Truth Before fiction

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Truth Before fiction

Postby Ghostface » Thu Apr 09, 2009 3:51 am

TRUTH BEFORE FICTION
by
Anthony Filangeri
Fill_90@hotmail.com

FADE IN:
INT. BUILDING HALL - NIGHT
CLOSE ON an elevator as it opens, revealing SAMANTHA KEILBORN
inside. A girly bleach blonde, 23 years of age. She wears
denim clothing. She drags her feet along the hall, in need
of interaction.
Reaching the door to her apartment, she opens it with her
keys, disappearing inside.
INT. SAMANTHA’S APARTMENT / MAIN - SAME
Entering the dark apartment, she CLAPS her hands twice, the
main lights beam on.
She tosses her keys on the marble counter, clicks on the
message machine.
MACHINE (V.O.)
You have one new message.
Her boyfriend’s voice speaks out.
KASY (V.O.)
(on Machine)
Hey Samantha, I talked to Ashley.
She told me you’ll be getting out
of class at 7:00. So if that is the
case and you’re listening right
now, it’s probably 7:16. Correct?
Samantha glances over at the clock. It is 7:16. She laughs.
KASY (CONT'D)
Okay, so that gives you until 8:01
to get ready. That’s forty-five
minutes. I’m taking you somewhere
special tonight. You need to stop
worrying about what happened with
Mark. He’ll get over it. You made
the right choice, okay? So get
ready and I’ll see you soon.
Click -- the message ends.
Samantha smiles, now excited for the night.
Traveling across the kitchen, she enters the TV ROOM, goes
straight for the fish tank. She turns on the light of the
tank, showcasing the saltwater fish inside.
INT. SAMANTHA’S APARTMENT / BATHROOM - NIGHT
Samantha lathers up in the shower, water sprays down over
her.
INT. SAMANTHA’S APARTMENT / MAIN - NIGHT
The apartment sits quiet, not a sound but the running water
in the bathroom.
A CREEK from the apartment door -- it slowly opens, a leather
glove gripping onto it.
INT. SAMANTHA’S APARTMENT / BATHROOM - NIGHT
Rinsing the soap off, she glances at the bathroom door. In
that glance, a SHADOW dashes across on the other side.
She looks on, remembering Kasy. Her eyes move to the shampoo
bottle.
INT. SAMANTHA’S APARTMENT / MAIN - NIGHT
The freshly cleaned bombshell exits the bathroom, her wet
hair down, a dry white towel wrapped around her body. She
scopes the apartment.
SAMANTHA
Kasy?
She heads for the door, sees no shoes but her own. Confused,
she searches the apartment some more.
SAMANTHA (CONT'D)
Kasy, you here?
Walking into the TV ROOM, she eyes it from one end to the
other.
SAMANTHA (CONT'D)
You better not be walking around my
apartment with your shoes on.
Glancing down at the coffee table, she spots something that
catches her interest. She leans closer, takes a better look.
On the table, is a --

DUST PRINT of a fairly large hand. There is no trace of dust
inside the print, indicating that someone touched it
recently.
Samantha moves her hand above the handprint, it definitely is
not a match. It is almost double in size.
Freaked, she looks up, her eyes come across the fish tank.
In the tank, all the fish crowd to one corner.
Interested, Samantha strolls over. As she does, most of the
fish dart away from her presence, revealing -- a KITCHEN
KNIFE implanted into the stomach of her largest fish!
Samantha cringes back, her eyes glued to the tank.
It is NAILED to the gravel! The fish, still alive, tries to
wiggle out from the knife, but it only extends the wound more
and more.
Samantha stares, horribly upset. Then --
CLAP CLAP!
The lights flick off!
DARKNESS
The fish tank light remains, but brings little light to the
room. Screaming, Samantha CLAPS her hands, blasts the lights
back on.
LIGHT
SAMANTHA (CONT'D)
Somebody help me! Help!
Backed up against the wall, she watches for any movement,
horrified.
Opening the lid of the tank, she pulls the knife out the
fish’s flesh and out the water. Gripping onto the weapon,
she heads out of the TV room.
--
Passing a bend in the apartment, A MASKED MAN stands behind
her without her knowledge. He wears a theater/drama mask
with dark eyes and a huge smile. The masked man also wears a
black leather jacket, a pair of shaggy olive pants, and black
leather gloves.
From a few feet away, he CLAPS his hands, startles Samantha.

DARKNESS
She screams, swings the knife forward, piercing nothing but
air. She drops the knife, CLAPS her hands.
LIGHT
The apartment again lights up, the masked man GONE!
Samantha bolts to the door.
It won’t open! She jiggles with the locks, tries again, but
nothing. It makes no sense. She frantically bangs on the
door.
SAMANTHA (CONT'D)
Help me please! Someone is trying
to kill me! Please!
A couple CLAPS behind her --
DARKNESS
The room again fills with black.
Samantha turns, her back to the door, screaming her lungs
out. Terrified she CLAPS.
LIGHT
Just a few feet away, is the masked man -- charging for her --
a hunting knife now in hand. He HURLS the blade into her
repeatedly.
She does nothing but scream, taking in each injection as her
towel rips along with it. One last time, he pulls the knife
up into the air, sending it down into her head.
INT. SARAH BORE’S APARTMENT - NIGHT
SARAH BORE opens the cupboard above her, taking out her
favorite blue mug. She is 23 years old, with long dark brown
hair. Even when ready for bed, she looks stunning.
Taking the lid off the teakettle beside her, she pours the
drink into her mug, watches steam rise from the action. Just
when she places the kettle down --
The phone RINGS. She looks over at it, confused on who it
could be. She answers.


SARAH
(into phone)
Hello?
RICK (V.O.)
Hey, Sarah?
SARAH
Yes, I’m the only one who lives
here.
RICK (V.O.)
Funny. I’m gonna need a ride to
work tomorrow.
SARAH
So?
RICK (V.O.)
So, you drive.
SARAH
The answer is no.
RICK (V.O.)
Why not? It’s on the way.
SARAH
It is not on the way, it’s way out
of the way. Twenty minutes out of
the way to be the exact.
RICK (V.O.)
My car is at the auto shop.
SARAH
Call a taxi.
RICK (V.O.)
Sarah...
SARAH
(beat)
Okay, whatever. Be ready at 6:30 AM
sharp.
RICK (V.O.)
What? Work doesn’t start until
8:00.
SARAH
Well, I guess you’ll be joining me
with Yoga at 7:00.

RICK (V.O.)
Are you serious?
SARAH
Does it sound like I’m kidding? See
you tomorrow morning.
Irritated, she hangs up.
EXT/INT. SAMANTHA’S APARTMENT BUILDING - NIGHT
Cop cars, ambulances, and other vehicles surround the
building.
A MINI COOPER pulls up into the parking lot, parking into one
of the only spaces left.
A detective steps out of the car, 31 year old PATRICIA
GARANT. Her dark hair is clipped up, she wears a black coat
with grey sweat pants. Paramedics rush by from all
directions.
On her way inside, she sees her partner RYAN SOLOMON by the
door conversing with cops. He’s in his early forties. His
suit perfectly displays his proper manners. Noticing
Patricia, they engage in conversation.
RYAN
Patricia, hope you weren’t too
comfortable sleeping.
PATRICIA
I thought I had the night off. What
happened?
RYAN
A girl was stabbed to death in her
apartment about a half hour ago.
PATRICIA
Oh, God.
RYAN
Masked murderer. When her neighbors
went to go check out the commotion,
the murderer just walked passed
them, went in the elevator like
nothing happened.
Entering the building, Patricia looks above her, sees a
security camera.
PATRICIA
This was all caught on tape and the
guy just walked out of here?
RYAN
Well obviously, no one was prepared
for this. Her boyfriend arrived
shortly after.
They both enter an elevator.
INT. SAMANTHA’S APARTMENT / BEDROOM - NIGHT
Both Patricia and Ryan stare up at the message above the
bed’s headboard -- on the wall.
“She had it coming” written in red paint.
PATRICIA
(Sarcastic)
Oh, then it makes it okay then. I
mean if she had it coming.
RYAN
So this is obviously premeditated.
Why psychos leave clues like this
is beyond me.
PATRICIA
They enjoy the chase.
FORD ALEXANDER, the police commissioner, comes from behind
both of them, startled by the message smeared on the wall.
FORD
Jesus Christ!
PATRICIA
It’s paint, not blood.
FORD
I just had a big meal. Wasn’t
expecting this to be so graphic.
RYAN
It’s paint...
FORD
I know, I’m talking about the
victim. I got the security tapes.
(to Patricia)
You look very comfortable.

PATRICIA
I was rushed out of bed to get
here.
FORD
Yeah, sorry about that. I needed
you.
PATRICIA
I know.
A female crime scene INVESTAGATOR enters the bedroom.
INVESTAGATOR
Hey guys. Come look at this.
INT. SAMANTHA’S APARTMENT / MAIN - CONTINUOUS
They follow her, Patricia eying the fish tank on the way. An
investigator snaps a picture of it.
The girl leads them all to the coffee table, points to the
hand print plastered there.
INVESTAGATOR
The table was touched within the
hour. No fingerprints though. Your
guy was wearing gloves.
FORD
Get a measurement of the hand.
EXT. DOWNTOWN STREETS - MORNING
A red Mercury Cougar drives out on the busy road as music
blares out from inside of it.
INT. MERCURY COUGAR - MOVING
Sarah drives, in the passenger seat sits RICK FIELD. Natural
blonde, 20 years of age, a toned build.
Turning down the music, Sarah looks over at Rick.
SARAH
So why are you working at
‘Hillarys’?

RICK
I know Laura, okay. I needed a job
and it was the only place that was
half decent.
SARAH
A woman’s clothing store is half
decent to you?
RICK
Yeah.
SARAH
What are you, gay? Be a janitor or
something.
RICK
I am not cleaning other people’s
shit. I deserve better than that.
SARAH
Seem this is why receiving a highschool
diploma is a good thing.
RICK
The store isn’t all that bad.
Besides, I’m surrounded by hot
ladies all the time. It’s clothing
for hot chicks, not fat chicks.
SARAH
What does it matter to you? You
have no chance with any of them.
RICK
And you say that because?
SARAH
You work at a woman’s clothing
store. The only way they’d take a
second look at you is if you had a
sign glued to your back, stating
that you’re “Not Gay.”
RICK
Well you’ve known me now for over a
month now. What would you say about
me? Charming? Sexy? Hot? Want me in
the pants?
SARAH
No, I’d say your a poor excuse for
a human being.

(MORE)
Millions of other sperm that could
have been born instead of you. But
no. You had to reach your mother’s
egg and disappoint her for the rest
of her very life.
Silence -- Rick stares at Sarah in shock.
RICK
Ouch!
INT. HILLARYS’ - MORNING
Sarah and Rick enter the store. Sarah’s flashy red clothing
stand out, Rick’s wrinkled black shirt and raggedy jeans also
stand out, but the wrong way.
The store is very fashionable, stylish. Music plays on
speakers throughout the place.
LAURA, the manager, leaves the cashier desk, excited to see
them both. She is a blonde woman in her mid thirties.
LAURA
Hey, Sarah there is a customer down
at the back of the store. She’s
being very picky. Convince her to
spend more than she wants?
SARAH
I’m on it.
LAURA
Great.
Sarah starts for the back. Laura looks at Rick, repulsed by
his clothing.
LAURA (CONT'D)
Rick, what the fuck are you
wearing? Just because I’m close to
your mother, doesn’t mean I’m gonna
let her disappointment wear
whatever he wants.
RICK
Hey, I do not disappoint my mother.
What is with you guys?
LAURA
Shut up Rick. Accompany me
upstairs. We just got a bunch of
dresses shipped in.

SARAH (CONT'D)
Rick rolls his eyes, realizes what Sarah said earlier is
true.
INT. POLICE STATION / OFFICE - MORNING
Ryan sits in his office chair, analyzes the television screen
that hangs from the ceiling. Ford stands behind him, watches
with him.
ON SCREEN
It is the apartment lobby, unoccupied by anyone.
The elevator opens, the masked killer steps out, casually
walking to the door, disappearing outside.
BACK TO SCENE
Ryan and Ford shake their heads.
FORD
Ridiculous.
RYAN
Where’s Patricia?
FORD
At the campus. She should be back
any second now.
Patricia enters.
RYAN
(to Ford)
You’re good.
PATRICIA
Good thing Samantha only had one
course this semester, and a small
one at that. A class of thirtyfive.
I was able to speak with
every student in the class except
for one.
FORD
And?
PATRICIA
Their suspicions point to Mark
Mayne.

RYAN
Who’s that?
PATRICIA
The one that wasn’t there. Samantha
had been friends with him almost
her entire life. They went to
elementary and high-school
together. Finally began dating last
year.
RYAN
I thought she had another boyfriend
-- Kasy or whatever. Didn’t he come
to pick her up last night for a
date?
PATRICIA
Yeah. Mark found Samantha and Kasy
in bed last week.
RYAN
Bad break up I take it.
FORD
A motive.
RYAN
Kasy could be his next?
PATRICIA
I found out Mark’s address. Want me
to bring him in?
FORD
You can’t. You don’t have anything
concrete.
PATRICIA
No?
Pulling a folded paper out of her coat pocket, she hands it
over to Ford.
Unfolding, he reads.
PATRICIA (CONT'D)
Samantha gave the card to one of
her friends. She wanted to show her
what Mark had written.

FORD
(Reading)
“You’ll get what’s coming to you.”
PATRICIA
I’d say we have good enough
evidence.
FORD
Okay, lets bring him in and
question him. Ryan, go with
Patricia.
PATRICIA
I can go on my own.
FORD
No. Ryan, go with her.
RYAN
Yeah, I got it the first time.
INT. HILLARYS’ - DAY
Laura fills a few store bags with the many items a CUSTOMER
just purchased. She hands the bag to her.
CUSTOMER
Thank you so much.
LAURA
You’re very welcome.
SARAH
Take care.
The customer leaves the store.
CAROLYN, another worker at the store, walks over to Laura and
Sarah, amazed. Her presence is noticed from the gust of
perfume she brings. The red head speaks her mind.
CAROLYN
Only you can make a customer spend
over a thousand dollars.
SARAH
I know, I’m good. I think I deserve
a raise. Don’t you, Laura?
LAURA
Yeah, right...

Sarah rolls her eyes, Rick joins the group.
RICK
What’s up girls?
CAROLYN
Hey, Rick.
Fascinated, Carolyn grabs a hold of Rick’s bicep.
CAROLYN (CONT'D)
You look really good in this shirt.
RICK
I know.
LAURA
Guys, this place is packed. Why are
you both standing here?
CAROLYN
Sorry.
RICK
Right on it.
Rick and Carolyn both leave from her sight.
SARAH
I can’t believe this many people
are here for the sale.
LAURA
You know we’re open till 10:00
tonight, right?
SARAH
So what do I care. I’m done at
8:00.
LAURA
No you’re not. 10:00.
SARAH
What? People don’t go shopping for
clothes that late. Are you stupid?
LAURA
Sarah...
SARAH
I want double the pay from 8:00 to
10:00 then. I wasn’t aware of this.
LAURA
No fucking way.

SARAH
Fine, I’m not staying.
LAURA
Fine, double the pay from 8:00 to
10:00. Rick and Carolyn are staying
too, so don’t tell them that you’re
being paid more.
SARAH
Why do they need to stay? You and I
can handle it fine.
LAURA
Yes, true... but I’m not staying.
SARAH
Are you serious? Go to hell, it’s
your store.
Interrupting both ladies is the teenage PAPER BOY. He tosses
the paper on the front desk.
PAPER BOY
Sorry about the lateness. Alarm
didn’t go off.
LAURA
That’s alright, it’s busy anyway.
The boy leaves as Sarah stares down at the front page of the
paper, her eyes widened.
LAURA (CONT’D)
And you’re getting paid double, so
why are you even complaining?
Laura notices Sarah’s stare down at the paper.
LAURA (CONT’D)
Didn’t you hear me say we’re busy?
Eyes off the paper.
Sarah picks it up, reads. The front page has a picture of
Samantha Keilborn on the front.
INSERT - NEWSPAPER HEADLINE
“Brutal Stabbing Shocks The Town”
BACK TO SARAH
who cannot believe her eyes.

LAURA (CONT'D)
What?
SARAH
I went to school with her.
LAURA
Oh gosh, Sarah I’m so sorry.
SARAH
I’ll be right back.
Placing the paper back down on the desk, she hides her
emotions at the best of her ability, taking off into the
staff bathroom.
INT. HILLARYS’ / BATHROOM - CONTINUOUS
Entering, Sarah leans over the sink in disbelief, looks at
her reflection in the mirror.
SARAH
Shit.
INT. HILLARYS’ - DAY
Sarah walks over to the front desk. Laura watches.
LAURA
You okay?
SARAH
Yeah, I just have to make a call.
Okay?
LAURA
Yeah, sure.
Sarah pulls out the phone book from under the desk, flips it
open.
INT. BOB’S HOUSE / KITCHEN - DAY
A phone sits on the counter, it RINGS. About three rings in,
the back door opens with BOB DOMOLO, 23, entering inside.
He answers the phone.

BOB
(Into phone)
Hello?
INTERCUT WITH:
INT. HILLARYS’ - DAY
SARAH
(into phone)
Hey Bob. It’s Sarah... Sarah Bore.
BOB
(beat)
This about the news?
SARAH
Yeah.
(beat)
You think it has anything to do
with him?
BOB
Where are you?
SARAH
At work, why?
BOB
Where?
SARAH
Hillarys’ on Dougal.
BOB
Can you take a break?
SARAH
Yeah, I think so.
BOB
Okay, I’ll pick you up for a
coffee. We’ll talk about it there.
SARAH
Thanks.
BOB
Bye.
Bob hangs up, snatches his keys off the wall. He exits out
the door into --

EXT. BOB’S HOUSE / BACKYARD - CONTINUOUS
Walking off the deck, Bob grabs a hold of the hose, brings it
back to its hanger to shut the water off.
INT. BOB’S GARAGE - DAY
He enters in from the side door, heads over to his truck.
INT. BOB’S TRUCK - CONTINUOUS
Stepping inside, he sticks the keys in the ignition, notices
something below the passenger seat --
Gum.
He bends over, reaches for the pack. Bob grabs a hold of it,
opens it up, unwraps a piece.
Pushing himself back into his seat, he goes to turn the
ignition but right then --
THE KILLER
POPS out in the back seat --
SHOVES his hunting knife into it, bursts it through -- into
Bob’s back!
Bob yelps in pain, throws his body forward off the knife’s
point.
The masked Killer tugs the knife out of the seat, swings it
back at Bob. But Bob turns just in time to stop him -- stops
his arm.
Bob sits in the front, the Killer sits in the back -- both
having a strength battle with the knife.
They both struggle, but Bob manages to bring the knife away
from them both, shooting his elbow at the Killer!
INT. BOB’S GARAGE - CONTINUOUS
Bob opens the door of the car, rushes out. The Killer opens
the back passenger door, in pursuit.

Running, Bob manages to yank up a case of beer, SWINGS the
case at the Killer’s head. Bottles smash inside from the
hit.
The killer drops to the floor, so does the beer.
Bob bolts for the entry door. It won't open. It is locked.
BOB
What the fuck!
Pissed, he glances over at the side door across the surface,
then glances at a button -- the garage door opener. He hits
it, the big door begins to rumble up, revealing the light of
day.
Bob turns to see --
The Killer -- right back up after him.
Bob throws his fist at him. The Killer turns it into an arm
lock, snapping it in two!
He screams from the piercing pain as the killer lets go of
him, STABBING him in the back. Bob falls out to the floor,
blood falling with him.
The silver knife flails down into the back of Bob’s knee!
It pops out the front, the knife chiming off the cement. Bob
does nothing but scream.
The killer pulls the knife out, watches as Bob crawls over to
the lifting door. He leaves a trail of blood as he does so.
Bob just makes it under the door.
The Killer glimpses above him, snaps the wire that pulls the
garage up with his knife!
The big door comes back down with a force -- onto Bob’s HEAD
and ARMS!
EXT. MARK’S HOUSE - DAY
In the driveway, Patricia and Ryan step out of the Mini
Cooper.

RYAN
We really should have took my car.
Two detectives coming out of a Mini
Cooper doesn’t look very
intimidating.
They walk onto the porch, Ryan in front.
KNOCK KNOCK KNOCK on the door. They both wait for an answer.
After a few moments, the door opens and there stands their
number one suspect --
MARK MAYNE. Also 23 years of age, but looks older with the
scruffy facial hair he has.
MARK
Hi...
RYAN
Hi, Detective Ryan Solomon and my
partner, Patricia Garant. We want
you to come down to the station to
answer some questions.
MARK
(beat)
Is this about Samantha?
RYAN
Yes.
MARK
Well I’m not entirely sure. But I
think I know who killed her.
RYAN
Really? Cause we were thinking you.
MARK
What, why?
PATRICIA
We saw the letter that you wrote
her.
MARK
What letter?
RYAN
These questions can be answered
down at the station. Lets go.

MARK
Yeah... let me get my shoes.
Mark leaves the door open as he disappears down the foyer.
Ryan follows in, Patricia stays out on the porch, looks out
at the yard.
Her cell phone RINGS. She answers.
PATRICIA
Hello?
FORD (V.O.)
Hey, are you at Mark Mayne’s house
yet?
PATRICIA
Yes, we’re here.
FORD (V.O.)
And is he there?
PATRICIA
Yes. Why?
FORD (O.S.)
A second murder. Fifteen minutes
away from where you are now, and it
happened a few minutes ago. The
same type of deal. It’s definitely
the same killer. A male victim this
time, Bobby Domolo.
PATRICIA
How do you know it’s the same guy?
FORD
You’ll see when you get here. You
and Ryan get here as soon as you
can. 465 Jasper, East.
Click.
Patricia closes her cell, walks back into --
INT. MARK’S HOUSE / FOYER - CONTINUOUS
Mark and Ryan approach, Mark now with shoes.
PATRICIA
Ryan, he might not be involved.

RYAN
What? Why, what happened?
PATRICIA
Another murder, East side.
Mark eyes Patricia in shock.
RYAN
Well, what about Mark?
PATRICIA
Just leave him for now.
(to Mark)
You stay here, and if you’re gone
later, we will arrest you.
MARK
You want to explain to me what
happened?
Ryan exits the house along with Patricia.
EXT. MARK MAYNE’S HOUSE - CONTINUOUS
Stepping down the steps, Mark follows out onto the porch.
MARK
Who died?
RYAN
Get back inside.
MARK
Who died!
PATRICIA
His name was Bob. What’s it to you?
MARK
Bob Domolo?
PATRICIA
(beat)
How did you know?
MARK
Oh my God.
His eyes water as he stumbles back into the house.

PATRICIA
Hold on.
She makes her way inside, Ryan stays.
INT. MARK’S HOUSE - CONTINUOUS
Entering, she follows Mark into the living room.
Her eyes lay upon him, bent over the couch, holding in his
tears.
PATRICIA
What’s going on?
MARK
I can’t believe this is happening.
PATRICIA
Can’t believe what is happening?
Mark pushes himself up from the couch, looks over at Patricia
from across the room.
MARK
Michael Hayes is the man you’re
looking for.
PATRICIA
Why? Who is he?
MARK
A man set on high-school revenge.
EXT. BOB’S HOUSE - DAY
The white Mini Cooper parks alongside the curb. Out exit
Patricia and Ryan. They head for the house.
RYAN
So, Mark is saying we have a
vindictive killer?
PATRICIA
Yes. Maybe Mark didn’t write that
letter to Samantha. It could have
been just to throw us off.

RYAN
Yeah, but we only now know the
killer’s pattern. We couldn’t have
prevented this anyway.
PATRICIA
I know.
RYAN
If this even is the pattern.
Up the driveway, they view caution tape wrapped around the
garage, a towel placed over chunks.
PATRICIA
What happened to him?
PAREMEDIC
Garage crushed his head.
PATRICIA
Ugh.
They head inside.
INT. BOB’S HOUSE - CONTINUOUS
Up the staircase, Patricia and Ryan see the same message from
the night before painted on the wall.
“He had it coming.”
RYAN
Yep. Same guy.
Ford Alexander, talks to some police officers. Patricia
makes her way over.
PATRICIA
Hey, did you catch the victim’s
age?
FORD
No not yet, we just got here.
PATRICIA
Twenty-three. Just like Samantha
Keilborn.
FORD
How do you know?

PATRICIA
I told Mark the name of the victim
and he freaked. He said he knew
this was coming.
FORD
What do you mean he knew this was
coming?
PATRICIA
I don’t know, I had to leave. But
he said our guy was Michael Hayes
set on high-school revenge. It
looks like someone’s going after
their classmates.
FORD
Well go back to Mark’s. We’ll be
fine here.
PATRICIA
Okay
In the LAUNDRY ROOM, Ryan enters. Investigators crowd the
door that leads into the garage.
A huge red device grips the knob. Snap shots are taken.
RYAN
What is that?
INVESTAGATOR
A device made by the killer. It
attaches to the knob, locking it in
place so that the person -- the
victim -- on the other side can’t
turn the knob to open the door.
RYAN
Clever.
INVESTAGATOR
It’s sick.
RYAN
But clever.
INVESTAGATOR
You’re dealing with a very
intelligent, calculated killer.

RYAN
I know what I’m dealing with. Take
the thing off.
Ryan leaves the laundry room.
Many investigators work the KITCHEN. Ryan notices a BEEP on
the message machine as he enters.
SARAH (V.O.)
(on machine)
Bob, have you left yet? I took my
break expecting you to come and you
didn’t. Look, if this is for real,
we need to go to the police.
He listens intently, gains a thought. Turning over to an
investigator --
RYAN
Hey. Search the house to see if you
can find this guy’s yearbooks.
INT. MARK’S HOUSE / LIVING ROOM - DAY
Mark kneels by the couch, flips through his yearbook,
examines every person on page. He finally stops flipping,
finding the page he has been looking for. His eyes are on
one picture --
INSERT - LAKESHORE HIGH YEARBOOK
Michael Hayes. He has short blonde hair, glasses.
BACK TO MARK
who glares down at the picture. As he does --
A BUMP
from out in the front yard.
Closing the book, he walks over to the window, peers through
to see an unknown vehicle sitting in the driveway. It’s not
Patricia’s. It’s a green little thing.
BUMP!
Another noise is heard but now -- inside.
He hurries over to the fireplace, grabs a hold of the fire
poker right beside it. Slowly walking, he enters the --

INT. MARK’S HOUSE / KITCHEN - CONTINUOUS
Walking as quietly as possible, he hears a sudden noise
behind him. He swiftly turns, swings the metal rod at
someone’s head.
A blonde flies to the floor, screaming. Mark adjusts his
eyes, realizes that it is --
MARK
Jennifer?
JENNIFER
Yes! What the fuck is your
problem!?
MARK
What the fuck is my problem!? What
the fuck is your problem coming
into my house and sneaking up on
me!?
JENNIFER
Ow my head! I think I’m bleeding!
MARK
What are you doing here?
JENNIFER
What the fuck do you think!?
INT. MARK’S HOUSE / LIVING ROOM - MOMENTS LATER
JENNIFER PARKS sits on the couch, holds a pack of ice to her
head. She is not bleeding like expected. Jennifer is too 23
years old, cute with blonde hair.
Mark sits across from her.
MARK
Sorry.
Jennifer gives him a dirty look.
MARK (CONT'D)
What did you expect with what’s
going on?

JENNIFER
Not to be whacked in the head. If I
wanted that, I would have called
Michael myself.
MARK
(chuckles)
So you’re thinking the same too.
JENNIFER
Well it must be him.
MARK
Wait, is he listed in the phone
book? He can’t still be living here
can he?
JENNIFER
I don’t think so. When I saw the
newspaper, I decided to drive over.
MARK
You didn’t hear, did you?
JENNIFER
Hear what?
MARK
There’s been a second murder.
JENNIFER
What? Who?
MARK
Bob Domolo.
JENNIFER
Holy shit... this is for real,
Mark.
MARK
I know, I realized.
JENNIFER
Our whole group...
MARK
That leaves who? Owen, Angelina,
Sarah, Evan? They all left town
right?
JENNIFER
I think Sarah’s still here.

MARK
Is she? Haven’t talked to her since
that night.
JENNIFER
We need to go to the police.
MARK
I know.
KNOCK KNOCK KNOCK at the front door.
MARK (CONT'D)
But I think they’re coming first.
INT. MARK’S HOUSE / KITCHEN - DAY
Patricia, Mark, and Jennifer all sit at the kitchen table, in
the shape of a triangle. The yearbook lays open on the
table. Jennifer still holds the ice to her head.
PATRICIA
So what did you guys do to this
guy? I mean if he’s killing you
over something you guys did, what
was it?
MARK
Nothing really.
Patricia stares.
MARK (CONT'D)
Just the usual bully stuff.
JENNIFER
In the beginning of grade 12, me
and Samantha came across a paper
that fell out of his binder. It was
a list.
PATRICIA
A list?
JENNIFER
Of the people he wanted to kill.
You know, the lists freaks have.
Well right away, we went to the
office and told the principal. I
mean this guy was a freak, right?

PATRICIA
Yeah.
JENNIFER
So they do nothing but suspend him
for a week.
PATRICIA
Who was on the list?
JENNIFER
I wasn’t. Sam was. I think Mark
was.
MARK
Was I? I was on his original list?
Why? What the fuck did I do to him?
PATRICIA
So he made a second?
JENNIFER
Not so fast. After his suspension,
he’d eye me and Sam in the halls
every time we passed him. Like the
creepy stare. So, we told the guys
to do something. The guys being
Mark, Owen, Evan, and the late Bob.
MARK
And boy did we.
JENNIFER
They picked on him every day for
minutes at a time. It got to the
point where I just felt horrible
for telling them to do anything.
PATRICIA
Where’s Owen and Evan?
JENNIFER
They moved. Owen Vincent and Evan
Dole. Check them out. They’re still
alive in case your wondering. I
still talk to Evan.
MARK
How is Evan?
JENNIFER
He’s good. I think he’s getting
married.

PATRICIA
Continue with the story.
JENNIFER
Okay, so they picked on him to an
extreme. And two weeks before prom,
we all got e-mails. A new list. All
of us.
MARK
We laughed it off. We knew he
couldn't kill any of us. He was
just weird. But since he threatened
us, we played a prank on him at the
prom instead.
PATRICIA
Oh God...
MARK
Have you seen the movie Carrie?
PATRICIA
Don’t tell me you poured pig’s
blood on him.
JENNIFER
Oh no, we’re not sick.
MARK
It was the G rated version of that
movie. We poured fruit punch from
the ceiling instead.
PATRICIA
Why the hell would he murder you
guys for this?
MARK
He slipped and cracked his head
open.
JENNIFER
Was left in a coma.
PATRICIA
Oh... Oh God.
JENNIFER
Yeah.

MARK
The last we heard was that he woke
up a few years ago from it.
JENNIFER
And we were happy. Are whole
Lakeshore High gang got together to
celebrate. We felt horrible and
were just glad to hear he woke from
it.
MARK
That was the last night we saw each
other.
JENNIFER
And we talked about the possible
list that night too. And now, I
guess he’s fulfilling his
obligations.
MARK
(to Patricia)
And shouldn’t you be tracking him
down?
PATRICIA
My partner’s doing that. Someone
had to come and get the scoop.
JENNIFER
And what’s your name? I don’t even
think you introduced yourself.
PATRICIA
Patricia. Detective.
JENNIFER
Figured that.
PATRICIA
Who else was on that list?
JENNIFER
Us. The two people dead. Owen,
Evan, Angelina, and Sarah. Sarah’s
the only one still in town.
PATRICIA
What’s her last name?
JENNIFER
Bore.

PATRICIA
What did she and Angelina do?
JENNIFER
Girlfriends of the boys. Sarah
dated Bob, and Angelina dated him.
Jennifer points to Mark. Patricia gets up out her chair,
takes the yearbook with her.
PATRICIA
You guys have plans for tonight?
MARK
No.
JENNIFER
Yes.
PATRICIA (CONT'D)
What are they?
JENNIFER
Work party.
PATRICIA
You’re staying here.
JENNIFER
Stay here, where we can both be
killed?
PATRICIA
No. I’ll send police officers to
guard the house. They’ll be here
within a couple hours.
JENNIFER
Then I need my stuff if I’m gonna
be staying here.
PATRICIA
Go now.
INT. POLICE STATION / OFFICE - DAY
Ryan stands by the printer, watches as papers quickly slide
through.
Patricia walks in, Ryan is happy to see her.
PATRICIA
Find anything?

RYAN
Yep. Michael Hayes now resides in
Alberta, Canada.
PATRICIA
Is that good?
RYAN
It would be if he was still there
at the moment, but he isn’t. We
informed the authorities.
PATRICIA
I have cops guarding Mark’s house.
Jennifer is there with him.
RYAN
Who’s Jennifer?
PATRICIA
A girl on Michael’s list. I got all
the info. This guy had a death list
of eight. Two are already dead.
Patricia tosses the list on the desk.
PATRICIA (CONT'D)
I have to contact them right away.
One still lives here.
RYAN
Hey, I got more news too -- I
wasn’t done.
PATRICIA
What is it?
Ryan grabs a freshly inked sheet, hands it to Patricia. She
stares at it, confused.
PATRICIA (CONT'D)
What is this?
It’s printed from Amazon.com. It’s a book, entitled --
“A Knife a Day Keeps the Headaches Away”
RYAN
Michael wrote the novel a couple
years ago and had it published.
Not a big seller but should be in
stores.

Patricia reads, intrigued.
PATRICIA
“Plot: A murderer heads back to his
hometown to do what he always
wanted. Seek revenge on his former
peers. Murder them all.”
RYAN
Yep.
PATRICIA
Get a copy of this book.
RYAN
Oh, I will.
INT. HILLARYS’ - NIGHT
Sarah rests her elbows on the front desk, stares out the
window.
The store is empty of customers. The clock on the desk reads
9:05.
Rick exits the storage room, holds a few leather belts. He
tosses them onto the front desk.
RICK
Do you know how to mark these?
SARAH
Yeah.
RICK
Do it?
SARAH
Sure.
She throws open the drawer, takes the tag gun out to shoot
the three belts, giving them a price. When done, she places
the gun on the desk, not bothering to put it back inside the
drawer.
Rick grabs the belts, stares at her.
RICK
Is there something wrong?
SARAH
I’m fine. Just tired.

RICK
Well who isn’t?
Sarah doesn’t reply. She continues to gawk out the window.
RICK (CONT'D)
So it doesn’t look like we’re going
to get any more customers.
Carolyn steps in out of nowhere, includes her opinion.
CAROLYN
Definitely not. People don’t go
shopping in Outlet malls after 9:00
PM.
Sarah moves to the radio attached to the wall. She turns to
the local news station and listens in.
CAROLYN (CONT'D)
Why did you change the station?
RICK
What’s wrong with you?
Sarah shushes them both, listens intently to the radio.
RADIO MAN (V.O.)
(on radio)
The town is in paranoia from the
recent murders. Samantha Keilborn
was stabbed to death last night and
Bob Domolo was killed at his home
earlier today. Police tell us that
the victims were the same age, and
that the killer can definitely
strike again.
Click --
Sarah turns off the radio, stricken from what she just heard.
SARAH
I have to go to the bathroom.
As Sarah rushes down the hall. Rick and Carolyn watch.
CAROLYN
What’s her problem?
RICK
No idea. Maybe she has diarrhea.

The entrance door SLAMS shut.
Rick and Carolyn turn to it, jolted from the noise.
CAROLYN
Jesus...
RICK
It’s just a customer.
CAROLYN
(beat)
Where?
RICK
I don’t know.
(calls out)
Hello?
CAROLYN
There’s nobody in here.
RICK
Doors just don't open and close
themselves.
CAROLYN
Well, do you see anyone?
Rick heads to the glass door, peeks through to see an empty
parking lot.
RICK
Maybe a ghost?
Carolyn ignores him, admiring his physique in the process.
She quickly snaps out of it and turns to see the newly tagged
belts on the desk.
Grabbing them, she heads to the back of the store.
CAROLYN
Jesus Rick, can’t you just do the
one thing you were assigned to do?
Rick remains at the door, stares through.
Carolyn continues, enters the back area of the store.
--
Reaching her destination, she hangs the three belts exactly
where they belong. When finishing, she hears a --

SQUEAK behind her.
She spin around, eyes the clothing rack beside her.
CAROLYN (CONT'D)
Hello?
Facing the rack, she slowly backs up -- BUMPS into something!
She stops, feels behind her. It is just textures of
clothing, just a clothing rack. Relief, then --
An arm bursts out from the clothing rack, grips onto her
forehead as another arm tears out with the knife.
Carolyn only has time for one gasp before her throat is
slashed, it spitting out blood all over the floor.
--
IN THE FRONT, Rick finally takes his eyes off the window.
RICK
I’m kind of creeped out.
He turns around, expects to see Carolyn.
--
IN THE BACK, Rick strolls the section, passing several
clothing racks along the way.
RICK (CONT'D)
Carolyn?
The phone RINGS aloud at the front desk. Then --
The Killer reveals himself from one of the clothing racks,
IMPALES Rick in the stomach with the knife.
Rick yells in pain as the Killer grabs a coat hanger off the
rack, swings the hook deep into Rick’s eye, piercing it
through the center!
Rick screams bloody murder, as the Killer tugs at the coat
hanger, which tugs at the interior of Rick’s eye. Then, one
final tug, rough, hard -- it snapping Rick’s neck.
The phone continues, as the Killer rips the hanger out, the
remainder of Rick’s eye at the end of the hook.

INT. HILLARYS’ / BATHROOM - CONTINUOUS
Sarah sits on the closed lid of the toilet, tears run down
her face.
SARAH
Get the phone!
The phone continues outside the bathroom, across the store.
SARAH (CONT'D)
Come on...
Standing, she heads over to the sink, splashes cold running
water in her face to hide the tears.
INT. HILLARYS’ - CONTINUOUS
Sarah at last leaves the bathroom.
The phone continues -- RING!
Sarah moves down the short hall, answers the phone on the
front desk.
SARAH
Hello?
Click --
Too late.
SARAH (CONT'D)
Hello?
Sarah hangs up, annoyed.
Headlights gleam through the windows of the store as a car
enters the parking lot.
Sarah watches from the desk.
The car outside turns around, disappears into the darkness.
Confused, she heads over to the entrance door, peeks through.
She then realizes that the OPEN sign on the door faces her.
The CLOSED sign appears outside. In a state of shock, Sarah
stares at it.

SARAH (CONT'D)
Rick?
She turns around --
A wicked smile and curved eyes leer her way -- The mask.
With one short scream, the Killer raises the tag gun, shoots
a label onto Sarah’s forehead. Her automatic reflex sends
her head into the glass door behind her, cracking both the
window and her head.
The Killer then smashes the tag gun into her jaw, sends her
down to the floor. Blood pours out from her head. She has
no idea how to react.
Dropping the tag gun onto the floor, he pulls her up by the
hair with one hand and pulls his knife out with the other. A
quick flash of silver then...
Sarah’s throat is SLASHED OPEN!
The Killer opens the entrance door and drops her over the
sensor bar, setting off the alarm from the tag imprinted on
her forehead.
He steps over her --
EXT. HILLARYS’ (STORE) - CONTINUOUS
The door jams up on Sarah, remaining open.
The killer walks off, putting the bloody knife away into his
leather jacket.
INT. POLICE STATION / OFFICE - NIGHT
Just finishing up what she was doing, Patricia grabs her coat
off the chair. Putting it on, she walks to the door,
shutting off the light.
A shadow appears on the other side of the door. Patricia
opens the door to see --
Ryan, frightening her.
PATRICIA
Fuck, Ryan.
RYAN
Did you get a hold of her?

Patricia exits into the --
INT. POLICE STATION / HALLWAY - CONTINUOUS
She closes the door behind her.
PATRICIA
No. She’s at work right now. I
tried to call but there was no
answer.
RYAN
Where does she work?
PATRICIA
Hillarys’ on Dougal. I’m going
there right now. You coming with?
RYAN
Yeah, why not.
PATRICIA
Did you get the book?
RYAN
Nope. It’s nowhere. I have an order
that will come in tomorrow though.
A male police officer rushes toward them both.
OFFICER
Hey something’s up at Hillarys.
That woman’s clothing store.
Patricia and Ryan stare into each other’s eyes. Their minds
easily read.
RYAN
What happened?
OFFICER
Not sure. The alarm went off a few
minutes ago. Just looks like a
robbery to me. I know you guys are
busy with the murders and all but I
just thought I’d let you know.
Both brush past the officer, off to the scene.

EXT. MARK’S HOUSE - NIGHT
Three cop cars are parked on the side of the road. All have
one cop inside, making a total of three watching over the
house.
INT. MARK’S HOUSE / KITCHEN - NIGHT
Mark pops open the microwave, throws in a TV dinner. As he
closes the microwave --
JENNIFER
I work tomorrow.
Her voice jolts Mark. He whirls around, stands in front of
the microwave, hiding it.
MARK
Yep. So do I.
JENNIFER
So are we going or not? I kinda
have to. I need as much money as I
can get.
MARK
Well I have no idea.
JENNIFER
Ugh... well I’m gonna ask one of
the police officers. Be right back.
She goes to leave but stops, slowly turns back.
JENNIFER (CONT'D)
What are you making?
MARK
A good dinner. You’ll see.
Jennifer smiles, wanting to believe him but cannot.
EXT. MARK’S HOUSE - NIGHT
Jennifer closes the front door behind her, slips on a
sweater. A cold breeze is present. Strolling the driveway,
she eyes each of the three cars back and forth.

The cop car parked at the far left contains Officer DANIEL.
He is in his early fifties, more of a loner.
Inside the second vehicle, sits Officer ALEX. Mid twenties,
definitely a ladies man.
And in the third, is Officer BRADLEY. Also in his mid
twenties, a less cooler version of Alex.
Of the three cars, Jennifer chooses Alex’s.
Reaching it, she looks inside the window to see him chatting
it up on the police radio. Jennifer lightly knocks, gets his
attention. He rolls down the window, smiles, admires her
looks.
ALEX
Yes?
JENNIFER
I work tomorrow and I’m not missing
it because some crazed psycho wants
to kill me.
ALEX
Really? I thought that would be a
good enough excuse to miss work.
JENNIFER
I need the money.
ALEX
That’s fine. As long as your
escorted there and have police
protection during your shift,
you’ll be fine.
JENNIFER
Oh. That was easy. Thanks.
ALEX
The name’s Alex.
He extends his hand out the window. Jennifer smiles, lends
her hand out to him.
JENNIFER
Jennifer.
They look into each other’s eyes. Jennifer suddenly
remembers about Mark.

JENNIFER (CONT'D)
Oh, Mark works too.
ALEX
Officer Daniel can take him.
Inside the car, the police radio erupts with sound.
BRADLEY (O.S.)
(on police radio)
Man, she is hot!
Jennifer’s smile stops. She looks over at Bradley who sits
at the wheel of his car, staring.
BRADLEY (CONT'D)
(on radio)
I have no idea why I said that out
loud, so don’t ask.
Embarrassed, Alex gives a phoney smile.
INT. MARK’S HOUSE / KITCHEN
Mark pulls the TV dinner out from the microwave, throwing it
on the counter by a nice plate. Grabbing a fork out from the
drawer, he begins to push the food from the cardboard box
onto the plate. Doing so he places the plate on the dinner
table just as Jennifer enters in.
JENNIFER
The police will be escorting us to
work tomorrow. Wow, that does look
good! I’m impressed!
MARK
Thank you. It’s my specialty.
Mark pulls a chair out for her. Jennifer smiles, accepts the
invitation.
MARK (CONT'D)
Champaign?
JENNIFER
No thanks... Where’s your plate?
MARK
Oh, I’m not hungry.
JENNIFER
Oh. Where is the rest of the food?

MARK
(beat)
There is none.
JENNIFER
You only made one piece of chicken
with a bit of mashed potatoes?
MARK
Yeah. I knew I wasn’t eating.
Jennifer stares at Mark. He stares back.
She looks down at her plate, stabs a piece of chicken, lifts
it into her mouth.
JENNIFER
This tastes kinda like... like
Hungry Man.
MARK
What? No way.
Jennifer glances over at the counter, sees the box.
JENNIFER
Next time, prepare one for yourself
as well and throw out the box.
MARK
Well I can’t cook for shit, okay.
And it was the only food that was
left in the house. I usually order
out.
JENNIFER
What do you do?
MARK
What?
JENNIFER
Where do you work?
MARK
Oh, at an auto shop.
JENNIFER
Looks like it pays good money. I
never expected you to have such a
nice home.

MARK
Oh. Well you were right. It’s my
sister’s. Her and my brother in-law
are at a cottage. I’m just house
sitting.
JENNIFER
Oh. Makes sense.
RING.
Both turn to the phone. Mark walks over,answers.
MARK
Yello!
PATRICIA (V.O.)
Sarah’s dead.
MARK
(beat)
Way to be blunt.
PATRICIA (V.O.)
Her and two others. At her work,
the clothing store.
Mark covers the phone.
MARK
(to Jennifer)
Hey, maybe we shouldn’t go to work
tomorrow.
JENNIFER
Why? What happened?
EXT. HILLARYS’ - NIGHT
Patricia closes her cell, heads over through a crowd to the
entrance of the store where Sarah lays dead at the door.
Ryan stands right by it. Patricia stares down at the body,
noticing the tag on her forehead.
RYAN
The tag says “she had it coming.”
Rolling her eyes, she sighs, stressed from the situation.

PATRICIA
If I had just searched for her
sooner.
RYAN
Don’t start blaming yourself.
Paramedics squeeze through the crowd. Patricia squeezes out,
Ryan follows.
PATRICIA
Where’s Ford?
RYAN
He’s on his way.
PATRICIA
Look, Jennifer said there was a
list of eight, right? He’s got
three, Mark and Jennifer make five
but we know they’re alright. I want
to get the other three, Evan, Owen
and Angelina under police
protection right away.
RYAN
Okay.
PATRICIA
And we are going to find this
killer.
EXT. LENNY’S DINER - DAY
A police car swerves into the parking lot. It stops by the
entrance of the diner. Jennifer steps out from the passenger
seat in work uniform. Alex exits out the drivers side.
ALEX
Alright, I’ll be out here, okay?
JENNIFER
Okay.
By now, the murders have finally sunk in. Her eyes show
this, tired, red.
INT. LENNY’S DINER / KITCHEN - DAY
Jennifer enters into the kitchen. Her coworkers, JASON BELL
and NAOMI FISCHER, have a conversation with each other.

Jason is young, fairly handsome, shady blonde hair. Naomi
has short dark hair, wears glasses.
NAOMI
I refuse to work late. After
hearing about what happened at the
clothing store, no way in hell.
JASON
No Naomi, listen. The deaths were
planned out, he isn’t just killing
off people at random.
NAOMI
How the hell do you know?
JASON
The news. A pretty good source.
JENNIFER
(interrupts)
I’m afraid I’m the one with the
sources here.
JASON
What?
NAOMI
Hey Jen. I like your hair, what did
you do with it?
JENNIFER
Nothing. I was in a rush.
NAOMI
Oh...
JASON
(to Jennifer)
So you were saying?
JENNIFER
I was saying that I'm not working
late. So you guys don’t have to
worry. The killer’s after me.
NAOMI
What?
JASON
What?
JENNIFER (CONT'D)
Yep.

INT. POLICE STATION - DAY
Patricia enters with a folder in her hand. Ford comes up
from behind her.
FORD
We got the book in.
PATRICIA
The novel?
FORD
Yeah, Diane’s reading it. At the
moment, she’s 13 pages in. It’s
about 350 pages. It’s on his highschool
years right now. From what
Diane has already read, Michael was
definitely a weird kid.
PATRICIA
I went to the hospital that Michael
stayed at when he was in his coma.
She places the file down on the front desk, opens it, reveals
a picture of Michael inside.
PATRICIA (CONT'D)
This was taken a couple days after
he woke from it. You can see his
appearance has changed from when he
was at Lakeshore High. It was taken
a couple years ago, so he shouldn’t
look drastically different.
FORD
Okay, this is good. Print out about
a hundred copies. I want signs of
this guy all over town.
INT. LENNY’S DINER / BATHROOM - DAY
Jennifer stares into the mirror at her own reflection,
thinking of what’s to come. She stops her stare, enters into
a stall. She pulls down her pants, sits down on the toilet.
Then -- a noise on her left.
Two stalls away, someone steps out, their footsteps heard.
The footsteps get closer and closer, stop in front of her
stall door. The feet, black leather shoes, stand directly in
front of it. Jennifer eyes the feet, freaked.

JENNIFER
Can I help you?
The knob wiggles, Jennifer jumps up at a rapid speed, pulling
up her pants.
JENNIFER (CONT'D)
What are you doing!
The person on the other side sends his weight at the stall
door -- BANG!
A hinge breaks.
Jennifer screams in terror.
JENNIFER (CONT'D)
Somebody, help me!
The feet disappear, rush out of the bathroom.
Jennifer lays her back against the wall, terrified. Coming
to her senses, she throws open the stall door, races out the
bathroom.
INT. LENNY’S DINER / MAIN - CONTINUOUS
Shooting out the bathroom, Jennifer scopes the diner for any
hint on where the killer could be.
Turning her head to the entrance door, she sees it suddenly
slam to a close, indicating that someone just left. She runs
out to follow.
EXT. LENNY’S DINER - CONTINUOUS
Stepping out onto the pavement --
JENNIFER
Hey! Alex!
The police car is about twenty feet away. Alex hurries out
from it, confused.
ALEX
What’s wrong?
JENNIFER
He’s here! He just ran off!
A BLACK VEHICLE --

SCREECHES out onto the road, both Alex and Jennifer to the
sound.
Alex jumps back into the police car, the engine erupts, the
police alarm sounds. It speeds through the parking lot, out
to follow the Black Vehicle.
Within seconds, the police car disappears out into the
distance. Jennifer stares at the action when the entrance
door flies behind her!
She whips around, frightened.
JASON
What the fuck is going on?
JENNIFER
(beat)
Jason, can you drive me to the
police station?
JASON
Yeah, of course.
INT. POLICE STATION / OFFICE - DAY
Ford enters Patricia’s office as pages fly out the printer.
Patricia’s eyes concentrate on the computer.
FORD
You got the copies?
PATRICIA
Yeah, more than enough.
FORD
Okay, stop the print.
She does so, he grabs the huge pile, walks out.
FORD (CONT'D)
Thanks. Be right back.
He leaves. A few seconds after, DIANE blasts into the
office. She holds Michael’s horror novel.
Diane is a phone operator for the station, mid forties.
DIANE
Patricia.

PATRICIA
Yeah?
Diane drops the novel down in front of Patricia.
DIANE
In the book, he stabbed Samantha to
death in her apartment. Then went
right to killing Bob in his garage.
And now in the book, he is stocking
Sarah at her work.
PATRICIA
Are you saying --
DIANE
That he is making this fiction into
non-fiction? Yes. Unfortunately I
am.
Patricia grabs the book, begins to scan through.
PATRICIA
Wait a minute. They have the same
names?
DIANE
Same first names, different last
names.
PATRICIA
Okay, speed read through Sarah’s
death. Find out what happens right
after.
DIANE
Okay.
Patricia hands back the book. Diane leaves the office, Ryan
now enters.
RYAN
What’s up?
PATRICIA
That book you got -- Michaels book.
It has Samantha dying, followed by
Bob and Sarah right after. Exactly
the same as how it happened in
reality.

RYAN
So you’re saying he wrote that book
as a template for real life?
PATRICIA
Looks like it.
RYAN
Well, what happens next.
PATRICIA
Dianes on it.
Jennifer steps into the office, her arms crossed.
PATRICIA (CONT'D)
Jennifer? Why are you here?
JENNIFER
He came to get me at work.
RYAN
What do you mean?
JENNIFER
The killer. Michael.
RYAN
What, how?
PATRICIA
What happened?
JENNIFER
He tried to get me in the bathroom,
but obviously didn’t succeed. He
rushed out the diner. I didn’t get
a look at him. Alex chased after
his car.
PATRICIA
You saw the car?
JENNIFER
Yeah. But I am not even sure if it
was Michael that sped off onto the
road. It could have been anybody.
Alex followed anyway.
PATRICIA
How did you get here?

JENNIFER
Oh, Jason. He works with me. He’s
just outside the door.
RYAN
Invite him in.
Jennifer steps out, signals for Jason. He comes into the
office -- Patricia’s eyes widen.
Standing up from her seat, she looks down on her desk to see
the picture copy of Michael Hayes. The appearance is almost
identical to Jason!
PATRICIA
Jennifer, step away from him.
JENNIFER
What? From Jason?
RYAN
Patricia, what are you doing?
PATRICIA
Jennifer, now!
JASON
From me?
Patricia pulls out her gun, aims it at Jason. His arms rise
in a second.
JENNIFER
Patricia, what the fuck are you
doing! I know him!
INT. POLICE STATION / INTERROGATION ROOM - DAY
Jason sits, handcuffed at the table, very angry at what is
happening.
INT. POLICE STATION / OUTSIDE INTERROGATION ROOM - CONTINUOUS
Jennifer sits in a chair, stressed with the situation.
Patricia, Ryan, and Ford are in the room as well.
JENNIFER
This is ridiculous.

PATRICIA
Jennifer! Look at this picture!
It’s him!
Jennifer glances at it, before looking away.
JENNIFER
No. There has to be an explanation.
PATRICIA
Like what?
JENNIFER
I have worked with Jason for a
year! He isn’t a killer! I went to
school with Michael, I can tell who
is who!
RYAN
So what? You want us to release him
just because you don’t think he’s
the guy?
JENNIFER
Yes, actually. This is all because
Patricia thinks they share a
resemblance with each other. It’s
not like me or anyone else went “Oh
hey, found the guy.”
PATRICIA
Watch your tone, we’re trying to
save your life here.
JENNIFER
Okay, then why didn’t he kill me?
He had the perfect opportunity
to... like what, all this year?
PATRICIA
Well it looks like he tried at your
diner, correct?
JENNIFER
No, it wasn’t him!
Alex enters the room.
JENNIFER (CONT'D)
Alex, what happened?
ALEX
He got away. Too much traffic.

JENNIFER
See? He was after my attacker. Not
Jason.
ALEX
I heard what happened. She okay?
FORD
Yeah, she’s just being delirious.
JENNIFER
Are you kidding me right now?
FORD
So you’re saying you cannot see any
resemblance to Michael Hayes.
She stares through the one-way mirror, thinks.
JENNIFER
I dont -- I don’t, I just never --
yeah I can see a resemblance.
Barely, but a resemblance, that’s
it. But don’t you think I would
know Michael if I saw him?
Patricia, Ryan, and Ford share a look.
RYAN
This is too much.
JENNIFER
If it’s Jason... then he aged
pretty damn well.
PATRICIA
Here, let me go in and talk to him.
INT. POLICE STATION / INTERROGATION ROOM - CONTINUOUS
Patricia enters. She eyes him up and down, looks at his
hands. There is a big bruise on his right.
PATRICIA
You have pretty large hands.
Jason remains silent.
PATRICIA (CONT'D)
What’s that bruise from?

JASON
The door of my apartment.
PATRICIA
How old are you, Jason?
JASON
Twenty-three.
PATRICIA
And how long have you lived here?
JASON
A year and a half.
PATRICIA
So you changed your name?
JASON
No. I did not kill anyone, and I am
not trying to kill Jennifer.
PATRICIA
Where did you live before?
JASON
Up north, in Canada.
PATRICIA
Explain this Jason.
Patricia tosses the picture of ‘Michael Hayes’ down the table
in front of him. He stares at it.
JASON
I can’t. It’s not me. It looks like
me a bit but it’s not.
Looking up at Patricia --
JASON (CONT'D)
Continue to Keep Jennifer safe.
Because I’m not who you’re looking
for.
INT. STATION / OUTSIDE INTERROGATION ROOM - CONTINUOUS
They all stare through the one-way mirror.
JENNIFER
Can’t you look up his information?
See his history?

FORD
(sarcastic)
Thanks, we’re on top of it.
RYAN
Alex, take Jennifer back to Mark’s.
It looks like you, Daniel and Brad
are staying at the house again
tonight.
ALEX
Okay.
Alex opens the door to lead Jennifer out, but she continues.
JENNIFER
It just makes no sense. Why would
he come here if he’s the one
responsible?
FORD
We’re aware that this is fishy
Jennifer. That’s why we’re not
leaving you alone.
JENNIFER
Well he’s recreating his book
right? Tell that woman to hurry
with it. I want to know what
happens.
Jennifer exits, along with Alex. Patricia enters in from the
interrogating room.
RYAN
What do you think?
PATRICIA
I don’t know. The picture is a
match, I mean look at it. But this
can’t be it. I’m waiting for the
twist.
(beat)
Where’s Jennifer?
FORD
She just left with Alex.
Diane enters the room with the novel in hand.

DIANE
Okay, he killed off Sarah’s
character exactly how he killed her
off in real life... with the neck.
FORD
What about Mark and Jennifer?
DIANE
The next chapter was him stocking
both of them throughout their day.
Vivid detail and diction the author
has. Really impressive.
PATRICIA
Diane...
DIANE
Then the next chapter rolls on in
and then I find out it rolled into
the future.
PATRICIA
(beat)
What?
DIANE
He didn’t write about their deaths.
It just spoke of how much he
enjoyed doing it. It did say though
that Mark was murdered before
Jennifer. And he made it clear that
it wasn’t an easy task to kill them
with all the outside interference.
Others died in the process.
RYAN
Did it mention anyone’s arrest?
DIANE
No, not at all. It mentioned how he
was tricky and smart though.
FORD
Okay, change of plans. Ryan,
contact Alex. Tell him to stay in
with Jennifer while Daniel and
Bradley stay outside in their cars.

INT. MARK’S HOUSE / FOYER - DUSK
The front door opens, Jennifer and Alex make their way
inside. Jennifer slides off her coat, hangs it up. Alex’s
radio goes off.
BRADLEY (V.O.)
(on radio)
Way to go, Alex!
(beat)
Again, I don’t know why I did that.
Jennifer stares.
ALEX
Sorry.
JENNIFER
I can’t believe I’m going to die.
ALEX
You’re not going to die. That’s why
I am here, to protect you.
Remember?
JENNIFER
Yeah. For now. But what happens
when this all blows over?
ALEX
When it all blows over... it means
it’s over.
JENNIFER
No. Unless you find Michael and
kill him, it will never be over. He
has a sick mind Alex.
Jennifer makes her way towards the kitchen.
ALEX
Jennifer, I know the history of
this town involving crime. The bad
guy never wins here.
She stops.
JENNIFER
He already has won. With Samantha.
Bob. Sarah. And the other victims.
He took away their lives. He stole
what ever future they had.

(MORE)
And their families... Oh God, their
families.
INT. MARK’S HOUSE / KITCHEN - CONTINUOUS
Alex follows Jennifer to the sink. She leans over it, tears
begin to flow.
JENNIFER
My mother... I can’t die. I can’t
put my family through all this.
ALEX
Jennifer, stop it.
JENNIFER
I should call them right now so I
can say my good-byes.
Alex stops her, grabs a hold of her shoulders.
ALEX
Jennifer. I am not going to let
anything happen to you, okay.
Her face beams red as she begins to cry. Alex embraces her.
JENNIFER
Why? Why us? Why did I have to find
his list? Why did we have to mess
with him?
ALEX
It’s okay, it’s okay.
(beat)
Mark will be home in about a half
hour. You’ll be fine when you see
him, okay?
She nods.
ALEX (CONT'D)
Okay. Come on, let’s get you washed
up.
EXT. AUTO SHOP - NIGHT
The door of the auto shop abruptly opens, Mark and Daniel
step out. They are in the middle of a friendly, yet heated
argument. Mark slides on his heavy black sweater during
this.

JENNIFER (CONT'D)
MARK
Listen, I’m the mechanic here. Do I
tell you how to do your job?
DANIEL
No, because there’s nothing bad you
could say.
MARK
Well first off... you’re too old.
I’m sorry, but you’re like my
Grampa who I should be protecting.
Shouldn’t you be chief or
something? Or did they go with the
other guy? What is it Old Dan?
DANIEL
That’s Officer Lescanec to you,
pal.
MARK
Officer Oldy? What?
Both travel the large vacant parking lot. They reach the
police car, Mark peeks through the window, views the back
seat.
MARK (CONT'D)
You see that? I know my stuff. When
there’s a psycho on the loose,
always check the back seat before
you enter your car.
DANIEL
You’re forgetting one thing. It’s a
cop car, he couldn’t have got in.
Both open their respective doors.
MARK
I’m just trying to avoid the
cliche.
They get in the car.
EXT. COUNTY ROADS - NIGHT
The long road’s only guest is the police vehicle.

INT. DANIEL’S POLICE CAR - MOVING
DANIEL
So, I got a call while you were in
the bathroom. Looks like they found
our guy.
MARK
What? They found Michael?
DANIEL
All I heard was that we have a guy
in. A match of the picture of
Michael.
MARK
That’s amazing! Why the hell would
you wait so long to tell me?
DANIEL
What, ten minutes?
MARK
Yeah? It should have been told as
soon as you got off the phone.
DANIEL
Whatever. We’re still staying with
you tonight though. We can’t be too
sure.
MARK
Smart man.
A sudden CRASH of the engine.
The engine’s noise turns into a constant creek.
DANIEL
What the hell.
Mark stares out the window, freaked.
EXT. COUNTY ROADS - CONTINUOUS
The police car rolls to an unwanted stop. The driver door
flies open, followed by the passenger.
DANIEL
You have to be kidding me.

MARK
Are you sure they have the right
guy?
DANIEL
Come on, you’re the mechanic.
MARK
I wanted to avoid the cliche.
DANIEL
Come on!
Daniel pulls up the hood of the car.
Mark eyes his surroundings. A practically empty road
surrounded by forest.
Mark sighs as he takes a look at the engine.
MARK
Shit...
DANIEL
What?
MARK
This car isn’t going to get
started.
DANIEL
Why?
MARK
That wire was tampered with to
intercept the electrons... Great,
looks like something Michael would
do.
(beat)
So you say they got him, right?
DANIEL
Why are you freaking out? I have a
gun, we’re safe. I’m a police
officer.
Off in the far distance, headlights of a BLACK VEHICLE beam
on, the engine roars!
Mark and Daniel whirl around...
DANIEL (CONT'D)
What the hell...

The car starts their way, increasing to 100 miles an hour.
MARK
Run!
Mark jumps off the road, tumbles down the hill into the
forest.
Daniel keeps his ground, pulls his gun out from his holster,
shoots --
BANG BANG!
Two bullets hit the windshield of the car before it viciously
topples over him, speeding past his dead body.
SCREECH!
The vehicle stops, the door rips open!
The Killer, in full costume, steps out, grips onto his blade.
He hurries into the --
EXT. FOREST - CONTINUOUS
The Killer travels courtly down the hill, in pursuit of Mark.
Mark lays on the ground, hurt from the jump. Mark throws a
look back, sees the killer hunting towards him. He slowly
gets up, stands his ground.
MARK
You fucking coward, drop the knife.
The Killer answers, stopping a few feet away from him. The
twisted eyes and smile of the mask mock him.
Doing what he is told, the killer drops the knife down into
the mud.
MARK (CONT'D)
You want to kill me? Do it like a
man.
The Killer charges towards him.
Mark throws his arm out at the Killer, attempts a punch. The
Killer simply glides out of the way, takes Mark’s arm, puts
into an arm lock and --
CRACK

snaps his arm within a second.
The Killer then raises his leg, launches it at Mark’s knee.
CRACK!
snaps his leg as well.
The Killer drops Mark to the ground, Mark landing in a pile
of leaves, screaming.
Taking a couple steps back, The Killer grabs his knife from
the ground, the eyes turn to Mark -- staring.
MARK (CONT'D)
No!
With his one arm, he grips into the mud, drags himself only a
foot further.
The Killer again hunts toward him, Mark screams. He watches
as the Killer steps over him. The Killer jabs the blade into
his torso several times.
INT. POLICE STATION - NIGHT
Patricia exits her office, comes face to face with Ryan.
PATRICIA
She’s supposed to call soon.
He nods, they continue passed each other.
She makes her way over to Diane, who continues to read the
novel at her desk.
PATRICIA (CONT'D)
Diane, what’s going on?
DIANE
Nothing that concerns us. He
decapitated Evan and is now
stocking Angelina.
PATRICIA
Well keep reading.
DIANE
Why? This isn’t even important
right now.

(MORE)
The chapters involving Jennifer and
Mark is where you detectives should
be analyzing it. That’s what you
do, right? Analyze?
Police escort Jason out into the hall, lead him to another.
Him and Patricia meet eyes.
DIANE (CONT'D)
And quite frankly, I don’t even
know why I’m still reading this
shit. You got your guy. The picture
proves so.
PATRICIA
Yes but this isn’t it. Jennifer is
right. Why would he bring himself
in to just expose himself to us?
And he has been here for over a
year now... also fishy.
DIANE
The book did say that the killer
was tricky. What if this is just to
keep us side tracked? What if we’re
supposed to be focused on Jason
right now?
PATRICIA
Wait, in the book, didn’t it say
that to get to Jennifer and Mark,
others had to die?
DIANE
The novel made that 100% clear.
PATRICIA
Can it by any chance be the cops
over at Mark’s?
Diane says nothing, but clearly shows fear in that Patricia
may be right. Patricia darts to the door.
PATRICIA (CONT'D)
I gotta go.
DIANE
Patricia, they’re cops. They know
what they’re doing.
Patricia disappears out of the station.
DIANE (CONT'D)
Patricia!

DIANE (CONT'D)
EXT. MARK’S HOUSE - NIGHT
Two police cars sit outside the home, parked along side the
curb. Alex’s car -- empty. The other -- Bradley inside.
INT. BRADLEY’S POLICE CAR - CONTINUOUS
He chills inside the vehicle, sings along with the loud tune
that plays.
BRADLEY
“Wild things! You make my heart
sink! You make everything!”
From behind, headlights shine onto his car.
He looks through the side mirror, sees Daniel’s police car
making it’s way toward him.
BRADLEY (CONT'D)
(continuing with tune)
Daniel! You should retire!
The police car stops besides his, about a foot from his left.
Bradley peeks through the window, eyes the car. No one but
the Killer at the wheel. He wears Mark’s heavy black sweater
along with the hood, which hides his identity.
Bradley stares confused, rolls down his window.
BRADLEY (CONT'D)
Mark? Where’s Daniel? Why are you
driving his car?
His head whips toward him, peers into Bradley with the
twisted mask.
Bradley only has time for one quick gasp before the hunting
knife pierces through his throat!
INT. MARK’S HOUSE / KITCHEN - NIGHT
Alex stands at the counter, flips page after page of the
phone book. His gun and radio lay beside it.
In the foyer, the front door opens -- indicates someone’s
arrival. Noticing, Alex walks into --

INT. MARK’S HOUSE / FOYER - CONTINUOUS
The Killer stands at the front door, configures around with
the locks. Alex heads over from behind.
ALEX
Hey Mark, looks like I’m bunking
with you tonight. Jennifer’s in the
shower and hey -- do you have any
good ideas for food?
Alex grabs his shoulder to get his attention. With that
touch, the Killer spins around, bursts his knife into Alex’s
stomach.
He looks down at his stomach ad the Killer yanks it out with
force. Alex falls down on the floor, holding his wound while
he cries out in pain.
Shocked, terrified -- Alex crawls off as fast as he can, just
like Mark did not too long ago.
He moves into the --
INT. MARK’S HOUSE / LIVING ROOM - CONTINUOUS
Blood prints are left with every move. There is to much
agony for him to try and fight back.
The Killer injects the knife into his lower back, sliding the
blade back up his spine.
INT. POLICE STATION / OFFICE - NIGHT
A phone sits on a desk, RINGS, screaming to be answered.
Ryan rushes in, answers.
RYAN
(into phone)
Hello?
MRS. BELL (V.O.)
Hello, is this the number I was
supposed to call?
RYAN
Mrs. Bell?

MRS. BELL (V.O.)
Yes, I’m Jason Bell’s mother. I
heard what happened. These murders
weren’t caused by Jason.
RYAN
And why not? We have a pretty big
piece of evidence --
MRS. BELL (V.O.)
-- Yes I know, the picture isn’t of
Jason. It’s of Michael Hayes.
RYAN
What are you trying to say?
MRS. BELL (V.O.)
I had twins.
RYAN
(beat)
What?
MRS. BELL (V.O.)
Yes. When I had them, I couldn’t
afford to keep them both so I
decided to adopt out Michael and
kept Jason. Jason lived here with
me his whole life until over a year
ago. Michael was adopted out to
where you guys are.
RYAN
(beat)
Okay, thank you very much, I’ll
have someone call you right back. I
have to go.
MRS. BELL (V.O.)
Alright.
RYAN
Thanks a lot. Good bye.
He hangs up, races out the office into --
INT. POLICE STATION / MAIN - CONTINUOUS
Ford stands right beside Diane’s desk. They talk about the
novel.

RYAN
Ford... Jasons a twin.
FORD
Excuse me?
RYAN
Jason’s mother just called. Where’s
Patricia?
FORD
I have no idea, I was just looking
for her.
DIANE
(interrupting)
She went to Mark’s...
FORD
Alone?
DIANE
Yeah...
FORD
Why?
DIANE
I was just trying to explain to
you. She thinks Daniel and the
others might be in danger. Stupid,
right?
FORD
(to Ryan)
So what are you saying? Michael is
Jason’s twin brother.
RYAN
Yes.
FORD
Well that explains shit. Jason
doesn’t know?
RYAN
I don’t think so.
FORD
Alright, lets go to Mayne’s. Tell
them the info. I think what is best
right now is to just bring them
into the station.

DIANE
Finally, you suggest that.
FORD
(beat)
Shut up, Diane.
INT. MARK’S HOUSE / UPSTAIRS HALLWAY - NIGHT
The empty hallway sits quiet. Then, heavy metal music BLARES
on from down the stairs.
In the hall, the bathroom door slowly opens with Jennifer
stepping out, freshly showered. She wears a tank top, pajama
shorts.
JENNIFER
Alex? Mark?
Jennifer strolls the hall, peers down the staircase.
JENNIFER (CONT'D)
What’s with the music? Especially
this music... can you turn it down?
She knows her voice is unheard because of the music.
Rolling her eyes, begins her way down the steps.
INT. MARK’S HOUSE / FOYER - CONTINUOUS
She covers her ears as the music continues to blare.
JENNIFER
Okay, this is not really funny!
Look, now I sound like that
annoying chick in the scary
movies...
She stops herself there, realizes that the situation she is
in now could actually be like it is in the movies.
Looking down at the floor, Jennifer sees a trail of blood
from the front door to the living room.
Fear fills her. She follows the trail with her eyes, sees --
Alex -- a BLOODY MESS -- pressed up against the couch, DEAD!
Upon seeing this, she paces to the front door, goes to open
it but -- it’s locked!

Jiggling with the locks, she tries again but it still remains
closed. Jennifer screams, bangs on the door for her life.
THE KILLER -- enters the frame behind her, stands at the
living room entrance, watches her.
Not noticing his presence, Jennifer rushes out the foyer into
the --
INT. MARK’S HOUSE / KITCHEN - CONTINUOUS
She makes it to the back door, it won’t open either.
Pounding and screaming, the Killer again enters the frame,
this time in pursuit of Jennifer.
She turns just in time to see her attacker wield his knife
her way! Bolting away from the strike, she slides a chair in
his path, blocks his second attempt at her.
The music continues to blare.
INT. MARK’S HOUSE / LIVING ROOM - CONTINUOUS
Jennifer races through, passes Alex’s body. When about to
enter the foyer --
The Killer pops in from in front of her, stabs her in the
gut!
She falls onto the ground. The Killer instantly picks her
back up, his arms tight around her waste.
She screams frantically as he lifts her up, throws her down
through the glass table, an insult that shows who has the
power.
He then rams his knife into her chest, ending her life.
The heavy metal song ends as well.
EXT. MARK’S HOUSE - NIGHT
Patricia speeds down the street, parks right behind Bradley’s
police car.
Rushing out, she views the polce cars -- both are empty.
Music is heard from within the house.

Hurrying towards the front door, she sees the device on the
knob that prevents anyone’s exit.
Patricia kicks at the device, it breaks off after a couple.
She throws open the front door, enters --
INT. MARK’S HOUSE / FOYER - CONTINUOUS
Entering, she closes the door behind her as the music
continues to blast throughout the house.
PATRICIA
Jennifer! Alex! Anyone!
Noticing the blood on the floor, she follows it into the --
INT. MARK’S HOUSE / LIVING ROOM - CONTINUOUS
Upon entering, she sees the blood stains all over the carpet,
but no bodies.
In here is where she sees the CD player. She turns it off,
finally some silence.
She pulls out her gun, ready for anything.
PATRICIA
Jennifer?
INT. MARK’S HOUSE / KITCHEN - CONTINUOUS
Stepping into the kitchen, she sees a chair laying flat on
the floor. Patricia turns to the closed basement door,
becomes suspicious.
She strolls over to it, opens it. It’s pitch black down
there.
PATRICIA
Hello?
The Killer swiftly enters the kitchen from behind her.
As soon as she turns to see him, his sharp blade rips into
her side! With his other hand, he yanks her gun away from
her, shoving her down the stairs.
She hits each and every step, hits the floor.
At the top of the staircase, the Killer slams the door shut.

INT. MARK’S HOUSE / FOYER - CONTINUOUS
The Killer, costumed, rushes through the foyer to the front
door but stops when a noise is heard outside. He peers
through the windows to see --
Ryan and Ford park their vehicle in the driveway.
The Killer rushes into --
INT. MARK’S HOUSE / KITCHEN - CONTINUOUS
He hurries to the back door to open it and -- locked.
Fooled by his own trick.
INT. MARK’S HOUSE / FOYER - NIGHT
Ryan scurries in and within the first second of seeing the
blood, has his gun in hand. Ford follows from behind.
RYAN
Patricia!
FORD
I’ll check upstairs.
Ryan moves into the living room while Ford hurries up the
staircase.
INT. MARK’S HOUSE / UPSTAIRS HALLWAY - CONTINUOUS
Up the stairs and in the hallway, Ford pulls out his gun.
It’s been a while since he has witnessed action first hand.
Continuing his walk down the hall, a bedroom door opens from
behind him, doesn’t make a sound. The Killer emerges out
from it, hunts quickly towards Ford.
He whips his hand over Ford’s head, covers his mouth. With
the other, he withdraws his trademark, unleashes it into his
back.
INT. MARK’S HOUSE / KITCHEN - NIGHT
Entering the kitchen from the living room, Ryan has his gun
out, prepared for anything. Glancing around, he notices
blood drip off the doorknob of the back door.

He hurries to open it, but when the door won’t open, he
realizes exactly why.
Wiping the blood off onto his pants, he spots the basement
door.
Ryan swings it open, flicking on the basement lights.
RYAN’S P.O.V. -- ON PATRICIA
She lays on the basement floor, a small puddle of blood froms
under her.
BACK TO RYAN
whose eyes widen upon seeing this.
RYAN
Patricia!
The killer steps behind Ryan from out of nowhere, snapping
his neck like nothing!
Before Ryan’s lifeless body can fall, the Killer takes his
gun from his hand.
INT. MARK’S HOUSE / BASEMENT MAIN - CONTINUOUS
Ryan topples down the staircase, crashes down next to
Patricia.
She screams, quickly points her eyes back up the staircase.
The Killer at the top again slams it shut.
INT. MARK’S HOUSE / KITCHEN - CONTINUOUS
Tossing the gun to the floor, he begins his way out the
kitchen, but comes to a sudden stop. Turning back to the
basement door, he whips out his knife.
INT. MARK’S HOUSE / BASEMENT MAIN - CONTINUOUS
Patricia kneels over Ryan’s body, in tears.
PATRICIA
I’m so sorry...
Up the staircase, the door flies open! The killer makes his
way down for Patricia.

Screaming, she jumps up onto her feet, races down the hallway
with the killer shortly behind.
INT. MARK’S HOUSE / BASEMENT LAUNDRY ROOM - CONTINUOUS
Patricia speeds in, closes the door just in time.
Letting out a sigh of relief, she leans against the door.
His knife then bursts through the wood, just missing her
head.
With a scream, she leaps away from the door.
The knob rattles viciously.
The killer POUNDS at the other side of the door while
Patricia looks frantically around the room for a weapon of
some sort. Nothing really more then a washing machine,
dryer, sink, and clothes.
Across the washing machine is a closet. Patricia runs to it,
throws the doors open, shuffles inside.
BOOM!
The pounding continues.
Patricia pulls a mop out from the closet. She bolts for the
door, pierces the wooden end of the mop through the door --
INT. MARK’S HOUSE / BASEMENT MAIN - CONTINUOUS
Continuing his pounding, the broom stick bashes through the
laundry room door, strikes the Killer in the head, sends him
backwards onto the ground. His knife flies further.
The stick is sucked back into the room.
Then, the laundry room door bursts open! Patricia barrelS
out, enraged.
The killer slowly gets back up to his feet when Patricia
charges into him.
Landing on the ground, the masked killer reverses it, now
being the one on top. He launches his elbow at her forehead,
turns back to see his knife by his knee. Snatching it off the
floor, he raises it up to strike but Patricia takes notice.
Her knee JAMS hard up his crotch and with all her strength,
she shoves him up over her, he lands on the floor beside her.

Holding her wound, Patricia pushes herself up as fast as she
can, paces down the hall to the staircase.
THE KILLER --
jumps up, knife in hand.
Speeding up the stairs, Patricia reaches the top into --
INT. MARK’S HOUSE / KITCHEN - CONTINUOUS
Patricia slams the basement door closed, darts out of the
kitchen.
The basement door reopens, with the Killer ready to slay.
INT. MARK’S HOUSE / LIVING ROOM - CONTINUOUS
Patricia waits by the entrance of the kitchen, hides herself
from the Killer’s sight. She holds a pot tight in hand with
a Christmas cactus inside. Right as the killer makes his way
into the living room --
Patricia blasts the pot over his head, sending him back into
the kitchen.
Patricia drops the remainder of what is left of the pot and --
INT. MARK’S HOUSE / KITCHEN - CONTINUOUS
She runs into the kitchem, picks his knife up off the floor.
She jumps onto him, attempts to stab him but he blocks her,
holds her arms in place.
PATRICIA
Die!
His head launches toward her, their heads both clashing
together. Patricia rolls off, the Killer now rolling on top
of her.
With the knife now in his hand, he STABS it into her lower
waist!
She screams in pain as he drags the knife from inside.
PATRICIA (CONT'D)
No! Nooo!

He tugs it out of her as she beats on his chest, trying to
break free.
The Killer raises it up into the air, taunting her before his
next strike.
Horrified, Patricia turns over to see a GUN a couple feet
away from her. It belonged to Ryan. She quickly flails her
hand out, snatches it.
Before the Killer can send the knife back down, Patricia jabs
the gun at the Killer’s throat --
BAM!
Blood shoots out from his mask as the bullet travels into his
throat and out the top of his skull. Some of it sprays onto
Patricia. She screams, shoves him off of her.
The Killer lays dead on the floor beside her. She turns
away, caughs madly in disgust from the gore.
Slowly, she turns back at him. Crawling over, she yanks off
his mask.
It is JASON...
CLOSE ON his face. His hair is way longer.
It is not Jason.
It is his twin brother, Michael Hayes.
Patricia stares, confused, begins to realize.
PATRICIA (CONT'D)
Oh my God.
All of a sudden --
Blood erupts out from Michael's mouth, scaring the hell out
of Patricia. She stares down at him for a bit, leans back
against the counter.
EXT. MARK’S HOUSE - NIGHT
Patricia rolls down the driveway in a stretcher, paramedics
control it.
Police vehicles, ambulances, surround the place.

Moving down the driveway, Patricia passes Jennifer’s body,
which is quickly zipped up into a body bag.
Diane -- rushes out to Patricia, stopping the paramedics.
DIANE
Patricia, are you okay?
Patricia says nothing, shrugs.
DIANE (CONT'D)
Patriciam I’m so sorry. You are
very brave, you know that? Crazy
stupid too... But also, you’re a
hero.
PATRICIA
How? How am I a hero? For saving
myself?
(beat)
No. They’re all dead.
The paramedics continue to push the stretcher to the
ambulance. Diane watches, as the stretcher lifts up into the
back of the vehicle.
EXT. POLICE STATION - MORNING
Jason exits out the doors of the police station, enjoying his
first breath of fresh air.
Reporters surround him with questions. He passes, ignoring
them the best he can. He reaches his mother down the steps
of the station, the join together in a hug.
One female REPORTER butts in right between them.
REPORTER
How does it feel to after having
been wrongly accused of murdering
several people, you’re now released
after finding out it was your twin
brother who you had no idea you
even had.
JASON
(beat)
That was quite a long sentence you
said there.
REPORTER
Well it’s quite a long story.

JASON
It’s weird. It’s terrible. My mom
has some explaining to do. That’s
for sure.
MOTHER
I’m so sorry.
She hugs him again while a crowd fills the space around them,
some snapping photographs.
DISSOLVE TO:
EXT. GRAVE YARD - MORNING (TIME PASSED)
At the graveyard is the funeral for both Mark Mayne and
Jennifer Parks. The funeral gathers both families as a
connected funeral.
The priest finishes his gospel as both mourn the terrible
losses.
In the distance, Patricia stands beside a big oak tree,
watches as the families mourn.
DIANE (O.S.)
Patricia.
Patricia turns around. It’s Diane with two young males and a
female behind her.
PATRICIA
Yes?
DIANE
A few nights ago... I called you a
hero for a reason. You stopped
Michael’s fiction from being
completed. Behind me is Owen, Evan,
and Angelina.
(beat)
Who knows. If you never would have
killed Michael, these three could
have been the ones dead.
OWEN
We just want you to know that we
truly are thankful.
Patricia stares at the three potential victims, reveals a
smile.

EVAN
It’s just weird to think that
they’re all gone. And that we were
apart of this. That we made this
guy go so insane.
More silence. To break it is --
OWEN
We know you’re going through a
rough time, Patricia. Just stay
strong. You did what you could do.
Don’t let this kill you.
Patricia continues her stare, doesn’t say a word.
DIANE
(beat)
So... you accept that you’re a hero
yet?
Patricia caves in, they all join in hugs.
Patricia hugs them one by one -- Diane, Owen, Evan, Angelina.
While hugging Angelina, she notices Jason off in the
distance, watching her.
She brings her attention back to everyone.
PATRICIA
Thanks. This meant a lot. But I’m
going to go talk to Jason... I
still feel bad.
DIANE
Oh don’t, he understands.
PATRICIA
Yeah, but I’m going to apologize
anyway. See you later guys, thanks
again.
ANGELINA
You’re not going to the lunch after
this?
PATRICIA
No.
ANGELINA
Okay, see ya. Thanks again.

After a quick wave, she walks across the green grass over to
Jason.
PATRICIA
Hi, Jason.
JASON
Hi...
Awkward right away.
PATRICIA
Look, Jason I’m sorry.
JASON
Oh, I know. It’s fine.
PATRICIA
Well, you can’t really blame me.
JASON
I know and understand that. It’s
fine, really.
PATRICIA
Thanks. Sorry about your brother.
JASON
Are you kidding? He is the only
enjoyable loss in this tragedy.
PATRICIA
Yeah...
(beat)
Well, I’ll let you go. Bye.
She begins away from him, but turns back.
PATRICIA (CONT'D)
Do you want to go for a coffee or
something?
JASON
Uh, sure. Yeah.
INT. COFFEE SHOP - DAY
Patricia enters, stuffing her keys in her coat pocket. Jason
follows right behind. Looking up at the menu on the wall,
she takes off her coat.

JASON
Here, let me take that.
Smiling, she hands it to him.
PATRICIA
Thanks.
JASON
No problem.
He folds the coat overh is arm.
INT. COFFEE SHOP / TABLE - DAY
Both Patricia and Jason are now done their coffees.
JASON
You’d think finding out you had a
twin brother would psych you out,
you know? Then you find out that
he’s a psychotic killer.
PATRICIA
You’re lucky you didn’t know him
beforehand though. It would have
been a lot harder.
JASON
It still is.
(beat)
What if my mom gave me up for
adoption instead of Michael? He
could have been the one that lived
the normal life. Adoption just lead
him to pure insanity.
(beat)
And my mom adopted him out so he
could live a better life too.
PATRICIA
If you were the one adopted out,
how do you know you wouldn’t be the
one led to insanity?
JASON
I know. I’m not like that.
PATRICIA
But twins do share a genetic bond.
Who knows what you would have been
like if you lived here as a child.

JASON
I don’t want to think about it.
Besides, doesn’t look like we
shared anything in common. I had a
good style, unlike him. Did you see
that yearbook?
Patricia lightly laughs, Jason smiles.
PATRICIA
I have to go to the bathroom. Want
to hold on a sec?
JASON
I should get going anyway.
PATRICIA
Oh, okay. Well I am glad we cleared
this up. I’m just happy you don’t
feel pure hatred towards me.
JASON
Nah, I’m not my brother remember.
PATRICIA
I can see that. Even though what I
see is Michael... lookwise.
JASON
See Jason. Not Michael.
PATRICIA
I’ll try...
JASON
(chuckles)
I’ll see you later.
PATRICIA
Bye.
A quick wave, he leaves out the diner.
Patricia looks over at her chair, grabs her jacket.
EXT. COFFEE SHOP / PARKING LOT - DAY
Patricia heads to her Mini Cooper, notices that the light
inside is on. Puzzled, she scopes the car to see that the
back door behind the driver’s seat is slightly opened.
Confused she pulls it open and slams it closed. The light
now inside flicks off.

Patricia stops, thinks for a second. A quick smirk before
she whips open her drivers side door, rushes inside.
INT. AROMA CLUB / MAIN - DAY
The place has about 75 guests, all enjoying a meal in the
remembrance of Mark and Jennifer.
Owen, Evan, and Angelina are present. Placing down her
glass, Angelina takes a glimpse around the club.
ANGELINA
Do you know where the bathroom is?
OWEN
No idea.
EVAN
Yeah, I do. Down the hall, make a
left, go down the stairs and down
the hallway. It is like -- the
third or fourth door.
ANGELINA
(beat)
What?
EVAN
I’ll just take you there.
ANGELINA
That works.
INT. AROMA CLUB / BASEMENT HALL - DAY
Evan and Angelina make their way down the stairs into a
slightly dark and quiet basement.
ANGELINA
Where is it?
A flush is heard in a room down the hall. A WOMAN in her
sixties exits out the third door in the hall.
Realizing where it is, she heads to it.
ANGELINA (CONT'D)
Wait for me. It’s creepy down here.
EVAN
Yeah, yeah...

Entering, she closes the door, leaving silence in the hall
with Evan all alone.
He crosses his arm, leans on a wall.
A doorknob beside him shifts hard, frightening him. It stops
as he faces it, staring.
VOICE (O.S.)
(behind door)
Can you open the door for me? It
won’t open.
Evan breathes a sigh of relief, laughs to himself.
EVAN
Yeah, no problem.
He opens the door --
THE KILLER shove a knife into Evan’s stomach, tugging it
upward.
INT. AROMA CLUB / BATHROOM - CONTINUOUS
Inside a stall, Angelina sits at the toilet. She taps her
feet to a melody of a song that plays in her head.
Creek --
The bathroom door opens. Angelina turns her head to the
noise for a quick second, before bringing her eyes back down
at her feet, focused on the melody in her head.
The stall door CRASHES open!
Angelina jumps up, pulls up her underwear, screaming.
The masked Killer stands at the opened stall door, holds a
bloody knife in one hand and in the other -- Evan’s head!
Screaming, the killer swings Evan’s head into Angelina,
strikes her skull.
She falls over, bumps into the wall of the stall. The Killer
chucks Evan’s head into hers, busting her head open!
INT. AROMA CLUB / MAIN - DAY
The dinner continues. Owen sits alone, waiting for Angelina
and Evan.

Patricia enters, looking frantically around for one of the
three left on the list.
Seeing Owen, she hurries towards him.
PATRICIA
Owen, are you okay?
OWEN
I’m fine, why?
PATRICIA
Where is the other two.
OWEN
They went to the bathroom, they
should be back any second. Why?
INT. AROMA CLUB / BASEMENT HALL - DAY
Making it to the bottom of the staircase, Patricia catches
Jason about ten feet away in the middle of the hall.
She whips out her gun, aims it at him.
PATRICIA
What are you doing here, Jason?
Jason whirls around, frightened.
JASON
Oh, it’s just you. You scared me.
PATRICIA
Why are you here?
JASON
What do you mean? I was a friend of
Jennifer’s. Put your gun away. What
is your problem?
PATRICIA
Where is Evan and Angelina?
JASON
Who?
PATRICIA
Don’t give me bullshit! Why were
you in my car?

JASON
I don’t know what you’re talking
about.
PATRICIA
You don’t think I figured you out?
You moved here a year and a half
ago from up north. Alberta, right?
JASON
Yeah. So?
PATRICIA
And when Michael -- your brother
moved there two years ago, you two
met up. You planned this together,
didn’t you?
JASON
Okay Patricia, you’re just getting
ridiculous.
PATRICIA
You think I’m stupid? You think I
didn’t think of this before? I just
didn’t have the proof to keep you
in jail.
JASON
Oh, that’s nice. You think I’m a
psychotic, yet you ask me to have
coffee with you.
PATRICIA
To keep you away from the remainder
on the list, that’s why. Then, when
you took the opportunity to leave
when I had to go to the bathroom, I
knew for sure.
JASON
This is quite funny.
PATRICIA
Going through my things in my car
really didn’t help your case
either.
JASON
Again, this is ridiculous.
PATRICIA
Then why are you down here?

JASON
I went to the bathroom.
PATRICIA
Open the door. Show me inside.
JASON
Why?
PATRICIA
Do it!
Jason stares, the moment becoming deadly serious.
He opens the bathroom door, signaling for her to come.
Slowly, she heads towards him, her gun aimed.
PATRICIA (CONT'D)
Go inside first.
He does so, Patricia finally reaches the door, peeks in.
Jason stands inside.
JASON
You wanna check or what?
INT. AROMA CLUB / BATHROOM - CONTINUOUS
Stepping in, she views -- Evan and Angelina’s heads placed in
separate sinks!
Before Patricia can turn back at Jason, his fist meets her
face.
INT. AROMA CLUB / BASEMENT HALL - CONTINUOUS
Patricia flies out of the bathroom onto the floor, her gun
still in hand.
Jason steps out with a smile.
JASON
Looks like you did get it all
figured out. Good job, Patricia. I
knew you would. I’m not stupid
either. To bad you couldn’t save
poor Evan and Angelina.
Pointing her gun right at him --
Click...

There's no ammo. She pulls the trigger a couple more times
but nothing.
JASON (CONT'D)
You figure out why I was in your
car yet?
He pulls out his hunting knife, laughs.
Patricia drops the gun, yanks out another from her boot.
PATRICIA
Yeah... I did.
BAM!
The shot rips through his forehead, into his brain, sending
him far down the hall, DEAD.
Keeping her eyes glued to his body, she gets up to her feet,
slowly walks over to him.
Kneeling down beside him, she stares into his eyes, stunned
by this outcome.
She sees the knife laying by his head, picks it up.
PATRICIA (CONT'D)
Looks like I’m going to have to rewrite
your brother’s book.
With the knife clasped in both hands, she lifts it up, sends
it back down into his chest.
THE END
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