Tag Archives: Horror

Horror, Movies, Review

Army of the Dead

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This isn’t so much of a review, as much as it is a bitch fest, so this will be wicked short. I watched this the other night and well, while the movie is alright, I couldn’t help but see one too many parallels to something else that deals with zombies, so my review is going to be summed up in this picture.

The Movie

CONCLUSION: Besides Zynder’s call backs to his remake of Dawn of the Dead (2004), which seem hokey and retro in a badway, this movie doesn’t move the genre forward in anyway, shape or form. It’s a mediocre movie in everyway, shape and form. All the most interesting parts are ripped off the game Left4Dead, which is the super zombies that are harder to kill. Included are the witch, the hunter and some Glen Danzig wanna be. If you added the “boomer” zombies, you could of easily called this Left4Dead 3. I hope Netflix gets sued for plagiarism.

2 out of 5 stars.

Horror, Non-fiction, Reviews, Writing

The Texas Chainsaw Massacre, Netflix 2022, review. (Mostly Spoiler Free)

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INTRODUCTION: Ok, I make it not secret that I cannot stand the Texas Chainsaw Massacre film series. Yes, as a horror fan, I know this piece of shit is sacrosanct, but I could never find a way to like it. I went into this with lower than average expectations, even lower than I have with politicians, which is saying a lot, so was good?

STORY: Douche-bag Youtubers buy shit ghost town, accidentally kill leatherface’s mamma and how they’re fucked. Very Original/sarcasm

DIALOGUE: Mostly good, minus two cringe moment, one about death following one chick to this shitty town and the other about the wanna be Laurie Strode not being remembered by Micheal…er, leatherface.

SFX: Standard, but good.

VISUALS: Very good looking town, realistic for what is probably just stand ups as opposed to actual full sets. Sadly the shitting yellow lighting of a good portion of the movie to remind us the original was set in the 70s, was annoying.

KILLS: Decent, but not amazing. At one moment, what could of been a great massacre on par with Darth Vader in Rouge One, is plagued by “humor”.

SUBTEXT: Seriously? Consider the source material.

CONCLUSION: For a movie that is just a rip off of Halloween (2018), it is still the “best” this “series” has to offer and sadly way too late to be really worth your wild. When I say rip off, it is nearly point for point in the structure. Ignore all but the original movie? Check! Have actors that aren’t the most photogenic? Check! Have the original villain be smarter than he was in previous versions? Check! Original, albeit recast, character making a comeback for a show down? Check! Cliche ending? Check! This movie wins the 2018 horror movie bingo. Sadly, it is still just a mediocre horror movie at it’s core.

3 stars out of 5 for a normal horror movie.

4 out of 5 stars for a Texas Chainsaw Massacre movie.

kageoween, Movies, Reviews

Kageoween: Halloween Kills Review (Mostly Spoiler free)

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INTRODUCTION: Welcome back to another edition of Kageoween! This year, we’re taking a look at Halloween 2-2, aka Halloween Kills or Halloween 2020-21.

Is this the horror movie of our nightmares or another dashed potential at the film series?

PLOT: It’s technically November 1st, probably, but Halloween is still continuing to be a horrific nightmare, thanks to the escape of Michael Myers, only hours earlier.  

CHARACTERS: Mostly characters from the last outing or in Antony Michael Hall’s case, an updated actor to an old role. None of them are really better developed in this one, but they don’t really need to be.

STYLE: Very great visuals, especially when they go back to 1978 for a very special surprise, which will make you explode with joy as a fan.

ACTING: Very good! Not a single weak ass mutha’ fucker, even the extras brought their A game.

DIALOGUE: Clunky at moments, but otherwise fine. This movie would have been great even with dialogue.

FX: Retro, but good. Nothing is going to stand out to you.

MUSIC: It’s Halloween! It’s that same one fuckin’ song and the occasional eerie Myer’s screech/beat, but it is fuckin’ effective as all hell, so who cares?

SUBTEXT: None that I could discern at present.

CONCLUSION:

The critic consensus isn’t good, but fuck them, am I right? This movie just proves that this Halloween is following typical three act structure and this is The Empire Strikes Back of Halloween movies. Oh sure, it has a few weak moments when it comes to potential recons, that don’t really make sense, given that Halloween (2018) picks up right after Michael is shot by Loomis in Halloween (1978) but they’re not committed enough to those for it to have really matter, at least not in this flick. Yes, it’s a movie devoid of anything but senseless killing and in that, we find brilliance, because this movie is really Michael’s voice, in that he speaks through his actions, leading up to what should be a amazing third act in Halloween Ends (2022) Ultimately, this movie didn’t need to be anything but carnage candy and it satisfies. Now only time will tell if the series will end on a high note. It has me already looking forward to next Halloween.

4 out of 5 stars.

Essays, Non-fiction, Writing

Horror, Romance from a Male Perspective.

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“Just because it’s a love story doesn’t mean it can’t have a decapitation or two.”

Robert Englund, Wes Cravens’ New Nightmare

Horror movies. Love them or hate them you most likely have a hardline opinion on them. Few have apathy for the genre. Some love gore, some love to be scared and some find those things to be damning to the soul and would much rather see these movies never be made again. Can we find a universal redeeming quality for one of my favorite genres? Maybe and that is what we’re going to look at. I believe Horror movies are really romances at heart, from the male point of view.

Obviously, what we’re seeing onscreen is “real” in terms of the world these characters are living in, So we’re dealing with this from the point of subtext and not a literal interpretation.

The typical killer in these movies are normally male and pretty masculine. They’re representative of the id and all the primitive instincts that make it up. Sexuality, Aggression and instincts. There is no ego or super ego to keep them in check, they couldn’t care less. Their driving force is satiety.

The typical survivor girl is almost always female, hence the term, and more akin of the ego and superego. They’re the ones struggling to keep control against the ID. This is why they’re often virtuous and innocent in the beginning.

Now that we set the tone for what I’m arguing, we can start to examine the micro aspects of the genre, like the weapon almost always being subtext for a phallus. Normally it is a blade of some sort, be it a sword, knife or machete. Why? Because at some point the survivor girl is going to be penetrated by the knife or cut somehow and this is subtext for sexual penetration. Masculinity and femininity combined as one, occasionally resulting in the monster themselves being impaled later on by their own weapon, in role reversal. I’ll elude more to this below.  

The friends or other victims are almost always shallow and that’s because the ID isn’t friendly to what it wants. I know a lot of us critics will point out that these characters need development and while I stand by that, the killer’s perspective couldn’t care less. When they’re men, they represent competition for what the ID wants and need to be dispatched and when they’re woman, they’re just “sexual” fodder, due to not satiating the unbridled carnality.

The endings usually see the survival girl “kill” off the monster, which is subtext for the lust being quenched by the object of desire and as stated above, the monster being penetrated, normally in the heart area, as subtext of falling in love, which juxtaposes with the females often being stabbed in the uterus area, as if being impregnated.

So why monsters as analogy, vs aggressive men? Men are often vilified for their desires and what they would do to achieve those ends. This is the enteral plight of the individuals fight with the ego, albeit not exhibited onscreen, but rather in how the villain is perceiving themselves and showing us who they feel as if they are.

Horror and romances even have similar plot points within the story structure. Meetcutes for instance, when the future couple meets for the first time. Halloween where Michael is standing behind the bush is an example of this.

While not exhaustive, when you examine these main points, all of this makes the horror-slasher genre really a love story from the point of the male libido.

Fiction, Horror, Writing

Director’s Cut:Screenplay (2008)

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*Note from the writer

I wrote this in my early 20’s, dismayed with toxic fandom,as I still am. I decided this was the story I wanted to tell, but not satisfied with it as something I would desire to film, until I did at least a few drafts of it. Still, it isn’t too bad of a story and so I am presenting it here. Sadly, the formating takes a hit. If It is enjoyed, I could possibly make the formated version for available someday.-Kage

DIRECTORS CUT

Written by
Karl Richard

FADE IN:
EXT. CINEMA-NIGHT
Two pre-teen boys, JASON and MICHAEL Strode, walk up to the box office.
A young TICKET SELLER, 20’s, sits reading a magazine, bored.
Jason hands the man money.
JASON
Two tickets to Frightmare, please.
The young man doesn’t break his concentration from his magazine, which is clearly more important.
TICKET SELLER
(Mumbly)
Enjoy the show!
The two young boys hurry inside.
INT.CINEMA-CONT’D
Jason and Michael take their seats, in the middle of the row as other patrons do the same.
Up on the screen, the projector starts.
They stare at the screen, mesmerized as they share pop corn back and forth. A SCREAM startles them, and they nearly drop their pop corn on the floor.
EXT. CINEMA-NIGHT
The pre-teen boys exit the cinema, excited about what they had just watched.
JASON
Oh my god! That was so cool the way he plunged the knife into her eye.
The other young boy nods in agreement with a smile on his face.
JASON (CONT’D)
Man, I can’t wait until the second one.
Jason’s voice trails as they walk away.
Fade to black.
Superimpose: 15 years later.
FADE IN:
Jason and Michael, now men, sit on a couch, eating take out Chinese.
On the tv, the words “Last Take” comes on the screen. A female reporter comes on the screen. Next to her, a box appears with a frighting image and the words: Frightmare underneath it.
FEMALE REPORTER
It was fifteen years ago this month that a small, independent classic horror film, Frightmare was released to the world…
JASON
Hey, Mike, they’re talking about frightmare, turn it up.
Michael grabs the remote.
On the screen, the volume turns up and the woman’s voice gets louder.
FEMALE REPORTER
Spawning 4 sequels and numerous ripoffs.
JASON (0.S.)
Come on, get on with it.
FEMALE REPORTER
Now it looks like another
Frightmare film is in the works.
Jason and Michael high five one another, excited.
They look back at the tv to finish hearing the rest of the news.
FEMALE REPORTER (CONT’D) After 10 years, the studios have finally decided to remake the first frightmare…
The boys excitment fade, and they sink back into the couch.
JASON
Remake? Why the fuck do that?

Appretly they want to bastardize a really good film?
Jason motions to Micheal to hold up for a second.
On the screen a man, who could pass for an out law bikers, picture comes up.
FEMALE REPORTER
Rob B. Former lead singer of the S.S. Lycan’s, has been tapped to head up the project, slated to shoot next month.
The two sit, mesmerized by what they are hearing, unable to movie.
FEMALE REPORTER (CONT’D) Rob B’s most recent film, the horror movie, Merry Gashmas, about a Killer Santa, was panned by critics as being too over the top and campy.
On screen, they show a clip from the movie, filled with terrible acting, dialogue and lighting.
Jason reaches for the remote and hits a button. The tv shuts off.
They sit, unable to speak for a moment.
JASON
This can’t be happening.
MICHAEL
I know, and the fact they would hire a musican, of all people.
JASON
A terrible musican, at that.
MICHAEL
Only one thing we can do about this.
JASON Kill Rob B?
MICHAEL
No, I was going to say bitch on the internet, but I like your enthusiasm.
The both look over at the desktop computer.
JASON
It was your idea, you do the honers.
They walk over to the desktop and turn on the monitor. A search bar comes up and they type in “Frigtmare remake”
Tons of search results apper.
MICHAEL
How to enlarge your penis…
He scrolls down more
MICHAEL (CONT’D)
Don’t quite messure up in the sack?
Goes through a few more
MICHAEL (CONT’D) Stop that bastard, Rob B from remaking a classic. Bingo!
He clicks the link and it leads him to the fourm.
JASON
What does it say. Micheal reads the post.
MICHAEL It wants people to sign the petition to get the remake stopped.
JASON
What good is that going to do?
MICHAEL
Get the studio to consider stopping the remake or hiring a more competent director?
JASON
The studio is never going to listen to them, because it is all about making money.
Yes, but by threathing a boycott, they might see they stand to lose money.
JASON
What good has boycotting ever done?
MICHAEL
You never heard of the Montgomery Bus Boycott?
JASON The what?
MICHAEL Nevermind.
JASON What else are people saying.
Micheal scrolls down the list of fourms.
MICHAEL
Someone should send anthrax to the stuido…
Scrolls further.
MICHAEL (CONT’D) I hope that bastard Rob B gets nut cancer…
Scrolling down more.
MICHAEL (CONT’D) Someone really should kill the the bastards behind this…
Scrolls again.
MICHAEL (CONT’D) I was just dumped by my boyfriend of 5 years, but then I signed up for…
Jason bends down, eye level to the computer.
JASON
What was that last one?

About being dumped by her boyfriend?
JASON
No, before that.
MICHAEL
Someone should kill the bastards behind this.
JASON
Yeah, I like the sound of that.
MICHAEL
What is with you and this killing people?
Jason ponders, taping his fingers together like a villian.
JASON
We would be heros of the internet if we could kill Rob B.
MICHAEL Why just him?
JASON
Because he makes other shitty films and then gets a chance to bastardize a classic.
MICHAEL
What about the producers who get him the funding?
JASON They suck, too!
MICHAEL And the actors?
JASON
Nah, they are just doing their jobs, hired guns. Same goes for the crew.
MICHAEL
So just higher ups should die?
JASON
Yeah, pretty much.
You have a sick mind.
Jason walks over into the kitchen like area that separates it from the living room with an island in the middle.
He looks through the kitchen draws and sees a huge KNIFE.
JASON
We could use this.
MICHAEL
What are we, walking cliches?
JASON
A knifes a fuckin’ classic, man!
MICHAEL
Yeah, if we where going to kill really hot teen girls. personally, I’d rather fuck em’
JASON Fuck Rob B?
MICHAEL
No moron, fuck the teen girls.
JASON
Yeah, that would be fun.
Jason looks up at the sailing, pondering fucking the teen girls.
Micheal types at the computer.
JASON (CONT’D) What are you doing.
MICHAEL
Signing our names to the petition.
JASON
I’m telling you man, that isn’t going to do a goddamned thing.
Micheal gets up and streaches.
MICHAEL
Too late, we’re on it.
Michael heads over to the coat rack and grabs his coat, putting it on.
MICHAEL (CONT’D) I don’t know about you, but all this talk about murdering shitty directors has made me hungry.
JASON
Good idea, lets get a bite.
Jason grabs his coat and puts it on, too.
JASON (CONT’D)
Hey, maybe we should call Chuck and Fred. They might want to hang out with us. Gives us all a chance to bitch over this movie ordeal.
MICHAEL
Sure, we’ll call them on the way.
INT.RESTURANT-DAY
Jason and Micheal sit at a round table, finishing their lunch with CHUCK and FRED DAVIS, both in their 30’s.
CHUCK
There remaking frightmare? Those fuckin bastards.
A silence falls over the resturant, chuck has spoken loud enough for all to hear.
He looks around at the people looking at him and apologizes.
CHUCK (CONT’D) Sorry people, sorry. Go back to your double wrapped bacon heart attacks.
He leans over the table to Jason.
CHUCK (CONT’D) Fuck man, I can’t belive they are remaking that classic. Such a fuckin’ shame.
JASON
I know, right? I like the guy on the internet who suggested someone kill the director.

CHUCK I’m totally in!
Michael takes a sip from his drink.
FRED In on what?
CHUCK
Mikes and Jason’s plan to kill Rob B.
Micheal chokes on his drink and regains his composure.
MICHAEL
There is no “plan” to kill Rob B. we’re not killing anyone.
CHUCK
Like you wouldn’t want too?
MICHAEL (CONT’D) Just because I hate the bastard, doesn’t mean I want to kill him.
Chuck looks back to Jason.
CHUCK
Your brother is in denial, my friend.
JASON I know.
Micheal shoots Jason a glance that could kill.
MICHAEL
I’m not in fucking denial, I’m just not going to fuckin kill someone for a movie that hasn’t even come out yet. further more, we don’t even know this movie will be as bad as we think.
Chuck starts to laugh, getting louder and louder.
The restaurant is back to staring at him again.
He makes a cock sucking motion to an OLD WOMAN staring at him across the resturant, licks his lips and then winks.
She makes a disgusted look and moves to a different table.
FRED
Must you alienate people every time we go out?
CHUCK
Its what I’m good at.
FRED
That and miming a blow job, apparently.
CHUCK
Jelous that we’re brothers and I can’t show you my BJ skills?
FRED
You are demented, you know that? Like a fuckin’ A.D.H.D addled internet vlog reject.
CHUCK Fuck you!
MICHAEL
Guys, please calm down. You’re scaring the straights.
CHUCK
To hell with it, I’m done with lunch anyways.
Chuck leans over, throwing out his trash.
CHUCK (CONT’D)
I say we go back to your place Jason and discuss this plan to kill Rob B.
MICHAEL You really are a stupid fuck, aren’t you?
Chuck gives Michael the finger.
CHUCK
Jason, you game?
JASON Fuck yeah!
CHUCK
That settles it. to the geek cave!
He runs out the restaurant, causing a scene.
Micheal stands up.
MICHAEL
Sorry about him, he has down syndrome.
The patrons nod as if it all makes sense now.
Michael and exit the restaurant.
INT. MICHAEL AND JASON’S HOUSE-COND’T
The door unlocks and swings open, Michael, Fred, Chuck and Jason all pour inside, one after the other.
CHUCK You guys got any beer?
JASON
Check the fridge.
Chuck rushes over to the fridge, and swings the door open, digging around for beer.
CHUCK
I came all the way over here and all you have for me is light beer?
MICHAEL
You live down the street, how do you figure you came all the way?
CHUCK
Shut the fuck up.
MICHAEL Choke on a dick.
Chuck grabs the six pack and shuts the fridge door. He walks over to a chair, and plops down, taking a beer and tossing the rest of the six pack to Micheal, who does the same. They pass the beer until they all have one.
CHUCK
Lets see whats on T.V.
Jason picks up the remote and tosses it to Chuck, who clicks the buttons a few times.
On the t.v. screen, the channels change, showing all types of random clips, they stop.
CHUCK (CONT’D)
Oh, cool, the oringal Frightmare is on.
JASON
Yeah, but its edited.
CHUCK
But its still fun to watch.
MICHAEL
No it isn’t. its like watching a neutered dog trying to lick its balls. Sad and Pathetic.
Chuck motions for them to be silent by bringing his finger to his lips.
CHUCK
Quiet, this is my favorite kill.
On the screen, the killer raises an axe, high above his head, and brings it down, hard. The scene cuts out the good gore.
CHUCK (CONT’D)
Oh man, even edited that is fuckin’ hard-core.
JASON
You really are fuckin demented.
CHUCK
No, I just know how to use my imagination.
MICHAEL
Doesn’t that require being able to think?
JASON Yeah, it does.
CHUCK
Ha ha, so fuckin’ funny. Even edited its still better than that piece of shit remake that is getting made.
MICHAEL
Oh my god, get the fuck over it. Bitch about it online like the rest.
CHUCK
I can’t believe you man, I really can’t. Here you are, sitting idly by why they bastardize your favorite film.
MICHAEL
I’m not sitting idley by, I sign the petition.
CHUCK
Ha, what good is that?
Michael picks up a throw pillow on the couch and tosses it chuck.
The impact makes chuck spill his beer all over him and sit up.
CHUCK (CONT’D) What the fuck man.
The group laughs at him.
CHUCK (CONT’D) Hey, fuck you faggot.
He tosses the rest of his beer at michael, who shields himself with another throw pillow.
MICHAEL
(laughing)
Don’t be such an emo bitch.
FRED
Hey guys, quiet up for a second, there talking about the remake.
On the tv, the same female reporter shows up.
FEMALE REPORTER And as if our news report earlier tonight that rock musican, Rob B would be directing the remake to the classic horror movie, frightmare, then this news deffintly will.
Jason looks over to chuck.
JASON
Hey, turn it up.
Chuck turns the news up and their attention is back at the screen.
FEMALE REPORTER Reports are coming in that Rob B will not only be signing on to direct the remake, but will also be signed on to do two sequels as well.
The men sit, staring at the tv, almost numb.
CHUCK
What the fuck is this shit?
MICHAEL
Ok, now I’m pissed.
FRED
Its all about the money.
JASON
No shit its about the fuckin money, why else do it?
MICHAEL
You know what? I need some sleep, today has filled with bad news.
JASON
Yeah, thats a good idea.
CHUCK
Guess we’ll talk to you guys later.
FRED
Yeah, its been good.
Jason and Michael see Fred and Chuck to the door.
MICHAEL Later guys!
Michael shuts the door and leans up against, relieved that Chuck and Fred are gone.
MICHAEL (CONT’D) Man, chick gets on my neves sometimes.
JASON
Don’t sweat it, man. That is just how he is.
MICHAEL
Yeah, yeah. I’m going to bed, see you in the morning, bro.
JASON Night dude!
Jason walks off to his room.
INT. JASONS ROOM-CONT’D
Jason pulls back the covers to his his bed and lays down, staring up at the ceiling with his hands behind his head.
The CLOCK on his night stand reads 9:00 pm.
Slowly, time lapses as Michael stares upwards. Sunlight shines into the once dark room from the window.
The CLOCK now reads 9:00am.
INT. KITCHEN-DAY
Michael walks into the kitchen where Jason is making breakfast.
JASON
How’d you sleep?
MICHAEL I didn’t.
JASON
I sleep like a baby.
MICHAEL Lucky you.
JASON
Coffee is ready, help yourself. Breakfast is almost done.
Michael grabs a glass from the cabinet and pours himself a some coffee.
MICHAEL
I was doing some thinking last night.
JASON About?
MICHAEL
The remake that is happening.
JASON
Man, its just a movie, don’t let it bother you.
MICHAEL
No, no, its not just a movie, its our childhood at stake.
JASON
Kinda dramatic, no?
MICHAEL
The more I think about it, the more I realize you’re right.
JASON About?
MICHAEL Killing Rob B.
Dead silence fills the room as Michael’s words fill the room and penetrates Jason’s thoughts.
Jason stops making breakfast for a moment.
JASON
Are you serious?
MICHAEL
Yeah, I think I am.
Michael stirs his coffee and takes a sip. Jason goes back to his eggs.
JASON
We’re not killers, though.
MICHAEL
Sometimes, when you have to, killing is as easy as breathing.
JASON
But we don’t have to.
MICHAEL
You where the one all excited for this the other day.
JASON
Yeah, but I wasn’t being serious. It was venting, you know. Sorta like the time we called in that bomb threat before the test.
MICHAEL
Ah, idle threats. Good times.
Jason places the breakfast on couple plates and puts them on the island.
Michael takes a seat and tries the breakfast.
MICHAEL (CONT’D) This is good, needs some ketchup, though.
Jason retrieves the ketchup from the fridge, putting some on his eggs before handing it to Michael.
MICHAEL (CONT’D) We could do it, and get away with it.
JASON
No, we couldn’t. We’re film students. What have you ever killed in your life?
Micheal takes a sip of his coffee and scoops his food together.
MICHAEL
I cooked a lobster, once.
JASON
Wow, stone cold killer right here.
MICHAEL
Well, what the fuck have you ever killed?
JASON I shot a rabbit once.
Jason takes a bite of his breakfast.
MICHAEL Really,When?
JASON
That summer we stayed on gramps farm. I suck out, early morning, grabbed his rile and shot one dead.
MICHAEL
What happened after that?
JASON
Gramps found me, in the woods, holding his rile, crying up a storm.
MICHAEL
And you mocked me?
JASON Fuck you!
MICHAEL What happened to the rabbit?
Jason takes a bite, smiling to himself.
JASON
We had it for dinner that night.
MICHAEL You mean we?
JASON Yep.
Michael looks at his food, unable to finish.
MICHAEL
That’s fuckin’ terrible, why did Gramps do that?
JASON
He said that not eating what you kill was a sin or some shit.
MICHAEL
Gramps with his religious bullshit.
JASON I miss him, though.
Micheal nods his head in agreement.
JASON (CONT’D) I cooked, you clean.
Jason laughs and walks away.
INT. STORE-DAY
Michael and Jason walk through the store, with a shopping cart in front of them, in the sporting good section.
JASON
Where do we even begin?
MICHAEL
Ski mask might be nice.
JASON Ski mask?
MICHAEL
Yeah, to conceal our identify.
JASON
Do you honestly think Rob B would even know who the hell we are?
MICHAEL
Its not to protect our identity from him.
JASON Who from, then?
An old man walks by them as they push their cart down the asile.
OLD MAN
(Mumbling)
Fuckin’ queers!
They push right past the old man.
JASON
Did you hear that geezer?
MICHAEL
Yeah, but old people are ingnorat pricks like that.
Jason stops and looks at an item on the shelfs.
JASON
I’d like to kill that mutha fucker, first, as pratice.
Michael looks at Jason like he can’t believe what he just said.
MICHAEL Hes old as fuck.
JASON So?
MICHAEL
So he’ll probably have a heart attack on the shitter tonight.
JASON
Old age is a bitch.
Jason stops and plays with the bow and arrow in the aisle. He pulls back on it, testing it out.
MICHAEL
What are you, fuckin’ some kind of aging action hero?
JASON
Oh, come on, you know its awesome.
MICHAEL
You don’t even know how to fuckin’ use one anyways.
JASON
How hard can it be?
MICHAEL
Harder than just using guns.
JASON Guns have no flair.
MICHAEL
But they are quick and do the job well.
JASON
They are a lot eaiser to trace, though. I’d perfer not to do time.
MICHAEL
What do you suggest, then?
JASON
I don’t know, never really thought about it.
They stop at a rack with ski mask.
Jason picks up a black one and an oragae one.
JASON (CONT’D) Which color?
MICHAEL
Do you seriously have to ask?
JASON What?
MICHAEL
You tryin’ to stick out like a sore thumb as you are killing someone?
JASON
I just want to look cool.
MICHAEL
We’re killing someone, not going to prom.
Jason pick up a couple black ones.
JASON How many?
MICHAEL
Two, what do you think?
JASON
Just thinking that maybe we could use Chuck and Fred.
MICHAEL
No chance in hell.
Jason looks at Michael with a come on, looks.
MICHAEL (CONT’D) No, no and…
INT. LIVING ROOM-CONT’D
Micheal and Jason sit around a table with Chuck and Fred.
CHUCK
Oh my god, this is so awesome. We’re gonna kill that prick director.
MICHAEL
No, Jason and I are going to kill that director.
CHUCK
What the fuck am I going to do then?
MICHAEL
You’re our outside guy.
CHUCK
What the fuck is that?
JASON
You are going to be the one who helps us find Rob.
MICHAEL
From your place, though.
CHUCK
How the fuck are we going to keep in touch?
Michael picks up a bag under the table and pulls out two CB radios out and puts them on the table.
CHUCK (CONT’D)
What the fuck are those things?
MICHAEL
These are CB radios. They allows us to instantly keep in contact. Like walkie talkies.
CHUCK
Fuckin lame! Why not just use cell phones.
MICHAEL
Because, they can trace cells, dipshits.
CHUCK What about CB?
MICHAEL
CB is better, because they arent in wide use anymore. We’ll be able to use a channel to talk, pretty much in serect.
CHUCK
Whats the game plan?
Jason pulls a map out of his back pocket and unfolds it on the table.
JASON
Well, shooting begins next week, so we want to get there as fast as we can, to off Rob before he has a chance to fuck shit up.
CHUCK
Whats these other markings?
Chucks points to the RED DOTS on the map marking their route.
MICHAEL
We’re going to have to make a couple stops along the way.
JASON
Practice killings.
Chuck looks puzzled.
CHUCK
Why not just pratice on animals before you go?
MICHAEL
Because we’re not pop psychology clichés. We didn’t grow up with stripper mommies. Besides, I could never hurt a cute animal.
JASON
You did boil a lobster once.
MICHAEL
Shut your fuckin’ face rabbit killer.
Jason folds the map back up and puts in back in his pocket.
MICHAEL (CONT’D) With luck, we should be in and out pretty fast.
CHUCK
What are you going to do to Rob when you find him?

We’ll teach him a lesson in horror he won’t soon forget.
The group all smile at one another, deviously.
JASON (CONT’D)
Oh, before we forget, we go you two these.
Jason reaches into the bag that held the CBs and pulls out two bright orange ski mask, handing one to chuck and fred.
CHUCK
Oh, wow, fuckin’ awesome!
Chuck puts his ski mask on, be looks awkward in it, and they all have a good laugh.
MICHAEL
Well gentleman, its time for bed.
Big day tomorrow, we need our rest.
CHUCK
Fuck yeah! Tomorrow, Rob B’s life shall be ticking down.
Chuck and Fred get up and head for the door.
FRED
We’ll see you tomorrow.
CHUCK Yeah, night.
JASON Night!
The door to the apartment shuts and Jason, Zombily walks back over to the couch, dead tired, and falls over on it.
His face, smooshes into the couch.
JASON (CONT’D) Murder, is so tiring.
MICHAEL
We haven’t even killed anyone, yet!
JASON
I know, but planing it is tiring.
MICHAEL
Having second thoughts?
No, are you?
MICHAEL Nah.
Micheal comes off almost hesitantly, but confident in his answer.
MICHAEL (CONT’D) I guess I’ll try to get some sleep tonight.
JASON
Man, its like a kid at Christmas, I’m too excited to sleep.
MICHAEL
Well, I’m tired as fuck, so night man.
JASON Night, dude!
Michael prys himself off the couch and drags himself into his room, even though he doesn’t seem to have the energy.
INT. MICHAELS ROOM-CONT’D
Michael’s bed is unkempt. Michael groggily walks over to it, and just falls over asleep.
Light comes through the window, illuminating the dark room again.
Jason comes bursting into Michael’s rooms, jumps on his bed and bounces around like a kid waking up his parents on Christmas.
JASON
Wake up, wake up, its road trip day!
MICHAEL
Did you sleep at all?
JASON Yeah, a bit.
MICHAEL
I feel like I didn’t get a damn wink.
Well, coffees ready
Jason hops off the bed and slaps Michaels’s ass.
JASON (CONT’D) Hurry up, sunshine!
Michael, exterting what little energy he has, pushes himself up to sitting position and stretches, as he gets off the bed.
INT.BATHROOM-CONT’D
Michael’s face is half clean shaven and half covered in shaving cream.
Michael slowly brings the RAZOR up his face, and nicks himself.
Blood runs from the CUT down his neck.
Michael reaches for some toilet paper and cleans the blood off him. he looks at his finger, a drop of blood got on it. Micheal takes a moment to look at it, amazed by it. He rubs it between his finger and thumb, feeling the texture.
MICHAEL Hmm.
He wipes his finger clean and continues shaving.
INT. KITCHEN-CONT’D
Jason stirs two cups of coffee behind the island.
Micheal sits down at the island and takes one of the coffees from Jason’s hand.
MICHAEL
Have you ever taken the time to look at blood?
Jason takes a sip of his coffee, as he takes in the question.
JASON Yeah, its red.
MICHAEL
No, I mean, really look at it. Feel its texture and consider how precious it really is.
Kinda heavy thinkin’, dont ya think?
MICHAEL
It really makes you thinking about your own mortality, and how fragile life is.
Jason arches and eyebrow at Micheal, like he is crazy and sips his coffee.
JASON
Wow, you going to start dressing in all black now and going to goth rock concerts?
MICHAEL
Fuck you, I’m trying to have a philisohical discussion here.
JASON
Save it, aristole.
OUTSIDE
A large van pulls up to the house, Chuck and Fred are inside. Chuck beeps the horn, wildly.
KITCHEN
Jason looks out the window and sees Chuck blaring the horn.
JASON
Chuck and Fred are here, apparently alerting everyone to it.
MICHAEL
Does he always have to make a fuckin’ scene?
JASON
Ask him when we get outside.
MICHAEL
I have to do something, I’ll meet you outside.
JASON
Ok, hurry up dude. Man I can’t fuckin’ wait to kill this fucker!

Jason heads outside and Michael picks up a pen and pad of paper off the island and skirts over to the desktop computer.
He types in a search and starts to jot down notes.
OUTSIDE
Jason comes out, arms stretched out, as if asking what the fuck is wrong with you.
Chuck stops honking the horn and starts getting excited about something, talking to Jason with the window closed. Jason motions to Chuck that he can’t hear him.
JASON (CONT’D) I can’t hear you, you stupid fuck.
Jason motions for him to roll down the window.
INSIDE THE VAN
Chuck looks puzzled.
CHUCK
His he motioning to me to jerk him off?
FRED
Not you fucktard, he wants you to roll the window down, because he can’t fuckin’ hear you.
Chuck opens the car door and get outside, with Fred following.
CHUCK
Look, we brought you our Van to use.
JASON
Fuckin’ a, awesome, dude!
CHUCK
Yeah it is. Just make sure to fill up the tank when you bring it back.
JASON Gee, thanks!
CHUCK
Hey, its the least you can do.
INSIDE THE HOUSE
Micheal finishes up his writing and shuts the notebook, and heads outside.
OUTSIDE
Michael comes out the door, notebook in hand and stops, looking at the van.
MICHAEL
What the fuck is this?
Chuck presents their van to them like he is a game show hostess.
CHUCK
Its our van, we’re going to let you use it for the trip.
MICHAEL
Gee, and here I thought we where trying to be subtle.
CHUCK
Hey, I didn’t have to do this, you know.
Jason turns to Michael.
JASON
Plus hes being nice enough to let us pay for gas.
MICHAEL Wow, nice!
CHUCK
Fuck you two, either take it or leave it.
JASON
Whatever, we’ll take it.
CHUCK
Good. FYI guys, tanks half empty, your gonna have to fill it up on your way out.
Michael walks over to Chuck and slaps his face, gently, and pinches it in a grandmotherly way.
MICHAEL
What would we ever do without you?
CHUCK
I don’t man, I don’t know.
Jason taps Chuck on the sholder as they move him out of the way to get into the van.
CHUCK (CONT’D) Man, you guys are livin’ the fuckin’ dream.
MICHAEL
Whatever you say Chuck.
Michael fishes into his pocket as he gets in the drivers side of the van, and pulls out a set of KEYS. Michael tosses them to Fred, who catches them.
MICHAEL (CONT’D) Make sure to lock up for me and keep an eye on our place.
FRED Sure thing.
MICHAEL
And keep that tubby bastard out of trouble, will ya?
FRED
No problem, man. Oh, by the way, we signed that online petition thing last night. Just incase you two fail.
MICHAEL
Thanks for the confidence boost man.
FRED Anytime, man.
Michael shuts the drivers side door and Jason climbs in.
INSIDE THE VAN
Michael tosses Jason the notebook.
MICHAEL Here, hold this.
Off guard, Jason catches it.
JASON Whats this?
Michael starts up the car, brings it out of park and takes drives off the curb that Chuck parked on.
MICHAEL
Its notes on whose where and when.
JASON Like?
MICHAEL
Open it up and read it.
Jason opens up the notebook. On the page is writing that says a bunch of names, job titles.
JASON
Roger Smith, producer, uh?
MICHAEL
He is the closet on our trip.
JASON
Cool. So we’re really doing.
MICHAEL Fuck yeah we are.
JASON How far is it?
MICHAEL
About an hours drive.
JASON
Really, that close?
MICHAEL
Yeah, he is vacation in a small little resort town.
JASON
Sweet, lets gas up and go.
EXT. RESTURANT-DAY
Roger Smith, well dressed, gets out of an expensive car as the valet takes his keys. He is on the phone.
ROGER SMITH
I don’t give a shit what it takes, get it done.
He waits a moment.
ROGER SMITH (CONT’D) Uh-uh, fuck you too, buh-bye!
He flips the phone off and tucks it into his pocket.
ROGER SMITH (CONT’D) Fuckin’ prick.
INSIDE THE RESTURANT
Roger comes in from from the outside. A woman in restaurant uniform comes up to him.
UNIFORMED WOMAN Check your coat?
Roger takes off his coat and hands it to the woman.
ROGER SMITH
Careful, its expensive.
UNIFORMED WOMAN We take the best care of all our customers coats.
ROGER SMITH Yeah, I bet.
The woman brings his coat over to other employee behind a counter, where other patrons coats hang.
She brings him back a ticket and hands it to him.
UNIFORMED WOMAN Just give this to the woman behind the counter on the way out.
ROGER SMITH Yeah, thanks.
UNIFORMED WOMAN The matradee will be with you shortly.
Roger is left alone, waiting for a few moment.
a female matradee, in black dress attire, comes from inside the restaurant.
MATRADEE
Sorry for the wait sir, if you will follow me.
The matradee pulls a menu from underneath here reservation desk.
Roger stares at her ass, not hiding his gaze.
She looks back at him, unfazed that she is being ogled, as if its natural.
MATRADEE (CONT’D) This way, sir.
The waitress leads roger through the sea of patrons having lunch at the restaurant to a table in the back. The matradee pulls the chair out and seats him.
MATRADEE (CONT’D) Your waiter will be with you shortly.
She hands him the menu and leaves.
EXT. GAS STATION-CONT’D
Jason stands at the pump, filling the van up with gas.
In the window of the store, Michael can be seen paying.
INT.RESTURANT-CONT’D
A waiter comes over to Rogers table, pen and paper in hand.
WAITER
May I take your order, sir.
Roger glances over his menu once more real fast.
ROGER SMITH
Yes, I’ll take the Filet mignon, well done. Side Salad, oil on the side.
The waiter takes down the order as it comes at him.
WAITER
Anything to drink?
Roger Smith thinks to himself
ROGER SMITH
A bottle of aged wine.
WAITER Yes sir.
The waiter takes the menu from Rogers hand and leaves him.
EXT. GAS STATION-CONT’D
Jason waits in the car. The door adjacent to him opens up and Michael gets in.
MICHAEL Good news.
JASON
Yeah? Whats that?
MICHAEL
We’re closer than we think.
JASON Really?
MICHAEL
Yeah. I was talking to the guy inside, he said that if we take the back roads, we’ll be there in 45 minutes, versus an hour on the highway.
JASON
Sounds like a plan to me.
Michael starts up the van and they pull away.
INT.RESTURANT-CONT’D
The waiter brings out the wine to Roger. The waiter, pulls out the cork and hands it to Roger.
Roger sniffs the cork.
The waiter pours Roger a half glass.
Roger checks the consictincy, spins the wine in the glass and take a huge whiff. Finally, taking a sip.
WAITER
To your liking sir?
ROGER SMITH Yes, thank you.
The waiter puts the wine into a bucket by the table.
WAITER
Your food will be ready shortly.
INT.CAR-CONT’D
Jason takes a bite of a beef jerky stick.
JASON
How are we supposed to know where this producer guy, is?
Michael looks at him, then at the road.
MICHAEL
Look for the car that screams Hollywood douchebag.
JASON
In a resort town?
MICHAEL Yeah.
JASON
Sounds like a needle in a haystack to me.
MICHAEL
Shut the fuck up and eat your beef stick.
EXT. CAR-CONT’D
The car takes a turn off the highway, onto a shoulder of road.
INT.RESTURANT-CONT’D
The waiter places Rogers plate of food in front of him.
WAITER Enjoy, sir!
Roger starts to cut into his steak, his phone vibrates. He takes it out of his suit jacket pocket and checks it. A text reads: Meeting tomorrow in Springwood, 9pm
Roger folds his phone back up and places it away, returning his attention back to his steak.
He starts to chew and stops. He motions for the waiter, who promptly comes back over.
WAITER (CONT’D) Anything wrong, sir?
ROGER SMITH
I asked for the steak well done, this is medium-rare? You no compredne’?
WAITER
I’ll have that fixed for you, right away sir.
ROGER SMITH
Yeah, you better jose’
The waiter takes offense to the remarks, but remains hospitable.
EXT. OUTSIDE OF HADDONFIELD
A sign reads: Welcome to Haddonfield, pop. 5,804
The grey van, carrying Micheal and Jason zooms by it.
INT.CAR-CONT’D
Jason touches Michael’s shoulder to get his attention as they pass the sign.
Michael glances at Jason then back to the road.
MICHAEL What?
JASON
That guy at the gas station was right, we’re in Haddonfield all ready.
MICHAEL
Excellent. We’re making good time.
INT.RESTURANT-CONT’D
The waiter brings back Rogers food, and lays it before him.
WAITER
Here you go, sir. Hope it is more to your liking.
ROGER SMITH
You know what, felepe’, its getting late, just bag it up and bring me the check.
EXT. DOWNTOWN HADDONFIELD-CONT’D
The sun begins to set behind the mountain that overlooks the city from the north end.
Micheal and Jason’s grey van cruises into the down, which is quiet with very few people walking around.
INT.RESTURANT-CONT’D
The waiter hands Roger the doggy bag and takes the black try that with the money for his dinner.
ROGER SMITH
Keep the change, Pepe’
The waiter looks down at the the check. It says: $200.50.
On top of the check, is two, crisp, hundred dollar bills and a one.
The waiter walks over to the cash resister.
WAITER
(under his breath) Cheap fuckin’ bastard.
Over at the jacket counter, Roger hands his ticket to the young woman behind the counter. She hands him his jacket, he leans in towards her, whispering in her ear. She smiles, hes flirting with her, or sexually harassing her, depending on your perspective. If she was any younger, he’d be in Jail.
EXT.RESTURANT-CONT’D
Roger exits the restaurant and hands the valet his car ticket.
The valet rushes off to retrieve the car, arriving back in seconds.
The valet exits the car, walks around and hands Roger the keys. No tip for him, or sexual harassment.
Roger gets inside his car, and slams the door shut.
IN THE CAR
Roger turns the ignition on.
IN THE PARKING LOT
Rogers bright red car spins its wheels, burning rubber, taking off.
As his car exits the restaurants parking lot, roger nearly crashes into a GREY VAN.
INT.CAR-CONT’D
Michael and Jason jolt forward, nearly avoiding a collision with the car.
MICHAEL Mutha fucker!
Michael hits the horn, blaring it.
EXT. OUTSIDE-CONT’D
Rogers car comes to a stop, for a moment, his hand comes out of the window of Rogers car, flipping off Michael and Jason.
He takes off, again. His license plate pretty much the only thing visible as he speeds away. it reads: G80ne.
INT. CAR-CONT’D
Michael and Jason take a moment to register what has just happened, a near fatal collision.
JASON
Did you fuckin’ see that?
MICHAEL
Of course I fuckin’ saw it.
JASON
No, the license plate.
Michael takes a moment to think about if he saw the plate.
MICHAEL
I don’t recall, I was too busy fuckin’ shitting myself.
JASON
It read:G80ne
Michael doesn’t say anything, its as if he has had an epiphany
His foot hits the GAS, speeding away.
EXT. STRETCH OF ROAD
Roger Smith struggles to keep his car on the road. Partly the icy roads, partly because of the wine he drank.
INT. ROGER’S CAR-CONT’D
Rogers on the damn phone again, trying to keep the car straight.
ROGER SMITH
Look, I don’t know how many times I’ve told you, I’m not budging.
Roger holds on while his ear is talked off by an undiscerable voice.
ROGER SMITH (CONT’D) I don’t care how good of an actress she is, she will never be in any of my movies.
Roger starts to lose control of the car, but regains it, FAST!
\
ROGER SMITH (CONT’D) No, it has nothing to do with the sexual harassment suit against me.
EXT.OUTSIDE-CONT’D
The grey van manages to keep its distance from the Rogers red car, so as not to alert him.
They come to a street with large, fancy houses. A rich neighborhood, the kind were no minorities are allowed. The type of neighborhood that displays it racism freely, in the context of tradition.
Rogers red car pulls into the driveway of a the largest house on the block.
The grey van continues to drive down the road, not stopping, until they go a little further past his house.
They park at the end of the sidewalk.
INT.CAR-CONT’D
Michael shuts down the van, and they look out the back windows. They can see Roger, still on his cell phone, talking away as he walks up the drive way to his front porch.
MICHAEL
We don’t make a move until he gets inside.
Jason nods his head in agreement and they watch and wait.
EXT. ROGER’S HOUSE-CONT’D
Roger shuts his cell phone down, reaches into his pocket and pulls out his keys.
He fumbles trying to put the KEY into the LOCK.
INT.CAR-CONT’D
Through the back window, Michael and Jason continue to watch Roger as he bends over to pick up his keys and open his door.
JASON
Christ, hes drunk.
MICHAEL
Yeah, makes our work even easier.
Roger finally gets his front door open and goes inside.
MICHAEL (CONT’D) He’s in, come on.
Micheal and Jason get out of their side, respectively, very quietly, softly shutting their doors.
They start to walk up towards the house from the end of the side walk.
JASON
What if someone sees us?
MICHAEL
In this neighborhood? Everyone’s too busy in their own little bubbles to care, even if they did.
JASON
Yeah, but they might get suspicious because we don’t fit in here.
MICHAEL
Nah. Only time they can tell something is amiss is when a minority comes on the block.
Jason moves his head as if to say “tu’che”
INT. ROGER’S KITCHEN-
Roger places the food from his doggy bag on the plate. He crumples up the bag and tosses it into a waste container and misses, but he doesn’t care. He sits down at a fancy island in the middle of the kitchen, and carves his steak, cutting off a nice size piece to eat.
He takes the bite in his mouth and starts chewing as well as he can, for someone who is under the influence.
EXT. OUTSIDE-CONT’D
Michael and Jason walk up the drive way to the porch.
Out by the tree on the front lawn, is a AXE buried in a stump of wood with cut lumber around it, it catches Michaels eye.
Michael and Jason walk up the icy steps to the front porch, pulling their ski mask out of their back pockets.
MICHAEL
You ready for this?
JASON
I think so
MICHAEL
You knock on the door, and I’m gonna head around back.
JASON Ok.
MICHAEL On the count of three…one…two…
They both put on their ski mask.
MICHAEL (CONT’D) Three!
Michael heads down the steps, and Jason musters up the courage to knock on the front door.
The AXE that had once adorned the stump is gone.
Jason knocks on the door.
INT. ROGER’S KITCHEN-CONT’D
Roger hears the knock and doesn’t hide his annoyance.
Through the food in his mouth, he tries to talk.
ROGER SMITH I’m comming, hold on.
Roger reuctaly pulls himself away, chewing on the lump of steak like it was chewng tobacco all the way to the door.
A figure stands behind the frosted glass, but he can’t discern it.
He opens the door. Jason stands their with his mask on.
JASON
GET THE FUCK IN THE HOUSE, NOW!
Roger is taken aback as Jason pushes him inside. Roger tries to sallow, but the food gets caught in his throat. Jason pushes roger into the kitchen.
Roger starts gasping for air, motioning to his throat. Jason looks around, not sure what to do.
From behind, Michael runs into the kitchen, raising his AXE high in the air.
Rogers eyes widen in horror as he his choking to death.
MICHAEL
What the fuck is wrong with him?
JASON
I don’t fuckin’ know, he just started gasping for air and reaching for his neck.
MICHAEL
I think hes choking.
JASON What do we do?
Michael paces for a moment and they take off their ski mask. Jason grabs his hair, nervous.
MICHAEL
Give him the Heimlich
JASON We’re gonna save him?
MICHAEL
Just fucking do it.
Jason gets behind roger in the Heimlich position as Michael watches from the front.
EXT. OUTSIDE-CONT’D
A man is walking his dog up the street. He stops as he comes to Rogers house. In the window, he sees Jason, pumping Roger from behind, trying to save him. Rogers head bobs down in front of Michael each time.
The dog yelps at the scene, knowing something is amiss.
DOG WALKER Fuckin’ queers
He tugs at his dogs leash.
DOG WALKER (CONT’D) Come on precious.
The dog follows its owner, reluctantly.
INT. ROGER’S KITCHEN-CONT’D
The large chuck of beef shoots out of Roger’s mouth into Michael’s face.
He scraps it off, disgusted by it.
Jason lets go of roger and he falls to the side, trying to catch his breath.
JASON We saved him.
MICHAEL
Yeah, guess we did.
Roger rolls over, breathing heavy. He looks at the two boys. Michael takes his AXE and raises it above his head, bringing it down on Roger. Hacking away, chop after chop. Blood flies on the boys faces and Jason is watching in horror at what his brother is doing. Finally, Michael stops, and catches his breath. the AXE HANDLE sticks up in the air.
JASON
What the fuck did you just do?
MICHAEL
He saw us without our mask
JASON
We just fuckin saved his, he owed us one. we could of gotten him to stop the movie.
MICHAEL
He never would of agreed to that, besides, we caused the choking. It was the only thing left to do.
Jason grabs his hair again, panicking.
JASON
Fuck man, fuck! Now we’re in deep.
MICHAEL thats always been the point.
Michael grabs the AXE HANDLE, pulling it out of rogers back. Blood drips off the end.
MICHAEL (CONT’D) Now comes the tricky part…cover up.
JASON Cover up?
MICHAEL
Yeah, so we don’t get caught.
MICHAEL (CONT’D)
How the hell we gonna do that?
Michael walks over to the oven and checks it out.
MICHAEL (CONT’D) Electric fuckin stove?
He pounds the top of the stove, frustrated.
MICHAEL (CONT’D) Who the fuck uses and electric stove?
JASON
Whats wrong with electric?
MICHAEL
Means we can’t blow the house up and make it look like an accident.
Michael rushes into the living room, Jason stays behind in the kitchen. On the floor, he sees Roger’s CELLPHONE and picks it up, cleaning off the blood.
The PHONE virbates in his hand, a text comes in, he checks it out.
The TEXT reads:meetings been moved back to Wed. 11pm. Rob B will be comming up, scouting loc.
Jason walks into the room Michael is in. Still looking at the cell.
Michael is fiddling with the fireplace.
MICHAEL (CONT’D) Help me, will ya?
Jason places the cellphone into his pocket and steps over to Michael.
JASON
What are we doing?
MICHAEL Making a fire.
JASON Ah.
MICHAEL
I can’t open up the fireplace, though.
Jason looks to his right and sees a lever. He pulls it.
The FIRE PLACE opens up. Something falls down the chimeny into the FIREPLACE, causing a bunch of black dust to form in the air. Michael and Jason become covered in the black soot, their faces, pure black as well.
MICHAEL (CONT’D) That sucked.
They both blink a couple of times to get the smoot of their eyes.
MICHAEL (CONT’D) Pass me on of those long matches, will ya?
Jason grabs one of the long matches that is in a golden holder to the side of the fireplace.
Michael scratches the head on the side of the fireplace, made from brick.
The match head ignites.
Michael throws it onto the wood in the fireplace.
A firestarts up, its unruly. A flame jumps from the fire onto the shag carpeting of the living room.
JASON Fuck!
The fire starts to spread quick.
Michael and Jason start to freak out a little bit, but not badly.
JASON (CONT’D) Shit dude, its spreading like a brush fire.
MICHAEL
I fuckin see that.
JASON
Should we stop drop and roll
MICHAEL
Thats only if you’re fire.
JASON Oh.
Jason and Michael run back into the kitchen.
Jason trips over the body of Roger.
JASON (CONT’D) Shit!
Michael stops and turns around, he heads back and helps Jason up. They rush out the front door together as thick black smoke follows.
EXT. ROGER’S HOUSE-CONT’D
The glass shatters and flames pour out the windows.
Michael and Jason hit the snow, and take a breather.
They watch as the house burns.
INT. NEIGHBOOR’S LIVING ROOM
ROGERS NEIGHBOOR, 50’S, walks over to the window in his bathrobe, drink in hand.
The little dog barks at the window, franticly.
ROGER’S NEIGHBOR Hold on baby, I’m coming.
Roger’s neighbor picks up his dog and looks at the window.
The neighbor sees the house, now engulfed in flames, as Michael and Jason rest on the lawn.
ROGER’S NEIGHBOOR Oh my god!
Roger’s neighbor lets the dog down, who barks at the window.
Roger’s neighbor crosses the living room and picks up one of those old rotary phones.
ROGER’S NEIGHBOOR (CONT’D) 911? There is a fire next door.
EXT. ROGER’S HOUSE
Jason and Michael are still breathing heavily on the snow banks, when the sounds of sirens fill the night air.
MICHAEL Fuck, lets go.
They get up off the lawn and sprint over to the van, hurring inside.
INT. VAN-CONT’D
Jason is barley in his seat with the door open, when Michael starts up the ignition and takes off.
EXT.STREET-CONT’D
The van takes a sharp turn around the cornor.
INT.VAN-CONT’D
The door on Jason’s side sams shut from the sharp turn.
JASON Fuck man!
MICHAEL Ha ha!
Jason breaths heavily, looking at michael who is so happy.
JASON
What the fuck is up with you?
MICHAEL
We did it, we fuckin’ did it.
Jason slips his seatbelt on.
MICHAEL (CONT’D) What a fuckin’ rush!
EXT. ROGER’S HOUSE-NIGHT
Outside fireman hold house connected to their truck, trying to fight the flames. Police man make barrirers to keep the crowd of onlookers away, while and ambulance is parked, waiting to help anyone that might be inside.
A news crew shows up to take shots of the fire that is now out. They set up at an angle to get shots of the firetrucks and police cars in the back round.
A man places a heavy camera on his shoulder.
CAMERA MAN Ready Cindy?
Cindy Watkins messes with her hair real fast,pulls her dress down and hold the microphone close to her.
CINDY WATKINS We on?
CAMERA MAN We’re on.
CINDY WATKINS
(to the camera)
In what was a complete shocker today, a large house fire has shaken up the small resort town of haddonfield.
The camera man pans to show the the chared remains of the house, then brings the focus back to Cindy.
Behind Cindy, Roger’s neighbor stands behind her, still in his bathrobe, holding his dog.
Cindy walks up to man.
CINDY WATKIN’S
Excuse me, may we have a word with you?
The man turns around and looks at the camera, unsure what to make of it all, but he nods his head in agreement.
EXT. SIDE OF THE ROAD-NIGHT
Michael pulls the van over on the side of a small snow bank.
Jasons side is closest to the bank, he gets out, but the door hits the snow. He forces the door open.
Michael gets out of his side, and struts around the van.
Jason takes a double handful of snow and rubs it on his face, removing the soot.
Michael leans up against the back side of the van, smiling, he takes a deep breath, waiting for his turn.
MICHAEL
The air smells so…diffrent.
JASON
I don’t think so.
MICHAEL
You also didn’t just kill someone.
JASON
No, but I watched you revel in it.
MICHAEL
You should do the next one. I’m telling you, it will make you feel amazing.
JASON
I’ll think about it.
MICHAEL
Whats to think about?
Jason backs away from the snow bank and gets back in the van.
Michael quickly uses the snow to rub his face clean and enters the van.
MICHAEL (CONT’D) I’m starting to feel like you’re not into this?
JASON
I don’t know if I am.
MICHAEL It was your idea.
JASON
Well, it sounded good on paper.
MICHAEL
We’ll, we can’t do anything about it. We have to see the plan through.
JASON
What if I don’t want to?
MICHAEL
What you going to do, bail on me? Bail on your brother?
JASON
No, I don’t want to bail.
MICHAEL
Then whats your problem?
JASON You are.
Michael is taken aback by his statment, unsure how to respond.
MICHAEL
How the fuck am I the problem?
JASON
Because of how much you’re enjoy this.
MICHAEL
Excuse me for feeling alive.
JASON Fuck you.
MICHAEL
You can’t stand to see me happy.
JASON
On,come on. That is total bullshit.
MICHAEL
Why you really upset then?
Jason looks a the ground and takes a moment, looking for the courage to speak.
JASON
This was sopoused to be a road trip, and the only killing was sopused to be Rob B.
MICHAEL Yeah, so?
JASON
We’re becoming seriel killers.
MICHAEL
No, we’re not. We’re just offing a bunch of asshole.
JASON
We’re does it stop?
MICHAEL At Rob B.
JASON
I’m afraid we’re gonna get too far involved, I’m afraid we’re going to cross a line, and enjoy this too much. I’m afraid, we’re not gonna stop.
MICHAEL
This is some drug, Jason. Its murder. We’re not going to end up with some unquenchable blood lust.
JASON
You make it sound so easy.
MICHAEL
You make it sound so cold and calculating.
JASON Isn’t it?
the two stop talking. The van fills with dead silence.
Michael starts the van, and pulls out.
EXT.ROGER’S HOUSE-NIGHT
Cindy Watkins finishes up her interview with Roger’s Neighbor.
CINDY WATKINS
Thank you for your time sir.
The camera man turns the camera around, standing by a police crusier, is a man in a brown trench coat, mutache and short hair. 40’s, tired looking.
CINDY WATKINS (CONT’D) Excuse…uh, uh?
One of the nearby POLICE OFFICERS steps in front to keep Cindy away.
POLICE OFFICER
Lady, Dective Walhberg doesn’t want to answer any of your questions.
CINDY WATKINS
Please dective, 5 minutes of your time.
Dec. Walhberg takes a sip of coffee, and sighs.
DEC.WALHBERG
Let her go, she can have 5 minutes.
The police officer backs away and joins a couple other officers keeping tabs.
Cindy Watkins snaps her fingers at her camera man to turn his attention over to her.
She fixes herself, and takes a deep breath.
The camera man points to her to go.
CINDY WATKINS Joining me is dective Walhberg of the Haddonfield police department. Tell me, detective, do you feel this fire was an accident?
Detective Walhberg places his arms on his hips, looks at the camera and then back at the mic.
DEC.WALHBERG
No, no we don’t. We have reason to suspect foul play.
Intrigued by what the detective just said, Cindy becomes more attentive.
CINDY WATKINS
Can you give us a possible motive?
DEC.WALHBERG No, no we can’t. at this time, we’re usure as to what we’re dealing with here.
Detective Walhberg then places his hand on the camera, turning it away from him.
DEC.WALHBERG (CONT’D) Thats all I have to say.
From behind Cindy, a paramedic is wheeling out a body.
CINDY WATKINS And as this drama contiunes to unfold, we’ll keep you updated.
Cindy makes a motion to kill the camera.
CINDY WATKINS (CONT’D)
(to the camera man)
Ok, I want to start the report with the detective and then come in with the eyewitness report, got that?
The camera man runs over to the news van to upload the footage.
INT. VAN-NIGHT
Jason lays his head against the window, looking out it. Michael concentrates on the road.
JASON Where we goin’?
MICHAEL Heading south.
JASON What for?
MICHAEL
Rob B lives down south.
JASON
He’s comming here.
MICHAEL
What do you mean, comming here?
JASON
Hes comming to our state, to scout locations.
Michael puts a halt on the breaks, jerking the van forward, a bit.
MICHAEL
How the fuck do you know that?
JASON
Read the text on the cell phone of the guy we just killed.
MICHAEL
It said they where comming here, are you positive.
JASON
Yeah, they are coming to Springwood for a meeting and Rob’s comming up scouting locations.
MICHAEL
Where are they staying?
JASON
I don’t know, probably the most expensive hotel in Springwood, which leaves only one that comes to mind.
MICHAEL
Right, right. What about Rob?
JASON
I read a couple years ago that he has a Cabin around here that he stays at when he comes up, hunting.
MICHAEL Really?
JASON
Yeah, no shittin’
Michael starts to drive again and then bangs a u-turn right in the middle of the street.
JASON (CONT’D) Dude, what the fuck?
MICHAEL Chill out.
JASON I am chill.
MICHAEL
Whatever. So, Springwood is about an hour and a half past Haddonfeild.
JASON Yeah, so?
MICHAEL
So, we’re about a half hour away from Haddonfield now. Which means we’re two hours Springwood.
JASON
You’re not gonna drive the whole two hours, now, are you?
MICHAEL
No, no…we need to rest. I saw a small hotel on the way out, a place where we can sleep and lay low for the night.
JASON
Wake me when we get there.
INT. POLICE STATION-NIGHT
A group of STREET OFFICERS are all sitting at desk, like you had in middle school, talking amonst themselves, waiting on Detective Walhberg at the front of the class.
Detective Walhberg finishes a sip of his coffee and stands in front of a blank black board.
DEC.WALHBERG
Ladies and gentleman, listen up.
A silence falls on the officers and fast.
DEC.WALHBERG (CONT’D) We have an arson/homocide on our hands and no real leads.
EXT. ROYAL MOTEL-NIGHT
The parkin lot of the place is empty, no one is staying here. It is called the Royal motel, but its more of an ironic nickname, given that the place looks like it hasn’t been renovated since the 70’s, one might rather sleep in there van then trust this little redneck hole in the wall.
Michael pulls the van into the parking lot.
The neon sign is glowing, the word no, flickers filled with light every so often, while the words vacancy stays lit.
Michael gets out of the van, while Jason is asleep in his seat.
He walks on over to the front door of the motel, which is no more than a couple feet from his van.
INT. MOTEL-NIGHT
Michael pokes his head in the front door, no one is in sight. The place looks like it was decorated years ago. a moose head sits above the entrance to the back room. Michael is heitant to enter, but does so regardless.
Michael walks in, slightly tripping on the entrance, but he doesn’t fall over.
On the counter, sits a BELL, Michael’s HAND comes down on it, raining it for whoever, or whatever might be around.
From the back emerges a red-neckish type, geek of a MOTEL MANAGER, complete with wife beater and flannel.
MOTEL MANAGER Can I help you, boy?
MICHAEL
Yeah, I need a room, for two.
MOTEL MANAGER I’m gonna need you to sign the guestbook.
The motel manager bends behind the counter and grabs a white book, with a bit yellow from age. He opens it to the front page, and places it on the counter and turns around to fetch a room key.
On the wall sits a key rack, filled with keys attached to blue key chains with gold numbers on them. All 12 keys are there.
The motel manager reaches for key number six, but stops for a moment, and then grabs key number one.
Michael signs the guestbook, he smiles to himself in satisfaction.
The motel manager places the key on the counter and turns the book around to him.
MOTEL MANAGER (CONT’D) Welcome, uh, chuck.
Michael greets his welcome with a smile.
MOTEL MANAGER (CONT’D) You’ll be in room number one. Check out is 10 am.
The motel manager hands him the key.
MOTEL MANAGER (CONT’D) Have a nice night.
EXT. MOTEL-NIGHT
Michael walks out of the motel, spinning the room key on his finger.
On the passengers side, Jason is asleep, drooling. Michael knocks on the window, startling Jason. Jason opens the door to his side.
JASON
What the fuck, man?
MICHAEL I got us a room.
JASON
I think I’d feel safer in the car.
MICHAEL
Shut up and come on.
Jason follows Michael over to room one and they unlock the door.
INT. MOTEL ROOM-NIGHT
From outside, Michael and Jason look around the room. It looks like a time warp to a different time. The room is clean, but it defiantly hasn’t been used in a long time. Michael’s and Jason’s face drop. Not exactly what they had longed for, but it would have to do.
Neither one is in a hurry to get into the room, Michael ends up stepping in first. Slowly steping in, as if it where the moon landing.
Jason watches and sees nothing bad has happened to Michael, so he comes in, too, and runs over to a bed, jumping on it like a kid.
He lands on the bed, smack in the middle, the bed makes an odd sound, like no one has been on the bed for years, a goan, almost, and a cloud of dust comes up, making Jason cough.
JASON Great place.
Jason swings his feet onto the bed. Michael, slowly, lays down on his bed.
JASON (CONT’D) Want to see whats on?
Jason grabs the remote from the bed stand and turns on the tv.
On the screen, a news reporter comes on. He is male, and in his late fifties.
MALE ANCHOR
The small down of Haddonfeild has been shaking up tonight from the results of a arson, homocide resulting in the death of famed movie producer, Roger Smith.
Jason and Michael look at each other in disbelief.
Back on the tv, the anchor contiunes to set up the clip.
MALE ANCHOR (CONT’D) Smith was the producer of many legendary films of the 60’s and 70’s and had recently produced the remake to the cult horror film “Frightmare” which is slated to start filming soon, with director Rob B, soon to be scouting out locations around the area of Haddonfield.
Jason takes the remote and turns the T.V. Up a bit, so to catch the rest of what the anchor has to say.
MALE ANCHOR (CONT’D) We go now to reporter Cindy Watkins, who was on the scene tonight.
The clip plays up, showing Cindy standing in front of the camera.
CINDY WATKINS Its been a wild night for this small down. Shaken by a fire and a homicide. We spoke with Detective Walhberg, to get his thoughts on the situation.
The video cuts to the interview with the detective.
INT. POLICE STATION-NIGHT
Detective Walberg hands out paperwork to the officers.
DEC.WALHBERG
What we know, is that their is two suspects, both similar to each other. We believe them to possible be brothers.
The police officers go over their paperwork.
One OFFICER, raises his hand.
DEC.WALHBERG (CONT’D) Officer?
The Officer puts his hand down.
OFFICER
Are we considering the suspects to be armed and dangerous?
DEC.WALHBERG No, they are not armed, but consider them with caution. They have all ready killed once tonight, and could do so again.
Another OFFICER raises her hand.
DEC.WALHBERG (CONT’D) Yes?
OFFICER #2
Is this description, right?
INT. MOTEL ROOM-NIGHT
On the tv, the interview with the detective finishes up.
CINDY WATKINS
The detective declined to talk any more on the subject, but we did manage to find and eyewitness…
Cindy’s words trail off into the distance. John and Michael are turning pale, afraid of what is to come.
On the screen, the interview with the eyewitness cues up.
CINDY WATKINS (CONT’D) You say you saw two suspects flee the house after it caught fire.
ROGER’S NEIGHBOOR Yes ma’m, I did.
CINDY WATKINS
Could you give us a description of what the two looked like?
ROGER’S NEIGHBOOR Yeah, they where both about 5’10,
180 or so lbs and they where black.
CINDY WATKINS Black?
ROGER’S NEIGHBOOR Yes ma’m, very unusal to have the afro-americans commin’ round in this neighborhood unless they is causing trouble, but I distinctly saw two black men.
Cindy looks at the camera, unsure if she should continue.
CINDY WATKINS
And back to you in the studio.
Jason clicks off the TV, they both sigh with relief.
JASON
Wow, that was close.
MICHAEL Oh yeah.
Jason clicks off the T.V.
JASON
I’ve got to take a leak
He bounces up off the bed, and walks into the bathroom, shutting the door.
INT.POLICE STATION-NIGHT
Detective Walherg holds up a composite sketch of the “alleged perps”
On the sheet is two pictures of what looks like white guys in black face.
The entire force erups with laughter.
DEC.WALHBERG All right, settledown.
The laughter starts to subside.
DEC.WALHBERG (CONT’D) Regardless of what the old coot gave for a description, what we are clearly looking for is slightly different, so take out a pen and write this down.
All the officers are at attention now, pens in hand, looking down at their papers.
DEC.WALHBERG (CONT’D) What we’re looking for, is two white suspects. Possible wearing black face paint…
The police snicker.
DEC.WALHBERG (CONT’D)
Lets be mature about this, people.
The small sound of snickers subsides.
DEC.WALHBERG (CONT’D) Thank you! Now, it is possible that they are related, same height, weight is possible, too!
The police finish their writing and just sit there.
DEC.WALHBERG (CONT’D)
(clapping his hands)
Come on people, chop chop. Go find me some suspects.
The room clears out, the Detective is last to leave.
INT. MOTEL BATHROOM-CONT’D
Jason zips his pants back up, and flushes the toilet.
He turns on the sink, and washes his hand, grabbing a towel from the rack and drying his hands.
UNKNOWN POINT OF VIEW
From a hole in the wall, an unknown figure spies on Jason as he washes his hands. Heavy breathing is heard.
The figure watches Jason all the way until he leaves the room.
MOTEL ROOM-NIGHT
Jason’s comes into the room, and hops on the bed. It makes a stiff groaning noise.
Michael is laying down, thinking.
MICHAEL
Damn it, now I’ve got to take a shit.
JASON
Thats too much information
MICHAEL
Like you sharing about you urine wasn’t?
JASON Thats diffrent.
Michael shakes his head and crosses over into the bathroom.
He takes down his pants, and shits down. Hasn’t even shut the door yet.
MICHAEL
Hey, you think you could go see if the front desk has any adult reading material.
Jason faces away from the door, this is one conversation he doesn’t want an eyeline for.
JASON
Oh, come on, seriously?
MICHAEL Yeah.
JASON
What the fuck for?
MICHAEL
Because I like to read while taking a massive shit, that is why.
Jason sighs, and gets up off the bed.
JASON
Man, you owe me one.
MICHAEL Yeah, yeah.
Michael finally shuts the bathroom door, and concentrates at the task at hand.
UNKNOWN POINT OF VIEW
Through a peephole, Michael is seen taking a shit. The same heavy breathing is still present.
INT. MOTEL-CONT’D
Jason walks in the front door, it is eerily silent.
JASON Hello?
No response. Jason walks up to the front desk and looks to see if anyone is around out back.
UNKNOWN POINT OF VIEW
Michael is seen waiting for Jason to get back with his reading material,he taps his fingers on his thigh.
MOTEL LOBBY-CONT’D
Jason walks around the front desk, looking for any signs of the motel manager, but he doesn’t find it. Instead, the back is filled with creepy stuffed animals, mainly birds, but a few squrriels and other rodants.
On the wall sits a double barrel shot gun, on a mount.
Jason takes down the the gun to look at it.
He opens it, two shells rest inside.
Jason shuts it, intending to put it back, when a loud noise turns him to swing around, gun first.
JASON (CONT’D) Hello?
Still no sound. Jason presses onward toward the private room out back.
INT.BACKROOM-CONT’D
Jason checks both sides of the door, with the shotgun, making sure no one is going to jump him.
He proceeds inside, slowly.
The room is pitch black, Jason can’t see even two feet in front of him, but he looks around anyways.
From a hole in the wall, Jason sees a small amount of light pouring in. He crosses over to it, being careful not to bump into anything.
Jason slowly gets down on one knee and peers through the hole. Inside the hole, Jason can make out a figure, masturbating to something. Jason’s eyes widen, he knows what is going on.
Jason rips off, alerting the perve that he has been caught.
The perve doesn’t make a sound, stunned he has been caught, like deer in headlights.
Jason wraps his hand around his mouth, pulling him out.
The figure struggles in the dark, as Jason pulls him into the the taxidermy room.
TAXIDERMY ROOM
Jason comes in, draging the man by his head. Jason tosses him into the light, reveling to him the motel manager.
JASON
What kind of sick fuckin place do you run here.
The motel manager gets on his knees, crying, hands folded.
MOTEL MANAGER Please don’t hurt me, I wasn’t going anything queer, I promise, I was just looking.
Jason takes aim with the shot gun he’s been carrying around. He looks down his sights.
The man is praying now, hoping for sympathy from Jason.
Jason brings the gun down.
The motel manager is unsure what is going on, he slowly starts to get up.
MOTEL MANAGER (CONT’D) Thank you…thank yo..
Jason bashes the motel manager in the face with the end of the shot gun. Blood flies everywhere.
On the floor, the motel manager holds his nose, it is gushing blood, teribly broken.
MOTEL MANAGER (CONT’D) Oh god, no, please, no…
The motel manger tries to crawl away from Jason, but there is no place for him to go.
Jason steps right over him, rasies the gun barrel.
Underneth, the motel manager tries to sheild himself from the blow.
Jason brings the gun barrel down hard, blood files up into the air. Again, jason strikes hard, he does it serval more times, get faster with each blow,then stops, he looks down at the motel manager.
The motels managers body is lifeless and bloody.
Jason is still holding the gun up high, contemplting if he should hit a dead body one more time for good messure, takes a second and then, out of frustration, he smashes the body one more time.
INT. MOTEL-CONT’D
Michael tosses the towel into the bathroom sink, and crosses over into the main part of the room.
The door opens, and in steps a Jason, somber from the muderder he just commited, face covered in blood splatter.
MICHAEL
What the fuck happened to you?
Jason wears a look of “not right now” on his face, but he sighs.
JASON
The fucking motel manager, man. He was spying on us, in the bathroom.
MICHAEL What?
JASON
Yeah, fuckin’ perv.
MICHAEL
You’re covered in blood.
Jason looks into the mirror on the nightstand, then rushes over into the bathroom.
Michael turns around to talk to him, even though the door obstructs his view as Jason bends over to wash his face in the sink.
MICHAEL (CONT’D) So what are we gonna do?
Jason grabs the towel and dries his face.
JASON
We’re not going to burn the place down, thats for sure.
Jason comes back into the room with Micheal.
Michael smiles at him, Jason knows something is up.
JASON (CONT’D) What?
MICHAEL Exhilarating, isn’t it?
Jason tosses the towel onto the bed.
JASON What is?
MICHAEL Killing someone.
JASON
He was being a perv, its not like I killed him in cold blood, he was creepy.
MICHAEL
Keep trying to justify it, all you want, but murder is murder.
JASON
Fuck you, this was different.
MICHAEL
Just admit, you enjoyed killing him.
JASON What if I did?
MICHAEL
That would make you a hyocrite.
JASON
Yes, I enjoyed killing the subhuman piece of shit who got off to watching us use the restroom.
MICHAEL
Doesn’t it feel better to let it all out?
Michael places his arm around Jason’s shoulders, pulling him close, like a father would a son when he is proud of him.
MICHAEL (CONT’D)
(mock crying)
My little boys grown’ up.
Jason shrugs Michael off him.
JASON We can’t stay here.
MICHAEL
Why not, we’re out in the fuckin’ boonies, no one will stop here, ever.
JASON
There is always the chance.
MICHAEL
Nah, I don’t thi…
The sound of a cell phone interupts their conversation.
Michael and Jason freeze, looking around.
MICHAEL (CONT’D)
What the fuck is that noise?
JASON I don’t…
Jason gets a look of oh, shit, I totally forgot on his face and reaches into his jacket pocket, pulling out a cell phone.
JASON (CONT’D) Fuck, I totally forget I took his cellphone.
MICHAEL
You stuipd fuck, what if they trace us.
JASON
Fuck you! If you hadn’t wanted my help to burn the fuckin’ place down, then I wouldn’t have placed it in my pocket.
MICHAEL
Why the fuck did you take it in the first place?
JASON
Because he got a text, remember?
MICHAEL yeah, but I didn’t think you took his fuckin’ cell phone.
JASON
It was a fuckin’ accident, all right?
MICHAEL
Whatever, whats it doing now?
The phone vibrates in his hand.
JASON Text message.
Michael rocks back and forth, impatinaly.
MICHAEL
Well, what the fuck does it say?
JASON
The flights are delyed for all but Rob, who’ll be landing in a couple hours.
MICHAEL
I wonder what airport he is coming into.
Michael scratches his chin.
JASON
Well, his cabin is in Springwood, which is only about a two hour drive from Lake View, which has the airport adjacent to it.
Michael and Jason both look at each other with a stroke of genius.
MICHAEL
We can beat him to his cabin.
JASON
Only problem is, we don’t know where his cabin is.
MICHAEL
We still got the radios?
JASON In the car.
Michael smiles.
EXT. AIRPORT-NIGHT
A plane lands on the runway.
INT. AIRPLANE-CONT’D
ROB B. Sits with a HALF NAKED WOMAN on his lap.
ROB. B
So why do they call you Cherri Sky?
He leans over to wisper in his ear.
Rob’s face grows surprised by what she is saying
ROB.B Really?
His face now takes on a looked of shocked, then intrigued.
ROB. B
Name well deserved.
CHERRI SKY
You’ve ain’t seen a thang, yet, sugah.
Rob B. Winks at her and then slaps here ass, she jolts off his lap.
ROB.B
Save that enthuisam for the flight back.
Cherri sky frowns.
CHERRI SKY Can’t I come with?
She emphisases the word cum, as she bends over, putting her boobs in his face.
ROB. B Oh, fine.
She kisses him.
CHERRI SKY You won’t regret it.
ROB. B I better not.
EXT. VAN- CONT’D
Michael has a radio in his hand, static comes out of it, until he presses the button on the side.
MICHAEL
Papa bear to baby bear, you read me, over.
Static comes back, michael waits a moment, before pressing the button again.
MICHAEL (CONT’D) Papa bear to baby bear, do you read? Over!
Static comes through, but then it clears up.
CHUCK (O.S.)
Dude, stop with the bear shit. Its fuckin’ 11p.m. I’m tryin to rest.
MICHAEL
We need your help.
CHUCK (0.S.) With?
MICHAEL
We need the location to Rob. B’s cabin in Springwood.
CHUCK (O.S.)
Why the fuck would I have that?
MICHAEL
Mutha fucker, look it up on the internet.
Static comes back, a few moments pass.
CHUCK (V.0.)
Yeah, I found it, easily enough, which is odd. So much for privacy.
MICHAEL
Spare us the commentary, just tell us the location.
CHUCK (V.O) Yeah, its.
INT. LIMO-CONT’D
Cherri Sky downs champagne straight from the bottle.
CHERRI SKY
So, we’re we headin’?
Rob b. Seems to almost cringe at her high pitched, southern voice.
ROB. B
Up to Springwood. Its a small town. My cabin is on the outskirts, so no one will bother us.
Cherri takes a sloppy drink from the champange bottle, some of it spills down her front, but she doesn’t care, he finishes the bottle, then gets on Robs lap, giving him a big, wet kiss.
CHERRI SKY
(slurred)
I-I-can’t wait (hiccup)
To be alone with you.
She lays her head on his chest, and closes her eyes.
INT. VAN-CONT’D
Michael shuts the radio off.
MICHAEL
Looks like we have our destination.
JASON
What do we do about the motel?
MICHAEL Burn it?
JASON No, no burning.
MICHAEL
Hey, its our M.O. Now.
He smiles a shit eat grin.
JASON
M.O.? We don’t need a fuckin’ M.O.
MICHAEL Shut the fuck up.
JASON
No, we are not going to burn the place down.
EXT.MOTEL-CONT’D
The motel is ablazed while the white van pulls out of the parking lot.
INT. VAN-CONT’D
Jason facepalms himself.
JASON
I can’t fuckin’ believe we set another place on fire.
MICHAEL
Will you shut the fuck up with that.
JASON
We have a about a two hour drive to Springwood, trust me, you’ll hear more about it before the night ends.
Michael rolls his eyes and pays attention to the road.
Jason reaches into his pocket and pulls out the cellphone.
JASON (CONT’D) Oh, god damnit!
Michael glances over and sees the cellphone.
MICHAEL
You forgot the fuckin’ phone, again?
JASON
Once again, we where too busy being arsonist on top of murderers.
MICHAEL
Toss the fuckin’ thing out the goddamned window.
JASON What good is…
MICHAEL
(interupting)
Toss the goddamned thing
Jason rolls down his window as fast as he can and tosses the cellphone out the window.
EXT. OUTSIDE-CONT’D
The cellphone sails through the air, landing on a SNOWBANK.
INT. POLICE STATION-NIGHT
The department is almost silent for the night, except one phone rings in the way back.
A UNKNOWN OFFICER answers the phone.
UNKNOWN OFFICER Haddonfield Police Department…how may I help you?
The officers face grows concerned. He takes a pen from his pocket and a pad of paper, writing as he listens.
UNKNOWN OFFICER (CONT’D) Ok, thank you for calling.
The officer hangs up in a hurry and walks over to a room where their is light.
INT. POLICE ROOM-CONT’D
The unknown officer walks into the room, Dec. Walhberg looks up.
UNKNOWN OFFICER
Detective, I just got a report that a small motel was set ablaze about 20 minutes ago, sir.
DEC.WALHBERG
Did they find anyone dead?
UNKNOWN OFFICER fire department has all ready responsed to it, and our men are on waiting to investigate.
DEC.WALHBERG Ok, I’m on my way.
EXT. MOTEL-CONT’D
The firemen spry the charred remains of what is left of the motel. It is no longer on fire, but it is no longer a motel, either.
An unmarked police car pulls into the parking lot of the small motel.
Dectective Walhberg gets out of the car and an officer hurries over to him and starts to brief him.
OFFICER # 3 Sir, we found a body among the remains of the fire.
DEC.WALHBERG Who was he?
OFFICER # 3
Unknown, so far, sir. We sent the body with the cornoner to find out more. It is belived to be the motel manager, though.
Detective Walhberg takes a sip of his coffee.
DEC.WALHBERG
Did you find anything else?
OFFICER # 3 We found this cellphone in the snowbank about 10 feet away.
The officer holds up a bag marked evidence, with the cellphone inside, still turned on.
DEC.WALHBERG Whose cellphone?
OFFICER # 3
Belonged to Roger Smith, the victim from eailer tonight.
Detective Walhberg takes the bag out of the officers hands and brings it over to a squad car that has a light shining on it.
He places his coffee on top of the squad car, reaches into his pocket and pulls out a rubber glove, putting it on.
The opens the bag and carefully takes out the cellphone with his gloved hand.
The detective looks at the cellphone, intently.
OFFICER # 3 (CONT’D) Find anything?
DEC.WALHBERG
The very last thing that appers on this phone is a text, which has been read.
OFFICER # 3
Whats important about that?
DEC.WALHBERG
Well, it seems that our arsonist, slash, murderers, are also into invasion of privacy, and it might be a clue as to where they are heading.
Detective Walhberg places the phone back in the bag.
DEC.WALHBERG (CONT’D) Do me a favor. Find out where the director Rob. B lives.
OFFICER # 3 Why?
DEC.WALHBERG Seems like he is landing here, tonight and our criminals know about it.
OFFICER # 3
Their pattern seems random, sir.
DEC.WALHBERG It only seems random, but that doesn’t make it so.
OFFICER # 3 Yes sir!
The officer runs off to the squad car and grabs a radio.
OFFICER # 3 (CONT’D) Squad house, come in.
FEMALE VOICE (0.S.) Yes, officer?
OFFICER # 3 Officer 361240, here, need an address for a Rob Boll.
FEMALE VOICE (O.S.) Hold on while I check.
INT. VAN-CONT’D
Jason reads a magazine while Michael watches the road.
JASON
How much further?
MICHAEL Not much more.
JASON
He’ll probaly get there before we do.
MICHAEL
Nah, I know the back roads well enough.
JASON
You know the back roads to Springwood, but needed a map for haddonfield?
MICHAEL I used to date a woman in Springwood.
JASON
The one you met on the internet?
MICHAEL Yeah, why?
Jason smirks.
JASON
Nothing, nothing.
MICHAEL
Meeting a woman on the internet is just a legitimate as any.
JASON
Dude, you where 17.
MICHAEL
So? What we had was real.
JASON Fine, whatever.
INT. LIMO-CONT’
Rob B. Looks bored, with a drunken asleep woman on is lap, empty chamange bottle still in her hand.
The limo partition comes down and the LIMO DRIVER looks directly at Rob.
LIMO DRIVER We’re here sir.
ROB. B Thanks.
LIMO DRIVER
Will you be requiring help bring madame inside?
Rob looks at her, she is totally passed out, he sighs.
ROB. B
Nah, just get the bags and meet me inside.
The limo driver gets out of the limo.
Rob B. Waits until the driver shuts the door, then raises his legs so cherri rolls off them, onto the floor.
ROB. B (CONT’D) Whoops.
Cherri stirs awake.
CHERRI SKY We there yet?
ROB. B
Yeah, yeah, I’ll meet you inside.
Rob pulls his feet out from underneath Cherri, opens the door and gets out.
Cherri drops her head back to the floor.
CHERRI SKY Blah!
The limo driver, with four bags in hand, somehow manages to shut the trunk.
The limo driver follows Rob into to the cabin.
Cherri sky, drearily, pulls herself out of the limo, holding her head. She follows the limo driver, barley able to stand up.
EXT. MOTEL-CONT’D
The same officer is still on the raido.
OFFICER # 3 Over and out.
The officer doesn’t even bother to put the microphone back in the proper place, before he runs over to Dec. Walhberg.
OFFICER # 3 (CONT’D) Sir, sir.
He bends over, out of breath.
OFFICER # 3 (CONT’D) We have that address for you.
He hands the detective the paper while he is trying to catch his breath.
Detective Walhberg takes the paper and reads it.
DEC.WALHBERG Ok, call up to the local police department and tell them whats going on.
OFFICER # 3 The local police is nearly 45 mintues away from his cabin.
DEC.WALHBERG Call them anyways. I’m going to head back to the station. You call ahead and tell them to ready the choppter. We can be there in 45 minstues as well.
OFFICER Yes sir.
INT. CABIN-NIGHT
Rob comes steps into the cabin first. He looks around at all his hunting trophies and guns he has laying about. for a metal musican, he is quite a red neck.
ROB. B
Ah, good to be home.
The limo driver steps inside with all the suitcases.
LIMO DRIVER
Where would you like these, sir?
Rob points over to the cornor of the living room.
ROB. B
Over there is fine.
The limo driver places the packages down and cherri sky comes in, messing around with her cell phone, drunk.
CHERRI SKY
(to the phone)
What the fuck do you mean, no recpetion?
ROB. B
We’re in the middle of the woods, no cellphones up here.
CHERRI SKY Fuckin’ lame!
Cherri tosses her cellphone into the corner of the living room, then drunkly walks over to the bed and crashes on it.
ROB. B
(under breath) Lovely woman.
Rob B. Turns to the limo driver.
ROB. B (CONT’D)
Make sure to be here at 7 am
LIMO DRIVER Very good sir.
The limo driver turns and leaves, shuting the door behind him as Rob reunites himself with his place.
EXT. WOODS-NIGHT
The van turns into a wooded aera. Snow covers the cabins, and look like they could of come out of a painting.
INT. VAN-CONT’D
Jason looks out the windows, looking for the cabin.
JASON
Sure are lots of cabins.
MICHAEL Only in the back.
Jason looks confused.
JASON
Only in the back?
MICHAEL
Yeah, we took the back roads, so we end up in back of the woods.
JASON
So where is his cabin?
MICHAEL
Towards the front of the woods. see, the cabins back here are for rent in the summer.
JASON
How do you know this?
MICHAEL
Saw a sign on the way in, it said summer rental cabins.
JASON
Oh! So why are we in the back part, then?
MICHAEL
By being in the back, it makes our escape that much eaiser. We slip out the back of his cabin and to the van, taking off.
JASON Ah.
Michael brings the van to a hault.
MICHAEL
Its gonna be a bit of a walk, though.
JASON Blah!
MICHAEL Ready?
JASON
As I’ll ever be.
MICHAEL Lets go!
They both open their doors in unison and get out. They walk around to the front of the van from their respective sides, puling out their mask and putting them on.
MICHAEL (CONT’D) Last one to the cabin has to burn it down.
Michael takes off running.
JASON Oh, fuck you.
Jason jogs after him.
EXT. POLICE STATION-NIGHT
The station is filled with commotion.
Dec. Walhberg walks through the front doors. another detective steps over to him, and starts to walk with him, folder in hand.
DETECTIVE
Dectective Walhberg, the copter on the roof is gased up and ready to go when you are.
DEC.WALHBERG
Good, did you guys phone ahead to the local police up there?
DETECTIVE
Yes, their ETA is 45 minutes
DEC.WALHBERG
Lets hope we get their in time.
EXT. POLICE STATION ROOF-NIGHT
The chopters blades are spinning as the piolt gets in.
The door to the roof opens up with Detective Walhberg leading the other detective behind him.
Detective Walhberg stops, takes off his jacket and hands it to another officer.
DEC.WALHBERG
(to the detective) Is my sniper ready?
The other detective leads Detective Walhberg, who rolls up his sleeves, as he is brought to where a SWAT member is standing by, holding a sniper.
DEC.WALHBERG (CONT’D)
(yelling over the sound of the helicopter) How long have you been on the force?
SWAT
5 years, sir. 2 on Swat.
DEC.WALHBERG You’ll do just fine.
Dec. Walhberg gets into the copter, and the swat member gets in the other side.
DEC.WALHBERG (CONT’D)
(to the detective.)
Keep in constant radio contact.
The other detective nods as Dec. Walhberg places a headset on.
The copter starts to take off.
The other detective holds onto his head, trying to keep his hair from blowing everywhere.
INT. ROB B’S CABIN-NIGHT
Rob B is dressed down in a bathrobe and boxers. He pours himself a shot of real southern whiskey.
Rob brings the shot glass to his mouth, hesitanly, he shoots it down, shaking his head.
ROB. B
Damn, thats good!
He slams the shot glass back down on the bar and turns his attention to Cherri, sitting topless on the bed, still pretty drunk, waiting for him.
He walks over towards the bed, grabing a REMOTE that sits on the corner of the bed. He clicks it. Music plays, 1970’s classic rock, comes on.
ROB. B (CONT’D) You lookin’ pretty good ta night, momma’
Cherri drunkenly giggles as Rob gets on the bed.
EXT. CABIN-NIGHT
Michael stops about 15-20 feet from the cabin.
Jason is a tad bit behind, but he finally catches up, huffin and puffin.
Michael surverys the scape, and spots a GENERATOR.
INT. CABIN-CONT’D
Rob B and Cherri aren’t visible under the silk, blood red sheets on the bed, but the silk conforms to their bodies, giving only a slight hint of what might be going on.
Sounds of female giggling can be heard as the sheets move, illuminated by the lights.
Rob B ad Cherri come out for air. Rob reaches over to the nightstand where a pack of ciggs and a lighter sit. As he grabs them, the lights go off.
A female scream cuts through the blackness like a knife through flesh.
A flame appears, the only source of light in the room now, and its not eve enough to illuminte a face.
The sound of springs releasing tension is heard, as Rob gets off the bed.
CHERRI SKY Where you going?
ROB. B
To check the generator.
The sound of shifting glass rattles the silence.
ROB. B (CONT’D) Fuck, my toe!
CHERRI SKY Careful, baby.
The front door opens, and the light only give luminance to the figure of Rob B, as he leaves.
Through the window, cherri watches him as he fiddles with the generator.
EXT.CABIN-CONT’D
The moon barley gives him any light, but what little light comes through the trees is enough to see the generator.
Rob B checks the generator out, he sees nothing wrong.
He pulls the dip stick out and checks the oil, all is fine.
He notices the SWITCH, it says OFF
ROB. B Damn animals!
He flips on the switch
In back of him, the window lights up, cherri sits on the bed, gutted, dead. Rob doesn’t notice as he turns around and heads back in.
INT. CABIN-CONT’D
Rob comes in, still hasn’t noticed on the bed his is dead lay. He shuts the door.
ROB. B
Must of been squrriels or somethin’ messin’ with the…
Rob finally looks at the bed, he sees cherri sprawled out, blood all over the bed, entrails hanging, and a face of horror frozen on her face that quickly acts contagious and spreads to Rob B’s face.
Rob slowly makes his way over to cherri, unsure what to do.
He pats her head, and tries stuffing her insides back into her body, but it is futile.
A small sound breaks Rob’s concentration on the dead body. He bolts his head to the side, trying to discern where it came from.
Rob slowly gets off the bed, and walks over to a cabinet filled with different types of guns. All the spaces are filled, but two. Rob doesn’t notice the missing guns, he just grabs a shotgun as the noise happens again, but louder.
Rob inches towards the kitchen aera of the cabin, slowly, he turns to see what is lurking.
KITCHEN
Rob steps into the kitchen, the first thing he notices is the back door, open, banging in the wind.
He walks over to the door, behind him, in the front doorway, stands Michael, breathing heavy, but silently.
Rob shuts the door, locking it.
Slowly, he turns around, weary, Michaels gone, but Rob catches his reflection in an aluminum fridge, spooking himself, sending two buck shots into the fridge.
Rob B. Cocks open his double barrel shotgun, removing the TWO SPENT SHELLS, then cocking it back.
ROB. B (CONT’D) Fuck!
Slowly, Rob B. Backs up ito the cornor where the door and side window meet. Afraid, praylzed, from getting more shells.
Rob breathes slowly, inhale, exhale, inhale, exhale.
The window smashes open, sending him running for the living room aera.
LIVING ROOM AERA
Rob scrambles with the shotgun shell box, trying to reload as quickly as he can, as something approaches his rear.
Rob cocks the gun quickly, but not quick enough. Jason has overpowered him into a corner, knocking the shotgun from his ahand, it falls to the ground, shooting off and taking a window with it.
Jason tosses Rob into the middle of the living aera, he holds a gun to him.
Michael comes into the room through the kitchen, also holding a gun.
ROB. B (CONT’D) Please don’t kill me, I’ll do anything.
Rob squrims, wanting to live.
Both brothers stand side by side, now, guns lined up at Rob.
Off in the distace, sirens are heard.
A hard wind starts to blow curtains and dust around the cabin.
Jason and Michael look out the window and see cop lights on the horizion, and a bright white light in the sky, accompained by the sound of a helicopter.
ROB. B (CONT’D)
You’re fucked now, assholes.
MICHAEL
Thats what you think.
Michael grabs Rob and forces him on his knees, facing the window.
MICHAEL (CONT’D) This is for the shitty movies you make.
He puts the gun to Robs head, and pulls the trigger.
Robs head jerks to the side, and his dead body falls over, limp.
Jason turns to Michael.
JASON
Shit, I think we’re fucked this time.
MICHAEL
I’ve got an idea
EXT. CABIN-CONT’D
5 squad cars are all lined up, blocking the front, and preventing escape.
Cops with shotguns and handguns, all rest their weapons on the hood, watching the cabin.
The lights in the cabin go off, leaving it pitch black.
In the plane, the sniper takes aim at the house.
DEC.WALHBERG
(through the mic)
Keep the chopter as steady as you can.
INT. CABIN-CONT’D
Michael picks up the body of Rob and holds it, like a shield.
JASON
What are you doing?
MICHAEL Watch this.
Michael places his handgun in Robs hands, and moves to the front door, just enough for Rob to be visible to the police.
EXT. CABIN-CONT’D
HELICOPTER
Dective Walhberg watches the cabin from the sky, intently. he squints his eyes a bit harder, noticing something comming for the door.
Detective Walhberg picks up a megaphone.
DEC.WALHBERG
This is the police, come out with your hands up.
The figure is visible now.
DEC.WALHBERG (CONT’D)
(through the mic)
Do not shot, do not shoot. That is Rob Boll.
POLICE CARS
The officers relax, but just a tad. Their weapos still trained on the house.
CABIN DOOR
Rob’s hand raises up, with the handgun in it.
INT. CABIN-CONT’D
Michael squezzes Rob B’s finger, firing shots at the police.
EXT. CABIN-CONT’D
HELICOPTER
Shock comes over Dectective Walhbergs face as he sees Rob B. Firing upon the police.
DEC.WALHBERG
(through mic)
Shoot to disarm, repeat, shoot to disarm.
POLICE CARS
The patrol men all open fire on the cabin.
INT. CABIN-CONT’D
Bullets ricohaet against the outside of the cabin, making sparks apper at the windows and door.
One bullet tears through the sholder blade of Rob.
The glass case with guns shatters from the bullet.
Michael and Jason look at each other in horror, but are unharmed.
Michael pulls back from the doorway, with Robs body, making it look like a retreat.
He places the body on the floor.
MICHAEL
(quietly)
Dude, lets bail.
Jason looks like you don’t have to tell him twice.
EXT. CABIN-CONT’D
HELICOPTER
Detective Walhberg holds his gaze on the house, waiting to see if Rob B. Reemerges.
DEC.WALHBERG
(to the mic)
Get ready to enter on my mark.
BACK OF THE CABIN
Michael and Jason comes out the back door, they stop for a second.
Michael takes the gun from Jason’s hands ad fires a shot into the sky.
Birds spill out of the trees, covering the sky.
Michael and Jason run as fast as they can, away from the cabin.
HELICOPTER
Dectective Wahlberg watches as the a small police squad assembles near the cabin.
DEC. WALHBERG Go, go, go!
INT. CABIN-CONT’D
The police squad storms into the cabin, looking around for any possible hostiles.
One of them steps forward to where Rob B’s body lies. He trais his gun on them, assing the threat.
POLICE OFFICER #2 Stand down!
The officer brings down his gun and grabs his mic.
POLICE OFFICER #2 (CONT’D)
(into mic)
Looks like a homocide and suicide, detective.
INT.HELICOPTER-CONT’D
Detective Walhberg rest his hands on the sniper, silently telling him to ease down.
DEC.WALHBERG
(to mic)f
I’ll be down in a minute, bag them and tag em’
EXT. CABIN-CONT’D
Cindy Watkin’s sets up with her camera man as the helicopter lands in the backround and various police enter and exit the cabin, creating the crime scene.
INT. LIVING ROOM-CONT’D
The TV is on. Cindy’s report is playing.
CINDY WATKINS In what appers to be the end of a deadly night of terror, director Rob. B killed himself and his girlfriend in his cabin, here in Springwood.
COUCH
On the couch, Michael and Jason sleep a well deserved rest.
THE END!

Horror, Review, Writing

Psycho Novel Review

3 Comments

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Psycho Novel Buy Link

Introduction
I just finished reading Robert Bloch’s Psycho, which the movie from the 1960’s is based upon. This book itself is based upon the Ed Gein murders, which was a much used source of inspiration for many other movies, books and tv shows throughout the 60’s and 80’s, not to mention The Texas Chainsaw Massacre. I first saw the original Psycho movie in the 1990’s and loved it. Sure, it had its problems, but it was fun. The remake came out in 1998, which I hated, even at twelve years old. Although I am not pictured in it, because I was taking the photo, when I went to Universal Studios Florida as a child, we got a pic of the house from the film. I also went to Bates Elementary School in Salem, Massachusetts. Which, one of my principals looked a lot like Anthony Perkins. So to say I haven’t loved this film for years would be an understatement.

The book was originally written in 1959, and took only one year for it come come to the big screen, which would be in 1960. The impact of this movie would be felt for generations to come, as it gave birth to the slasher genre and without it, we wouldn’t have all the fantastic 80’s movies, like Friday the 13th or Nightmare on Elm St without it. While the movie is still more spoken about than the novel is, I am going to review this anyways. So without further ado, here is Robert Bloch’s novel, Psycho!

Synopsis
A young woman steals $40,000 dollars from her boss and set out to find a new life, when she stops at the Bates’ Motel. Little does she know what is going on in such a secluded place out here on the new highway and the ramifications of her actions result in a unexpected twist!

Characters
The characters are developed slightly better than the movie, but still not enough to care about in this novel, which is a shame too, because the additional information of the characters in the novel make the movie a lot more interesting.

Dialogue
Fine as is. As I always point out, dialogue is hard to screw up.

Prose
Nothing horrible, but it has some flaws like misplaced expository aspects within, but otherwise, just fine.

Subtext/Themes
If anything about this book needs to be said, it is how this is really more relevant than ever before, given the Millennial male is a typical momma’s boy.

Conclusion
The novel isn’t bad, but it lacks the suspense of the movie. Robert was better than a lot of writers in his time frame, but this book isn’t the best example of this. Psycho is just mediocre compared to what people think about the movie and it is hard to imagine this book being so lucky as to create a movie so soon, when a lot of other books have taken longer to grace the silver screen. The twist is given away by chapter 10 or 11 and it is a downhill ride from there that ever even had an ascent. It could of ended a whole 4 chapters earlier than it did and might of salvaged itself, but it didn’t and it only made reading this to the end even more tedious, which is a shame, given it is such a short book. All of the movie’s iconic moments are there, accept non of Hitchcock’s suspense is there to make it worthwhile, nor is the line “We all go a little mad sometimes”. The tension doesn’t exist, the writing is only ok, but it is still a decent read.

3 out of 5.