HORROR MOVIE by Tom Benton

Independence Day 2012 tombenton@ymail.com 802-249-2226

FADE IN: INT. RURAL HOUSE (LIVING ROOM) - NIGHT Two teenagers make out on a loveseat by the window, through which a brilliant FULL MOON hangs in the sky. They are ALEXIS and FOREST, both 17. Forest grinds on top of Alexis. FOREST That was some great party... He starts to unbutton her pants. Alexis slaps his hand away.

ALEXIS Easy, Indiana Jones, its early yet for archaeology. What? FOREST

They make out between sentences. ALEXIS First off no loving til after nine. Thats a motto. FOREST Whose motto? ALEXIS Second, Id like to be classy when I lose my v-card, please, i.e. boozed out of my mind. FOREST Then your parents call and youre slurring your words and I get the blame... ALEXIS They disconnected the landline to save money. And I told them I might have my phone off, like if I went to see a late movie. FOREST Ill show you a late movie. I could even show you a double feature.

2. ALEXIS Talk is cheap... so is alcohol you dont have to pay for. Top cabinet in the kitchen. Forest gets up. Alexis stops him.

ALEXIS (CONTD) Just not scotch. I drank it once when I was ten and had nightmares. Forest heads into the kitchen. FOREST Only the best for my soon-to-be slut girlfriend... ALEXIS (calling after him) Hey! Just because Ill no longer be virginal doesnt make a slut! Asshole. Dont push your luck! A WOLF HOWLS in the distance. ALEXIS (CONTD) That was tre creeps... Alexis hears GRUNTING and GROANING from the kitchen. ALEXIS (CONTD) Forest? (no response) Forest, its your lover, Alexis, answer me. (nothing) Forest Bass, if you are satisfying yourself out there Im gonna jerk it clean off! A SCREAM OF PAIN from the kitchen startles her. INT. KITCHEN - NIGHT Alexis hurries in... its empty. She frowns at the tile floor. Crouches down, touches it, looks at HER FINGERTIPS... COVERED IN BLOOD. She leaps up, goes to a PHONE on the wall. remembers: its disconnected. She picks it up,

3. BUZZING from her pocket startles her. She pulls out her cell phone. Takes the call... and her phone SHUTS DOWN. CHARGE BATTERY flashes across the screen. BANGING on the kitchen door. Alexis twirls. LOUD SNIFFING and LOW GROWLS on the other side of the door, as though a huge animal is trying to get in. ALEXIS TRIES OUT FOR SCREAM QUEEN. INT. FRONT DOOR - NIGHT Alexis rushes to the door, her stockinged feet slipping over the floor -- reaches it just as something begins BANGING from the other side. Alexis twists all the locks. She steps back, TRIPS over Forests BACKPACK and falls flat on her ass. A river of CONDOMS spills out over the floor. Alexis gets up, runs up the stairs as the thing on the other side of the door continues trying to get in. INT. ALEXISS ROOM - NIGHT Alexis slams the door. it. Pushes her heavy DRESSER in front of

She rams her shoulder into a BOOKCASE. It topples over in front of the door. R.L. Stines GOOSEBUMPS series spills out on to the floor. She hurries to her bed, reaches under the sheets and pulls out a matching set of LINGERIE -- supposed to be Forests big treat for the night. Instead, she twists the panties and bra together and uses them to tie the DOOR HANDLE to a knob on the wall. A SUDDEN BLAST OF HIP HOP startles her. going off on the bed. She answers it. Hel -ALEXIS Its Forests phone

DEEP VOICE (V.O.) (cuts her off) IM COMING FOR YOU, ALEXIS. (maniacal giggle) IM COMING FOR YOU, IN YOUR HOUSE... IM GONNA MAKE YOU DEAD!! Alexis ends the call. FOREST just called. She notices the caller ID... it says

4. She backs toward the far window in bewildered terror... slumps to the ground directly in front of the window. A WOLF SUDDENLY ROARS IN THE WINDOW, GNASHING ITS JAWS BESIDE ALEXISS HEAD! AS SHE SCREAMS, WE SMASH CUT TO: INT. APARTMENT (OFFICE) - NIGHT CURTIS MANSON (27) sits at his desk in front of his LAPTOP, eyes ablaze with excitement. Sweet!! CURTIS

He starts frantically tapping keys. ANGLE: ON HIS COMPUTER Hes typing a screenplay. UNTITLED. Three-word title. First word:

The next two words suddenly fill the screen with AWFUL STINGING MUSIC: H O R R O R EXT. PLAYGROUND - HIGH NOON The world is silent... but for a CREAKING SWING. LANE MICHAELS (18) sits in the swing, swaying dreamily, her hair put up in childish pigtails. Staring across the playground... where SARA (28) stands alone. ANGLE: CLOSE ON SARA Her body is dripping with BLOOD, her intense blue eyes staring widely into nowhere. SARA (sing-song) Twenty-nine buckets of blood on the wall... twenty-nine buckets -SMASH CUT TO: M O V I E

5. INT. LANES ROOM - EARLY MORNING Lane gasps as she sits up in bed -- her body coated in sweat, her clothes, hair, and sheets askew. A teenage girl like her should be waking up with pristine fuzzy pink pajamas and a smile -- but Lanes a mess. EXT. MICHAELS HOUSE - EARLY MORNING A van pulls up outside. A NEWSPAPER SLAPS on the doorstep. JIM MICHAELS (48) steps outside, just in time to glare at the van as it drives off. Hes in his workclothes -- oil-smudged t-shirt, grease-stained jeans, worn cap. Jims the kind of guy for whom fun has gradually been suffocated by hard life. He picks up the newspaper, shouts at the van. JIM RIGHT ON TIME! INT. BATHROOM - EARLY MORNING Lane looks at herself in the mirror. Shes dressed and has cleaned up nicely -- no reflection of last night, except for the dark bags which still havent left her eyelids. LANE (to the mirror) Youre a normal, happy high school girl. She sighs: yeah, right. She flips the mirror off.

INT. KITCHEN - EARLY MORNING Jim reads the town rag at the table, sips from a soda can, his breakfast. His wife, CARRIE (50), washes dishes in the sink. JIM Christ. Alan Killingtons a friggin quack. CARRIE You dont have to tell me that. JIM (pointed) Did he?

6. Carrie drops her dishes in the sink. hurt. Jim! CARRIE She spins toward Jim,

They look at each other for just one second before Carrie breaks into tears. She runs into the adjoining BATHROOM and closes the door. Jim sighs. Lane enters, backpack on her back. LANE Good morning, parents... (beat) Wheres Mom? JIM I said something I shouldnt have, as usual. Lane fills a thermos with coffee. LANE Dad, the only things you shouldnt say are those things you call jokes. (she listens) Is Mom crying? That must have been some joke... (beat) What it the one about the macaroons? JIM You really gotta find some work, Lane. Were not gonna be able to support you through college. LANE Is Mom okay? JIM Dont worry about it. Its my fault. Did you hear what I said? LANE Yeah, Dad, I know. I just want to build some hometown memories that are memorable, maybe even with happy on top. Just a month. Then I will find a job. (she hesitates) (MORE)

7. LANE (CONT'D) Hey, Ms. Craven told me to keep it to myself... but it looks like I made salutatorian. Not bad, huh? She beams. JIM Thats good, Lane. (beat) Im going to get you an application from IronCorp. Lane looks at her dad, hurt by the dismissal. grow louder in the bathroom. LANE Dad... remember when wed sit around the breakfast table and youd tell me how much you loved me, and how proud of me you were? Jim looks at her, surprised. LANE (CONTD) (beat) Me neither. She grabs her keys and heads out the door. Jim sighs. Her moms sobs

JIM Now where Id put my Worlds Best Dad mug... INT./EXT. LANES CAR - EARLY MORNING Lane twists the key. The car starts with a blast of HAPPENING MUSIC from the stereo. The car pulls out of the driveway and away from Lanes house, one ordinary house on a street of ordinary houses. Lanes drive offers a MONTAGE of images introducing us to SPRINGTOWN (population 9,000 tops), our point of residence for the film. On Lanes drive, she sees... -- The WELCOME SIGN at the edge of downtown. It reads: WELCOME TO SPRINGTOWN -- NEXT STOP: HEAVEN. -- A squat POST OFFICE. wave. Lane returns the MAIL CARRIERs Lane

-- A PIZZA JOINT. A CONSTRUCTION TEAM works outside. returns a construction workers wave.

8. -- A MOVIE THEATER. Someone putting up fresh POSTERS outside. Lane returns her wave. Lanes eyes turn back to the road. She CURSES and SLAMS on the brakes. Her car SQUEALS to a STOP. In the road, CHIEF LOU COSTELLO (50s), a round guy with a big mustache, scowls at her. Hes cradling a box of a dozen donuts under his arm, coffee in his other hand. Lane leans out the window. LANE Sorry Chief Costello! morning! ANGLE: CHIEF COSTELLO Steps out of the way as Lane drives on. CHIEF COSTELLO (calling after her) Slow down! He watches her go. CHIEF COSTELLO (CONTD) Goddamn kids. (beat) Gotta love em. He crosses the street. EXT. HIGH SCHOOL STUDENT PARKING LOT - MORNING Lanes car pulls in, passing a sign reading: SPRINGTOWN HIGH -- WHERE LEARNERS GO TO LEARN MORE. INT. HIGH SCHOOL CORRIDOR - MORNING Lane opens her locker. Puts some books in, takes some books out. She notices a small PHOTO amidst the books. She takes it out and looks at it. ANGLE: THE PHOTO A younger Lane smiling ear-to-ear as a young woman hugs her tight. Its the woman from Lanes dream -- Sara. Lane puts the photo back in her locker. locker door... She closes the Good

9. And YELPS, startled by someone on the other side... her best friend, JANE DOHE (18). JANE Is it my hair? LANE Not hardly. Another sleepy day at Springtown High, huh? JANE It would be... but something happened last night. CUT TO: INT. BY JANES LOCKER - A MINUTE LATER Jane opens her locker. Lanes face lights up.

LANE Oh, my god... She reaches into Janes locker. Pulls out... a FRENCH NUDIE MAG -- French guys sprawled out in all sorts of ridiculous positions across the cover. LANE (CONTD) Wont your sister know? JANE I found it in a stack of Cosmos and Home and Gardens she was getting rid of. So I said Merci and claimed it for America. LANE Its been so long... (beat) Did you... ? No! JANE

(blushing) Maybe once or twice... They giggle. Hollaaaa! SHOSHANA

SHOSHANA MARDER (18) has flowing, shiny hair, and masterful makeup, and impeccable bangs.

10. She moves as though in slow motion (hint: SLOW MOTION). All the boys -- and even some girls -- stop to watch her as she walks. She trips (in slow motion) -- she slowly falls out of frame. Two seconds later shes up again. Continues walking as if nothing happened. Shoshana notices the nudie mag in Lanes hands. SHOSHANA (CONTD) Is that porn in your hands or are you just happy to see me? (beat) God, funny! Im funny! Right? Two girls pass, glaring at Lane. LANE (re: the glaring girls) Theres good cheer if ever I saw it. SHOSHANA They hate you cause you think youre too good for Lucas. Or they hate me cause I am too good for Lucas. Or because I used to want to marry him. (self-conscious) Wait, what? No. LANE I -- I dont think -- Im not too good for Lucas -- its just... I just moved back this year... and Im going to college... and my moms crying... JANE (sympathy) Oh, there were mom tears? LANE Its been like this since we moved back. Things dont make sense like they used to. SHOSHANA Todays Monday. Lane and Jane stare at her.

11. SHOSHANA (CONTD) What happened on Wednesday? Jane glances at Lane nervously. LANE I dont know... Jane starts running her finger across her throat, a warning to Shoshana: shut up or die. SHOSHANA I was born! (she notices Jane) What. Whats this? She mimics Janes gesture. PRINCIPAL RAIMI You kids today!! PRINCIPAL RAIMI (50) comes out of nowhere, scaring everyone to death. He gets right in Shoshanas face. SHOSHANA Principal Raimi... PRINCIPAL RAIMI (CONTD) You and your haphazard treatment of murder. Death is not a joke! He pauses for effect. PRINCIPAL RAIMI (CONTD) Now get to class before I kill you! The girls watch him walk off in silence. SHOSHANA So what else happened on Wednesday? Sara... LANE

She cant finish the sentence. SHOSHANA Oh my god, your sister died! Im so sorry! That sucked! I feel for you. (beat) So are you coming to my birthday party then?

12. JANE (furious) Shoshana, I will -LANE (cuts her off) Yeah. Of course we might. SHOSHANA Thats great. If you said no I was gonna have to stab you to death! She walks off. SHOSHANA (CONTD) Later, bitches! Principal Raimi appears out of nowhere. against the lockers. PRINCIPAL RAIMI You kids and your haphazard treatment of sexism! CUT TO: INT. MS. CRAVENS CLASS - NOON MS. CRAVEN (26) stands at the front of the class, a striking woman who mightve had a career in modeling if she hadnt opted for a classroom instead. MS. CRAVEN I am a magician. I will now proceed to make Jane Eyre the most enthralling, captivating, awesome fun you can legally have. Two guys up front high-five. Among the students, Jane glances up at the CLOCK on the wall. She whispers to Lane, seated beside her. JANE (whispers) B R B. LANE (whispers) Shhh... this is going to be some trick. CUT TO: He slams Shoshana

13. INT. HALLWAY - NOON Jane rounds a corner. DALE DEDMAN (18) leans against the wall, waiting for her. Hes earned a geek classification, largely because he has thick-rimmed glasses and wears tightlybuttoned plaid shirts -- but he wears em well, and his lack of shortness works in his favor. Hey. DALE

Jane spins, sees him. Hey. JANE Howd it work out?

DALE Tim Kilborn is planning to spend the evening hanging downtown. JANE Thanks Dale. DALE Say nothing of it. Jane takes something out of her pocket -- his payment -- puts it in her hand and then SLAPS FIVE with Dale. They go their separate ways. INT. CAFETERIA - NOON Dale crosses the cafeteria, in the throes of lunch. Nearby boys abruptly flip over their table and begin fighting. Principal Raimi grabs one and flings him against the wall. PRINCIPAL RAIMI You kids and your haphazard treatment of violence! Dale sits at a table beside PAT STIPH (18) -- who has longish hair and not much else to distinguish him from the sea of other boys at this age. Dale smiles, examining ANGLE: HIS PAYMENT -- A PHOTO Of Lane, smiling. Dale gets out his wallet. the picture spot. He slides the photo of Lane into

14. PAT Stalk here often?

Hey buddy.

Dale pulls Pats wallet out of his back pocket and slaps it open on the table. ANGLE: PATS WALLET An endless line of picture slots are filled with assorted photographs of Shoshana Marder. Dale gives him a look. PAT (CONTD) Those arent mine. EXT. ATHLETIC FIELDS - AFTERNOON Lane crosses the grass toward the student parking lot. Hey! LUCAS Lane!

Lane looks up. LUCAS KILLINGTON (18) waves, in his lacrosse uniform, practicing with the team. Lucas has a bright future as the romantic lead in rom-coms -- hes beautiful: deep blue eyes, floppy hair, athletic frame. A BALL suddenly shoots toward him. With amazing reflexes, he twists, catches the ball, and flings it back to his teammates, all within the blink of an eye. He jogs to Lane. LANE That was impressive! LUCAS Yeah... (beat) It was? I could try to do it again... Hey Lane. COLE

Lane turns. COLE BODDEE (23), a tall, handsome guy who definitely won a few state championships in high school, smiles at her. His is a sad smile.

15. LANE Cole... (to Lucas) Lucas, would you excuse us? Yeah. LUCAS Of course.

He jogs back toward his team, repeatedly glancing over his shoulder at Lane and Cole. COLE Its good to see you, Laney. LANE Likewise... (beat) What are you doing here? COLE Picking up my sister. rugby practice. She has

He waves to HIS SISTER, one of a squad of ordinary high school girls practicing on the field. With a loving smile she waves back. COLE (CONTD) Big game tonight. Wanna walk? CUT TO: EXT. ATHLETIC FIELDS - A LITTLE LATER Lane walks with Cole, passing assorted team practices. LANE You know, Wednesday its been four years, since... COLE I know. Its been three of those four years since Ive seen you. Moments of silence. LANE You keepin busy? COLE I got my Bachelors Degree in linguistics. (beat) (MORE)

16. COLE (CONT'D) So I got a construction job moving rocks outside of town. You? School. LANE

COLE Right, right. That sucks. They stop. Watch Coles sister playing rugby. LANE She looks so normal. (beat) Did you... find someone else? COLE Yeah. I did. Seventeen months, going strong. LANE Thats good. Good for you. If you can find a way to move on... COLE I dont... I dont know if we move on from things like that. I still see her, you know? In my dreams... Lane recalls... INSERT: LANES NIGHTMARE Sara covered in blood at the edge of the playground. abrupt flash. COLE (CONTD) Like she doesnt want me to forget... LANE How do you keep going? people? Cole smiles sadly. COLE Ill let you know if I figure it out. CUT TO: Like normal An

17. EXT. ALEXISS HOUSE - SUNSET A Subaru pulls into the driveway, parks behind Alexiss car and Forests car. Alexiss father, DON (52), a big Italian guy, and her mother, LEILA (48), of French descent, get out. DON Well that was a clusterfuck. He notices Forests car. DON (CONTD) Whose car is that? INT. ALEXISS HOUSE (DOWNSTAIRS) - SUNSET Don unlocks the last of the locks and they enter. DON What the hell got into her? He notices the mountain of CONDOMS on the floor. DON (CONTD) ...Poor choice of words... INT. OUTSIDE ALEXISS ROOM - SUNSET Don knocks on the door. LEILA I dont know if she should be grounded... DON Of course she should. (he knocks) Alexis? LEILA For having sex? DON For twisting all the locks... (he beats on the door) Alexis Croaque, would you open the door please, honey? Were home! (he realizes) Unless this is the boy... (MORE)

18. DON (CONT'D) in which case you better open this goddamn door so I can cut your little pecker off! INT. ALEXISS ROOM - SUNSET Don forces the door open, just enough to enter. He pulls out a jackknife, cuts through the lingerie bond. Alexiss parents squeeze past the dresser, step over the toppled bookcase. DON Shouldve made her attend the goddamn conference... He stumbles over one of the Goosebumps books and drops to his knees. He suddenly breaks into tears, tears streaming down his cheeks. Leila tries to scream, but it comes out as silence. ALEXISS BODY HAS BEEN STRIPPED NUDE AND MUTILATED, HER INTESTINES HANGING LIKE HALF-ESCAPED WORMS. BESIDE HER, FOREST IS ALSO NUDE, LYING IN A POOL OF HIS OWN BLOOD. The volume of Leilas scream quickly rises. CUT TO: INT./EXT. TIMS CAR - EVENING The car pulls to a stop outside a plain-looking house. TIM KILBORN (18) is behind the wheel. Dale Dedman sits to his right, and Pat Stiph is in the backseat. PAT I dont know why Douchey McCockerson has to come. TIM Billys the only one who knows where this guy lives. DALE That doesnt speak as to his character? Tim honks the horn. BILLY TOTE (19) comes out of the house in a loose football hoodie and baggy jeans. He gets in the backseat, completely ignoring Pat and Dale.

19. BILLY You got a headlight out,

Sup Tim. bro.

TIM I know. Keep your eyes peeled for coppers. He starts driving, one bright headlight shining into the deepening dark. BILLY (to Tim) Sorry I took a sec. Shoshana called. She was feeling whole lots o horny. Pat slouches into the window with a THUD, the picture of gloom. EXT. ATHLETIC FIELD - EVENING Booming music, bright lights, and the Springtown rugby girls getting nasty on the field. Game night. Our team scores. In the bleachers, Cole leaps to his feet.

COLE Go Springtoooown! He sits. Looks over the stands. The

Theres no one here but scattered supporting family. bleachers are practically deserted. EXT. DOWNTOWN STREETS - EVENING

...And this is where everybody went. Hundreds and hundreds of residents gather around a section of the street closed off by SAWHORSES. A FILM CREW sets up on the other side. A VENDOR is hocking t-shirts reading FINALLY SPRINGTOWN HAS SOMETHING TO BE PROUD OF across the front and UNTITLED HORROR MOVIE -- SUMMER 13 on the flip side. People have parked convertibles and trucks on the street corner, where they sip beer and wait for action. Lane and Jane work through the crowd. around, searching faces. Janes eyes dart

20. LANE And then I guess Alexis was telling everyone Forest was going to take her v-card, which is an eleven on the unsexy scale out of ten... who are you looking for? No one. JANE

LANE Are you... are you meeting Tim? (singing) Tim and Ja-ney, up in a tree... k-is-s-i-n-g... JANE Im just hoping that by some random happenstance I will encounter our dear Mr. Kilborn. Something carries on the wind... a WHISPER. WHISPER (V.O.) Laaaaane... Lane freezes... looks into a dark BACKALLEY to her left. LANE Ill be right back... She enters the backalley. JANE Hes also really good at math, by the way... EXT. BACKALLEY - EVENING Lane moves cautiously down the alley. enough to see. Hello? No response. LANE Its barely light

She continues.

LANE (CONTD) I know youre not supposed to say that... just like I know youre going to jump out and startle me... I also know youre probably someone who isnt threatening at all --

21. She turns around. SHE JUMPS -- THERES SOMEONE BEHIND HER!

LUCAS Hey, sorry. Did I scare you? LANE Lucas... what the hell are you doing in here? Your dad come up short on the rent? LUCAS Its loud out there. LANE Are you with Tim? LUCAS Tim was out off 91 rallying the troops, last I heard. Bummer... Why? No. LANE

LUCAS You wanted to see Tim? LANE I mean, the more the merrier.

LUCAS Youre in for a treat. Tonight were shooting the dream slasher sequence. LANE That sounds nice. LUCAS Youre not really sold on the whole horror thing, are you? LANE I like horror as much as the next girl. So long as the next girl prefers sci-fi. LUCAS Ill turn you around. LANE Could you turn yourself around so we can leave the alleyway?

22. LUCAS Listen to this. This is the opening we shot last night. LANE Just pretend youre a swivel chair. LUCAS Hey now, this is a free sample. Try before you buy. Lane sighs, but doesnt move. Listening impatiently.

LUCAS (CONTD) So a girl and a boy are home alone, no parents... which means sex and booze, right? Only sometimes... the gods get sick of that shit. They demand compensation for their boredom... payable in blood. Those lines are from the script. Anyway, the boy goes to get the booze, of course, obligatory horror stuff... then the girl hears groaning from the kitchen... theres blood on the floor... ANGLE: LANE As Lucas goes on, her expression a distant look of horror. LUCAS (V.O.) (repeating in her head) Blood... blood... INSERT: EXT. BACKROAD - NIGHT (FOUR YEARS AGO) A PICKUP TRUCK pulls over. A younger, more boyish Cole Boddee gets out slowly, but Lane -- with her girlish pigtails -- beats him to it. She crosses the dirt road. Saras car is half off the road. Lane notices Sara on the ground in front of it and runs to her. Sara! LANE

Lane runs to Sara, GASPS... Sara is drenched in blood, bloody chest heaving for air. There are DEEP KNIFE GASHES across her body, and an awful wound at the base of her stomach where she struggles to hold in her guts. SARA Laney... h-help me... help me...

23. Cole grabs Saras hand. We see him speaking to her, but we cant hear it. Everything goes silent as Lane stares at her dying sister, knowing everything that was her life is gone. Lucas looks at Lane. LUCAS I mean, there are intestines everywhere. (beat) So? Are you excited for the dream slasher sequence now? LANE (softly) Thanks for reminding me. I almost forgot my sister was murdered. Lucas goes ghost white as she walks past him. LUCAS Oh... oh, Lane, Im -- I didnt put two and two -- Im not good at the math -- wait! He watches as Lane walks out of the alley and disappears. LUCAS (CONTD) Talk about a dream slasher... EXT. DOWNTOWN STREETS - EVENING A CREW MEMBER announces the film shoot is moving down the street. The crowd begins to shift. Jane looks down at ANGLE: HER PHONE Inbox: empty. She turns, still looking at her phone. Sorry. LANE Looks up. YELPS!

JANE Whered you go? LANE Lucas wanted to talk to me in an alley.

24. JANE Ah, romance. LANE Hardly. He wanted to talk to me about blood and guts and murder, which got me thinking... JANE (understanding) Oh... LANE Im just gonna beat it. JANE You want me to beat him? They turn at the sound of SHOUTING. ALAN KILLINGTON (52), bespectacled, suit n tie, marches beside the moving film crew, waving a SIGN reading THE ONLY HORROR MOVIE IS YOU, and repeating: ALAN (chants) We dont want you guys around/Murder someone elses town! The girls watch. JANE Isnt that Lucass dad? LANE Forget about beating Lucas. got you covered. Lifes CUT TO: INT./EXT. TIMS CAR - EVENING (MINUTES LATER) The car pulls to a stop. ANGLE: A RAMSHACKLE HOUSE Squat, one-story, paint peeling. TIM Youre sure this is it? PAT Looks like a granny rapists house to me. Lights off. The boys look out at

25. DALE Thats what I thought the first time you had me over. PAT Id laugh, but itd have to be funny. They get out of the car. BILLY How many grandmas this fucker rape again? PAT How beauteous thy words... TIM Five before they caught him. Can you believe this guys living freely in our town? BILLY Gotta spring a leak. He walks off. Dale pulls out his phone.

ANGLE: HIS PHONE Says NOW IN SERVICE. Dale types a text message, addressed to JANE: Sorry -- Tim suddenly changed plans... so sorry! He sends the message. Suddenly -- the FRONT DOOR of the house opens with a creak. PAT Woah... thats creepy... TIM Dare you to go in. PAT Im not afraid of any rapist. Tim gestures toward the door. at Tim. Pat stares at it. Looks back

PAT (CONTD) ...But would you think me less of a man if I was? TIM Definitely.

26. PAT Hey Dale, wanna go knock on Finn Rapps door? DALE Im good, man. Tim and Dale grin, waiting. HOUSE. PAT This night sucks. Pat starts walking. Slows as he nears the house, stepping into a comical tiptoe. He stops in front of the doorway. Stares into the darkness. PAT (CONTD) (softly) Hello? Pat looks back at Tim and Dale. TIM (yells) You gotta knock! Pat turns back to the house. With a deep breath he takes a step forward, raises his hand to knock. SOMEONE LEAPS OUT OF THE DARKNESS WITH A ROAR -- Pat SCREAMS -- then deflates. Billy laughs in the doorway. Tim and Dale walk over. Pat looks back to FINN RAPPS

DALE How the helld you get in? BILLY Back doors unlocked. screen. TIM Whats in there? BILLY Couple intestines and a cup of blood. Their jaws drop. Its just a

27. BILLY (CONTD) Nah, I couldnt see anything. Smells like kitty-go-pee-pee though. DALE Guys, if the town rapist isnt home... where the hell is he? They stand in silence. The breeze blows gently, as though the trees whisper the answer. CUT TO: EXT. HOUSE DOWNTOWN - NIGHT Jane looks at her phone. ANGLE: HER PHONE She reads Dales text message. JANE This night sucks. With nothing else to do, she looks at the house around which the curious townspeople have gathered. ANGLE: THROUGH THE WINDOW The crew sets up dim lights around a bed... CUT TO: INT. COLES APARTMENT - NIGHT Cole enters with an exhausted sigh. The lights are off. picks up an open beer and finishes it off. HE CHOKES. Eyes go wide. He

SARA stands on the other side of the room, corpse pale. Cole drops the beer. up... Sara is gone. It SHATTERS across the floor. He looks

28. INT. COLES BEDROOM - NIGHT Cole closes the door softly, eyes the bed, where COLES GIRLFRIEND sleeps. He takes off his shirt. His girlfriend stirs. COLE (softly) Sorry. COLES GIRLFRIEND (sleepy) How was the game? COLE We killed em. How was the sleep? Cole gets into bed. His girlfriend is already asleep again. He stares at the ceiling. INT. HOUSE DOWNTOWN - NIGHT Jane looks through the window. The DIRECTORs voice carries.

DIRECTORS VOICE (O.S.) Ready... action! INT. COLES BEDROOM - NIGHT Coles eyelids grow heavier, until finally, they shut. THEN... Coles eyes open again. hes in... EXT. A FOREST - NIGHT Cole sits up and looks around. This isnt the well-lit forest of most horror movies: little is visible beyond Cole, just faint, ghastly outlines of gnarled trees. Cole stands. COLE (whispers) Becky... are you there? Its dark... I think Im alone... A moments silence. THEN... He looks around. Realizes

29. HOARSE WHISPER (V.O.) Youre not. INT. COLES BEDROOM - NIGHT Cole shifts in his sleep. EXT. HOUSE DOWNTOWN - NIGHT Jane watches the filming. ANGLE: THROUGH THE WINDOW An ACTOR in bed tosses and turns. EXT. FOREST - NIGHT Cole runs through the darkness, colliding with jutting branches which tear his shirt apart, drawing blood. COLE Its a bad dream... everything... just wake up, wake up, wake -HOARSE VOICE (V.O.) Why dont you shut up and cry a little? Id like some tears before I gut ya! Cole stops, confused. EXT. A CITY - NIGHT A labyrinth of claustrophobic streets. sewer grates. Cole resumes running. HOARSE VOICE (V.O.) Hang a left! Cole stops. COLE What the fuck... A BRICK WALL towers before him. ALLEYWAY. He realizes hes now in an Steam rises from Hes in...

30. EXT. HOUSE DOWNTOWN - NIGHT A HAND comes down on Janes shoulder -- SHE JUMPS! Sorry. LUCAS Hi. Emphasis on fool.

JANE Whats up, fool. LUCAS Tell me about it.

They turn back, watch the filming through the window. Ah. LUCAS (CONTD) Here come the blood n guts.

EXT. DREAM ALLEYWAY - NIGHT Cole freezes. A TALL, THIN SHADOW covers the brick wall.

HOARSE VOICE (V.O.) I thought you were a football player, Cole... thought maybe youd play a little D. Cole watches as the DREAM SLASHER enters the alleyway, a tall man in a dark coat whose features are bathed in shadow. He holds up a pair of huge GARDEN SHEARS as he approaches. DREAM SLASHER (CONTD) Looks like were gonna have to cut you from the team! Cole presses against the wall, cursing, frozen with fear. Its too late... the dream slasher is upon him. He SPEARS Cole through the stomach with the garden shears. Pulls them out. SNIP! Cole screams, holds up his arm... looks at the handless stump SPURTING BLOOD. INT. COLES BEDROOM - NIGHT Cole shakes violently in his sleep. Over the side of the bed... his HANDLESS ARM pours blood like a faucet.

31. EXT. HOUSE DOWNTOWN - NIGHT Jane puts her hand to her mouth. ANGLE: THROUGH THE WINDOW The actor in bed shakes as FAKE BLOOD shoots up from his stomach. LUCAS Man, thatd hurt. were real. I mean, if it

EXT. DREAM ALLEYWAY - NIGHT - SCENE CONTD The dream slasher laughs as he SNIPS into Cole with the shears. Blood shoots out like projectiles. Intestines crawl out of the wound. SNIP! There goes Coles other hand. knees. There! Cole drops to his

DREAM SLASHER Youre lookin trim!

He laughs... then... SNIP! Coles headless body slumps to the pavement. INT. COLES BEDROOM - NIGHT Coles girlfriend stirs. Feels his muscles. She rests her head on Coles chest.

COLES GIRLFRIEND Baby... (she starts caressing him) ...how about a little head? She sits up. Feels her cheek. The side of her face is covered in BLOOD. Then she sees it... SHE SCREAMS. Coles headless, handless, mutilated body, lying beside her. She screams and screams. CUT TO:

32. INT. LANES ROOM - NIGHT Lane opens her eyes. pigtails again. Sits up. Her hair is in girlish

She GASPS. Cole stands in the corner, his handless stumps holding his decapitated head. COLES HEAD Laney... its just a dream... Lane looks in the opposite corner... and sees Dale, standing there, confused. Lane? DALE SMASH CUT TO: INT. LANES ROOM - DAWN Lane sits up suddenly in bed, a mess again. Reality sinks in. hands. She leans forward. Buries her face in her CUT TO: EXT. POLICE DEPT. - MORNING A squat building downtown. A SIGN says SPRINGTOWN POLICE DEPARTMENT, and underneath, JUST DONT DO IT. INT. POLICE DEPT. (CONFERENCE ROOM) - MORNING Chief Costello stands at the front of the room, OFFICER JOHN DOHE (26) at his side. Yes, attentive reader: John is Janes brother. CHIEF COSTELLO Okay. Lets start the press conference. ANGLE: THE PRESS Is just one person: Alan Killington. ALAN Any suspects in the murders, Chief?

33. CHIEF COSTELLO Since murder is unusual in this town, were playing this one pretty close to the chest. ALAN Have you considered the possibility of a serial killer? CHIEF COSTELLO Why would anyone want to kill -(gets it) Oh. ALAN It seems likely, considering the only other murder in Springtowns history was the murder of Sara -CHIEF COSTELLO (cuts him off) Im aware that the curious case of Sara Michaels is the only other murder in the town records, Alan. OFFICER JOHN Were considering all possibilities, Mr. Killington. ALAN Doesnt it seem a bit uncouth to continue allowing a horror movie to shoot in this town under the circumstances? CHIEF COSTELLO (to Officer John) Uncool? OFFICER JOHN Uncouth, sir. CHIEF COSTELLO I dont know what that means. No.

ALAN You know, Lou, your re-election may hinge on this issue. CHIEF COSTELLO Alan, I get it. I get why you boycott Halloween every year. Im sorry about what happened to your wife. Thats the shit end of life. (MORE)

34. CHIEF COSTELLO (CONT'D) But youre the only one whos upset about this movie. Alan gets up. ALAN I think I have all I need. (curt) John. Officer John says goodbye as Alan walks out. leans toward him. CHIEF COSTELLO Phew... I thought the nosy reporterd figure out we dont have a goddamn clue. CUT TO: INT. HIGH SCHOOL HALLS - DAY The halls are abuzz with discussion. Words that rise over the buzz: dead, mangled bodies, guts, murdered. Then we come to Shoshana, talking to a girlfriend. SHOSHANA Not just them murdered, but him with his arms and head cut off! (modeling) Do you like my dress? Isnt it flouncy? INT. HIGH SCHOOL LIBRARY - DAY Jane scribbles in a notebook. The door opens and she glances up -- sees Tim Kilborn enter and quickly averts her eyes. As soon as Tim walks past she looks up again. Watches as he sits at a COMPUTER. Tim gets up Google Maps. Jane JUMPS! Prints directions. Chief Costello

Beside her, the PRINTER starts up.

Tim goes to the printer. Notices Jane. She looks up -- he averts his eyes. She looks down. He pulls the page out of the printer. Starts walking. Very suddenly twists the opposite way and faces Jane. Hey Janey. TIM Am I interrupting?

35. JANE Only if I take public education seriously. Tim stands. (beat) I dont. Tim sits. TIM I just wanted to say I loved your poem. No shit, it gave me happy tingles. (notices her notebook) Wow, writing more? JANE Not really... ANGLE: HER NOTEBOOK The last lines shes written are TIM KILBORN MARRY ME over and over. She quickly closes the notebook. Jane notices the directions in his hand. JANE (CONTD) Taking a trip? TIM Well you heard about the murders, right? Some guys and I paid a visit to the Finn Rapp Hotel last night, around the time Cole Boddee was murdered. And? Vacancy. JANE TIM JANE (CONTD)

JANE No way... you think Finn Rapp murdered them? TIM He usually rapes elderly women, but maybe prison changed him. (MORE)

36. TIM (CONT'D) All I know is someone was murdered last night, and Finn Rapp wasnt home when it happened. JANE (re: the directions)

So?

TIM Tom Mackey is having his big Nice Meeting You, Good to Know Ya, Now I Never Wanna See You Again So Fuck Off party tonight in the hills... right behind Finn Rapps house. JANE So youre gonna see if you can dig up any dirt. TIM Wanna come? JANE (quickly) Okay. TIM Ill drive up outside your house circa eight. Okay. What? JANE I love you. TIM

JANE I love to party. Great! TIM

He heads for the door. JANE Wouldnt it help to know where I live? TIM I know where you live. And he walks out.

37. INT./EXT. DINER - EVENING Lane looks out the window. ANGLE: ACROSS THE STREET A streetlight stands guard over endless darkness. Lane turns back to her parents, sitting together opposite her. Fifties music plays on the radio. CARRIE I remember Alexis. She was so nice to you in kindergarten. LANE Then she stole my would-have-been boyfriend in middle school, all because I could spell paparazzi. (explains) I beat her in the spelling bee. JIM Well, she didnt deserve to get murdered over it. CARRIE I didnt know you won the spelling bee. LANE All three years. You put the trophies in the cabinet underneath Saras shelf. Then put the wrapping paper in front of them. The waitress delivers drinks. A thick milkshake for Lane.

JIM Hows the job search coming? Jim... CARRIE

JIM Okay, alright. LANE Thanks for taking me out, guys. She takes deep sips of the milkshake.

38. JIM Lane, your mother and I are getting a divorce. Lane chokes on the milkshake. SMASH CUT TO: INT. MICHAELS CAR - NIGHT The car pulls in to the driveway. No one speaks. Jim and Carrie get out. Lane looks at the house as though theyve parked outside the wrong home. EXT. MICHAELS HOUSE - NIGHT Lane gets out of the car as Jim and Carrie head inside. crosses the lawn, dazed... walks down the street. EXT. STREETS - NIGHT As Lane walks, a lonely figure passing under streetlights, the breeze makes the trees dance -- as though twittering with secrets... or as though someones watching. EXT. BACKSTREET - NIGHT The very edge of the downtown area. often as Lane walks. She stops. A car passes every so She

Leans on a FENCE, looks in on DARK HORSES. DALE Do you think its safe?

Lane notices Dale, standing further down the rail. Unassuming, hands in his pockets. DALE (CONTD) I mean, to be alone. Walking. Theres a killer on the loose. ANGLE: LANE, FROM HIS P.O.V. Goes from a silhouette to a woman as she steps into the light. LANE I didnt think about it.

39. DALE Well, now you dont have to. Safety in numbers. LANE Dale, right? DALE And youre Lane. LANE Do you want to walk? Dale shrugs. DALE I guess thats why Im here. CUT TO: EXT. DIRT ROAD - NIGHT Lane and Dale take their time walking. lights glimmer in the distance. The dim downtown

DALE So what are you doing out here? LANE My parents are getting divorced. DALE (beat) Pretty bad about those murders. Yeah. LANE

DALE How are you doing? I mean... it was four years ago Wednesday... LANE You know about that? DALE Everyone knows about that. You grow up in town, spend your life here, then that happens and you take off... people missed you.

40. LANE Who missed me? Show me these people. DALE (beat) My moms never around. My parents arent divorced, but... and I cant talk to my dad. So I kind of get it. Lane gives him a look. No games: he means it.

LANE Do you know where were walking? DALE Surprisingly yes. EXT. WATERING HOLE - NIGHT About the size of a swimming pool out in the woods. Lane and Dale sit, socks removed. They dip their feet into the water. React to the coldness. LANE Its freezing. DALE Also very wet... (beat) I used to come down here with Lucas. LANE You were friends? DALE Once upon another time. LANE What happened? DALE Our interests were a little too similar. He glances quickly at Lane. she faces him. Looks away just as quick when

LANE Can I ask you something?

41. DALE

Yes.

LANE This whole normal thing... true story? DALE (immediately)

No.

They laugh at his instant sureness. Okay. LANE

DALE Lets do something. How about we go downtown? We can catch the shooting. LANE Horrors kind of hard for me since my life fell into the genre. DALE I understand. (beat) But I think you ought to give it another shot. I mean, horror movies arent about the horror part. Oh yeah? LANE Then what are they about?

DALE Surviving it. They look at each other, a gentle test. Lane stands. Holds out her hand. Dale takes it and she pulls him up. Lane looks him in the eye. Okay. LANE SMASH CUT TO: INT. HOUSE PARTY - NIGHT A sudden BURST of MUSIC. The party is in full swing. ALCOHOL flows. A group lights their bongs as they head outside. Couples make out.

42. Jane enters with Tim. Jane. Tim finds a quiet corner, then faces

TIM Im going to start asking around. Good luck. JANE A PARTYER stops Tim.

They go their separate ways.

PARTYER Tim Kilborn, back on the party scene! (offers him a beer) Get crunk, bro! TIM I guess one wouldnt hurt. He takes the beer. Sips.

TIM (CONTD) So Finn Rapp, man. Things getting weird around here? The partyer is silent. Tim waits, confused.

PARTYER (beats) Woah, Tim Kilborn! been there?

How long you

Tim looks down. Notices the partyer is wearing CARGO PANTS, the half-dozen pockets holding two beer bottles each, empty bottles, atop of a scorched, heavily used pipe. Shit. TIM

EXT. HOUSE PARTY SET - NIGHT Lane and Dale, chuckling together, join the crowd of onlookers outside of the house. Film crew members move in and out of the house like ants with film gear. A BANNER above the front door says: PARTY HERE. LANE (points) Director? ANGLE: CURTIS MANSON

43. From the beginning of the film -- older, bearded now, worn. Knocking back booze. DALE Nah, thats gotta be the writer. LANE How do you know? DALE Well, hes drinking... Lane notices Lucas passing with lighting equipment. LANE Let there be light! Lucas stops. He looks at them, stunned speechless.

DALE Salut, Lucas. LUCAS Wow... what a surprise... what a big, big, grand, great big really huge surprise... BLAKE SAYLES (30) yells at Lucas from across the lawn. the director. Raven-black hair and vicious bangs. BLAKE Hey! Completely inconsequential crew member! Fuck you! (after a few beats) Sorry. Back to work! We need you! Lucas hesitates. Then pulls out a THICK DOCUMENT hes been holding under his arm. Hands it to Dale. LUCAS For your reading pleasure. DALE You dont need the script? improv now? LUCAS Ive got it memorized. thirty-three. Is this Shes

Scene Dale flips

He smiles at Lane before heading into the house. to scene 33 in the script.

44. DALE

Oh, man... Lane meets his eyes.

DALE (CONTD) ...there will be blood. EXT. HOUSE PARTY - NIGHT Girls laugh into the night as their girlfriend pees openly on the lawn with a primal cheer. INT. HOUSE PARTY - NIGHT Tim sits across from TOM MACKEY (18), the host. TIM Has you... urgh... have you Finn Rappd... weird things? TOM Youre drunker than a skunk, Tim. How many beers you drink? TIM How many beers are here? TOM Well, none, now... He sees Jane mingling across the floor, laughing and talking with friends. TOM (CONTD) So you and Janey, huh? TIM Yeah. (beat) Wait, what? TIM (CONTD) Shes had it for you forever, man. And didnt you once tell me she was the prettiest female youd ever seen? TIM (CONTD) (giggles) Female!

45. Tom gives him a look. floor. Yeah. Tom looks up. ANGLE: HIS GIRLFRIEND Stands by the cellar door. She does something with her cheek that can only mean one thing: blowjob. Then she points to the door. TOM (gets up) Gotta go, Tim. What? No. on. TIM Is it Finn? Tim turns to look at Jane across the

TIM (CONTD) Im sure I did.

TOM Just a little stiffness coming

He leaves Tim gazing at Jane. EXT. HOUSE PARTY SET - NIGHT Lane looks at Dale. LANE How come we havent talked before? DALE (shrugs) Crippling social anxiety. LANE (smiles)

Hmm.

She looks at the house. LANE (CONTD) Wont this just seem like meaningless horror without some kind of finale? DALE Most things seem meaningless without the finale. Like sex.

46. Lane gives him a Oh yeah, hotshot? look. DALE (CONTD) (beat; sheepish) ...Or so Ive heard. INT. HOUSE PARTY SET - NIGHT Crew and cast in place, fake teenagers anxious to show their fake terror. Blake directs. BLAKE Now when I say Action, were gonna make Evil Dead look like a flaccid penis, right? Confused Yeah, sure, and Uh... responses from the cast and crew. INT. HOUSE PARTY (BASEMENT) - NIGHT In the darkness of the basement, Tom moans on a couch as his girlfriend fulfills her promise. He reaches his happy point. My turn. TOMS GIRLFRIEND

Tom catches his breath as they exchange positions. INT. HOUSE PARTY - NIGHT A group of partyers have taken the living room to dance to smooth music. Jane chats with friends. JUMPS! SOMEONE COMES UP BEHIND HER -- SHE

TIM May I have this dance? Jane gives her friends a look. They smile and start to giggle. Jane and Tim move into the living room and start dancing. JANE Have you learned anything? TIM Beer is good.

47. JANE Anything else? TIM Its been quiet. You know, quiet old Springtown. Time plays it on repeat. Huh... What. JANE TIM

JANE Youre a poetic drunk. TIM (after a beat) Would you want to... watch a movie with me? JANE Whats your favorite movie? TIM The Sound of Music. Jane recoils. TIM (CONTD) (grins) Nightmare on Elm Street. JANE Phew. I thought you were some kind of sicko for a moment. (beat) You know... my parents are gone. For the weekend. TIM (playing it cool) Okay. Cause we could watch a movie, at your house, if theyre gone. I mean, itd be quieter. JANE (shy beat) I oughta go clean up. Make sure theyre gone. Will you be passed out when I get back?

48. TIM Im sobering up. JANE Leans back.

No way.

Prove it.

Tim kisses her, soft but passionately. JANE (CONTD) (beat) Thats good enough for me. INT. HOUSE PARTY SET - NIGHT Everyone settles down. BLAKE Ready... mark... (beat) Action! EXT. HOUSE PARTY - NIGHT

Jane beams as she gets in Tims car. Starts it up and drives off, one headlight shining in the dark. She passes ANGLE: A STREET SIGN It says: ELM ST. ANGLE: P.O.V. -- THE HOUSE Something watches the house from the bushes. It lurches forward with ethereal, unpleasant sound, glides over the street. Rounds the house... SMASHES through the small basement window... SMASH CUT TO: INT. HOUSE PARTY (BASEMENT) - NIGHT Toms girlfriend moans as he continues with the oral pleasure. She only shifts a little at the sound of the glass smashing. TOMS GIRLFRIEND What was that? (frowns) Tom, how boozed are you? Youre slobbering everywhere... not that I mind...

49. THERES A HORRIBLE SOUND. BLOOD BURSTS OVER TOMS GIRLFRIEND, SPLATTERING HER STARTLED FACE. SHE MAKES THE SMALLEST YELP... THEN PASSES OUT. MOMENTS LATER, her body lies slumped on the couch. BLOOD DRIPS from the couch, running down one dangling nubile leg. INT. HOUSE PARTY - NIGHT Tim looks happy as a clam. Hey Tim. Hey Jones. A PARTY KID approaches him.

PARTY KID TIM

The party kid TAPS Tim on the face, a small slap. Your mom! PARTY KID

Tim pushes him back, still drunk, now irritated. Your mom! TIM

PARTY KID (goes for him) No, your mom, man -They stop -- watch as the cellar door opens... Tom steps out, only his skin is pale, his eyes are white, and his face drips his girlfriends blood. He instantly grabs the nearest partyer, SNAPS OFF HER HEAD, and starts EATING IT. PARTY KID (CONTD) (terrified) Fuckin both our moms, man! Chaos breaks out. The decapitated body suddenly rises. Reaches out and thrusts its bloody feminine hand into a horrified partygoers arm, drawing blood like sap from a syrup tree. SUDDENLY -- that partygoer has CHANGED: his eyes are pure white, his lips salivating, his voice a deep growl. He LUNGES for the nearest face, DEVOURING it like it was apple pie.

50. The infection spreads quickly, each person infected quickly infecting the nearest partyers through some kind of gruesome mutilation. Blood flies everywhere. Those not yet infected struggle to escape, pushing each other out of the way without mercy. Tim eyes the staircase. A ZOMBIE -- what else would we call this kind of infection? -- dives into the nearest partyers stomach, spilling a pool of blood and guts on the floor. As Tim dashes for the stairs, he slips and slides over the blood and guts, barely moving. Zombies approach. He runs with all his might, moving only by a couple inches each second, slipping in the murk! Finally he grabs the railing and yanks himself forward, narrowly outrunning the evil dead. He dashes up the stairs. INT. HOUSE PARTY BATHROOM - NIGHT Tim slams the door and locks it. Immediately other desperate partyers bang on the door, crying to be let in. TIM Just a minute! The banging stops, but the sounds of chaos continue outside. Tim presses his ear to the door. SMASH! An undead arm bursts through the wood -- Tim leaps back just in time. It searches desperately for him -settles on the door handle instead. Tim looks for some way to stop it from getting in. He opens the MEDICINE CABINET -- theres a visible STRAIGHT RAZOR still coated with shaving creme. Instead, Tim grabs NAIL CLIPPERS from the next Opens the tiny file. He STABS the zombie hand file, one finger, then the next. Its nothing distraction. The zombie hand continues toward handle. shelf up. with the nail more than a the door He sees

Tim drops the clippers, goes back to the cabinet. the straight razor. Picks it up. TIM (CONTD) Oh shit yeah...

SWING! He CHOPS off a zombie finger with the straight razor. The hand continues toward the door handle. SWING! Another finger! SWING! Another.

51. Tim violently brings down the razor three more times -SWING! SWING! SWING! -- then watches. ANGLE: THE ZOMBIE HAND Is now just a gray, fingerless stump. It tries for the door handle. Slips over the steel, dripping blood. The hand withdraws through the hole. The sounds of chaos continue outside. Tim bends down, peers through the hole. He stands up, takes three deep breaths, and bursts through the door. INT. HOUSE PARTY UPSTAIRS - NIGHT As Tim comes out the door hes suddenly SPRAYED with blood, absolutely coated in it. He keeps running. An UNDEAD CHEERLEADER lunges for him as he reaches the stairs. He leaps forward, slides down the railing. Winces as he goes down. INT. HOUSE PARTY DOWNSTAIRS - NIGHT The partyer who told Tim to get crunk has now gotten undead. Those empty beer bottles in his pants are out, and he fills them one-by-one with blood, opening gaping wounds in the screaming remaining humans and catching their blood in the bottles. He passes one off to a nearby zombie and the zombie knocks it back, Chug! Chug! Chug!-style. Tim slides off the railing, hits the floor running. The undeads reflexes are too slow. Tim runs past. Rounds the corner. Sees the open basement door and instinctually dives down. INT. HOUSE PARTY BASEMENT - NIGHT Tim starts down the steps, doubles back and slams the door -leaving him in near-total darkness. He slowly descends the steps. Hello? TIM Twirls as

As he nears the bottom of the steps, he leaps off. he hits the floor, facing the steps. TIM (CONTD) (Gotcha!)

Hah!

52. He stares at the steps. between. Nothing leaps out from the spaces inHe can fit.

Tim turns. Sees the smashed basement window. He sees a BENCH underneath -- perfect.

A NOISE STARTLES HIM -- WET SPUTTERING. He slowly turns to his left... but we can already see it out of focus in the b.g. Toms poor girlfriend rises, a zombie -- only she rises pelvis-first. Her mangled, bloody vagina twists and contorts like a mouth... judging from the noises, a hungry mouth. Her legs become overlong arms, her arms undersized legs. TIM (CONTD) Oh, shit... He leaps for the window. Tries to pull himself up.

The zombie vagina wades over, hissing and sputtering blood. Tim KICKS at it -- his foot goes RIGHT IN. He recoils in disgust. Quickly withdraws his blood-drenched leg. Pulls himself through the window as her undead foot-hand reaches for him. EXT. HOUSE PARTY (LAWN) - NIGHT Tim stands, free. He looks around -- coast is clear. He takes a deep breath of the free night air. Wobbles a bit, still quite drunk. He THROWS UP. Once. Twice. He stands up --

AND AN UNDEAD ARM SHOOTS THROUGH HIS STOMACH. Tim looks at it, astonished -- he hasnt even figured out what happened, let alone whats happening now. Tries to glance over his shoulder... the arm belongs to the girl who was peeing outside and yelling. ANGLE: THE WORLD SWIRLS Around drunken, dying Tim, a big, dark blur. Heavens. The music drowns us in tragedy. TIM (Shakespearean) Oh... to be a teenager killed by something besides driving under the influence or teen suicide... The undead peeing girl yanks out her arm from his stomach. Blood gushes as Tim drops to his knees. He looks to the

53. He keels over on the grass. Dying. CUT TO: INT. JANES BEDROOM - NIGHT Jane frantically tries to clean, incessantly cursing under her breath. She fluffs pillows, she puts away clothes, she hides dating advice magazines. Kicks a few nudie mags under the bed. She goes to light a candle -- decides against it. Decides to do it -- decides against it. She stands there. Then goes to the candle again... CUT TO: EXT. HOUSE PARTY SET - NIGHT Dale and Lane stand amidst a crowd of onlookers watching the filming on the lawn. Dale watches. Lane reads the screenplay. She looks up. ANGLE: THE FILMING An actor who looks oddly like Tim drops to his knees, squealing like a pig, an undead arm through his stomach -very clearly prosthetic. No Oscars this way come. Lane flips to the scene being filmed. Reads it. Flips back a few pages. Stops, reading it. Thinks. She flips back to the beginning. Reads the scene. DALE What do you think? Lane flips forward a chunk of pages. INSERT: THE PAGE The dream slasher sequence. Reads almost exactly like this script (only worse, of course). LANE Oh my god... What? Its real! DALE LANE Its in here! Reads...

54. DALE You think its that good? LANE Dale, the murders, theyre in here! They wrote about them! Here -She flips a page and hands him the script. understands. Flips forward. Lane perks up at the sound of SIRENS. INSERT: DALE READS Sirens wail through the night -- the safeguards, headed to the scene of the crime. ...Theyre too late. Lane and Dale listen to the sirens wailing through the night. Blake removes her headphones. Cut! BLAKE CUT TO: INT. SQUAD CAR - NIGHT Chief Costello is stark white in the passenger seat. John sweats as he puts the pedal to the metal. CHIEF COSTELLO Shit... shit... shit... ah, shit... EXT. HOUSE PARTY - NIGHT Squad cars screech to a halt outside. Chief Costello and Officer John burst out of the car and run toward the house. John does, anyway -- Chief Costello stops halfway to throw up. Officer John stops on the lawn, recoils. Christ... OFFICER JOHN Officer Dale reads. He

Chief Costello joins him. Jesus... CHIEF COSTELLO

55. ANGLE: TIM Dead, eyes wide open on the lawn, a big, bloody hole through his stomach. The other police officers crowd around the body. CHIEF COSTELLO (CONTD) (to the officers) Get in there! INT. HOUSE PARTY (DOWNSTAIRS) - NIGHT The door bursts open -- REVEALING FINN RAPP (39), gaunt face, a long scar over one eye, frozen and startled. The police officers leap on him, all falling to the floor in a pig-pile, SPLASHING in a pool of blood. Chief Costello and Officer John look the place over from the doorway. ANGLE: THE ENTIRE DOWNSTAIRS is littered with corpses and painted with blood -- the aftermath of the party from Hell. OFFICER JOHN (points) Chief... ANGLE: ONE WALL Inscribed in big, bloody letters: SARA MICHAELS SENDS SALUTATIONS. The police officers hoist Finn Rapp to his feet, cuff him. OFFICER JOHN (CONTD) (to Rapp) Looks like weve got our murderer, Chief... Chief Costello gets in Rapps face. CHIEF COSTELLO You kill Sara Michaels too, did you?! Ill send you to the goddamn electric chair! FINN RAPP No -- wait -- I heard screamin -I live right down the hill -- wait!

56. The police officers pull him out of the house. EXT. HOUSE PARTY - NIGHT Tims car slows to a stop. Jane gets out. the picture of hysterical fear. ANGLE: HER P.O.V. - FINN RAPP is led across the lawn by police officers, all of whom are soaked in blood. Jane looks at the ground. ANGLE: HER P.O.V. - TIMS BODY hasnt been touched yet. own dried blood. Her love is dead in a pool of his Sees his sister. He Her expression is

Officer John comes out of the house. runs toward her. Janey! Jane SCREAMS. ANGLE: FROM THE FAR END OF THE STREET OFFICER JOHN No!

The scene outside the house seems distant, but Janes scream carries SHRILL AND LOUD. CUT TO: EXT. IN THE HILLS - NIGHT At the farthest peak of the hills, Janes echoing scream cuts through the darkness like a knife. SMASH CUT TO: INT. POLICE INTERROGATION - NIGHT Finn Rapp paces around the cold, undecorated room, empty but for a table and a chair. Rapp shouts toward a wide MIRROR on the wall. RAPP Hey! HEY! I -- didnt -- do -anything! I... (MORE)

57. RAPP (CONT'D) a guy tries to do a good deed! (beat) And since when did this town get a FUCKING INTERROGATION ROOM?! INT. POLICE CHIEFS OFFICE - NIGHT Chief Costello sits at his desk, deeply concentrating on a sheet of paper. Goddamit. CHIEF COSTELLO

He scratches something out, writes a new line. Goddamit. CHIEF COSTELLO (CONTD)

He crosses something out. ANGLE: THE SHEET OF PAPER Reads SUSPECTS at the top, then FINN RAPP, written and crossed out over and over. At the bottom of the list: a fresh FINN RAPP. Goddamit. He crosses it out. Officer John enters just in time. OFFICER JOHN Chief, forensics couldnt find any trace of Finn Rapp beyond the front door. It looks like he really did just stumble on the scene. Christ. CHIEF COSTELLO What are the chances. CHIEF COSTELLO (O.S.) (CONTD)

OFFICER JOHN It seemed a little far-fetched one granny rapist could murder a house full of able-bodied teenagers anyway. CHIEF COSTELLO Forensics didnt happen to find anything else, did they?

58. OFFICER JOHN No, sir. Its like the kids just... tore themselves apart. CHIEF COSTELLO Well that didnt happen! Officer John hesitates. OFFICER JOHN Chief... you ever seen a case like this? CHIEF COSTELLO John, I have never seen a case where I didnt have some idea of who was responsible. One case when I was still a sergeant, no one had a goddamn clue, but I did. I was so sure it was the Yeti. OFFICER JOHN (beat) Was the case ever solved? CHIEF COSTELLO Yup. It was Ken McIntyre down the road, slimy son of a bitch. But still -- I had some suspect, some idea... here... Im up shit paddle without a creek. (beat) You know what I mean. An AIDE hangs in the doorway. AIDE Officer John? There are a couple kids up front asking for you. Officer John and Chief Costello exchange a look before John leaves. INT. POLICE DEPT. FRONT DESK - NIGHT Lane and Dale are waiting. Lane paces around. tall and tired. Officer John appears. Hey Laney. this late? OFFICER JOHN What are you doing up Dale stands,

59. LANE Johnny, its about the murders. think I know whos responsible! Its so obvious! Its right in front of everyones face! OFFICER JOHN What are you talking about? LANE The script. For the horror movie. Have you read it? OFFICER JOHN I started to. LANE I suggest you keep reading. On cue, Dale hands her the script. Johns hands. She plops it in Officer

LANE (CONTD) Every one of the murders, every circumstance, its all there, in the pages. OFFICER JOHN You think the murders are connected with the movie. LANE I think someone behind it is responsible, the writer, or the director -DALE Could be someone who just works on the set. Disgruntled lighting guy. OFFICER JOHN But then why put the script in broad daylight? LANE As a dare or something. They want to be caught. Who knows! Im not a psychologist. I just know that the writer was either a prophet or someone is basing the murders on this movie script. Read scene twenty-four. She flips the pages. Officer John reads.

60. OFFICER JOHN Thats a blatant Freddy Kruger ripoff... LANE No, not the set-up. murder. She flips ahead more. The real

Officer John reads.

OFFICER JOHN Shit... that is awfully close to the Cole Boddee scene. Officer John looks at Lane. OFFICER JOHN (CONTD) Im going to show this to the Chief. LANE Okay. (notices) Whys everyone shuffling around? Officer John looks over his shoulder. Police officers hurry to and fro, busy bees. John doesnt respond to Lane. LANE (CONTD) Johnny... did something happen? OFFICER JOHN Theres been another murder... sssss. Plural. There were a lot. Of... dead people. LANE Who was it? OFFICER JOHN We havent assembled a complete list. Johnny! LANE

OFFICER JOHN (beat) I saw Tim Kilborn... Dales jaw hangs. He doesnt move.

61. LANE Tim! Oh my... god... Janeys going to be crushed... OFFICER JOHN She had a thing for him. (Lanes look confirms it) I figured. Shes really shaken up. Officer John glances at Dale, then to Lane. OFFICER JOHN (CONTD) (lowering his voice) He your boyfriend? LANE What? No. I just met him. I ran into him on the side of the road tonight. OFFICER JOHN (after a beat) Okay, whatever, youre eighteen, no judge. Why dont you both go home and get some sleep, huh? (beat) I mean, you dont have to get sleep together. Im not saying that. Not that you shouldnt, if you too have, you know, that kind of... LANE (quickly heading out the door) Bye Johnny. Dale follows. Lane -Lane stops. OFFICER JOHN (CONTD) Could you check in on Jane, on your way? Lane nods. She leaves with Dale. OFFICER JOHN

Officer John looks down at the script in his hands. It suddenly seems heavy, malicious, disgusting... like a decapitated body part.

62. INT. HOUSE PARTY (DOWNSTAIRS) - NIGHT Two POLICE OFFICERS stare at something O.S. are busy casing the joint. OFFICER #1 Makes you sick, dont it? OFFICER #2 It sure does. Its disgusting. OFFICER #1 When we use to party here, we never did shit like this. ANGLE: THE WALL Theyre looking at the big, bloody sign: SARA MICHAELS SENDS SALUTATIONS. OFFICER #2 This is a party house, not the Manson residence! OFFICER #1 (calls to a nearby cop) Hyrkowitz! Clean this shit up! CUT TO: INT. HIGH SCHOOL CAFETERIA - NOON Dale and Pat sit on opposite sides of their usual table, silent, slouched against the wall and staring into space. Finally Dale sighs. DALE I just cant believe it, man. PAT Nothing can prepare you for something like this. I mean, switching editors weeks before the end of school. Man. (beat) I guess that makes Lucas the Springtown High Rags editor-inchief, huh? DALE (shakes his head) He says he doesnt want it. know he and Tim were close. Other officers

Ya

63. PAT How does the responsible one die before us? I mean I deserve to die. DALE The only thing I ever heard about life that made sense was that it doesnt. What? Im sad. Oh. PAT DALE PAT

He stares across the cafeteria as ANGLE: SHOSHANA ENTERS grabbing friends for lunch. Pat watches. PAT (CONTD) Now were even more alone. DALE Good timing died with our best friend, so I might as well just tell you that my senior privileges have been reinstated. PAT Theres gonna be a funeral... (beat) Oh, privileges, right, you wanna get some lunch? EXT. HIGH SCHOOL - NOON Dale and Pat exit, hands in their pockets. from nearby. LANE (calling) Dale! Dale and Pat stop. Lane approaches. Lane notices them Sunny and oblivious.

64. PAT Dude, your crush knows you exist? Lane reaches them. Gives Pat a polite look.

PAT (CONTD) (gets the message) I just wanted to see the sun. He heads back inside. Whats up? DALE

LANE I just got off the phone with Johnny. You know, the police officer from last night. DALE Yeah, I know Johnny. He let me off a speeding ticket once. LANE Chief Costello nixed the movie connection. He says its coincidence. DALE Can donuts break your mind? LANE I have two periods free. I thought Id spend them talking to Curtis Manson. DALE The screenwriter. LANE I figure this is your ballgame, the whole detective thing. DALE Howd you figure that? LANE Your book report, last year. The Big Sleep. You said you wanted to be a detective. For a moment, Dale can just smile. Cant believe it.

65. DALE (after a moment) It is a big, bloody mystery. LANE Wouldnt happen to have a free period, would ya? You bet. DALE

INT. HIGH SCHOOL CLASSROOM - NOON A MATRONLY TEACHER takes attendance at the front. MATRONLY TEACHER Dedman, Dale. (looks around, irritated) Where in the world is Dale?! CUT TO: INT. LANES CAR (DRIVING) - NOON Lane drives. DALE Hows Jane? LANE I dont know. Shes... shes pretty far gone. Shes kind of like I was, when I lost... DALE (softly cutting her off) Right. (beat) Does this guy know were coming? LANE (sly grin) Should he? DALE Legally, yes.

66. EXT. TRAILER - NOON An ordinary TRAILER sits at the end of a short dirt driveway, station wagon parked outside. Lane parks beside the station wagon. She and Dale get out. DALE You sure this is his place? LANE Lucas said so. If he knows anything... I mean, does it not look writerly? They go to the door. Dale knocks. Nothing. each other, then knock simultaneously. They look at

The door opens. Curtis Manson squints against the sunlight. His exhaustion, combined with his fast-growing beard, give him the appearance of a much older guy. Hi... CURTIS

DALE Curtis Manson? CURTIS Yeah... you are... ? Lane starts to speak, but Dale leaps in, cutting her off. DALE Concerned about similarities between your art and the towns murders. Can we come in, Mr. Manson? CURTIS Jesus... you a cop? No. DALE

CURTIS I didnt think so. Youre too scary to be a cop. Youre like a freshly pubescent version of Russell Crowe in L.A. Confidential. (beat) You guys oughta beat it. I need to sleep.

67. LANE Were trying to talk to you instead of the cops. CURTIS About what? Lane notices something. LANE You know, dont you? Curtis winces. He goes back inside, but leaves the door open. Dale and Lane enter without hesitation. INT. TRAILER - NOON Curtis slouches in an uncomfortable wood chair. Dale and Lane look the place over. Strewn everywhere: SCRIPT PAGES; EMPTY BOTTLES OF BOOZE; DVDs; and FILM EQUIPMENT. The look is far beyond lived-in. CURTIS You guys on the crew? No. LANE

CURTIS But youve read the script. LANE Scenes in the script mimic the real murder scenes to a tee. Youve heard about the murders. Of course. CURTIS

DALE When did you write the script? CURTIS Three years ago. Senior year. I put it on the web for investors. DALE Did you find any? CURTIS Sure. Some put in more money than others. (MORE)

68. CURTIS (CONT'D) What they didnt pay, Trenworth did. Thats how we wound up out here. LANE Trentworth Blais. Curtis nods. CURTIS I thought it was the most awesome horror movie ever written. A grab bag of nightmares... that was the slogan. DALE You put it on the web. A billion people couldve accessed it. Curtis chuckles, knocks back a drink. CURTIS They didnt. (beat) You think I murdered those kids. No. LANE She looks around the trailer The mayor.

Dale looks at her, surprised. in explanation.

LANE (CONTD) Not anymore. CURTIS Thats good. (sips) I didnt. DALE You act like you lost your own family. CURTIS I cant stop -- these murders -its like the script is coming alive... my words are killing these kids! DALE Who do you think is responsible? Are there any disgruntled crew members?

69. LANE What about the director? CURTIS (chuckles) Blake? I dont think Blakes killing anybody. THE DOOR FLIES OPEN, startling Lane and Dale. Blake Sayles comes up the steps, then freezes. BLAKE (Uh... ) Hello. CURTIS (gets up) This is the director, Blake Sayles. (to Blake) These are reporters. From a local newspaper. Blake skeptically looks over their very high school attire. Interns. CURTIS (CONTD)

BLAKE How you guys doing? you from? DALE Is that a prop?

What paper are

Everyone notices that Blake is holding a BIG, BLOODY KNIFE. Oh! No. BLAKE Starts washing off the blood.

She goes to the sink. Hunting.

BLAKE (CONTD) Just bagged a deer.

LANE (not buying it) A deer. BLAKE Yeah, you know. Got a family of hunters back in Colorado. Thats where we met. (MORE)

70. BLAKE (CONT'D) (to Curtis) You havent told them our story? LANE We should go. Were late. Deadline. They back toward the door. EXT. TRAILER - AFTERNOON Lane and Dale walk. Holy cow! LANE

DALE You really think he didnt do it? He could just be psychotic. LANE I dont think so. I recognize the look. What about her? Did you see that knife?! Curtis comes out of the trailer. Hey! He jogs to them. CURTIS (CONTD) The next scene, its, uh... listen, stay away from water. Bodies of water. Okay? And tell your friends. (notices something) Oh. Theres the deer. ANGLE: A DEAD DOE in the back of Blakes muddy pickup. CURTIS (CONTD) Thats good. She didnt lie. He faces Dale and Lane. CURTIS (CONTD) I dont trust anybody. CURTIS Wait!

71. He heads back for the trailer. CUT TO: INT./EXT. LANES CAR (DRIVING) - AFTERNOON The car reaches the end of the driveway -- but Lane doesnt turn on to the main road. She stops, window down, listening. LANE Dale... do you hear that? She twists off the ignition. They get out of the car. THERES A RUSTLING IN THE BUSHES, and SOUNDS, ANIMAL SOUNDS. Lane slowly approaches the bushes. DALE (whispers) Lane! Lane shushes him. She cautiously walks toward the bushes. The animal sounds now seem closer to subdued moans of pain. Dale watches, anxious as hell. He walks toward Lane -- SHE PULLS OPEN THE BUSHES -MS. CRAVEN SCREAMS. John Dohe pulls back. Zips up his fly. Ms. Craven pulls down her skirt, buttons her top. LANE Ms. Craven? Johnny? OFFICER JOHN Lane, what the hell are you doing? LANE I... heard sounds... Im so sorry. OFFICER JOHN (to Ms. Craven) Sorry... They stand up. Ms. Craven looks horribly embarrassed. MS. CRAVEN

Hi Lane. Hi.

LANE Im sorry. (notices) Theres blood on your hands...

72. Johnny looks down. Sure enough: BLOOD ON HIS FINGERTIPS. Lane waits for an answer. OFFICER JOHN For gods sake, Laney... MS. CRAVEN Im... you know. LANE (realizes) Oh! Oh... Behind her, Dale SMACKS HIMSELF in the face. CUT TO: INT. TRAILER - SAME Blake sorts through the mail. it. Tosses it aside. Rips an envelope open, reads

She comes to an envelope with their address, but no return address -- or postage. She opens it. Its a handwritten letter. Apparently written in BLOOD. says: YOU KEEP SHOOTING. I KEEP KILLING. BLAKE Hey Curtis... Curtis comes in. What? CURTIS It

Blake holds up the letter. Curtis goes even whiter, just when it seemed it wasnt possible. BLAKE This is gonna set us back a few days. CUT TO: EXT. BLAIS ESTATE - MINUTES LATER Lane and Dale get out of the car. Lane leads the way.

DALE I hope to god he doesnt have blood on his fingers.

73. Lane makes an exasperated sound. She knocks on the door. The house is as big as you can get without straying into mansion territory -- old and Victorian. Totally out of place. The door opens, revealing TRENTWORTH BLAIS -- Fifties, with the tough look of a guy who always gets what he wants, and when he doesnt, takes it anyway. He just stares at them, waiting. LANE Lane Michaels. Maybe the name registers. Maybe it doesnt.

LANE (CONTD) Trentworth Blais? BLAIS What can I do for you? DALE Were looking into the murders. BLAIS What, Teen Nick do detective shows now? DALE We have some leads the police dont. Blais looks em over. BLAIS Wipe your feet before you come inside. INT. BLAIS ESTATE - A MINUTE LATER The front room has a high ceiling, expensive furniture, and shining walls covered in photographs, certificates, and trophies. Dale and Lane sit on the couch. Blais sits opposite them.

BLAIS Im still sorry about your sister. It doesnt get much worse than that.

74. LANE Im glad your sorry didnt run out. DALE Where were you last night, Mr. Blais? BLAIS What is this, Agatha Christie? You think the murderers someone in town? LANE Who do you think it is? BLAIS Someone passing through. A drifter. Maybe... maybe the same one who... killed your sister. LANE Im surprised you havent called in the news vans. You did a great job making sure they rubbed my sister all over the news. And her family. BLAIS (missing her sarcasm) Ive been busy. Lane boils. DALES HAND gently squeezes hers to calm her down... she looks at him, surprised. He keeps his eyes on Blais. DALE So, Mr. Blais? What were you up to last night? BLAIS I was having dinner. All night. DALE What was it, a buffet?

BLAIS It was a social dinner. (Dale opens his mouth) Wait. Let me take a step ahead of you here. Who was I social with? Her name is Blake Sayles. Shes a director. LANE You had dinner with Blake Sayles.

75. BLAIS Call her. Shell confirm it. (beat) But dont actually call her. That would be annoying. There were other people there. We went to Bernudos. Yep. They give him looks. BLAIS (CONTD) Would you two please get the hell out of here before I wring your necks? CUT TO: INT. GAS STATION LOUNGE - AFTERNOON Lane sits in one of a small line of distasteful booths, thinking. Dale comes over with coffee and a few bags of donuts. DALE What do you think? LANE Dark thoughts. DALE Wait til college. LANE I think Blake Sayles seems awfully suspicious. And he doesnt have much of an alibi. DALE Trentworth Blais? Yeah. Lane eats a donut. LANE Washes it down with coffee.

DALE (thinks aloud) Nothing ever happens in this town... you get a movie to shoot here, a controversial movie... then you get murders to promote it. Does wonders for the town economy.

76. They look at each other. DALE (CONTD) (beat) Whats scarier: that someone might be thinking like that, or that I understand how theyre thinking? LANE Neither. Whoever made these donuts is sicker. Caught off-guard, Dale laughs. Lane joins in.

DALE Speaking of sickness, tonights Shoshanas, uh... Oh, god... LANE

DALE You gonna go? LANE I dont know. Just kill me now. DALE Its totally inappropriate. Inappropriate cause a lot of people were just brutally, horribly murdered, totally inappropriate cause one of them was Tim. LANE Yeah. I should probably stay in with Janey. DALE (beat) On the other hand, you could take Janey. Lane gives him a look: Really? Dale shrugs.

DALE (CONTD) Show her there are worse things than death. CUT TO:

77. EXT. TRAILER - SUNSET Curtis comes out of the trailer. Looks around. All nerves.

He listens to the silence around the trailer. the sunset chirping of birds.

Nothing but He

The doe in the back of Blakes truck catches his eye. walks over to it, checks it out again. He FREEZES. ANGLE: THE DOES WOUND Its not a knife wound. Its a BULLET WOUND.

Curtis looks back at the trailer. PHONE. ANGLE: ON HIS PHONE He dials 911.

He pulls out his CELL

CUT TO: INT./EXT. POLICE CAR - NIGHT Lane sits in the passenger seat. Officer John comes out of a convenience store with a couple packs of beer. He gets in the car. Hands the beer to Lane. LANE Thanks, Officer. OFFICER JOHN This is the most illegal thing Ive ever done in a uniform. He starts driving. OFFICER JOHN (CONTD) But if it helps Janey deal with... (beat) And also, you did see me putting the moves on your teacher... LANE (appalled) Thats what you were doing?! Officer John looks at her -- shit! Lane smiles. Shes kidding. She didnt know!

John smiles back.

78. OFFICER JOHN You little runt. The POLICE RADIO goes off. Costellos voice.

CHIEF COSTELLO (V.O.) (through radio) John, this is the Chief. Hello John, pick er up. Officer John picks up the radio. OFFICER JOHN Hello, Chief. John here. CHIEF COSTELLO (V.O.) Johnny, we just picked up the director, whats er name, Blake Sayles. Like you to come on in. Ten-four. OFFICER JOHN Coming in.

He puts up the radio. LANE Whatd they pick her up for? OFFICER JOHN Thats for me to know and you to find out when I tell you later. The car stops at a stoplight. Oh my god. What? ANGLE: SHE SEES Through the window of the town pizza joint -- HER MOTHER... having dinner with ALAN KILLINGTON. Lucass father. Looks like theyre having a good time. Lane stares. Crushed again. CUT TO: LANE OFFICER JOHN Lane glances out her window.

79. INT. KITCHEN - NIGHT Lane comes in. soda. Jim stands by the kitchen counter, drinking a

JIM Howd it go today? Great. She hurries past. LANE Cant stand to be here.

JIM Im sorry were not good enough for you, Lane, but itd be nice if you would just try to talk to us every once in a while. Lane stops. Walks back.

LANE Us? Whats us? Did you develop another personality? Are there two of you? I just saw Mom having dinner with Alan Killington! Jim takes this in. LANE (CONTD) My mother is on a date with some other guy. All these years I thought you guys... I thought we were a normal family, but were not! It was all a big joke! Come on! JIM

LANE Come on? This is the punchline, Dad! You have your wedding and your kids. My sister died. She just stopped existing. For no reason. Now youre down to one kid. I did everything to make up for her death. I won that friggin spelling bee, I spelled my ass off-I tried to get better in math, but its just too awful so I still suck. I read and read to get better at writing. (MORE)

80. LANE (CONT'D) I even tried out for the drama club, so before you tell me Im being dramatic which is what you always say, they told me I wasnt dramatic enough! Not for the drama club! Jim throws up his hands, tries to walk around her. finally breaks into tears, looks to him for help. LANE (CONTD) Its like life is just one big joke, Dad. Were all a bunch of walking punchlines. And the bloodier it ends, the funnier the joke. JIM I guess Im the only joke around here. He doubles back, grabs the car keys, heads for the door. LANE No... Dad... I need -JIM You can buy your own damn car. Until then, this ones mine! He slams the door. A moment passes. He reappears. Lane

JIM (CONTD) Even though actually then youd have your own car, so this one would still be mine! He disappears again. The car starts up outside. Wipes her tears so she can see.

Lane gets out her phone. She reads through

ANGLE: THE FACEBOOK INVITATION LIST Alphabetical. She heads straight for D. No Dale. It stops

Frustrated, she sends it scrolling wildly downward. at the end of L. Lucas Killington. Oh, man... LANE

CUT TO:

81. INT. LUCASS CAR - MINUTES LATER Lane rides up front. Lucas drives. Hip hop and/or dubstep blasts from his stereo. Lanes miserable. Lucas is excited out of his mind. LUCAS I mean, I think you can be smart no matter what music you listen to, you know? (beat) I bet Einstein wouldve liked him some dubstep. Lane turns around in her seat. Janeys in the backseat, equally miserable. The John-bought packs of beer beside her. Lane mouths something, which we see subtitled: Im sooooo sorry. Janey mouths back, also subtitled: This just makes me want to die more. Lane turns back around. Notices out the window a familiar spot along the side of the dirt road... its where her sister was found. LANE I didnt know Shoshana lived out here... I mean, I forgot... LUCAS Sorry I have to remind you. He looks at her deeply: guy knows what shes feeling. Nothing but love and sympathy in his deep blue eyes. Lanes lost, remembering... INSERT: INT. PSYCHIATRISTS OFFICE - DAY (YEARS AGO) Young Lane, very innocent and girly, sits on the couch. Even as young as she is, she seems like a war veteran, like a ghost. The PSYCHIATRIST stares at her. PSYCHIATRIST Could you share your fondest memory of your sister... Lane? For a few seconds, Lanes silent.

82. LANE Theres a memory... its not my favorite, but I keep thinking of it. The psychiatrist nods for her to continue. LANE (CONTD) Sara had to pick us up from school, me and some kid I went to school with, a boy... PSYCHIATRIST How old were you? LANE (shrugs) Five or six. The psychiatrist nods again. LANE (CONTD) There was a cow on the side of the road, behind a wire fence. All the other cows were staying away. Because the cow was dead. The little boy... his name was Kurt... Kurt kept saying he wanted to check it out, he wanted to poke it, hed heard if you poke a dead cow all this gas comes out and it explodes. And I kept saying Ew. (beat) Then... then Sara said it was beautiful. Kurt said, No it isnt! Its gross! She punched him in the stomach. Then she turned to me and said, Lane... this cow was alive once. Even though its not alive anymore, it was alive once. Thats beautiful. Everything thats ever been alive, its beautiful. Lane is silent. Looks like she could break down any second, but she doesnt. The psychiatrist smiles. PSYCHIATRIST (beat) What do you think about that?

83. LANE I dont think my sister was a beautiful corpse. CUT TO: INT. LUCASS CAR - SCENE CONTD Lane snaps back into now. Looks out the windshield as they pull into the driveway outside Shoshanas big house. Partyers are already going nuts outside. INT. SHOSHANAS HOUSE - A MINUTE LATER Blasting sexy music. Hot girls. Hot guys. Most of the crowd

Then... Dale and Pat standing in a corner. oblivious to them. Sipping beers. PAT You know that saying, Everything or nothing?

DALE Its not really a saying. Its more like the kind of thing Ted Nugent shouts before he stabs a pig on-stage. PAT I realized lifes everything or its nothing. You know, you either pay attention to death or you dont. If you dont, well then lifes just nothing, like a hangnail or a scratch or taking a shit, ya know? DALE What on Earth are you talking about? PAT But deaths the only thing thats for sure, other than the zero probability of someone I love wanting to make love with me. If you say, Hey, Death, I see you there! and live your life anyway, its everything. So Im gonna make it everything. (MORE)

84. PAT (CONT'D) What am I gonna get from sitting in corners of parties drinking cheap beer and watching the woman I love all my life? Dale follows Pats eyes -- sees Shoshana, all dressed up in a slinky, megasexy dress, greeting the partyers. PAT (CONTD) Id give an arm and a leg to be with her. Im gonna tell her how it is, and hopefully, shell make it something better. If not, at least were honest. It is what it is. Pat chugs his beer. DALE Look at the balls death puts on you! Pat finishes the beer, grimaces. PAT Mostly I just want to stop drinking cheap beer. He throws down his beer can. NEARBY PARTYER Hey, cmon, pick that up, man! Pat picks it up and embarrassedly hands it to Dale. walks off. Follows Shoshana out of the room. Pat

Dale notices Lane come in with Janey and a lot of beer. DALE Woah, ho, love of my youth... Then he sees Lucas come in behind them. PAT is right behind when Shoshana when she finally stops walking. He opens his mouth to speak -- when BILLY grabs Shoshana and pulls her close. She laughs. BILLY Woah, who invited Nicki Minaj? (slaps her ass) Ow! Dale frowns.

85. PAT (under his breath) Who invited Forrest Gump... He notices a table full of CHEAP BEER to his left. Sighs. He picks up one of the cans. Pops it. Sips. He holds it out like Hamlets skull. PAT (CONTD) (soft) I know you dont really know me... but Ive known you since I was fourteen. I see gravity in the way your... breasts... bounce. I see kinetic energy in the wind against your hair. I dont know if thats the right term, but I see it anyway. Speaking of science, I know Newton said what goes up must go down... but mine went up for your heart, which I know is in there, somewhere, four years ago. And it hasnt come down yet. He drinks heartily. shoulder. Billy comes up to him, slaps his

BILLY When you start talking to your beer, Stiph, youve had too much. He walks on. PAT When you start talking to anyone, youve had too much. (beat) Too much words. LANE AND JANEY walk with their beer. Janey sees Dale across the room. smiles sadly at her. She starts crying. Jane. LANE Game plan. He

She stops. Holds up her beer package and points to the one Janeys carrying. LANE (CONTD) You take this and that. Go out to the pool. I think theres a pool. I remember there being a pool. (MORE)

86. LANE (CONTD) I guess if there isnt a pool, theres a ditch, which is just as cool only less wet. Go outside, to the pool or the ditch, and let it go. JANEY You want me to pee in the pool or the ditch? LANE The tears, Janey. Oh. JANEY

LANE I will be right out. Well turn this frown upside-even-frownier, okay? Janey shortly laughs through her tears. Okay. JANEY Lane and Dale meet

She takes Lanes beer and heads outside. eyes. They start toward each other.

Lucas appears in the doorway in front of Lane. LUCAS How is she? LANE The love of her young life just lost his young life. LUCAS He was my best friend, you know. I know. LANE Im sorry.

LUCAS We used to talk about you. We used to talk. When youre an athlete among athletes, you just shout and grunt. You cant talk. I talked with Tim. I cant talk to my dad. Thats it. I dont know who Im going to talk to now. Lane looks at him. Feeling for him.

87. LANE Want a booze? LUCAS Thanks. Beers a depressant. I dont need any more depressing. LANE Youre a few conclusions ahead of the teenage race. Ill be right back. Lucas watches her go. Dale follows her. You came. You came. She crosses the floor to the beer.

DALE LANE

DALE Pat wanted to. Has she sobbed yet? LANE Not tonight. I sent her outside to get started. DALE Thats good. Tears help flush out the blood. LANE Poetic. (beat) They busted Blake Sayles. What for? DALE

LANE I dont know yet. fill me in.

Johnnys gonna

Dale gestures to Lucas, watching from the other side of the room. DALE Unless Lucas beats him to it. (off her look) I... I didnt mean it that way. At all. I just meant like hes going to talk to you a lot.

88. LANE I needed a ride. I didnt know you were coming. My dad took the car. DALE Your dad runs the late-night kegger circuit too, huh? LANE We had a fight. DALE Oh. Fights, murders... boy, being eighteen sure is fun. (hesitates) Hey, the Apple Festival is tomorrow, which actually is fun. LANE You want to go? DALE I didnt say that. LANE You dont want to go? DALE I didnt say that, either! LANE Well if you brought it up, it just seems like you want to go. DALE Thats because I do. With you. we can make it through a night without... If

LANE You think itll stop, now that they arrested Blake? DALE The filming or the murders? LANE Whats the difference? EXT. SHOSHANAS POOL - SAME Janey sits at one end of the pool. Drinks alone. Cries.

89. Pat comes out. Finishes another cheap beer. Throws down the can. Feels guilty -- picks it up and holds on to it. He stares up at the MOON. Takes a few steps forward... allowing a space for SHOSHANA, in a bathing suit, to come running out. She DIVES into the pool. BURSTS UP, out of the water. She might as well be Aphrodite coming out of the sea in Pats eyes. He walks to the side of the pool and crouches down. She swims to the edge. Surprises her. Hi. Hi. SHOSHANA PAT Youre Shoshana, right?

SHOSHANA Who are you? Pat. PAT Im Pat Stiph.

SHOSHANA You wrote those columns. For the school paper. About that girl. PAT Yeah... you read those? SHOSHANA I loved them. I always wanted to be her. PAT You are her. Shoshana smiles, flattered. PAT (CONTD) I mean that literally. I wrote them about you. (beat) What? SHOSHANA

90. PAT You know, all hot high school girls with buried hearts have a stalker who has like three dozen pictures of them in his wallet and trudges after them like a soldier carrying his heart like a Jello cake, trying to get them to eat it. And the Jello just melts. He puts his hands to his heart, then holds them out. PAT (CONTD) Well, heres my Jello cake. melting, but its yours. SHOSHANA Are you for fucking real? PAT (winces) Yes... Shoshana presses herself up on the poolside and KISSES Pat. Good, steamy kiss. INT. SHOSHANAS HOUSE - SCENE CONTD DALE I almost wonder what happened next. LANE Lucas has the script. Or we could call up Curtis Manson. The way he shivers with perpetual fear is charming. DALE (realizes) He said to stay away from water. Lane waits for more. DALE (CONTD) What if the murders keep going? Why do they need the filming when the scripts already done? Lane catches on... DALE (CONTD) Does Shoshana still have her pool? Its

91. EXT. SHOSHANAS POOL - SCENE CONTD Shoshana lowers back into the water, smiles at Pat. smiles back with every molecule in his body. PAT I could do push-ups without my hands right now... Billy comes out. Immediately suspicious. He

BILLY Boy, everybodys smiley out here. Someone handing out Happy Meals? PAT Well, I kinda just gave your girlfriend a Big Mac... Billy stares at Pat, absolutely dumbfounded. shocked -- then... he smiles. Billy charges. Knocks him into the pool. SPLASH into the water. Billy! SHOSHANA No! She takes her Holds out the Pats just as

Both of them

Janey stands up at the other end of the pool. beer bottle and SMASHES IT on a nearby table. jagged edge toward the water. Hey! JANEY

They havent come up yet. JANEY (CONTD) Damn intoxicated timing... Billy and Pat come up, gasping for air. BILLY Jesus, Shoshana. When was the last time you cleaned your pool? SHOSHANA Today, Billy! BILLY Its slimier than fuck... Pat heaves himself out of the pool. Billy sees.

92. BILLY (CONTD)

Hey!

Dale and Lane rush out. DALE You have to get out of the pool! Now! No questions! No one moves. Dumbfounded. Billy floats. OPENS ITS

THEN THE GIGANTIC ALLIGATOR SURFACES BEHIND BILLY. JAWS --

-- EVERYONE SCREAMS AT ONCE -- ALL THE GIRLS -- AND ALL THE BOYS BUT BILLY -- WHO TURNS AROUND -- JUST IN TIME FOR THE ALLIGATOR TO CHOMP DOWN ON HIM, BURSTING BLOOD EVERYWHERE! IT SPLATTERS OVER SHOSHANA, FROZEN WITH TERROR -- Pat rushes toward her -Shoshana!! PAT

He holds out his hand -- she reaches out for it -THE ALLIGATOR SURFACES -- SWALLOWS HER WHOLE, DROWNS OUT HER SCREAM -- AND BITES OFF PATS HAND -- even with his stump SPITTING BLOOD, he screams PAT (CONTD) SHOSHANA!!! Then -- Janey SCREAMS HER LUNGS OUT. stop the night. The alligator submerges. Shes gone. Oh, shit! LANE A scream that seems to

Dale and Lane twist toward her.

She runs over to where Janey just stood. Frantically looks around. Shoshanas house is surrounded by darkness, too thick to see. Janey!! LANE (CONTD) Dale tries

Nothing. She runs back to Dale, at Pats side. to tug Pat away from the poolside.

93. DALE Pat, man, we gotta get you to a hospital, you wont be able to swallow if we dont stop that spitting... Pat stares into the water. THE ALLIGATORS LONG, DARK SILHOUETTE is still visible underwater. LANE Ive gotta find Janey... DALE Ive gotta get him to the hospital. Then Ill come back. Alright... Lane runs inside. LANE

Dale keeps tugging on Pat.

DALE Pat, goddamit -Pat starts sobbing. He faces Dale.

PAT You know how I feel about this life and death stuff? He laughs through his tears. Holds up his stump of a wrist. It spurts blood upward like a sprinkler. Dale leaps back to avoid the spray. Jesus! DALE

PAT ...Im stumped. INT. SHOSHANAS HOUSE - SAME The party continues. The musics too loud to hear much else anyway. Lane runs toward Lucas, whos slumped in a corner, reading a gloomy book. Lucas! LANE

LUCAS Lane, are you alright? He leaps up.

94. LANE Janey just ran into the night. Weve gotta get her back. LUCAS What the hells going on? LANE There was an alligator. pool. LUCAS The... huh? LANE Shoshanas dead, Billys dead, Pat lost a hand... LUCAS ...of blackjack, I hope... ? CUT TO: EXT. THE EDGE OF TOWN - NIGHT Janey runs through the streets, wailing, psychotic with histeria. The streets are dark and deserted. No one out for a walk after all the murders. As Janey screams, shades go down in the houses lining the street. INT. ONE OF THE HOUSES - SAME The HOMEOWNER yanks down the shades. Janeys screams continue outside. He presses his back against the window, terrified. Oh god... HOMEOWNER CUT TO: INT. LUCASS CAR - SAME Lucas puts the pedal to the metal. Janey keeps her eyes ahead, scans the darkness for Janey. LANE What happens next? In the

95. LUCAS

Huh?

LANE In the script. Whats next? Whats the next murder? LUCAS I... I dont know. They kept the ending off the script to keep spoilers from leaking... LANE Fucking A... do you have Curtiss number? LUCAS I have Blakes. Arent they dating? He gives Lane his phone. dials. She goes through the contacts,

LANE Its Lane Michaels. trailer, remember?

We met at your INTERCUT WITH:

INT. TRAILER - SAME Curtis sits on the floor, surrounded by empty glasses. The ice in the glass hes holding clinks as his hand shakes. CURTIS Did someone else die? LANE Is there an alligator attack in your script? CURTIS (horrified) Yes... LANE What the fuck kind of scene is an alligator attack? CURTIS Its an undervalued horror masterpiece, its John Sayles...

96. LANE Whos the last victim? CURTIS Its either the geek or the love interest... LANE glances at Lucas. CURTIS (CONTD) There were two possible endings in the version that was online, I couldnt decide... LANE So the best friend never dies. CURTIS The best friend? LANE (relieved) Is there even a best friend in the script? CURTIS Yeah... she dies before the geek or the love interest. LANE tears up. LANE Oh god... Lucas, drive faster... CUT TO: EXT. DOWNTOWN STREET CORNER - SAME Janey stops, completely out of breath, a mess. UP. Rests against a streetlight. She THROWS

She notices a SILHOUETTE on the other side of the street. Strange posture. The arms hang; theres a slight hunch. She backs away... then RUNS FOR HER LIFE. The silhouette hunches over and hobbles after her. CUT TO:

97. INT. LUCASS CAR - SCENE CONTD Lucas keeps driving. Lane still on the phone.

LANE The geek already had his hand bit off, he didnt die... CURTIS (V.O.) (through phone) Then it wasnt the geek. The geek either dies or he doesnt get hurt. LANE What about Janey? happen? Who? Where does it

CURTIS (V.O.)

LANE The best friend. CURTIS (V.O.) Im sorry, its too late. If youre past the alligator attack... Im sorry, shes gone. Save the geek. Save the best friend. Dont let them out of your sight. LANE (fights tears) Its not just that simple! CURTIS (V.O.) Lane... Im sorry... Im sorry for ever writing this... LANE (beat) My lifes always been a horror movie, Curtis. She hangs up. LUCAS What did he say? LANE He said its too late. So it doesnt matter what he said.

98. LUCAS Im going to drive you to the hospital. LANE No youre not! LUCAS Lane -- Janeys got a good head on her shoulders. If she came to her senses, she probably stopped into the hospital and theyre taking care of her. Ill keep looking, dont worry. LANE You go to the fucking hospital. Ill keep looking. LUCAS Can you drive stick? Yes. LANE

(beat) Til it stalls. LUCAS Lane... cmon. She glares at him... but she knows he might be right. CUT TO: EXT. DOWNTOWN - A MINUTE LATER Janey runs through downtown. Glances over her shoulder. Closer now!

The silhouette hobbles after her!

EXT. HIGH SCHOOL STUDENT PARKING LOT - A MINUTE LATER Janey runs through the lot. There are balloons and signs everywhere, ready for tomorrows Apple Festival. She sees the beloved HAY MAZE ahead. Runs toward it.

99. EXT. HAY MAZE - SAME Janey runs into the hay maze. Stumbles into a hay bale and knocks down the first wall. She leaps over the bale. Continues through the maze. She turns around a corner. Two possible routes. She goes right. Runs on -- DEAD END -- no... theres a path to the left. She goes left. Three possible routes. JANEY This was easier when I was three!! She takes the leftmost route. She rounds a corner. Rounds another corner. Another corner--

She STOPS. DEAD END. In fact, the wiseasses who put the maze together have stopped it with a PORT A POTTY. She turns back -FACE-TO-FACE WITH THE SILHOUETTE -- she SCREAMS -- its a DISFIGURED HILLBILLY, OVERALLS, PLAID, a fucked-up face worthy of that guy from The Goonies -Janey moves past him, backs into the hay wall. Tries to keep screaming, but she cant. Its silent. Shes screamed herself hoarse. The hillbilly removes his face. Its Alan Killington. Hey... ALAN A MASK.

JANEY (hoarse and small) Mr. Killington? ALAN Im sorry... please... Janey balls. ALAN (CONTD) I wanted to scare you kids off the streets... youre gonna get hurt. Not by me... I... this is just to scare you. He throws away the mask.

100. ALAN (CONTD) Im sorry. The murders... I just wanted to scare death away. Scare you away from it. JANEY You son of a bitch... THE PORT A POTTY DOOR FLIES OPEN -- A FIGURE IN AN ORDINARY HALLOWEEN MASK RUSHES OUT AND STABS HIM THROUGH THE THROAT -THEN STAB! STAB! STAB! RIGHT DOWN THE SPINE -Janey SCREAMS and SCREAMS, and we dont hear a SOUND. CUT TO: INT. HOSPITAL LOBBY - SAME Lane enters, rushes to the front desk. LANE Im looking for a friend, Jane Dohe? RECEPTIONIST Youre looking for a Jane Doe? Jane Dohe. LANE D-O-H-E.

RECEPTIONIST Would she have come in recently? LANE Within the last few minutes. Im sorry. RECEPTIONIST No Jane Dohes.

LANE How about Dale Dedman? He wouldve brought his friend in, Patrick Stiph. RECEPTIONIST Was the injury to his hand? LANE To where his hand used to be, yeah. RECEPTIONIST Patricks in 217 --

101. Lanes ready to run up there -RECEPTIONIST (CONTD) -- but his friend just left. LANE Do you know where he went? RECEPTIONIST Someone called for him. hed be back. LANE They always do... She runs out. number. Pulls out her phone as she runs. Dials a CUT TO: EXT. HIGH SCHOOL STUDENT PARKING LOT - SAME Dales car pulls in. He gets out. Lucas waits for him. He said

DALE Did you find Janey? LUCAS You told me on the phone you did. They both pause. DALE Wheres Lane? LUCAS Wheres Lane?

They look toward the hay maze. See the bale knocked over at the start. Lucas looks at Dale. Fuck. DALE

INT. HAY MAZE - MOMENTS LATER Lucas reaches a DEAD END. Lucas!! Shifts in frustration.

DALE (O.S.)

LUCAS (calls) Im fucking lost!

102. DALE (O.S.) Run toward my voice! Lucas BURSTS THROUGH the hay bales, one after another. Tackles a straight line through the maze. He stops. LUCAS Oh, shit... Dale stands over Janes body. We dont need to see it directly -- we can still tell there are guts everywhere out of focus. Dale looks at Lucas sadly. Thats when Lucas sees his fathers body -- a straight line of stab marks running down him. No... LUCAS (CONTD) Crouches beside his father.

Lucas falls into tears.

LUCAS (CONTD) No, no, no, not you too... Daddy... Dale looks away. Something catches his eye. Potty. He squints. ANGLE: BY THE THE PORT A POTTY HANDLE is a little slit revealed when the door is pulled close. reads: OCCUPIED. Shit -DALE It The Port A

Riding the end of his sentence, the PORT A POTTY DOOR FLIES OPEN -- the MASKED STABBER BURSTS OUT -RUN!! DALE (CONTD)

He tries to lift Lucas, DUCKS -- the masked stabbers knife swings over his head -- they get up and book it the hell out of there, down the straight line Lucas paved. EXT. HIGH SCHOOL STUDENT PARKING LOT - SAME Dale and Lucas BURST OUT of the hay maze. hill. The high school looms above. They run up the

103. A SIGN outside reads: THE 46TH ANNUAL APPLE FESTIVAL, and below: HAPPY GRADUATION, SENIORS! INT. HIGH SCHOOL LOBBY - MOMENTS LATER Outside, Dale and Lucas yank on the doors. Locked. Lucas throws himself against the glass -- it SHATTERS. A SHARD SLICES a straight line up Lucass cheek and over his eyelid. Dale tugs on him. Come on... DALE It stares at They run

They see the masked stabber standing outside. them. Dale runs for the auditorium door. inside. INT. HIGH SCHOOL AUDITORIUM - SAME

Yanks it open.

Dale and Lucas run down the auditorium, past rows and rows of seats, toward the STAGE. They leap up on the stage. CURTAINS. Climb through the CLOSED

LUCAS Im gonna barricade the doors -DALE Fuck it... stay on the stage where we can see whats around us. See if you can find the light switch. Lucas goes to the CONTROL PANEL just beyond the stage. sees TEN LEVERS. He shrugs, pulls the last one. He

DALE JUMPS -- MUSIC BEGINS BLASTING from SPEAKERS AROUND THE AUDITORIUM -- THE CURTAINS PART -- A BANNER DROPS from on high -- WELCOME TO THE REAL WORLD! and underneath: CLASS OF 13 -- CONFETTI RAINS DOWN ENDLESSLY, ALL RED, LIKE PAPER BLOOD -- BALLOONS DROP, ALSO RED -Lucas looks at Dale, surprised. Try again! DALE (CONTD)

Lucas turns back toward the control panel -- instead notices the masked stabber beside him.

104. LUCAS

Really?

The stabber GETS HIM THROUGH THE CHEST. Dale hears Lucass death gasp. The masked stabber runs at him across the stage, knife raisedSMASH CUT TO: INT./EXT. POLICE CAR - SAME SIRENS SCREAM! Officer John drives, Lane in the passenger seat. are full of tears. LANE Well find her, Johnny... we have to... OFFICER JOHN Nothing has to happen, Lane. both know that. Lane points. LANE There! Thats Dales car! Lucass! And We Johns eyes

EXT. HIGH SCHOOL STUDENT PARKING LOT - MOMENTS LATER The police car stops. Lane and Officer John get out.

OFFICER JOHN Ill get the maze, you get the high school! LANE You want to split up? OFFICER JOHN No... thats retarded, isnt it? INT. HAY MAZE - MOMENTS LATER Officer John and Lane see the bodies. Both yelp -- John pulls Lane to him, buries her head in his chest. They cry together.

105. They just stand there and cry together. INT. HIGH SCHOOL LOBBY - MINUTES LATER Music still blasts from the auditorium. Officer John and Lane come up over the hill, still crying. Officer John stops Lane at the shattered glass door. OFFICER JOHN Stay behind me, okay? He enters, with Lane. auditorium doors. They listen. Head toward the

INT. HIGH SCHOOL AUDITORIUM - SAME They enter. Boy, that music is loud.

OFFICER JOHN Stay close! They slowly move down toward the stage. seats. Past all the empty

The confetti has stopped raining. Officer John sees Lucass body off to the corner of the stage. Jesus -OFFICER JOHN (CONTD)

He leaps up on to the stage. Lane notices Dale, strewn over one of the front seats before the stage. Johnny! LANE He leaps back down. Joins

On-stage, Officer John turns. Lane by Dale.

Dales covered in red confetti, like paper wounds over his body. Theres a real wound in his lower stomach. A lot of blood has leaked out of it. LANE (CONTD) (in tears) Oh, Dale... She and Johnny take his pulse at the same time. each other in surprise. A VOICE I just called 911 -They look at

106. Lane and Johnny SPIN. Joanna! Ms. Craven stands there, teary-eyed.

OFFICER JOHN Lane stands.

He leaps up, hugs her.

LANE What are you doing here? MS. CRAVEN I was working late... I was working on graduation certificates... I heard... the music... Lane looks at her in terror... bullshit. Its fucking late. This is past late.

SHUFFLING ABOVE -- RUNNING FOOTSTEPS -- they spin -- a SILHOUETTE runs for the doors -Officer John pulls his PISTOL -- BANG! -- the silhouette drops. They run to the back of the auditorium. Look down on...

...Trentworth Blais, clutching his leg, leaking blood everywhere. BLAIS Motherfucker... hand in your fucking badge, Lethal Weapon! OFFICER JOHN Mr. Blais, what the hell are you doing here? They all notice at the same time -- BLAISS HANDS ARE COVERED IN BLOOD UP TO THEIR WRIST. OFFICER JOHN (CONTD) Whered that blood come from, Mr. Blais? BLAIS Probably my fucking leg wound, Sling Blade! OFFICER JOHN You arent bleeding that much.

107. BLAIS I... goddamit! I found the frigging bodies, I tripped and fell in the blood. LANE What were you doing here? BLAIS Shut the fuck up, kid! OFFICER JOHN What were you doing here, Mr. Blais? He pulls his GUN. Johnny! Aims it at Blaiss head. MS. CRAVEN

OFFICER JOHN (voice cracks) Is that my sisters blood?

Huh?

BLAIS I told you... I... bring girls here sometimes. I have the key! LANE Wheres the girl? BLAIS Up the hall... in a broom closet... LANE Ill go check. INT. HIGH SCHOOL LOBBY - SAME Lane comes out of the auditorium. She sees a POORLY MADE-UP MIDDLE-AGED WOMAN at the top of the stairs. Frozen. Scared out of her mind. INT. HIGH SCHOOL AUDITORIUM - SAME Lane re-enters. LANE Shes real. Officer John faces her.

108. OFFICER JOHN The bodys gone... Lane follows his look. Lucass body is gone. Lanes mind races. EXT. HIGH SCHOOL - A MINUTE LATER Red and blue lights flash everywhere. Squad cars shoot in, one after the other. Two ambulances pull in, sirens wailing. Lane comes out of the school. Looks back to make sure she isnt being watched. EMERGENCY PERSONNEL rush in to the school. She slides between the ambulances. Runs down the hill.

EXT. HIGH SCHOOL STUDENT PARKING LOT - SAME Lane opens Dales cars passenger door. Pulls out a notepad and a pen. Scribbles something. Tears off the paper. Puts it under Johnnys police cars wiper. INT. DALES CAR - MOMENTS LATER Lane gets in. Looks down. LANE

Shit. Its a STICK.

CUT TO: INT./EXT. DALES CAR (ON THE ROAD) - MINUTES LATER The car engine REVS -- then STALLS OUT. Lane starts it back up. LANE Fuuuuuck... She shifts into first. The car shoots forward. She grunts. Frenetically shifts it into second. It glides forward.

109. The engine starts to roar -- she has to shift. and puts it in third. The car glides on. Lane sighs, relieved. CUT TO: EXT. DIRT ROAD - MINUTES LATER Lane stops the car. She gets out. CUT TO: EXT. WATERING HOLE - MINUTES LATER Lane moves in a crouch through the grass toward the watering hole. Bushes obscure the view ahead. She can hear voices... one of them is Lucass. Lane crouches behind the bushes. deep breath. She leaps up. Lane steps out of the bushes. Lucas! LANE She hesitates. Takes a She growls

She stops -- SHOCKED. Theres Lucas... he turns toward her, surprised... and there, over the water... FLOATS THE MOST HORRIFIC, HELLISH CREATURE EVER SEEN. DEMON. Lane stares at it. LUCAS (horrified) Lane... The demon GROWLS at her. Hungrily. A

LANE What the fuck... LUCAS Its a demon... I dont think itll hurt you. LANE You were stabbed...

110. LUCAS It healed me. LANE Did it kill those people? Lucas looks at the demon. Sort of. Lane looks at him. LUCAS Doesnt understand.

LANE The script... LUCAS It mimicked the murders in the script. LANE How did the demon get the -(realizes) Oh, Lucas... Lucas starts crying. LUCAS I didnt mean... I thought they would be the film crew... I didnt think theyd be people in town... let alone... Tim... Janey... my dad... Lane starts crying too. Why? LANE

LUCAS I... Lane, please... just go... Ill take care of this. LANE You cant take care of people who are already dead, Lucas! LUCAS It was an accident! It was supposed to be the crew! LANE Why would you want to kill the crew?

111. LUCAS Kill the crew? You think I wanted to kill the crew? I wanted to show you that I knew how it felt! I know how you feel, Lane! Lane doesnt respond. Doesnt understand.

LUCAS (CONTD) My mother was killed, Lane! My own mother! I was just a kid! No one knows how that feels, no one can imagine! No one ever knew how I felt. Except you. Youre the only person in the world who understands me. But you never understood that. Lane still doesnt get it. LUCAS (CONTD) I had to remind you of your sisters death. You came back. was a second chance for you to understand.

It

LANE You made a deal with the demon to murder people? The demon LAUGHS, a DEEP, AWFUL LAUGH. SORRY. THE DEMON Lucas looks at it.

LUCAS (to Lane) I gave it the script. them!

It murdered

LANE How does one meet a demon? LUCAS The same way one finds independent unproduced horror scripts. Exhaustive Googling. LANE Why the script? LUCAS I found it online... I loved it. love horror movies. Theyre the only art that understood me. (MORE) I

112. LUCAS (CONT'D) Theyre the only mirror I could find! LANE You realize youre going to die. Its going to kill you. LUCAS Its not that kind of demon. that kind of deal. Not

LANE I dont understand you at all. LUCAS (bitter) Then your sister died for nothing. Lane shakes with horror. LUCAS (CONTD) You should have understood! How many people have their loved ones killed? Everybody! LANE Its called death! You

LUCAS No! This is called murder! should have understood! LANE You murdered my SISTER! My familys fallen apart... you murdered my LIFE!

LUCAS I needed you... I needed someone... no one understands the horror of being alone... LANE I hope you understand the horror of being a eunuch, you son of a bitch! She brings up her leg and RAILS HIM IN THE BALLS. down. The demon GROWLS. On his knees, Lucas reaches for Lane. side. He goes

She kicks him in the

Lane looks up. THE DREAM STALKER AND THE MASKED STABBER STARE AT HER. THE GIANT ALLIGATOR CRAWLS OUT OF THE WATER.

113. The Dream Stalker LUNGES at her with the garden shears -- she DUCKS -- the masked stabber STABS for her -- gets her just above the ANKLE -- SHE SCREAMS -The alligator LEAPS FORWARD TOWARD HER -- she rolls up its SNOUT -- SCREAMS -- KICKS OFF ITS HEAD and lands on the grass -- THE GARDEN SHEARS NARROWLY MISS HER NECK, CLIP OFF HALF HER HAIR INSTEAD -BANG! LANE SCREAMS! She turns around. All the ghouls are

THE DEMONS LAUGHTER FILLS THE WOODS. gone. Even the alligator.

Just Lucas remains... his arm outstretched, reaching for her. Frozen. A BULLET HOLE through his skull. Lane looks at Officer John, standing behind the bushes, gun still aimed. The laughter continues... awful laughter... Chief Costello comes up behind Officer John. Christ! CHIEF COSTELLO Sees Lucas.

He FIRES. The bullet BLOWS A HOLE through Lucass chest. His body drops FACE-FIRST. SPLASHES into the water. The laughter continues. Chief Costello looks around.

CHIEF COSTELLO (CONTD) Whats so funny?! The laughter stops. silence. (soft) There. For the first time in a long time: CHIEF COSTELLO (CONTD)

He holsters his gun. Officer John moves through the bushes. Helps up Lane. They embrace. Both fall into tears. CHIEF COSTELLO (CONTD) -- Theres nothing funny about death. CUT TO: EXT. FIELD - SUNNY DAY Lane walks with Sara. They stop.

114. SARA Isnt it beautiful? Lane sees ANGLE: A COW ahead, grazing in front of WOODS. Something like THE GRIM REAPER EMERGES from the woods with a GREAT BUTCHER KNIFE. It SLASHES the cows THROAT, then RIPS ITS HEAD OFF. Lane rushes forward. The Grim Reaper turns, surprised.

Lane PUNCHES THE GRIM REAPER IN THE NON-EXISTENT FACE. The Grim Reaper falls backward, knocked out amidst the daisies. Sara stands by Lane. Lane wraps her arm around her sister. Rests her head on her shoulder. Yes. LANE It is. SMASH CUT TO: INT. LANES ROOM - MORNING Lane sits up in bed. She smiles. INT. MICHAELS KITCHEN - MINUTES LATER Lane enters. LANE Morning, parents. Sure enough, there they are -- Jim and Carrie. breakfast together. Jim gets up. JIM Morning, daughter. Eating SLOWLY. Peacefully.

CARRIE Morning, daughter.

JIM Hows that summer job coming? Carrie and Lane give him worried looks. LANE What summer job?

115. JIM Every young adult needs a summer job. (beat) And yours is to have the best goddamn summer ever! Lane smiles. Jim goes around the table and hugs her.

JIM (CONTD) Im proud of you. Im late for work -He kisses her forehead -JIM (CONTD) -- but it was worth it to get a little head. Carrie and Lane stare at him. Jim awkwardly freezes.

JIM (CONTD) Thank god I own a car. He DASHES out the door. Seconds later, the CAR STARTS UP and SCREECHES out of the driveway. CUT TO: INT. PATS ROOM - DAY The door opens. little to walk. Dale enters. DALE Smiles at Dale. Looks like it hurts him a

Hey buddy.

Pat sits up on his bed. PAT I cant stop.

DALE Please finish that sentence. PAT Im in love. DALE With the girl from the bonfire? Lena. PAT

116. DALE

Nice. (beat) Me too.

PAT With the girl from the bonfire? DALE Different girl. Same bonfire. we got a hot date tonight. PAT Sex in the summer. DALE This freshmans gonna be incoming. PAT Oh! Fuck you, buddy. If anyone needs a hand job, its me! He holds up his handless stump. Ooooh! DALE CUT TO: EXT. LANES HOUSE - NIGHT Lane sits on the grass. blows a soft whisper. The night is quiet. The breeze Pure black. They laugh. And

Lane stares into the darkness across the street. Then... DISTANT LIGHTS begin to shine through. DALE Whats a nice girl like you doing out here in the dark? Lane stands. Faces Dale, standing in the street.

LANE Looking for a night light. Dale approaches. DALE Trying to think of something less lewd to say than Plug me in...

117. LANE Its alright. Im not afraid of the dark anyway. DALE Neither am I. But Id still rather not be alone. LANE Me neither. Dale puts his hands on her waist. DALE Youre not alone. Lane wraps her arms around his neck. LANE Neither are you. DALE Guess lifes a rom-com after high school. LANE I hear its a porno in college. They kiss. Lane actually SMILES through their kiss. CUT TO: INT. CURTISS APARTMENT - NIGHT New place. Equally messy. Curtis fumbles through the DRAWER by his bed. Pulls out a LIGHTER. He stands in front of his DESK. CURTIS Shit... shit... He opens the DESK DRAWER. Grabs a BOTTLE of LIQUOR off the top of the desk and chugs it. Swishes it in his mouth. lighter. Doesnt swallow. He holds out the A

Its light ILLUMINATES the contents of the desk drawer. SCREENPLAY. Curtis BLOWS. FLAMES ERUPT. ENGULF THE SCREENPLAY.

118. Through the flames eating the paper, we read the last part of the screenplays title: PART 2. BLACKOUT. THE END