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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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