FADE IN
ESTABLISHING SHOT:
1 EXT. ROAD - NIGHT
THE TRACK is SILENT. Slowly, The CAMERA PANS to a sign, which reads:
GREEN HILLS LODGE
Established 1972
SUPER the legend: "April 20, 1974."
A VOICE begins to filter in. It is a woman, singing a jazz song in the distance.
CUT TO:
2 EXT. LODGE - NIGHT
A typical, small two floored lodge for all seasons. Almost all the lights are dark, except for a few windows on the first floor. They are ablaze with warm light.
The CAMERA ZOOMS to the lighted windows, and it revealed that the lodge's lounge is behind them.
Inside the lounge, A FEW DOZEN guests watch watch ELAINE, a beautiful YOUNG GIRL in a a rather revealing evening gown sing a classic jazz song. There is no music, but her voice makes up for this.
CUT TO:
3 INT. LODGE - GUEST LOUNGE - NIGHT
Elaine finishes her song. The guests applaud her. She smiles warmly and curtsies.
WILLIAM, A RELATIVELY YOUNG MAN approaches her and faces the guests.
He waits a second for the guests to stop clapping. When they do, he begins a slick, and obviously well rehearsed speech.
WILLIAM
Thank you for your applause.
This was the one, the only,
the wonderful Elaine Cedrac,
giving her Easter special
concert. Now, our staff
will be happy to serve you
refreshments before bedtime.
Waiters begin to snoop around the guests, serving them finger food, as Elaine and William exit.
CUT TO:
4 EXT. LODGE - TERRACE - NIGHT
Elaine and William exit to the large terrace. As soon as they get to the more shadowy corner of it, William passionatly hugs Elaine.
ELAINE
I am so glad your problem
has been resolved.
WILLIAM
You're telling me. That
disgusting pig! How could
she even think that I
would actually---
(pauses)
Well, anyway, don't worry
about it. Now kiss me.
He leans to kiss Elaine, but she pushes him away.
ELAINE
Not here! This will ruin
my virginal image!!
WILLIAM
You're right. Let's go
to the garden.
As they hurry walk down the steps leading the garden, the lounge lights go out.
CUT TO:
5 EXT. GARDEN - NIGHT
William and Elaine sit down on a bench and begin to kiss passionatly.
The CAMERA shifts to ANOTHER ANGLE: Just beyond the thick trees and bushes. The shot is a slow tracking one, giving the impression that SOMEONE is spying on the two lovers.
The unseen watcher will be called the STALKER.
Elaine unlocks her lips from William
ELAINE
Finally... You're all mine.
WILLIAM
Yeah...
Thy kiss again, this time more passionatly, and becoming more and indulged with each other.
STALKER'S POV: The CAMERA MOVES closer to get a better view of the couple. A HAND comes into FRAME and removes some tree branches for a better look of the lovers. They are completely oblivious that someone is watching.
SERIES OF SHOTS & ANGLES:
The Stalker, never seen, begins to move towards Elaine and William. His other hand comes into view, it holding A HATCHET. The MAIN THEME begins to slowly filter in. Gradually, it becomes louder and louder.
As they kiss, William and Elaine's eyes are completely closed. They don't see as the comes closer. Closer. Closer.
The Stalker positions the Hatchet above Elaine's head.
Suddenly, Elaine feels something is wrong. She looks up and SHRIEKS in terror.
The hatchet goes down, Elaine's scream is cut short and she goes down under the blow.
ANGLE ON WILLIAM: BLOOD spurts on his face, and he is shocked. The Stalker grabs William by the throat and takes out A HUNTING KNIFE, and William suddenly snaps out of his shock.
William makes a fist and hits The Stalker in his face. The Stalker retrieves, accidently dropping the knife.
William does not hesitate and quickly grabs the knife.
WILLIAM
What do you want? Get away!
ANGLE ON WILLIAM: He begins to wave the knife around in a frenzy.
SINGLE SHOT:
The Stalker attempts to grab the knife away from William, for which he gets a deep cut on the wrist. The Stalker does not react to this. Instead, he grabs William by his hand and twists the palm, until William SCREAMS in pain and lets his grip on the the knife loose.
The Stalker quickly grabs the knife and without any hesitation, shoves it in William's eye.
William's mouth drops open letting out a silent scream. His hand graps the knife's handle. BLOOD begins to pour out of the wound.
THE SCREEN BLEEDS TO BLACK.
It is completely silent.
CROSS CUT TO:
6 TITLE SEQUENCE
The screen is completely black and silent. Suddenly, with A MUSICAL STING, THE MAIN TITLE CUTS IN:
DARK EASTER
We ROLL TITLES as the MAIN THEME filters in once again, this time arranged in a bizzare fashion.
TITLES and MUSIC fades out.
DISSOLVE TO:
7 EXT. SMALL TOWN - STREET - EARLY MORNING
Rows of tiny houses are divided by a narrow road, no cars are seen in sight.
SUPER the legend: "April 20, Easter. The Present."
The CAMERA ZOOMS in the very end of the road. A SHAPE slowly comes into views. It is AN ATTRACTIVE YOUNG GIRL. She is carriyng a backpack and a suitcase. Her name is JOAN.
Slowly, RADIO DJ'S VOICE begins to filter in.
DJ
(v.o.)
Hey everyone! It's that time
of year again. No, not Christmas,
but thanks for guessing! Its...
Easter! So, everyone color those
eggs and find those bunnies...
Joan slowly walks down the street. She sees a store and wlaks towards it.
DJ
(cont'd)
And for all those of you
who have decided to wake
up early and go to church,
don't forget to wash those
whites! At least something
about your life has to be
clean and white when you
enter a holy place.
Joan enters the store.
CUT TO:
8 INT. STORE - MORNING
Typical Easter decorations are draped all over the store. It looks quite overdone.
A STOREKEEPER, and FIVE COSTUMERS are crammed in the small store.
The DJ's voice is blaring out of small rado by the check-out.
Joan enters. Nobody seems to pay much attention to the girl. She looks over the small group of people shyly.
JOAN
Hello? Does anyone know
the quickest path to Green
Hills Lodge? I am running
a bit late.
The people immideatly freeze in the middle of what they were doing.
COSTUMER 1
The Dead Lodge? So they
are opening that place up
again?
COSTUMER 2
Have they no shame?
JOAN
Excuse me?
STOREKEEPER turns of the radio. The DJ's voice stops abruptly.
STOREKEEPER
Be quiet, all of you.
What's done is done. It's
been thirty years, time to
move on.
CUSTOMER 2
Tell it to the families of
those two poor souls. I won't
even mention that other girl.
CUSTOMER 3
They were against this whole
affair, you know. Even started
a petition.
CUSTOMER 4
Even of they do open up, there
will be no business. The place
is cursed, you know.
CUSTOMER 2
But some people just don't get
that, do they?
JOAN
But... I am just there to
entertain the kids. I've been
hired through an agency a few
days ago.
STOREKEEPER
It's okay, Dear. Don't
mind them.
(looks at Custmer 5, who has
been silent this whole time.)
Ted? The path can't be too
far away. You used to fish in
the area, right?
Custmer 5, TED, steps out.
TED
Yeah.
STOREKEEPER
Could you take this girl
there?
TED
Sure, this way.
Joan smiles and waves goodbye to the Storekeeper. She grabs her suitcase and follows Ted outside.
CUT TO:
9 EXT. STREET - DAY
Ted is walks up to an old, beat up van. He opens the door.
TED
Don't worry. This baby is
safer than it really looks.
JOAN
Thanks alot. I am Joan by
the way.
TED
Nice to meet you.
Joan hands him the suitcase, Ted tosses it inside the van. Then, they climb in the van and it drives off.
CUT TO:
10 EXT. HIGHWAY - MORNING
THE TRACK is SILENT.
Suddenly, a heavy metal music BLASTS in and A CAR drives across the road.
11 INT. CAR - MORNING
THREE TEENS are inside. They are clean cut, fit, attractive and are obviously from suburbia. Basically, they are kids you might only see in a rich neighborhood, or a Pepsi commercial.
Two if them are MALE and the other is a FEMALE.
Behind the wheel is MARK. He is wearing a typical prep boy attire. Seated next to him is TRISHA, a typical prep girlfriend. WALTER is in the backseat. He looks slightly more nerdy, but is obviously wearing expensive clothes.
The heavy metal music that was heard on the road is blaring out of the radio.
TRISHA
God, MARK! Turn this crud
down. How can anyone listen
to it.
MARK
Well, I'm sorry, Trish, but
not everyone likes Enrique.
Mark turns off the radio.
TRISHA
Screw you.
MARK
Oh, yeah?
TRISHA
(leans to him, seductively)
Yeah.
MARK
Yeah?
TRISHA
(leans to him even further)
Yeah.
MARK
Yeah?
TRISHA
Yeah.
She starts kissing him. Mark does not seem to mind and answers her the same.
ANGLE ON WALTER: Walter looks at the road in horror.
WALTER
Mark! Watch the road!!
ANGLE ON MARK & TRISHA: Mark unlocks his lips from Trisha and looks at the road.
MARK
WHOA!
Mark frantically turns the steering wheel.
CUT TO:
12 EXT. ROAD - MORNING
The car barely misses a sign, which reads:
Green Hills Lodge Lake Resort
NEXT EXIT
CUT TO:
13 INT. CAR - MORNING
The trio sighs in relief.
TRISHA
Watch the road, Dickhead!
MARK
Well, excuse me, but I
wasn't the one slobering
myself.
TRISHA
Well, you I did not seem
you protest much, did you?
WALTER
Guys, let's change the
subject.
MARK
Okay, what do you want to
talk about?
WALTER
Well... Umm... Hey! Isn't
it cool that all three of
us get to work in the
same place during the summer?
(no one answers)
Well?
(still, no one answers)
Trisha? Mark?
TRISHA
(sarcastic)
I am in a jubilating ecstacy.
Now shut up, Walter.
WALTER
Well excuse me for trying to
make the best of things.
Walter sighs and grabs a magazine, which is lying next to him.
TRISHA
Whatever. Mark, turn the
radio back on. And not on
THAT station.
Mark smiles and turns on the radio. The familiar Radio DJ is heard again.
WALTER
Wait! Leave him on. I love
how those DJ guys diss
holidays.
MARK
Knock yourself out.
TRISHA
Well, he finally hit rock
bottom. I mean, listening
to a local Disk Jockey?
RADIO DJ
And let's not forget to
congratulate Torrey Oak
County, where our very
own infamous Green Hills
Lodge is located. Not only
is this the first time they
decided to celebrate Easter
in over thirty years, but
it is the grand reopening
of Green Hills Lodge! Let's
hope that this time, it will
actually open!
TRISHA
What the hell was that?
MARK
Don't you know?
TRISHA
Umm... No. Duh!
MARK
Long story. I'll tell you
later. We're almost there.
Trisha sighs and turns off the radio before the DJ has a chance to make another tasteless joke.
CUT TO:
14 EXT. LODGE - MORNING
ALLAN CARLTON, LATE TWENTIES, comes out of the lodge, carrying a a giant stack of paper towles.
He sees Mark's car pull into the lot. Allan hurries over to them.
CUT TO:
15 EXT. LODGE PARKING LOT - MORNING
The car stops and Mark, Trisha, and Walter exit out.
Allan approaches them.
ALLAN
Hey, you must be the guys.
Would you mind helping me
out?
The trio each take a portion of the stack.
MARK
Are you alright now?
ALLAN
Yeah, thanks. By the way,
I am Allan Carlton. You
guys will be working for
me.
MARK
Okay. By the Way, I am Mark
Eastman. This Trisha Dalton
and Walter Goerd.
ALLAN
Great. Now, four of your
colleagues are already
here, preparing the lodge.
The fifth one's on the way.
TRISHA
You mean you only hired nine
people to take carof this
lodge and service the guests?
WALTER
Yeah, are you sure that we
can manage with such a short
staff?
ALLAN
(sighs)
Well, first of, we are just
opening and I am not expecting
a very good business in the
first couple of months. When
more people will decide to
stay here, I'll hire more staff.
Besides, this is just a small
lodge. We don't need a lot of
staff.
TRISHA
I see.
WALTER
When will we meet the others?
ALLAN
Oh, that's right. Sorry, how
very stupid of me.
(turns around and calls out loudly)
CLAIRE!!!
CLAIRE comes into the MS, holding a hammer and a few nails. She is very pretty, and has girl-next-door written all over her. It is obvious that she has been working very hard for some time now.
CLAIRE
What is it, Allan?
(notices the others)
Oh, hi. I guess we'll be working
together. I am Claire, by the way.
WALTER
Nice to meet you. I am
Walter. These guys are
Mark and Trisha.
ALLAN
Claire, where are the others?
CLAIRE
Well, Scott and Heather are
installing the mattresses.
Monica is making herself
familiar with the kitchen.
ALLAN
Did that girl Joan show up
yet?
CLAIRE
I don't know. I mean, I haven't
seen her. By the way, could
you help me finish nailing the
window frame? I don't know
who did you pay to fix this
place up, but the those frames
are falling apart like Michael
Jackson's face.
MARK
That bad, huh?
CLAIRE
No kidding.
ALLAN
Okay, just give me a sec.
Guys, let me show you where
the storage is, so that we
could put away these damn
towels.
CLAIRE
You know where I'll be.
ALLAN
Great.
(to the rest)
When we're done be free to
unpack and rest, meet the
others. I'll give you all
a short tour of the lodge
and assign you your tasks.
Sounds good?
Mark, Trisha, and Walter nod. Allan walks off, they follow him, Claire goes the other way.
CUT TO:
16 EXT. HIGHWAY - MORNING
Ted's van speeds across the road.
CUT TO:
17 INT. TED'S VAN - MORNING
Ted is driving. Joan is sitting next to him. Ted seems to be nervous about saying something, but finally he sighs and begins.
TED
You know, I don't mean to
sound like those morons with
no life back at the store,
but I wouldn't put my foot
in that lodge for all the
money in Bill Gates's account.
JOAN
Why is that?
TED
This will sound creepy,
but there is something...
What's the right way to
put it... Queer about
that place. Something
is not right there.
JOAN
What do you mean?
TED
That place has a history
of morbid events. First, a
maid drowns in the lake
adjacent to the lodge, during
Easter by the way. Then,
a year later, the owner and
the entertainer get butchered
in the garden. Also during
Easter! They never found
the culprit, you know.
JOAN
My god! Why, that's horrible.
I used to think that was an
urban legend. I thought that
there was no way someone could
just butcher two innocent people.
TED
Yeah. Well, anyway, the place
was, of course, shut down, but
a few years later some resort
corporation tried to reopen it
and make it a part of their
franchise. So they send one of
their people to check out the
location. He was never heard
from again.
Joan shudders.
TED
(Cont'd)
Oh, that's not all.
JOAN
Well, what else happened?
TED
They still tried to open it
up again, so when the workers
came up to fix the lodge, they
find that water in the lake has
been contaminated!
JOAN
How?
TED
Some sicko threw in dozens,
dozens of bloated, rotting
animal carcasses.
JOAN
(repulsed)
That's... That's disgusting.
TED
And the last time they tried
to open it... The lodge itself
nearly burned down for some
unknown reason. If you ask
me, they should have just let
it burn to the ground...
But there is an even more
disturbing detail.
JOAN
What is it?
TED
Every year, on Easter, we find
a sign, written in blood, saying
"Remember that Easter." Which one,
huh? It is always found in an
upstairs maids room. Every year
it comes around like clockwork,
all though this year... Well, not
yet anyway.
JOAN
It can't all be true...
TED
The scary thing is, it is
all true. I mean, the town
was teriffied of celebrating
Easter for years. This is the
first year we finally decided
to get over it. And not quite
all the way, as you have already
see back at the store.
(pauses)
Sorry. Didn't mean to freak
you out. You see, I have this
blabbering problem. I can go
on for hours.
JOAN
No, it's okay.
Suddenly, the van begins to make sputtering noises.
TED
Damn it!! I forgot to fill
her up again!
The van suddenly comes to a stop.
JOAN
Well, what do we do? I am
already late.
TED
I could go to the nearest
gas station for some fuel
and you could wait here,
but I think that it will
be faster for you if you
just walked the rest way.
JOAN
Won't I get lost? I've
never been here before.
TED
Well let me see where exactly
we are.
Tedd looks out the driver's window.
JOAN
Well? Is the lodge far away?
TED
(looks out the window)
Actually, I have great news
for you. As you get outside,
immediately head into the
woods and keep walking
straight ahaead, never
turning. That way there is
no possible way for you to
miss the lodge.
JOAN
Really?
TED
Yeah, trust me. I grew up
in these parts.
JOAN
Well, then. I guess this is
goodbye. Thanks for everything,
Ted.
TED
Bye, Joan. Take care.
JOAN
(smiles)
Bye Ted. Should I sent help
for you when I get there?
TED
Don't bother. I can take
care of myself.
JOAN
Okay then.
Joan opens the door and climbs out of the van. Ted watches her as she heads off into the nearby woods.
TED
Good Luck, Kid. You'll
need it.
CUT TO:
18 INT. LODGE - EMPLOYEE LOUNGE - MORNING
A typical employee lounge, with a television set, a couch, and a few chairs. There's also a lunch table and large windows in the back. A telephone is on a small teble by the couch. A heavey bronze candlestick in the middle of the table.
Claire is sitting behind the table. A few metal dishes with different shades of paint are next to her, along with a basket of eggs and a few paint brushes.
Claire is totally concentrated on painting the eggs.
Allan walks by the open doorway, holding a hammer. He sees Claire and stops in surprise.
ALLAN
I thought you were nailing
the window frames.
He crosses from BG into FG.
ALLAN
(cont'd)
(smiles)
Already slacking off? Hate
to see you not doing your job.
CLAIRE
(still painting the eggs)
I was, but you really took
your time showing the others
the storage. I've been done
for fifteen minutes now.
ALLAN
Oh... Sorry about that.
CLAIRE
It's okay. For the matter,
of fact, it wasn't as hard
as I thought. I had those
babies nailed up in no time.
ALLAN
Oh. Hey, what are you doing?
CLAIRE
Egg painting. After all,
it is Easter.
ALLAN
Yeah, but where did you
get the eggs and coloring?
CLAIRE
I just took some eggs from
the pantry and got some
left over paint. I hope
you don't mind.
ALLAN
Now, it's fine by me.
(sits down next to her)
But why are you painting the
eggs? I mean, you don't have
to do that every Easter.
CLAIRE
I know, I know. You can call
it a habit. Personally, I
think of it as a reflex.
ALLAN
Really? Why is that?
CLAIRE
It's just I have been egg
painting every Easter since
I was six. My parents were
very old fashioned. Sometimes
it seems that I just HAVE TO
paint them. I don't know why
though. I mean, it's not as
if that is gonna save my
life!
She laughs, Allan smiles at her.
ALLAN
You're very funny.
CLAIRE
Thanks.
ALLAN
And very beautiful.
Allan smiles and puts his hand on Claire's cheek.
REACTION SHOT: Claire sighs, and puts down paintbrush and the unfinished egg.
CLAIRE
Allan, please...
Allan quickly retreats.
ALLAN
Why won't you give me a
chance?
CLAIRE
It's nothing personal. Just
a problem I'm having.
ALLAN
But as long as you're staying,
they opened a great night
club back in town and---
CLAIRE
As a matter of fact, I am
seriously thinking about
quitting.
ALLAN
What? Why?
CLAIRE
I may need to fly back to
Denver to straighten something
out. And don't even ask me what
it is. I just...
ALLAN
Well, then meet me half
way.
CLAIRE
How is that?
ALLAN
Help me set up the lodge,
if you're not happy then,
I'll buy you the plane
ticket myself.
CLAIRE
I don't know...
ALLAN
Claire, please. Please!
CLAIRE
(sighs)
Fine. But just one week.
ALLAN
Really? Thanks!
CLAIRE
Although I do wish you
didn't get your hopes up.
ALLAN
Oh, Okay.
Allan exits out of FRAME, as Claire gets back to egg painting.
CUT TO:
19 EXT. FORREST - MORNING
Joan is wandering around, obviously lost.
SOMEONE'S POV: He is watching her. He hides behind a giant oak, seeing Joan, but unseen to her. He slowly steps out of his hiding place. Joann sees him and aproaches, with a giant, delicious smile.
ALLAN
Oh, hello. I didn't know
anybody else was out here.
Thank god I found you. Say,
do you how I should get to
Green Hills---
Someone does not let Joan finishes and grabs her by the throat. It is revealed that there is a deep scar on the wrist!
In shock, Joan drops her suitcase.
JOAN
What are doing! Let go.
The Stalker begins to strangle Joan. She sturggles desperately, but is losing her strenght. With the last ounce of it, She bites the Stalker on the thumb.
The Stalker lets go of the girl to nurse his finger. Joan wastes no time and runs.
MONTAGE - MULTIPLE ANGLES OF JOAN:
Joan runs through the dense forrest growth.
To make it easier to run, she abandons her backpack.
Whenever she looks back, Joan begins to run even faster, gasping for breath.
Suddenly, she trips over a root and collapses on the ground.
STALKER'S POV: He slowly approaches Joan and raises his hand. It is now holding A LARGE BUTCHER KNIFE.
JOAN
(weakly)
No, please... Please...
DON'T!!!!!
The knife goes down and penetrates Joan's back. She SCREAMS in pain.
The knife stabs her again and again, getting smeared in blood more and more.
ANGLE ON JOAN: She lets out a last gasp and limps lifelessly on the grass. Her face is frozen with a shocked, terrified look.
The Stalker grabs her by her collar and, like a hunter does with a dead animal, drags her out of FRAME.
CROSS CUT TO:
20 INT. LODGE - EMPLOYEE LOUNGE - MORNING
Claire has just finished the last egg and places it in a basket with the others. She picks up the basket and places it in the middle of the table, right by the candlestick.
CLAIRE
(jokingly)
Another year, another perfect
egg decoration.
Suddenly, the telephone RINGS.
Claire approaches it and picks up the receiver.
CLAIRE
Hello, Green Hills Lodge,
Claire speaking. Would you
like to find out about our
special family pack---
Claire hears HEAVY BREATHING emitting from the telephone receiver.
CU ON CLAIRE:
CLAIRE
(cont'd)
Hello? Who is this?
The caller hangs up. Claire shrugs and does the same.
Then, with A MUSICAL STING, A HAND places itself on Claire's shoulder.
REACTION SHOT: Claire gasps in surprise and fright and turns around to find...
...SCOTT, a good looking teen, another Pepsi Kid.
CLAIRE
(sighs in relief)
Oh, Scott, it's you.
SCOTT
Yeah, who did you expect?
Jason Voorhees's mother?
CLAIRE
(sarcastic)
You are hilarious. So,
anyway, what's up?
SCOTT
Nothing much. I just came
here to ask to help Walter
and me rearrange the furniture
in the lounge.
CLAIRE
Sure.
They are about to exit, but Claire stops.
CLAIRE
Scott? You're from around
here, aren't you?
SCOTT
Yeah, so?
CLAIRE
Tell me, is it true what
I heard about this lodge?
Those murders?
SCOTT
Well, it is true. There
were some rather gruesome
deaths and happenings going
on here a few years ago.
CLAIRE
Well... How did that story
began anyway?
SCOTT
Stories like this don't
begin. People get scared,
they say things. Things
begin to happen. There is
no beginning, or end to
this.
CLAIRE
I don't understand.
SCOTT
Just forget about. And also
forget about what those
spinsters with no life told
you. Besides, you don't wan't
to piss Allan off with those
stories. By the way, I think
he has crush on you.
CLAIRE
(sarcastic)
Oh, my god, Scott! Gee whiz,
where you the only one who
noticed this? I swear to god,
I am amazed by your splendid
deduction skills!!
SCOTT
Yeah. Right. So, are you
helping?
CLAIRE
Let's go, then.
They exit out of FRAME. The CAMERA lingers a bit longer on the telephone.
CUT TO:
21 INT. LODGE - GUEST ROOM - MORNING.
Mark and Trisha are putting on the finishing touches. They add doilies on chair upholstiires, spreading a quilt on the bed, etc.
TRISHA
There. We should be all
ready for the grand
opening next week.
MARK
(dark & morbid)
If we do open next week,
Trish. The ghosts of the
lodge are not happy!
TRISHA
Mark, just shut that pie
hole of yours. I can't
believe you actually
believe that crap.
MARK
You deny them, Trisha.
And that is why they...
WANT YOU!!!!!!!
In a flash, Mark grabs the quilt and wraps it around Trisha. She SCREAMS in amusement, while he growls evily.
Mark throws Trisha ont he bed.
ECU ON TRISHA:
TRISHA
Let go off me! Or I'll---
ECU ON MARK:
MARK
Or you'll what?
ECU ON TRISHA:
TRISHA
French the living hell out
of you!
They begin to kiss passionatly.
Suddenly, the door opens and Allan enters, along with another GIRL. She is HEATHER, a typical valley girl.
WALTER
Guys, Heather and I wondered
where---
(sees the two on the bed)
OH, SWEET JESUS!
Heather can't open her mouth in shock.
MARK
Haven't you two heard of
knocking?
WALTER
Well this ain't your room
now, is it?
TRISHA
Just give us one sec, 'kay?
WALTER
Sure. Okay. Heather, move
your groove thing.
HEATHER
Yeah, I, like, think this
is the best thing to do
under these circumstances.
MARK/TRISHA
(both)
MOVE!!!!!!!!!!
Walter and Heather exit, shutting the door, but their voices are still heard for a little while.
HEATHER
(o.s.)
Are they, like, always
like this?
WALTER
(o.s.)
More often than you think.
They're really hormonally
advanced!
HEATHER
(o.s.)
Like, ewww...
As their voices fade, Mark and Trisha return to their passionate making out.
CUT TO:
22 EXT. LODGE - MORNING
STALKER'S POV: Neither Mark, or Trisha, realize that the Stalker is quetly watching them through the windows.
CUT TO:
23 EXT. LAKE - DAY
It is obviously that a few hours have passed and that Allan had been giving everyone a tour of the area. The lake is obviously the last stop.
One more GIRL is seen in the group. MONICA, very pretty, but obviously a terrible snob.
ALLAN
And this is obviously our
lake. You are welcome to
swim before business starts.
We even have a rubber boat
in the shed, you all can
use it whenever you feel
like it.
MARK
Hey, isn't that the lake
where the dead animal
carcasses where found?
ALLAN
(sighs)
Okay, I know that this would
come sooner or later.
SCOTT
It's okay, Allan. You don't
have to.
CLAIRE
Yeah, really. We already heard
those stories and it will be
just a useless waste of nerves
on your part.
ALLAN
No, no, it's fine. Now, to
answer all your questions.
Thirty years ago, my brother
owned this lodge. He got
killed, some nasty things
happened, but it's all in the
past now. Now, even though
my parents are totally against
this, I decided to reopen this
place in my brother's memory.
I want to make his dream
come true. That is all there is
to it. I hate to disappoint you,
or the gossiping spinsters, but
there is no curse on Green Hills
Lodge.
CLAIRE
Allan, everything's fine. We
don't go around spreading crazy
rumors.
MARK
Speak for yourself.
ALLAN
Cool it Mark. Now, I have
to go to town to settle
a few things with the
advertising company. Can
you guys manage without
me?
SCOTT
Yeah, don't worry.
ALLAN
Okay, then. See you at
night.
Allan crosses out of FRAME. As soon as he exits, Monica steps out.
MONICA
He forgot to mention that
the townsfolk call this
rotting termite buffet
the Dead Lodge.
SCOTT
Monica, how many times did
I tell not to expose our
bitcheness twenty four-seven?
MONICA
I was just telling the truth.
SCOTT
Whatever. Now, you guys wanna
go swimming? This April is
really warm, we should take
advantage of that. And let's
get that boat out of the shed.
MARK
Sounds great! Hey, Trish,
get out that kinky bikini
you put on just for me.
WALTER
Yeah, you and half the state.
MONICA
You all are forgeting one
tiny detail.
CLAIRE
What is it? Your Highness
needs someone to put her
swimming suit on?
MONICA
Screw you, Claire. Anyway,
don't you people remember?
I am sooo not going to
swim in a lake where they
found rotting animal corpses.
SCOTT
Get over yourself, Monica.
HEATHER
Well, I, like totally, totally
agree with her. I mean, like,
rotten corpses? Ewww!
SCOTT
(glaring)
Everyone just shut up! Now
go and put your swimming
suits and then we are going
to have and have wonderful,
freaking super, time!!!
Got it?
ALL (EXCEPT CLAIRE)
(shocked)
Yes.
SCOTT
Good. Now, who will help me
get the boat out?
No one answers.
SCOTT
(cont'd)
Well?
Still no answer from anybody.
CLAIRE
(rolls her eyes)
For Christ's sake, already.
I'll do it.
Claire and Scott exit out of FRAME.
CUT TO:
24 EXT. SHED - DAY
Scott and takes out a key and opens the freshly painted door.
He goes inside and tries to drag out a big bulk of rubber, the deflated boat.
SCOTT
Here, give me a hand.
Claire grabs the other end of the boat and as they pull, something CLATTERS on the floor.
Claire kneels down to pick up the object. It is a revolver.
CLAIRE
What's this?
SCOTT
Allan told me you can never
be too careful.
Scott takes the gun from Claire and puts it back on the shelf, then they fianll manage to get the bulky rubber pile outside.
CLAIRE
Now the most horrific part,
inflating it.
SCOTT
Don't worry about. I think
I saw a pump in the basement.
CLAIRE
Right... Hey, aren't nervous
that that girl Joan never showed
up?
SCOTT
Kind off. I can't believe
someone would go slacking
off on their first day of
work. If she doesn't show
up, you think you can manage
with the kids by yourslef?
CLAIRE
I honestly don't know.
Besides, I really think
that I won't last here
too long.
SCOTT
Because of that thing in
Denver?
CLAIRE
Yes. I just... Can't help
myself.
SCOTT
He doesn't deserve you.
CLAIRE
That's what they all say.
So, what's up with the
boat?
SCOTT
Right, the boat.
They both grab the boat and exit.
CUT TO:
25 EXT. LAKE - DAY
Monica is lying in the boat. Heather is paddling around next her. They are making pointless chit chat.
MONICA
Why do you need tan anyway?
HEATHER
I think it helps to convert
your skin to a darker color,
so that you won't get sun
burned during the summer.
MONICA
I asked for an answer, not
rocket science thesis.
HEATHER
Like, whatever!
The CAMERA PANS to Trisha and Mark, horsing around in the water, with obvious sexual underplay.
The CAMERA then PANS to Claire, Walter, and Scott, sitting on the beach.
CLAIRE
I am the only one to blame
for this. I knew what I was
getting into, I knew he was
married. But... I was just too
dumb to realize anything. It
all seems so stupid now.
WALTER
Well, why didn't you dump
him when you found out that
he wasn't going to leave his
wife?
CLAIRE
At first, He was telling me
thar his wife in evil bitch,
driving him crazy with endless
scandals and such. I believed
him, even though that is what
every married guy tells his
girlfriend. Then, it became way
too apparent and I finally
understood everything but it
was too late. I was already in
love with him. Last week he
called me and said that he would
be in town and that we could
meet. I want to talk to him,
to tell him that it is over
between us, but I am afraid.
SCOTT
Afraid of what?
CLAIRE
That I will not have enough
strength to say no, as I
usually do.
WALTER
Gee... You must be really
miserable.
CLAIRE
I am. Oh, guys. Please
don't tell Allan about
this. I don't want him
to know.
WALTER
Don't worry we won't.
LOUD GIGGLING and SPLASHING is heard. The trio turns their heads at the lake.
QUICK CUT: Trisha pushes Mark away, he falls into the water.
TRISHA
You gave me a hickie, you
jerk-off!
MARK
Wanna get another one?
He gets up on his feet and begins to kiss Trisha on the neck.
QUICK CUT: Claire turns away in repulsion.
CLAIRE
God! It's like watching
a Tinto Brass movie.
WALTER
Yeah. Imagine a whole year
of that.
Claire LAUGHS.
CUT TO:
26 EXT. FORREST - DAY
STALKER'S POV: He pulls away the branch to get a better view of the teens at the lake.
The THEME begins to slowly filter in.
CUT TO:
27 EXT. FORREST - DAY - A FEW HOURS LATER
The teens have already finished their swimming. The boat is lying on the beach, while everyone is packing up their towles, getting ready to leave.
MARK
What about the boat?
SCOTT
Leave it, we'll take care
of it tomorrow.
MARK
No skin of my nose.
CUT TO:
28 INT. LODGE - MAID'S QUARTERS 1- LATE AFTERNOON
Claire lies on her bed, reading a book. The bed next to her is a tangled mess of skirts, bell bottomed pants, and mini skirts.
The door leading to the bathroom in the BG opens, and Trisha emerges into the FG, wearing a bathrobe and drying her wet hair with a towel.
TRISHA
God, I am hungry. Who is
supposed to be the cook
here anyway?
Claire puts down her book.
CLAIRE
You won't believe.
TRISHA
No, really, who?
CLAIRE
Monica.
TRISHA
(falling on her bed)
No freakin' way!
CLAIRE
Yes freakin' way.
TRISHA
Why did that snot decide
to become a cook?
CLAIRE
She said something about
taking a gourmet cook
class and that this job
would widen her experience.
TRISHA
So she's a gourmet cook.
CLAIRE
Yep.
TRISHA
With the way she is acting,
it seems that we'll be the
the ones doing the all the
cooking and giving her foot
massages in between.
CLAIRE
I hear that.
A KNOCK is heard.
TRISHA
Come in.
The front door opens and Mark enters.
MARK
Wait, is this your room?
CLAIRE
Well we're not playing
shuffle board, if that's
what you mean.
Trisha snickers.
MARK
Don't you know? About this
room?
TRISHA
Jeez, Mark! You know every
single old wives tale about
this hell hole.
MARK
This is the room where they
found all those blood written
signs!
TRISHA
Ewww!!!
CLAIRE
You are kidding!
MARK
And remember that infamous
fire that nearly leveled the
lodge to the earth?
TRISHA
God, I almost wish it had!
MARK
That is where the fire started.
In this very room.
TRISHA
Okay, I'm really not comfortable
with you telling me ghost stories
about a room I'll be sleeping in
for the next few months.
MARK
You don't have to sleep here,
you know. We can bunk together
for some NC-17 fun.
TRISHA
Zip it up, Mark. Not now.
MARK
Whatever. So, You gals are
hungry? We're getting ready
for lunch.
TRISHA
Sure. Just give me a sec.
I need to change.
MARK
Can I stay?
CLAIRE
Just leave, you perv!
TRISHA
Claire's right. Just go
already!
Mark grins and quickly exits.
CUT TO:
29 INT. LODGE - EMPLOYEE LOUNGE - LATE AFTERNOON
Everyone's gathered around the table, dipping tortilla chips into guacamole. Dirty plates with hamburger left overs are pushed away into the center of the table.
CLAIRE
Jesus, Monica. This home
made guacamole's fantastic!!
MONICA
Thanks. And this is my
simplest recipe.
CLAIRE
You will have to share some
of your recipes with me.
MONICA
A magician never reveals
her secrets.
MARK
Hey guys, look what I found!
Mark takes out a piece of paper out of his pocket.
MONICA
What is this?
MARK
A letter that a guest never
send home. I discovered it
while doing my daily rummaging.
MONICA
Even though it is obviously
a load of bull, but what does
it say.
MARK
(begins to read)
Dear Folks. The Dead Lodge
is a great place. No, really!
Well, except at night when
the manager turns into a
cat creature and devours the
guests one by one.
REVERSE ANGLE ON MARK: The paper he is holding is blank.
MARK
(cont'd)
The menu is also fantastic.
Last night we had consommé
of a dead deer carcass we
fished out at the lake. It
was splendid!
Everyone begins to laugh. Claire chokes on her chip.
MARK
(cont'd)
Well, that's all. I love
you. P.S. Gotta run before
the cat---
(puts the paper away)
And that's where it ends.
TRISHA
(in between laughs)
That was so not funny!
CLAIRE
Yeah, it was freaking hilarious!
MARK
Thank you! You can catch
me here every night at ten!
MONICA
I wouldn't catch you even
if my life depended on it.
Mark snickers. He then takes a chip, dips into guacamole and stuffs it in his mouth. Something strange happens. He maons strangly and grabs his neck. The THEME begins to fade in.
WALTER
Are you okay?
Mark croaks and collapses on the floor, beating in violent convulsions and moaning in pain.
TRISHA
What's going on? Somebody
help him!
Mark stops convulsing and lies still on the floor, his eyes wide open in a state of shock.
CLAIRE
I know CPR.
TRISHA
Well then do it!
Claire kneels down to Mark and places her mouth to his. Everyone looks at the nervously.
Suddenly Claire let's out a suffocated scream and jumps up to her feet.
CLAIRE
Mark, you idiot!!
Mark jumps out, grinning like a five year old.
MARK
Ta da!!
HEATHER
Okay... Why?
SCOTT
Yeah, what's your problem?
MARK
Hey, I'm just doing what
the brochure says. Full
time drama club.
CLAIRE
That's for kids, you dickhead!
MONICA
I don't think he wen't that
far away. By the way, who is
supposed to take care of the
kids, anyway?
CLAIRE
I am, along with that girl
Joan, but she never showed
up. I wonder whatever
happened to her?
Suddenly, the telephone RINGS.
CLAIRE
I'll pick it up.
Claire walks up the telephone and picks up the receiver.
CLAIRE
Green Hills Lo---
RASPY BREATHING is heard. A strange, sexless voice follows.
VOICE
(o.s.)
Al... Essa... Leave. They
did... Killed.... Why...
They... Leave... Why...
CLAIRE
Hello? Who is this?
VOICE
(o.s.)
You... Will... Pay.. Alessa...
Claire takes the receiver and points it in the direction of evryone else.
VOICE
(o.s.)
I forgive... Not your...
Fault... Alessa...
Everyone, save for Monica, get a creeped out expression on their faces.
MONICA
This is ridiculous.
Monica grabs the receiver away from Claire.
MONICA
Listen, you perv! This is
a place of business. If you
you want to get off like that,
then call a sorority house, or
something.
VOICE
(o.s.)
(calmly)
You will die before morning.
The person hangs up. Monica slams down the receiver.
HEATHER
Okay, that was, like, the
crepeest phone call I ever
heard.
CLAIRE
Monica, you shouldn't have
said that. Maybe it is some
nut who---
MONICA
Oh, grow up, Claire! It's
probably just some college
preps high on weed.
Everyone looks at each other nervously, trying to convince themselves with Monica's words.
CUT TO:
30 INT. LODGE - KITCHEN - LATE AFTERNOON
Clire is washing the dishes, while Monica dries them with a towel and places them in the cupboard.
MONICA
Those prank phone calls
really piss me off.
CLAIRE
Why is that?
MONICA
They are just so annoying!
You know that movie "Jerry
Maguire?"
CLAIRE
Yeah.
MONICA
Well when it first came out,
some morons kept calling me
every other hour, asking me
to show him the money.
CLAIRE
Some people just need to
grow up, like Mark for
example.
MONICA
Yeah. You know, this one
time---
As Monica continues with her ranting, Claire looks up from her dishes and cocks her head to the side. Does she see something?
The CAMERA PANS SLOWLY to look over her shoulder.
The window pane is dirty and it's a bit difficult to see, but there is SOMETHING standing out there by a tree. But it stands, doesn't move... Is it a building?
CUT AWAY to see Claire using her dishcloth to clear the glass. When we CUT BACK, the shape is gone.
REACTION SHOT: Claire. Curious. A cold chill...
MONICA
Claire? Hello?
Claire shudders snaps back into reality.
CLAIRE
Yes?
MONICA
Are you okay? Did you see
something?
CLAIRE
Well, actually... No, forget
about.
MONICA
Great, now you are going
crazy.
Claire does not pay attention to Monica's insults and gets back to her chore.
CUT TO:
31 INT. LODGE - EMPLOYEE LOUNGE - EVENING
Behind the windows, it is seen that the sun has almost set.
The teens are gathered around the television set, watching a children's choir sing an Easter song.
MONICA
Okay... Why do we even get
the Christian chanel?
WALTER
I think it's for the more
conservative costumers.
MONICA
So, does that mean all the
guests will be from Arkansas?
WALTER
Not everyone in Arkansas
belongs to the KKK, Monica.
MONICA
Whatever, I'm not going to
argue with you.
HEATHER
In any case, why are we
like watching this channel
in the first place?
CLAIRE
The concert looks good.
Besides, it's Easter.
The only thing the other
channels are showing are
big budget blockbusters
from seven years ago.
MONICA
God! Easter's hell!
SCOTT
It could be worse.
MONICA
How? Ho could it possibly
be---
WALTER
(looking out the window)
Man, the dusk looks great
in this parts! I'll think
I'll walk around the woods
for a little while.
MONICA
Knock yourself out.
Walter gets up and exits.
TRISHA
Oh, forgot to tell you. Walter's
a real nature freak.
HEATHER
Well, like obviously.
CUT TO:
31 EXT. LAKE - EVENING
Walter is wandering aimlessly aroudn the beach, stopping here and there and skipping stones across the water.
STALKER'S POV: He watches Walter, slowly and carefully, but unlike all the other times, this time he does not hide behind anything.
CU ON WALTER: He sees someone.
WALTER
Hi. I didn't know that anyone
lived in this area.
Walter begins to move towars the Stalker, unsuspecting of anything.
WALTER
Nice to meet you. I work
over at the Gr---
Suddenly, the Stalker grabs Walter by the hair. There is a sudden, VIOLENT MUSICAL CHORD!
WALTER
(panicking)
What are you doing?!
ECU ON WALTER: Walter quickly grabs the Stalker's strong hand and tries to lossen the grasp, unsuccessfully. Then, before he has a chance to react, the Stalker jerks Walter's head upwards, and jams the familiar hunting knife below his chin. BLOOD begins to pour in a steady trickle down Walter's neck. Walter's body violently convules, red bubbles begin to fizz out of his mouth. A look of surprise and unbelief is in his eyes.
STALKER'S POV: He retracts the knife from Walter's throat, and the latter collapses on the ground like a sack of potatoes.
CROSS CUT TO:
ECU: The TELEPHONE rings.
CUT TO:
32 INT. LODGE - EMPLOYEE LOUNGE - EVENING.
Everyone turns around o face the ringing telephone.
MONICA
It better not be the perv!
The telephone keeps ringing.
HEATHER
Just ignore it.
CLAIRE
(sighs)
We can't. It is part of
our job.
MONICA
(shrugs)
It's your funeral.
CLAIRE
(sarcastic)
You're hilarious.
Claire approaches the endlessly ringing telephone and picks up the receiver.
CLAIRE
Green Hills Lodge, how may
I help you?
VOICE
(o.s.)
Leave... Alessa wants it...
Leave now... Alessa... It's...
Daddy... Daddy will.... Fix...
Everything... Leave... Leave...
LEAVE!!!
CLAIRE
GO TO HELL, you psycho!!!
Claire slams down the reciever.
MARK
Now that's just ain't right.
TRISHA
Hey, Mark. What do you say
we also go outside... For
a walk.
CLAIRE
Guys, I don't think that we
should be doing walks. Those
calls are getting really creepy.
SCOTT
I think she's right. Damn it,
we shouldn't have let Walter
go there either.
TRISHA
Oh, come on! It's not like
that perv is in the same
area code as us.
MARK
Yeah. Get some balls.
Giggling, the two exit out the door, holding hands.
CLAIRE
One of these days their
hormones will overflow
and drown us all.
HEATHER
God! I am turning off the
t.v. I already got the point
that I'm going straight to
Hell unless I am a Southern
Baptist.
Heather grabs the remote and turns off the television set.
SCOTT
So... What now?
HEATHER
I, like, have this totally
awesome idea!
Heather takes out a deck of cards out of her pocket.
MONICA
We are going to play cards?
HEATHER
Yeah, a special version of
poker.
CLAIRE
Strip poker? Because that
was fun and original the
first ten times everyone did
it.
HEATHER
No! Truth-or-Dare poker.
MONICA
How the hell do you play
that?
HEATHER
Easy. You play it just like
regular poker, except when
someone loses a hand, they
will be asked a truth-or-dare
question by the person they
lost to.
SCOTT
Sounds fun.
CLAIRE
Yeah, let's do it.
MONICA
Whatever.
HEATHER
Cool! Who's shuffling?
ALL
You.
HEATHER
Okay, that is so wrong.
The four sit around the table. Heather shuffles the cards and starts giving them out to each player one by one.
CUT TO:
33 EXT. MONTAGE - LODGE - EVENING
The evening slowly fades to night and the lodge becomes dark and foreboding. The only lights that are seen are in the employee lounge windows.
CUT TO:
34 INT. LODGE - EMPLOYEE LOUNGE - NIGHT.
The poker game is in full blast. So far, Scott is missing his shirt, Heather's face is painted like that of a street hooker. The only ones that seem to be winning are Claire and Monica.
MONICA
You know, Heather, you really
suck at poker to suggest that
kind of risqué version of it.
HEATHER
It seems that today is totally
not my day.
CLAIRE
To tell you the truth, this
is, like, the first time I'm
playing poker. And I can't
believe that I haven't lost
a game!
MONICA
(scoffs)
Beginner's luck.
SCOTT
Can we continue now?
HEATHER
Fine.
She sighs and spreads her cards on the table, face up. Everyone looks at them and begins too laugh and ooh.
MONICA
My god, you suck at this!
SCOTT
Who has the most points?
CLAIRE
I do!
(to Heather)
Truth or dare?
HEATHER
Let's see... Truth. I, like,
learned that the hard way.
CLAIRE
Okay. Have you ever gone
a day without saying like?
MONICA
God, Claire! Where is the
spice?
CLAIRE
Well, I am sorry, but I
think we are running out
of ideas by now. By the
way, does anyone know
what time it is?
Scott looks at his wrist-watch.
SCOTT
Thirty after nine, why?
CLAIRE
What's taking them so long?
How long do these nature
walks lasr for?
MONICA
Don't worry about them! They
are not that stupid to wander
off deep into the woods.
CLAIRE
Well... You are probably
right, but still, I have
this very unsettling
feeling.
MONICA
Whatever, So, who's hungry?
I'll go and make some hot
dogs.
CLAIRE
Shouldn't we wait for Mark,
Walter, and Trisha?
MONICA
Now, I don't know about
Walter, but I am very, and
I do mean very, positive
that Mark and Trisha are
eating. Although I am sure
there is no food involved.
SCOTT
Now that was just uncalled
for.
MONICA
As I said before, what-
freaking-ever!
Monica puts down her cards, stands up from her chair and crosses out of FG.
CUT TO:
35 EXT. LODGE - GARDERN - NIGHT
Trisha and Mark are making out passionatly on the bench. The scene bares a major resemblance to the one that took place here thirty years ago with Elaine and William.
ECU ON TRISHA & MARK: Trisha unlocks her lips from Mark.
MARK
What's wrong?
TRISHA
We've been making out the
whole evening. When can
we... You know...
MARK
Speaking of which, I have
this totally awesome idea!
TRISHA
What is it?
MARK
How about we add some adrenaline
to our naughtiness.
TRISHA
How?
MARK
The guest rooms are open.
TRISHA
Get out! Do you really want
to?
MARK
Yeah.
TRISHA
Oh, god! That will be so
cool!!!
STALKER'S POV: He slowly watches as Mark and Trisha jump up from the bench and, giggling, run off. As they dissappear from he MS, the Stlaker begins to slowly move towards the lodge.
A strange DRAGGING SOUNG is heard. The CAMERA pans to the ground, slightly off to the side and...
...With a MUSICAL STING Walter's blood drenched body is revealed. The Stalker is dragging him along with his scarred hand. A bloody trail is left on the grassy ground.
CUT TO:
36 INT. LODGE - KITCHEN - NIGHT
A POT OF WATER is boiling on the stove, while Monica approaches a large refrigerator, opens it and takes out a pack of hot dogs, along with mustard and ketchup. She then opens a pantry and takes out a package of buns. She puts the objects on the table and begins to remove the plastic packaging.
CU ON MONICA:
MONICA
Jeez, why did I volunteer
to cook THEIR dinner? That
was not in my job description.
Oh, well. No use complaining
now.
Suddenly, A SCARRED HAND grabs Monica by the back of her neck. She gasps, more in surprise, then terror.
MONICA
Who is it? Mark? Stop it,
that's really not funny!
REVERSE ANGLE ON MONICA: The Stalker jerks her towards the stove, Monica SHRIEKS.
MONICA
STOP! My dad's a lawyer,
you know.
The stalker positions Monica right abovet the pot.
CU on the boiling water.
ECU ON MONICA: A look of terror forms on her face, as she realizes that this is not a joke.
MONICA
WAIT! NO! STOP! STOP!
The Stalker shoves the screaming girl's face int he pot of boiling water. She begins to loudly gurgle in pain. The Stalker holds. Holds. Holds for a little bit longer and shoves Monica's face out of the pot. Her face is horribly burned with giant, bloated blisters. But she is still alive. The Stlaker throws the helpless girl on the ground. She begins to try crawling away, but has very little sucess. Monica is moaning in pain, with drops of water falling off her scladed face.
STALKER'S POV: He opens and a drawer and spies A BUTCHER KNIFE. He takes, but then immediately sees something better and puts the knife back. The Stalker then grabs A MEAT HAMMER and raises it above Monica.
MONICA
(weakly)
No... Please, no... I'll do
anything...
The hammer goes down, making a sickening, WET CRUNCH. Monica hardly lets out a moan. The hammer goe sup again, stained with blood and a yellowish mess. Then it goes down again, and again, and again.
CROSS CUT TO:
37 EXT. TOWN - BUSINESS PLAZA - NIGHT
The CAMERA pans to the only office with the lights still on.
Judging by the dign on top, we see that it an advertising agency.
The front door opens and ALLAN emergers, followed by SEAN, the agency employee.
ALLAN
...And don't forget to add
that the longdistance is
free. Thank you so much, Sean.
You're a life saver.
SEAN
No worries, Allan. I'll get
the comercial running by the
end of the week.
ALLAN
Great. Well, I got to run.
SEAN
Aw, come on.
(winking)
There's a great strip club
I know.
ALLAN
Thanks, but no thanks. I got
get to the lodge as early
as possible. The staff I got...
I think they might all kill
themselves before the night is
out.
SEAN
Is that all?
ALLAN
No... There is this one girl,
Claire. I'm trying to win
her heart by the end of the
week.
SEAN
I hope you will.
ALLAN
Yeah. Well, bye Sean. See
you later.
SEAN
Bye, Allan.
Allan gets in his car, the engine starts and as the car begins to pull out of the drive way, Sean goes back into the office and its lights go off.
CUT TO:
38 INT. LODGE - EMPLOYEE LOUNGE - NIGHT
Heather is wiping her the make up off of her face with a hankerchief with one hand, and opening the window with another, while Claire and Scott, his shirt back on, are still sitting behind the table.
HEATHER
There. We can finally get
some air here.
SCOTT
Yeah. I could swear that
Monica used some beans while
making lunch.
HEATHER
Like totally!
CLAIRE
She is taking her time making
dinner, isn't she.
HEATHER
Yeah. Maybe we---
Before she has a chance to finish, the telephone rings.
CLAIRE
Damn it! If it's that creep,
the I swear to...
She picks the receiver.
CLAIRE
(rudely, annoyed)
Green Hills Lodge, Employee
speaking.
VOICE
(o.s.)
Daddy loves Alessa... Sweet,
pretty Alessa... Daddy...
will take care of her...
CLAIRE
Just stop it already! You
had your fun. This is a
place of business.
VOICE
(o.s.)
I will throw you off the
roof and lick up what's
left!! This is Easter is
dark.... Dark Easter! Dark
Easter! Dark Easter!
The caller LAUGHES INSANELY and hangs up. Claire does the same, she has shocked and repulsed look on her face.
HEATHER
What did he want?
CLAIRE
Let's just say that I won't
ever be able to look at a
phone the same way again.
HEATHER
Well, should we, like call
the police?
CLAIRE
Yeah.
Claire picks up the receiver, but Scott takes it away and hangs it back up.
SCOTT
Wait. I am sure that Allan
wouldn't want the police
getting involved.
CLAIRE
But... Scott! It's against
the law to do this. He can't
get away terrorizing us like
this.
SCOTT
Let's be calm and rational.
I am sure that this guy is
already bored with us. So,
let's just forget about it.
Just a couple of prank phone
calls can't hurt anyone.
CLAIRE
He said that he would throw
me off the roof and lick up
what's left.
HEATHER
Ewww... That's soo not right!!
Why would he want's lick up
a corpse thrown off the roof?
SCOTT
Okay, so they are really
disturbing phone calls,
but that doesn't change
anything. In any case,
let's see what's taking
Monica so long.
CLAIRE
Right.
The trio moves the towards the door.
CUT TO:
39 INT. LODGE - KITCHEN - NIGHT
Claire, Scott, and Heather enter. The look around the themselves.
REVERSE SHOT: Everything is neat and clean. There is no sign of what has happened. A plate with a pile of hot dogs and sauces rests ont he counter. A steaming pot sits peacefully on the stove.
HEATHER
Nice of her to finish the
hot dogs and turn of the
stove before taking off.
SCOTT
Where did she go? Join the
others for a nature walk?
CLAIRE
Am I the only one sensing
that something is wrong?
HEATHER
Maybe she went to spy on
Mark and Trisha, take some
rather revealing photos and
then black mail them. 'Cause
I would, like sooo totally do
it.
SCOTT
Okay... That was really
weird.
HEATHER
Well, let's eat. Less of them,
more for us.
The trio uproach the counter. Heather takes a hot dog and bites off a portion. Then, she sees something amiss in the pot.
HEATHER
What's this?
Heather puts down her half eaten hot dog and grabs a pair of tongs lying nearby. With them she fishes out crooked, pinkish gray strips.
CLAIRE
I... Have no earthly idea.
They... They could be
overcooked hot dogs, but
they don't look anything
remotely like one.
SCOTT
Stringy hot dogs?
HEATHER
Like, whatever. As long as
the hot dogs taste good.
Heather dumps the tongs with the strips back into the pot and goes back to her hot dog. Scott joins, while Claire stands where she was, suspiciously eyeing the pot.
ECU: Pot. The CAMERA ZOOMS IN CLOSER and closer.
SCOTT
Claire? Aren't you gonna
join us?
CLAIRE
No thanks. I just lost my
appetite.
HEATHER
Why? These dogs are all beef!
The taste is fantastic!
CLAIRE
Just forget about. Enjoy
those your self, guys. I'll
be at the at the lounge.
SCOTT
See you later. You sure
you're not hungry?
CLAIRE
Yeah. I'm sure.
Claire crosses towards the exit door, while Scott and Heather wolf down the hot dogs.
CUT TO:
40 INT. LODGE - GUEST ROOM - NIGHT.
There is no light, safe for the small lam on the bed stand. Trisha is curled up in a ball, lying on the bed with two blankets wrapped around her snuggly. Mark is standing by the bed, fully clothed, buttoning the last two buttons on his shirt.
TRISHA
Mark, don't go. I thought
you said we will snuggle
afterwards.
MARK
Yes, and we will as soon
as I'll smoke a joint.
TRISHA
I thought you quit.
MARK
Yeah, but its been a long
day and... Come on, just
one. Please?
TRISHA
Whatever, but be back quickly!
MARK
Thanks, Doll.
TRISHA
Don't call me that.
MARK
Sorry, Doll.
TRISHA
JUST GO!!
Mark hurries out.
CUT TO:
41 EXT. LODGE - TERRACE - NIGHT
Mark leans against the railing and takes out a crudely rolled up marijuana joint.
MARK
God, how I missed you baby!
Now where the hell is my
lighter?
Mark begins to flap around his pockets, searching for the lighter.
Then, A MUSICAL STING!! A familiar pair of hands quickly puts A CLEAR PLASTIC BAG over Mark's head. He grunts, unable to scream. Mark begins to twist violently to escape, but the hands hold the bag firmly.
ECU ON MARK'S HAND: He squeezes the joint. Dry Marijuana oozes pout of the paper.
ECU ON MARK'S HEAD: He tries to breath, but his mouth and nostrils keep filling up with plasting. His mouth and eyes are wide open and one hand is desperately clawing at the bag.
ECU ON MARK'S LEGS: They twist and turn violently. The squished joint falls ont he wooden floor. Mark's legs step on it, smearng dry pot leaves and paper pieces.
ECU ON MARK'S FACE: His desperate gagging sounds quiet down and the eye swiden more and more.
CROSS CUT TO:
42 INT. LODGE - GUEST ROOM - NIGHT
Trisha has dozed off. She calmly naps in the large bed, surrounded by blankets and pillows.
STALKER'S POV: He slowly opens the door and enters the room. The Stalker stares at Trisha for a moment and then looks at his hand. He is holding A PAIR OF SCISSORS! The Stalker slowly approaches Trisha and removes the blanket, exposing her bare legs. Trisha does not seem to feel anything. The Stalker slowly, carefully spreads her legs and raises the scissors. Then, with a sudden jerk and A MUSICAL CHORD the scissors goes down, slamming into its obvious target.
ECU ON TRISHA: She opens her eyes and lets out A SCREAM, but it is cut by the Stalker's scrarred hand. Trisha is unable to put a fight and all she can do is to make out long, agonizing, muffled shrieks.
CROSS CUT TO:
43 EXT. LODGE - NIGHT
IN A WIDE SHOT: The lodge sits calmly on a hill, with a few windows ablaze with light. Moonlight casts eerie glow on it and from this point we realize how evil and foreboding the building looks like.
CUT TO:
44 INT. LODGE - EMPLOYEE LODGE - NIGHT
The lights are off, except for the bluish glow of the television set.
Claire is huddled on the couch, pressing the buttons on the remote, flipping the channels.
CLAIRE
My god... Holiday t.v. Does
suck!
With no warning, the telephone rings again. Claire glares it out, but it show no intent of going silent. Claire groans and picks up the receiver.
CLAIRE
It better not be you, Bastard!
VOICE
(o.s.)
Can't wait... To lick up all
those delicious guts...
Those yummy entrails!!!
CLAIRE
You need help! Just leave
us alone already!
VOICE
(o.s.)
You know how much Daddy
loves his lovely Alessa?
Alessa... So pretty...
It was... Not... Her...
Time... I will swim in
your blood for this.
CLAIRE
GODAMMIT!!!
VOICE
(o.s.)
I will carve you up like
a thanksgiving turkey and
drink you... I will truly
enjoy mutilating and
your corpse!!
The caller laughs insanely and hangs up. Claire, with a terrified expression on her face, puts the receiver back in its place. She begins to look around herself, uneasily. MAIN THEME begins to slowly filter in.
Suddenly, A VIOLENT CHORD!! A HAND grabs Claire and the lights flash on all of a sudden. She gasps ans turns around...
...Only to find Scott, holding her shoulder and Heather, standing by the light switch.
SCOTT
You okay? You seem to be
getting awfully jumpy.
Claire brushes Scott's hand off and stands up.
CLAIRE
Scott, he called again.
I... It sickens me even
to think about what that
pervert was saying. Anyway,
I'm gonna call the police.
HEATHER
I think Claire's right.
Claire goes towards the telephone.
SCOTT
Claire, wait. Please be
sensible. Allan will be---
CLAIRE
Screw you and Allan!! I'm
calling.
Claire picks up the receiver.
SCOTT
Claire, please! Look, just
ignore it this one time.
If he calls again, then
do as you wish.
Claire sighs and puts the receiver back.
CLAIRE
You owe me for this.
HEATHER
Why won't this guy just
give it a rest? And where
has everyone else gone?
SCOTT
I'm sure that Walter and
Monica will be back any
minute now. As for Mark
and Trisha, I wouldn't
look for them, unless I
feel like plucking my eyes
out after I find them.
CLAIRE
Well this whole thing is
getting a tad unsettling.
You can't deny that.
SCOTT
Listen, it will all be
okay in the morning and
I am sure that this phone
call was the last.
HEATHER
That's what you said about
the last one.
CLAIRE
No matter what, I really
think that we should at
least TRY to look for the
others.
SCOTT
Claire, Heather. Let's be
calm and rational. I think
that the best thing to do
is sit here and wait for Allan
to get back.
CLAIRE
God! When will he get here?!
They all look at each other, then the clock, and then the telephone.
CUT TO:
45 EXT. ROAD - NIGHT
Allan's car drives past a familiar sign:
GREEN HILLS LODGE
Established 1972
There is another sign nailed just below:
CELEBRATIONG OUR GRAND RE-OPENING!!!
CUT TO:
46 ALLAN'S CAR - NIGHT
Allan is focused on the road, blues are playing from the radio.
ALLAN
Finally! Almost there...
Then, he sees something ont he road and brakes to a screeching halt.
CUT TO:
47 EXT. ROAD - NIGHT
Allan gets out of the car and carefully approaches an unseen object.
REVERSE SHOT: SOMETHING is sprawled across the road, because of the darkness it a difficult to see what exactly it is, but it vaguely resembles a human outline.
ALLAN
Hello? Are you alright? Sir?
Ma'am?
Allan walks up to the body, kneels down picks up the person's hand to checkthe pulse. There is a deep scar on the wrist.
CROSS CUT TO:
48 INT. LODGE - EMPLOYEE LOUNGE - NIGHT
Claire, Scott, and Heather are huddled around, watching a slasher flick on television.
HEATHER
So... I still don't get this
ending.
SCOTT
Well you see, she is avenging
the death of that one girl
that---
HEATHER
What girl? That movie is,
like, so totally confusing!
CLAIRE
Well, Heather, you see, these
movies were never meant to
have a rich, Cecile B. Demille
plot.
A SCREAM and SPLATTERING SOUND come out of the television.
HEATHER
Oh, my god, that's sick.
Guys, I think I'll go to
bed. I really don't feel
like waiting for Allan.
CLAIRE
You sure? Maybe we should
stick together.
HEATHER
Oh, god, Claire. I am so
tired. Sure, I worry about
those phone calls and the
guys not showing up, but
I'm only going upstairs!
CLAIRE
If you think that's for the
best...
SCOTT
Maybe you should go, you
do look tired.
HEATHER
'Kay. Night.
SCOTT
Good night.
CLAIRE
Good Night.
Heather gets up and begins to wlak towards the door, but at the last second she turns around.
HEATHER
Claire?
CLAIRE
Yes?
HEATHER
Do you have a book I can
borrow? I totally forgot
to bring something to read.
CLAIRE
Sure. It's on my night stand.
HEATHER
Thanks.
Heather exits thorugh the door. As she does, Scott turns to Claire.
SCOTT
What about you? Are you
tired?
CLAIRE
Kind off, but I'll stick
around a bit and wait for
Allan. You know, maybe I
should give him a chance.
He seems really nicer. Nicer
than HIM anyway.
SCOTT
Are you talking about the
guy you had an affair with?
CLAIRE
I have a tendency to attract
evil bastards, like some
stupid magnet. Maybe this
time I'll get luck and Allan
will turn out to be a great
guy.
SCOTT
I am sure he will.
Claire smiles.
CUT TO:
49 INT. LODGE - MAID'S QUARTERS 2 - NIGHT
This is not the same room that we saw earlier, but is very similar.
Heather is in the room. She takes the ribbon off her hair and heads off into the bathroom, leaving the door open. As she disappears behind door way, the lights in the bathroom go on and some shuffling is heard. Then sound of running water begins.
CUT TO:
50 INT. LODGE - BATHROOM(SHOWER)- NIGHT
Heather is calmly soaping her body, letting the shower massage her. She does not see as A BLACK SHAPE approaches the shower curtain.
MAIN THEME begins to filter in at a slow pace.
The shape just stands there for a minute or so, Heather completly oblivious to it. Then, it slowly turns and walks off. Heather finishes her showering and turns off the water. She stretches her arm outside the shower curtain and gets a towel.
CUT TO:
51 EXT. LODGE - MAID'S QUARTERS 2 - NIGHT
Heather emerges from the bathroom, wearing a bath robe. Her hair are wet. She sits down on the bed and looks around with boredom.
HEATHER
Claire's book...
Heathe gets up and crosses towards the door.
CUT TO:
52 INT. LODGE - HALLWAY - NIGHT
Heather crosses to the other side of the hallway and opens the door leading to the other maid's quarters. Suddenly, her eyes widen in shock.
HEATHER
What the---
ECU ON HEATHER: Before she has chance to do anything, a hand clasps her mouth and quickly jerks her head upwards. Heather lets out a muffled screma. A KNIFE flies past her. The CAMERA PULLS BACK and we see that her throat is slit, with blood pouring down at a tremendous rate.
CROSS CUT TO:
53 INT. LODGE - EMPLOYEE LOUNGE - NIGHT
Claire jumps up from the couch. Scott eyes her suspiciously.
CLAIRE
Did you just hear that?
SCOTT
Hear what?
CLAIRE
It was like a muffled scream.
SCOTT
Maybe it's the television. I'll
turn down the sound.
CLAIRE
Don't bother. I am sure it
came from upstairs. I'll
go check on Monica.
Claire crosses towards the door, but suddenly, the telephone rings again.
SCOTT
Son of a bitch! He's still
doing that!! I'll take care
of it.
CLAIRE
Don't bother, Scott. I am a
veteran.
Claire picks up the receiver.
CLAIRE
You asked for it! I am now
calling the police!
VOICE
(o.s.)
I licked up their guts and
you are next!!! It will be
so yummy. Yummy. Yummy.
YUMMY!!! Alessa wants it.
My sweet, pretty little
girl...
Claire slams down the receiver and glares at Scott.
CLAIRE
I don't care what you say,
but I'm calling the police.
SCOTT
Go ahead.
Claire picks up the receiver again, but suddenly the television goes off, the lights deem and the whole room is swallowed by darkness.
CLAIRE
Scott! What happened?!
SCOTT
That rust bucket of a generator
flaked out on us. Hold on... I
have a lighter.
Scott takes out a lighter out of his pocket anf flickers it on. He crosses towards the candlestick and lights the candles it holds. It casts an eerie, orange glow across the room.
SCOTT
(cont'd)
I'll go to the basement to
check it out. You stay here.
CLAIRE
But...
SCOTT
Stay. Here. I am actually
also beginning to suspect
that something has gone
really wrong.
He begins to walk towards the door, with a flickering lighter lighter still in his hand.
CLAIRE
Scott?
Scott stops.
SCOTT
Yeah?
Claire is obviously uneasy.
CLAIRE
(pauses)
Take care.
SCOTT
Yeah.
Scott continues on his way.
CUT TO:
54 INT. LODGE - BASEMENT - NIGHT
The whole place is pitch black. The only light is coming from Scott's lighter.
SCOTT
Where is that thing?
Scott sees a vague outline of a generator and walks towards it.
ECU ON THE GENERATOR: The switch is in the OFF position.
SCOTT
Who could've...
Something GLIMERS in the corner. We realize that it is A HATCHET!
CROSS CUT TO:
55 INT. LODGE - EMPLOYEE LOUNGE - NIGHT
Claire is sitting on the couch, next to the telephone. She slowly begins to reach for the receiver, but the phone rings once more. Claire grabs the receiver.
CLAIRE
Please, stop! I am so tired
off---
VOICE
(o.s.)
I will soon get you and eat
those delicious entrails! Oh,
all that sweet blood and mucus...
HAPPY EASTER!!!!
The Caller laughs insanely and hangs up. Claire slams down the receiver, but picks it up a moment later and dials a number.
MALE VOICE
(o.s.)
Torrey Oak Police Department.
State your name and adress.
CLAIRE
This is Claire Collins. I am
a staff memeber over at Green
Hills Lodge.
MALE VOICE
(o.s.)
State your emergency.
CLAIRE
I have been getting some
extremely obscene phone
calls.
MALE VOICE
(o.s.)
No need to worry. Probably
just some kids, having fun.
CLAIRE
No, you don't understand.
Everyone else had disappeared
and... And the lights went out.
It's all so strange.
MALE VOICE
(o.s.)
I am sure there is no reason
for these incidents to be
related in any way. Please
just stay calm.
CLAIRE
CALM?! I AM CALM!! YOU ARE
YOU ARE THE DAMN POLICE!!!
DO SOMETHING!!!
MALE VOICE
(o.s.)
Miss, if you won't get calm
I will hang up.
CLAIRE
YOU DON'T UNDERSTAND!!!
Hello? Hello?
But the only sounds coming out of the phone are rapid beeps. Claire slams down the receiver in frustration. A second later it rings again. Claire hesitantly picks it up.
CLAIRE
Is... Is this the police?
VOICE
(o.s.)
Licking it! Licking it! Lick
it! Lick it! Yummy... Yummy...
They won't any piece of your
delicious flesh!!!
Claire eyes widen in terror she hangs up and picks up the receiver again and dials the number she did before.
MALE VOICE
(o.s.)
Torrey Oak---
CLAIRE
It's me again.
MALE VOICE
(o.s.)
Oh, that's right. Now, will
you speak calmly?
CLAIRE
Please, you have to do something!
Everyone's disappeared and the
lights went out. And that caller...
He is threatening to kill me and
god knows what else!
MALE VOICE
(o.s.)
Alright. The important thing
is not to panic. Even though
I am sure they are just prank
calls, if he calls back, contact
us immediately and I will think
about what to do. Okay?
CLAIRE
Okay.
MALE VOICE
(o.s.)
Good luck.
The policeman hangs up. Claire does the same and begins to look at the telephone in fear. Then, it rings again. Claire slowly picks it up.
CLAIRE
What do you want from me?
VOICE
(o.s.)
You... Will... Die... Alessa...
Daddy will... Do... Anything...
Nobody can disturb. For this...
I... Will... cut out your...
heart and eat it... I will lick
up your blood and wear your
skin... HAPPY EASTER!!!
Claire slams down the receiver with a terrified look on her eyes. She dials the police again.
MALE VOICE
(o.s.)
Torrey Oak Police Department.
CLAIRE
It's me, Claire.
MALE VOICE
(o.s.)
Oh. Has he called again?
CLAIRE
Yes. Please do something!
I think he really does
want to hurt me.
(panicking)
Please do something!
MALE VOICE
(o.s.)
Ma'am! Please don't panic.
Panic is your worst enemy
now. What's your name again?
CLAIRE
It's Claire.
MALE VOICE
(o.s.)
Great. Now listen, Claire. My
name is Officer Stevens and
here is what we are going to
do. Next time he calls, try
to keep him on for at least
a minute. We'l trace the call
and get him. Does that sound
like a good plan to you?
CLAIRE
Y... Yes. Sounds fine.
OFFICER STEVENS
(o.s.)
That's good. I am going to
hang up now and call you
when we get him, okay?
CLAIRE
Okay.
Claire hangs up and begins to look anxiously at the telephone. For a few moments nothing happens, it is absolutely dead. Suddenly, the telephone rings. Claire quickly picks up the receiver.
CLAIRE
You?
VOICE
(o.s.)
Yuo must die. Die. Die. Die.
I will splatter you all over
this damned lodge. They will
have to gather you up like a
jigsaw puzzle. What's that,
Alessa? Sweety? You won't me
to cut out her womanly parts?
Claire eyes widen in horror and disbelief as she listens to the bizzare ranting. She begins to hyperventilate and her hand grasps the receiver tighter and tighter.
VOICE
(o.s.)
(cont'd)
Anything for you, Sweetie.
Daddy will do just as you
ask. You will die! I will
carve you up. Carve you
all up and lick up that
delicious blood. Yummy blood.
Yummy entrails. You will sorely
miss your womanly parts. Don't
worry... I will soon arrive
and finish everything up.
HAPPY EASTER! HAPPY EASTER!
HAPPY EASTER! HAPPY EASTER!
CLAIRE
(screaming into the receiver)
LEAVE ME ALONE! GET AWAY!
The caller laughs insanely and hangs up. Claire slams down the receiver an begins to look around the room in panic and terror. Then, the telephone rings again. Claire picks it up and a frenzy.
CLAIRE
JUST LEAVE ME ALONE!! I
beg you! Please...
OFFICER STEVENS
(o.s.)
Claire! I want you to listen
to me very carefully and not
ask any questions.
CLAIRE
What? Why?
OFFICER STEVENS
(o.s.)
Don't ask any questions and
do exactly as I say. Get out
of the lodge and hike up to
the highway. We'll get there
as soon as we can. Leave now,
immediately!
CLAIRE
O... Okay... I'll just see
if the others are upstairs
and---
OFFICER STEVENS
(o.s.)
NO!!! GET OUT NOW!!
CLAIRE
Why? What's wrong?
OFFICER STEVENS
(o.s.)
Listen. The phone calls are
coming from inside the lodge.
He is inside the building!
Leave immediately!!
ECU ON CLAIRE: A look of pure, unimaginable terror fills her face.
CUT TO:
56 MONTAGE - ALL THE SUSPICIOUS PALCE AT THE LODGE
--The dark corners.
--The closed doors.
--The dark stairs.
--The basement.
CUT TO:
57 INT. LODGE - EMPLOYEE LOUNGE - NIGHT
Claire drops the receiver on the floor.
OFFICER STEVENS
(o.s.)
Claire? Do you hear me? Claire?
Claire takes the candlestick and heads towards the door.
CUT TO:
58 INT. LODGE - LOBBY - NIGHT
Claire, still holding the candle, approaches the foot of the stairs.
CLAIRE
Scott? Monica? Heather? Guys,
we have to leave the lodge
this second. There is a
psychopath lurking around
here. Guys? Trisha? Walter?
Mark...
(voice breaking, screaming)
FOR GOD'S SAKE, PLEASE ANSWER
ME!!!! PLEASE!!!!
The only answer is the deep silence. Claire gulps and slowly begins to climb up the stairs, but a the last second she climbs back down and heads into the opposite direction.
CUT TO:
59 INT. LODGE - KITCHEN - NIGHT
Claire looks around the room, the only light is her candle. She comes up to a drawer and opens it. She GASPS.
INSERT - DRAWER
Among other utensils, lies the familiar meat hammer, with blood and brain tissue crusted over it.
BACK TO SCENE
REACTION SHOT: Claire clasps her mouth.
Carefully, so not to touch the hammer, she takes out A BUTCHER KNIFE and heads back.
CUT TO:
60 INT. LODGE - LOBBY - NIGHT
With the candle in one hand and the knife in the other, Claire begins to climb up the stairs.
CUT TO:
61 INT. LODGE - HALLWAY - NIGHT
Claire looks around. Nothing looks strange. Then, she notices something anfd begins to move towards it.
REVERSE SHOT: The door leading to maid's quarters 1 is lightly open with an small orange glow emitting out of the opening.
Claire slowly moves towards it.
CLAIRE
Is anyone there?
Claire place the candle on a small table next to the door. Then she nudges the door to open further and enters the room.
CUT TO:
62 INT. LODGE - MAID'S QUARTERS 1 - NIGHT
Claire stops dead in her tracks. She lets out a blood curdling SCREAM, followed by A MUSICAL STING.
REVERSE SHOT: lighted candles are placed on the shelf, window sill and the floor, casting an eerie glow on the scene. Mark is half sitting, half lying on one of the beds. The palstic bag is still over his face, frozen in a scream. Nestled next to him is Trisha, wearing only her t-shirt, the bottom of which is stained in blood. Her eyes are glossed over and the jaw is dropped. A pair of bloody scissors are placed neatly in the open space between her legs. Mark in Trisha seem to be in a bizzare parody of a lovers' embrace. Walter's corpse is sitting in the chair by the window. Dried blood stains his entire upper body. There is a telephone next to him, with the receiver off the hook. Heather's body is lying on the other bed. The knife is placed in the wound in her neck. The macabre scene is decorated by crude sign, written is blood:
DON'T FORGET THAT EASTER
Claire is unable to believe her eyes. She begins to weep like a wounded, defensless puppy.
THEME begisn to settle in, as the open door begins to slowly slip back into place.
REACTION SHOT: Claire snaps out of shock and turns around, knife ready.
REVERSE SHOT: The door swings ack in its place and Scott's lifless body is revealed.
Claire screams in terror as Scott falls on top of her. As hios back is revealed, we can see a deep wound int he back of his head.
Claire tries desperately to push Scott off of herself.
CLAIRE
SCOTT!!! Oh, god...
Claire pushes him off and quickly gets back on her feet. She wastes no time and rushes out of the room, the knife still in her hand.
CUT TO:
63 INT. LODGE - HALLWAY - NIGHT
Claire runs for the stairs, forgetting the candles.
CUT TO:
64 INT. LODGE - LOBBY - NIGHT
Because of the dark, Claire trips on the last few steps and tumbles down to floor, dropping the knife. She moans in pain and slowly gets up. She begins to run towards the front door, this time slightly limping and holding her leg.
Claire rushes to the door and begins to work the locks. She can't a hang of the last one.
CLAIRE
How do open this stupid
thing?
Claire gives up on the lock. Then, with no warning, the lights flash back on! Claire spins around, totally confused. She then picks up her knife and quickly limps back into the depth of the lodge.
CUT TO:
65 INT. LODGE - EMPLOYEE LOUNGE - NIGHT
Claire rushes in, slamming the door behind her. In a frenzy, she locks it, rushes over to the large chair and pushes it against the door. She then sighs in relief and puts the knife on table. She finally collapses on the chair.
CLAIRE
What am I gonna do...
Suddnely Claire freezes. Terrified, she looks st something in the back of the room.
REVERSE SHOT: Thw window is still open.
Claire slowly gets up and begins to approach the window. She gets closer. Closer. Closer.
When she is just a short distance away...
....A VIOLENT CHORD!!! Suddenly, A LARGE OBJECT is hurled at Claire throught he window.
Claire SCREAMS. The object misses her and falls on the floor. Claire looks down to see what it is.
REVERSE SHOT: It is Monica, long since dead. Her face is obviously mutilated, but very little seen since her her arm is covering most of the face.
REACTION SHOT: Claire... oh, my God...
Claire bolts for the door. She pushes away the chair, unlocks the door, opens it runs out.
CUT TO:
66 INT. LODGE - LOBBY - NIGHT
Clire runs toth front door and pulls the handle again and again, she shows no the sign of giving up. A SNAPPING SOUND is heard and Claire gives the door another pull. It opens. Claire rushes outside.
CUT TO:
67 EXT. LODGE - NIGHT
Clire runs out the front door and runs a few feet away from the lodge...
Only to be grabbed by A PAIR OF STRONG HANDS. Claire screams louder then she ever did before and tries to wriggle free, but the preson is too string. She finally gives and focuses to see who the person is. It is MR. ISAACSON. He is in his late sixties, but is still strong, fit, healthy and very nice looking. His eyes are very kind.
Mr. Isaacoson is trying to his best to calm down the hysterical girl.
MR. ISAACSON
There, there. It is alright
now. Please stop it and tel
me what's wrong.
Claire stops sobbing and thrashing about.
CLAIRE
Who... Who are you? What
do you want?
MR. ISAACSON
Me? Well, I am Mr. Isaacson.
I have a small cabin in the
nearby woods. I heard all the
commotion and came by to check
it out. What has happened here?
You look terrible.
Claire breaks into hysterical sobs.
CLAIRE
Oh, my god! I am so afraid!!
First... First there were
these phone calls and then
everyone disappeared... Then...
Then I found them... Oh, my
god, poor Scott, Trisha...
Everyone!!! They're all dead!!
Monica... She...
MR. ISAACSON
Please calm down. Are you
saying that all of your
friends have disappeared?
Maybe if we look for them---
CLAIRE
No, no! You don't understand.
They were all murdered. There
is a psycopath inside the
lodge!!!
MR. ISAACSON
What?! I have to go see...
CLAIRE
NO! DON'T!! He's still
inside!!
Mr. Isaacson smiles warmly.
MR. ISAACSON
Don't worry, Sweetheart.
I can stand up for my
self.
He gently pushes Claire aside and begins to walk towards to the lodge. Reluctantly, Claire follows him.
CUT TO:
68 INT. LODGE - LOBBY - NIGHT
Mr. Isaacson looks around the place, noticing nothing amiss. He obviously does not believe Claire.
MR. ISAACSON
You see? There is nothing
wrong.
CLAIRE
They're...
(sobs)
They're upstairs.
Mr. Isaacson eyes Claire with suspicion, but still climbs up the stairs.
ANGLE ON CLAIRE: She waits for him impatiently, her eyes looking up.
A TERRIFIED GASPS is heard.
MR. ISAACSON
(o.s)
Sweet... No, not again...
It's happening again...
A few moments later, Mr. Isaacson comes back down the stairs, he is in shock.
MR. ISAACSON
They were all so young...
Why would anybody...
CLAIRE
Monica is back there.
Claire points to the hallway in the back.
MR. ISAACSON
You mean there is more?!
CLAIRE
Can we please go? The police
will arrive soon and what if
the killer is still here?
What if...
But Mr. Isaacson does not listen to her and walks towars the employee lounge. Claire swallows her last sob and reluctantly follows him.
CUT TO:
69 INT. LODGE - EMPLOYEE LOUNGE - NIGHT
Mr. Isaacson and Claire enter. He sees Monica's body and sighs in sadness.
MR. ISAACSON
Oh, lord... We shall go
straight to the police.
CLAIRE
They should arrive soon
now.
MR. ISAACSON
I knew that history would
repeat itself.
Mr. Isaacson leads Claire over to the couch. The two sit down. Mr. Isaacson hugs Claire in order to comfort her. She burries her face in his strong shoulder, as Mr. Isaacson begins to stroke Claire's hair.
MR. ISAACSON
(cont'd)
Every time they try to reopen
this damned place something
awful happens. That horrible
sign... They should have just
let it burn down and get this
over with...
Gentle breeze begins to lightly sway the open window back and forth.
MR. ISAACSON
(cont'd)
...The Dead Lodge...
Claire stops crying. She relaxes and closes her eyes. Mr. Isaacson has almost completly calmed her down.
MR. ISAACSON
(cont'd)
Why did they try to reopen
it again? After all those
tragedies? All the way
back in 1973... A maid of
theirs drowned. Only it was
no accident. That poor girl
commited suicide.
Claire looks up as Mr. Isaacson strokes her hair.
ANOTHER ANGLE: ECU as the Mr. Isaacson's hand strokes Claires's hair. There is a large scar on the wrist!
THEME enters upon the TRACK in a lyrical, child-like
version, echoing back to another era, pretty and light.
MR. ISAACSON
(cont'd)
They drove her to it. Those
two lovers that were killed
a year later. She was a sweet,
naive girl. She thought that
the owner of the lodge loved
her. She let him take her in
that damned maid's room upstairs.
He got her preganat and when he
found out... He just laughed at
her, along with his whore.
The poor girl's heart was broken.
She didn't know what to do and
with the shame of carrying a
bastard child... She drowned
herself. She was only seventeen.
Her name was... Alessa.
Claire blinks, alarmed at something, but can't quite put her finger at what.
MR. ISAACSON
(cont'd)
In any case... We should go
now.
CLAIRE
Maybe we should first wait
for Allan Carlton.
MR. ISAACSON
(cont'd)
No. I do not think that this
will be necessary.
As he speaks, Mr. Isaacson reaches over to the table and takes the knife.
MIXED on the TRACK, filtered, echoed and distant, is the SOUND of a seventeen year old girl, ALESSA, crying out for her father in an obviously pure fantasy version of what might have happened when she drowned back in 1973.
DISSOLVE TO:
70 FLASHBACK - LAKE - 1973
A pretty young GIRL in a white dress is standing at the edge. This is Alessa.
ALESSA
(through sobs)
I am sorry, Daddy... I am
Sorry...
Alessa slowly spreads her arms and throws herself into the water, making hardly a spalsh.
DISSOLVE BACK TO PRESENT:
71 INT. LODGE - EMPLOYEE LOUNGE - NIGHT
Mr. Isaacson cocks his head up to listen to Alessa's cries.
ALESSA
(v.o.)
Please forgive me. Daddy...
Daddy... Daddy...
Mr. Isaacson's eyes fill with tears.
MR. ISAACSON
(cont'd)
I forgive you, Alessa. It
was not your fault. I never
blamed you for a minute...
CLAIRE
(a little confused)
Why shouldn't we wait
for Allan?
Mr. Isaacson has gone through some subtle changes. While his voice remains warm and comforting, his face has started to slip into his other manifestation. All of this is in concert with the visibility of his weapon.
MR. ISAACSON
It was my daughter they killed.
They said it was suicide, but
I know that those two drove
her to it. It was murder.
Claire starts to become increasingly anxious. She can't see the knife rise behind her.
CLAIRE
Allan will be back soon.
Mr. Isaacson shakes her head from side to side.
MR. ISAACSON
No, he won't. I killed him
as well....
The shock of recognition hits Claire. In CU her eyes look up
and see the knife which Mr. Isaacson now has poised and ready to strike. Claire bolts off the couch and stumbles backwards into the wall, crudely brushing against the telephone. It trinks violently.
CLAIRE
You... It was you on the
phone! And you were the
one that... That killed
them!
Mr. Isaacson stands and steps forward.
MR. ISAACSON
I couldn't let them open up
this this place again, could
I? Not after what has happend.
You see, they never found
Alessa's body. This whole area
is the grave of my daughter and
unborn grand child. Alessa...
My daughter... My only family...
(with rage)
You! You came here and interupted
her peace! It is all you fault!
Look! Look what you did to my
child!!!
Claire, in panic, looks for an escape. In desperation, she grabs the telephone.
CLAIRE
No! I won't let you!
Mr. Isaacson steps forward, with the knife ready. Claire aims the telephone.
CLAIRE
(cont'd)
No! No! No!
Mr. Isaacson raises his arm to slash downward with the knife. Claire swings the telephone across his face, hitting him hard.
Mr. Isaacson is in pain, his face a mask of rage.
Claire drops the telephone hard on his head and runs for the door.
Mr. Isaacson hesitates for a moment, then follows Claire deliberately.
CUT TO:
72 INT. LODGE - LOBBY - NIGHT
Claire limps toward the front door, tripping chairs, thrwoing vases, anything that would delay Mr. Isaacson.
CUT TO:
73 EXT. LODGE - NIGHT
Claire runs out the front door. The THEME is going full-tilt as she makes quickly head for the tool shed.
ANOTHER ANGKE: Claire stops to by a tall tree to catch her breath. She looks over her shoulder.
REVERSE SHOT: Mr. Isaacson is nowhere in sight.
Suddenly, something topples out of the tree, rught at Claire's feet. Terrified she looks down and sees Joan's corpse lying on her stomach. Dried blood cakes her back and a terrifying grimace is on her face.
REACTION SHOT: Claire, clasping her mouth and with an unbelievable look in her eyes, slowly backs off.
CUT TO:
74 EXT./INT. TOOL SHED - NIGHT
Claire rushes to the tool shed.
CLAIRE
Please be open...
Claire swings the door open and screams in teror and desperation.
REVERSE SHOT: Allan is revealed. His eyes are wide open and his throat has been slit. He falls forward, barely missing Claire.
Claire steps over the body and rushes inside and grabs the revolver. She checks the magazine. It is empty.
CLAIRE
Where are the goddamn
bullets?!
A SILHOUETTE appears in the doorway. The CAMERA ZOOMS closer. It is Mr. Isaacson.
MR. ISAACSON
Come, Dear. A quick, painless
death is nothing what my
daughter went through.
Claire aims the useless gun at Mr. Isaacson. He carefully steps over Allan and moves forward, backing her into the corner.
CLAIRE
Don't come near me! I'll
shoot!
MR. ISAACSON
No. You. Won't.
CLAIRE
You can't get away with it!
The police will arrive soon.
MR. ISAACSON
Do you honestly think that?
This lodge is miles away
from the town. By the time
they'll get here I will be
all set and done.
CLAIRE
No.
MR. ISAACSON
Alessa was my daughter.
Wouldn't you have done
the same for your own
child?
CLAIRE
Please!
MR. ISAACSON
Come now.
He moves closer and raises the butcher knife.
ANGLE ON CLAIRE: She does all she can do. She takes the gun by the barrel and tries to hit Mr. Isaacson with the butt.
CU ON MR. ISAACSON: He quickly ducks, displaying the cunning stealth he showed all along as the Stalker.
Clairet throws the revolver, hitting Mr. Isaacson in the chest. He grunts, but moves even closer. Claire then grabs and empty paint bucket and throws at it at him as well. The bucket flies past Mr. Isaacson, grazing him on the arm.
MR. ISAACSON
Enough games.
Mr. Isaacson grabs Claire by her neck and rises the knife to strike. The knife goes down, but it suddenly stops in mid-air. A look of pain fills Mr. Isaacson's eyes.
ANOTHER ANGLE: CU as Claire has hit Mr. Isaacson square in the groin. She does it again and again.
Mr. Isaacson drops the knife and let's go of Claire. He topples on the ground.
Claire does not hesitate. She quickly grabs the knife and rushes towards the door. She trips over Allan's body and falls on the ground. She quickly gets up to her feet and runs off, limping.
A few seconds later, Mr. Isaacson slowly get up to his feet. He walks over to the door way.
MR. ISAACSON
It's no use to run! I know
this place like the back of
my hands. You can't get away.
CUT TO:
75 EXT. WOODS - NIGHT
Claire runs through the many trees and bushes she looks behind her a few times, but sees nothing. She runs out of the FRAME.
The CAMERA waits for Mr. Isaacson, but he does not appear.
CUT TO:
76 EXT. LODGE - NIGHT
Claire runs for the front door, but stops a few feet before reaching it. She looks at it, hesitating, but then lets out a deep sigh and runs inside.
CUT TO:
77 INT. LODGE - LOBBY - NIGHT
Claire locks the door on the remaining intact locks, stillholding the knife. She then looks around her surroundings and lets out a sigh of relief. She then leans against the stairs, relaxes and closes her eyes.
Then, A MUSICAL STING! A HAND grabs Claire by the hair and swings her around. The CAMERA pulls back and we see Mr. Isaacson on the stairswith a completly psychotic look in his eyes.
MR. ISAACSON
I will not let you live!
Claire manages to cut his his fingers with knife. Mr. Isaacson howls in pain and lets go. Claire quickly runs into the depths of the lodge.
CUT TO:
78 INT. LODGE - EMPLOYEE LOUNGE - NIGHT
Claire rushes in and shuts the door. She puts her body against the door. Almost immediately, loud pounding begins. The begins to shake. Claire does her best to hold off the insane murderer. Then, his damaged hand slips through and begins scratching at her face. She screams.
CLAIRE
No! Get away! Get away!
Then, the door gets a major push. Claire is knocked on the floor. The door swings open and Mr. Isaacson enters. Claire scrambles on her feet and points the knife in front of her, but in a flash, Mr. Isaacson knocks the knife out of Claire's hands. He then slaps her across the face. He does it again. He then begins to strangle Claire. She begins to squirm back and forth and make chokig sounds. CU as Mr. Isaacson's hand close tighter.
ANOTHER ANGLE: With her hands free, Claire searches for something, anything on the table behind her. Her hands reach the basket with the Easter eggs.
Claire quickly grabs a few eggs and smashes them into Mr. Isaacson's eyes. He screams and lets go of the girl. He uses his free hands to get the shells and the goo out of his eyes.
Claire looks around.
ECU: A BRONZE STATUETTE sits on a shelf.
Claire rushes to the statuette and grabs it. Then, screaming maniacally, she then hits Mr. Isaacson across the head. He grunts and collapses on the floor in a heap. She hits him again and again, with the statuette getting stained with blood.
CLAIRE
DIE! DIE! DIE! DIE! DIE!
She continues to smash the statuette repeatedly over Mr. Isaacson's head, as POLICE SIRENS slowly filter in.
CROSS CUT TO:
79 EXT. LODGE - NIGHT
TWO POLICE CARS, with the sirens flashing and wailing violently, pull into the lot. Almost immediately, the doors open and FOUR POLICEMEN rush out.
POLICEMAN 1
Hurry, hurry!!
The CAMERA follows them as the rush towards the lodge, their guns ready. POLICEMAN 2 tries the door knob.
POLICEMAN 2
It's locked.
POLICEMAN 1
Well, then shoot it! Come
on!
Policeman 2 shoots the lock.
CUT TO:
80 INT. LODGE - LOBBY - NIGHT
The door flies open, making a lound bang against the wall. The four Policemen run in.
POLICEMAN 1
Peter, Roger, you check
upstairs!
Policemen 3 and 4 nod run up the stairs, as Policeman 1 and 2 run into the hall.
CUT TO:
81 INT. LODGE - EMPLOYEE LOUNGE - NIGHT
Policmen 1 and 2 rush in through the open door and stop dead in their tracks.
POLICEMAN 2
Jesus...
REVERSE SHOT: Mr. Isaacson lies dead on the floor, a pool of blood is around his head, like some bizzare halloo. The CAMERA pans further, and Claire is revealed. She is curled up in the corner, still grasping the bloody statuette. A look of mad terror is seen in her eyes.
POLICEMAN 1
It's okay now. You're safe
now.
POLICEMAN 2
It's over, Miss.
They reach towards Claire.
POLICEMAN 3
(o.s.)
Josh! Bill! Upstairs...
Policeman 3 and 4 run in. They are shocke and terrified.
POLICEMAN 2
What? What's upstairs?
POLICEMAN 3
It's... It's...
POLICEMAN 4
It's a slaughterhouse...
POLICEMAN 2
What? Show me!
Policeman 2,3, and 4 run out of the room, as Policeman 1 helps Claire up.
CUT TO:
83 INT. LODGE - LOBBY - NIGHT
Claire is sleeping peacefully on the couch, the blanket from eployee lounge covering her. Policeman 1 and 2 are huddled next to her.
POLICEMAN 1
That sick bastard... He must
have made a call after each
murder.
POLICEMAN 2
Do you think that he was also
responsible for those incidents
that happened around the lodge?
POLICEMAN 1
From what the girl has told
us, he most probably has. It
will be really hard to prove
though.
Policemen 3 and 4 enter the FRAME.
POLICEMAN 4
We've covered everything.
Nothing else to do until
help arrives.
POLICEMAN 3
I think its best that we
should get going.
POLICEMAN 1
Right. Will you guys stay
outside on guard before the
ambulance should arrive to
pick the girl and the bodies?
POLICEMAN 3
Sure thing.
The four of them head towards the door. Policeman 1 exits last, but before he does, he turns off the lights, leaving Claire sleeping alone in tranquil darkness.
CUT TO:
84 EXT. LODGE - NIGHT
Policemen 1 and 2 approach their car.
POLICEMAN 1
Okay, Guys.
POLICEMAN 2
See you back at the precinct.
Policeman 1 and 2 get in the car. The car's engine starts and it drives off shortly, as Policemen 3 and 4 assume their post by the lodge's main entrance.
DISSOLVE TO:
85 INT. LODGE - MAID'S QUARTERS 1 - NIGHT
ECU: Mark's distorted face inside the plastic bag. The CAMERA slowly pulls back, revealing the entire gruesome scene. Then, the CAMERA begins to move out of the room...
--Past the hallway...
--Down the stairs...
--Past the lobby and sleeping Claire...
--Past another hallway...
Throughout the subtle transition, Mr, Isaascson voice FILTERS IN. It sounds the way he spoke on the telephone.
MR. ISAACSON
(v.o.)
Alessa... Daddy's sorry...
But... He... Will fix...
Everything... Daddy's
sorry...
As he speaks, the CAMERA pulls into:
86 INT. LODGE - EMPLOYEE LOUNGE - NIGHT
Except for the puddle of blood, Mr. Isaacson's body is nowhere in sight. The body is gone.
DISSOLVE TO:
87 EXT. LODGE - NIGHT
IN A WIDE SHOT: The lodge stands peacefully. Policemen 3 and 4 are still in their posts. Then, THE TELEPHONE RING is heard. The Policemen look at each other and then turn around to look at the lodge.
The telephone keeps ringing ominously, as... THE CREDITS ROLL.
THE END
ESTABLISHING SHOT:
1 EXT. ROAD - NIGHT
THE TRACK is SILENT. Slowly, The CAMERA PANS to a sign, which reads:
GREEN HILLS LODGE
Established 1972
SUPER the legend: "April 20, 1974."
A VOICE begins to filter in. It is a woman, singing a jazz song in the distance.
CUT TO:
2 EXT. LODGE - NIGHT
A typical, small two floored lodge for all seasons. Almost all the lights are dark, except for a few windows on the first floor. They are ablaze with warm light.
The CAMERA ZOOMS to the lighted windows, and it revealed that the lodge's lounge is behind them.
Inside the lounge, A FEW DOZEN guests watch watch ELAINE, a beautiful YOUNG GIRL in a a rather revealing evening gown sing a classic jazz song. There is no music, but her voice makes up for this.
CUT TO:
3 INT. LODGE - GUEST LOUNGE - NIGHT
Elaine finishes her song. The guests applaud her. She smiles warmly and curtsies.
WILLIAM, A RELATIVELY YOUNG MAN approaches her and faces the guests.
He waits a second for the guests to stop clapping. When they do, he begins a slick, and obviously well rehearsed speech.
WILLIAM
Thank you for your applause.
This was the one, the only,
the wonderful Elaine Cedrac,
giving her Easter special
concert. Now, our staff
will be happy to serve you
refreshments before bedtime.
Waiters begin to snoop around the guests, serving them finger food, as Elaine and William exit.
CUT TO:
4 EXT. LODGE - TERRACE - NIGHT
Elaine and William exit to the large terrace. As soon as they get to the more shadowy corner of it, William passionatly hugs Elaine.
ELAINE
I am so glad your problem
has been resolved.
WILLIAM
You're telling me. That
disgusting pig! How could
she even think that I
would actually---
(pauses)
Well, anyway, don't worry
about it. Now kiss me.
He leans to kiss Elaine, but she pushes him away.
ELAINE
Not here! This will ruin
my virginal image!!
WILLIAM
You're right. Let's go
to the garden.
As they hurry walk down the steps leading the garden, the lounge lights go out.
CUT TO:
5 EXT. GARDEN - NIGHT
William and Elaine sit down on a bench and begin to kiss passionatly.
The CAMERA shifts to ANOTHER ANGLE: Just beyond the thick trees and bushes. The shot is a slow tracking one, giving the impression that SOMEONE is spying on the two lovers.
The unseen watcher will be called the STALKER.
Elaine unlocks her lips from William
ELAINE
Finally... You're all mine.
WILLIAM
Yeah...
Thy kiss again, this time more passionatly, and becoming more and indulged with each other.
STALKER'S POV: The CAMERA MOVES closer to get a better view of the couple. A HAND comes into FRAME and removes some tree branches for a better look of the lovers. They are completely oblivious that someone is watching.
SERIES OF SHOTS & ANGLES:
The Stalker, never seen, begins to move towards Elaine and William. His other hand comes into view, it holding A HATCHET. The MAIN THEME begins to slowly filter in. Gradually, it becomes louder and louder.
As they kiss, William and Elaine's eyes are completely closed. They don't see as the comes closer. Closer. Closer.
The Stalker positions the Hatchet above Elaine's head.
Suddenly, Elaine feels something is wrong. She looks up and SHRIEKS in terror.
The hatchet goes down, Elaine's scream is cut short and she goes down under the blow.
ANGLE ON WILLIAM: BLOOD spurts on his face, and he is shocked. The Stalker grabs William by the throat and takes out A HUNTING KNIFE, and William suddenly snaps out of his shock.
William makes a fist and hits The Stalker in his face. The Stalker retrieves, accidently dropping the knife.
William does not hesitate and quickly grabs the knife.
WILLIAM
What do you want? Get away!
ANGLE ON WILLIAM: He begins to wave the knife around in a frenzy.
SINGLE SHOT:
The Stalker attempts to grab the knife away from William, for which he gets a deep cut on the wrist. The Stalker does not react to this. Instead, he grabs William by his hand and twists the palm, until William SCREAMS in pain and lets his grip on the the knife loose.
The Stalker quickly grabs the knife and without any hesitation, shoves it in William's eye.
William's mouth drops open letting out a silent scream. His hand graps the knife's handle. BLOOD begins to pour out of the wound.
THE SCREEN BLEEDS TO BLACK.
It is completely silent.
CROSS CUT TO:
6 TITLE SEQUENCE
The screen is completely black and silent. Suddenly, with A MUSICAL STING, THE MAIN TITLE CUTS IN:
DARK EASTER
We ROLL TITLES as the MAIN THEME filters in once again, this time arranged in a bizzare fashion.
TITLES and MUSIC fades out.
DISSOLVE TO:
7 EXT. SMALL TOWN - STREET - EARLY MORNING
Rows of tiny houses are divided by a narrow road, no cars are seen in sight.
SUPER the legend: "April 20, Easter. The Present."
The CAMERA ZOOMS in the very end of the road. A SHAPE slowly comes into views. It is AN ATTRACTIVE YOUNG GIRL. She is carriyng a backpack and a suitcase. Her name is JOAN.
Slowly, RADIO DJ'S VOICE begins to filter in.
DJ
(v.o.)
Hey everyone! It's that time
of year again. No, not Christmas,
but thanks for guessing! Its...
Easter! So, everyone color those
eggs and find those bunnies...
Joan slowly walks down the street. She sees a store and wlaks towards it.
DJ
(cont'd)
And for all those of you
who have decided to wake
up early and go to church,
don't forget to wash those
whites! At least something
about your life has to be
clean and white when you
enter a holy place.
Joan enters the store.
CUT TO:
8 INT. STORE - MORNING
Typical Easter decorations are draped all over the store. It looks quite overdone.
A STOREKEEPER, and FIVE COSTUMERS are crammed in the small store.
The DJ's voice is blaring out of small rado by the check-out.
Joan enters. Nobody seems to pay much attention to the girl. She looks over the small group of people shyly.
JOAN
Hello? Does anyone know
the quickest path to Green
Hills Lodge? I am running
a bit late.
The people immideatly freeze in the middle of what they were doing.
COSTUMER 1
The Dead Lodge? So they
are opening that place up
again?
COSTUMER 2
Have they no shame?
JOAN
Excuse me?
STOREKEEPER turns of the radio. The DJ's voice stops abruptly.
STOREKEEPER
Be quiet, all of you.
What's done is done. It's
been thirty years, time to
move on.
CUSTOMER 2
Tell it to the families of
those two poor souls. I won't
even mention that other girl.
CUSTOMER 3
They were against this whole
affair, you know. Even started
a petition.
CUSTOMER 4
Even of they do open up, there
will be no business. The place
is cursed, you know.
CUSTOMER 2
But some people just don't get
that, do they?
JOAN
But... I am just there to
entertain the kids. I've been
hired through an agency a few
days ago.
STOREKEEPER
It's okay, Dear. Don't
mind them.
(looks at Custmer 5, who has
been silent this whole time.)
Ted? The path can't be too
far away. You used to fish in
the area, right?
Custmer 5, TED, steps out.
TED
Yeah.
STOREKEEPER
Could you take this girl
there?
TED
Sure, this way.
Joan smiles and waves goodbye to the Storekeeper. She grabs her suitcase and follows Ted outside.
CUT TO:
9 EXT. STREET - DAY
Ted is walks up to an old, beat up van. He opens the door.
TED
Don't worry. This baby is
safer than it really looks.
JOAN
Thanks alot. I am Joan by
the way.
TED
Nice to meet you.
Joan hands him the suitcase, Ted tosses it inside the van. Then, they climb in the van and it drives off.
CUT TO:
10 EXT. HIGHWAY - MORNING
THE TRACK is SILENT.
Suddenly, a heavy metal music BLASTS in and A CAR drives across the road.
11 INT. CAR - MORNING
THREE TEENS are inside. They are clean cut, fit, attractive and are obviously from suburbia. Basically, they are kids you might only see in a rich neighborhood, or a Pepsi commercial.
Two if them are MALE and the other is a FEMALE.
Behind the wheel is MARK. He is wearing a typical prep boy attire. Seated next to him is TRISHA, a typical prep girlfriend. WALTER is in the backseat. He looks slightly more nerdy, but is obviously wearing expensive clothes.
The heavy metal music that was heard on the road is blaring out of the radio.
TRISHA
God, MARK! Turn this crud
down. How can anyone listen
to it.
MARK
Well, I'm sorry, Trish, but
not everyone likes Enrique.
Mark turns off the radio.
TRISHA
Screw you.
MARK
Oh, yeah?
TRISHA
(leans to him, seductively)
Yeah.
MARK
Yeah?
TRISHA
(leans to him even further)
Yeah.
MARK
Yeah?
TRISHA
Yeah.
She starts kissing him. Mark does not seem to mind and answers her the same.
ANGLE ON WALTER: Walter looks at the road in horror.
WALTER
Mark! Watch the road!!
ANGLE ON MARK & TRISHA: Mark unlocks his lips from Trisha and looks at the road.
MARK
WHOA!
Mark frantically turns the steering wheel.
CUT TO:
12 EXT. ROAD - MORNING
The car barely misses a sign, which reads:
Green Hills Lodge Lake Resort
NEXT EXIT
CUT TO:
13 INT. CAR - MORNING
The trio sighs in relief.
TRISHA
Watch the road, Dickhead!
MARK
Well, excuse me, but I
wasn't the one slobering
myself.
TRISHA
Well, you I did not seem
you protest much, did you?
WALTER
Guys, let's change the
subject.
MARK
Okay, what do you want to
talk about?
WALTER
Well... Umm... Hey! Isn't
it cool that all three of
us get to work in the
same place during the summer?
(no one answers)
Well?
(still, no one answers)
Trisha? Mark?
TRISHA
(sarcastic)
I am in a jubilating ecstacy.
Now shut up, Walter.
WALTER
Well excuse me for trying to
make the best of things.
Walter sighs and grabs a magazine, which is lying next to him.
TRISHA
Whatever. Mark, turn the
radio back on. And not on
THAT station.
Mark smiles and turns on the radio. The familiar Radio DJ is heard again.
WALTER
Wait! Leave him on. I love
how those DJ guys diss
holidays.
MARK
Knock yourself out.
TRISHA
Well, he finally hit rock
bottom. I mean, listening
to a local Disk Jockey?
RADIO DJ
And let's not forget to
congratulate Torrey Oak
County, where our very
own infamous Green Hills
Lodge is located. Not only
is this the first time they
decided to celebrate Easter
in over thirty years, but
it is the grand reopening
of Green Hills Lodge! Let's
hope that this time, it will
actually open!
TRISHA
What the hell was that?
MARK
Don't you know?
TRISHA
Umm... No. Duh!
MARK
Long story. I'll tell you
later. We're almost there.
Trisha sighs and turns off the radio before the DJ has a chance to make another tasteless joke.
CUT TO:
14 EXT. LODGE - MORNING
ALLAN CARLTON, LATE TWENTIES, comes out of the lodge, carrying a a giant stack of paper towles.
He sees Mark's car pull into the lot. Allan hurries over to them.
CUT TO:
15 EXT. LODGE PARKING LOT - MORNING
The car stops and Mark, Trisha, and Walter exit out.
Allan approaches them.
ALLAN
Hey, you must be the guys.
Would you mind helping me
out?
The trio each take a portion of the stack.
MARK
Are you alright now?
ALLAN
Yeah, thanks. By the way,
I am Allan Carlton. You
guys will be working for
me.
MARK
Okay. By the Way, I am Mark
Eastman. This Trisha Dalton
and Walter Goerd.
ALLAN
Great. Now, four of your
colleagues are already
here, preparing the lodge.
The fifth one's on the way.
TRISHA
You mean you only hired nine
people to take carof this
lodge and service the guests?
WALTER
Yeah, are you sure that we
can manage with such a short
staff?
ALLAN
(sighs)
Well, first of, we are just
opening and I am not expecting
a very good business in the
first couple of months. When
more people will decide to
stay here, I'll hire more staff.
Besides, this is just a small
lodge. We don't need a lot of
staff.
TRISHA
I see.
WALTER
When will we meet the others?
ALLAN
Oh, that's right. Sorry, how
very stupid of me.
(turns around and calls out loudly)
CLAIRE!!!
CLAIRE comes into the MS, holding a hammer and a few nails. She is very pretty, and has girl-next-door written all over her. It is obvious that she has been working very hard for some time now.
CLAIRE
What is it, Allan?
(notices the others)
Oh, hi. I guess we'll be working
together. I am Claire, by the way.
WALTER
Nice to meet you. I am
Walter. These guys are
Mark and Trisha.
ALLAN
Claire, where are the others?
CLAIRE
Well, Scott and Heather are
installing the mattresses.
Monica is making herself
familiar with the kitchen.
ALLAN
Did that girl Joan show up
yet?
CLAIRE
I don't know. I mean, I haven't
seen her. By the way, could
you help me finish nailing the
window frame? I don't know
who did you pay to fix this
place up, but the those frames
are falling apart like Michael
Jackson's face.
MARK
That bad, huh?
CLAIRE
No kidding.
ALLAN
Okay, just give me a sec.
Guys, let me show you where
the storage is, so that we
could put away these damn
towels.
CLAIRE
You know where I'll be.
ALLAN
Great.
(to the rest)
When we're done be free to
unpack and rest, meet the
others. I'll give you all
a short tour of the lodge
and assign you your tasks.
Sounds good?
Mark, Trisha, and Walter nod. Allan walks off, they follow him, Claire goes the other way.
CUT TO:
16 EXT. HIGHWAY - MORNING
Ted's van speeds across the road.
CUT TO:
17 INT. TED'S VAN - MORNING
Ted is driving. Joan is sitting next to him. Ted seems to be nervous about saying something, but finally he sighs and begins.
TED
You know, I don't mean to
sound like those morons with
no life back at the store,
but I wouldn't put my foot
in that lodge for all the
money in Bill Gates's account.
JOAN
Why is that?
TED
This will sound creepy,
but there is something...
What's the right way to
put it... Queer about
that place. Something
is not right there.
JOAN
What do you mean?
TED
That place has a history
of morbid events. First, a
maid drowns in the lake
adjacent to the lodge, during
Easter by the way. Then,
a year later, the owner and
the entertainer get butchered
in the garden. Also during
Easter! They never found
the culprit, you know.
JOAN
My god! Why, that's horrible.
I used to think that was an
urban legend. I thought that
there was no way someone could
just butcher two innocent people.
TED
Yeah. Well, anyway, the place
was, of course, shut down, but
a few years later some resort
corporation tried to reopen it
and make it a part of their
franchise. So they send one of
their people to check out the
location. He was never heard
from again.
Joan shudders.
TED
(Cont'd)
Oh, that's not all.
JOAN
Well, what else happened?
TED
They still tried to open it
up again, so when the workers
came up to fix the lodge, they
find that water in the lake has
been contaminated!
JOAN
How?
TED
Some sicko threw in dozens,
dozens of bloated, rotting
animal carcasses.
JOAN
(repulsed)
That's... That's disgusting.
TED
And the last time they tried
to open it... The lodge itself
nearly burned down for some
unknown reason. If you ask
me, they should have just let
it burn to the ground...
But there is an even more
disturbing detail.
JOAN
What is it?
TED
Every year, on Easter, we find
a sign, written in blood, saying
"Remember that Easter." Which one,
huh? It is always found in an
upstairs maids room. Every year
it comes around like clockwork,
all though this year... Well, not
yet anyway.
JOAN
It can't all be true...
TED
The scary thing is, it is
all true. I mean, the town
was teriffied of celebrating
Easter for years. This is the
first year we finally decided
to get over it. And not quite
all the way, as you have already
see back at the store.
(pauses)
Sorry. Didn't mean to freak
you out. You see, I have this
blabbering problem. I can go
on for hours.
JOAN
No, it's okay.
Suddenly, the van begins to make sputtering noises.
TED
Damn it!! I forgot to fill
her up again!
The van suddenly comes to a stop.
JOAN
Well, what do we do? I am
already late.
TED
I could go to the nearest
gas station for some fuel
and you could wait here,
but I think that it will
be faster for you if you
just walked the rest way.
JOAN
Won't I get lost? I've
never been here before.
TED
Well let me see where exactly
we are.
Tedd looks out the driver's window.
JOAN
Well? Is the lodge far away?
TED
(looks out the window)
Actually, I have great news
for you. As you get outside,
immediately head into the
woods and keep walking
straight ahaead, never
turning. That way there is
no possible way for you to
miss the lodge.
JOAN
Really?
TED
Yeah, trust me. I grew up
in these parts.
JOAN
Well, then. I guess this is
goodbye. Thanks for everything,
Ted.
TED
Bye, Joan. Take care.
JOAN
(smiles)
Bye Ted. Should I sent help
for you when I get there?
TED
Don't bother. I can take
care of myself.
JOAN
Okay then.
Joan opens the door and climbs out of the van. Ted watches her as she heads off into the nearby woods.
TED
Good Luck, Kid. You'll
need it.
CUT TO:
18 INT. LODGE - EMPLOYEE LOUNGE - MORNING
A typical employee lounge, with a television set, a couch, and a few chairs. There's also a lunch table and large windows in the back. A telephone is on a small teble by the couch. A heavey bronze candlestick in the middle of the table.
Claire is sitting behind the table. A few metal dishes with different shades of paint are next to her, along with a basket of eggs and a few paint brushes.
Claire is totally concentrated on painting the eggs.
Allan walks by the open doorway, holding a hammer. He sees Claire and stops in surprise.
ALLAN
I thought you were nailing
the window frames.
He crosses from BG into FG.
ALLAN
(cont'd)
(smiles)
Already slacking off? Hate
to see you not doing your job.
CLAIRE
(still painting the eggs)
I was, but you really took
your time showing the others
the storage. I've been done
for fifteen minutes now.
ALLAN
Oh... Sorry about that.
CLAIRE
It's okay. For the matter,
of fact, it wasn't as hard
as I thought. I had those
babies nailed up in no time.
ALLAN
Oh. Hey, what are you doing?
CLAIRE
Egg painting. After all,
it is Easter.
ALLAN
Yeah, but where did you
get the eggs and coloring?
CLAIRE
I just took some eggs from
the pantry and got some
left over paint. I hope
you don't mind.
ALLAN
Now, it's fine by me.
(sits down next to her)
But why are you painting the
eggs? I mean, you don't have
to do that every Easter.
CLAIRE
I know, I know. You can call
it a habit. Personally, I
think of it as a reflex.
ALLAN
Really? Why is that?
CLAIRE
It's just I have been egg
painting every Easter since
I was six. My parents were
very old fashioned. Sometimes
it seems that I just HAVE TO
paint them. I don't know why
though. I mean, it's not as
if that is gonna save my
life!
She laughs, Allan smiles at her.
ALLAN
You're very funny.
CLAIRE
Thanks.
ALLAN
And very beautiful.
Allan smiles and puts his hand on Claire's cheek.
REACTION SHOT: Claire sighs, and puts down paintbrush and the unfinished egg.
CLAIRE
Allan, please...
Allan quickly retreats.
ALLAN
Why won't you give me a
chance?
CLAIRE
It's nothing personal. Just
a problem I'm having.
ALLAN
But as long as you're staying,
they opened a great night
club back in town and---
CLAIRE
As a matter of fact, I am
seriously thinking about
quitting.
ALLAN
What? Why?
CLAIRE
I may need to fly back to
Denver to straighten something
out. And don't even ask me what
it is. I just...
ALLAN
Well, then meet me half
way.
CLAIRE
How is that?
ALLAN
Help me set up the lodge,
if you're not happy then,
I'll buy you the plane
ticket myself.
CLAIRE
I don't know...
ALLAN
Claire, please. Please!
CLAIRE
(sighs)
Fine. But just one week.
ALLAN
Really? Thanks!
CLAIRE
Although I do wish you
didn't get your hopes up.
ALLAN
Oh, Okay.
Allan exits out of FRAME, as Claire gets back to egg painting.
CUT TO:
19 EXT. FORREST - MORNING
Joan is wandering around, obviously lost.
SOMEONE'S POV: He is watching her. He hides behind a giant oak, seeing Joan, but unseen to her. He slowly steps out of his hiding place. Joann sees him and aproaches, with a giant, delicious smile.
ALLAN
Oh, hello. I didn't know
anybody else was out here.
Thank god I found you. Say,
do you how I should get to
Green Hills---
Someone does not let Joan finishes and grabs her by the throat. It is revealed that there is a deep scar on the wrist!
In shock, Joan drops her suitcase.
JOAN
What are doing! Let go.
The Stalker begins to strangle Joan. She sturggles desperately, but is losing her strenght. With the last ounce of it, She bites the Stalker on the thumb.
The Stalker lets go of the girl to nurse his finger. Joan wastes no time and runs.
MONTAGE - MULTIPLE ANGLES OF JOAN:
Joan runs through the dense forrest growth.
To make it easier to run, she abandons her backpack.
Whenever she looks back, Joan begins to run even faster, gasping for breath.
Suddenly, she trips over a root and collapses on the ground.
STALKER'S POV: He slowly approaches Joan and raises his hand. It is now holding A LARGE BUTCHER KNIFE.
JOAN
(weakly)
No, please... Please...
DON'T!!!!!
The knife goes down and penetrates Joan's back. She SCREAMS in pain.
The knife stabs her again and again, getting smeared in blood more and more.
ANGLE ON JOAN: She lets out a last gasp and limps lifelessly on the grass. Her face is frozen with a shocked, terrified look.
The Stalker grabs her by her collar and, like a hunter does with a dead animal, drags her out of FRAME.
CROSS CUT TO:
20 INT. LODGE - EMPLOYEE LOUNGE - MORNING
Claire has just finished the last egg and places it in a basket with the others. She picks up the basket and places it in the middle of the table, right by the candlestick.
CLAIRE
(jokingly)
Another year, another perfect
egg decoration.
Suddenly, the telephone RINGS.
Claire approaches it and picks up the receiver.
CLAIRE
Hello, Green Hills Lodge,
Claire speaking. Would you
like to find out about our
special family pack---
Claire hears HEAVY BREATHING emitting from the telephone receiver.
CU ON CLAIRE:
CLAIRE
(cont'd)
Hello? Who is this?
The caller hangs up. Claire shrugs and does the same.
Then, with A MUSICAL STING, A HAND places itself on Claire's shoulder.
REACTION SHOT: Claire gasps in surprise and fright and turns around to find...
...SCOTT, a good looking teen, another Pepsi Kid.
CLAIRE
(sighs in relief)
Oh, Scott, it's you.
SCOTT
Yeah, who did you expect?
Jason Voorhees's mother?
CLAIRE
(sarcastic)
You are hilarious. So,
anyway, what's up?
SCOTT
Nothing much. I just came
here to ask to help Walter
and me rearrange the furniture
in the lounge.
CLAIRE
Sure.
They are about to exit, but Claire stops.
CLAIRE
Scott? You're from around
here, aren't you?
SCOTT
Yeah, so?
CLAIRE
Tell me, is it true what
I heard about this lodge?
Those murders?
SCOTT
Well, it is true. There
were some rather gruesome
deaths and happenings going
on here a few years ago.
CLAIRE
Well... How did that story
began anyway?
SCOTT
Stories like this don't
begin. People get scared,
they say things. Things
begin to happen. There is
no beginning, or end to
this.
CLAIRE
I don't understand.
SCOTT
Just forget about. And also
forget about what those
spinsters with no life told
you. Besides, you don't wan't
to piss Allan off with those
stories. By the way, I think
he has crush on you.
CLAIRE
(sarcastic)
Oh, my god, Scott! Gee whiz,
where you the only one who
noticed this? I swear to god,
I am amazed by your splendid
deduction skills!!
SCOTT
Yeah. Right. So, are you
helping?
CLAIRE
Let's go, then.
They exit out of FRAME. The CAMERA lingers a bit longer on the telephone.
CUT TO:
21 INT. LODGE - GUEST ROOM - MORNING.
Mark and Trisha are putting on the finishing touches. They add doilies on chair upholstiires, spreading a quilt on the bed, etc.
TRISHA
There. We should be all
ready for the grand
opening next week.
MARK
(dark & morbid)
If we do open next week,
Trish. The ghosts of the
lodge are not happy!
TRISHA
Mark, just shut that pie
hole of yours. I can't
believe you actually
believe that crap.
MARK
You deny them, Trisha.
And that is why they...
WANT YOU!!!!!!!
In a flash, Mark grabs the quilt and wraps it around Trisha. She SCREAMS in amusement, while he growls evily.
Mark throws Trisha ont he bed.
ECU ON TRISHA:
TRISHA
Let go off me! Or I'll---
ECU ON MARK:
MARK
Or you'll what?
ECU ON TRISHA:
TRISHA
French the living hell out
of you!
They begin to kiss passionatly.
Suddenly, the door opens and Allan enters, along with another GIRL. She is HEATHER, a typical valley girl.
WALTER
Guys, Heather and I wondered
where---
(sees the two on the bed)
OH, SWEET JESUS!
Heather can't open her mouth in shock.
MARK
Haven't you two heard of
knocking?
WALTER
Well this ain't your room
now, is it?
TRISHA
Just give us one sec, 'kay?
WALTER
Sure. Okay. Heather, move
your groove thing.
HEATHER
Yeah, I, like, think this
is the best thing to do
under these circumstances.
MARK/TRISHA
(both)
MOVE!!!!!!!!!!
Walter and Heather exit, shutting the door, but their voices are still heard for a little while.
HEATHER
(o.s.)
Are they, like, always
like this?
WALTER
(o.s.)
More often than you think.
They're really hormonally
advanced!
HEATHER
(o.s.)
Like, ewww...
As their voices fade, Mark and Trisha return to their passionate making out.
CUT TO:
22 EXT. LODGE - MORNING
STALKER'S POV: Neither Mark, or Trisha, realize that the Stalker is quetly watching them through the windows.
CUT TO:
23 EXT. LAKE - DAY
It is obviously that a few hours have passed and that Allan had been giving everyone a tour of the area. The lake is obviously the last stop.
One more GIRL is seen in the group. MONICA, very pretty, but obviously a terrible snob.
ALLAN
And this is obviously our
lake. You are welcome to
swim before business starts.
We even have a rubber boat
in the shed, you all can
use it whenever you feel
like it.
MARK
Hey, isn't that the lake
where the dead animal
carcasses where found?
ALLAN
(sighs)
Okay, I know that this would
come sooner or later.
SCOTT
It's okay, Allan. You don't
have to.
CLAIRE
Yeah, really. We already heard
those stories and it will be
just a useless waste of nerves
on your part.
ALLAN
No, no, it's fine. Now, to
answer all your questions.
Thirty years ago, my brother
owned this lodge. He got
killed, some nasty things
happened, but it's all in the
past now. Now, even though
my parents are totally against
this, I decided to reopen this
place in my brother's memory.
I want to make his dream
come true. That is all there is
to it. I hate to disappoint you,
or the gossiping spinsters, but
there is no curse on Green Hills
Lodge.
CLAIRE
Allan, everything's fine. We
don't go around spreading crazy
rumors.
MARK
Speak for yourself.
ALLAN
Cool it Mark. Now, I have
to go to town to settle
a few things with the
advertising company. Can
you guys manage without
me?
SCOTT
Yeah, don't worry.
ALLAN
Okay, then. See you at
night.
Allan crosses out of FRAME. As soon as he exits, Monica steps out.
MONICA
He forgot to mention that
the townsfolk call this
rotting termite buffet
the Dead Lodge.
SCOTT
Monica, how many times did
I tell not to expose our
bitcheness twenty four-seven?
MONICA
I was just telling the truth.
SCOTT
Whatever. Now, you guys wanna
go swimming? This April is
really warm, we should take
advantage of that. And let's
get that boat out of the shed.
MARK
Sounds great! Hey, Trish,
get out that kinky bikini
you put on just for me.
WALTER
Yeah, you and half the state.
MONICA
You all are forgeting one
tiny detail.
CLAIRE
What is it? Your Highness
needs someone to put her
swimming suit on?
MONICA
Screw you, Claire. Anyway,
don't you people remember?
I am sooo not going to
swim in a lake where they
found rotting animal corpses.
SCOTT
Get over yourself, Monica.
HEATHER
Well, I, like totally, totally
agree with her. I mean, like,
rotten corpses? Ewww!
SCOTT
(glaring)
Everyone just shut up! Now
go and put your swimming
suits and then we are going
to have and have wonderful,
freaking super, time!!!
Got it?
ALL (EXCEPT CLAIRE)
(shocked)
Yes.
SCOTT
Good. Now, who will help me
get the boat out?
No one answers.
SCOTT
(cont'd)
Well?
Still no answer from anybody.
CLAIRE
(rolls her eyes)
For Christ's sake, already.
I'll do it.
Claire and Scott exit out of FRAME.
CUT TO:
24 EXT. SHED - DAY
Scott and takes out a key and opens the freshly painted door.
He goes inside and tries to drag out a big bulk of rubber, the deflated boat.
SCOTT
Here, give me a hand.
Claire grabs the other end of the boat and as they pull, something CLATTERS on the floor.
Claire kneels down to pick up the object. It is a revolver.
CLAIRE
What's this?
SCOTT
Allan told me you can never
be too careful.
Scott takes the gun from Claire and puts it back on the shelf, then they fianll manage to get the bulky rubber pile outside.
CLAIRE
Now the most horrific part,
inflating it.
SCOTT
Don't worry about. I think
I saw a pump in the basement.
CLAIRE
Right... Hey, aren't nervous
that that girl Joan never showed
up?
SCOTT
Kind off. I can't believe
someone would go slacking
off on their first day of
work. If she doesn't show
up, you think you can manage
with the kids by yourslef?
CLAIRE
I honestly don't know.
Besides, I really think
that I won't last here
too long.
SCOTT
Because of that thing in
Denver?
CLAIRE
Yes. I just... Can't help
myself.
SCOTT
He doesn't deserve you.
CLAIRE
That's what they all say.
So, what's up with the
boat?
SCOTT
Right, the boat.
They both grab the boat and exit.
CUT TO:
25 EXT. LAKE - DAY
Monica is lying in the boat. Heather is paddling around next her. They are making pointless chit chat.
MONICA
Why do you need tan anyway?
HEATHER
I think it helps to convert
your skin to a darker color,
so that you won't get sun
burned during the summer.
MONICA
I asked for an answer, not
rocket science thesis.
HEATHER
Like, whatever!
The CAMERA PANS to Trisha and Mark, horsing around in the water, with obvious sexual underplay.
The CAMERA then PANS to Claire, Walter, and Scott, sitting on the beach.
CLAIRE
I am the only one to blame
for this. I knew what I was
getting into, I knew he was
married. But... I was just too
dumb to realize anything. It
all seems so stupid now.
WALTER
Well, why didn't you dump
him when you found out that
he wasn't going to leave his
wife?
CLAIRE
At first, He was telling me
thar his wife in evil bitch,
driving him crazy with endless
scandals and such. I believed
him, even though that is what
every married guy tells his
girlfriend. Then, it became way
too apparent and I finally
understood everything but it
was too late. I was already in
love with him. Last week he
called me and said that he would
be in town and that we could
meet. I want to talk to him,
to tell him that it is over
between us, but I am afraid.
SCOTT
Afraid of what?
CLAIRE
That I will not have enough
strength to say no, as I
usually do.
WALTER
Gee... You must be really
miserable.
CLAIRE
I am. Oh, guys. Please
don't tell Allan about
this. I don't want him
to know.
WALTER
Don't worry we won't.
LOUD GIGGLING and SPLASHING is heard. The trio turns their heads at the lake.
QUICK CUT: Trisha pushes Mark away, he falls into the water.
TRISHA
You gave me a hickie, you
jerk-off!
MARK
Wanna get another one?
He gets up on his feet and begins to kiss Trisha on the neck.
QUICK CUT: Claire turns away in repulsion.
CLAIRE
God! It's like watching
a Tinto Brass movie.
WALTER
Yeah. Imagine a whole year
of that.
Claire LAUGHS.
CUT TO:
26 EXT. FORREST - DAY
STALKER'S POV: He pulls away the branch to get a better view of the teens at the lake.
The THEME begins to slowly filter in.
CUT TO:
27 EXT. FORREST - DAY - A FEW HOURS LATER
The teens have already finished their swimming. The boat is lying on the beach, while everyone is packing up their towles, getting ready to leave.
MARK
What about the boat?
SCOTT
Leave it, we'll take care
of it tomorrow.
MARK
No skin of my nose.
CUT TO:
28 INT. LODGE - MAID'S QUARTERS 1- LATE AFTERNOON
Claire lies on her bed, reading a book. The bed next to her is a tangled mess of skirts, bell bottomed pants, and mini skirts.
The door leading to the bathroom in the BG opens, and Trisha emerges into the FG, wearing a bathrobe and drying her wet hair with a towel.
TRISHA
God, I am hungry. Who is
supposed to be the cook
here anyway?
Claire puts down her book.
CLAIRE
You won't believe.
TRISHA
No, really, who?
CLAIRE
Monica.
TRISHA
(falling on her bed)
No freakin' way!
CLAIRE
Yes freakin' way.
TRISHA
Why did that snot decide
to become a cook?
CLAIRE
She said something about
taking a gourmet cook
class and that this job
would widen her experience.
TRISHA
So she's a gourmet cook.
CLAIRE
Yep.
TRISHA
With the way she is acting,
it seems that we'll be the
the ones doing the all the
cooking and giving her foot
massages in between.
CLAIRE
I hear that.
A KNOCK is heard.
TRISHA
Come in.
The front door opens and Mark enters.
MARK
Wait, is this your room?
CLAIRE
Well we're not playing
shuffle board, if that's
what you mean.
Trisha snickers.
MARK
Don't you know? About this
room?
TRISHA
Jeez, Mark! You know every
single old wives tale about
this hell hole.
MARK
This is the room where they
found all those blood written
signs!
TRISHA
Ewww!!!
CLAIRE
You are kidding!
MARK
And remember that infamous
fire that nearly leveled the
lodge to the earth?
TRISHA
God, I almost wish it had!
MARK
That is where the fire started.
In this very room.
TRISHA
Okay, I'm really not comfortable
with you telling me ghost stories
about a room I'll be sleeping in
for the next few months.
MARK
You don't have to sleep here,
you know. We can bunk together
for some NC-17 fun.
TRISHA
Zip it up, Mark. Not now.
MARK
Whatever. So, You gals are
hungry? We're getting ready
for lunch.
TRISHA
Sure. Just give me a sec.
I need to change.
MARK
Can I stay?
CLAIRE
Just leave, you perv!
TRISHA
Claire's right. Just go
already!
Mark grins and quickly exits.
CUT TO:
29 INT. LODGE - EMPLOYEE LOUNGE - LATE AFTERNOON
Everyone's gathered around the table, dipping tortilla chips into guacamole. Dirty plates with hamburger left overs are pushed away into the center of the table.
CLAIRE
Jesus, Monica. This home
made guacamole's fantastic!!
MONICA
Thanks. And this is my
simplest recipe.
CLAIRE
You will have to share some
of your recipes with me.
MONICA
A magician never reveals
her secrets.
MARK
Hey guys, look what I found!
Mark takes out a piece of paper out of his pocket.
MONICA
What is this?
MARK
A letter that a guest never
send home. I discovered it
while doing my daily rummaging.
MONICA
Even though it is obviously
a load of bull, but what does
it say.
MARK
(begins to read)
Dear Folks. The Dead Lodge
is a great place. No, really!
Well, except at night when
the manager turns into a
cat creature and devours the
guests one by one.
REVERSE ANGLE ON MARK: The paper he is holding is blank.
MARK
(cont'd)
The menu is also fantastic.
Last night we had consommé
of a dead deer carcass we
fished out at the lake. It
was splendid!
Everyone begins to laugh. Claire chokes on her chip.
MARK
(cont'd)
Well, that's all. I love
you. P.S. Gotta run before
the cat---
(puts the paper away)
And that's where it ends.
TRISHA
(in between laughs)
That was so not funny!
CLAIRE
Yeah, it was freaking hilarious!
MARK
Thank you! You can catch
me here every night at ten!
MONICA
I wouldn't catch you even
if my life depended on it.
Mark snickers. He then takes a chip, dips into guacamole and stuffs it in his mouth. Something strange happens. He maons strangly and grabs his neck. The THEME begins to fade in.
WALTER
Are you okay?
Mark croaks and collapses on the floor, beating in violent convulsions and moaning in pain.
TRISHA
What's going on? Somebody
help him!
Mark stops convulsing and lies still on the floor, his eyes wide open in a state of shock.
CLAIRE
I know CPR.
TRISHA
Well then do it!
Claire kneels down to Mark and places her mouth to his. Everyone looks at the nervously.
Suddenly Claire let's out a suffocated scream and jumps up to her feet.
CLAIRE
Mark, you idiot!!
Mark jumps out, grinning like a five year old.
MARK
Ta da!!
HEATHER
Okay... Why?
SCOTT
Yeah, what's your problem?
MARK
Hey, I'm just doing what
the brochure says. Full
time drama club.
CLAIRE
That's for kids, you dickhead!
MONICA
I don't think he wen't that
far away. By the way, who is
supposed to take care of the
kids, anyway?
CLAIRE
I am, along with that girl
Joan, but she never showed
up. I wonder whatever
happened to her?
Suddenly, the telephone RINGS.
CLAIRE
I'll pick it up.
Claire walks up the telephone and picks up the receiver.
CLAIRE
Green Hills Lo---
RASPY BREATHING is heard. A strange, sexless voice follows.
VOICE
(o.s.)
Al... Essa... Leave. They
did... Killed.... Why...
They... Leave... Why...
CLAIRE
Hello? Who is this?
VOICE
(o.s.)
You... Will... Pay.. Alessa...
Claire takes the receiver and points it in the direction of evryone else.
VOICE
(o.s.)
I forgive... Not your...
Fault... Alessa...
Everyone, save for Monica, get a creeped out expression on their faces.
MONICA
This is ridiculous.
Monica grabs the receiver away from Claire.
MONICA
Listen, you perv! This is
a place of business. If you
you want to get off like that,
then call a sorority house, or
something.
VOICE
(o.s.)
(calmly)
You will die before morning.
The person hangs up. Monica slams down the receiver.
HEATHER
Okay, that was, like, the
crepeest phone call I ever
heard.
CLAIRE
Monica, you shouldn't have
said that. Maybe it is some
nut who---
MONICA
Oh, grow up, Claire! It's
probably just some college
preps high on weed.
Everyone looks at each other nervously, trying to convince themselves with Monica's words.
CUT TO:
30 INT. LODGE - KITCHEN - LATE AFTERNOON
Clire is washing the dishes, while Monica dries them with a towel and places them in the cupboard.
MONICA
Those prank phone calls
really piss me off.
CLAIRE
Why is that?
MONICA
They are just so annoying!
You know that movie "Jerry
Maguire?"
CLAIRE
Yeah.
MONICA
Well when it first came out,
some morons kept calling me
every other hour, asking me
to show him the money.
CLAIRE
Some people just need to
grow up, like Mark for
example.
MONICA
Yeah. You know, this one
time---
As Monica continues with her ranting, Claire looks up from her dishes and cocks her head to the side. Does she see something?
The CAMERA PANS SLOWLY to look over her shoulder.
The window pane is dirty and it's a bit difficult to see, but there is SOMETHING standing out there by a tree. But it stands, doesn't move... Is it a building?
CUT AWAY to see Claire using her dishcloth to clear the glass. When we CUT BACK, the shape is gone.
REACTION SHOT: Claire. Curious. A cold chill...
MONICA
Claire? Hello?
Claire shudders snaps back into reality.
CLAIRE
Yes?
MONICA
Are you okay? Did you see
something?
CLAIRE
Well, actually... No, forget
about.
MONICA
Great, now you are going
crazy.
Claire does not pay attention to Monica's insults and gets back to her chore.
CUT TO:
31 INT. LODGE - EMPLOYEE LOUNGE - EVENING
Behind the windows, it is seen that the sun has almost set.
The teens are gathered around the television set, watching a children's choir sing an Easter song.
MONICA
Okay... Why do we even get
the Christian chanel?
WALTER
I think it's for the more
conservative costumers.
MONICA
So, does that mean all the
guests will be from Arkansas?
WALTER
Not everyone in Arkansas
belongs to the KKK, Monica.
MONICA
Whatever, I'm not going to
argue with you.
HEATHER
In any case, why are we
like watching this channel
in the first place?
CLAIRE
The concert looks good.
Besides, it's Easter.
The only thing the other
channels are showing are
big budget blockbusters
from seven years ago.
MONICA
God! Easter's hell!
SCOTT
It could be worse.
MONICA
How? Ho could it possibly
be---
WALTER
(looking out the window)
Man, the dusk looks great
in this parts! I'll think
I'll walk around the woods
for a little while.
MONICA
Knock yourself out.
Walter gets up and exits.
TRISHA
Oh, forgot to tell you. Walter's
a real nature freak.
HEATHER
Well, like obviously.
CUT TO:
31 EXT. LAKE - EVENING
Walter is wandering aimlessly aroudn the beach, stopping here and there and skipping stones across the water.
STALKER'S POV: He watches Walter, slowly and carefully, but unlike all the other times, this time he does not hide behind anything.
CU ON WALTER: He sees someone.
WALTER
Hi. I didn't know that anyone
lived in this area.
Walter begins to move towars the Stalker, unsuspecting of anything.
WALTER
Nice to meet you. I work
over at the Gr---
Suddenly, the Stalker grabs Walter by the hair. There is a sudden, VIOLENT MUSICAL CHORD!
WALTER
(panicking)
What are you doing?!
ECU ON WALTER: Walter quickly grabs the Stalker's strong hand and tries to lossen the grasp, unsuccessfully. Then, before he has a chance to react, the Stalker jerks Walter's head upwards, and jams the familiar hunting knife below his chin. BLOOD begins to pour in a steady trickle down Walter's neck. Walter's body violently convules, red bubbles begin to fizz out of his mouth. A look of surprise and unbelief is in his eyes.
STALKER'S POV: He retracts the knife from Walter's throat, and the latter collapses on the ground like a sack of potatoes.
CROSS CUT TO:
ECU: The TELEPHONE rings.
CUT TO:
32 INT. LODGE - EMPLOYEE LOUNGE - EVENING.
Everyone turns around o face the ringing telephone.
MONICA
It better not be the perv!
The telephone keeps ringing.
HEATHER
Just ignore it.
CLAIRE
(sighs)
We can't. It is part of
our job.
MONICA
(shrugs)
It's your funeral.
CLAIRE
(sarcastic)
You're hilarious.
Claire approaches the endlessly ringing telephone and picks up the receiver.
CLAIRE
Green Hills Lodge, how may
I help you?
VOICE
(o.s.)
Leave... Alessa wants it...
Leave now... Alessa... It's...
Daddy... Daddy will.... Fix...
Everything... Leave... Leave...
LEAVE!!!
CLAIRE
GO TO HELL, you psycho!!!
Claire slams down the reciever.
MARK
Now that's just ain't right.
TRISHA
Hey, Mark. What do you say
we also go outside... For
a walk.
CLAIRE
Guys, I don't think that we
should be doing walks. Those
calls are getting really creepy.
SCOTT
I think she's right. Damn it,
we shouldn't have let Walter
go there either.
TRISHA
Oh, come on! It's not like
that perv is in the same
area code as us.
MARK
Yeah. Get some balls.
Giggling, the two exit out the door, holding hands.
CLAIRE
One of these days their
hormones will overflow
and drown us all.
HEATHER
God! I am turning off the
t.v. I already got the point
that I'm going straight to
Hell unless I am a Southern
Baptist.
Heather grabs the remote and turns off the television set.
SCOTT
So... What now?
HEATHER
I, like, have this totally
awesome idea!
Heather takes out a deck of cards out of her pocket.
MONICA
We are going to play cards?
HEATHER
Yeah, a special version of
poker.
CLAIRE
Strip poker? Because that
was fun and original the
first ten times everyone did
it.
HEATHER
No! Truth-or-Dare poker.
MONICA
How the hell do you play
that?
HEATHER
Easy. You play it just like
regular poker, except when
someone loses a hand, they
will be asked a truth-or-dare
question by the person they
lost to.
SCOTT
Sounds fun.
CLAIRE
Yeah, let's do it.
MONICA
Whatever.
HEATHER
Cool! Who's shuffling?
ALL
You.
HEATHER
Okay, that is so wrong.
The four sit around the table. Heather shuffles the cards and starts giving them out to each player one by one.
CUT TO:
33 EXT. MONTAGE - LODGE - EVENING
The evening slowly fades to night and the lodge becomes dark and foreboding. The only lights that are seen are in the employee lounge windows.
CUT TO:
34 INT. LODGE - EMPLOYEE LOUNGE - NIGHT.
The poker game is in full blast. So far, Scott is missing his shirt, Heather's face is painted like that of a street hooker. The only ones that seem to be winning are Claire and Monica.
MONICA
You know, Heather, you really
suck at poker to suggest that
kind of risqué version of it.
HEATHER
It seems that today is totally
not my day.
CLAIRE
To tell you the truth, this
is, like, the first time I'm
playing poker. And I can't
believe that I haven't lost
a game!
MONICA
(scoffs)
Beginner's luck.
SCOTT
Can we continue now?
HEATHER
Fine.
She sighs and spreads her cards on the table, face up. Everyone looks at them and begins too laugh and ooh.
MONICA
My god, you suck at this!
SCOTT
Who has the most points?
CLAIRE
I do!
(to Heather)
Truth or dare?
HEATHER
Let's see... Truth. I, like,
learned that the hard way.
CLAIRE
Okay. Have you ever gone
a day without saying like?
MONICA
God, Claire! Where is the
spice?
CLAIRE
Well, I am sorry, but I
think we are running out
of ideas by now. By the
way, does anyone know
what time it is?
Scott looks at his wrist-watch.
SCOTT
Thirty after nine, why?
CLAIRE
What's taking them so long?
How long do these nature
walks lasr for?
MONICA
Don't worry about them! They
are not that stupid to wander
off deep into the woods.
CLAIRE
Well... You are probably
right, but still, I have
this very unsettling
feeling.
MONICA
Whatever, So, who's hungry?
I'll go and make some hot
dogs.
CLAIRE
Shouldn't we wait for Mark,
Walter, and Trisha?
MONICA
Now, I don't know about
Walter, but I am very, and
I do mean very, positive
that Mark and Trisha are
eating. Although I am sure
there is no food involved.
SCOTT
Now that was just uncalled
for.
MONICA
As I said before, what-
freaking-ever!
Monica puts down her cards, stands up from her chair and crosses out of FG.
CUT TO:
35 EXT. LODGE - GARDERN - NIGHT
Trisha and Mark are making out passionatly on the bench. The scene bares a major resemblance to the one that took place here thirty years ago with Elaine and William.
ECU ON TRISHA & MARK: Trisha unlocks her lips from Mark.
MARK
What's wrong?
TRISHA
We've been making out the
whole evening. When can
we... You know...
MARK
Speaking of which, I have
this totally awesome idea!
TRISHA
What is it?
MARK
How about we add some adrenaline
to our naughtiness.
TRISHA
How?
MARK
The guest rooms are open.
TRISHA
Get out! Do you really want
to?
MARK
Yeah.
TRISHA
Oh, god! That will be so
cool!!!
STALKER'S POV: He slowly watches as Mark and Trisha jump up from the bench and, giggling, run off. As they dissappear from he MS, the Stlaker begins to slowly move towards the lodge.
A strange DRAGGING SOUNG is heard. The CAMERA pans to the ground, slightly off to the side and...
...With a MUSICAL STING Walter's blood drenched body is revealed. The Stalker is dragging him along with his scarred hand. A bloody trail is left on the grassy ground.
CUT TO:
36 INT. LODGE - KITCHEN - NIGHT
A POT OF WATER is boiling on the stove, while Monica approaches a large refrigerator, opens it and takes out a pack of hot dogs, along with mustard and ketchup. She then opens a pantry and takes out a package of buns. She puts the objects on the table and begins to remove the plastic packaging.
CU ON MONICA:
MONICA
Jeez, why did I volunteer
to cook THEIR dinner? That
was not in my job description.
Oh, well. No use complaining
now.
Suddenly, A SCARRED HAND grabs Monica by the back of her neck. She gasps, more in surprise, then terror.
MONICA
Who is it? Mark? Stop it,
that's really not funny!
REVERSE ANGLE ON MONICA: The Stalker jerks her towards the stove, Monica SHRIEKS.
MONICA
STOP! My dad's a lawyer,
you know.
The stalker positions Monica right abovet the pot.
CU on the boiling water.
ECU ON MONICA: A look of terror forms on her face, as she realizes that this is not a joke.
MONICA
WAIT! NO! STOP! STOP!
The Stalker shoves the screaming girl's face int he pot of boiling water. She begins to loudly gurgle in pain. The Stalker holds. Holds. Holds for a little bit longer and shoves Monica's face out of the pot. Her face is horribly burned with giant, bloated blisters. But she is still alive. The Stlaker throws the helpless girl on the ground. She begins to try crawling away, but has very little sucess. Monica is moaning in pain, with drops of water falling off her scladed face.
STALKER'S POV: He opens and a drawer and spies A BUTCHER KNIFE. He takes, but then immediately sees something better and puts the knife back. The Stalker then grabs A MEAT HAMMER and raises it above Monica.
MONICA
(weakly)
No... Please, no... I'll do
anything...
The hammer goes down, making a sickening, WET CRUNCH. Monica hardly lets out a moan. The hammer goe sup again, stained with blood and a yellowish mess. Then it goes down again, and again, and again.
CROSS CUT TO:
37 EXT. TOWN - BUSINESS PLAZA - NIGHT
The CAMERA pans to the only office with the lights still on.
Judging by the dign on top, we see that it an advertising agency.
The front door opens and ALLAN emergers, followed by SEAN, the agency employee.
ALLAN
...And don't forget to add
that the longdistance is
free. Thank you so much, Sean.
You're a life saver.
SEAN
No worries, Allan. I'll get
the comercial running by the
end of the week.
ALLAN
Great. Well, I got to run.
SEAN
Aw, come on.
(winking)
There's a great strip club
I know.
ALLAN
Thanks, but no thanks. I got
get to the lodge as early
as possible. The staff I got...
I think they might all kill
themselves before the night is
out.
SEAN
Is that all?
ALLAN
No... There is this one girl,
Claire. I'm trying to win
her heart by the end of the
week.
SEAN
I hope you will.
ALLAN
Yeah. Well, bye Sean. See
you later.
SEAN
Bye, Allan.
Allan gets in his car, the engine starts and as the car begins to pull out of the drive way, Sean goes back into the office and its lights go off.
CUT TO:
38 INT. LODGE - EMPLOYEE LOUNGE - NIGHT
Heather is wiping her the make up off of her face with a hankerchief with one hand, and opening the window with another, while Claire and Scott, his shirt back on, are still sitting behind the table.
HEATHER
There. We can finally get
some air here.
SCOTT
Yeah. I could swear that
Monica used some beans while
making lunch.
HEATHER
Like totally!
CLAIRE
She is taking her time making
dinner, isn't she.
HEATHER
Yeah. Maybe we---
Before she has a chance to finish, the telephone rings.
CLAIRE
Damn it! If it's that creep,
the I swear to...
She picks the receiver.
CLAIRE
(rudely, annoyed)
Green Hills Lodge, Employee
speaking.
VOICE
(o.s.)
Daddy loves Alessa... Sweet,
pretty Alessa... Daddy...
will take care of her...
CLAIRE
Just stop it already! You
had your fun. This is a
place of business.
VOICE
(o.s.)
I will throw you off the
roof and lick up what's
left!! This is Easter is
dark.... Dark Easter! Dark
Easter! Dark Easter!
The caller LAUGHES INSANELY and hangs up. Claire does the same, she has shocked and repulsed look on her face.
HEATHER
What did he want?
CLAIRE
Let's just say that I won't
ever be able to look at a
phone the same way again.
HEATHER
Well, should we, like call
the police?
CLAIRE
Yeah.
Claire picks up the receiver, but Scott takes it away and hangs it back up.
SCOTT
Wait. I am sure that Allan
wouldn't want the police
getting involved.
CLAIRE
But... Scott! It's against
the law to do this. He can't
get away terrorizing us like
this.
SCOTT
Let's be calm and rational.
I am sure that this guy is
already bored with us. So,
let's just forget about it.
Just a couple of prank phone
calls can't hurt anyone.
CLAIRE
He said that he would throw
me off the roof and lick up
what's left.
HEATHER
Ewww... That's soo not right!!
Why would he want's lick up
a corpse thrown off the roof?
SCOTT
Okay, so they are really
disturbing phone calls,
but that doesn't change
anything. In any case,
let's see what's taking
Monica so long.
CLAIRE
Right.
The trio moves the towards the door.
CUT TO:
39 INT. LODGE - KITCHEN - NIGHT
Claire, Scott, and Heather enter. The look around the themselves.
REVERSE SHOT: Everything is neat and clean. There is no sign of what has happened. A plate with a pile of hot dogs and sauces rests ont he counter. A steaming pot sits peacefully on the stove.
HEATHER
Nice of her to finish the
hot dogs and turn of the
stove before taking off.
SCOTT
Where did she go? Join the
others for a nature walk?
CLAIRE
Am I the only one sensing
that something is wrong?
HEATHER
Maybe she went to spy on
Mark and Trisha, take some
rather revealing photos and
then black mail them. 'Cause
I would, like sooo totally do
it.
SCOTT
Okay... That was really
weird.
HEATHER
Well, let's eat. Less of them,
more for us.
The trio uproach the counter. Heather takes a hot dog and bites off a portion. Then, she sees something amiss in the pot.
HEATHER
What's this?
Heather puts down her half eaten hot dog and grabs a pair of tongs lying nearby. With them she fishes out crooked, pinkish gray strips.
CLAIRE
I... Have no earthly idea.
They... They could be
overcooked hot dogs, but
they don't look anything
remotely like one.
SCOTT
Stringy hot dogs?
HEATHER
Like, whatever. As long as
the hot dogs taste good.
Heather dumps the tongs with the strips back into the pot and goes back to her hot dog. Scott joins, while Claire stands where she was, suspiciously eyeing the pot.
ECU: Pot. The CAMERA ZOOMS IN CLOSER and closer.
SCOTT
Claire? Aren't you gonna
join us?
CLAIRE
No thanks. I just lost my
appetite.
HEATHER
Why? These dogs are all beef!
The taste is fantastic!
CLAIRE
Just forget about. Enjoy
those your self, guys. I'll
be at the at the lounge.
SCOTT
See you later. You sure
you're not hungry?
CLAIRE
Yeah. I'm sure.
Claire crosses towards the exit door, while Scott and Heather wolf down the hot dogs.
CUT TO:
40 INT. LODGE - GUEST ROOM - NIGHT.
There is no light, safe for the small lam on the bed stand. Trisha is curled up in a ball, lying on the bed with two blankets wrapped around her snuggly. Mark is standing by the bed, fully clothed, buttoning the last two buttons on his shirt.
TRISHA
Mark, don't go. I thought
you said we will snuggle
afterwards.
MARK
Yes, and we will as soon
as I'll smoke a joint.
TRISHA
I thought you quit.
MARK
Yeah, but its been a long
day and... Come on, just
one. Please?
TRISHA
Whatever, but be back quickly!
MARK
Thanks, Doll.
TRISHA
Don't call me that.
MARK
Sorry, Doll.
TRISHA
JUST GO!!
Mark hurries out.
CUT TO:
41 EXT. LODGE - TERRACE - NIGHT
Mark leans against the railing and takes out a crudely rolled up marijuana joint.
MARK
God, how I missed you baby!
Now where the hell is my
lighter?
Mark begins to flap around his pockets, searching for the lighter.
Then, A MUSICAL STING!! A familiar pair of hands quickly puts A CLEAR PLASTIC BAG over Mark's head. He grunts, unable to scream. Mark begins to twist violently to escape, but the hands hold the bag firmly.
ECU ON MARK'S HAND: He squeezes the joint. Dry Marijuana oozes pout of the paper.
ECU ON MARK'S HEAD: He tries to breath, but his mouth and nostrils keep filling up with plasting. His mouth and eyes are wide open and one hand is desperately clawing at the bag.
ECU ON MARK'S LEGS: They twist and turn violently. The squished joint falls ont he wooden floor. Mark's legs step on it, smearng dry pot leaves and paper pieces.
ECU ON MARK'S FACE: His desperate gagging sounds quiet down and the eye swiden more and more.
CROSS CUT TO:
42 INT. LODGE - GUEST ROOM - NIGHT
Trisha has dozed off. She calmly naps in the large bed, surrounded by blankets and pillows.
STALKER'S POV: He slowly opens the door and enters the room. The Stalker stares at Trisha for a moment and then looks at his hand. He is holding A PAIR OF SCISSORS! The Stalker slowly approaches Trisha and removes the blanket, exposing her bare legs. Trisha does not seem to feel anything. The Stalker slowly, carefully spreads her legs and raises the scissors. Then, with a sudden jerk and A MUSICAL CHORD the scissors goes down, slamming into its obvious target.
ECU ON TRISHA: She opens her eyes and lets out A SCREAM, but it is cut by the Stalker's scrarred hand. Trisha is unable to put a fight and all she can do is to make out long, agonizing, muffled shrieks.
CROSS CUT TO:
43 EXT. LODGE - NIGHT
IN A WIDE SHOT: The lodge sits calmly on a hill, with a few windows ablaze with light. Moonlight casts eerie glow on it and from this point we realize how evil and foreboding the building looks like.
CUT TO:
44 INT. LODGE - EMPLOYEE LODGE - NIGHT
The lights are off, except for the bluish glow of the television set.
Claire is huddled on the couch, pressing the buttons on the remote, flipping the channels.
CLAIRE
My god... Holiday t.v. Does
suck!
With no warning, the telephone rings again. Claire glares it out, but it show no intent of going silent. Claire groans and picks up the receiver.
CLAIRE
It better not be you, Bastard!
VOICE
(o.s.)
Can't wait... To lick up all
those delicious guts...
Those yummy entrails!!!
CLAIRE
You need help! Just leave
us alone already!
VOICE
(o.s.)
You know how much Daddy
loves his lovely Alessa?
Alessa... So pretty...
It was... Not... Her...
Time... I will swim in
your blood for this.
CLAIRE
GODAMMIT!!!
VOICE
(o.s.)
I will carve you up like
a thanksgiving turkey and
drink you... I will truly
enjoy mutilating and
your corpse!!
The caller laughs insanely and hangs up. Claire, with a terrified expression on her face, puts the receiver back in its place. She begins to look around herself, uneasily. MAIN THEME begins to slowly filter in.
Suddenly, A VIOLENT CHORD!! A HAND grabs Claire and the lights flash on all of a sudden. She gasps ans turns around...
...Only to find Scott, holding her shoulder and Heather, standing by the light switch.
SCOTT
You okay? You seem to be
getting awfully jumpy.
Claire brushes Scott's hand off and stands up.
CLAIRE
Scott, he called again.
I... It sickens me even
to think about what that
pervert was saying. Anyway,
I'm gonna call the police.
HEATHER
I think Claire's right.
Claire goes towards the telephone.
SCOTT
Claire, wait. Please be
sensible. Allan will be---
CLAIRE
Screw you and Allan!! I'm
calling.
Claire picks up the receiver.
SCOTT
Claire, please! Look, just
ignore it this one time.
If he calls again, then
do as you wish.
Claire sighs and puts the receiver back.
CLAIRE
You owe me for this.
HEATHER
Why won't this guy just
give it a rest? And where
has everyone else gone?
SCOTT
I'm sure that Walter and
Monica will be back any
minute now. As for Mark
and Trisha, I wouldn't
look for them, unless I
feel like plucking my eyes
out after I find them.
CLAIRE
Well this whole thing is
getting a tad unsettling.
You can't deny that.
SCOTT
Listen, it will all be
okay in the morning and
I am sure that this phone
call was the last.
HEATHER
That's what you said about
the last one.
CLAIRE
No matter what, I really
think that we should at
least TRY to look for the
others.
SCOTT
Claire, Heather. Let's be
calm and rational. I think
that the best thing to do
is sit here and wait for Allan
to get back.
CLAIRE
God! When will he get here?!
They all look at each other, then the clock, and then the telephone.
CUT TO:
45 EXT. ROAD - NIGHT
Allan's car drives past a familiar sign:
GREEN HILLS LODGE
Established 1972
There is another sign nailed just below:
CELEBRATIONG OUR GRAND RE-OPENING!!!
CUT TO:
46 ALLAN'S CAR - NIGHT
Allan is focused on the road, blues are playing from the radio.
ALLAN
Finally! Almost there...
Then, he sees something ont he road and brakes to a screeching halt.
CUT TO:
47 EXT. ROAD - NIGHT
Allan gets out of the car and carefully approaches an unseen object.
REVERSE SHOT: SOMETHING is sprawled across the road, because of the darkness it a difficult to see what exactly it is, but it vaguely resembles a human outline.
ALLAN
Hello? Are you alright? Sir?
Ma'am?
Allan walks up to the body, kneels down picks up the person's hand to checkthe pulse. There is a deep scar on the wrist.
CROSS CUT TO:
48 INT. LODGE - EMPLOYEE LOUNGE - NIGHT
Claire, Scott, and Heather are huddled around, watching a slasher flick on television.
HEATHER
So... I still don't get this
ending.
SCOTT
Well you see, she is avenging
the death of that one girl
that---
HEATHER
What girl? That movie is,
like, so totally confusing!
CLAIRE
Well, Heather, you see, these
movies were never meant to
have a rich, Cecile B. Demille
plot.
A SCREAM and SPLATTERING SOUND come out of the television.
HEATHER
Oh, my god, that's sick.
Guys, I think I'll go to
bed. I really don't feel
like waiting for Allan.
CLAIRE
You sure? Maybe we should
stick together.
HEATHER
Oh, god, Claire. I am so
tired. Sure, I worry about
those phone calls and the
guys not showing up, but
I'm only going upstairs!
CLAIRE
If you think that's for the
best...
SCOTT
Maybe you should go, you
do look tired.
HEATHER
'Kay. Night.
SCOTT
Good night.
CLAIRE
Good Night.
Heather gets up and begins to wlak towards the door, but at the last second she turns around.
HEATHER
Claire?
CLAIRE
Yes?
HEATHER
Do you have a book I can
borrow? I totally forgot
to bring something to read.
CLAIRE
Sure. It's on my night stand.
HEATHER
Thanks.
Heather exits thorugh the door. As she does, Scott turns to Claire.
SCOTT
What about you? Are you
tired?
CLAIRE
Kind off, but I'll stick
around a bit and wait for
Allan. You know, maybe I
should give him a chance.
He seems really nicer. Nicer
than HIM anyway.
SCOTT
Are you talking about the
guy you had an affair with?
CLAIRE
I have a tendency to attract
evil bastards, like some
stupid magnet. Maybe this
time I'll get luck and Allan
will turn out to be a great
guy.
SCOTT
I am sure he will.
Claire smiles.
CUT TO:
49 INT. LODGE - MAID'S QUARTERS 2 - NIGHT
This is not the same room that we saw earlier, but is very similar.
Heather is in the room. She takes the ribbon off her hair and heads off into the bathroom, leaving the door open. As she disappears behind door way, the lights in the bathroom go on and some shuffling is heard. Then sound of running water begins.
CUT TO:
50 INT. LODGE - BATHROOM(SHOWER)- NIGHT
Heather is calmly soaping her body, letting the shower massage her. She does not see as A BLACK SHAPE approaches the shower curtain.
MAIN THEME begins to filter in at a slow pace.
The shape just stands there for a minute or so, Heather completly oblivious to it. Then, it slowly turns and walks off. Heather finishes her showering and turns off the water. She stretches her arm outside the shower curtain and gets a towel.
CUT TO:
51 EXT. LODGE - MAID'S QUARTERS 2 - NIGHT
Heather emerges from the bathroom, wearing a bath robe. Her hair are wet. She sits down on the bed and looks around with boredom.
HEATHER
Claire's book...
Heathe gets up and crosses towards the door.
CUT TO:
52 INT. LODGE - HALLWAY - NIGHT
Heather crosses to the other side of the hallway and opens the door leading to the other maid's quarters. Suddenly, her eyes widen in shock.
HEATHER
What the---
ECU ON HEATHER: Before she has chance to do anything, a hand clasps her mouth and quickly jerks her head upwards. Heather lets out a muffled screma. A KNIFE flies past her. The CAMERA PULLS BACK and we see that her throat is slit, with blood pouring down at a tremendous rate.
CROSS CUT TO:
53 INT. LODGE - EMPLOYEE LOUNGE - NIGHT
Claire jumps up from the couch. Scott eyes her suspiciously.
CLAIRE
Did you just hear that?
SCOTT
Hear what?
CLAIRE
It was like a muffled scream.
SCOTT
Maybe it's the television. I'll
turn down the sound.
CLAIRE
Don't bother. I am sure it
came from upstairs. I'll
go check on Monica.
Claire crosses towards the door, but suddenly, the telephone rings again.
SCOTT
Son of a bitch! He's still
doing that!! I'll take care
of it.
CLAIRE
Don't bother, Scott. I am a
veteran.
Claire picks up the receiver.
CLAIRE
You asked for it! I am now
calling the police!
VOICE
(o.s.)
I licked up their guts and
you are next!!! It will be
so yummy. Yummy. Yummy.
YUMMY!!! Alessa wants it.
My sweet, pretty little
girl...
Claire slams down the receiver and glares at Scott.
CLAIRE
I don't care what you say,
but I'm calling the police.
SCOTT
Go ahead.
Claire picks up the receiver again, but suddenly the television goes off, the lights deem and the whole room is swallowed by darkness.
CLAIRE
Scott! What happened?!
SCOTT
That rust bucket of a generator
flaked out on us. Hold on... I
have a lighter.
Scott takes out a lighter out of his pocket anf flickers it on. He crosses towards the candlestick and lights the candles it holds. It casts an eerie, orange glow across the room.
SCOTT
(cont'd)
I'll go to the basement to
check it out. You stay here.
CLAIRE
But...
SCOTT
Stay. Here. I am actually
also beginning to suspect
that something has gone
really wrong.
He begins to walk towards the door, with a flickering lighter lighter still in his hand.
CLAIRE
Scott?
Scott stops.
SCOTT
Yeah?
Claire is obviously uneasy.
CLAIRE
(pauses)
Take care.
SCOTT
Yeah.
Scott continues on his way.
CUT TO:
54 INT. LODGE - BASEMENT - NIGHT
The whole place is pitch black. The only light is coming from Scott's lighter.
SCOTT
Where is that thing?
Scott sees a vague outline of a generator and walks towards it.
ECU ON THE GENERATOR: The switch is in the OFF position.
SCOTT
Who could've...
Something GLIMERS in the corner. We realize that it is A HATCHET!
CROSS CUT TO:
55 INT. LODGE - EMPLOYEE LOUNGE - NIGHT
Claire is sitting on the couch, next to the telephone. She slowly begins to reach for the receiver, but the phone rings once more. Claire grabs the receiver.
CLAIRE
Please, stop! I am so tired
off---
VOICE
(o.s.)
I will soon get you and eat
those delicious entrails! Oh,
all that sweet blood and mucus...
HAPPY EASTER!!!!
The Caller laughs insanely and hangs up. Claire slams down the receiver, but picks it up a moment later and dials a number.
MALE VOICE
(o.s.)
Torrey Oak Police Department.
State your name and adress.
CLAIRE
This is Claire Collins. I am
a staff memeber over at Green
Hills Lodge.
MALE VOICE
(o.s.)
State your emergency.
CLAIRE
I have been getting some
extremely obscene phone
calls.
MALE VOICE
(o.s.)
No need to worry. Probably
just some kids, having fun.
CLAIRE
No, you don't understand.
Everyone else had disappeared
and... And the lights went out.
It's all so strange.
MALE VOICE
(o.s.)
I am sure there is no reason
for these incidents to be
related in any way. Please
just stay calm.
CLAIRE
CALM?! I AM CALM!! YOU ARE
YOU ARE THE DAMN POLICE!!!
DO SOMETHING!!!
MALE VOICE
(o.s.)
Miss, if you won't get calm
I will hang up.
CLAIRE
YOU DON'T UNDERSTAND!!!
Hello? Hello?
But the only sounds coming out of the phone are rapid beeps. Claire slams down the receiver in frustration. A second later it rings again. Claire hesitantly picks it up.
CLAIRE
Is... Is this the police?
VOICE
(o.s.)
Licking it! Licking it! Lick
it! Lick it! Yummy... Yummy...
They won't any piece of your
delicious flesh!!!
Claire eyes widen in terror she hangs up and picks up the receiver again and dials the number she did before.
MALE VOICE
(o.s.)
Torrey Oak---
CLAIRE
It's me again.
MALE VOICE
(o.s.)
Oh, that's right. Now, will
you speak calmly?
CLAIRE
Please, you have to do something!
Everyone's disappeared and the
lights went out. And that caller...
He is threatening to kill me and
god knows what else!
MALE VOICE
(o.s.)
Alright. The important thing
is not to panic. Even though
I am sure they are just prank
calls, if he calls back, contact
us immediately and I will think
about what to do. Okay?
CLAIRE
Okay.
MALE VOICE
(o.s.)
Good luck.
The policeman hangs up. Claire does the same and begins to look at the telephone in fear. Then, it rings again. Claire slowly picks it up.
CLAIRE
What do you want from me?
VOICE
(o.s.)
You... Will... Die... Alessa...
Daddy will... Do... Anything...
Nobody can disturb. For this...
I... Will... cut out your...
heart and eat it... I will lick
up your blood and wear your
skin... HAPPY EASTER!!!
Claire slams down the receiver with a terrified look on her eyes. She dials the police again.
MALE VOICE
(o.s.)
Torrey Oak Police Department.
CLAIRE
It's me, Claire.
MALE VOICE
(o.s.)
Oh. Has he called again?
CLAIRE
Yes. Please do something!
I think he really does
want to hurt me.
(panicking)
Please do something!
MALE VOICE
(o.s.)
Ma'am! Please don't panic.
Panic is your worst enemy
now. What's your name again?
CLAIRE
It's Claire.
MALE VOICE
(o.s.)
Great. Now listen, Claire. My
name is Officer Stevens and
here is what we are going to
do. Next time he calls, try
to keep him on for at least
a minute. We'l trace the call
and get him. Does that sound
like a good plan to you?
CLAIRE
Y... Yes. Sounds fine.
OFFICER STEVENS
(o.s.)
That's good. I am going to
hang up now and call you
when we get him, okay?
CLAIRE
Okay.
Claire hangs up and begins to look anxiously at the telephone. For a few moments nothing happens, it is absolutely dead. Suddenly, the telephone rings. Claire quickly picks up the receiver.
CLAIRE
You?
VOICE
(o.s.)
Yuo must die. Die. Die. Die.
I will splatter you all over
this damned lodge. They will
have to gather you up like a
jigsaw puzzle. What's that,
Alessa? Sweety? You won't me
to cut out her womanly parts?
Claire eyes widen in horror and disbelief as she listens to the bizzare ranting. She begins to hyperventilate and her hand grasps the receiver tighter and tighter.
VOICE
(o.s.)
(cont'd)
Anything for you, Sweetie.
Daddy will do just as you
ask. You will die! I will
carve you up. Carve you
all up and lick up that
delicious blood. Yummy blood.
Yummy entrails. You will sorely
miss your womanly parts. Don't
worry... I will soon arrive
and finish everything up.
HAPPY EASTER! HAPPY EASTER!
HAPPY EASTER! HAPPY EASTER!
CLAIRE
(screaming into the receiver)
LEAVE ME ALONE! GET AWAY!
The caller laughs insanely and hangs up. Claire slams down the receiver an begins to look around the room in panic and terror. Then, the telephone rings again. Claire picks it up and a frenzy.
CLAIRE
JUST LEAVE ME ALONE!! I
beg you! Please...
OFFICER STEVENS
(o.s.)
Claire! I want you to listen
to me very carefully and not
ask any questions.
CLAIRE
What? Why?
OFFICER STEVENS
(o.s.)
Don't ask any questions and
do exactly as I say. Get out
of the lodge and hike up to
the highway. We'll get there
as soon as we can. Leave now,
immediately!
CLAIRE
O... Okay... I'll just see
if the others are upstairs
and---
OFFICER STEVENS
(o.s.)
NO!!! GET OUT NOW!!
CLAIRE
Why? What's wrong?
OFFICER STEVENS
(o.s.)
Listen. The phone calls are
coming from inside the lodge.
He is inside the building!
Leave immediately!!
ECU ON CLAIRE: A look of pure, unimaginable terror fills her face.
CUT TO:
56 MONTAGE - ALL THE SUSPICIOUS PALCE AT THE LODGE
--The dark corners.
--The closed doors.
--The dark stairs.
--The basement.
CUT TO:
57 INT. LODGE - EMPLOYEE LOUNGE - NIGHT
Claire drops the receiver on the floor.
OFFICER STEVENS
(o.s.)
Claire? Do you hear me? Claire?
Claire takes the candlestick and heads towards the door.
CUT TO:
58 INT. LODGE - LOBBY - NIGHT
Claire, still holding the candle, approaches the foot of the stairs.
CLAIRE
Scott? Monica? Heather? Guys,
we have to leave the lodge
this second. There is a
psychopath lurking around
here. Guys? Trisha? Walter?
Mark...
(voice breaking, screaming)
FOR GOD'S SAKE, PLEASE ANSWER
ME!!!! PLEASE!!!!
The only answer is the deep silence. Claire gulps and slowly begins to climb up the stairs, but a the last second she climbs back down and heads into the opposite direction.
CUT TO:
59 INT. LODGE - KITCHEN - NIGHT
Claire looks around the room, the only light is her candle. She comes up to a drawer and opens it. She GASPS.
INSERT - DRAWER
Among other utensils, lies the familiar meat hammer, with blood and brain tissue crusted over it.
BACK TO SCENE
REACTION SHOT: Claire clasps her mouth.
Carefully, so not to touch the hammer, she takes out A BUTCHER KNIFE and heads back.
CUT TO:
60 INT. LODGE - LOBBY - NIGHT
With the candle in one hand and the knife in the other, Claire begins to climb up the stairs.
CUT TO:
61 INT. LODGE - HALLWAY - NIGHT
Claire looks around. Nothing looks strange. Then, she notices something anfd begins to move towards it.
REVERSE SHOT: The door leading to maid's quarters 1 is lightly open with an small orange glow emitting out of the opening.
Claire slowly moves towards it.
CLAIRE
Is anyone there?
Claire place the candle on a small table next to the door. Then she nudges the door to open further and enters the room.
CUT TO:
62 INT. LODGE - MAID'S QUARTERS 1 - NIGHT
Claire stops dead in her tracks. She lets out a blood curdling SCREAM, followed by A MUSICAL STING.
REVERSE SHOT: lighted candles are placed on the shelf, window sill and the floor, casting an eerie glow on the scene. Mark is half sitting, half lying on one of the beds. The palstic bag is still over his face, frozen in a scream. Nestled next to him is Trisha, wearing only her t-shirt, the bottom of which is stained in blood. Her eyes are glossed over and the jaw is dropped. A pair of bloody scissors are placed neatly in the open space between her legs. Mark in Trisha seem to be in a bizzare parody of a lovers' embrace. Walter's corpse is sitting in the chair by the window. Dried blood stains his entire upper body. There is a telephone next to him, with the receiver off the hook. Heather's body is lying on the other bed. The knife is placed in the wound in her neck. The macabre scene is decorated by crude sign, written is blood:
DON'T FORGET THAT EASTER
Claire is unable to believe her eyes. She begins to weep like a wounded, defensless puppy.
THEME begisn to settle in, as the open door begins to slowly slip back into place.
REACTION SHOT: Claire snaps out of shock and turns around, knife ready.
REVERSE SHOT: The door swings ack in its place and Scott's lifless body is revealed.
Claire screams in terror as Scott falls on top of her. As hios back is revealed, we can see a deep wound int he back of his head.
Claire tries desperately to push Scott off of herself.
CLAIRE
SCOTT!!! Oh, god...
Claire pushes him off and quickly gets back on her feet. She wastes no time and rushes out of the room, the knife still in her hand.
CUT TO:
63 INT. LODGE - HALLWAY - NIGHT
Claire runs for the stairs, forgetting the candles.
CUT TO:
64 INT. LODGE - LOBBY - NIGHT
Because of the dark, Claire trips on the last few steps and tumbles down to floor, dropping the knife. She moans in pain and slowly gets up. She begins to run towards the front door, this time slightly limping and holding her leg.
Claire rushes to the door and begins to work the locks. She can't a hang of the last one.
CLAIRE
How do open this stupid
thing?
Claire gives up on the lock. Then, with no warning, the lights flash back on! Claire spins around, totally confused. She then picks up her knife and quickly limps back into the depth of the lodge.
CUT TO:
65 INT. LODGE - EMPLOYEE LOUNGE - NIGHT
Claire rushes in, slamming the door behind her. In a frenzy, she locks it, rushes over to the large chair and pushes it against the door. She then sighs in relief and puts the knife on table. She finally collapses on the chair.
CLAIRE
What am I gonna do...
Suddnely Claire freezes. Terrified, she looks st something in the back of the room.
REVERSE SHOT: Thw window is still open.
Claire slowly gets up and begins to approach the window. She gets closer. Closer. Closer.
When she is just a short distance away...
....A VIOLENT CHORD!!! Suddenly, A LARGE OBJECT is hurled at Claire throught he window.
Claire SCREAMS. The object misses her and falls on the floor. Claire looks down to see what it is.
REVERSE SHOT: It is Monica, long since dead. Her face is obviously mutilated, but very little seen since her her arm is covering most of the face.
REACTION SHOT: Claire... oh, my God...
Claire bolts for the door. She pushes away the chair, unlocks the door, opens it runs out.
CUT TO:
66 INT. LODGE - LOBBY - NIGHT
Clire runs toth front door and pulls the handle again and again, she shows no the sign of giving up. A SNAPPING SOUND is heard and Claire gives the door another pull. It opens. Claire rushes outside.
CUT TO:
67 EXT. LODGE - NIGHT
Clire runs out the front door and runs a few feet away from the lodge...
Only to be grabbed by A PAIR OF STRONG HANDS. Claire screams louder then she ever did before and tries to wriggle free, but the preson is too string. She finally gives and focuses to see who the person is. It is MR. ISAACSON. He is in his late sixties, but is still strong, fit, healthy and very nice looking. His eyes are very kind.
Mr. Isaacoson is trying to his best to calm down the hysterical girl.
MR. ISAACSON
There, there. It is alright
now. Please stop it and tel
me what's wrong.
Claire stops sobbing and thrashing about.
CLAIRE
Who... Who are you? What
do you want?
MR. ISAACSON
Me? Well, I am Mr. Isaacson.
I have a small cabin in the
nearby woods. I heard all the
commotion and came by to check
it out. What has happened here?
You look terrible.
Claire breaks into hysterical sobs.
CLAIRE
Oh, my god! I am so afraid!!
First... First there were
these phone calls and then
everyone disappeared... Then...
Then I found them... Oh, my
god, poor Scott, Trisha...
Everyone!!! They're all dead!!
Monica... She...
MR. ISAACSON
Please calm down. Are you
saying that all of your
friends have disappeared?
Maybe if we look for them---
CLAIRE
No, no! You don't understand.
They were all murdered. There
is a psycopath inside the
lodge!!!
MR. ISAACSON
What?! I have to go see...
CLAIRE
NO! DON'T!! He's still
inside!!
Mr. Isaacson smiles warmly.
MR. ISAACSON
Don't worry, Sweetheart.
I can stand up for my
self.
He gently pushes Claire aside and begins to walk towards to the lodge. Reluctantly, Claire follows him.
CUT TO:
68 INT. LODGE - LOBBY - NIGHT
Mr. Isaacson looks around the place, noticing nothing amiss. He obviously does not believe Claire.
MR. ISAACSON
You see? There is nothing
wrong.
CLAIRE
They're...
(sobs)
They're upstairs.
Mr. Isaacson eyes Claire with suspicion, but still climbs up the stairs.
ANGLE ON CLAIRE: She waits for him impatiently, her eyes looking up.
A TERRIFIED GASPS is heard.
MR. ISAACSON
(o.s)
Sweet... No, not again...
It's happening again...
A few moments later, Mr. Isaacson comes back down the stairs, he is in shock.
MR. ISAACSON
They were all so young...
Why would anybody...
CLAIRE
Monica is back there.
Claire points to the hallway in the back.
MR. ISAACSON
You mean there is more?!
CLAIRE
Can we please go? The police
will arrive soon and what if
the killer is still here?
What if...
But Mr. Isaacson does not listen to her and walks towars the employee lounge. Claire swallows her last sob and reluctantly follows him.
CUT TO:
69 INT. LODGE - EMPLOYEE LOUNGE - NIGHT
Mr. Isaacson and Claire enter. He sees Monica's body and sighs in sadness.
MR. ISAACSON
Oh, lord... We shall go
straight to the police.
CLAIRE
They should arrive soon
now.
MR. ISAACSON
I knew that history would
repeat itself.
Mr. Isaacson leads Claire over to the couch. The two sit down. Mr. Isaacson hugs Claire in order to comfort her. She burries her face in his strong shoulder, as Mr. Isaacson begins to stroke Claire's hair.
MR. ISAACSON
(cont'd)
Every time they try to reopen
this damned place something
awful happens. That horrible
sign... They should have just
let it burn down and get this
over with...
Gentle breeze begins to lightly sway the open window back and forth.
MR. ISAACSON
(cont'd)
...The Dead Lodge...
Claire stops crying. She relaxes and closes her eyes. Mr. Isaacson has almost completly calmed her down.
MR. ISAACSON
(cont'd)
Why did they try to reopen
it again? After all those
tragedies? All the way
back in 1973... A maid of
theirs drowned. Only it was
no accident. That poor girl
commited suicide.
Claire looks up as Mr. Isaacson strokes her hair.
ANOTHER ANGLE: ECU as the Mr. Isaacson's hand strokes Claires's hair. There is a large scar on the wrist!
THEME enters upon the TRACK in a lyrical, child-like
version, echoing back to another era, pretty and light.
MR. ISAACSON
(cont'd)
They drove her to it. Those
two lovers that were killed
a year later. She was a sweet,
naive girl. She thought that
the owner of the lodge loved
her. She let him take her in
that damned maid's room upstairs.
He got her preganat and when he
found out... He just laughed at
her, along with his whore.
The poor girl's heart was broken.
She didn't know what to do and
with the shame of carrying a
bastard child... She drowned
herself. She was only seventeen.
Her name was... Alessa.
Claire blinks, alarmed at something, but can't quite put her finger at what.
MR. ISAACSON
(cont'd)
In any case... We should go
now.
CLAIRE
Maybe we should first wait
for Allan Carlton.
MR. ISAACSON
(cont'd)
No. I do not think that this
will be necessary.
As he speaks, Mr. Isaacson reaches over to the table and takes the knife.
MIXED on the TRACK, filtered, echoed and distant, is the SOUND of a seventeen year old girl, ALESSA, crying out for her father in an obviously pure fantasy version of what might have happened when she drowned back in 1973.
DISSOLVE TO:
70 FLASHBACK - LAKE - 1973
A pretty young GIRL in a white dress is standing at the edge. This is Alessa.
ALESSA
(through sobs)
I am sorry, Daddy... I am
Sorry...
Alessa slowly spreads her arms and throws herself into the water, making hardly a spalsh.
DISSOLVE BACK TO PRESENT:
71 INT. LODGE - EMPLOYEE LOUNGE - NIGHT
Mr. Isaacson cocks his head up to listen to Alessa's cries.
ALESSA
(v.o.)
Please forgive me. Daddy...
Daddy... Daddy...
Mr. Isaacson's eyes fill with tears.
MR. ISAACSON
(cont'd)
I forgive you, Alessa. It
was not your fault. I never
blamed you for a minute...
CLAIRE
(a little confused)
Why shouldn't we wait
for Allan?
Mr. Isaacson has gone through some subtle changes. While his voice remains warm and comforting, his face has started to slip into his other manifestation. All of this is in concert with the visibility of his weapon.
MR. ISAACSON
It was my daughter they killed.
They said it was suicide, but
I know that those two drove
her to it. It was murder.
Claire starts to become increasingly anxious. She can't see the knife rise behind her.
CLAIRE
Allan will be back soon.
Mr. Isaacson shakes her head from side to side.
MR. ISAACSON
No, he won't. I killed him
as well....
The shock of recognition hits Claire. In CU her eyes look up
and see the knife which Mr. Isaacson now has poised and ready to strike. Claire bolts off the couch and stumbles backwards into the wall, crudely brushing against the telephone. It trinks violently.
CLAIRE
You... It was you on the
phone! And you were the
one that... That killed
them!
Mr. Isaacson stands and steps forward.
MR. ISAACSON
I couldn't let them open up
this this place again, could
I? Not after what has happend.
You see, they never found
Alessa's body. This whole area
is the grave of my daughter and
unborn grand child. Alessa...
My daughter... My only family...
(with rage)
You! You came here and interupted
her peace! It is all you fault!
Look! Look what you did to my
child!!!
Claire, in panic, looks for an escape. In desperation, she grabs the telephone.
CLAIRE
No! I won't let you!
Mr. Isaacson steps forward, with the knife ready. Claire aims the telephone.
CLAIRE
(cont'd)
No! No! No!
Mr. Isaacson raises his arm to slash downward with the knife. Claire swings the telephone across his face, hitting him hard.
Mr. Isaacson is in pain, his face a mask of rage.
Claire drops the telephone hard on his head and runs for the door.
Mr. Isaacson hesitates for a moment, then follows Claire deliberately.
CUT TO:
72 INT. LODGE - LOBBY - NIGHT
Claire limps toward the front door, tripping chairs, thrwoing vases, anything that would delay Mr. Isaacson.
CUT TO:
73 EXT. LODGE - NIGHT
Claire runs out the front door. The THEME is going full-tilt as she makes quickly head for the tool shed.
ANOTHER ANGKE: Claire stops to by a tall tree to catch her breath. She looks over her shoulder.
REVERSE SHOT: Mr. Isaacson is nowhere in sight.
Suddenly, something topples out of the tree, rught at Claire's feet. Terrified she looks down and sees Joan's corpse lying on her stomach. Dried blood cakes her back and a terrifying grimace is on her face.
REACTION SHOT: Claire, clasping her mouth and with an unbelievable look in her eyes, slowly backs off.
CUT TO:
74 EXT./INT. TOOL SHED - NIGHT
Claire rushes to the tool shed.
CLAIRE
Please be open...
Claire swings the door open and screams in teror and desperation.
REVERSE SHOT: Allan is revealed. His eyes are wide open and his throat has been slit. He falls forward, barely missing Claire.
Claire steps over the body and rushes inside and grabs the revolver. She checks the magazine. It is empty.
CLAIRE
Where are the goddamn
bullets?!
A SILHOUETTE appears in the doorway. The CAMERA ZOOMS closer. It is Mr. Isaacson.
MR. ISAACSON
Come, Dear. A quick, painless
death is nothing what my
daughter went through.
Claire aims the useless gun at Mr. Isaacson. He carefully steps over Allan and moves forward, backing her into the corner.
CLAIRE
Don't come near me! I'll
shoot!
MR. ISAACSON
No. You. Won't.
CLAIRE
You can't get away with it!
The police will arrive soon.
MR. ISAACSON
Do you honestly think that?
This lodge is miles away
from the town. By the time
they'll get here I will be
all set and done.
CLAIRE
No.
MR. ISAACSON
Alessa was my daughter.
Wouldn't you have done
the same for your own
child?
CLAIRE
Please!
MR. ISAACSON
Come now.
He moves closer and raises the butcher knife.
ANGLE ON CLAIRE: She does all she can do. She takes the gun by the barrel and tries to hit Mr. Isaacson with the butt.
CU ON MR. ISAACSON: He quickly ducks, displaying the cunning stealth he showed all along as the Stalker.
Clairet throws the revolver, hitting Mr. Isaacson in the chest. He grunts, but moves even closer. Claire then grabs and empty paint bucket and throws at it at him as well. The bucket flies past Mr. Isaacson, grazing him on the arm.
MR. ISAACSON
Enough games.
Mr. Isaacson grabs Claire by her neck and rises the knife to strike. The knife goes down, but it suddenly stops in mid-air. A look of pain fills Mr. Isaacson's eyes.
ANOTHER ANGLE: CU as Claire has hit Mr. Isaacson square in the groin. She does it again and again.
Mr. Isaacson drops the knife and let's go of Claire. He topples on the ground.
Claire does not hesitate. She quickly grabs the knife and rushes towards the door. She trips over Allan's body and falls on the ground. She quickly gets up to her feet and runs off, limping.
A few seconds later, Mr. Isaacson slowly get up to his feet. He walks over to the door way.
MR. ISAACSON
It's no use to run! I know
this place like the back of
my hands. You can't get away.
CUT TO:
75 EXT. WOODS - NIGHT
Claire runs through the many trees and bushes she looks behind her a few times, but sees nothing. She runs out of the FRAME.
The CAMERA waits for Mr. Isaacson, but he does not appear.
CUT TO:
76 EXT. LODGE - NIGHT
Claire runs for the front door, but stops a few feet before reaching it. She looks at it, hesitating, but then lets out a deep sigh and runs inside.
CUT TO:
77 INT. LODGE - LOBBY - NIGHT
Claire locks the door on the remaining intact locks, stillholding the knife. She then looks around her surroundings and lets out a sigh of relief. She then leans against the stairs, relaxes and closes her eyes.
Then, A MUSICAL STING! A HAND grabs Claire by the hair and swings her around. The CAMERA pulls back and we see Mr. Isaacson on the stairswith a completly psychotic look in his eyes.
MR. ISAACSON
I will not let you live!
Claire manages to cut his his fingers with knife. Mr. Isaacson howls in pain and lets go. Claire quickly runs into the depths of the lodge.
CUT TO:
78 INT. LODGE - EMPLOYEE LOUNGE - NIGHT
Claire rushes in and shuts the door. She puts her body against the door. Almost immediately, loud pounding begins. The begins to shake. Claire does her best to hold off the insane murderer. Then, his damaged hand slips through and begins scratching at her face. She screams.
CLAIRE
No! Get away! Get away!
Then, the door gets a major push. Claire is knocked on the floor. The door swings open and Mr. Isaacson enters. Claire scrambles on her feet and points the knife in front of her, but in a flash, Mr. Isaacson knocks the knife out of Claire's hands. He then slaps her across the face. He does it again. He then begins to strangle Claire. She begins to squirm back and forth and make chokig sounds. CU as Mr. Isaacson's hand close tighter.
ANOTHER ANGLE: With her hands free, Claire searches for something, anything on the table behind her. Her hands reach the basket with the Easter eggs.
Claire quickly grabs a few eggs and smashes them into Mr. Isaacson's eyes. He screams and lets go of the girl. He uses his free hands to get the shells and the goo out of his eyes.
Claire looks around.
ECU: A BRONZE STATUETTE sits on a shelf.
Claire rushes to the statuette and grabs it. Then, screaming maniacally, she then hits Mr. Isaacson across the head. He grunts and collapses on the floor in a heap. She hits him again and again, with the statuette getting stained with blood.
CLAIRE
DIE! DIE! DIE! DIE! DIE!
She continues to smash the statuette repeatedly over Mr. Isaacson's head, as POLICE SIRENS slowly filter in.
CROSS CUT TO:
79 EXT. LODGE - NIGHT
TWO POLICE CARS, with the sirens flashing and wailing violently, pull into the lot. Almost immediately, the doors open and FOUR POLICEMEN rush out.
POLICEMAN 1
Hurry, hurry!!
The CAMERA follows them as the rush towards the lodge, their guns ready. POLICEMAN 2 tries the door knob.
POLICEMAN 2
It's locked.
POLICEMAN 1
Well, then shoot it! Come
on!
Policeman 2 shoots the lock.
CUT TO:
80 INT. LODGE - LOBBY - NIGHT
The door flies open, making a lound bang against the wall. The four Policemen run in.
POLICEMAN 1
Peter, Roger, you check
upstairs!
Policemen 3 and 4 nod run up the stairs, as Policeman 1 and 2 run into the hall.
CUT TO:
81 INT. LODGE - EMPLOYEE LOUNGE - NIGHT
Policmen 1 and 2 rush in through the open door and stop dead in their tracks.
POLICEMAN 2
Jesus...
REVERSE SHOT: Mr. Isaacson lies dead on the floor, a pool of blood is around his head, like some bizzare halloo. The CAMERA pans further, and Claire is revealed. She is curled up in the corner, still grasping the bloody statuette. A look of mad terror is seen in her eyes.
POLICEMAN 1
It's okay now. You're safe
now.
POLICEMAN 2
It's over, Miss.
They reach towards Claire.
POLICEMAN 3
(o.s.)
Josh! Bill! Upstairs...
Policeman 3 and 4 run in. They are shocke and terrified.
POLICEMAN 2
What? What's upstairs?
POLICEMAN 3
It's... It's...
POLICEMAN 4
It's a slaughterhouse...
POLICEMAN 2
What? Show me!
Policeman 2,3, and 4 run out of the room, as Policeman 1 helps Claire up.
CUT TO:
83 INT. LODGE - LOBBY - NIGHT
Claire is sleeping peacefully on the couch, the blanket from eployee lounge covering her. Policeman 1 and 2 are huddled next to her.
POLICEMAN 1
That sick bastard... He must
have made a call after each
murder.
POLICEMAN 2
Do you think that he was also
responsible for those incidents
that happened around the lodge?
POLICEMAN 1
From what the girl has told
us, he most probably has. It
will be really hard to prove
though.
Policemen 3 and 4 enter the FRAME.
POLICEMAN 4
We've covered everything.
Nothing else to do until
help arrives.
POLICEMAN 3
I think its best that we
should get going.
POLICEMAN 1
Right. Will you guys stay
outside on guard before the
ambulance should arrive to
pick the girl and the bodies?
POLICEMAN 3
Sure thing.
The four of them head towards the door. Policeman 1 exits last, but before he does, he turns off the lights, leaving Claire sleeping alone in tranquil darkness.
CUT TO:
84 EXT. LODGE - NIGHT
Policemen 1 and 2 approach their car.
POLICEMAN 1
Okay, Guys.
POLICEMAN 2
See you back at the precinct.
Policeman 1 and 2 get in the car. The car's engine starts and it drives off shortly, as Policemen 3 and 4 assume their post by the lodge's main entrance.
DISSOLVE TO:
85 INT. LODGE - MAID'S QUARTERS 1 - NIGHT
ECU: Mark's distorted face inside the plastic bag. The CAMERA slowly pulls back, revealing the entire gruesome scene. Then, the CAMERA begins to move out of the room...
--Past the hallway...
--Down the stairs...
--Past the lobby and sleeping Claire...
--Past another hallway...
Throughout the subtle transition, Mr, Isaascson voice FILTERS IN. It sounds the way he spoke on the telephone.
MR. ISAACSON
(v.o.)
Alessa... Daddy's sorry...
But... He... Will fix...
Everything... Daddy's
sorry...
As he speaks, the CAMERA pulls into:
86 INT. LODGE - EMPLOYEE LOUNGE - NIGHT
Except for the puddle of blood, Mr. Isaacson's body is nowhere in sight. The body is gone.
DISSOLVE TO:
87 EXT. LODGE - NIGHT
IN A WIDE SHOT: The lodge stands peacefully. Policemen 3 and 4 are still in their posts. Then, THE TELEPHONE RING is heard. The Policemen look at each other and then turn around to look at the lodge.
The telephone keeps ringing ominously, as... THE CREDITS ROLL.
THE END