOKES LOUDLY and tries to SCREAM... Rod STANDS UP, terrified... Miss Craven suddenly SEES HER... MISS CRAVEN Oh my God... The rest of the students TURN to Kara - who still holds the pencil. The students begin SCREAMING AND PANICKING... CUT TO: EXT SPRINGWOOD HIGH SCHOOL (DAY) Heidi, the same anchorwoman as before, SETS UP outside Springwood High - where kids are MARAUDING OUT of the main entrance. She COUNTS DOWN with her hands to the cameraman - and the transmission begins. HEIDI This is Heidi Borland, KRGR-19 news. The community of Springwood, rocked just two weeks ago by the fourth unsolved murder of a teenager in less than four months, experienced a new kind of tragedy today - an apparent suicide in the middle of classes. The name of the deceased is being withheld until... We slowly MOVE AWAY from Heidi to the entrance of the high school - where Rod is STANDING by one of the bannisters, holding his face with one of his hands - he appears DEEP IN THOUGHT. We CUT AWAY to another part of the high school - the grass yard. Nancy and Glen are there, having already expunged their crying. NANCY It's going to be alright. GLEN Is it, Nancy? We're dropping like fucking flies! Nancy TURNS AROUND - and sees Rod. NANCY Glen - it's Rod. He was there. GLEN Nancy, wait--he's been through enough. NANCY I need to know something, Glen. Nancy slowly TURNS AROUND and WALKS to Rod. He turns to Nancy as she nears him. They look at each other for a long time. NANCY You know something. What is it? ROD I was there, Nancy. I was there the night that Tina was killed. NANCY Tell me. Tell me what happened. Tell me everything. ROD I went over to her house - I wanted to surprise her. We'd gotten in a fight, and I wanted to make up. We did, we had sex that night, Nancy, and afterward, she asked me if I'd stay with her so she could fall asleep. NANCY The dream. GLEN The dream, Nancy? You think that just because Tina had scary dream... NANCY What happened then? ROD She fell asleep, but in the middle of the night, I woke up - she was thrashing around in the bed. I tried to wake her up, but I couldn't - she was screaming like somebody was coming after her. I've never heard anything like it before. But I saw it, Nancy. I looked down - and I saw her killed. I didn't want to say anything - because I thought the cops would say I did it. Hell, if I was a cop, I would think it was me - I was right fucking there! But she was getting cut - there was blood everywhere. But there was no one in the room. I can't get it out of my head, Nancy-- Rod begins CRYING HIS EYES OUT again... ROD The same thing happened to Kara - I saw her fall asleep in class - it was no fucking suicide. Nancy goes to Rod, and HOLDS HIM... NANCY Did Tina tell you about her dream? ROD Yeah. NANCY His face was horribly burned. He wore a hat. And he wears a glove with razor blades on it. ROD Yeah. She told you? NANCY No. I dreamed about the same guy. GLEN Oh, bullshit-- ROD She really never told you about the dream? NANCY The night you woke me up, Glen -- I saw him. He almost killed me, and he would have if you hadn't woken me up. GLEN Listen to yourselves, you actually believe that your dreams are the reason that... NANCY Do you have any better answers? GLEN Yes. Kara committed suicide. I have known Kara for a long time, and I loved her like a sister, but she just did a very stupid, selfish thing - and in addition to that, there's some psycho nutcase running around hacking people up in the middle of the night. Maybe it's just too easy to believe, but that's the way it fucking is! NANCY There's a reason the police can never find anything - he never comes in. Nobody ever comes out. He comes and gets us when we're sleeping... GLEN That's crap, Nancy! It's not the guy! You dreamed about a freaky guy, but he's not real! ROD He seemed pretty fucking real the night that I saw Tina killed - and it sure as fuck wasn't me slicing her up... Rod STANDS UP, and WIPES HIS TEARS AWAY... GLEN I can't believe this. You're buying into it. NANCY It's us against him, Glen. Are you with me, or not? GLEN Of course I'm with you, Nancy. I just wish that you knew what we really have to fight against. NANCY You're right about something, though, Glen. GLEN What's that? NANCY He's not real. By definition, he's not, because he's not in this world. He's in our dreams. But I'm betting he was real at some point... DISSOLVE TO: INT NANCY'S ROOM (NIGHT) The STALE AMBIENCE of a Chicago Cubs game ENVELOPS the screen - we PULL BACK from the television in Nancy's room. Nancy SITS at her desk, STARING at a computer screen, still wearing her school clothes... We see the screen - it's a Google search. CLOSE on her face - her eyes begin CLOSING - she quickly JERKS BACK, attempting to stay alert and awake. Nancy GRABS a can of Coke from the desk and TAKES A DRINK. NANCY Shit. She TYPES. "Springwood murderers." Unrelated photos and articles pop up. She TYPES AGAIN. "Springwood, Illinois." A few official and quaint sites pop up. She TYPES ONCE MORE. "Springwood Illinois Murder" Now a whole lot pops up - articles about the current series of killings. Nancy begins CRYING, but she STIFLES IT. She LOWERS HER FACE INTO HER HANDS - her eyes begin to sag - sleep would feel so good, but she JERKS HER HEAD BACK UP once again... She LOOKS BACK to the screen and the normal Google search. She begins TYPING AGAIN - but the camera slowly ROTATES around Nancy - and we see Freddy SITTING next to Nancy on his own chair, STARING at her, INCHES from her. Nancy SPOTS him, and immediately JUMPS UP and BACKS AWAY toward her door...she SCREAMS... Freddy LAUGHS... FREDDY You. He GETS UP. FREDDY The one that got away. They always say that the one that got away is the sweetest one of all. NANCY Why the fuck are you doing this to me? What did me and my friends ever do to you? FREDDY If this is some sort of pathetic attempt to appeal to my better side, believe me, you've got the wrong guy. He begins slowly WALKING TOWARD Nancy as she continues to BACK AWAY, toward the door... FREDDY I can read you like the pages on a fucking book. You're trying to find things out about me. You want to know what makes ol' Freddy tick. NANCY You know what I'm thinking? FREDDY I know everything about you. I can tell what you're afraid of. You think you have nothing to lose, but you're wrong - you're losing your parents, and I've taken your friends away from you. NANCY No. FREDDY Yes. What I did to Tina - that's child's play compared to what I'm going to do to you. You're the one that got away. That deserves punishment. I'm going to gut you like a fish and fuck the entrails. He RAISES HIS CLAW and LAUGHS... Nancy TURNS AROUND and OPENS THE DOOR...and on the other side of it is the ENDLESS MAZE OF PIPES AND WALKWAYS - the SECOND STORY of the boiler room... She JUMPS INTO IT, as we... CUT TO: INT BOILER ROOM Nancy LOOKS BACK - Freddy also STEPS THROUGH from her room into the boiler room - he CHASES AFTER HER on the walkway - he SLASHES FORWARD...Nancy DODGES, and Freddy's claws come into CONTACT with the metal of the bannister. FREDDY Bitch. Now I'm going to have to sharpen them. You'll pay for that. Nancy RUNS ALONG THE WALKWAY, and Freddy follows... She ROUNDS A CORNER as STEAM SHOOTS THROUGH PIPES as Freddy's laughter ECHOES IN THE BACKGROUND... She ROUNDS ANOTHER CORNER, looking BACKWARD - she can't see Freddy. She then NEARS A STAIRCASE - the mood is QUIET for a few seconds, and she quickly DESCENDS THEM. When she reaches the bottom, she LOOKS AROUND - there's nobody, and no movement on either level. TINA (O.C.) Nancy... The voice is weak, helpless, like a prisoner... Nancy's head TURNS TO THE VOICE - toward the boiler... TINA Nancy! We see what she sees - Tina STANDS next to the boiler - her eyes are glazed over, her hair is mussed, she still wears what she wore when she died - and her stomach and chest is SPLATTERED WITH BLOOD - she is REACHING FORWARD with her arms for Nancy... TINA Nancy - you have to save me from him! Nancy's eyes widen, and she RUNS TOWARD Tina - she HUGS HER... NANCY Tina - you have to tell me how to get you out of here! I think he can be beaten! Tina RELINQUISHES the hug, and looks directly into Tina's eyes... TINA Nancy, I can't escape, I can't escape from... We SWITCH the camera to Nancy - whose eyes WIDEN with terror... NANCY No... We SWITCH the camera back - in the place of Tina is now Freddy, evil smile on his face, the trick completed... FREDDY No fucking escape, Nancy - not for you, not for anybody! Freddy SHOVES Nancy to the ground. He SWIPES DOWNWARD with his claw, directly toward her heart, but she ROLLS OUT OF THE WAY... She GETS UP and tries to run AWAY, but then Freddy POINTS HIS CLAW Nancy's direction... A pipe SMASHES DOWN in front of Nancy, blocking her way - she TURNS AROUND. Freddy POINTS AGAIN, and with a flick of his claw, another PIPE blocks her path - she is BOXED IN against one of the walls of the bottom level. Freddy STANDS UP. FREDDY What's wrong, Nancy? Are you claustrophobic? How's THIS grab you? Freddy POINTS THREE MORE TIMES - and THREE MORE PIPES SMASH in front of her, moving her CLOSER AND CLOSER to the wall... Freddy LAUGHS. He WALKS TOWARD HER - swishing his claws, letting Nancy know what's coming. FREDDY Now - you die. Nancy looks around, the pipes SURROUNDING her on all directions, wondering what to do, preparing herself for death. Then she sees something - the STEAM coming from the pipes in front of her. We wonder how she plans to use this against Freddy - but she isn't. She's using it for escape... Just as Freddy REACHES HER and REARS BACK for the death blow, Nancy SHOVES HER ARM into the pipe - the small "Hiss" is heard as the hot pipe burns into human flesh, as we... CUT TO: INT NANCY'S ROOM (NIGHT) Nancy SNAPS AWAKE - she was SLEEPING at her computer desk, her head on the table. She LOOKS AROUND - her room is totally normal, TV FLICKERING in the background - she's safe. She BREATHES HEAVILY for a few moments, clutching her chest in exasperation, calming herself... NANCY Freddy. That's the fucker's name. CUT TO: INT BATHROOM (NIGHT) Nancy is now in the family bathroom - she is going through the medicine cabinet behind the mirror. She SPOTS a bottle - No-Doz. She POPS THE CAP off, takes two of the tablets, and POPS THEM in her mouth. She SWALLOWS them. CUT TO: INT NANCY'S ROOM (NIGHT) Nancy STEPS back into her room - and she's now carrying a Coke in each hand. She SITS DOWN at her desk, and WATCHES the TV. She POPS one of the Cokes, and begins POUNDING IT DOWN. She has begun her forced fast of sleep. CUT TO: INT TINA'S BEDROOM (NIGHT) CLOSE on a pair of eyes - they SNAP OPEN. We CUT OUT - it's Rod, in Tina's bedroom, as evidenced by the posters on the wall. And he's COVERED IN BLOOD... He LOOKS DOWN at himself, wearing a t-shirt and boxers - he HOLDS HIS ARMS UP and sees all the red stuff STICKING TO HIM... He SCREAMS, then GETS UP and RUNS OUT OF THE DOOR... CUT TO: EXT TINA'S HOUSE (NIGHT) The FRONT DOOR of Tina's house BURSTS OPEN, and Rod RUNS OUT OF THE HOUSE - but now the blood is mysteriously OFF HIS CLOTHES. He COMES TO A STOP when he reaches the edge of the street...he looks down, and appears dumbfounded by the cleanness of his clothes. The camera ROTATES AROUND HIM - and behind him, in the middle of the street, about thirty feet away, is Freddy. Rod TURNS AROUND, looking the other way, Freddy eerily lighted behind him. Suddenly, Freddy LAUGHS... And Rod WHIPS AROUND to face him. Freddy STEPS FORWARD into the light... ROD Oh my God... FREDDY You want the guy that killed your little girlfriend - now's your chance. ROD You! You killed her? FREDDY I confess - it was me. And I could tell by how loose that bitch was that she didn't die a virgin. I'm guessing that was your doing. Now come on, fucker! Freddy SWISHES his claw in a ready stance... Rod RUNS toward Freddy, who merely STANDS THERE... He REACHES Freddy and PUNCHES HIM, hard, in the face... His HEAD SNAPS - but there's no reaction other than that. Rod PUNCHES HIM AGAIN AND AGAIN - and with each blow, Freddy begins LAUGHING, harder and harder - even motioning once with his hands - "Come on!" - to coerce Rod to punch him harder. Each time, his head SNAPS - but he shows no pain. Rod throws ONE FINAL PUNCH, which connects, as Freddy STOPS LAUGHING. He then SWISHES HIS CLAW inches in front of Rod's face before REARING BACK with a punch of his own, which connects with thunderous force on Rod's jaw - he goes SAILING twenty feet backward on the street and LIES THERE - his face BLOODIED as Freddy LAUGHS... Rod SITS UP, groggy from the incredible force of the blow, and looks on as Freddy WALKS TOWARD HIM... FREDDY It's your mind against mine, Rod. And on that battlefield, I - along with most of the rest of society - can beat you. In this nightmare, I punch like Jack Dempsey, and you're a fucking choir boy! Rod STANDS UP... ROD You fucker... FREDDY Wrong answer. Now you wind up just like all the others. Freddy SWISHES his claw forward in Rod's direction - and by magic, Rod is KNOCKED BACK by another invisible punch and goes SAILING BACKWARD again... Rod SITS UP - and Freddy isn't on the street... He LOOKS AROUND - there's nobody on the street, the lines of suburban-style houses concealing nothing. The mood is tense for a few moments, the camera ROTATES around Rod, sitting on the ground, looking forward - and then Freddy POPS UP behind Rod - he GRABS HIM BY THE NECK as Rod begins SCREAMING... He TAKES HIS CLAW and SLICES ROD across the neck with it - blood begins SPURTING from his jugular vein with each heartbeat...Freddy LAUGHS long and hard, continuing to hold Rod's head... He LOOKS UPWARD - and there's an atmospheric HIGH-ANGLE SHOT rising upward as Freddy stands victorious over his newest conquest, the blood FORMING A POOL on the ground below him. CUT TO: EXT GRAVEYARD (DAY) CLOSE on a headstone - "Rod Lane, brother and friend." We PULL AWAY from the headstone to a FUNERAL setting - there's several rows of SEATS in front of a closed casket. A PRIEST is up before 20-30 people, seated, speaking - Nancy, Lt. Thompson, and Marge are in the second row, and Glen is near the back. PRIEST It is extremely harsh, and on more than a few occasions, life is not fair. But on these occasions, we must remember that God's everlasting love will comfort us, because God's own son was taken from him at a very young age. In these troubling times, may we pray for Rod Lane's soul and for each other, to give us the strength to carry on in his memory while always keeping him in our hearts. While the Priest speaks, we CUT to Nancy, dressed in fancy Church clothes - she's CRYING HER EYES OUT. Lt. Thompson PUTS A HAND on her shoulder... We CUT to Glen - who is also CRYING. PRIEST God be with you as we lay the soul of Rod Thomas Lane to rest. The congregation GETS UP and begins LEAVING the cemetery. We CUT to the crowd of people filing out - Nancy makes a beeline for Glen. GLEN I'm going to find the fucker myself. NANCY If he doesn't find you first. GLEN Why is he targeting us? NANCY That's what I plan on finding out. I'm tired of all this death. It has to end - and I'm going to stop it. GLEN How do you plan to do that? NANCY Meet me at the library at 3:00. GLEN The library? CUT TO: INT LIBRARY (DAY) Nancy and Glen, now in more casual clothes, SIT in front of a projector screen in a private room - the library. There's a projector WHIRRING in the background - a blank WHITE LIGHT is projected onto the screen. GLEN Tell me again what we're doing here. NANCY You really haven't dreamed about him? GLEN I've slept like a rock this whole time. At least as much as I can be. NANCY He's not coming after you, then. You would have seen him by now. GLEN You didn't answer my question. NANCY It has to be something from this town's past. I've tried the new school way - I've searched the internet the world over for Springwood's stereotypical Lizzie Borden case. There's nothing. But there's one thing that can't be erased. GLEN So why are we looking at a blank screen? Nancy RAISES HER ARM - she has a device controlling the projector. NANCY This is what can't be erased - the old-school newspaper rolodex. GLEN I'm not sure I made the right decision coming here. NANCY Shut up and help me look. Nancy PRESSES BUTTONS - and the newspaper headlines and stories begin SAILING BY on the screen... We DISSOLVE FORWARD - there's a small montage, maybe twenty seconds, of Nancy and Glen looking at the screen - on one occasion, Glen's head falls down, tired, and Nancy HITS HIM in the shoulder to keep him awake. We DISSOLVE FORWARD in time further - Glen SITS in the chair next to Nancy, asleep, while she TAKES A SWIG from a can of Coke. She STOPS her button-pressing - her eyes GO WIDE. She WAKES GLEN UP... NANCY Glen... GLEN What? NANCY Look at this. We see what they see - there's a headline - "SPRINGWOOD SLASHER SET FREE." A large story is underneath it - and beneath it - a picture of a man's face. He's in his early-to-mid-'30s, black hair, piercing, icy glaze - it's very clearly Freddy Krueger as a human being. NANCY That's him. We ZOOM IN to Nancy's face, and then we... CUT TO: INT ELEMENTARY SCHOOL (DAY) CLOSE on the man from the newspaper photo's face - FREDDY KRUEGER, in human form, who looks as unassuming and innocent as possible. He is SWEEPING THE FLOORS of an elementary school hall - a few SMALL CHILDREN walk by him - and he TURNS AND LOOKS AT THEM... We see what he sees, as a predator stalks his prey - and we CUT BACK to Freddy, going back to his menial work, knowing of the horror that lurks inside him. JOHN (O.C.) Fred... Freddy's head JERKS UP... Principal JOHN WIGGINS, a mid-40s, balding man wearing a suit, WALKS UP to Freddy as kids continue to WALK BY... FREDDY Yes, sir? JOHN Good job on that boiler room. You saw what it looked like before you took over, and now it's as pristine as a boiler room can possibly be. FREDDY Thank you, Mr. Wiggins. JOHN Please, Fred - call me John. Listen, I want to talk to you about something. FREDDY Sure. JOHN In a more private setting - I don't want to upset any children. They might hear this. FREDDY Okay. CUT TO: INT BOILER ROOM We are now in a small room inside the boiler room - it almost looks like an office. There's a SMALL DESK in the room, and a fan BLOWING CONSTANTLY from the top of a cabinet. Wiggins TALKS to Freddy inside here. JOHN I trust you've seen all the news reports. FREDDY What do they call him, again? The Springwood Slicer? JOHN Slasher. FREDDY The Springwood Slasher. JOHN Three of the kids have been from this school. I've been catching hell from the parents - they think it's not safe to come here anymore. Fred, I don't want any more deaths on my watch - so I've been going around to some of the people that I trust. Keep a good eye on the children, OK? If there's any strangers lurking around at lunch, recess, whatever, come to the office and let somebody know immediately. FREDDY I'll keep a watchful eye, sir. I love those kids. Freddy SMILES A SICK SMILE as he says this. JOHN Thanks, Fred - I knew I could count on you. FREDDY Anytime, John. You know that I just appreciate the job. JOHN And we appreciate you, Fred. FREDDY I actually prefer Freddy. John SMILES back at him as he LEAVES the office. JOHN Freddy. CUT TO: INT ELEMENTARY SCHOOL (DAY) Freddy EMERGES from a door - with PIPES humming behind him - the Boiler Room. As he EXITS, a little blonde girl in a dress - KELLY - RUNS past him and BRUSHES against his leg... KELLY Whoops - sorry, Freddy... Freddy SMILES - he watches the little girl RUN to the main entrance of the school - and he SMILES his sick smile again... He WALKS FORWARD... CUT TO: INT ELEMENTARY SCHOOL OFFICE (DAY) John and a SECRETARY are talking to each other in the school office. Freddy OPENS the door. JOHN Yes, Freddy? FREDDY Mr. Wiggins - uh, John - I'm actually feeling a little sick. Is it alright if I go home? I can come back early tomorrow and finish up all the after-school work. JOHN Sure, Freddy - rest up. FREDDY Thank you. Freddy CLOSES the door... CUT TO: EXT INTERSECTION (DAY) Kelly STANDS all alone at an intersection - the elementary school is DISTANT in the background. Freddy WALKS on the sidewalk behind her - he NEARS HER... FREDDY Hello, Kelly. Kelly's head SNAPS AROUND. KELLY Hi, Freddy. FREDDY There's something that I have to tell you. Your father just called the school. Your mother has been in a car accident. KELLY (hurt, scared) Is she...is she OK? FREDDY She's fine - she's in the hospital. Your father is there with her - but he called and asked if somebody could walk you home. Is it alright if I walk you home, Kelly? His voice is calm, reassuring, easy to trust - and as he offers his hand to Kelly, she quickly TAKES IT. KELLY Sure, Freddy. They begin WALKING down the sidewalk... FREDDY You have to be a brave girl, alright, Kelly? KELLY Alright. Thanks for walking me home, Freddy. FREDDY I'd only do it for you. CUT TO: INT GARAGE (DAY) We are now in an EMPTY GARAGE - all we can see is a DOOR leading into it - there's no CAR - but there's a WORKBENCH visible on the right. Freddy OPENS the door, still wearing his greasy white t-shirt and jeans from work. He PUTTERS AROUND the garage for a while - then LOOKS to the workbench - he SMILES... We see what he sees - TROPHIES GALORE on a wall behind the bench. Every newspaper clipping - "Springwood Slasher gets another" - "Brutal Slaying" - etc. On JARS on the bench lie TINY TEETH - another trophy, taken from each of his victims. He PICKS UP THE JAR and SHAKES IT, LAUGHING a little bit. Then he STEPS BACK through the door... CUT TO: INT BASEMENT (DAY) We are now in a DINGY BASEMENT - a single hanging light bulb LIGHTS THE SCENE. There's a small furnace in the room, and another WORKBENCH. Kelly SITS in front of the work bench - she is TIED UP, and looks terrified. Freddy ENTERS the room from the stairs leading downward - he stares at Kelly blankly. KELLY Let me go. FREDDY Don't be frightened, Kelly. He WALKS to her, and STROKES her face... FREDDY There's nothing to be afraid of. Freddy TURNS AROUND - he WALKS to the furnace - an ancient looking thing with a metal grate. He OPENS the grate and begins PAWING AROUND inside, hiding what he is doing to Kelly with his body. FREDDY Soon, fear will be the last thing on your mind. You'll never be afraid of anything ever again - won't that be nice? We ANGLE on Freddy from the front, Kelly tied up in the background - there's more NEWSPAPER CLIPPINGS and BAGS with strands of hair behind her. Freddy FINDS what he is looking for and PULLS IT OUT - it's the razor glove - Kelly still doesn't see it. Freddy PUTS THE GLOVE ON, then TURNS AROUND - his right hand behind his back. FREDDY You're a beautiful little girl, Kelly. So much that it really hurts that I have to do this to you. Kelly's eyes go WIDE WITH TERROR, and she begins to cry... FREDDY Don't cry, Kelly. It's so much worse when they cry... Freddy finally PULLS his hand from behind his back and SWISHES the claws around - Kelly SCREAMS as Freddy ADVANCES on her - and that's the last we see of her, as we... DISSOLVE TO: INT COURT ROOM (DAY) CLOSE on the face of a mid-40s, mustached man - a LAWYER. He is in a PACKED courtroom. LAWYER This is an outrage! We CUT to show the rest of the room - the Lawyer is seated at the prosecution table, while Freddy - now wearing a suit, and with a lawyer on either side - SITS on the opposite end. An African-American JUDGE presides over, while a LARGE GROUP of spectators look on, TALKING LOUDLY about something... The Judge BANGS his gavel... JUDGE Order. Order in the court! LAWYER This man admitted to every count, your honor! That has to count for something! JUDGE He may have done so, but the law is the law. When the police seized Freddy's personal property, the proper warrants weren't issued. We CUT to Freddy's table, who SMILES a big, cheshire cat smile at his lawyers. We then CUT to the crowd - and, surprisingly, Marge Thompson - younger and significantly less boozed up - is FRONT AND CENTER, looking on with hatred. LAWYER I refuse to accept this. Fred Krueger admitted to murdering sixteen children. He did so with complete and utter contempt for the human race, and now this man is going to be free because of some technicality? JUDGE Be quiet, or else you will be held in contempt of court! The Lawyer RELUCTANTLY sits down at the prosecution table. JUDGE I have no choice but to issue the following judgment. Due to improper search and seizure protocol, the seizure of evidence from Mr. Krueger's home is not valid. Therefore, Fred Krueger will be released until further evidence can be collected. He BANGS HIS GAVEL. JUDGE Court is adjourned. The crowd begins BOOING in disapproval - the BAILIFF walks to Freddy and begins ESCORTING HIM outside as some of the patrons THROW pieces of paper at him - he TAKES IT ALL in stride, smiling his evil smile... We CUT BACK to Marge Thompson - who is surrounded by many other adults - the PTA. MARGE If they won't take care of it, let's take care of it. The other members of the PTA NOD IN AGREEMENT. CUT TO: INT FREDDY'S HOME (NIGHT) Freddy SITS in his living room - he is WATCHING TV and LAUGHING to himself... We HOLD on this for a few seconds, when suddenly a WINDOW in his living room - which is a lot cleaner than you'd expect - SHATTERS - a BRICK has flown through it. Freddy POPS UP. There's a POUNDING AT HIS DOOR - and a lot of SCREAMING OUTSIDE... The POUNDING CONTINUES - and then the door BREAKS - the first man to rush in is CARL - mid-30s, fairly muscular, and very mean-looking - he RUSHES Freddy and PUNCHES HIM hard in the face... He is followed by two more MEN - and then Marge Thompson ENTERS the house. MARGE Take the sick fuck to the basement and tie him up. CUT TO: INT BASEMENT (NIGHT) Freddy SITS in front of his furnace, in a wooden chair - he's TIED UP and immobile. Marge Thompson STANDS directly in front of him - and the burly man, CARL - PUNCHES HIM hard in the face again, bloodying him. Freddy SPITS blood. MARGE That's enough, Carl. Freddy begins LAUGHING. MARGE What's so funny? FREDDY You think this is going to stop me? MARGE Shut up! You bastard - you kidnapped innocent children. You raped them, and then you killed them! You deserve to die! FREDDY That may be true, but I'm looking at a lot of people who deserve worse. CARL Just how do you plan to accomplish that? FREDDY I am going to take away everything that's important to you. Life for all of you is going to be hell on earth. Just wait and see. MARGE Dump it. Two other MEMBERS of the crowd dump gasoline from CANS onto the floor - they MAKE A TRAIL OF IT as the crowd of people FILES OUT of Freddy's basement - as they all reach the top of the stairs, it is Marge who is the executioner - she TAKES A MATCH from her pocket and LIGHTS IT - she TOUCHES IT TO THE GASOLINE as the FLAMES LICK DOWNWARD... ANGLE on Freddy, who watches the flames come - he still SMILES his sick smile... CUT TO: EXT FREDDY'S HOME (NIGHT) The crowd - Marge front and center - STAND in front of Freddy's home, a one-story bungalow style abode - there's no houses around it. MARGE Good riddance to a sack of shit. The crowd HAWS in agreement, and they WALK AWAY... We HOLD on the flames ENVELOPING the house, burning away the physical side of Freddy - but not the spiritual, as we... DISSOLVE TO: INT LIBRARY (DAY) Back to the library - the flashback is over. EXTREME CU of another photo from the newspaper - the large group of parents, with Marge in the center, that torched Freddy, STANDING in the courtroom. Behind her, we can also see George and Karen White - we CLOSE on them for clarity. It's the same paper that Nancy looked at before - and this story is a smaller one below the main one - "TOWN'S PTA IN UPROAR." We CUT to Nancy's face - who looks on, in horror. Glen is STUDYING the paper behind her. NANCY Oh my God. It's him. He's come back for us. Glen TOUCHES Nancy's shoulder for support, as we... CUT TO: INT NANCY'S HOUSE (DAY) Marge is in the foreground, WASHING DISHES at the kitchen counter. We CUT to the front door, as Nancy enters, angrily SLAMMING THE DOOR behind her. NANCY Mother... MARGE Hi, Nancy. NANCY Fred Krueger. Marge's head TURNS to Nancy, her eyes wide. MARGE Where did you hear that name? NANCY You were on the PTA ten years ago. What did you do, mother? What did you do to Fred Krueger? MARGE I can't - I can't deal with this right now... Marge REACHES upward toward a cupboard - she GRABS a bottle of whiskey and tries to drink it. Nancy RUSHES HER - she grabs the bottle and THROWS IT on the floor - it SHATTERS, the liquid hitting the floor as well. NANCY Goddammit, talk to me! Fred Krueger - you killed him. MARGE He was a filthy child murderer, Nancy. And it wasn't just me - we were all there the day that he was acquitted because the system was sick. We hated him - we wanted to watch him burn. We got rid of a piece of garbage. NANCY Right. You and the rest of Springwood's glorious PTA, right? I know what's happening now. I know why the police can't find the guy. I know why there's never any evidence, and why nobody knows where the fuck to look. There is nowhere to look. He's taking the children of everyone who killed him - and he's doing it in our sleep. MARGE That's crazy talk, Nancy. Jesus - how long has it been since you've slept, anyway? Your eyes-- The camera CUTS closer to Nancy's face - she has huge BAGS over her eyes now, and looks exhausted. NANCY Don't worry about me. I'd just as soon never sleep again, for all I care. But who else did this, mother? Who else did this to Freddy Krueger? We CUT to Marge's face, despondent, as we... CUT TO: INT CAR (NIGHT) We are now in a CAR - and Carl, the same man who brutalized Freddy, SITS in the front seat along with his wife, SUSAN. Carl now wears a suit, and his wife is similarly attired - they are lawyers, and project wealth and importance. SUSAN I'm still a little uneasy about this, Carl. CARL Susan, these conferences only come up once per year. If we don't go, some day, the client of a life time... SUSAN Is going to slip right through our fingers, I know. I'm just scared to leave her behind. CARL I told her where the gun is. She's sleeping with it in her room. SUSAN You're letting our daughter take our gun into her room? CARL I want her to be safe just as much as you do. SUSAN Poor Heather - she's all alone in that godforsaken town. CARL We've always been able to trust her before - I'm sure she's not doing anything too crazy. She's probably sitting at home studying as we speak. CUT TO: INT HEATHER'S HOUSE (NIGHT) SMASH CUT to an 18-year-old boy SCREAMING - he's holding a beer. This is a WILD PARTY SCENE - SCORES of teens rock to a high tempo song in Heather's house - which is huge, nicely decorated, and posh to the max. We CUT to the back of the room near a window - where Heather, sluttily attired in a tank top and tiny shorts, sits along with Katie and Amber. AMBER When did your parents say they were going to be home, anyway? HEATHER Don't worry about it, guys. These conferences take up a lot of their time - they spend the better part of six months planning for these stupid things, and it's a minimum of a week. KATIE It's so awesome that school is called off until they catch the guy. We can do this every night! HEATHER You're fuckin' right! Heather STANDS UP - grabbing a beer of her own and CHUGGING IT as everyone cheers. She DOWNS THE WHOLE THING - and there's a big YELL from the crowd... We CUT to the front door of the house - it opens, and Daniel enters, dressed out to the douche max, his hair gelled and his collar popped. Heather WALKS to Daniel and LEAPS INTO him, and they make out passionately... DANIEL Jesus - you missed me that badly? HEATHER How bad did you miss me? DANIEL Enough that I don't want to waste any more time down here. Heather takes Daniel's hand, and guides him through the massive crowd toward a STAIRWAY... CUT TO: INT HEATHER'S ROOM (NIGHT) Daniel SLAMS Heather down on the bed, and they continue to kiss passionately. She ROLLS on top of him and TAKES OFF her tank top, and an R-rated sex scene commences. Heather takes off her tank top - there's no bra underneath, and she teases Daniel for a while first. Lots of heavy breathing and thrusting commences. CUT TO: INT NANCY'S ROOM (NIGHT) Nancy SITS at her desk - she PRINTED off a copy of the newspaper articles. She is STARING at one of the photos of Freddy Krueger, pre-burning. LT. THOMPSON (O.C.) Fred Krueger can't get you anymore. The camera CUTS to her door - Thompson STANDS there, now wearing his police duds again. LT. THOMPSON I saw him burn. I was one of the men that did it. NANCY How could you do this? LT. THOMPSON It wasn't my idea. But I didn't stop it - the world is better off without Fred Krueger. NANCY It wasn't your place to decide, Dad. Lt. Thompson WALKS to Nancy. LT. THOMPSON You have to understand something. The crimes that he did were heinous - maybe the worst that this state has ever seen. He took sixteen kids that never did anything to him - he did God knows what to them before he killed them. And then came the coup de grace - did it say anything in those newspaper articles about what he did to do them all in? NANCY No. LT. THOMPSON That glove. I'll never forget the look of that thing. It was like something out of a movie - that makeshift piece of shit that he made himself. It was... NANCY It was a glove with razor blades. I've seen it, Dad. LT. THOMPSON He'd cut their faces first. Circles - from the forehead all the way down to the throat. When he got done with that, sometimes he'd want to have his way with the girl again - sometimes not. Sometimes he got impatient and just sliced their throats. On two occasions, he ripped the kid's fucking heart out of their chest. NANCY Oh my God. LT. THOMPSON Fred Krueger was an animal. He deserved to die. He didn't deserve to live free because of some bullshit technicality. NANCY That may be true. But there could have been a way, Dad. There's always another way. Nancy GETS UP. NANCY You can try to shelter me from it all you want, but I want to do what you do, Dad. I've researched it a lot - there could've been something. You could have gotten another warrant - it wouldn't have taken much for a member of the attorney's office to sign off on one. You could have found something else - it just would've taken time. LT. THOMPSON I know, sweetheart -- I know. But that crowd wanted blood - and I'll take responsibility for my own actions. I didn't stop them. Lt. Thompson LEANS FORWARD and kisses Nancy on the forehead. LT. THOMPSON He can't get you anymore. He's dead. NANCY If only that were true. CUT TO: INT GYMNASIUM (DAY) CLOSE on a pair of eyes opening - pretty, blue ones. Heather is LYING in the middle of the gymnasium - wearing her blue cheerleader's outfit. It is ALL DARK in the gymnasium - a BRIGHT LIGHT shines on her. She GETS UP - suddenly, a school FIGHT SONG starts. Heather LOOKS AROUND - there's nobody. Then the fight song STOPS - and the gymnasium LIGHTS UP. Heather LOOKS FORWARD. Freddy SITS at the top of the bleachers - he is CLAPPING, hand on claw, making a metallic 'clink' sound each time. He LAUGHS. HEATHER Who the fuck are you? FREDDY I'm the fire safety official, Heather. Didn't you hear? There was a massive blaze at the school today - it wiped out everybody but you and me! HEATHER Am I dreaming? Freddy GETS UP and begins DESCENDING the bleachers... FREDDY You've been able to coast by on that model's body for so long, haven't you, Heather? The power of beauty can cover a multitude of sins. Let's try a little experiment - how do you fair when put on an equal playing field with me? Freddy SNAPS HIS CLAW upward - we CUT to the ceiling of the building - the FIRE EXTINGUISHERS SNAP ON...we EXTREME CU on the SPRAY... They aren't shooting water - they shoot tiny, solid objects... We CUT to Heather, and we REVERT to slow-motion - they are SHARDS OF GLASS - and they begin TEARING INTO Heather's skin - she JERKS HER BODY back and forth as pain racks her body, and blood begins DRIPPING from literally dozens of CUTS AND NICKS on her body... The glass continues to CUT INTO HER... Freddy LAUGHS DIABOLICALLY... The torture continues, as glass continues CUTTING into Heather, and finally, the fire extinguishers CEASE firing. Freddy REACHES the bottom of the bleachers - and we see Heather - now a work of modern art - DOZENS of pieces of glass STICK OUT OF HER SKIN grotesquely. Freddy continues LAUGHING. FREDDY How does it feel, Heather? Now, like me, you are a work of art! HEATHER Fuck you! Why are you doing this to me? FREDDY Here's the real question, Heather - why not? Why not do this to you? Freddy quickly WALKS to Heather until he is inches from her. Heather tries to RUN AWAY - but Freddy FREEZES HER with a swing of his claw. FREDDY If I was in your school, would you let me into your crowd? Heather merely PANTS in protest, the pain still unbearable for her. Freddy PLUCKS one of the shards of glass from her face - he HOLDS it menacingly in front of one of her eyes. FREDDY So much pain that you're in right now. Freddy CUTS Heather with the shard of glass, across the forehead - she bites her lip, not wanting to scream. He SLASHES her across the cheek - deeper this time, as blood RUNS DOWN HER FACE... FREDDY Beauty means nothing. Look at me - I'm an ugly son of a bitch, and you're completely at my mercy! You couldn't run if you tried! HEATHER Just let me go! FREDDY Tell you what, Heather - I'll give you a choice. Now, this is an extremely good opportunity for you. I haven't given any of the others a choice. The others have had no choice over their fate at all. But you - you get to choose whether you live or die! Is that fair, or what? HEATHER Live - please let me live! FREDDY Ah - but it's not that simple. I have a special talent, as you see - right now, you're sleeping - and when you wake up - all that painful glass that's sticking out of you right now? That's the way you're going to look - likely for the rest of your life. That is, unless your mommy and daddy have so much money that they can buy you a new face. But that's life, Heather - you'll continue to breathe, to fuck, to condescend. Or, you can die - and you're dead, but you're not ugly. So, what's it going to be? There's a LONG, TENSE BEAT - Freddy TILTS Heather's head upwards - she begins to CRY. HEATHER Death. FREDDY Gladly. Freddy REARS BACK and STABS Heather with his claw - directly in the stomach. Heather begins COUGHING UP BLOOD... FREDDY You think your mommy and daddy are good people? They never told you what they did to me, did they? Another SPURT OF BLOOD from Heather's mouth is all she has to say in response... Freddy RAISES HIS GLOVE - he SLICES from her stomach ALL THE WAY UP TO HER STERNUM, blood SHOOTING from her midsection - a clean, hunter's kill. Her head collapses, which Freddy TAKES on his shoulder, as he LAUGHS... FREDDY Another one bites the dust. Freddy LAUGHS... CUT TO: INT HEATHER'S ROOM (MORNING) Angle on Daniel's face, asleep, now wearing a tank top. We gradually PULL BACK, and we see that Heather is in his arms. Daniel's eyes SNAP OPEN - and he begins SCREAMING as soon as his eyes adjust... We LOOK DOWN with him - as BLOOD COVERS THE BED - he PUSHES HEATHER AWAY, still SCREAMING - the SLASH is palpable, from Heather's STOMACH all the way up to her CHEST... CUT TO: EXT HEATHER'S HOUSE (MORNING) Once again, Heidi is SETTING UP outside Heather's house. Nancy and Glen WATCH from the sidewalk, and the SCORES of party-goers are also present. We see the front door of the house behind Heidi. Heidi MOTIONS for her cameraman - "3, 2, 1" HEIDI This is Heidi Borland, live with KRGR-19 news. I'm told that the Springwood police department have just arrested a suspect in the string of killings that have rocked the community over the past several months, with the pace escalating over the last several weeks. The FRONT DOOR of the house opens - and Lt. Thompson and Dobbs LEAD Daniel out of the house in handcuffs. Two POLICE CARS are parked in front of the house as all the KIDS look on... HEIDI Here they are now. The camera ZOOMS IN on the front door - Thompson and Dobbs WALK the restrained Daniel - crying and in disbelief - past the crowd of people and lead him DIRECTLY to the police car. They OPEN the door and SHOVE HIM INSIDE, at which point Thompson SLAPS the car twice with his hand and it EXITS. Thompson then TURNS AROUND and begins WALKING toward the camera... HEIDI Lieutenant Thompson, can we... He SHOVES the camera away with his hand... We HOLD on Thompson - he is WALKING across the street to where Nancy and Glen are. LT. THOMPSON Now it's over. We got him. NANCY You've got the wrong guy, Dad. GLEN Nancy, listen to your father. It's over. You can sleep now - you can't keep doing this to yourself! NANCY It was him. Nancy TURNS AROUND, leaving Glen and Thompson alone. LT. THOMPSON She hasn't slept in a long time. GLEN Three days by my count. She told me. LT. THOMPSON Glen - listen, I was wrong about you for a long time. You're a good guy, alright? He BRINGS HIS HAND FORWARD for Glen to shake - he takes it. GLEN Thank you, sir. LT. THOMPSON I don't think I can convince her to sleep no matter what the hell I say. Can you do me a favor and try to get her some fucking rest already? GLEN I'll do my best. CUT TO: EXT CITY PARK (DAY) Nancy SITS by herself on a park bench, next to a lake. She is EATING some fast food take out - and she also READS A BOOK. The terrain is green and leafy, the scene is tranquil, and Nancy now has even bigger bags under her eyes. Another sleepless night. Glen WALKS UP to her on the path behind her. GLEN Hi, Nancy. NANCY Hi, Glen. GLEN Listen - it's all over now. NANCY For you, maybe. But for me, it's just beginning. Glen SITS DOWN next to her on the bench, a little angry. GLEN What are you reading? He TAKES THE BOOK - we see the cover, depicting a rather eerie drawing of dream symbology. GLEN Lucid Dreaming: The Art of Controlling your Dreams? NANCY He has all the power in the dream world. I want to know how to take it away. GLEN You really believe all this crap? NANCY It doesn't matter if you believe me or not. I know that it's real. I know everything that I've felt in these dreams - and I know I'm not crazy. GLEN I never said you're crazy. Just listen to me, goddammit... Glen takes Nancy's hand. GLEN I can't watch you go through this. You're putting yourself through hell, and for what? Look - you're having some scary dreams. I get it. We've all had a few nightmares over this whole thing. But Daniel killed all those people - that's just the way it is! Accept it! NANCY It wasn't him. It was Freddy. GLEN Okay. What you said is that this Freddy guy is coming back to kill the children of everyone who did this to him, right? Well, I asked my parents about it - THEY were on the PTA ten years ago! How come I'm still here? How come I haven't even DREAMED about him yet? Nancy's eyes suddenly go blank. NANCY Your parents were on the PTA? GLEN Yes. NANCY They helped. They helped kill him. Glen - he told me that he knows everything I know. Which means that he knows that you're-- GLEN He doesn't know anything, Nancy! He's dead! NANCY In this world, maybe. But somehow - he's still around. And he's not going to stop until we're all dead! Glen - you can't go to sleep... GLEN Or what? NANCY Or else you wind up like all the other idiots, that's what! You have to wait! You have to wait until I kill him! GLEN And how long is that going to take? NANCY I'll go to sleep eventually, Glen. But when I do, I want to make sure that I'm absolutely ready. Like I said - he has a lot of power in that world. Don't underestimate him. GLEN There's nothing to underestimate. Look, just do me a favor and get some goddamn sleep, okay? This is ridiculous. Glen angrily GETS UP and walks away... NANCY Glen - don't fall asleep! Glen looks back with anger, then continues walking... We HOLD on Nancy, sad look on her face - she GOES BACK to her book... CUT TO: EXT NANCY'S HOUSE (DAY) Nancy WALKS DOWN THE STREET near her house - she notices her father's POLICE CAR and an EXTRA VAN parked on the outside. She CONTEMPLATES this for a few moments before she WALKS UP the walkway and STEPS IN to the front door... CUT TO: INT NANCY'S HOUSE (DAY) Lt. Thompson and Marge are both STANDING, while a new character - DR. CONNORS, a mid-50s, heavyset man wearing a suit - is SEATED on one of the chairs in the living area as Nancy ENTERS the house. Dr. Connors STANDS UP. NANCY Mom, Dad - what's going on here? MARGE Honey, this is Dr. Connors. I called him earlier today about your problem. NANCY What problem, mother? LT. THOMPSON We know that you're under incredible pressure, dear. We just want what's best for you. NANCY (to Dr. Connors) What do you want to do to me? DR. CONNORS I'm not going to do anything to you, Nancy - I just want to give you something. He PULLS something out of his pocket - a small CONTAINER of pills. NANCY Those are sleeping pills, aren't they? Nancy angrily STORMS off to the steps toward her room... Lt. Thompson CATCHES UP with her... LT. THOMPSON We just want what's best for you... Marge RUSHES her as well... DR. CONNORS They've completely voluntary, Nancy. I understand you haven't slept in three days. You must be absolutely exhausted. I've known your parents for a long time - they're just looking out for what's best. Dr. Connors - calmly, not menacingly, walks up to Nancy, who is being HELD BACK by her parents. DR. CONNORS Do you know what happens when you don't sleep, Nancy? You can actually survive longer without food than without sleep. Your heart rate becomes erratic. Toxins clog up the blood. Your body begins to poison itself. Is being scared worse than poisoning yourself? Dr. Connors HOLDS UP the bottle of pills calmly, and Nancy, surprisingly, TAKES IT. Her parents LET HER GO. MARGE Take one, honey. Nancy SNAPS OFF the cap, and appears ready to TAKE ONE - but then she goes SPRINTING UP THE STEPS. Her parents RUN AFTER HER... CUT TO: INT BATHROOM (DAY) Nancy REACHES the bathroom as her parents are hot on her heels - she SPRINTS IN and immediately TOSSES the bottle of pills into the toilet. She FLUSHES IT. MARGE Goddammit, Nancy! LT. THOMPSON What did you do that for? MARGE You can't keep doing this to yourself, Nancy! You need sleep! NANCY Screw sleep! Nancy STORMS past her parents, then HEADS to her room as her parents STAND dumbfounded. CUT TO: INT GLEN'S ROOM (NIGHT) We are looking at several POSTERS lining a wall - "Scarface," the Chicago Cubs, the band Metallica, etc. - we are in Glen's room. A TV is blaring MTV on one side of the room, and Glen is lying on the bed, wearing only a tank top and boxers, watching it. His eyes slowly DRIFT SHUT - and then a PHONE CALL awakens him. It's his cell phone, lying on the bed next to him. He sees the # - "Nancy." He PICKS IT UP. GLEN Hello? CUT TO: INT NANCY'S ROOM (NIGHT) Nancy is LOOKING out the window of her house - straight toward Glen's window - we can even see the flickering light from the television. NANCY I can see you. You're watching TV. You can't fall asleep. We JUXTAPOSE between the two rooms as they talk to each other. GLEN Oh, Jesus Christ, Nancy... NANCY Just one night. That's all I'm asking. One night, and then I'll be ready. I've read a lot on the subject... We PAN DOWN to her desk - in addition to the earlier book, there are two others: "The Symbology of Dreams" and "Dreamscape." NANCY And I think I'm ready to take him down. Because I think I know what he's afraid of. But I need to be sure, Glen. I can't lose you, too. I've lost everything else. GLEN You're not going to lose me, Nancy. NANCY Then just do it for my sake and go on a forced sleep fast for one night. Get some speed pills. Get some fucking mountain dew, whatever it takes - just don't fall asleep. GLEN Nancy... NANCY Glen, I love you. GLEN Nancy - you're delirious... NANCY Don't say that. It's true. I love you. I need you to know that. (she begins crying a little) It's about the only thing I'm certain of anymore. GLEN Nancy - I'm hanging up now. I will see you in the morning - and please do me a favor and get some sleep. Glen HANGS UP THE PHONE, and then SHUTS IT OFF... BACK to Nancy's room. She TRIES calling again - and immediately gets the voicemail box. NANCY Fuck! Nancy immediately RUNS out of her room... CUT TO: EXT GLEN'S HOUSE (NIGHT) Nancy half-springs, half-jogs across the street toward Glen's house. She REACHES the front door, and BANGS ON IT... NANCY (yelling) Glen! She continues yelling his name - and finally, the door opens. It's a mid-40s, angry-looking man - WILLIAM, Glen's father. WILLIAM Hello, Nancy. NANCY You have to let me see Glen! WILLIAM It's almost midnight, Nancy... NANCY I need to see him. WILLIAM You can't see him. He told me that if you came to the door not to let you in. William SHUTS the door in Nancy's face. NANCY (yelling) Glen! Stay awake! CUT TO: INT NANCY'S ROOM (NIGHT) Nancy ENTERS her room again and goes STRAIGHT to her seat next to the window - which she WATCHES - directly toward Glen's room. The light is now off. Nancy LOOKS to the clock - 12:05 A.M.... CUT TO: INT GLEN'S ROOM (NIGHT) CLOSE on an alarm clock - 12:35 A.M. Glen LIES ASLEEP on his bed - no movement in the room whatsoever...the music and the tension pick up as we see that Glen is going through REM sleep and is in a dream. We HOLD on him for several gut-wrenching seconds. Suddenly, there's a loud THUNK - and Glen GRABS HIS CHEST in pain - he begins to SCREAM... Then there's a SLASH that APPEARS - almost by magic - across his chest - and blood begins SPRAYING FROM HIS WOUNDS... He is suddenly THROWN from his bed to one side of the room, still SCREAMING - and still with his eyes CLOSED... CUT TO: INT GLEN'S HOUSE (NIGHT) William RUNS UP a flight of stairs, the sounds of his son screaming in the background - he nears a door and begins POUNDING ON IT - he tries to OPEN IT - but it's locked... CUT TO: INT NANCY'S ROOM (NIGHT) Nancy continues to look across the street - we can hear the faint sounds of screaming... NANCY No... CUT TO: INT GLEN'S ROOM (NIGHT) Glen is now FLIPPED, blood still SHOOTING from his midsection - and he is PULLED UP the side of the wall. When he reaches the top, he is DRAGGED ACROSS THE CEILING, a dramatic STREAK OF BLOOD following him the entire time. Through it all, he never ceases to SCREAM and WAIL in pain - and the sounds of his father ECHO in the background, as well, banging on the door as he tries to ENTER... When he reaches the center of the ceiling - another SLASH crosses his stomach, SPILLING his innards onto the bed below - and then he FALLS to the bed in a horrific and sickening SPLASH. The room is now unrecognizable - it looks like a slaughterhouse, as Glen lies, dead and wasted... CUT TO: INT NANCY'S ROOM (NIGHT) As Glen FALLS, some of the blood SPRAYS onto the window - and Nancy sees it... She CRIES... NANCY No, please God, no! Not Glen! Nancy FALLS FORWARD - CRYING HER EYES OUT once again... DISSOLVE TO: EXT GLEN'S HOUSE (NIGHT) We have DISSOLVED FORWARD in time - POLICE CARS and an AMBULANCE are now parked in front of the street - there is no sound but the music. Lt. Thompson and Dobbs EXIT one of the police cars - Thompson looks extremely saddened upon exiting as officers go in and out of the house, with Glen's father and mother crying hard on the outside steps. As they near the steps, Lt. Thompson TURNS AROUND and LOOKS UP - we see what he sees. Nancy is LOOKING DOWN from her window, directly into his eyes. Back to Thompson, much sadness and disappointment, as we... CUT TO: INT NANCY'S ROOM (NIGHT) Nancy TURNS AROUND from her window - she is no longer accepting of the situation. It's time for it to end. She EXITS her room... CUT TO: INT BATHROOM (NIGHT) Nancy REACHES behind the mirror, but instead of No-Doz, she TAKES one of the sleeping pills - she saved one. She POPS IT in her mouth and SWALLOWS. CUT TO: INT NANCY'S ROOM (NIGHT) HIGH-ANGLE SHOT of Nancy laying in bed, her eyes open, but the eyelids feeling heavier and heavier, the exhaustion and depression of the last few days raining down heavily on her. We ZOOM IN on her face as she prepares for her final battle. Eventually, her EYES CLOSE, and we... CUT TO: INT BOILER ROOM Nancy's EYES POP OPEN - and she is unsurprised to find herself back in the boiler room - and she is DIRECTLY IN FRONT of the boiler room, wearing pajamas. She GETS UP. Nancy WALKS PAST the boiler as steam ATMOSPHERICALLY TRICKLES in the small hallway... She WALKS FORWARD - and we hear the familiar sound of metal SCRAPING ACROSS METAL, and then a faint FREDDY LAUGH... NANCY Where are you, you bastard? Freddy continues to LAUGH in the background... NANCY Where are you, you chicken shit? Nancy WALKS FORWARD through the maze of pipes - and at the end of the hallway is a DOOR. She ENTERS IT. CUT TO: INT FREDDY'S ROOM There is a LARGE CURTAIN on the far side of this room, about thirty feet away from the door - along with a TABLE with a cloth over it. Nancy ENTERS the room from the far side - all sorts of STEAM billowing around the scene... NANCY Show yourself, fucker! And on the far side of the room, Nancy hears LAUGHTER - and then the CURTAIN RETRACTS - it's Freddy, smiling an evil grin, SITTING on a chair that looks like a Throne. NANCY I'm going to kill you, Krueger! Freddy LEANS FORWARD. FREDDY Good! That's the spirit! I finally meet one of you who gets it! Freddy GETS UP and slowly begins WALKING toward Nancy... NANCY What's there to get? You're a mass murdering fuckhead who kills people for no other reason than the fact that it suits your lifestyle, you sick son of a bitch! FREDDY It's so easy to write me off as one of those handy little textbook examples, isn't it? Maybe I kill because I like it, maybe I'm a product of society, I don't know, who gives a fuck. The truth is - the only real time any of us are alive - is when we're causing death and destruction! Freddy REACHES the table - he removes the CLOTH. Underneath it is a horrific scene - the SEVERED HEADS of everyone he has killed thus far in the film. Tina, Rod, Heather, Kara - and on the far right, Glen... Nancy SHRIEKS in protest... Freddy LAUGHS... FREDDY Oh, your boyfriend. I'm so sorry. NANCY You can try and play mind games all you want. I'm not afraid of you anymore. FREDDY This whole game you're playing, this eternal battle of good versus evil - tell me, does it make it any easier to accept the fact that what you want to do to me is the exact same thing that I've been doing this entire time? You're no different than me! Nobody is any different than me! They just thought they were! Look what they did to me! Freddy has RUSHED Nancy, his face INCHES from hers - but he is not threatening her - YET. He is making a point. FREDDY Look what they did! Everybody was so, so quick to point out all the things that I did to those beautiful little children - but then look what they turned around and did right back! Your mom and dad - they're no different than me. NANCY And you can try and play that game all you want to, Freddy - we're all different than you. You try to rationalize everything that you're doing like there was some great injustice thrust on you - and maybe there was. But the injustice that was given to you is nothing compared to what you gave to everybody else that you hurt - and no matter how you rationalize it, you did it all for no other reason than the fact that you liked it. FREDDY Okay. Well, I believe we've each said our piece. You've made your point, and you've done so very eloquently. Now - time for you to visit all your friends...in hell! Freddy SWISHES HIS CLAWS forward - in an attempt to control Nancy's actions... She STARES FORWARD at him... NANCY This is my dream, Freddy! I'll do what I want to do! She begins WALKING toward Freddy, and PICKS UP a loose pipe on the wall... Freddy continues FLINGING HIS HAND, attempting to hold Nancy back with his dream power - to no avail. Nancy RUSHES FORWARD AND SWINGS THE LEAD PIPE - she HITS FREDDY square in the face with it, and for the first time in the film, Freddy is in real danger. He FALLS TO THE GROUND, but immediately GETS BACK UP. He appears SHOCKED - he WIPES AWAY a trickle of blood from his mouth - he is completely on a level playing field with Nancy. FREDDY Okay. You know this is just a dream. But if we can't do this the easy way, the hard way will work just fine! Freddy RUSHES Nancy - who SWINGS the lead pipe at him again - he DUCKS IT, and HITS HER in the face with his fist - she goes FLYING BACKWARD... Freddy LAUGHS and WALKS toward her - Nancy immediately RUNS BACK to the door... CUT TO: INT BOILER ROOM Nancy SHUTS THE DOOR behind her, and immediately RUNS PAST the boiler and into ANOTHER HALLWAY...she goes RUNNING PAST another maze of pipes and walkways - she continually LOOKS BACK, attempting to put some distance between her and Freddy. She eventually reaches a STAIRCASE, and ASCENDS IT, always looking down, keeping an eye out - and when she reaches the top, Freddy is there - he SWIPES FORWARD with his claw - she DUCKS IT, and KICKS HIM IN THE SHIN, hobbling him, and allowing her to RUN AWAY again... He CHASES HER along the walkway, but she RETREATS into another hall, losing him in the maze of pipes yet again. At the end of this hallway, Nancy sees another door - it's very similar to Freddy's office as a human. She ENTERS IT. CUT TO: INT OFFICE She LOOKS AROUND - there's SHOVELS, PICKAXES and a whole lot of other weapons - but she's looking for something else. NANCY Burn. Something that will burn. Then she spots it - near the table in the middle of the room - a GAS CAN. She PICKS IT UP, and EXITS the office... CUT TO: INT BOILER ROOM Freddy is STALKING through the maze of pipes, looking around for Nancy... FREDDY Hey, Nancy! You know, the two of us, we could have so much fun together! We see now that he is NEAR the door of the office. We CUT to Nancy, who immediately RUNS to the right side of the office door... She HIDES BEHIND a wall of pipes, and watches Freddy NEAR the door... Freddy LOOKS AROUND, and it is tense for a few moments as he STALKS and LOOKS - but eventually he ENTERS the office - she then TURNS AROUND and RUNS the other direction... We FOLLOW Nancy now as she RUNS through the maze of pipes, carrying the gas can all the while - she eventually reaches another staircase, and DESCENDS IT back to the floor level, looking backward the entire time. Nancy REACHES the boiler - there's an old-fashioned CRANK attached to it. She knows what she must do. She CRANKS the boiler to life - and we watch the fires STOKE on the inside. There's also a TEMPERATURE GAUGE attached to the boiler - Nancy CRANKS IT UP to full, dangerous capacity. She then WALKS PAST the boiler and BACK into Freddy's room... CUT TO: INT FREDDY'S ROOM Continuous shot, as Nancy STEPS BACK into the room and SPOTS the lead pipe she dropped earlier - she GRABS IT and retreats... CUT TO: INT BOILER ROOM She nears the boiler - and then LOOKS AROUND - Freddy is NOWHERE TO BE FOUND. She DROPS the pipe, and then PICKS UP the gas can. She POURS GASOLINE IN FRONT OF and around the boiler - she MAKES A TRAIL OF IT for about ten feet. She then DROPS the gas can, throwing it ANGRILY. She PICKS UP the lead pipe again. NANCY Come on, Krueger! Are you afraid to face me? Are you afraid to face a girl? She HITS one of the pipes with the pipe, creating a menacing sound. NANCY Come on, fucker! What are you waiting for? Nancy continues WAILING on some of the pipes, attempting to coerce Freddy out - and as she REACHES one of the entrances to a hallway, she is surprised. A CLAW SWIPES from the hallway, hitting her DIRECTLY ACROSS THE FACE - blood FLIES from her wounds, and she DROPS the lead pipe... Freddy SMILES diabolically as Nancy HITS the ground. Freddy then MOUNTS HER and begins CHOKING HER with his free hand...she COUGHS FOR AIR... FREDDY Die! Nancy BITES Freddy's hand, and he SCREAMS IN PAIN...she then HITS HIM across the face with her fist, and she is able to ESCAPE from underneath him - she immediately begins RUNNING for the lead pipe, but Freddy gets up - and he POUNCES ON HER before she can reach it. Nancy SPINS AROUND to face him on the ground, as he is already in the act of bringing his claw down on her face for the death blow - she BLOCKS his wrist with both her hands, stopping the claw inches from her face. He forces it down, and there's a tense standoff - then Nancy SPOTS something - the pipe. She is closer than she thought. She REACHES OUT with one of her arms, and Freddy attempts to bring the claw down - but Nancy GRABS the pipe and HITS Freddy in the face with it, HARD. Nancy STANDS UP again and HITS Freddy's GLOVE - which SAILS OFF of his hand. She HITS HIM in the face with the pipe again, then tosses it aside. She WALKS to the glove - she PICKS IT UP and PUTS IT ON her right hand, SMILING EVILLY herself as she does so. She TURNS AROUND, and SWISHES the claws exactly as Freddy would - he TURNS UP and sees Nancy. FREDDY No... NANCY Yes, motherfucker... Nancy RUSHES Freddy on the ground and SLASHES HIM directly in the face - blood FLIES from his face. She then SLASHES him across the stomach, and he SCREAMS in pain and protest. He SLINKS to the ground. Nancy LOOKS BACK to the boiler - the temp is now at a CRITICAL LEVEL... NANCY What are you afraid of, Freddy? FREDDY Bitch... NANCY I think I know. She SLASHES HIM across the chest, and he SPINS AROUND on the ground, lying on his back now. She CROUCHES DOWN by him and raises the claw - she SHOOTS DOWNWARD - but Freddy DODGES the blow and then PUNCHES HER in the face, sending HER FLYING and leaving the claw behind. Freddy SMILES, and PUTS THE CLAW on again... FREDDY Come to papa. Nancy is PRONE on the ground, on her back, seeing stars from the blow... Freddy slowly WALKS TO HER, having her at his mercy - he RAISES THE CLAW, and Nancy prepares herself for death... But then he LOWERS THE CLAW. FREDDY I'm not done with you yet, bitch. I'm going to enjoy this. Freddy PICKS HER UP by the throat. FREDDY I want to look into your eyes as the life slowly leaves you. He picks Nancy up CLEAR OFF THE GROUND, holding her up with one arm... FREDDY Did you really think you could beat me with your new age harmonic crap? I am more powerful than you could ever imagine! Freddy THROWS Nancy hard against a wall of pipes near the boiler - she FALLS TO THE GROUND, hard, now even more groggy. She slowly SITS UP. Freddy WALKS TO HER - he CROUCHES DOWN and raises the claw - and he begins SLICING HER FACE - her forehead first, then her cheeks, as blood begins seeping from the small cuts... FREDDY Payback's a bitch, isn't it? Your bitch of a mother - she'd know. NANCY Fuck you. FREDDY Ironic that you say that. You're such a sweet little piece of ass, Nancy. I'll let you live if you let me fuck you! Freddy LAUGHS HYSTERICALLY AT THIS... FREDDY Just kidding. I know what your answer would be, anyway. Nancy's eyes TURN to the boiler - the pressure is now beyond critical, and a light RUMBLE envelops the soundtrack... Freddy's claw NEARS HER THROAT, and he prepares for the death blow... But then Nancy REARS BACK and PUNCHES Freddy hard in the face again, knocking him backward - and DIRECTLY INTO the line of the gasoline... Then there's a spectacular scene - the BOILER EXPLODES - HALF THE ROOM GOES UP IN FLAMES. CLOSE ON FREDDY - his eyes go wide with terror as FLAMES SHOOT FROM THE BOILER DIRECTLY TOWARD HIM... The flames ENVELOP FREDDY - who begins SCREAMING in terror and pain as the flames have now TAKEN OVER THE BOILER ROOM - and Freddy himself, who now SKULKS AROUND, a human BALL OF FLAME - dying the exact same way he did as a human... CUT TO: INT NANCY'S ROOM (NIGHT) There are CUTS on Nancy's face, underneath the covers of her bed, where Freddy slashed her - but that is not where our focus is. Nancy's room itself is now BILLOWING IN FLAME - the power and intensity of the dream carrying over into the real world. CUT TO: INT NANCY'S HOUSE (NIGHT) We CUT to the main floor - a DOOR OPENS, and out steps Marge Thompson, wearing only a robe. She can hear the WINDOW BREAKING and WOOD SMASHING on the floor above her as a result of the fire - she RUNS UPSTAIRS... As she REACHES the door to Nancy's room - she sees the yellow light underneath it... She POUNDS on the door... MARGE Nancy! Nancy! Marge GRABS the handle - it's warm - but she OPENS THE DOOR ANYWAY - and is IMMEDIATELY KNOCKED BACKWARD by an explosion from the intense heat inside the room... We ANGLE on Marge, blood trickling down her forehead, INSTANTLY DEAD from the force of the heat blast... CUT TO: INT BOILER ROOM Back to the dream - Nancy slowly STANDS UP, still watching Freddy FLAIL AROUND, SCREAMING IN PAIN - he's DYING. FREDDY No! I can't-- Nancy PICKS UP the lead pipe again. NANCY Yes, it can, Krueger! You're history! She HITS the flame-covered Krueger directly in the face, KNOCKING HIM directly into the boiler - it CRASHES under his impact, and he FALLS INWARD into the flames as the BOILER ITSELF tumbles inward on him... NANCY Rest in hell. Nancy RUNS BACKWARD into one of the MAZES OF PIPES... CUT TO: INT GLEN'S HOUSE (NIGHT) Lt. Thompson is TALKING to Glen's parents inside the house, many officers present in the background, when Dobbs suddenly BOLTS in the front door and RUSHES Lt. Thompson. DOBBS Don, there was just an explosion over at your house? LT. THOMPSON What? DOBBS We think there's a fire in your house, Donald! Lt. Thompson immediately RUNS OUT OF THE HOUSE... CUT TO: EXT SPRINGWOOD STREETS (NIGHT) We FOLLOW Thompson as he RUSHES across the street, past the cavalry of policemen and medical personnel - and even Heidi Borland herself on the scene - he SPRINTS INTO his own home... CUT TO: INT NANCY'S HOUSE (NIGHT) He SPRINTS through the house and up the stairs - and when he reaches the top of the stairs, he sees a grisly sight. His wife lies at the foot of the stairs, DEAD AND GONE. He GASPS in apprehension - then bends down and FEELS FOR A PULSE - there is none, but there's no time for emotion right now. He RUNS to Nancy's room - the door is open, and FLAMES BILLOW in the room - although Nancy herself is unaffected. Bravely and carefully, Lt. Thompson RUNS INTO the flame covered room. He GRABS his daughter, and TAKING her in his arms, he CARRIES HER OUT OF THE ROOM and down the stairs... We HOLD on the bottom of the stairs as Lt. Thompson LEAVES the shot - and then we slowly TRACK BACK to the top of the stairs - and we finally WIND UP at Marge Thompson - the person who indirectly started all this carnage, dead and gone, the flames casting an eerie shadow on her - both reasons for all of the murder and mayhem are now dead. DISSOLVE TO: INT HOSPITAL ROOM (DAY) Nancy LAYS on a hospital bed, the faint BEEPING of hospital equipment heard in the background. Her face is slashed, and her skin is lightly charred. Her EYES OPEN. She LOOKS to her right - and her father is there, wearing street clothes - he is looking down at her and HOLDING HER HAND. He SMILES. LT. THOMPSON Hi, princess. NANCY Hi, Daddy. I made it out. LT. THOMPSON How are you feeling? NANCY Like shit. LT. THOMPSON Appropriately so. You lost a lot of blood, and your right arm is badly burned. We see her from above - her right arm is heavily bandaged. NANCY Dad - did Glen-- LT. THOMPSON He didn't make it, honey. I'm sorry. Nancy appears ready to cry - but she has definitely changed from her previous night's war. She does not accept it - but she stifles the emotion. NANCY It's over now, Dad. LT. THOMPSON It's not over, honey. It's not over for any of us. Your mother, she--she's dead. NANCY What? LT. THOMPSON There was a fire in your room. NANCY There was a fire in my dream, but-- LT. THOMPSON They think that she heard you, and opened the door, and -- all the heat built up in the room just exploded on her. She's dead. Lt. Thompson begins CRYING NOW. Nancy STAYS STRONG, and SQUEEZES her father's hand tighter. LT. THOMPSON It had to be him! I've accepted it - there's no other explanation. All these years later, and Fred Krueger is still doing it! NANCY He can't do it anymore. I killed him last night, Dad. LT. THOMPSON What are you talking about? NANCY I killed him. He burned - just like in real life. He's not coming back - all of this is over. LT. THOMPSON You got him. You're sure? NANCY I got him. LT. THOMPSON Nancy, I'm sorry - I'm so sorry. I've been a shitty father, I haven't been there for you-- Nancy REACHES FORWARD and HUGS Thompson... NANCY Dad, it's okay. It's okay. LT. THOMPSON You're all I have left now... NANCY This whole thing was a big nightmare. It started ten years ago, but it ended last night. Once we bury mom, it's buried for good. And Dad - it's never too late to start over. Because I love you - I will always love you, no matter what. LT. THOMPSON I love you, honey. He KISSES HER on the forehead and SQUEEZES HER HAND - then WALKS AWAY... We HOLD on Nancy for a long time - she faces an entirely different life now, without all of her friends, without her mother - but, in a way, gaining a formerly absentee father. Sleep would feel good just now... She lowers her head to the pillow, and closes her eyes. FADE TO BLACK.
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