This screenplay is copyrighted to its author. All rights reserved. 
This screenplay may not be used or reproduced without the express 
written permission of the author.

THE TEXAS CHAINSAW MASSACRE
Screenplay by Brandon Mau & Aubrey Stafford
Based on a screenplay by
Tobe Hooper & Kim Henkel
REVISED FINAL DRAFT
8/11/03

FADE IN:

ON A DARK SCREEN.

MUSIC RISES as we see a scroll of red lettering rise 
up from the bottom of the screen and disappear into 
the top of the screen. A narrator reads it as it 
does.

		NARRATOR
On August 20th, 1973, police were dispatched to the 
remote farmhouse of Thomas Hewitt, a former head 
skinner at the local slaughterhouse in Travis County, 
Texas. What they found within the confines of his 
cryptic residence was the butchered remains of 33 
victims, a chilling discovery that shocked and 
horrified a nation in which many still call the most 
gruesome mass murder case of all time. The film that 
you are about to see is the shocking truth of what 
happened to five young friends who were traveling 
down that lonely country highway in Travis County, 
Texas. Now, for the first time, the only known 
survivor of that terrifying day has broken the 
silence, and has come forward to tell the truth of 
what really happened on that deserted road when the 
group suddenly found themselves being stalked by a 
chainsaw wielding madman who would leave a trail of 
blood and terror that would forever be known as The 
Texas Chainsaw Massacre...

Soon after, the CREDITS BEGIN TO ROLL in dark yellow 
lettering as we see 

A MONTAGE OF FAST MOVING CLIPS.

The clips are of old and decayed bodies. Other noises 
can be heard in the background, such as screaming, 
laughter, and the buzzing of a loud chainsaw. One 
final scream can be heard as the CREDITS END and we

CUT TO BLACK.

CUT TO:

EXT. TRAVIS COUNTY POLICE STATION_RAINING_NIGHT

SUPERIMPOSE:

AUGUST 20TH, 1973

INT. HALLWAY_TRAVIS COUNTY POLICE STATION_SAME

Doctors and policemen walk around quietly. A single 
policeman turns a corner and heads down another 
hallway. At the end of the hallway is a door. A young 
man wearing a white doctors suit stands next to it. 
The policeman walks towards the door and the young 
man. Then, another police officer steps out and 
stands face-to-face with the first policeman we had 
seen before. They both walk to the side and look back 
at the door.

		POLICEMAN
So?

		POLICEMAN #2
Nothing. She's not talking.

		POLICEMAN
She's not saying anything?

		POLICEMAN #2
She won't talk to anyone. I doubt you're going to get 
anything out of her.

		POLICEMAN
I can try. I'm not giving up on this girl. I want all 
the facts. Keep all those damn reporters outside, 
alright? That's your job from now on.

The second policeman nods and walks away. The 
policeman looks back at him and then makes his way 
towards the door. The man standing next opens the 
door for him and the policeman steps inside of it. 
The door slams shut in front of the CAMERA.

INT. OBSERVATION ROOM_(CONT.)

Inside is a single table sitting in the middle of the 
room, along with a single light bulb hanging from a 
cord above it. Sitting at the table is ERIN HARDESTY, 
a young girl of seventeen. She is very pretty and 
smart, but right now, she is shaking severely. Her 
wet hair sits in front of her face...covering it. The 
policeman sits in a chair across from her.

Silence.

		POLICEMAN
Erin?

Erin looks down, scared. She starts to cry silently.

		POLICEMAN
Erin, you have to talk to us. You have to tell us 
exactly what happened...

Erin tries to say something but can't. She stutters.

		ERIN
(crying)
No...

		POLICEMAN
Erin, you have to.

		ERIN
(stuttering)
I...I...I can't...

		POLICEMAN
No one's here but us. No one is going to hurt you in 
any way. All I want to know are the facts. Just tell 
me everything that happened. We'll take you home 
after this, I promise.

Erin shakes her head. The policeman sighs. He takes 
out a single tape recorder and sets it on top of the 
table. She looks up and sniffs.

		POLICEMAN
Please.

Erin looks down and cries. We can tell that the 
policeman is getting very upset. He closes his eyes 
and sighs silently.

		POLICEMAN
No one's here, Erin...No one's going top hurt 
you...You have to talk to me...

The policeman presses a single button on the tape 
recorder. Erin looks up. She pulls her hair back and 
sets her hands in her lap. She wipes her tears and 
sighs. Slowly, we

FADE TO:

EXT. LONELY COUNTRY ROAD_DAY

SUPERIMPOSE:

AUGUST 18TH, 1973

There is no sound. The sun is larger than the frame 
and white-hot. A long, golden arc sweeps across the 
upper right hand corner; it is the explosive, gaseous 
profile of the sun. There is a burst of light and a 
liquid rope of molten gases arcs into space and then 
slowly, heavily falls back to the sun.

The yellow-white sun nearly fills the frame. There is 
a low, crackling noise. The sun begins to dissolve 
and to become an eye, the purple glazed eye of a dead 
dog. Flies swarm the staring eye and the crackling 
noise becomes the buzzing of the flies.

In the extreme foreground and to the right of center 
is the long dead and putrid carcass of a dog. The 
lower jaw, nearly ripped from the head, hangs wildly 
askew. The belly is a living, writhing mass of gray 
maggots; flies swarm the purple, glazed eyes. The 
carcass lies some feet from the shoulder of a narrow, 
chuckhole two-lane highway. It is midday and 
midsummer and the brutal southwestern sun blasts the 
dusty, chocking landscape. The air is still and 
heavy. In the background is the out of focus image of 
a van.

Slowly, it comes closer and closer to the CAMERA. 
Suddenly, it zooms past us very quickly. We stare at 
the empty road for a few seconds. We pan down to the 
dog once again.

INT. VAN_LONELY COUNTRY ROAD_DAY

The van looks much better on the inside than it does 
on the outside. In the back of the van is nothing but 
a collection of old records, an old mattress lying on 
the ground, a cooler, and bottles of half drunken 
water. Behind the back of the mattress lie many bags 
of marijuana and weed.

As we look around, we see five teenagers in the van. 
Sitting in the passenger's seat is ERIN, the same 
girl from the police station, only now, she is 
looking much prettier and cleaned up. She also wears 
a white cowboy hat and eats a small carrot stick. 

As we look past at her tie-die t-shirt, we see a 
belly button piercing on her stomach. Driving is her 
boyfriend, KEMPER STERLING, a young, somewhat 
attractive boy of eighteen. 

Sitting in the backseat is ANDY PARTAIN, a young boy 
of eighteen. He is a very handsome and smart boy. 

In his arms is his girlfriend, PEPPER HARRINGTON, a 
very pretty and smart girl of about his age. Pepper 
sits on top of Andy's lap while they both kiss and 
hug. 

Sitting on the floor in the back of the van is Erin's 
brother, MORGAN HARDESTY. He is a very smart and 
handsome boy. The group looks up to him for any help 
that they might need, but he's something of an 
asshole. He reads a magazine while Andy and Pepper 
make their way to the mattress and continue to kiss.

Erin reaches her hand up towards Kemper's face and 
smiles. He grabs her hand and kisses it. She smiles 
and looks into his eyes.

		KEMPER
Tell me how much you love me.

Erin brings her pointer finger very close to her 
thumb. They are barely touching.

		ERIN
(laughs)
This much.

		KEMPER
Bullshit!

Erin laughs and pretends to stick her tongue out in 
disgust. She widens her fingers.

		ERIN
This much.

		KEMPER
(mimics)
This much?

		ERIN
That much.

Kemper widens his finger so he can't widen it any 
longer.

		KEMPER
(laughs)
This much?!

Erin laughs and pulls down his hand. She holds it and 
looks at him. The both come close to eachother and 
close their eyes. They kiss. Morgan stands up and 
reaches his hand over to the air conditioning, 
pulling Erin and Kemper apart.

		ERIN
Morgan you ass!

		MORGAN
What? It's hot in here. I'm just trying to get a 
little cool.

		KEMPER
I'm afraid the air conditioning won't help. It's like 
hell out there.

		ERIN
(to Morgan)
Well could you do it when Kemper and I are not so 
close together, please?

		MORGAN
That would be impossible.

Morgan grabs Erin's carrot sticks and bites it. He 
smiles and shows his gleaming white teeth. Erin 
smacks him. He sits back down and goes back to 
reading his book. He looks up from his book at Andy 
and Pepper, who seem to be enjoying themselves. 
Pepper pulls herself away from Andy and they both 
breathe hard. They are covered in sweat. Pepper 
smiles while Andy leans on his side.

		PEPPER
(breathing hard)
You...are...incredible.

		ANDY
(also breathing hard)
This is the first breath I've taken since this trip 
began...You are a sex machine.

		PEPPER
I take pride in my work.

They both lie down on their sides and look into 
eachother's eyes.

		PEPPER
Tell me you love me.

		ANDY
You mean you haven't gotten tired of it yet?

Pepper puts her pointer finger on Andy's lips and 
laughs.

		PEPPER
Nope.

She pulls her finger away. He smiles and looks at her 
once again. A long moment of silence.

		ANDY
I love you.

		PEPPER
(smiles)
I know.

Andy and Pepper laugh and giggle. Andy smiles and 
comes closer to her. Soon, they are kissing again. 
Pepper moves on top of Andy and starts to giggle. She 
starts to kiss him all over. Morgan looks over at 
them and rolls his eyes. He continues to listen to 
Pepper giggle, and then reaches over to the radio and 
turns it on, hitting the song Whatever Gets You 
Through the Night by John Lennon. He sits back and 
starts to read his book.

		KEMPER
Maybe Andy and Pepper could sit up here and drive and 
we could have a chance back there.

Erin smiles and holds his hand.

		ERIN
You wouldn't stop.

		KEMPER
That's just how I work.

		ERIN
You're telling me you have batteries inside you or 
something?

		KEMPER
Something like that.

		ERIN
Maybe on the next pit stop.

Kemper brings her hand up to his mouth and kisses it.

		MORGAN
Which will be when exactly?

		KEMPER
As soon as we find a town. Just calm down, okay? 
You've been complaining ever since this trip began.

		MORGAN
Maybe that's because we have no ice or water. Just a 
couple of horny teenagers.

Andy sits up and takes a deep breath.

		ANDY
Whoa...Maybe we do need a pit stop. I need water just 
as the next guy in here.

		PEPPER
(fanning herself)
Tell me about it. This guy can go on for hours.

Andy winks and holds her hand. She smiles and he 
growls. Everyone laughs, even Morgan. He rolls his 
eyes. Andy and Pepper continue to kiss.

		MORGAN
Can we hurry it up, please? I need to make it to 
Mexico before eight.

		KEMPER
Morgan, will you calm down? Everything is going to be 
fine. There has to be a town around here somewhere. 
We can stop; get some drinks, ice, and gas.

		ERIN
Morgan, we'll make it in time okay. In the meantime, 
why don't you smoke some of that yourself?

		MORGAN
You know, that's not such a bad idea. Anyone want 
some?

Andy, while still kissing Pepper, waves his hand in a 
"no thank you". Erin shakes her head. Morgan looks at 
Kemper who shrugs. Morgan rolls his eyes and makes 
his way to the back of the mattress. He ignores Andy 
and Pepper and grabs one of the full bags.

		ERIN
We need gas?

		KEMPER
It's almost empty.

		ERIN
Perfect.

		MORGAN
(O.S.)
Anyone have a match?

Kemper rolls his eyes and pulls out a packet of 
matches from his pocket and hands them to Morgan.

		MORGAN
(O.S.)
Thanks.

		KEMPER
(sarcastically)
No problem.

Erin rolls her eyes and leans her head against the 
window.

EXT. VAN_LONELY COUNTRY ROAD_DAY

We watch as the van rolls down the long country road 
and pass a sign that reads:

TRAVIS COUNTY, TEXAS!
DRIVE SLOW, SEE OUR CITY
DRIVE FAST, SEE OUR SHERIFF!

As the van disappears up the hill, dust comes flying 
everywhere, even into the CAMERA. We watch as the van 
becomes a small speck.

INT. VAN_LONELY COUNTRY ROAD_(CONT.)

Erin leans her head on Kemper's shoulder. He smiles 
and continues driving. We look inside the back of the 
van to see that Morgan is smoking a now rolled up 
paper full of weed. He smiles as smoke fills the air. 
Andy separates from Pepper and fans his hand in the 
air.

		ANDY
Jesus, Morgan, can't you at least roll down a window 
or something?

		MORGAN
You do it. I'm too busy.

Andy gives Morgan the finger, who makes a face. 
Pepper sits up and opens the window to the side of 
her. She lies back down and gives Morgan  look. Andy 
sits next to her and smiles.

		ANDY
Thanks.

		PEPPER
Anything for my baby.

They smile and kiss. Morgan rolls his eyes and takes 
a huge whiff of the weed. Erin still has her head 
against Kemper's shoulder.

		KEMPER
I love you.

Erin says nothing, but snuggles closer to him and 
lets out a love-filled sigh.

		MORGAN
You two make me sick, you know that?

Erin sits up from Kemper's shoulder and grabs 
Morgan's rolled up paper of weed and throws it out 
the window.

		MORGAN
BITCH!

		ERIN
The feeling is mutual, shithead.

		MORGAN
Now, must we resort to name-calling?

		ERIN
Of course not...we can skip right to the part where I 
beat the crap out of you, if you wish.

		KEMPER
Talk about sibling rivalry.

		MORGAN
(ignoring Kemper)
The day you kick the crap out of me will be the day 
that Pepper takes a vow of celibacy.

		PEPPER
(from behind the backseat)
The thought makes my skin crawl. Although, he does 
have a point. Sorry, Erin.

		ERIN
(to Morgan)
I could wipe the windshield with you right now, you 
weak-ass little weasel!

		MORGAN
Oh yeah...I'm the weasel!  (laughing) Look who you 
choose for a boyfriend!

Erin gives Morgan a look of pure venom and, without 
warning, pulls back and punches him in the face, 
causing his lip to bleed.

		ANDY
(stops kissing Pepper)
I see that weed has finally knocked some sense into 
you, huh, Morgan?

Morgan gives Andy the finger and sits up. Morgan just 
has a look of pure shock on his face as he reaches 
his hand to the cut on his lip.  Erin seems surprised 
at her actions, also, but she is breathing hard and 
is obviously still angry.  Pepper and Andy have 
separated themselves from each other and are now 
looking open-mouthed from Erin to Morgan and back 
again.

		KEMPER
Alright, that's it!

Kemper slams on the brakes and the van halts in the 
middle of the road.  Everyone in the van is slammed.

		PEPPER
What the hell is wrong with you!?

		KEMPER
(to Morgan)
Look...if you insist on being an asshole, I suggest 
you pick up your over-inflated ego and lug it back to 
the crack pipe you crawled out of!  It's 200 degrees 
outside, it's God-knows-how-many miles to the nearest 
town and I am not going to sit here and listen to you 
two!

Kemper takes a deep breath and continues, while Erin 
lowers her eyes and Morgan's smirk returns to his 
face.

		KEMPER
(in a calmer tone)
Now, I want you both to just...ignore eachother until 
we get to a town.  (turns to Andy and Pepper) And you 
two can...get back to business.

Andy and Pepper look at eachother, smile and begin to 
kiss passionately, soon disappearing again behind the 
back seat.  Erin turns back around to look through 
the windshield and Morgan tries to nurse his lip as 
well as he can with a greasy napkin. Erin turns 
around to look at Morgan.

		ERIN
I'm sorry, Morgan.

		MORGAN
I'm sure you are.

		ERIN
I am, I don't know what I was thinking.

		MORGAN
You never do.

		ERIN
What the hell is that suppose to mean?

		MORGAN
There's nothing in that small head of yours.

		ERIN
Do you want me to hit you again?

		MORGAN
Stay the fuck away from me.

Erin looks ahead out into the road and leans her head 
against the window. Morgan shakes his head and pulls 
the napkin away from his mouth. Blood is all over the 
napkin. He sighs.

		KEMPER
You know, I think I might need some of that weed 
right about now.

Silence.

Andy pulls away from Pepper and looks into her eyes.

		ANDY
Would you really take a vow of celibacy?

		PEPPER
Andy, do I look like I'm the kind of person who would 
do that? I mean...especially when you love...

Pepper reaches her hand over to Andy's ass and 
squeezes it.

		PEPPER
(cont.)
...This?

Andy laughs and growls as Pepper pulls herself back 
towards Andy, kissing him again. She moves on top of 
him and messes with his hair. They both smile and 
laugh.

		MORGAN
I am officially nauseated.

Erin rolls her eyes and looks ahead to see an open 
road, full of dirt and rocks.

		KEMPER
(sighs; sarcastically)
Have you ever seen anything so beautiful?

		ERIN
(huffs)
If I could only see this every single day of my life.

		MORGAN
I'd rather blow my brains out.

		ERIN
That might come sooner than you think.

		MORGAN
Just hurry up and drive the car. I need to get to 
Mexico soon.

		ERIN
Why are you in such a hurry?

		MORGAN
Do you know how much all this is worth? I'll be 
living in style!

		ERIN
Not when I tell mom and dad the real reason why you 
went on this trip.

		MORGAN
You were in on it, too.

		ERIN
I was not!

		MORGAN
You cam along, and that's all that matters!

		KEMPER
You want another fat lip? Sit back and relax.

Morgan sighs and leans back. As Erin looks ahead out 
the windshield, she sees a young girl of about their 
age walking down the side of the road, wearing a very 
dirty flower dress. She hugs herself and cries.

		ERIN
Hey...hey, look...

		KEMPER
Oh my god...Should we pick her up?

		MORGAN
Hell no. We're already late. Just keep driving.

		ERIN
Morgan, do you always just think about yourself?

		MORGAN
No, I just want to get there on time so I can collect 
my money.

		ERIN
Money's not an option right now, Morgan.

		KEMPER
We wouldn't make it anyway. The gas is low.

		ERIN
Pull over and pick her up.

Erin rolls down her window and pokes her head out. 
The rest of them look out their windows.

EXT. VAN_LONELY COUNTRY ROAD_(CONT.)

The girl continues to walk down the road, not even 
looking up.

		ERIN
Hey, are you okay?

The girl shakes her head without looking up. Erin 
looks at Kemper, who nods.

		ERIN
Can we give you a ride?

		GIRL
I don't know where I'm going...

		ERIN
Do you live anywhere near here?

		GIRL
No...

		ERIN
Well, we could at least give you a ride. You look 
exhausted. Come on in, we'll take you wherever you 
want to go.

Pepper slides open the side of the van. The girl 
looks up and stays silent for a second, then, she 
climbs into the van. The door slides shut and the van 
continues to make its way down the road.

INT VAN_LONELY COUNTRY ROAD_(CONT.)

Kemper continues to drive while Erin looks back at 
the girl, who sits on the mattress, crying and 
rocking back and forth.

		PEPPER
What's your name?

		GIRL
Jane...

		PEPPER
Hi, Jane. I'm Pepper. And this is Andy, Morgan, 
Kemper, and Erin.

Erin smiles and waves. Everyone says hi to her except 
for Morgan. He rolls his eyes and looks down at his 
book.

		PEPPER
We can take you wherever you want to go.

		JANE
I don't know where I want to go...I just want to get 
out of here...

		PEPPER
If you don't mind me asking, what happened to you? 
Why were you out here alone?

		JANE
I...I wasn't alone...

		PEPPER
Well then...Who were you with?

		JANE
My friends...

		PEPPER
Where are your friends?

Jane looks down and starts to cry again. Andy reaches 
over and hands her a soft napkin. She wipes her 
tears.

		JANE
They're all dead...

Erin looks at Kemper, who looks back at Jane. He 
turns his head to Erin, and they both look into 
eachother's eyes for a moment.

		ERIN
Who...um...who killed them?

		JANE
I...I don't know...

		KEMPER
What are we suppose to do now?

		ERIN
Just keep driving. If she was out here then there has 
to be a gas station or house or something out 
here...It can't be that deserted.

		KEMPER
I wouldn't be so sure about that. I mean, look 
around...

Kemper looks ahead and sees a sharp turn ahead. He 
decides to take it and suddenly turns into it. Ahead 
of him are still nothing but dirt, grass, and old 
trees.

		MORGAN
I'm not gonna make it...This is fucking perfect. I 
came on this stupid trip for nothing. I sure as hell 
didn't come on this trip to see four teens get off. 
Especially one with such an airless head.

		ERIN
You're the one who's stoned all the time! You want me 
to punch you again, don't you?!

		MORGAN
Don't fucking touch me!

		KEMPER
Then shut up, Morgan! I've had it with you two.

		ERIN
(to Kemper)
I'm sorry.

Erin leans in and hugs Kemper. In the back, we see 
Andy come and sit next to Morgan.

		ANDY
You could at least pretend to be a little nice on 
this trip.

		MORGAN
You'd have to kill me.

		ANDY
That'll be easy.

Morgan gives Andy a look of venom.

		ANDY
I bet you have never even experienced physical 
pleasure, have you, Morgan?

		MORGAN
What's your point?

		ANDY
I'm just saying I wouldn't be talking if I were you. 
(makes his way back towards Pepper) Virgin.

Morgan smirks. Pepper rubs Jane's back as she begins 
to cry again. Jane covers her ears and rocks back and 
forth.

		JANE
He's a bad man...

		PEPPER
Who?

		ANDY
What are you talking about, Jane? You need to talk to 
us.

Jane doesn't speak. She moves to the back of the van, 
up against the back window. Pepper moves up to the 
front of the van.

		PEPPER
I don't know what we should do.

		ERIN
We need to find someone.

		KEMPER
That's not gonna happen. This van is going to stop 
any second.

		MORGAN
It better not! I knew we should have taken my van! I 
fucking new it! What the hell are we suppose to do 
with the girl?

		KEMPER
We'll take he as far as she needs to go.

		MORGAN
Which will be right here. Stop the van and let her 
out.

		ERIN
Morgan!

		MORGAN
What!?

Erin smirks at Morgan, who rolls his eyes.

		MORGAN
And then?

		KEMPER
And then find someway to get home.

		MORGAN
You mean...we're not going to Mexico?

		KEMPER
No, we're not.

		MORGAN
Jesus, Kemper! I came all the way on this trip for 
this shit? This is bull.

		ERIN
Morgan, I really think that Jane is a little more 
important than some stupid weed.

		MORGAN
(whisper)
Stupid weed my ass.

Erin turns back towards Kemper, who looks at the gas 
gauge once again.

		ERIN
So...?

		KEMPER
Shit...

		ERIN
What?

EXT. VAN_LONELY COUNTRY ROAD_(CONT.)

Slowly, we watch the van as it pulls over to the 
dirt. Slowly, the engine stops, and it is silence. We 
pan up from a  sky view of the van as it lies 
perfectly still.

INT. VAN_LONELY COUNTRY ROAD_(CONT.)

We watch as everyone looks around. Kemper puts his 
head on the wheel, smacking his head against it.

		ANDY
What happened?

		KEMPER
The van's down.

		ANDY
What does that mean?

		KEMPER
We need gas, that's what it means.

		MORGAN
Damnitt!

		PEPPER
How long do you think until we can find someone?

		KEMPER
I don't know. It's best of we all get out and look 
for help.

		ERIN
I'll come with you.

Kemper and Erin step out of the van, leaving us with 
Andy, Morgan, Pepper, and Jane.

Silence...

		MORGAN
I'm not staying in here with you three. Excuse me.

Morgan slides open the side of the door and pops out. 
He slams it shut. Pepper looks at Jane and Andy.

		PEPPER
Look, I think we should go look for help, too. That 
way we can double our chances of actually finding 
someone.

		ANDY
I think so, too. Jane? You wanna come with us?

Jane shakes her head and moves towards the corner of 
the van. Pepper slides open the door and steps out, 
followed by Andy. He looks back at Jane, who still 
hides in the corner. He shrugs and slams the door 
shut.

Jane watches as they all start to walk away. She 
presses her hand against the glass and starts to cry 
again.

		JANE
You're all gonna die...

The CAMERA zooms in on her slowly and we suddenly

CUT TO:

EXT. VAN_LONELY COUNTRY ROAD_(CONT.)

The group stands alone, wondering what to do.

		KEMPER
I think we should go in groups. I'll go with Erin and 
Andy can go with Pepper. Morgan-

		MORGAN
I work better alone.

		ERIN
That's for sure.

Morgan smirks at Erin, who puts her hands in her back 
pocket.

		KEMPER
Okay. We'll all meet back here in about an hour or 
so.

They all nod and walk off in different directions. We 
watch as they all disappear into the vast, empty 
field. The CAMERA pans up to the hot blazing sun as 
we slowly

FADE TO:

INT. DARK ROOM_DAY

We pan around the room to see old cans, water 
dripping from the ceiling, old collections of 
records, old dolls, some with no eyes, and just many 
different kinds of old antiques that look like they 
were never taken care of. As we pan around, we pull 
into a long stairway, which lead into more darkness. 
We hear distant screams in the background. Suddenly, 
a young, wet girl of twenty runs out from behind the 
stairs! She runs up them and heads towards an open, 
dirty sliding door. She steps out of it and slides 
it, leading herself into a

INT. HALLWAY_OLD HOUSE_(CONT.)

The girl stands still, and suddenly slams the sliding 
door shut. From the outside, there are no handles or 
anything else that can be seen to open it, just a 
small circular peephole in the middle of the door. 
The girl looks around and pants, wondering what to 
do.

She stands still as she hears loud footsteps making 
their way up the stairs. The girl runs towards a 
closed door and tries to open it, but can't. She 
looks around and sees a flight of stairs leading to 
the second floor. She looks back at the sliding door, 
and then runs up the stairs, disappearing into a 
sharp corner. Large footsteps can be heard making 
their way towards the long flight of stairs.

INT. DARK ROOM_UPSTAIRS_OLD HOUSE_(CONT.)

The girl walks around the room, trying to find a 
place to hide. She looks around and finds nothing. 
More footsteps can be heard. She pears outside a 
slight crack to see two large boots walk past the 
door and search somewhere else. The girl sighs and 
looks behind her, only to see a window covered in 
wood planks. She cries and leans up against the door. 
A few seconds pass. She stands up and looks through 
the crack. Nothing is there. She slowly opens the 
door and steps into the

INT. HALLWAY_UPSTAIRS_OLD HOUSE_(CONT.)

The girl looks around, but sees nothing. We follow 
her to the stairs, were she slowly starts to walk 
down them step by step. A small crack can be heard, 
and she looks up, but no one is there. She sighs and 
closes her eyes. She continues to walk down the 
stairs until she reaches the front door. She tries to 
open it, but can't.

		GIRL
Shit...

She tries to unlock the door, but it is budged tight. 
She looks behind her, seeing if she can find anything 
to break open the lock. She hesitates, but can't find 
anything. She looks to the sliding door, which stays 
silent. She walks down the hallway, turning a corner 
into the

INT. KITCHEN_OLD HOUSE_(CONT.)

The kitchen is old, but the girl doesn't seem to 
notice. She opens a small drawer and pulls out a long 
knife. She looks at it and then turns around after 
hearing a small noise. She walks quietly towards the 
open door, raising the knife high. As she makes her 
way towards the door, she looks around, but sees 
nothing but the same old thing.

INT. HALLWAY_OLD HOUSE_(CONT.)

The girl slowly walks down the hallway, looking back 
every second. Her eyes are focused on the front door.

She sighs and walks towards the closed door. 
Suddenly, she turns around after hearing a loud 
noise. A large figure wearing a strange, leather-like 
mask pops out from behind the sliding door! The girl 
screams and runs towards the closed door. She swings 
the knife at the lock, but nothing happens, and the 
knife suddenly drops. The man, LEATHERFACE, runs 
after her, screaming himself. He grabs her by the 
waist and holds her up. She screams and kicks wildly 
as he pulls her through the sliding door. As she 
screams, the door suddenly slams shut and there is 
pure silence.

INT. DARK ROOM_OLD HOUSE_(CONT.)

We pull down the stairs and move across the old 
collectables and the dripping water. We pan around 
the room to see an old furnace, a table full of 
weapons of destruction, and water dripping 
everywhere. We pan into another room where we see 
Leatherface still holding the girl, making his way to 
a large hook which lies in the middle of the air hung 
onto by a wire from the ceiling. The girl continues 
to scream as Leatherface sticks her on the hook from 
her back! She screams wildly as we

CUT TO:

EXT. OLD HOUSE_FIELD_DAY

We continue to hear the screams in the background as 
we see a very old large two-story house surrounded by 
old trees and no neighbors. The screams suddenly fade 
as we see a young hippie of the same age of the girl 
start walking towards the house.

		HIPPIE
Marilyn? You there?

The hippie finally makes his way to the

EXT. PORCH_OLD HOUSE_(CONT.)

The hippie sighs and knocks on the door, which still 
remains closed.

		HIPPIE
Hello? Is anyone home?

Silence. Just as the hippie starts to walk away from 
the house, we hear a loud bang in the backyard. The 
hippie stops and slowly makes his way into the

EXT. BACKYARD_OLD HOUSE_(CONT.)

As the hippie makes his way further into the 
backyard, where he sees a large laundry wire hanging 
in mid air, covered by dry sheets. He walks around, 
losing himself in the sheets.

		HIPPIE
Marilyn? Where are you? Stop goofing on me!

Suddenly, the buzz of a chainsaw can be heard and the 
boy turns around to see Leatherface, standing in 
front of him, holding a chainsaw in the air! The 
hippie screams as we

CUT TO BLACK.

EXT. FIELD_LONELY COUNTRY ROAD_DAY

We watch as Erin and Kemper walk through the fields, 
holding hands and looking around.

		ERIN
I don't know why we're even looking out here, I mean 
clearly there is no one here...

		KEMPER
We have to keep looking. For Jane's sake.

		ERIN
What the hell was she talking about in there? Who 
killed her friends?

		KEMPER
I don't know...But she was obviously traumatized by 
the whole thing. I think we should just find a phone 
and call the police.

		ERIN
If we find anyone.

Erin sighs as she suddenly pears through the fields 
to see a large two-story house...the same old house 
from before.

		ERIN
Hey...

		KEMPER
What?

Erin pushes through the fields, letting go of 
Kemper's hand and making her way towards the house. 
Feet away from the house, she stops, letting Kemper 
catch up to her.

		ERIN
This is unbelievable.

		KEMPER
Who would build a house all the way out here?

		ERIN
Let's just go and call the police.

Erin and Kemper walk slowly towards the house and 
quickly reach the

EXT. PORCH_OLD HOUSE_(CONT.)

This time, the door is open, but the screen door is 
closed. Kemper knocks to the side of the door and 
waits. There is no response. Erin pears inside but 
sees nothing. Kemper knocks again, but there is still 
no response.

		KEMPER
(into screen)
Excuse me?

		ERIN
(into screen)
Is anyone home?

		KEMPER
(into screen)
Hello?

Erin pears into the house again but continues to see 
nothing. Old music can be heard in the background. A 
record player can be seen in a distant room.

		ERIN
Somebody has to be home.

		KEMPER
It's out in the middle of nowhere.

They sigh.

		ERIN
Just go and get the others and I'll stay here.

		KEMPER
You sure?

		ERIN
Yeah, I'm sure.

		KEMPER
You don't have to do this. I'll wait with you.

		ERIN
Kemper, just go get the others. I'll be fine.

Kemper reaches over and kisses Erin's cheek. She 
moves her head so that he kisses her lips. She smiles 
as he walks away. Soon, he disappears through the 
field. She sighs and looks back inside the house.

		ERIN
Hello?

Silence.

		ERIN
We need help...Is anyone here?

More silence. Erin reaches over and opens the screen 
door, walking inside the

INT. HALLWAY_OLD HOUSE_(CONT.)

The screen door suddenly slams shut. She jumps and 
turns around. She rolls her eyes and laughs. She 
turns back around and walks slowly down the hallway, 
seeing all sorts of collectables and records lying 
all over the place.

		ERIN
Hello?

Silence.

She walks down the hallway and into the

INT. DINING ROOM_OLD HOUSE_(CONT.)

There is a long wooden table sitting in the middle of 
the table, complete with old candles and seats fit 
for six. She walks through the dining room and sees 
another swinging door behind the table. She slowly 
walks over to it and opens it, revealing the

INT. KITCHEN – OLD HOUSE – (CONT.)

It is the same as we had last seen it. Dirty dishes 
can be seen all over. Feathers can be seen all over 
the ground. Erin cringes and walks around, looking 
above her to see different sorts of bones hanging 
from the air by string. She opens her mouth and 
covers it with her hand. She coughs and makes her way 
through another open door, leading her back into the

INT. HALLWAY – OLD HOUSE – (CONT.)

There is nothing in front of her but the same old 
hallway leading towards the open door. As she turns 
around, she sees the closed sliding door complete 
with the peephole. She knocks on it, revealing an 
echo. She puts her ear up against it and knocks 
again.

		ERIN
Hello?

Nothing. She sighs turns around, walking back down 
the hallway. Beside the stairs is another open 
doorway, which leads to another empty room. She 
ignores it and looks up the stairs. She sighs and 
starts to walk up it very slowly.

EXT. FIELD_LONELY COUNTRY ROAD_(CONT.)

Andy and Pepper can be seen walking around, looking 
for someone. They stop.

		ANDY
This is hopeless.

		PEPPER
We have to keep looking. Please, Andy?

Andy stops and looks into her eyes.

		ANDY
Okay...

The smile and kiss. Slowly, they fall onto the field 
and laugh.

EXT. FIELD_LONELY COUNTRY ROAD_(CONT.)

We watch Morgan walk around the field, sighing and 
rolling his eyes. A small noise can be heard from 
behind him. He stops in his tracks and turns around.

Silence.

		MORGAN
Hello?

Nothing. The field sways back and forth from the 
wind.

		MORGAN
Kemper? Get your cheep ass out here.

Silence. Morgan looks around and then continues 
walking. Suddenly, he bumps right into

KEMPER!

Morgan jumps and steps back. They both breathe 
deeply.

		MORGAN
Kemper, you ass.

		KEMPER
Don't give me that right now, Morgan. Erin found a 
house. Let's go find Andy and Pepper.

Morgan rolls his eyes as they both walk off into the 
field.

EXT. FIELD_LONELY COUNTRY ROAD_(CONT.)

Andy and Pepper lie down on the ground, kissing 
passionately. Suddenly, they are covered with shadows 
as they both look up to see Kemper and Morgan staring 
at them.

		MORGAN
Is that the only thing you guys do?

Andy smirks as he helps himself and Pepper up.

		KEMPER
Erin and I found a house back in the field. Erin's 
there looking for a phone. I told her I'd come back 
and get you guys and Jane.

		MORGAN
Who cares about Jane?

		PEPPER
I'll go get Jane. Just point of the direction of the 
house.

		KEMPER
(points)
It's that way. But you better hurry.

		PEPPER
(walking away)
Will do!

Kemper walks away with Andy and Morgan as we watch 
Pepper walk back towards the van.

INT. UPSTAIRS_OLD HOUSE_(CONT.)

Erin walks around, looking for any person she can 
find. She hears a slight noise from downstairs and 
quickly runs down the stairs, making her way towards 
the

INT. HALLWAY_OLD HOUSE_(CONT.)

Erin looks around, but sees nothing but the same old 
thing.

		ERIN
Hello? Is anyone here?

Silence. She sighs.

EXT. VAN_LONELY COUNTRY ROAD_(CONT.)

Pepper finally makes her way to the van and slowly 
opens it.

		PEPPER
Great news, Jane, Erin found a-

No one is in the van. Pepper looks around, but sees 
nothing. She looks around the field, but doesn't see 
Jane anywhere.

		PEPPER
Shit...

She slides the door shut and makes her way back 
towards the field.

INT. HALLWAY_OLD HOUSE_(CONT.)

Erin slowly walks towards the closed sliding door and 
knocks on it again. There is still nothing. She 
slowly moves her eye towards the peephole and pears 
inside. There is nothing there. She pulls herself 
back and leans her back up against the door. She 
sighs and closes her eyes. 

Slowly, we watch as the peephole slowly starts to 
squeak. Erin moves her head back towards the 
peephole. It is the same as it was. She slowly 
continues to pear through the peephole, but there is 
still nothing. We watch her through the other side of 
the door, her eye up against the screen in a circular 
motion. Suddenly, a hand taps her shoulder and she 
screams! She turns back around to see Kemper, staring 
at her and smiling.

		ERIN
Jesus, Kemper, you scared the shit out of me.

		KEMPER
I'm sorry...

		ERIN
Don't worry about it. Find everyone?

		KEMPER
Pepper's making her way back with Jane. Did you find 
anyone?

		ERIN
Not even a phone.

		KEMPER
Let's wait outside.

Kemper and Erin walk outside into the porch as the 
CAMERA slowly moves into the peephole.

EXT. PORCH_OLD HOUSE_(CONT.)

Kemper and Erin walk down the porch stairs to join 
Andy and Morgan, who sit on the last step of the 
porch.

		ANDY
Find anything?

		ERIN
It doesn't seem like anyone's home.

		MORGAN
Figures.

They all look up and see Pepper walking towards them, 
alone. Andy stands up while Kemper and Erin walk 
towards her. Morgan continues to sit down.

		KEMPER
Where's Jane?

		PEPPER
She wasn't in the van.

		ANDY
What?

		PEPPER
When I went back, no one was in the van. She was 
gone.

		ERIN
Great...

		ANDY
Where do you think she is?

		MORGAN
(O.S.)
Mexico.

They all ignore him and turn back to Pepper.

		PEPPER
What are we suppose to do now?

		KEMPER
We need to find someone first. And if we do, then we 
have to call the cops I guess. It's not safe for Jane 
to be out here alone. Let's all just wait here.

		PEPPER
Where exactly?

		KEMPER
Maybe they're in the back. Let's go.

They all walk towards the backyard of the house, even 
Morgan. We pan back to reveal the large house as they 
all disappear into the backyard.

EXT. BACKYARD_OLD HOUSE_(CONT.)

They all pass the blowing sheets and walk all the way 
towards the back of the yard. It is a mess. There is 
a row of old cars sitting in the backyard, all warn 
out and from the forties.

		ERIN
Oh my god...

		KEMPER
They sure are collectors aren't they?

Erin walks towards the cars, followed by Morgan and 
Kemper. Pepper walks over to an old Volkswagen and 
pears inside of it. It is very dirty and smelly, from 
the look of Pepper's face.

		PEPPER
(covers her nose)
Oh my god...

		KEMPER
Do you think any of them start?

		MORGAN
I highly doubt that.

Erin looks around and passes a large row of tires, 
making her way towards a very large black truck. She 
looks inside of it and then looks around some more, 
passing more cars. Pepper walks away from the cars 
and makes her way towards a large opening in the back 
of the house, a greenhouse if you will.

There is no door, and it is very dusty and black. 
Pepper doesn't look inside of it, she just sits down 
on the nearest log. She covers her forehead and 
sighs.

		PEPPER
I guess we just have to wait here.

		ERIN
I'm going back in there as soon as I can. I know 
there's a phone in there. I can feel it.

		MORGAN
Than get in there and call the cops so we can get our 
car fixed.

		ERIN
Do you only think of yourself, Morgan?

		MORGAN
The only two things I care about in this world are my 
drugs and I.

Erin gives him the finger and continues to walk 
around.

		ANDY
Smooth, Morgan. Smooth.

Morgan huffs and rolls his eyes. He sits near Pepper 
on a small wooden chair. Andy walks over to Pepper. 
She stands up and holds him. She puts her head 
against his chest.

		PEPPER
So what do we do now?

		ANDY
Like you said...Wait I guess.

		PEPPER
That really stinks.

		ANDY
Why's that?

Pepper looks into his eyes and smiles.

		PEPPER
Because I'm in the mood.

Andy smiles as the both come together and kiss. They 
both olds eachother's hands.

		ANDY
Why don't we go...

Andy points his head to the old house. Pepper smiles.

		PEPPER
Are you sure no one's home?

		ANDY
Erin said she didn't see anyone.

Pepper bites her lip and smiles. She tugs at Andy's 
arm.

		ANDY
Um...we're going to go look around more. We'll be 
back later.

Pepper giggles as they disappear around the corner.

		MORGAN
You know that they're not really going to look 
around, right?

Erin looks at Kemper and sighs.

INT. HALLWAY_OLD HOUSE_SECONDS LATER

Andy and Pepper open the screen door and step inside.

		ANDY
Wow...

		PEPPER
It's really old...

		ANDY
Let's go upstairs.

Andy starts to walk upstairs, Pepper in hand. They 
both look around and continue to make their way up 
the stairs. They finally make it up the stairs and 
turn a sharp corner, making their way into a dark 
room.

EXT. BACKYARD_OLD HOUSE_(CONT.)

Erin sits on the old log like Pepper was and covers 
her forehead. Kemper stands next to her while Morgan 
continues to sit on the small wooden chair.

		KEMPER
How long are they going to be in there?

		ERIN
Knowing them, forever.

		MORGAN
No shit.

INT. DARK ROOM_UPSTAIRS_OLD HOUSE_(CONT.)

Andy and Pepper lie on a dirty bed. They both smile 
and start to kiss.

		PEPPER
So what do you want to do first?

		ANDY
You mean I get to decide?

		PEPPER
Yep.

Andy smiles and pulls Pepper towards him. They kiss 
passionately.

EXT. BACKYARD_OLD HOUSE_(CONT.)

Erin stands up and is about to walk away when a black 
FIGURE runs across the dark greenhouse. She jumps and 
Morgan stands up.

		KEMPER
What?

		MORGAN
What's the he'll is wrong with you?

		ERIN
I...I...(pointing) I just saw something...

		KEMPER
That's impossible. No one's here...Are they?

Erin slowly steps inside the room, seeing a bunch of 
old furniture and other sorts of dirty and old 
material. Morgan looks around as well. He makes his 
way to a large cupboard and looks down to see a small 
jar rolling its way towards him. He stops it with his 
foot and picks it up. Inside is a single picture of 
Jane. Also inside the jar seems to be green water, 
the color of pickle juice.

		MORGAN
Hey, guys...Come look at this...

Erin and Kemper walk over to Morgan and stare at the 
jar. Erin picks it up and examines it.

		ERIN
Oh my god...It's Jane...

		KEMPER
What was she doing here?

		MORGAN
Do you think this has anything to do with that thing 
she was talking about in the van?

		KEMPER
What thing?

		MORGAN
About her friends being dead...A bad man killing them 
or something like that?

		KEMPER
I don't know...

		ERIN
Just put it back, Morgan.

Morgan takes it and slowly makes his way to the 
cupboard. He slowly opens it and sees millions of the 
same kind of jars, all with different pictures inside 
of them.

		MORGAN
Jesus...

Erin turns around and her mouth drops open. She and 
Kemper walk towards it slowly. They all pick up a 
different jar and examine them.

		ERIN
Oh my god...

		KEMPER
What the hell is wrong with these people?

		ERIN
Their completely twisted, you know that?

		ERIN
What were they all doing here?

They examine the jars once again and then put them 
back, shutting the cupboard quickly.

INT. DARK ROOM_UPSTAIRS_OLD HOUSE_(CONT.)

We watch as Andy and Pepper continue to talk and 
laugh. Suddenly, a loud bang can be heard from 
downstairs. They both jump and stay silent.

		PEPPER
What was that?

		ANDY
It's probably Erin or somebody. Come on, let's go.

They both get up and hold eachother's hands as they 
walk out of the room and head towards the stairs.

INT. HALLWAY_OLD HOUSE_(CONT.)

From the bottom of the stairs, we watch Andy and 
Pepper slowly make their way down the stairs. Andy 
walks outside to the porch, followed by Pepper.

EXT. PORCH_OLD HOUSE_(CONT.)

They look around, but see nothing. They hold 
eachother's hands and make their way to the back of 
the house.

EXT. BACKYARD_OLD HOUSE_(CONT.)

Erin, Kemper, and Morgan continue to look around just 
as Andy and Pepper arrive.

		ERIN
You guys have to check this out.

Andy and Pepper move to the cupboard where the group 
stands. Erin hands Andy the jar with Jane's picture 
in it.

		ANDY
What the hell is that?

		ERIN
We don't know...I think these people have something 
to do with the thing Jane was talking about in the 
van.

		PEPPER
You mean...about her friends dying and all that shit?

		ERIN
That's what we think.

		KEMPER
And someone's here, too. Erin just saw them.

		MORGAN
Where did they go?

		ERIN
I'm not sure...I think they went back inside the 
house.

		KEMPER
I'm going back inside.

		ERIN
Not without me you're not.

Kemper and Erin make their way back towards the 
house. Morgan shrugs and walks with them. Andy and 
Pepper soon join them. From behind, we see the black 
FIGURE runs across the room once again.

INT. HALLWAY_OLD HOUSE_(CONT.)

Everyone arrives in the house and looks around.

		ERIN
I need to find a phone.

Erin walks into the dining room followed by Kemper. 
She looks around and sees a large box full of 
collectables while Kemper looks around and makes his 
way into the kitchen. We cut back to Andy, Morgan, 
and Pepper. They walk down the hallway and come face-
to-face with the closed sliding door. Pepper knocks 
on it and looks into the peephole.

		PEPPER
IS anyone here?

Andy stands with Pepper, who continues to knock on 
the door. Morgan look to the right of the sliding 
door and sees a closed white door. He opens it and 
looks down a long flight of stairs.

		MORGAN
Hey...

Andy and Pepper look at the open door. They all look 
at eachother and start to walk down the stairs.

INT. STAIRS_OLD HOUSE_(CONT.)

They all walk down the dark stairs and breathe 
deeply. Suddenly, the door suddenly slams shut. They 
all turn around and jump.

		MORGAN
Jesus...

		PEPPER
Keep going.

They all shrug and continue to walk down the stairs.

INT. KITCHEN_OLD HOUSE_(CONT.)

Kemper looks around and sees all the feathers and 
bones hanging in the air.

INT. BASEMENT_OLD HOUSE_(CONT.)

Andy, Pepper and Morgan finish walking down the 
stairs and make their way further down into the 
pitch-black basement. They all look around to see 
pipes clinging to all the sides of the walls. Steam 
erupts from them slowly. Noise forms all around them. 
They all look around for a light switch. Morgan looks 
around under one of the pipes and a light switch.

		ANDY
Could someone turn on a light?

		MORGAN
I'm working on it!

Morgan finally switches on a light. A loud steam can 
be heard from above them. They all look up and watch 
as lights flicker on and off at the end of the wet 
hallway. Water drips from the pipes. They all start 
to walk forward. A single door lies at the end of the 
hallway.

		ANDY
Do you think there's even a phone in there?

		PEPPER
There's only one way to find out.

They all start to walk down the hallway slowly, 
looking around from time to time.

INT. KITCHEN_OLD HOUSE_(CONT.)

Kemper looks around some more and cringes. He turns 
around and makes his way back into the

INT. DINING ROOM_OLD HOUSE_(CONT.)

Erin continues to look through the old box. Kemper 
joins her.

		ERIN
Look at this stuff...

Old records and vases can be seen all over the place. 
Old pictures from the 1800's are with it. Erin picks 
up an old broken telephone.

		ERIN
If only it worked.

Erin huffs and looks around some more. Kemper joins 
her and picks up an old vase. Suddenly, a loud bang 
can be heard behind them. Erin suddenly drops what 
she was looking at and looks ahead of herself, 
breathing deep.

		ERIN
What the hell was that?

She looks over at Kemper, who shrugs. They both walk 
towards the hallway and look around.

INT. HALLWAY_OLD HOUSE_(CONT.)

They both look around.

		ERIN
Where is everybody?

		KEMPER
I don't know...

They look past the stairs and see another room, the

INT. LIVING ROOM_OLD HOUSE_(CONT.)

A single couch can be seen in the corner of the room, 
along with an old small table with an antique cord 
phone. Erin sees it and runs towards it. She picks it 
up and tries to dial. She stops and sits still, the 
phone glued to her ear.

		ERIN
Hello?

Silence. She throws down the phone and sighs. She 
turns around and bumps into Kemper.

		KEMPER
So?

		ERIN
There's no dial tone.

		KEMPER
Shit...Are you sure you saw someone?

		ERIN
Someone has to be here. Why would all this shit be 
here?

		KEMPER
I don't know...

Erin looks behind her to see another door. She walks 
towards it and opens it. She screams as she bumps 
into Andy, Pepper and Morgan. They all jump and 
breathe hard.

		PEPPER
Did you find anything?

		ERIN
Old collectables and a broken phone.

		MORGAN
That's just perfect.

		KEMPER
Where were you guys?

		ANDY
Basement. We didn't find much. Just a locked door and 
some old pipes.

		ERIN
Let's just go back to the yard.

		ANDY
What about a phone? We need to fix the van and Jane's 
missing.

		MORGAN
Who cares about Jane!?

		PEPPER
Did you guys check upstairs?

		ERIN
Nope.

		ANDY
I'll stay in here and try to find a phone. You guys 
can just wait outside, alright?

		PEPPER
But Andy, I-

		ANDY
Pepper, just go outside. It'll be fine.

They all nod and start to walk outside. Pepper stands 
with Andy.

		PEPPER
You sure you don't need any help?

		ANDY
I'll be perfectly fine.

Pepper smiles and kisses him for a long time. She 
lets him go and starts to walk away, his hand her 
hers. She lets it go and walks out of the house. He 
sighs and walks towards the hallway.

INT. HALLWAY_OLD HOUSE_(CONT.)

Andy steps inside the hallway and looks up the 
stairs.

		ANDY
Hello? Is anyone here?

There is a slight noise behind the closed slide door. 
He slowly walks towards it and continues to look 
around. He makes his way to the sliding door and 
knocks on it.

		ANDY
Hello?

Nothing. He looks through the peephole and looks 
around. He sees nothing and suddenly backs away. He 
sighs and looks around, trying to find a phone. He 
continues to stand in front of the door while still 
trying to find someone or something.

EXT. BACKYARD_OLD HOUSE_(CONT.)

Everyone sits back down in front of the greenhouse. 
They all sigh.

		PEPPER
If he's not back in ten minutes, I'm going in there.

INT. HALLWAY_OLD HOUSE_(CONT.)

		ANDY
Hello? We need help is anyone there?

Silence. Andy turns and opens the door to the 
basement.

INT. BASEMENT_OLD HOUSE_(CONT.)

Andy walks down the stairs and makes his way down the 
now lit basement hallway. The door at the end of the 
hallway remains the same. He finally makes his way to 
the door and tries to open it, but it won't budge. He 
kicks on it, but nothing happens. He kicks at it one 
more time and pounds on it. Suddenly, it opens, and 
he falls inside.

INT. ROOM_BASEMENT_OLD HOUSE_(CONT.)

Andy gets up from the wet and feather filled floor 
and dusts himself off. He looks up to see meat 
hanging from hooks all over the ceiling. He holds his 
nose and watches as flies fly around everywhere. He 
looks around more to see feathers all around the 
floor. Bones hang from the ceiling as well. He 
cringes and walks out of the room.

INT. BASEMENT_OLD HOUSE_(CONT.)

Andy covers his nose as he runs down the hall and 
back towards the door. He makes his way up the stairs 
and opens the door to the

INT. HALLWAY_OLD HOUSE_(CONT.)

He shuts the door and closes his eyes in disgust. He 
stands next to the closed sliding door and sighs. He 
brushes his hand through his hair and closes his eyes 
once again.

Suddenly, the sliding door opens and Leatherface 
stands there wearing a bloody apron and rubber 
gloves.

		ANDY
(turns around)
OH SHIT!

Leatherface screams as Andy starts to run towards the 
door. Leatherface runs after him quickly! Andy tries 
to open the door, but turns to see Leatherface nearly 
inches away from him. He turns and starts to run up 
the stairs, followed by Leatherface!

INT. UPSTAIRS_OLD HOUSE_(CONT.)

Andy runs down a long hallway and turns into a room 
we have not seen before. He enters it and shuts the 
door and locks it, just as Leatherface pounds on the 
door.

INT. ROOM_OLD HOUSE_(CONT.)

Leatherface continues to pound on the door while Andy 
looks around for a place to escape. There is nothing.

		ANDY
SHIT!

As the pounding continues, we see Andy run towards a 
closed window. He pounds on it, but it does not move! 
As he runs towards the door, Leatherface's hand comes 
crashing through it, reaching for him, but he backs 
away. Suddenly, the door comes crashing down and 
Leatherface stands there, screaming through the thick 
mask. Andy backs away into a corner and tries to 
fight him off.

Leatherface tries to grab him just as Andy runs out 
of the room and down the stairs.

INT. HALLWAY_OLD HOUSE_(CONT.)

Andy makes his way to the front door, Leatherface 
running after him wildly. He manages to open it, but 
doesn't have enough time to get through it. 
Leatherface grabs him, putting his bloody hand over 
his mouth. Leatherface shuts the door with a loud 
bang.

INT. HALLWAY_OLD HOUSE_(CONT.)

Leatherface still holds onto Andy, who kicks and 
screams wildly. He grabs him and throws him into the 
open sliding door, sending him toppling down the wet 
stairs. Leatherface walks in and slams the sliding 
door right into the CAMERA.

INT. DARK ROOM_OLD HOUSE_(CONT.)

As Andy comes falling down to the wet ground, he 
looks up to see Leatherface coming right after him! 
He stands up and starts to run to the end of the 
room, finally facing a corner!

		ANDY
Shit!

Leatherface grabs his bloody chainsaw from the table 
and starts it up, letting us hear the buzz all around 
the screen. Andy makes his way into the other room, 
where all the hooks lay in the air. There is nowhere 
to hide now. As he turns around, he sees Leatherface 
standing right in front of him, waving his chainsaw 
in the air! Andy screams as the chainsaw comes down 
and slices into his stomach! Blood pours everywhere 
as Andy pulls his head back, just as blood comes 
pouring out of his mouth. Andy's distant screams fade 
away as we

CUT TO:

EXT. BACKYARD_OLD HOUSE_(CONT.)

Everyone still stands still, looking around and 
waiting for Andy to get back.

		PEPPER
It's been long enough. I'm going in there.

		ERIN
Pepper, just wait, okay? He'll be out in a second. It 
takes a long time to tell the cops exactly where this 
house is located.

		KEMPER
Yeah, Kemper, I mean, I couldn't even tell anyone 
directions to where this place is.

		ERIN
Which is probably why he's taking so long.

		MORGAN
The guy's a jackass, what can you do?

Morgan looks around just as Pepper approaches him. He 
looks up and smiles.

		PEPPER
How's that lip?

		MORGAN
Better.

Suddenly, Pepper punches him right in the lip! Morgan 
goes flying back for a second and then comes back up, 
holding his bloody lip. Erin and Kemper laugh.

		MORGAN
Bitch.

Pepper air kisses him and sits down. She sighs and 
looks at Morgan, who stops the blood flow with his 
shirt.

		PEPPER
If he isn't here in five minutes, I'm going in there, 
whether you like it or not.

Morgan rolls his eyes as Erin and Kemper hold 
eachother and sigh.

EXT. OLD HOUSE_DAY

We stare at the lonely house for a moment or two, 
then follow back in the

EXT. BACKYARD_OLD HOUSE_LATER

Everyone is the same as they were but Pepper cannot 
stand it any longer. She stands up and walks towards 
the porch.

		MORGAN
Where are the hell are you going?

		PEPPER
I'm going to go find Andy.

		ERIN
Pepper, I'm coming with you.

		KEMPER
So am I.

Pepper, Erin, and Kemper start to walk off into the 
corner. Morgan stands still, and then gets up and 
walks towards them.

INT. HALLWAY_OLD HOUSE_(CONT.)

We watch as Pepper, Erin, Kemper, and Morgan walk in 
slowly through the front door. They all look around, 
but see nothing than the same thing they had all seen 
before.

		MORGAN
This house is fucking creepy...

		KEMPER
Did you just notice that?

		PEPPER
Andy? Andy, where are you?

Pepper walks over to the closed sliding door and 
knocks on it.

		PEPPER
Andy?

Silence. Everyone else looks around as Pepper starts 
to turn around, but sees the door to the basement.

		PEPPER
Guys, I'm going back in the basement to see if he's 
there.

		ERIN
I'll check upstairs. The rest of you can join Pepper. 
She needs all the help she can get.

They all nod as Erin walks off. Pepper opens the door 
and starts to walk down the stairs, followed by 
Kemper and Morgan.

INT. BASEMENT_OLD HOUSE_(CONT.)

Pepper takes the lead, followed by Morgan and Kemper. 
They all look around while the steam continues to 
rise from the pipes. A bang can be heard from behind 
the closed door ahead of them.

		PEPPER
Andy?

		MORGAN
Face it, he's not here. We've been down here before.

		KEMPER
Shut up, Morgan and just look for him.

		PEPPER
Andy? Where the hell are you?

INT. UPSTAIRS_OLD HOUSE_(CONT.)

Erin walks around the hallways, searching the rooms, 
but finds nothing.

		ERIN
Andy? Andy, are you here?

Nothing. A small creak can be heard downstairs, and 
Erin rushes towards it. She runs down the stairs only 
to find the same old

INT. HALLWAY_OLD HOUSE_(CONT.)

Nothing. Erin looks around, but there is no one 
there. She turns to the left of the stairs and walks 
into the

INT. DINING ROOM_OLD HOUSE_(CONT.)

She looks around to see the same box. She looks ahead 
to see another phone in the corner! She runs towards 
it and picks it up. Her smile soon turns into a 
frown. She slams down the phone and sighs.

She pulls back her hair and walks back into the 
hallway.

INT. BASEMENT_OLD HOUSE_(CONT.)

Pepper looks at the smoky, water filled pipes as 
Kemper and Morgan suddenly jump back as a loud 
footstep can be heard.

		KEMPER
What the hell...

		PEPPER
Andy? Is that you?

		MORGAN
It's not Andy, Pepper, get over it.

		PEPPER
Andy!?

Another footstep can be heard and Kemper steps out.

		KEMPER
All right, that's it, if somebody's out there just 
come on out!

Silence. Another footstep can be heard. Kemper steps 
out again.

		KEMPER
Come on out now!

There is a loud bang and the group jumps as they turn 
and see Erin, standing on the stairway.

		ERIN
What the hell is going on?

		KEMPER
Let's just get out of here.

		PEPPER
What about Andy? I'm not going to leave him!

		KEMPER
We'll go back to the van and if he doesn't show up in 
an hour or so, then we'll go look for him.

		PEPPER
It would be just as easy to look for him now!

		MORGAN
Just shut the fuck up and let's get out of here.

Pepper stares at Morgan for a second, and then storms 
out on the rest of them. In a second, they all follow 
her all the way up to the

INT. HALLWAY_OLD HOUSE_(CONT.)

They all step out of the basement door and quickly 
shut it. Pepper stands, looking at everyone.

		PEPPER
All right, but if he doesn't show up I swear I am 
coming back here.

		MAN
(O.S.)
Oh no you won't!

They all jump and turn around to see GRANDPA DRAYTON 
SAWYER, an old man in his late seventies. He sits in 
a wheelchair and smokes a cigar.

		DRAYTON
What the hell are you doing in my house?

Drayton slams down a large cane and stares at them.

		ERIN
I'm sorry...We were only looking for a phone.

		DRAYTON
I don't have one. Get out now.

		ERIN
Please, we need to call the police.

		DRAYTON
Unless you have a good reason for trespassing, there 
is no way I am going to let you use the phone.

		KEMPER
Look, our car broke down and a friend of ours is 
missing. Not to mention a hurt girl.

		DRAYTON
Go find another phone. And get out of my house.

Erin, Kemper, Morgan, and Pepper make their way 
towards the door. They all walk out except for 
Pepper.

		PEPPER
We just wanted to use the phone.

		DRAYTON
I don't really think that was a good enough excuse so 
get the hell out of my house. Now.

		PEPPER
Is it illegal to ask someone for a simple phone call?

		DRAYTON
Get out.

As Pepper walks out of the door, she gives Drayton 
the finger. He smirks as the door slams shut.

EXT. OLD HOUSE_FIELD_(CONT.)

They all step down from the porch and stand still.

		ERIN
What do we do now?

		KEMPER
We go back to the van and wait.

		MORGAN
We can't go back here! Not with that crazy bastard 
hanging around here!

		PEPPER
So you're saying we just have to wait at the van 
until he shows up? Hell no! I am not going to sit on 
my ass waiting for him to get back, which will 
probably take hours! I say we search for him now!

		KEMPER
There's nothing we can do now.

Kemper starts to walk away. Erin shrugs and walks 
with him. Morgan joins them. Pepper stands still. A 
small tear forms in her eye. She wipes it and looks 
back at the house. She sighs and walks off with the 
group.

FADE TO:

EXT. VAN_LONELY COUNTRY ROAD_SUNSET

We watch the sun as it comes closer towards sunset. 
We pan into the windows of the van very quietly.

INT. VAN_LONELY COUNTRY ROAD_(CONT.)

Everyone is asleep, except for Pepper, who sits up, 
rocking back and forth and biting her nails. She 
looks to see Morgan lying down on the mattress and 
Erin holding onto Kemper's waits as she sleeps. 
Kemper's face is turned towards Erin's face. It's 
like it's the perfect image...The perfect couple. 
Pepper sighs and slides open the door. She looks at 
everyone and sighs.

		PEPPER
I'm sorry.

She bites her lip and then shuts the door quietly.

FADE TO:

EXT. OLD HOUSE_LONELY FIELD_(CONT.)

We watch as Pepper comes closer and closer towards 
the house. In a matter of seconds, she reaches the

EXT. PORCH_OLD HOUSE_(CONT.)

She looks around and then knocks on the door. 
Silence. She knocks again, but still nothing. She 
sighs and opens the screen door, walking right into 
the

INT. HALLWAY_OLD HOUSE_(CONT.)

Everything is the same as it was the last time we saw 
it. She looks around but sees no one. She looks 
upstairs but there is no sound. She sighs and stands 
in the middle of the hallway.

		PEPPER
Andy?

Silence. She walks towards the closed sliding door 
and stands right next to it. She puts her ear on it 
to hear a few loud bangs and footsteps. She knocks on 
it.

		PEPPER
Andy?

Suddenly, the noises stop, and Pepper knocks again.

		PEPPER
Andy, are you down there?

More silence. She tries to open it, but there is no 
handle or anything to try and open it. She looks 
around and makes her way into the

INT. KITCHEN_OLD HOUSE_(CONT.)

She looks around but finds nothing. She opens a 
drawer and pulls out a long knife. She runs back to 
the

INT. HALLWAY_OLD HOUSE_(CONT.)

She sticks the knife in the slit of the sliding door 
and pulls to the left. Slowly, the door forms a 
crack, big enough just so she can open the rest of it 
with her hands. She throws down the knife and slides 
open the door, revealing two flights of stairs. She 
looks around and cringes. She steps inside and turns 
the corner and walks down the stairs.

INT. DARK ROOM_OLD HOUSE_(CONT.)

Pepper makes her way to the bottom of the old, wet 
cellar and continues to look around.

		PEPPER
Andy?

There is pure silence. She looks ahead, only to see a 
table full of weapons, an apron, and a black door way 
in the back. She looks around and sees another door 
to the left of her. She walks towards it slowly, 
still looking around. As she walks in, she sees all 
the bloody hooks hanging from the ceiling.

		PEPPER
Jesus...

She steps further into the room and looks back.

		PEPPER
Andy?

More silence. A loud bang can be heard from behind 
her. Pepper runs out of the room and heads towards 
the black door in the back of the room.

		PEPPER
Andy?

Suddenly, the door swings open, and Leatherface 
stands there! Both Pepper and Leatherface scream 
horribly! Pepper runs towards the stairs with 
Leatherface running after her! He suddenly grabs her 
by the waist and drags her to another room. She 
screams and kicks madly as she puts his hand on her 
mouth. He finally makes his way to the room with the 
hooks, still holding Pepper. 

Pepper turns and sees the horrifying sight and 
continues to scream. Slowly, Leatherface pulls Pepper 
closer and closer to the hooks. She closes her eyes 
and screams as Leatherface sticks her onto the hook! 
She screams and tries to pull herself off but can't! 
Leatherface covers his ears and screams himself as we

FADE TO:

INT. VAN_LONELY COUNTRY ROAD_(CONT.)

Erin stirs as she wakes up and slowly opens her eyes.  
Morgan and Kemper are still asleep...but Pepper is 
missing!  She shakes Kemper.

ERIN
(loud whisper) 
Kemper!  Kemper, wake up!

		KEMPER
(groans) 
Hmm...?  Erin, what's wrong?

		ERIN
Pepper's gone.

		KEMPER
What do you mean, gone?

		ERIN
What do you think I mean by gone?  She isn't here!

		KEMPER
Okay, calm down.  I'm sure she's fine.

		ERIN
Oh, God...she could get herself killed out here!

		KEMPER
I'm sure she just went looking for Andy.

A groan behind them from Morgan startles them both.  

		MORGAN
(sleepily) 
What's going on?

		ERIN
Pepper's missing.

		MORGAN
(coming fully awake) 
What?

		KEMPER
Erin, we don't know that for sure.  

		MORGAN
But, she isn't here?

		ERIN
Of course she isn't here, moron!

		MORGAN
Don't fucking call me a moron!

		KEMPER
Enough!  Shut up, the both of you...what time is it?

Morgan looks at his watch.

		MORGAN
It's almost eight.

		ERIN
I'm gonna go look for her. Anyone coming?

		KEMPER
I'll go.

		MORGAN
Me too. I'd rather go with you guys than stay in this 
ratty old dump.

They all make their way to the sliding door of the 
van and open it, stepping outside quietly. They slam 
the door and go walking off. We watch them from the 
window.

INT. OLD HOUSE_SUNSET

The group makes there up the old house's porch and 
knocks on the door. There is silence.

		MORGAN
Why don't we just go in, she's probably already in 
there.

		KEMPER
Just go in.

Erin sighs and opens the door.

INT. HALLWAY_OLD HOUSE_(CONT.)

The group walks in the house slowly. They all look 
around.

		KEMPER
Pepper? You in here?

		MORGAN
Listen, I'd love to stick around and wait for Pepper 
and all, but if that old man comes out again, we're 
fucking dead.

		ERIN
I'm not leaving. Not until we find Pepper and Andy, 
okay?

Morgan rolls his eyes and walks down the hallway. 
Erin and Kemper move to the

INT. DINING ROOM_OLD HOUSE_(CONT.)

Everything remains the same.

		KEMPER
If I see that old man again, I'm getting the hell out 
of here.

		ERIN
I've never seen such a family with so many 
collectables before. Not even my grandmother could 
afford shit like this...

Kemper continues to look around while Erin 
accidentally drops an old porcelain doll.

		ERIN
Shit...

Erin leans over to grab it when suddenly, they both 
hear a loud bang. Erin quickly jumps up.

		ERIN
Morgan?

Kemper look at Erin as they both run out into the

INT. HALLWAY_OLD HOUSE_(CONT.)

...Where they both run smack into Morgan. They all 
jump.

		ERIN
Was that you?

		MORGAN
No, I was just about to ask you the same thing...

They all look at eachother.

		ERIN
I'm gonna look upstairs.

		MORGAN
You sure love it up there, don't ya?

Erin smacks Morgan. She runs upstairs and Kemper 
joins her. Morgan rolls his eyes as another loud bang 
can be heard. He turns around to see the closed 
sliding door. He walks towards it slowly.

		MORGAN
Pepper? Andy?

Silence.

		MORGAN
I'm in the no mood for games so stop goofing on me...

More silence. He starts to turn around when there is 
another loud bang heard from behind the door. Morgan 
walks towards it slowly and looks into the peephole. 
Silence. He steps back and continues to look at the 
door. He knocks at it.

		MORGAN
Andy? Pepper? Where the hell are you?

Morgan looks around and suddenly sees the knife lying 
on the floor where Pepper had left it. He picks it up 
and sticks it in the slit of the sliding door and 
pulls. The door slides open. Morgan falls on the 
floor and the knife comes close to hitting his leg. 
He kicks it away and stands up. He looks around and 
makes his way into the sliding door.

INT. DARK ROOM_OLD HOUSE_(CONT.)

Morgan makes his way down the familiar stairs and 
walks into the dark room. He looks around and covers 
his nose. He looks up as a drip of water falls on his 
face. He wipes it off and cringes. He continues to 
look around and spots the door in the back of the 
room. He walks towards it slowly and finally makes 
his way in front of it. He slowly opens the door and 
we watch him from inside the

INT. ROOM_OLD HOUSE_(CONT.)

The room is very dark, and Morgan makes his way 
farther and farther into the room. He looks around 
but can't see a thing. He finally grabs the handle of 
a light and pulls it. A single light bulb hangs from 
the middle of the ceiling, peering its light across 
four dead teens! Two of them are Pepper and Andy. 
They all lay on more hooks that are held up by wire.

		MORGAN
HOLY SHIT!

Morgan steps back and covers his mouth.

INT. DARK ROOM_OLD HOUSE_(CONT.)

Morgan steps out of the room and slams the door. He 
leans against it and covers his mouth. He breathes 
deep. He makes his way towards the stairs but is 
stopped at Leatherface appears! 

Morgan screams and suddenly looks around for a way to 
escape. A single rectangular window can be seen to 
the right. He runs towards it and breaks it open. 
Leatherface runs after him, also screaming as well. 
Andy is half and half through the window. Leatherface 
grabs his legs as he kicks. Leatherface is kicked 
back as Morgan pulls out of the window! Leatherface 
screams and runs up the stairs.

EXT. BACKYARD_OLD HOUSE_(CONT.)

Morgan breathes deep and looks up. He is standing at 
the side of the house. He runs into the backyard 
where he runs into the clothesline of dry sheets. He 
looks back every second to see if he's alone.

		MORGAN
ERIN! KEMPER!

Silence. The sheets are blown by the wind. He hears a 
noise and continues to run. He suddenly falls to the 
ground and looks up. No one is there. As he stands 
up, he continues to run forward when we suddenly see 
Leatherface standing in front of him! Morgan screams 
as Leatherface raps the clothesline around his neck! 
Morgan tries to pull it off, but can't. He breathes 
deep and tries to kick away.

		MORGAN
(whisper)
Erin...

Leatherface pulls the wire closer and closer to 
Morgan's neck. He can barely movie anything. Morgan 
reaches out, but can't seem to do anything else. 
Suddenly, Leatherface lets go, and Morgan falls to 
the ground. He slowly turns around and holds on to 
his neck. He coughs horribly. As he looks up, he sees 
Leatherface, holding the opposite end of a hammer! 
Morgan tries to scream but is still in pain. 
Suddenly, the hammer comes crashing down into 
Morgan's head, splattering blood all across the white 
sheets, which continue to be blown by the wind.

INT. UPSTAIRS_OLD HOUSE_(CONT.)

Erin and Kemper continue to look around the upstairs 
bedrooms, only finding nothing but old furniture, old 
broken dolls, and chicken feathers everywhere. Erin 
walks deeper and deeper into the dark hallway and 
suddenly turns a corner into another room. A slight 
noise can be heard from inside of it. She knocks and 
puts her ear to the door.

ERIN
Andy? Pepper?

Silence. She knocks again and there is another loud 
noise.

		ERIN
Open the door you guys. I know what you're doing in 
there...Come on...open the door!

Suddenly, Erin busts open the door and she goes 
falling into the

INT. BEDROOM_OLD HOUSE_(CONT.)

Erin coughs and looks up to see many different kind 
of human bones being hung by a string from the 
ceiling. She looks down to see that the room is 
covered in feathers. She looks up to see five small 
cages sitting in mid air by string, all containing 
one chicken. They all make noises and try to get out 
of the cages. They all peck at the cage. As Erin 
looks around and continues to cringe, so looks ahead 
to see a couch made completely out of human bones. 
She coughs and stands up, wiping all the feathers off 
of her. She runs out of the door.

		ERIN
KEMPER!

INT. HALLWAY_OLD HOUSE_(CONT.)

Kemper pops up from behind a door and catches Erin as 
she falls into his arms.

		KEMPER
What, what's wrong?

		ERIN
We have to get out of here. We need to get Morgan and 
get out of here.

		KEMPER
Why? What happened?

		ERIN
These people are fucking crazy that's what now let's 
go!

Erin grabs Kemper's hand and they both go running 
down the stairs and into the

INT. HALLWAY_OLD HOUSE_(CONT.)

		ERIN
Morgan!

		KEMPER
Where are Andy and Pepper?

		ERIN
I don't know but if they're not at the van then god 
knows where the hell they might be. MORGAN!

Kemper wonders around the house, searching for 
Morgan. He is nowhere to be seen.

		ERIN
Morgan, where the hell are you, come on!

There is no noise but the sounds of Kemper's 
footsteps.

		KEMPER
Come on.

Kemper grabs Erin's hand and they both go running at 
the sliding door.

		KEMPER
(knocking)
Morgan!? Are you down there?

		ERIN
Morgan! We have to get out of here, this isn't funny! 
Open the door!

Suddenly, a loud bang can be heard and Kemper and 
Erin turn around immediately, seeing Drayton sitting 
in his wheelchair in the middle of the hallway. The 
sound was of his wooden cane banging against the 
floor. He continues to smoke a cigar.

		DRAYTON
I told you to stay the hell away from my house!

		ERIN
Where is everybody?

		DRAYTON
What are you talking about?

		KEMPER
Our friends! Where the hell are our friends!?

		DRAYTON
No one has been in here besides you.

		ERIN
Bullshit! My friends were in here and I want to know 
what the hell you did with them!?

		DRAYTON
If you keep talking to me like that, young lady, I'll 
have you both arrested for trespassing! This is 
private property!

		KEMPER
We just want to know where our friends are, then 
we'll leave you alone, okay?

		DRAYTON
Get out.

		ERIN
Not until we find our friends!

Suddenly, the sliding door behind the swings open, 
and they both turn around to see Leatherface! Erin 
screams with fright!

		KEMPER
Jesus Christ!

Leatherface screams as Erin and Kemper run towards 
the door.

EXT. PORCH_OLD HOUSE_(CONT.)

Erin swings open the door and runs out. She turns 
around to see Kemper fall to the ground!

		ERIN
KEMPER!

Kemper tries to get up, but can't. Leatherface makes 
his way closer and closer towards him. Erin runs up 
the stairs and grabs Kemper's hands. She pulls as 
hard as she can until he finally makes free, just 
escaping the clutches of Leatherface! Erin and Kemper 
run into the field as Leatherface covers his ears and 
screams and Drayton laughs hysterically. We fade out 
the laughter as we

FADE TO:

EXT. VAN_LONELY COUNTRY ROAD_(CONT.)

It is nearly dark, and no sounds can be heard 
whatsoever. We watch as Erin and Kemper run towards 
the van, sliding the door open and climbing inside 
very quickly. They shut the door as we slowly pan up 
from the quiet lonely highway.

INT. VAN_LONELY COUNTRY ROAD_(CONT.)

Erin lies on the mattress, crying while Kemper sits 
at the wheel, covering his eyes and wiping away the 
sweat from his forehead.

		ERIN
(crying)
Jesus Christ, Kemper...

Kemper looks back at her. They both breathe hard.

		ERIN
What the hell are we suppose to do!?

		KEMPER
Do you think that they have Jane and everyone else?

		ERIN
I wouldn't think of anything else...Kemper, what the 
hell are we gonna do! The van doesn't work and our 
friends are fucking missing!

Erin cries and lies down on her side on the mattress. 
She cries as Kemper stands up and lies down next to 
her. He pulls back her hair and whispers into her 
ear.

		KEMPER
Hey...I'm not going to let anything happen to you, 
okay?

Erin continues to cry, but looks up into Kemper's 
eyes. She nods and let's Kemper pull her into his 
arms. She hugs his waist as we pan away from them, 
going out the window and into the

EXT. LONELY COUNTRY ROAD_(CONT.)

We watch from the sky as the sunset slowly becomes to 
turn dark. Our heroes find themselves in another 
world as they lie down in the van on the lonely 
stretch of country road.

FADE TO:

EXT. VAN_LONELY COUNTRY ROAD_NIGHT

Crickets chirp in the background as we pan in on the 
lonely, deserted van.

INT. VAN_LONELY COUNTRY ROAD_(CONT.)

The van is completely silent. Erin sleeps on the 
mattress with Kemper lying next to her, his arm 
around her waits. They both sleep quietly. Slowly, 
Kemper stirs and looks around. He looks down at Erin 
and kisses her forehead. She moans and turns around. 
He smiles and sits up. He wipes his eyes and looks at 
his watch.

9:35

He sighs and sits up in the driver's seat. He looks 
ahead of him and sees nothing but the lonely country 
road. He tries to start the van, but it just 
stutters. He leans back and hits the steering wheel. 
He looks back and suddenly smacks his head.

		KEMPER
(whisper)
Stupid fuck.

He smiles and laughs. He crawls into the backseat and 
reaches behind the mattress. He lifts up a few bags 
and suitcases and finds a plastic milk bottle full of 
gas. He takes it and slides open the door. He looks 
at Erin, smiles, and shuts the door. We look at Erin 
for a few moments, then

CUT TO:

EXT. VAN_LONELY COUNTRY ROAD_(CONT.)

We watch as Kemper makes his way to the side of the 
van and opens the gas tank. He opens the milk bottle 
and dips it into the gas tank. He looks around to see 
nothing but open fields and the still lonely road. He 
finishes up filling up the tank and throws the 
plastic bottle in the middle of the road. He puts the 
cap back on the tank and opens the driver's door. He 
steps inside and shuts the door quietly.

INT. VAN_LONELY COUNTRY ROAD_(CONT.)

He looks back and sees Erin sleeping silently. He 
sighs and reaches over to start the car but can't 
find the car keys.

		KEMPER
Shit...

He looks around but can't find them. He sits up and 
makes his way to the back of the van. He taps Erin on 
the shoulder and waits for her to wake up.

		KEMPER
Erin...Erin, wake up...

Erin's eyes suddenly open and she sees Kemper sitting 
above her.

		ERIN
Hey...

		KEMPER
Hey...I just found a bottle full of gas in the back.

		ERIN
You're shitting me.

		KEMPER
No. But now I can't find the keys. Do you have them?

		ERIN
No...I thought you had them.

		KEMPER
That's why I'm asking you. Did anyone take them for 
some reason?

		ERIN
I don't think so...Everyone was with us...No one 
could have taken them except for-

Silence. Erin's mouth hangs open.

		KEMPER
What is it? Who took them?

		ERIN
Jane...You said Jane wasn't here when Pepper came 
back, right?

Kemper looks up. His mouth drops open.

		KEMPER
Why would she take the keys?

		ERIN
I don't know. But wherever she is, I'm going to go 
look for her.

		KEMPER
Erin, you can't!

		ERIN
Why not?

		KEMPER
It's pitch black outside and you might get lost!

		ERIN
Didn't you bring a flashlight?

Kemper sighs and looks around. He opens a bag and 
pulls out a flashlight. He switches it on and shines 
it on Erin's face.

		ERIN
Let me see it.

		KEMPER
I'm coming with you.

		ERIN
Okay, but let me hold the flashlight.

Kemper reaches over and hands the flashlight to Erin, 
who slides open the door and steps out. Kemper 
follows her and shuts the door on the way out.

EXT. VAN_LONELY COUNTRY ROAD_(CONT.)

They both look around. Erin starts to walk the 
opposite direction of the house. Kemper follows her.

		KEMPER
This is crazy, you know that? She could be anywhere 
out here.

		ERIN
She could be at that house but I'm not going back 
there.

		KEMPER
Why the hell would she be at that god-forsaken house?

		ERIN
I don't know. Why the hell couldn't we find 
everybody, huh?

		KEMPER
Erin, this is crazy. Jane wouldn't take the keys in 
the first place.

		ERIN
She could and she couldn't have, but I'm not taking 
any fucking chances. I'm looking for her.

		KEMPER
If we don't find anything we're just going to have to 
wait in the van until morning.

		ERIN
Whatever you say.

Kemper sighs as they both continue to walk.

		KEMPER
I'm sorry this trip has turned into such a wreck.

		ERIN
It's not your fault. It's not anyone's fault.

		KEMPER
I still want to apologize. This isn't exactly what I 
planned on doing.

		ERIN
I know, Kemper. Even though you didn't cause any of 
this, I accept your apology.

Kemper stops Erin from walking. They both look into 
eachother's eyes. He holds her chin and brushes back 
her hair.

		KEMPER
I promise none of this will happen again.

		ERIN
Kemper...

		KEMPER
Shh...

They both come close and kiss passionately. They pull 
back and look at eachother.

		ERIN
I love you.

Kemper smiles and kisses her again.

		KEMPER
Come on.

Kemper continues to walk. Erin flows him, pointing 
the flashlight in front of them. They suddenly enter 
the dark woods.

		KEMPER
Erin, let's just go back.

		ERIN
I need to find her. We need to get those keys and get 
the hell out of here.

Kemper stops walking and Erin walks into the woods. 
He stands still. Erin looks back at him.

		ERIN
Come on.

Kemper sighs and walks in with her. She reaches out 
her hand and soon they are walking into the woods, 
hand-in-hand.

EXT. WOODS_LONELY COUNTRY ROAD_(CONT.)

We watch as Erin and Kemper walk deeper and deeper 
into the woods. Erin shines the light everywhere, but 
nothing else can be seen but branches, bushes, 
leaves, and old, dead trees. They both look around 
every few seconds, but always see the same old thing.

		KEMPER
Erin, I don't think we're going to find much out 
here.

		ERIN
Let's just keep checking.

		KEMPER
Why don't we just go back?

		ERIN
We can't go anywhere in the van unless we have the 
keys. Now we have to find her.

		KEMPER
How do we know if she even has them?

		ERIN
Who else could have them? Didn't you leave them in 
the ignition when we left?

		KEMPER
Yeah, but-

		ERIN
No one was in there after we left except Jane, and 
she was gone when Pepper came back. How can you 
explain that?

		KEMPER
I can't. Let's go.

Erin looks at him and then looks back ahead into the 
woods. She sighs and they continue to walk.

		ERIN
Something has got to be out here.

		KEMPER
We are definitely not going back to that house.

		ERIN
No shit. They might be there, but I'm not taking any 
chances. We need to find somebody else than those 
creeps.

As they walk, the sound of a branch breaking can be 
heard from behind them. They both turn around and 
Erin shines the flashlight directly ahead of them.

		KEMPER
What the hell was that?

		ERIN
I don't know...

Silence.

		KEMPER
Andy?

		ERIN
Pepper? Morgan?

Silence.

		KEMPER
Let's go.

		ERIN
Wait...

Erin slowly walks back towards the way they come 
from. She stops in her tracks.

		ERIN
Guys!?

More silence.

		KEMPER
It's not them, Erin.

		ERIN
You don't know for sure...Andy! Pepper! Morgan!

Kemper walks towards her and looks ahead of 
themselves.

		KEMPER
I'll go look.

Erin stays still while Kemper walks slowly into the 
woods. Erin watches him and shines the flashlight in 
front of him as well. She sighs as we hear thunder 
rumbling in the clouds. Erin looks up and sighs. She 
shines the flashlight at Kemper, who looks around, 
but sees nothing. He turns towards her and shrugs.

		KEMPER
I don't see anything.

Suddenly, the buzz of a chainsaw can be heard from 
behind Kemper. He quickly turns around to see 
Leatherface cutting through the branches and making 
his way right towards Kemper and Erin! Erin screams 
and accidentally drops the flashlight.

		ERIN
KEMPER! COME ON!

Kemper runs towards Erin and grabs her hand. They 
both take off running deeper and deeper into the 
woods. Leatherface makes his way through the branches 
and goes chasing after them while more thunder can be 
heard. As we go back to Erin and Kemper, we watch as 
Erin continues to look back. She sees Leatherface 
coming up right behind them!

		ERIN
Kemper...

Kemper turns around. His mouth drops open.

		KEMPER
LET'S GO!

Kemper leads as he pulls Erin's hand and they both go 
running down the branches and bushes. They stop as a 
large branch sits right in front of their faces with 
Leatherface coming closer and closer!

		KEMPER
GO!

		ERIN
Not without you!

		KEMPER
JUST GO, ERIN! NOW!

She looks at him and suddenly pulls her way through 
the branch. She looks as Kemper tries to get in 
himself, but can't. He reaches out his hand as she 
grabs it. She tries to pull him in but can't!

		ERIN
COME ON!

		KEMPER
I'M STUCK!

		ERIN
WHAT IS THIS, A FUCKING MOVIE!? GET OUT! NOW!

Kemper suddenly falls as Leatherface comes up closer 
to him. Erin falls to the ground she looks up and 
starts to cry.

		KEMPER
GO!

		ERIN
No...!

		KEMPER
Go find help!

		ERIN
Kemper, I'm not leaving you!

		KEMPER
GO!

Erin cries harder and starts to run into the woods. 
She looks back to see Leatherface at Kemper's feet. 
She cries and looks ahead of her, seeing nothing but 
pitch black. More thunder rolls as we suddenly see it 
start to rain. Erin runs faster and faster, looking 
back every two seconds. As she looks, she sees no one 
in sight but herself. The only sounds that can be 
heard if the rain falling onto the soft ground. She 
looks up and starts to cry. 

Suddenly, she trips, sliding into the wet mud. She 
stands up and looks around. Nothing but falling rain 
surrounds her. She stands up and starts to walk back 
towards the van. She walks slowly. No one and nothing 
can be seen around her. She gives off a sigh of 
relief and continues to walk. The rain begins to pour 
harder now. She wipes the mud off of her face and 
continues to cry. Another sound of a branch breaking 
is heard behind her. She turns around and sees 
nothing. She turns back around and continues to walk. 
Another noise is heard from behind her. 

She turns around again just as the chainsaw lights 
up! She screams and runs into the woods. Leatherface 
chases after her like a wild animal, waving the 
chainsaw in the air like a maniac. She looks back and 
sees him coming closer. She stops and looks down to 
see Kemper lying face down in the mud. He is not 
moving. She cries and continues to run.

		ERIN
SOMEBODY HELP ME!

Erin runs faster and faster until she finally reaches 
the

EXT. LONELY COUNTRY ROAD_RAINING_(CONT.)

Erin looks ahead of her to see the van sitting to the 
side of the road. She looks back to see Leatherface 
still chasing after her, but still very far in the 
woods.

EXT. VAN_LONELY COUNTRY ROAD_RAINING_(CONT.)

Erin makes her way to the van and slides open the 
door. She steps into the van and slides the door 
shut.

INT. VAN_LONELY COUNTRY ROAD_RAINING_(CONT.)

Erin ducks down and lies down on the mattress. She is 
very close to the side of the van. Only the sound of 
the rain tapping against the roof can be heard around 
her. She squeezes herself and closes her eyes tight. 
She starts to cry quietly. She pushes herself into 
the back of the van and covers herself with her 
hands. She stays silent as the rain continues. We 
look around the van from Erin's point of view and 
then return to the CAMERA. Erin ducks down more and 
continues to cry silently. She wipes her tears and 
looks up. Nothing but the rain. She crawls her way to 
the side window and slowly looks out of it. There is 
no one in sight. Not even Leatherface. She sighs and 
leans back down on the mattress. 

Suddenly, the buzzing of the chainsaw starts again 
and Leatherface can be seen standing outside the 
window! Erin screams and covers her eyes as 
Leatherface tries to scrape his way into the van with 
the chainsaw. Erin looks around and suddenly jumps 
into the driver's seat. She looks back and sees 
Leatherface still trying to break in. She opens the 
driver's door and suddenly falls out of the wet mud.

EXT. VAN_LONELY COUNTRY ROAD_RAINING_(CONT.)

Erin stands up and quickly starts to run down the 
road. She looks back and sees Leatherface running 
after her. She cries and continues to run faster. She 
makes her way into the lonely field and runs through 
the wet grass. She looks back and sees Leatherface 
tearing through the grass with the chainsaw. Erin 
runs and runs, and cries and cries. She falls, but 
quickly gets back up again. She is very far ahead of 
Leatherface, but she can still hear his chainsaw 
buzzing in the distance. Erin pushes through the 
grass and suddenly sees the old house full of light 
in front of her. She screams as Leatherface comes 
closer and closer. She starts to run towards the old 
house until she is on the

EXT. PORCH_OLD HOUSE_RAINING_(CONT.)

Erin pounds on the door and looks back to see 
Leatherface coming closer and closer towards her.

		ERIN
SOMEBODY! PLEASE!

Erin suddenly tears open the door and runs inside, 
shutting it tightly and locking it.

INT. HALLWAY_OLD HOUSE_RAINING_(CONT.)

Erin, soaking wet, looks around the house for any 
place to hide. No noise is outside but the rain.

		ERIN
Hello? Somebody please help me!

Erin looks around. There is no answer.

		ERIN
PLEASE!

Erin looks ahead and sees the sliding door. She 
pounds on it and waits for a response, which she does 
not get.

		ERIN
HELLO? SOMEBODY...PLEASE HELP ME!

She pounds on it again, but there is still no answer. 
She tries to open it with her bare hands, but can't. 
She sighs and tries again. She pulls once more and 
the door comes sliding open. She falls to the ground 
and looks at the front door, which remains still. She 
stands up just as the chainsaw comes running through 
the door! Erin screams as the chainsaw tears apart 
the front door. She screams again and runs into the 
room behind the sliding door. She looks at what's 
left of the front door to see Leatherface almost step 
inside. She tries to shut the sliding door, but 
can't!

		ERIN
COME ON!

The door still won't move, and Leatherface busts down 
the door and comes running towards her! She screams 
and the door slides shut!

INT. DARK ROOM_OLD HOUSE_(CONT.)

Erin locks the door with three locks that can be seen 
all over the sides of the door. She reaches over and 
looks into the peephole. From her point of view, we 
see nothing but the dead door. 

Suddenly, Leatherface's eye comes directly in front 
of hers! She screams and comes falling back down the 
stairs. She suddenly sits up as she goes sliding into 
the dark room, which is full of water. The water is 
up to Erin's waist. She cries and stands up. She 
looks around to see the other door in the back, and 
the door to the left of her, which is closed. She 
looks up to see the broken window, which Morgan slid 
out of. Rain comes pouring down into the room, 
flooding it. She sighs and looks around. She stands 
up and slowly starts to walk up towards the door on 
the far left. She opens the door quietly and steps 
in. She cringes at the bloody hooks. She covers her 
nose and looks around. Meat and bones lie everywhere 
on the ground. A loud bang is heard above her. She 
ducks down and hides behind the door. Footsteps pass 
her from the hallway. They disappear and Erin opens 
the door slowly. As she looks around, she 
sees...MORGAN!

He is lying face down on the floor. She runs over to 
him and falls next to him.

		ERIN
Morgan...Morgan, we must get out of here now!

Morgan stands still.

		ERIN
Morgan...?

She reaches out to him and movies his shoulders. He 
sits still.

		ERIN
Morgan...Morgan! Get up!

Morgan doesn't move.

		ERIN
Morgan!

Erin moves his body up to see that he is completely 
dead! Water flies everywhere as his body falls to the 
ground. Erin screams with terror. She stands up and 
starts to run towards the door when she suddenly 
hears more footsteps making their way towards the 
sliding door. Erin turns around and sees the closed 
door in the back of the room. She runs towards it and 
opens it to find Andy and Pepper's dead bodies! She 
screams and slams the door. She panics and suddenly 
sees the open window. Why didn't she see it before? 
She runs towards it just as the sound of the chainsaw 
can be heard tearing at the sliding door. She makes 
her way out of the window and goes running away from 
the house.

EXT. LONELY FIELD_RAINING_(CONT.)

Erin runs through the long stalks of grass and 
continues to look back. We see through her point of 
view that Leatherface is coming out of the front 
door! She screams as Leatherface runs towards her 
very quickly, waving his chainsaw in the air. We cut 
back to him and Erin in between shots. Erin screams 
while she runs.

		ERIN
SOMEBODY! PLEASE!

The chainsaw grows nearer and nearer towards her. She 
screams louder.

		ERIN
HELP ME!

Erin runs faster and faster, and no matter what she 
does, Leatherface seems to be coming closer and 
closer to her. She falls into the ground and looks 
up, seeing the van. She gets up and runs past it and 
finally starts to run down the

EXT. LONELY COUNTRY ROAD_RAINING_(CONT.)

In a series of shots, we watch as Erin runs down the 
road and makes her way into the woods, followed by 
the maniac himself. In a montage of fast moving 
clips, we watch Erin runs through the woods, 
Leatherface coming after her, and the rain pouring 
down on both of them. Erin screams and screams but 
nothing seems to help. She stops running and looks 
up, seeing a lonely gas station through the trees. 
She screams and continues to run towards it.

		ERIN
HELP ME! PLEASE!

Erin suddenly gets caught in the branches, tearing 
her shirt and her pants. She screams and tries to get 
herself loose. Leatherface comes closer and closer, 
waving the chainsaw everywhere. She pulls on her 
shirt, which seems to be tearing. She looks back to 
see Leatherface comes closer and closer. She tugs on 
her shirt as hard as she can and she soon falls to 
the ground, her shirt a little torn. She stands up 
and starts to run. Leatherface stops at the branches 
and cuts through them with the chainsaw. Erin runs 
through the trees until she finally reaches the

EXT. GAS STATION_LONELY COUNTRY ROAD_RAINING_(CONT.)

As Erin runs, she looks up to see a police car parked 
in front of the gas station. Just as she runs towards 
it, SHERIFF HOYT, an old man in his very late 
fifties, steps out, holding a large mug of coffee. 
Erin runs towards him.

		ERIN
PLEASE! PLEASE HELP ME!

		SHERIFF
Whoa, whoa, whoa, little lady.

		ERIN
Please help me!

Erin falls to the ground, he face covered with dirt 
and mud.

		SHERIFF
Just slow down and tell me what's wrong.

		ERIN
HE'S KILLING THEM!

		SHERIFF
Who's killing who?

		ERIN
THE MAN...HE'S KILLING MY FRIENDS! PLEASE! HELP ME!

		SHERIFF
Hold on, ma'am. Just calmly tell me what happened.

Sheriff Hoyt helps Erin up, who is not leaning 
against the police car, crying.

		SHERIFF
Just tell me what happened, ma'am.

		ERIN
There was a man...and he was killing all my 
friends...He was coming after me...With a chainsaw.

		SHERIFF
Oh, come now, miss-

		ERIN
I'M NOT LYING! He's in the woods with a chainsaw! He 
killed all of my friends!

		SHERIFF
I'll go take a look.

		ERIN
NO! Please! Please don't leave me!

		SHERIFF
Everything gonna be okay, just hold on a minute.

Sheriff Hoyt walks away as Erin stares at him, 
pulling her hair back and wiping her tears. Sheriff 
Hoyt walks over into the woods and looks into it. The 
rain slowly comes to a stop. Erin sniffles and tries 
to help herself from crying. Sheriff Hoyt looks out. 
He turns around and heads back towards Erin.

		SHERIFF
There's nobody out there.

		ERIN
But he was chasing me with a chainsaw!

		SHERIFF
I understand that, just let me take you to the 
nearest police station and they can sort it out 
there, alright?

Erin sniffs and then nods. Sheriff Hoyt opens the car 
door for her and she steps in.

		SHERIFF
I'll be right back, okay? You just sit still.

Erin nods and Sheriff Hoyt shuts the door. He looks 
at her and then makes his way into the gas station.

INT. POLICE CAR_GAS STATION_(CONT.)

Erin holds herself and looks around. She wipes her 
tears and looks outside into the woods. She knows 
what she saw, and she knows that no one believes her. 
She sets her head down and continues to cry. The gas 
station door swings open and Sheriff Hoyt walks out, 
followed by HENRIETTA SAWYER, a young girl of about 
eighteen. She is very dirty at the moment and holds a 
young baby. She talks with Sheriff Hoyt as they both 
make their way to the car. Henrietta opens the 
passenger's door and steps inside. She looks over at 
Erin and smiles. Sheriff Hoyt sits himself down in 
the driver's seat. He looks at Erin and smiles again.

		SHERIFF
This is my daughter, Henrietta.

		HENRIETTA
Hello.

		ERIN
(wipes her tears)
Hi...

Henrietta smiles as Sheriff Hoyt starts the car.

EXT. POLICE CAR_LONELY COUNTRY ROAD_CONT.)

We watch as the police car makes its way down the 
lonely country road.

INT. POLICE CAR_LONELY COUNTRY ROAD_(CONT.)

Erin looks outside as Henrietta and Sheriff Hoyt stay 
silent. The baby whines and groans.

		SHERIFF
So what brings you all the way out to Travis County, 
um...

		ERIN
Erin.

		SHERIFF
Erin.

		ERIN
My friends and I were on our way to Mexico...Then our 
van broke down.

		SHERIFF
That's never good, is it?

		ERIN
No...

		SHERIFF
So what happened?

		ERIN
We went looking for help...But we didn't find 
anything. Are you taking me to the police station?

		SHERIFF
I just need to make a little stop at our house...You 
don't mind, do you?

		ERIN
No...

		SHERIFF
(smiles)
Good.

		HENRIETTA
Do you think that we could have her for dinner?

		SHERIFF
That's up to her, honey. Would you like to join us?

		ERIN
I'd rather just go to the station.

		HENRIETTA
Oh, but you must join us. My uncle makes the best 
meat, right, pop?

		SHERIFF
The best in the county.

		ERIN
I just want to go to the station please.

		HENRIETTA
Alright, but you don't know what your missing.

		ERIN
I just want to go home.

		SHERIFF
That's not going to be for a while, darling. So why 
don't you just sit back and join us?

		ERIN
I don't know.

		HENRIETTA
Please? For us? We seldom ever get company.

		SHERIFF
Usually we just scare them off, right, sweetie?

		HENRIETTA
That's right.

Sheriff Hoyt and Henrietta smile. Erin leans over 
towards the door. She closes her eyes and looks 
outside. They pass the van. Erin watches it as it 
disappears from behind them. They suddenly take a 
sharp turn into the field.

		ERIN
Where are we going?

		HENRIETTA
We told you. Our house, silly!

Erin pants. She pulls her hair back and looks out 
into the wet grass.

EXT. POLICE CAR_FIELD_(CONT.)

We watch as the police car makes its way to the same 
old house we had seen before. Light surrounds it from 
the windows, making it very eerie. We follow the 
police car as it suddenly parks in front of the 
house.

INT. POLICE CAR_OLD HOUSE_(CONT.)

Erin looks at the house and starts to panic.

		HENRIETTA
Please come on and join us.

		ERIN
No...NO! GET ME OUT OF HERE!

		SHERIFF
Oh come now. Don't be shy.

Suddenly, Sheriff Hoyt grabs Erin and pulls her out 
of the police car. She screams and kicks wildly. 
Henrietta, who is outside, smiles and watches. She 
bounces the baby.

		SHERIFF
Open the front door, will you, honey?

		HENRIETTA
Sure, pop.

EXT. POLICE CAR_OLD HOUSE_(CONT.)

Henrietta makes her way up the stairs and opens the 
front door. Erin screams and screams, but nothing can 
be done about it. Henrietta looks at the front door, 
which is nearly destroyed from the chainsaw.

		HENRIETTA
Hey pop!

		SHERIFF
What is it now?

		HENRIETTA
Look what Bubba did to this door.

Sheriff Hoyt turns around and looks at it.

		SHERIFF
That son of a bitch. When he gets here I'm gonna give 
him a piece of my mind!

		HENRIETTA
I'll go get grandpa.

Henrietta walks into the house as Sheriff Hoyt 
carries the screaming Erin up to the porch.

		SHERIFF
No why are you screaming? I promise you, we're gonna 
have some fun!

Erin screams as we watch them both go into the house. 
As they walk inside, it begins to rain again.

INT. HALLWAY_OLD HOUSE_(CONT.)

Sheriff Hoyt walks in the house with Erin while 
Henrietta makes her way up the stairs.

		HENRIETTA
Grandpa!

INT. LIVING ROOM_OLD HOUSE_(CONT.)

Sheriff Hoyt walks into the very dirty living room 
and sets Erin down on the couch.

		SHERIFF
Jedidiah!

Sheriff Hoyt smiles at Erin as he covers her mouth. A 
very young boy, JEDIDIAH SAWYER, runs down the stairs 
and into the living room, joining his father. He is a 
boy of about six or seven.

		JEDIDIAH
Yes, pop?

		SHERIFF
Go get some rope for our new friend here.

		JEDIDIAH
Alright.

Jedidiah runs out of the living room and into the 
kitchen. Sheriff Hoyt smiles at Erin, who starts to 
cry.

		SHERIFF
Now don't you worry. Everything's gonna be okay.

Erin closes her eyes and tries to scream. Jedidiah 
runs into the living room with a long stretch of 
rope.

		SHERIFF
Thank you, son. Now go fix up the dinner table.

Jedidiah runs into the kitchen and runs into the 
dining room, his hands full of plates. Sheriff Hoyt 
grabs Erin's arms and ties them up, letting go of her 
mouth. She screams horribly. Henrietta walks into the 
living room and sticks a dirty sock in her mouth.

		SHERIFF
Thank you, honey. Now where's your grandfather?

		HENRIETTA
He's coming, He just needs a little help coming down 
the stairs.

Sheriff Hoyt laughs as Erin accidentally spits out 
the sock. Sheriff Hoyt smiles and grabs her face.

		SHERIFF
You simmer down, now.

		ERIN
WHAT'S WRONG WITH YOU PEOPLE!?

		SHERIFF
Just stay quiet now. And don't move a muscle.

Sheriff Hoyt picks up the sock and stuffs it into her 
mouth again. Erin's muffled screams can barley be 
heard. A single tear rolls down her cheek. Sheriff 
Hoyt smiles and stands up, leaving Erin alone on the 
dirty couch. Just then, Leatherface walks into the 
house. Sheriff Hoyt walks over to him.

		SHERIFF
What the hell did you do to this door!?

Leatherface says nothing but starts to cry and wail.

		SHERIFF
NOW WE'RE GOING TO HAVE TO GET ANOTHER DOOR! YOU DAMN 
FOOL!

Sheriff Hoyt smacks Leatherface, who makes his way 
down the hall. Sheriff Hoyt follows him as we stay on 
Erin, who cries and tries to scream.

EXT. OLD HOUSE_FIELD_RAINING_(CONT.)

From a high angle, we watch the lit up house as the 
rain starts to pour even harder. Thunder rumbles and 
lightning strikes.

INT. LIVING ROOM_OLD HOUSE_(CONT.)

Erin lies on the couch without moving. Suddenly, she 
turns to see Jane walk into the living room! She 
smiles and walks over to Erin. Erin moves and moves, 
trying to break free from the ropes.

		JANE
DAD! What should I do with the girl?

A few seconds pass, then Sheriff Hoyt walks in the 
room and looks at Erin.

		SHERIFF
Take her to the dining room. Your grandfather is 
getting a little hungry.

Sheriff Hoyt smiles as Jane grabs Erin by the feet 
and drags her on the floor into the hallway.

INT. HALLWAY_OLD HOUSE_(CONT.)

Jane continues to drag Erin across the hall until she 
makes her way into the

INT. DINING ROOM_OLD HOUSE_(CONT.)

The table is completely set, and very nice, too. One 
extra chair has been added to the front of the table. 
Jane picks up Erin and sets her down into it. She 
looks at her.

		JANE
Car trouble?

Jane laughs as we hear Erin's muffled cries.

		JANE
Jedidiah! Get in here!

Jedidiah comes running in through the kitchen door.

		JEDIDIAH
What?

		JANE
Do me a big favor and get some more rope, please?

		JEDIDIAH
Why do I always have to get the rope?

		SHERIFF
(from hallway)
Do what your sister tells you.

Jedidiah stomps off into the kitchen while Jane tends 
to Erin.

		JANE
Where are your car keys? Couldn't find them, could 
you?

From behind, Sheriff Hoyt steps into the dining room. 
Jane doesn't notice.

		JANE
(holds keys in air)
You're never gonna get 'em back either!

Sheriff Hoyt grabs them and stuffs them into his 
pocket. Jane turns around.

		JANE
Daddy!

		SHERIFF
Jane, now I told you, you cannot keep taking things 
from a person, that's just not right!

		JANE
But, dad, I was just-

		SHERIFF
Don't but dad me. Now go downstairs and get those 
other kids for dinner.

Jane nods and walks out of the dining room. Sheriff 
Hoyt leans over towards Erin.

		SHERIFF
Daughters. What can you do?

Erin closes her eyes tight as a slight tear rolls 
down her cheek.

		SHERIFF
Now don't you worry. Everything's gonna be okay.

Sheriff Hoyt pulls back Erin's hair and smiles at 
her. Jedidiah steps in from the kitchen, holding the 
rope.

		SHERIFF
Give it here, son.

Jedidiah hands the rope to his father and then steps 
back into the kitchen, joining Henrietta.

		SHERIFF
Now, just stay still.

Erin kicks as Sheriff Hoyt tries to tie her feet to 
the chair. He looks up to Erin and gives her a death 
stare.

		SHERIFF
Just stay still.

Sheriff Hoyt tries to do it again, but Erin continues 
to kick and scream. He sits up and slaps her. Her 
head goes falling back.

		SHERIFF
I told you to stay still!

Erin breathes hard as Sheriff Hoyt comes back down 
and ties her feet to the chair. He sits up and wipes 
his hands.

		SHERIFF
That's a good girl.

Erin tries to kick and scream but we only hear her 
muffled cries. Erin looks up and sees Drayton wheel 
himself into the dining room. Erin looks up as 
Drayton makes his way to the side of the table, next 
to Erin. Leatherface makes his way into the room from 
the hallway. He joins Drayton at the table. Sheriff 
Hoyt walks into the room, holding a small 
pocketknife. Sheriff Hoyt smiles and makes his way 
over towards Erin. Henrietta and Jedidiah follow 
them.

		SHERIFF
Now this will only hurt for a second.

Sheriff Hoyt unties Erin's hands and grabs one of 
Erin's fingers. He brings the knife closer and closer 
towards her finger. Everyone laughs and smiles. 
Leatherface jumps up with excitement. Soon, the blade 
comes down and cuts Erin's finger! She groans and 
closes her eyes tight. Sheriff Hoyt holds her finger 
and brings it close to Drayton.

		SHERIFF
You were hungry, weren't you, Grandpa?

Drayton smiles as Erin's finger comes closer and 
closer to his mouth. Soon, her finger is in Drayton's 
mouth. He sucks on the blood for a long time. Erin 
leans her head back and continues to moan and scream. 
Everyone laughs and leans their heads back. 
Leatherface jumps up and down and claps his hands 
together. From Erin's point of view, we see 
everything slowly fade out and the laughter continue 
in the background. We slowly fade to a white screen 
and then

FLASH CUT TO:

A DARK SCREEN.

Then, the sliding door opens, and we suddenly find 
ourselves in the

INT. DARK ROOM_OLD HOUSE_(CONT.)

The sliding door opens and we see Leatherface holding 
Erin by the waist. The ropes are off of her, and the 
sock is out of her mouth. She screams as Leatherface 
throws her down into the dark room. Erin goes 
toppling down the stairs and suddenly falls onto the 
ground. The room becomes dark after Leatherface slams 
the skidding door shut. A small light can be seen 
spreading across Erin's closed eyes. We pan closer 
and closer towards her closed eye until it suddenly 
opens. She sits up and looks at the supposedly open 
window. As she looks over to it, she sees that wooden 
planks have covered it up. She sighs and looks at her 
finger. A small amount of blood pours from it. She 
cries and closes her eyes. She looks around and sees 
the closed door to the left. She stands up and opens 
it, almost running smack into one of the hooks. She 
turns around and shuts the door. As she looks around, 
she sees Kemper's body lying face down on the ground, 
his arms outstretched. She cries and sits down next 
to him. She takes him and holds him tight. Soon, he 
slowly moves. He isn't dead! Erin looks at his face. 
His eyes slowly open and Erin smiles happily.


		ERIN
Kemper! Kemper!

		KEMPER
Where the hell are we...

		ERIN
Kemper, we have to get the fuck out of here now!

		KEMPER
I can barley move...

		ERIN
I'll help you, just get up! We need to leave, now!

Kemper tries to stand up, but quickly falls to his 
knees.

		ERIN
Oh, god, Kemper...

		KEMPER
I can't walk...

Erin looks around, but sees nothing that can help 
Kemper.

		ERIN
SHIT!

Footsteps can be heard above them. They both stay 
silent as the footsteps continue to be heard. From 
above, we hear Sheriff Hoyt screaming at someone. It 
slowly fades out and Erin turns back to Kemper.

		ERIN
We need to get you out of here...

		KEMPER
How?

		ERIN
I don't know...There's no way except for the front...

		KEMPER
Shit...

Kemper can barely talk. He sighs and closes his eyes.

		ERIN
Kemper, no! Just stay with me, okay? You're not going 
to leave me! Just stay the fuck awake!

		KEMPER
I can try but I doubt anything will happen...I can't 
feel my legs...

Erin pulls her hair back and starts to cry.

		ERIN
Shit...

Erin stands up and looks around. She opens the door 
and looks around for anything to break the wooden 
boards from the window. She finally finds a large 
hook and runs over to the window with it. She jabs it 
into the crack of the boards and tries and pull at it 
hard. The boards do not come loose.

		ERIN
SHIT!

Erin throws down the hook and looks on the table for 
anything else she can find. She spots a hammer and 
grabs it. She runs back over to the window and slams 
the hammer on top of the boards. One of the boards 
suddenly come loose. She tugs on the board and it 
comes falling down to the floor. Two more are left, 
but it's still a small space. She smiles and does the 
same with the other boards. One of them comes falling 
down. There is one more left at the bottom of it. She 
sticks the hammer into it and it suddenly comes 
loose! She grabs it and throws it down, along with 
the hammer. She smiles and runs over to the dark 
room. She leans over to Kemper, whose eyes are half 
closed.

		ERIN
Kemper, I found a way out, but you need to stand up. 
You need to help me.

		KEMPER
I can try...

Erin picks him up and they both make their way 
towards the window. He looks up and groans.

		KEMPER
I can't do this...

		ERIN
Kemper, don't do this! We need to get out of here 
now!

Suddenly, there are many footsteps above them. Erin 
pulls Kemper up towards the window.

		ERIN
COME ON!

Kemper finally makes his way through the window. Erin 
pushes him out of the window. She looks back and 
hears the sliding door open.

		ERIN
Oh, shit...

Erin jumps up and pushes herself through the window. 
We watch as Sheriff Hoyt runs down the stairs. He 
sees her and runs towards her. She is almost out the 
window.

		SHERIFF
Henrietta! GET IN HERE NOW!

Sheriff Hoyt reaches for her feet but misses just as 
she makes her way out of the window.

		SHERIFF
Damnitt!

Sheriff Hoyt runs up the stairs.

EXT. BACKYARD_OLD HOUSE_RAINING_(CONT.)

Erin and Kemper lie down on the wet ground. Erin 
stands up and grabs Kemper by the waist.

		ERIN
WE NEED TO GO!

Erin grabs Kemper and they start to run into the 
field.

INT. HALLWAY_OLD HOUSE_(CONT.)

Sheriff Hoyt runs through the sliding door and looks 
around. He makes his way into the kitchen and comes 
back out holding a rifle.

		SHERIFF
Henrietta! Stay in here with your brother! I'm gonna 
bring home the dinner...

Sheriff Hoyt runs past the CAMERA and runs through 
the front door.

EXT. FIELD_OLD HOUSE_RAINING_(CONT.)

Erin still holds Kemper, who can barely walk, but 
they are somewhat far away from the house. Sheriff 
Hoyt runs out and stands at the porch. The rain 
continues to fall.

		SHERIFF
GET BACK HERE!

Sheriff Hoyt fires a shot into the air. Erin and 
Kemper duck. They both stand up and continue to try 
and run. Sheriff Hoyt runs towards the police car and 
steps inside. He starts it up and drives after them. 
Erin and Kemper fall down into the field, and the 
police car drives right past them. Sheriff Hoyt did 
not see them.

		KEMPER
WHAT THE FUCK DO WE DO-

		ERIN
Just stay down...We're going to get the hell out of 
here.

		JANE
(O.S.)
Hell no you're not.

They both look up to see Jane standing still, 
smiling. She reaches down and grabs both of them by 
the shoulders.

		JANE
HEY, POP!

The police car stops and turns around, the headlights 
flashing on Erin and Kemper.

		JANE
I got 'em!

		ERIN
NO! LET ME GO!

		JANE
You want him, pop?

Sheriff Hoyt sticks his head out of the window and 
smiles.

		SHERIFF
Drop the boy.

Jane drops him and the police car zooms towards his 
body.

		ERIN
No!

Jane grabs Erin and runs back into the house. Kemper 
looks up as the headlights come closer and closer to 
him. From Kemper's point of view, we watch until the 
headlights cover the entire screen. We watch as Jane 
and Erin run back into the house. Kemper's screams 
can be heard in the background.

		ERIN
(O.S.)
NO!

Sheriff Hoyt laughs as he drives back towards the 
house.

INT. HALLWAY_OLD HOUSE_(CONT.)

Jane holds Erin and drags her into the dining room. 
She kicks and screams wildly but cannot get loose.

INT. DINING ROOM_OLD HOUSE_(CONT.)

Jane sets Erin in the seat and grabs a piece of rope. 
Erin suddenly runs out of the chair and runs out of 
the dining room!

		JANE
WHERE THE FUCK DO YOU THINK YOU'RE GOING?

INT. HALLWAY_OLD HOUSE_(CONT.)

Erin runs towards the front door and stops right in 
her tracks as Sheriff Hoyt stands in front of her.

		SHERIFF
You're not going anywhere.

He laughs as Erin turns around to see Jane, 
Henrietta, Jedidiah, Drayton, and Leatherface 
standing there. They all laugh as Erin back away. She 
looks up and starts to run up the stairs.

		SHERIFF
FOLLOW HER YOU FOOL!

Leatherface runs up the stairs, screaming.

INT. UPSTAIRS_OLD HOUSE_(CONT.)

Erin looks around and makes her way into an old room.

INT. OLD ROOM_OLD HOUSE_(CONT.)

Erin runs inside and shuts the door. She locks it and 
looks around. There is nothing in the room except 
feathers lying all over the place and old bones. A 
loud bang can be heard behind her. Leatherface is 
trying to get in. She looks around and sees a closed 
glass window. She looks at the door and then back at 
the window. She runs towards the window and breaks 
through it!

EXT. BACKYARD_OLD HOUSE_(CONT.)

We watch as Erin comes flying through the window in 
slow motion. She screams as she comes falling down on 
all the wet sheets. She stays till for a second...Is 
she dead? Suddenly, she moves and looks up. The 
window is completely broken. She stands up and runs 
over to the front of the house. She stops and ducks 
as she sees Sheriff Hoyt running towards his car.

		SHERIFF
I'll be back! You get her, do you hear me!?

Erin stays silent until the police car drives off. 
She stands up and runs into the backyard. She looks 
around and sees the old cars. She runs over towards 
them and opens the door to an old truck.

INT. TRUCK_BACKYARD_OLD HOUSE_RAINING_(CONT.)

Erin falls to the ground of the truck and stays 
completely silent. She breathes deep and watches as 
the rain continues to pound hard on the glass 
windshield. She breathes hard and closes her eyes 
tight. She looks around at the dark truck. Noises can 
be heard from outside. She starts to sit up and looks 
out the window. Nothing seems to be wrong. She starts 
to open the door when suddenly Leatherface appears 
from outside the window! Erin screams and steps back. 
Leatherface holds the large chainsaw and jabs at the 
large door. She steps back and makes her way to the 
driver's door. She tries to open it, but it seems to 
be stuck!

		ERIN
OH, GOD, NO!

The chainsaw continues as Erin tries harder and 
harder to open the door. Finally, it busts open and 
she steps out.

EXT. TRUCK_BACKYARD_OLD HOUSE_RAINING_(CONT.)

Erin runs back towards the house and looks back to 
see Leatherface chasing after her! She turns the 
corner to the house and makes her way towards the 
field.

EXT. FIELD_RAINING_(CONT.)

Erin screams and runs faster and faster into the 
field. She looks back and sees Leatherface running 
towards her, not stopping. She cries and cries, but 
nothing is helping.

		ERIN
SOMEBODY HELP ME!

She screams and runs into the field until she can 
barely see the house anymore. She looks around and 
sees that she can no longer see or hear Leatherface 
or his chainsaw. She stops and looks around. She 
starts to walk slower into the field. She looks back 
and starts to run again.

INT. POLICE CAR_LONELY COUNTRY ROAD_RAINING_ (CONT.)

Sheriff Hoyt drives faster and faster into the road. 
He looks around and sighs deeply. An angry frown 
spreads across his face.

EXT. VAN_LONELY COUNTRY ROAD_RAINING_(CONT.)

Erin can be seen running through the field and stops, 
out of breath. She looks up and sees the van. She 
runs towards it and slides open the wet door. She 
steps in, shuts the door, and locks it.

INT. VAN_LONELY COUNTRY ROAD_RAINING_(CONT.)

Erin leans over to the mattress and cries into it. 
She bangs on the side of the door in guilt. She leans 
down and presses her back against the door. Suddenly, 
a loud bang can be heard behind her. She jumps and 
leans back over to the mattress. She cries as 
Leatherface tries to get in the van with the 
chainsaw. She cries and cries and covers her ears. 
Sparks fly as the chainsaw almost opens the door. As 
they do, Erin covers her ears and cries. She turns 
and opens the driver's door and runs out, not 
shutting it behind her.

EXT. LONELY COUNTRY ROAD_RAINING_(CONT.)

Erin runs down the road, followed by a far away 
Leatherface. She continues to scream and run down the 
road. She runs down the road more and more until she 
sees a small car parked on the side of the road. She 
runs towards the car and continues to look back. 
Leatherface is far away, but is coming closer and 
closer towards her.

		ERIN
HELP ME!

INT. CAR_LONELY COUNTRY ROAD_RAINING_(CONT.)

Inside, an old chubby woman of about forty-five sits 
in the driver's seat, smoking a cigarette and tuning 
the radio. Suddenly, Erin bashes on the side of the 
passenger's window. The woman jumps and sees her.

		ERIN
PLEASE! OPEN THE DOOR!

		WOMAN
(trying to calm her down)
Alright, alright!

The woman opens the door and Erin steps inside and 
slams the door. She locks it quickly.

		WOMAN
What happen-

		ERIN
Just go! Please!

		WOMAN
What's the hurry?

		ERIN
DRIVE! PLEASE!

The woman looks at Erin and then starts the car.

EXT. CAR_LONELY COUNTRY ROAD_RAINING_(CONT.)

The car goes zooming down the road just as 
Leatherface approaches it. It zooms down until it 
becomes a small speck. Leatherface screams and waves 
the chainsaw in the air.

INT. CAR_LONELY COUNTRY ROAD_RAINING_(CONT.)

Erin looks back and watches at Leatherface becomes a 
small speck. She turns back and looks ahead at the 
road. The woman sits still and drives. She wears very 
thick glasses and dark lipstick.

		WOMAN
What was going on with you back there?

		ERIN
(trying not to cry)
It's a long story, I just want to go home.

		WOMAN
How about the nearest police station?

		ERIN
I dunno...

		WOMAN
I have a house just a little further up here. You can 
rest there for a second while I call the police. Does 
that sound alright?

Erin nods. There is silence after that.

		ERIN
Thanks...for the ride...

		WOMAN
I always try to help someone. It's my job.

The woman smiles and Erin half smiles. She looks out 
the window and covers her forehead. She is trying 
hard not to cry.

		WOMAN
It's alright, dear. You can just tell me everything 
that happened when we get to the house.

		ERIN
How much longer is it?

		WOMAN
Just a few minutes. You know not many people live out 
here. It's just like our own little town. There's so 
little of what you can do.

Erin stays silent and listens.

		WOMAN
I can't even imagine what happened to you...But I 
promise you that I will take care of you.

Erin nods and closes her eyes. She cries silently and 
breathes deep.

EXT. CAR_LONELY COUNTRY ROAD_RAINING (CONT.)

We watch as the car makes its way closer towards a 
small house on a hill. Lights from inside of it blare 
on. The car suddenly turns a corner and we watch as 
it finally makes it way to the house.

INT. HOUSE_RAINING_(CONT.)

The woman and Erin walk inside the house quietly. 
Erin looks around to see that the house is very warm 
and cozy. Different kinds of sculptures are 
everywhere. A warm fire burns in the corner in a 
furnace. Erin runs over it and warms herself up.

		WOMAN
Oh, dear, come back here, I'll get you a warm 
blanket. Would you like some tea?

		ERIN
No...No thank you...

The woman nods and disappears into the back of the 
house. Erin turns back towards the furnace and warms 
herself up. She starts to cry silently. The woman 
comes back and wraps the blanket around Erin's 
shoulders. She then walks over to a large rocking 
chair and sits in it, grabbing a ball of yarn and 
some needles. Erin looks at her and then back at the 
furnace.

		WOMAN
Do you mind telling me why you were out here in the 
rain? And alone, no less! Why if I was stuck out 
there I'd at least bring a friend.

Erin stays silent. She looks at the woman and then at 
the furnace. She looks down and wipes her tears.

We fade to a clock, which moves from one time to a 
half of an hour later. The CAMERA turns back to Erin, 
who still lies down on the floor. The woman shakes 
her head.

		WOMAN
Tsk, tsk, tsk, tsk, tsk.

Erin looks down and looks at the furnace.

		WOMAN
That is just unbelievable. How could something like 
that happen to such a nice and pretty girl like you?

Erin stays silent.

		WOMAN
Oh...my, my, my, my my...Are you sure you wouldn't 
like any tea? I make the best tea in the county.

		ERIN
I...I just want to go home.

		WOMAN
I understand. You can stay here until I get you to 
the nearest police station. I'm going to call the 
police. Just wait here.

The woman stands up and makes her way into the next 
room. Erin sighs and leans over to the floor. She 
closes her eyes and falls asleep on the floor. The 
woman returns later to see her on the floor. The 
woman smiles and sits back down in her chair.

EXT. LONELY COUNTRY ROAD_RAINING_(CONT.)

We watch as a familiar police car makes its way 
towards the tea lady's house.

INT. HOUSE_RAINING_(CONT.)

Erin stays silent, sleeping on the floor. A loud 
knock can be heard from behind the front door. The 
tea lady comes out from behind a door and makes her 
way towards the front door. She looks at Erin, who 
stays silent. The tea lady opens the door and the 
CAMERA zooms in on

SHERIFF HOYT!

He smiles and takes his hat off to the tea lady.

		SHERIFF
Hello, Kathryn. How are you this evening?

		WOMAN
I'm just fine, Sheriff. She's right in here if you 
follow me.

The woman shuts the door and Sheriff Hoyt makes his 
way towards the living room, where Erin continues to 
sleep. From the point of view of Erin, we watch as 
she slowly opens her eyes to see Sheriff Hoyt 
standing up looking down at her.

		SHERIFF
Hello, little lady.

Erin stands up and screams. She slowly makes her way 
to the corner of the room. 

		SHERIFF
Now hold on, now. You get your ass back here right 
now!

		ERIN
No...NO!

Erin screams and runs through the house into the

INT. HALLWAY_HOUSE_(CONT.)

She runs through the hallway, looking around for a 
place to hide. She turns and sees an opens door 
leading into an empty room. She runs into it and 
slams the door in front of the CAMERA.

INT. BEDROOM_HOUSE_(CONT.)

Erin looks around and tries to lock it, but there is 
no lock! She cries and falls onto the ground. 
Footsteps can be heard from the hallway. She cries 
and crawls towards the corner. Slowly, the door 
opens, and Sheriff Hoyt stands there with the tea 
lady. He smiles and wags his pointer finger at her.

		SHERIFF
You naughty girl. You get back here right now!

Erin screams as Sheriff Hoyt grabs her and covers his 
hand over her mouth. She screams and kicks wildly and 
we watch as they all walk out of the room. The woman 
shuts the door quietly.

INT. LIVING ROOM_HOUSE_(CONT.)

Sheriff Hoyt holds Erin who continues to scream while 
the tea lady opens the front door for them.

		SHERIFF
Thank you again, Kathryn.

		WOMAN
Oh, it's my pleasure, Sheriff Hoyt. Come back 
sometime and have a cup of tea!

		SHERIFF
You know I will!

		WOMAN
Goodbye!

Sheriff and Erin run through the door while the tea 
lady shuts it. She smiles and starts to hum.

EXT. POLICE CAR_HOUSE_RAINING_(CONT.)

Sheriff Hoyt still holds Erin will all his might as 
she continues to kick and scream. He opens the police 
car door and throws her inside. She tries to open it 
to get out but can't. Sheriff Hoyt laughs and makes 
his way to the driver's seat. He steps inside and 
shuts the door.

INT. POLICE CAR_HOUSE_RAINING_(CONT.)

Sheriff Hoyt smiles as Erin tries to open the door. 
She pounds on it and screams wildly.

		SHERIFF
Now you shut the fuck up before I go back there and 
teach you a lesson you'll never forget!

		Erin
WHY ARE YOU DOING THIS!?

		SHERIFF
That's for you to decide. You see, I don't make the 
rules. I just follow them!

Erin screams and kicks at the door. Nothing helps. 
Sheriff Hoyt starts the car and laughs at Erin, who 
continues to scream and kick wildly.

EXT. POLICE CAR_HOUSE_RAINING_(CONT.)

We watch as Erin pounds on the window and the car 
drives off into the lonely country road.

EXT. OLD HOUSE_RAINING_LATER

The police car is already parked outside and the rain 
continues to pour down faster and faster.

INT. DINING ROOM_OLD HOUSE_(CONT.)

The dining room in empty, and the only person at the 
table is Erin, who sits in front of the table, all 
tied up with tape over her mouth. Her eyes are 
closed, and her head is moving back and forth. She 
slowly opens her eyes and looks around. She starts to 
scream but we can only hear her muffled cries.

From the kitchen door, Jedidiah walks in with a large 
stick. He walks over to Erin and smiles. Erin starts 
to cry. Jedidiah smiles once again and starts to poke 
Erin with the stick. She cries and Jedidiah starts to 
laugh. Then, he starts to hit her. A large tear rolls 
down her cheek. Jedidiah stops poking and hitting her 
and drops the stick. He looks down and sees Erin's 
belly button piercing. He looks at it and touched it 
with his finger. He doesn't say a word but smiles.

		JEDIDIAH
Hey pop!

From the kitchen door comes Sheriff Hoyt, wiping his 
bloody hands with a cloth. He smiles to his son and 
walks over towards him.

		SHERIFF
What is it, son?

		JEDIDIAH
Look!

He points to the piercing and Sheriff Hoyt reaches 
his finger at it. Erin starts to cry.

		SHERIFF
Oh my! This is some hole you got there!

Suddenly, Sheriff Hoyt starts to tug at it! Erin 
closes her eyes and cries more. We hear her muffled 
cries from behind the tape. Sheriff Hoyt pulls harder 
and harder on it, until it almost looks like it is 
about to rip off. Jedidiah smiles and so does Sheriff 
Hoyt. Erin cries as Sheriff Hoyt lets it go. Erin's 
sighs can be heard from behind the tape.

Sheriff Hoyt stands up and puts his arms to his 
sides.

		SHERIFF
Now what are we going to do with you?

		JEDIDIAH
Oh please pop can I play with her!?

		SHERIFF
No, son! She's our guest! And she hasn't even had the 
proper dinner yet!

Erin shakes her hand and cries more as she tries to 
escape the clutches of the rope.

		JEDIDIAH
Hey! Why don't we go get grandpa! He'll know what to 
do!

		SHERIFF
Great idea, Jedidiah! (to Erin) Grandpa's the best 
damn killer in the entire county! He'll know exactly 
how to handle you!

Erin screams as Jedidiah and Sheriff Hoyt make their 
way back inside the kitchen. Moments pass, and we see 
Sheriff Hoyt roll Drayton in from his wheelchair. 
Jedidiah, Henrietta, the baby in her clutches, Jane, 
and Leatherface, who wears a new mask, follow them 
all. This time, it is more like a woman's face. 
Makeup covers it entirely. Jedidiah carries a very 
large silver bucket. It is bigger then him. He sets 
it down on the floor and Sheriff Hoyt unties Erin. He 
pulls the tape off of her mouth. She tries to escape, 
but is stopped by Henrietta.

		HENRIETTA
Oh no you don't! I got her pop!

Sheriff Hoyt grabs her by the neck and pulls her face 
towards the empty bucket.

		SHERIFF
Jedidiah, go get the hammer from the kitchen! 
Grandpa's going to do a little killing tonight!

Jedidiah nods and runs into the kitchen. Leatherface 
jumps up and down with excitement. Moments pass and 
Jedidiah runs in with the hammer. He hands it to 
Drayton.

		SHERIFF
Now remember, grandpa, hit her hard.

		DRAYTON
I know what I'm doing you fool!

Sheriff holds Erin head into the bucket, his hand 
covering her mouth. She can't scream. Drayton raises 
the hammer in the air and swings it down towards 
Erin, but misses. The hammer falls into the bucket.

		JANE
Just try again, grandpa!

Jane hands the hammer to Drayton, who nods. The 
hammer wiggles from side to side from Drayton's 
shaking hands. They all laugh and jump up with 
excitement.

		SHERIFF
Hit her, grandpa! Hit her!

Drayton raises the hammer once again, but misses 
again. It falls into the bucket. Sheriff Hoyt let's 
go of Erin's mouth and grabs the hammer. She screams 
loudly.

		ERIN
NO! PLEASE!

		SHERIFF
Hit her hard, grandpa!

		DRAYTON
I know what I'm doing!

		JANE
No you're not! Let's me do it!

		HENRIETTA
No let me do it!

		JEDIDIAH
I never get to hit anyone! Please, daddy! Please!

They all argue and fight over the hammer. Sheriff 
Hoyt let's go of Erin, who stands still for a second, 
and then looks up to see a window in the dining room. 
She stands up and runs towards it! Everyone watches 
as she busts through the glass!

EXT. OLD HOUSE_SUNRISE_(CONT.)

The rain has stopped, and Erin lies face first in the 
wet mud. She stands up and looks back to see the 
white curtains from the broken window sway back and 
forth. She stands up and runs into the field. We 
watch her as she disappears. We look back at the 
porch to see the door swing open, and Sheriff Hoyt 
stands there. He starts to run after her, followed by 
Leatherface, who holds the wild chainsaw. He turns it 
on and follows Sheriff Hoyt down into the field.

EXT. FIELD_LONELY COUNTRY ROAD_(CONT.)

Erin screams and cries as she looks back to see 
Sheriff Hoyt and Leatherface running after her from a 
far away distance. The sun sets behind the house.

EXT. LONELY COUNTRY ROAD_SUNRISE_(CONT.)

It is very quiet. Soon, Erin runs into the road 
through the field and starts to run down the road. 
She looks back and sees Sheriff Hoyt running directly 
after her! She screams and watches as Leatherface 
rises from the field, cutting the grass with the mad 
chainsaw. She looks back to see a large red truck 
making its way towards her! She steps in front of it 
and waves her hands.

		ERIN
PLEASE! HELP ME!

The truck comes to a stop and Erin runs to the side 
of the truck. She tries to open the door, but can't!

		ERIN
NO!

Leatherface catches up with Sheriff Hoyt, who stops 
running and looks up and Leatherface and Erin.

		SHERIFF
GET HER, LEATHER! GET HER!

Erin runs down the road, followed by the truck 
driver, who steps out of the truck with a large 
hammer. Erin and the truck driver run down the road, 
followed by an angry Leatherface. The truck driver 
stops and looks back at Leatherface. He throws the 
large hammer at his head and watches as he falls to 
the ground. The chainsaw falls onto Leatherface's 
leg, cutting into the flesh! He screams and stands 
up, running after the truck driver. He catches up to 
him and cuts through his stomach! Blood falls 
everywhere! Erin looks back and screams!

		ERIN
NO!

Leatherface lets the truck driver's body fall to the 
ground. He looks up and chases after Erin, who 
screams madly! She looks back to see a small truck 
making its way towards her! She smiles but continues 
to scream.

		ERIN
PLEASE! STOP!

The truck stops, and Erin climbs into the back of it, 
followed by Leatherface, who tries to catch her, but 
can't. Erin pounds on the outside window of the truck 
while she still sits in the back of it.

		ERIN
GO! GO!

The truck drives faster and faster into the sunrise. 
Erin screams and laughs at the same time. She smiles 
and watches as Leatherface becomes a small speck. As 
we go back to Leatherface, who stands in the road, he 
screams and waves the chainsaw in the air! He screams 
and screams and screams. The chainsaw waving through 
the air madly. He screams once more and we

CUT TO BLACK.

INT. OBSERVATION ROOM_TRAVIS COUNTY POLICE 
STATION_(CONT.)

Erin sits still, and the policeman stops the tape 
recorder. He sighs and stands up.

		POLICEMAN
Thank you, Erin. A policeman will be taking you home 
shortly.

Erin nods and watches as the policeman walks out of 
the room. She stays silent, and then screams wildly.

INT. HALLWAY_(CONT.)

The policeman stands in front of the hallway, holding 
the tape recorder. The second policeman walks up to 
him.

		POLICEMAN #2
That took longer than expected. Did she talk?

		POLICEMAN
Oh yeah, and I got the whole thing on tape. Take this 
to Officer Hooper please.

The policeman hands the tape recorder to the second 
policeman, who runs down the hallway. The policeman 
stands still and covers his forehead.

		POLICEMAN
I need someone to take this girl home. Any 
volunteers?

		VOICE
(O.S.)
I'll do it, sir.

		POLICEMAN
Great. Just make sure you get her home safe.

The policeman pats the policeman on the back and 
walks way.

		VOICE
(O.S.)
Oh I will, sir.

The CAMERA moves to see that it is

SHERIFF HOYT!

He smiles and walks towards the room.

		SHERIFF
Oh believe me...I will.

He smiles once more and walks inside the room, 
letting the door slam in front of the CAMERA.

CUT TO BLACK.

Erin's screams can be heard in the background as the 
MUSIC RISES and CREDITS ROLL.   


97

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