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_________________________________________
OVER BLACK SCREEN: 1
 

Flash Excerpts of Radio broadcast are heard as the

CREDITS appear.

V.O.

August 18, 1973, news of a

bizarre, chainsaw wielding

family -- Reports which were

to ignite the world's imag-

-ination -- began to filter

out of central Texas. Regret-

-tably, not one of the family

members were apprehended, and

for more than ten years, noth-

-ing was further heard. Then,

over the next several years,

at least two minor, yet apar-

-rently related incidents were

reported. Then again... nothing.

For five long years...Silence.

Then...yet another series of

related incidents occurred...

New evidence and studies from

The FBI, show that all five of

the related incidents were done

by separate, cannibalistic

clans, and that none of the in-

-cidents were connected in any-

-way. The idea that all have

used a chainsaw, and show cases

of cannibalism, necrophelia,

homosexuality, and transvestitism,

are in no way connected to each

other, and if they are, it is

purely coincidental. Although

theories have circulated, and

FBI officials have talked, the

only worthwhile conclusion is

these people, whoever "They"

may be, use the chainsaw, use

sodomistic practices, and trans-

vestitism, as a sign of their

particular life style-- a cult.

Religious, or not religious,

they are believed to have prac-

-ticed the works, of the late

Ed Gein. A man who has sparked

imagination of Hollywood since

2



V.O (CONT'D)

1974, a year after the first

Texas Chainsaw Massacre was re-

ported. We are Dawning on a new

century. All of the Gein clans

have believed to be apprehended

... accept one, and they are

The Master Clan.







TITLE SEQUENCE:



Real Solution: A Texas Chainsaw Massacre



ROLL CREDITS:



FADE UP:





INT. CAR (MOVING) - NIGHT



Two women, obviously tired,fatigued, and with lack of rest

slowly truck it down a lonely Texas highway. The two, both of them, very different; both in their own way, might have not have shared fashion tips, but can carry a conversation all across Texas if they wanted to. They were both: Very Verbal Women.



The girl behind the wheel, a persona that leaked through her

presence,like icing on a hot cake, gave off the appearance

of the rebel of the group. Her eyes even read "Bad Ass

Bitch."-- as she shoved the gear into fifth, and put it on cruise control. Her name is Leslie FINCH



The girl (or the more PC term for her is the SCREAM QUEEN)

on the passenger side, gives off no presence. Almost as if

there was no presence to give off. All the signs of In-

-teligent life are on the driver's side. Her name is KATE

She, is you typical BUFFY like character. Y'know, No brains, and VERY easy. She's a prep/tramp -- you know the

type. KATE puts her book down, shining off a look of sheer

boredom, and like a tractor beam, she points it in the

direction on FINCH, and Finch can't help but look over,

because the innocent looking puppy dog face is

irresistible.



3

The look is making Finch uncomfortable, and she twists her head around popping her neck in long-day discomfort, and sighs.



Kate puts on puppy dog face, her eyes deeper, and more piercing than before.



Finch loses it.



FINCH

(irritated)

Listen! There is nothing to

discuss. We are not stopping

for the night. We need to just

keep on drivin'.



KATE

(desperate)

Pleeease! ...besides...I can

barely keep my eyes open.

wh...then what? What happens?

I'll tell you.



FINCH

(beat)

Knock yourself out.



KATE

We're screwed, royally. And,

If I fall asleep...most likely

you will too.



FINCH

If I get tired,

(sure)

Which is not very likely.

(calming down)

I will, pull over on the side

of the rode -- no big deal.



KATE

...And get slaughtered, by that

... guy, what's his name? the

Texas Chainsaw Massacre. Leather-

-face? No honey. I don' think so.

We are pulling over in the next

town, and we are checkin' into

a hotel.

FINCH 4

Kate? Could you please spare

me this hacker,slasher bull-

-shit. Leatherface? The Texas

Chainsaw Massacre? Dammit!

Listen to yourself! Four words

It's a horror movie. Three more

It-aint-real -- Jesus.



KATE

Finch? I thought you knew.



FINCH

Know about what, Kate.



KATE

(seriously

concerned)

That is a true story, Finch.



FINCH

True story my ass...



Finch grabs a cigarette from the dashboard, presses the filter between her lips, and charges the car lighter, after

she pushes the button to roll down the window.



FINCH (CONT'D)

I am not, for one second;

gonna believe that cockamamie

bullshit.



KATE

I did a paper on the guy my

junior year. His name is Ed

Gein.



FINCH

Kate, even if he is real, what

makes you think he'll find us.

What makes you think that I'll

run into him? What makes you

think that we are anywhere near

him? And listen to me, I'm startin'

To think like you are! All that

mumbo jumbo bullshit is rubbin'

onto me.





5

The head of the carlighter pops up with a metallic THUD.

She yanks it out, and pulls it up to her cigarette, which has been in her mouth the whole time, then lights it.

She takes a drag with comforting ease, and her eyes roll up

as she exhales.



KATE

What about gas, you are runnin'

a little low Finch, College

Station would be a perfect stop

to get some gas, and sleep for

the night.



FINCH

Kate, Your Roommate has spoken.

We are not stoppin'. Not until

we reach our destination.



KATE

You don't have enough gas to get

to Huntsville and you know it.



FINCH

I have enough gas, godammit, I

have more than half a tank left.



Finch takes another drag as Kate continues to aggravate

her.



KATE

Please Finch. I'll pay for both

rooms. Separate Rooms for the

both of us.



Finch exhales and sighs simultaneously.



FINCH

You could sleep in the car any

other night, but nooooo...

we're in Texas -- god forbid --

And we have to sleep in a hotel

because Kate is afraid of the

....fuckin... what's his name

again.



KATE

Ed Gein.



6

FINCH

No, that other silly name you

came up with. What was it?

Uh...skinface? Scarface? What?



KATE

Leatherface.



Finch looks at her with disbelief.



FINCH

You are Psycho!



After that as if on cue, the headlights dim, and the light above them darkens, as the car slows down.



KATE

Shit!



The car CRAWLS to a complete stop, and it COUGHS it's last

breath of light, and goes to SHUTDOWN MODE, as it sits there

embarrassingly low on juice.



Darkness. Don't forget that they are in the middle of the

woods, with no streetlights, and no houses for miles.

The only source of light is the cherry on Finch's cigarette.



KATE

Are you graspin' the situation?

'Cause in case you are, we are

stuck out here because the battery

is dead. The battery that you said

was fine, and if you would have

stopped when I asked you too, we-

-would-not-be-in-this-situation!



Finch gives her a look.



FINCH

Shut the fuck up. I'm graspin'

the situation Katlin. I do real-

-ize the situation at hand. And

if you would shut up for one

second, maybe I grasp a solution

to the situation! Shut the fuggup!

(she pauses)

All right, I thoughtta somthin'.



7

KATE

What?



FINCH

We get out, push the car onto

the side of the road, and we

sleep.



They are blinded by a set of headlights coming down the road. The monstrous ROAR of the engine, gives the fact away

that it is a truck, a HUGE, LOUD truck.



FINCH

Thank God, maybe he's gotta

battery.



The TRUCK rides into view, making the once dark highway

light as day (within a certain radius).





EXT. HIGHWAY (NEAR TRUCK AND CAR) - NIGHT



A TALL MAN hops out of the truck, and makes a bee-line

over to the car.



He YANKS a flashlight from his utility belt, and shines

it into the car.





INT. CAR - NIGHT



The Flashlight, BLINDS the girl's eyes.



FINCH

Shit.



Finch rolls down the window, and extends a hand to greet

him.



FINCH

Hi.



The TALL MAN turns off the flashlight, and puts forward his

hand to greet hers.



TALL MAN

Hi.



8

TALL MAN (CONT'D)

Looks like ya have a problem

with your car, ma'am.



FINCH

Yeah, well... Our battery it's

...kinda screwed.



The TALL MAN let's out a war-hearted laugh.



TALL MAN

Well, me'n my brother, we'd

be glad to help.



KATE

Thank you very much.



TALL MAN

Oh, don't worry about it ma'am.

It's a pleasure. Anything to

help out a couple of nice girls

as y'self.



KATE

Thank You.



TALL MAN

Hi, m'names Vilmer.



KATE

Hi, I'm Kate, and this

(pointing to Finch)

is Finch.



The VILMER tips his cowboy hat with his flashlight.



VILMER

Much obliged. Well... There

isn't a town out here for miles.

Now... I on the other hand, live

just a few miles down the road,

and it just so happens, we have

a brand new battery in he shed

that's just achin' to be used.



Kate smiles, charmed by Vilmer's SOUTHERN HOSPITALITY.





FINCH 9

Thanks Vilmer, we'd appreciate

it.



VILMER

Yeah, the way I see it, we'll

head back to my place, get you

girls a battery, and we'll have

you back on the road in about

an hour. But for the meantime,

we'll have to get your car off

the road, and yall kind ride

with me.



FINCH

Well, we wouldn't want to be an

inconvenience. I mean... we can

wait here if you'd like.



VILMER

(concerned)

Oh, lord no! I wouldn't leave two

lovely ladies such's y'self out

here in the dark, that's just

not right.



The two girls smile IMPRESSED by his bedside manner.



VILMER

N'besides, yall two look a little

tired, we'll make sure you get

somthin' to eat before you get

back on the road.



KATE

(thankful)

Oh...thank you.



VILMER

It's no problem at all.



FINCH

You really wouldn't mind.



VILMER

Of course not, me'n my brothers,

well... we'd love to have you

for dinner.



10

Finch lets out a warm smile, looks at Kate; then back to

Vilmer.



FINCH

Well... if it's no convenience...

we'd love to.



VILMER

Great. Now... we need to get

this car off the road.





CUT TO:





EXT. HIGHWAY (NEAR THE TRUCK AND CAR) - NIGHT



Vilmer and his brother BONES are pushing the car off to

the side of the road, and are finishing the job as of now.



The two brothers walk over to the two ladies, who are by

their truck, Kate: Trying to keep warm, and Finch: Smoking

a cigarette.



VILMER

Finch, Kate. I'd like you to

meet my brother, Bones.



KATE FINCH

Hi Bones. Hi, how are you.



Bones strikes us as a kind-sorta STRANGE person.



He speaks in a rapid pace, stuttering, and running almost

all of his words together.



BONES

Hi, ladies, Hi ladies, how do

you do, I'm fine, I'm fine, of

course I'm fine, but that's not

the case, of course we're we're

talking about you, and you look

fine, you do look fine, but thats

why I'm asking you, I'm asking you

(to Vilmer)

Ohhh (laughter of joy) they look

marvelous don't they, simply



11

BONES (CONT'D)

Marvelous, They're pretty

pretty ladies, pretty, yes

they are, wonderful simply

wonderful.

(to the ladies)

How do you do, you do look

lovely, you do, you do, look

at me I'm rambling, I'm

rambling, I'm rambling --

I need to stop, but you do

you do, seriously you do

you look very lovely you

do.



VILMER

Bones, that's very nice of

you.

(to the ladies)

C'mon, I'll show you the back

back cab.



Vilmer escorts the two ladies to the cab, leaving

Bones, who gets in on the passenger side.



FINCH

I don't mean to say something

that offends you but...



VILMER

Oh..Bones

(smiles)

He's all right, it's just that

well... ever since his mother

died, he's been a little on the

depressed side, and the way he

talks is just how... I dunno

... how he deals with it.



FINCH

I'm sorry I asked, Vilmer.



VILMER

Oh, No problem. C'mon let's get

to it.







KATE 12

Okay, we promise, we'll be

quiet now.



VILMER

Talk all you want, but, I'll

be in front, and if you want a

beer or somthin' there's some

in the cooler.



The two girls hop into the back cab.



FINCH

Thanks Vilmer, we really do

appreciate this.



VILMER

Ya'll be careful back there.



Kate shuts the door to the back cab and Vilmer walks

around to the front cab and gets in, and they ride off

down the road.



FADE TO BLACK:



INT. TRUCK (MOVING) - NIGHT



Vilmer and the ladies are having a conversation, while

Bones holds his small handheld radio, listening intently

in his own private world.



FINCH

Vilmer, I'm sorry, I forgot

to ask, but... do you mind

if I smoke?



VILMER

Yeah I mind... but now...

if you offer me one... I

uh... might change my mind.



Finch let's out a warm hearted laugh.



FINCH

(laughs)

Fair enough.







Finch pulls out her pack of cigarettes, and hands him 13

one.



Vilmer accepts it. Pulls out his shiny silver zippo, and

lights it.



VILMER

I appreciate it.



FINCH

No problem.



KATE

(coughing)

You need to quit smoking.



FINCH

(blowing smoke in

Kate's face)

What?



KATE

(irritated)

Never mind.



CUT TO:





EXT. TEXAS BACKWOODS - NIGHT



The truck turns a swift corner, and starts to drive down

a lonely road, with no name.



No lights, and the howls of a thousand wolves.



As they speed down the road into darkness, eventually,

they disappear into the darkness.



INT. TRUCK (MOVING) - NIGHT



Kate is showing slight sense of discomfort.



KATE

So... Do you live down here?



VILMER

Yeah... It's a more charmin'





VILMER(CONT'D)

in the mornin', when you can 14

actually see the place. Used

to be a big game preserve,be-

-fore our family bought it.



EXT. TEXAS BACKWOODS - NIGHTS



The truck pulls up to a backwoods country house. Noticeable

only because of the lights that are on inside.



The four in the truck get out. But our attention is not based on them. We FOLLOW a trail that leads behind the

barn.



We turn the corner, and PAN AROUND to reveal the backside

of the barn.



What we see is completely out of the ordinary.



Tied to the barn, hanging,swinging in the wind is a head-

-less nude female corpse -- gutted and bleeding on the mud below.



On the ground, a mound of flesh, insides, and red mesh

is attracting a swarm of flies.



CUT TO:





INT. COUNTRY HOUSE - NIGHT



It's normal. Typical, and most of all comforting. Obviously

a deadly cover. The front door enters into the dining room.

which is connected to the kitchen.



The far wall is connected to a threshold, which leads us to

the living room.



On the right end, are a set of recliners, separated by coffee tables.



On the extreme right is a Entertainment Center, You have your TV, VCR, and a set of family pictures. In front of the entertainment center, is a huge luxurious chair, old, yet

comfortable, it's back is to us -- and if someone is sitting in the chair, we are unable to tell.



The TV glows in the dim-lit room.

15

Vilmer and Bones open the door in the Kitchen, escorting the two ladies inside.



VILMER

You two ladies wait right

here. I want to check and

see if my older brother's

got his clothes on.

(to Bones)

Bones, keep'em company okay?



BONES

Righty-O, Righty-O.



Vilmer walks into the living room -- over to the chair

in front of the TV.



He stay over by the threshold as Vilmer lays it all down to the character in the chair in whisper.



It is faint but we can hear some of it.



VILMER

Found some fresh meat Mom.



The character, a MAN, speaks back to him in whisper.



MAN

Good for you, son -- I'm

very proud of you.



VILMER

Thank you momma.



MAN

Do they know anything?



VILMER

Not yet momma, just the way

you like it. And their both

pretty, pretty ladies.



MAN

Son, you did a good thing,

Now... when Jefferson gets

here... You can make'em just





MAN (CONT'D)

how you like'em. 16



Vilmer obviously loving, and caring for whoever's in the

chair.



VILMER

Thank you momma.



Vilmer leans over to the MAN, his face hidden by the back

of the chair. We hear a soft SMOOCH.



Vilmer gets up and heads back into the kitchen.



VILMER

Finch? Kate? I'll show you

where the battery is after

dinner, but for now, we need

to wait for my brother Jefferson.

He should be here any second.

So while we wait, why don't we

just sit down, and talk a little

bit.

(pause)

I don't say this often -- probably

because we dont get much company

but... It's nice to have you here

because me'n Bones, we really

don't get out much.



FINCH

Thanks Vilmer.



VILMER

My brother should be here.



A FLASH from outside headlights make the dim-lit house

go bright.



A smile spreads on Vilmer's face.



VILMER

(smiling)

Well, Well. Speak of the Devil.



A skinny man, semi-good looking - kind of a rugged

handsomeness, walks into the kitchen door, sporting



a police uniform.

17



GOOD LOOKING MAN

Hey Vilmer!



VILMER

Hey man, how ya doin'!

(to the ladies)

Ladies, this is my brother

Jefferson.



FINCH

Hi, Jefferson



KATE

Hello.



JEFFERSON

Hello ladies.



VILMER

We were just about to sit down

and have a little chit chat.



Jefferson looks at the two ladies with a polite smile.



JEFFERSON

Is that right?



FINCH

Vilmer? Do you mind if I

use the ladies room.



VILMER

I'm sorry little lady, but...

when your a guest with of a

bunch of a heterosexual males...

I'm afraid your gonna have to

improvise with what we got.



Finch laughs.



FINCH

I guess that'll do.



VILMER

Fair enough.





KATE 18

Do you mind if I go too?

I have to go put my make-

-up on.



JEFFERSON

Knock yourself out.



KATE

Thanks.



The two ladies get up and head to the restroom, which past

the den.



The two brothers look at each other, with a gaping grin.



VILMER

Now it's on.



JEFFERSON

Oh, baby!



VILMER

Run out to the shed'n get

the chainsaw, and my shotgun.



JEFFERSON

Check.



INT. BATHROOM - NIGHT



Finch is sitting on the pot, while Kate is leaning over

the counter, looking into the mirror, while she puts on her make-up.



KATE

They seem like nice people



FINCH

Yeah.



EXT. SHED - NIGHT



Jefferson scrambles into the shed and grabs the chainsaw.

And looks around for the shotgun.









INT. BATHROOM - NIGHT 19



The two ladies, still talking.



KATE

D'you smell that.



Finch sniffs, and makes a disgusted face.



FINCH

(grossed out)

Yeah, what the hell is that?



EXT. SHED - NIGHT



Jefferson finds the shotgun, and the carton of shells and

he starts to load it.



INT. BATHROOM - NIGHT



The two girls look almost nauseated by the smell.



KATE

(pointing to

shower curtain)

I think it's coming from in

there.



Finch is zipping up her pants.



EXT. TEXAS BACKWOODS



We see Jefferson running from the shed into the...



INT. HOUSE - NIGHT



He storms in, and tosses Vilmer the shotgun, and enters

the living room and goes to the chair, and hands whatever's

behind the chair the massive chainsaw.



INT. BATHROOM - NIGHT



The two ladies are standing in front of the shower curtain.



They can see a shadowy figure behind the curtain, but they are unaware.



Finch yanks the shower curtain back.



Kate tries to scream bloody murder, but Finch covers her mouth, while she too, is trying not to scream. 20



We get a look at what they want to scream about.



A bathtub, filled ankle high with blood, and planted

in the blood are ripped off arms, legs, and an entire

torso area.



And on the shower nozzle, planted on it -- was a decapitated

head. It's mouth open -- it looked as if it was alive --

it would scream.



FINCH

(genuinely terrified

and quiet)

What the fuck? What the fuck?

What the fuck are we gonna do?

When I take my hand away from

your mouth -- you promise --

you promise me goddammit --

that you will not scream.



Kate nods her head, a stream of tears roll from both eyes.



Finch let's go, and she runs for the toilet -- and vomits.



There is a KNOCK-KNOCK-KNOCK at the door, followed by

two sinister high-pitched redneck-laughs



FINCH

(catching breath)

Who is it.



VOICE

(mimicking shark

on Saturday Night

Live)

Mammogram.



Followed by some more sinister laughs.



FINCH

(screams)

Vilmer!









VILMER (OS) 21

(imitating Lurch)

Yoooouuuu Rrrraaannng?



More Deranged redneck-laughs.



VILMER (OS)

We're gonna count to three

then we ah comin' in.

BONES! DRUMROLL PLEASE!



BONES (OS)

Oh!!!(his laugh) Drumroll

drumroll, I'll do a drum-

-roll, drumroll -- watch this.

(makes drum beating

sound)



VILMER (OS)

ONE!

(pause)

TWO!!

(pause)

THREE!!!



The door creaks open. -- Silence.



The mesquitoes buzzing from outside.



FINCH

(scared)

Kate we gotta get out of

here now.





Kate, still hugging the toilet, strains to get up

with Vomit induced siliva dripping from her mouth

-- her face a pure red -- stained with tears.



KATE

(sniffling, scared)

There around the corner, I

know they are, I know they are.

We're gonna walk out of this

bathroom and their gonna, do

to us, what they did to that

girl in the bathtub!





FINCH 22

I'm gonna peek outside, you

stay here.



KATE

(objecting,scared)

Don't go, they'll get you

I don't want to be alone

Dont' leave me here!

(crying)

I dun wanna di...



She is crying so hard she can't talk.



FINCH

Don't worry, Don't worry

I'll be right here, I'm just

gonna go take a peek.



Finch tip-toes over to the door, leans against the wall,

and takes a deep breath.



The house is amazingly quiet.



We can hear the screen door on the opposite end of the

living room CREAK open, and SLAM closed, repeatedly.



She takes one more deep breath, and exhales -- then peers out into the hallway, she looks out to the right of the

threshold -- then to the left.



Both sides -- empty.



She walks back over to Kate, who is about to have a nervous

breakdown.



FINCH

Okay, you see that door at the

end of the living room...



Kate nods her head, sniffling.



FINCH

We are gonna make a run for it.



That's it. That's all Kate needed to hear to set off

what looked like pure fear. She peed in her pants, and

floor got splattered with urine.



FINCH 23

(whisper)

Kate. Don't do this now!

We need to run. Let's go!

now!



Finch grabs Kate and they run towards the door. They hit

the screen door open, and speed out.



EXT. TEXAS BACKWOODS - NIGHT



The two ladies bolt into the woods, running at LUDICHRIST

SPEED.



They can hear the brother's YAHOOING in the background, as

they TEAR ASS through the woods -- chasing after them.



We can hear the truck driving around -- getting to closer to the running victims.



Eventually the girls come across, a vast incaved clearing

-- which looks like a dried up lake.



The take a run down into it.



There are enough trinches, and used-to-be islands -- for

it to be considered A GREAT PLACE TO HIDE.



The truck drives up to the edge of the pit.



INT./EXT. PIT - NIGHT



Vilmer and Jefferson HOP out, Bones is nowhere to be found.



While the dark figure that was in the chair remains in the back of the truck.



VILMER

I'll take care of'em for ya

Momma -- don't you worry.



The dark figure remains silent in the back of the truck.



VILMER

(to Jefferson)

C'mon Jeff, we got some prime

rib 'needs skillin'.





JEFFERSON 24

Now you're talkin'!



VILMER

All right!



The girls are hiding behind a mound of gray soil, which is

mulched in with chopped bark, and dead pine needles, as they watch the redneck-killers hop out of the car.



KATE

(scared)

Finch?



FINCH

(whispering)

What?



KATE

(scared and crying)

You said there was no such

thing. You said he wasn't real!

You said --



FINCH

(whispering)

Nevermind what I said -- okay?

You were right, I should have

listened to you.



Obviously, Kate is in shock -- and Finch is just telling

Kate what she wants to hear.



KATE

(in shock)

I'm scared, Finch. I'm scared.

I don't want to die here.



Finch grabs her by her shoulders and gives her a good shake.



FINCH

(whispering)

Listen! If you keep this up

we will die here! You to get

your ass in gear -- and stop

bringing down the fuckin' house!





The headlights of the truck go out -- so do the post

lights surrounding the dock. 25



Pitch blackness.



FINCH

Fuck.



KATE

How are we gonna get out of

here?



FINCH

Shhhh.

(whispering)

You hear that?



Kate focuses here hearing -- we HEAR the Gravel, which

surrounds the pit's floor BREAK -- footsteps HEAVY FOOTSTEPS

getting louder -- every time a step heard.



FINCH

(mouthing the words)

"Oh, shit."



The footsteps stopped. Within their radius -- yet unseen

in the midnight blue.



FINCH

(whispering)

Kate, Kate! we gotta move.



A flare -- fired up in front of them/ with no one around

it.



No sounds except for the HISSING of the flare.



KATE

Let's go.



Intended to make us jump out of our seats -- something rushes

past them.



They notice it and jump.



Faintly, in the background -- we can hear the shotgun go off

,and the faint buzz of a saw of some sort.





At the far corner of the pit -- Finch could make out 26 something -- then what she saw flashed to life.



A decapitated head, stuck on a pole, was lit on fire

used as a guidance tool -- obviously for the brothers.



Then another head/torch lit up on the other corner.



then another corner.



then another.



Flaming heads at all ends of the pit.



To make you jump again -- something rushes past them.



Another flare bursted to life on the opposite side as the other one.



Still, no one to be seen.



Still the faint sounds of buzz...



A HUGE MAN, BURSTS out from nowhere, wielding a MASSIVE

CHAINSAW in a split second, and CUTS Finch on the ankle

before she could runaway.



Finch hits the ground -- grabbing her ankle screaming

in pain. While Kate runs for it. Scared for her life,



Blinded with fear, she runs right into the arms of Jefferson.



JEFFERSON

Hi ya! Sweetheart!



Vilmer runs up to the two. -- Vilmer looks at the man

with the chainsaw. We finally get a good look at him.



Long dark hair -- wearing a mask, made out a fragments

of other people's faces -- a white button-up dress shirt, nice'n'clean, a black tie to match his black leather slacks

and black leather jacket -- Holding a HUGE chainsaw, with an

engraving



CU ENGRAVING

Etched on the saw reads " The Saw Is Family "





27

VILMER

(troubled)

Momma!



Leatherface looks up at him.



VILMER

(sad)

Momma, I said I'd take care

of it for ya!



Leatherface speaks perfect English, with a deep powerful

voice.



LEATHERFACE

Vilmer -- I'm sorry baby!

You know I didn't mean to

upset you.



Vilmer goes over to Leatherface, and hugs him, and you

can slightly detect a tear in Vilmer's eye.



VILMER

(muffled)

I was gonna give'em to you

as a present Momma!



LEATHERFACE

There, there, it's all over

now -- Son it's the best

present I've ever received.



VILMER

(crying)

I wanted it to be a surprise

Momma!



LEATHERFACE

Look at you! Your such a big

boy --

(babying him)

Look at this Vilmer -- you got

two birds with one stone. Such

a good little helper.



Vilmer lifts up his face, which was buried in Leatherface's

shoulder, and looks at him with a teary eye.



28

VILMER

I love you momma!



Leatherface removes his mask to show a normal -- in-fact

handsome face -- unshaven. But not deformed in anyway.



He ties his long hair back into a pony-tail.



LEATHERFACE

Come Vilmer! -- Let us eat

dinner!



FINCH

Wait.



LEATHERFACE

Yes?



FINCH

Please don't cuff me. I've had

to wear cuffs for the last ten

years of my life -- I'll do what

you tell me to, as long as...

as long as...



LEATHERFACE

Yes dear?



FINCH

I want you to make it quick. I

don't want to die slowly.



Leatherface walks up to her, and puts his hand on her shoulder.



LEATHERFACE

What's your name dear?



FINCH

Leslie. Leslie Finch, My friends

call me Finch, though.



LEATHERFACE

May I call you Finch?



FINCH

Does it really matter?



LEATHERFACE 29

To me it does.



FINCH

I guess so.



LEATHERFACE

Finch, you do as your told,

I'll make it as quick as

possible.



Leatherface looks at her hands. He picks them up, and puts

them up to his nose, and takes a big whiff.



LEATHERFACE

You smoke, yes?



FINCH

Regrettably.



LEATHERFACE

Might you spare one to me?



Finch pulls out her pack of cigarettes.



FINCH

They're menthol, you sure?



LEATHERFACE

Mmmm. Menthol, even better.



Finch draws a cigarette from the pack and hands it to

Leatherface.



Leatherface accepts it, and presses the filter between his lips.



He pulls out a zippo from his pocket -- unlike your zippo's

usual cover -- this lighter was covered with skin.



He lit his cigarette.



They start walking out of the pit, in rows of two:



Finch by Leatherface, Vilmer by Kate, And Jefferson trailing.







FINCH 30

What's your name?



LEATHERFACE

My name is Ed Gein the third.



FINCH

Are you related to the Ed Gein

in Wisconsin?



LEATHERFACE

Yes, I am. We... we are his

family.



FINCH

I thought all of you were

caught about five years back.



LEATHERFACE

No, not entirely. Y'see -- what

we do as a family, is what several

families did twenty years back.

What few families did, a few years

back. And it's what we do now.

All of our families, spread out

across Texas, we all follow Edward,

some families even thought of him

as a god. I saw him a grandfather,

and a damn good one at that. But

all of the other families, Ten in

all -- have either been caught, or

been outsmarted by their own food.



Leatherface smiles as the walk up the hill and out of

the pit.



LEATHERFACE

Y'see, we're not monsters. To you

yes, we may well be -- but you

have to understand that it's

nothing personal. Your just our

meal ticket.



FINCH

I've seen your movies.



Leatherface crackles a flim-laden laugh.





LEATHERFACE 31

Their somthin' aren't they?



FINCH

It's just... Well...



LEATHERFACE

I know, all they guys with

the leather mask and the chain-

-saw, are few cans short of a

six pack -- I know this. But

it doesn't bother me, I mean it's

just a movie -- they do it for

ratings and I can respect that.



FINCH

Ed, what are you going to do with

us when we get back to the house?



LEATHERFACE

Well, we are going to eat supper,

you are going to watch, and then

This hellhole you call life will

have just been a terrible dream

as you journey to your unknown

destination.



CUT TO:



INT. HOUSE - NIGHT.



The Kitchen/Dining Room is empty, and quiet, accept for

the HMMMM of the a/c unit in the living room.



Leatherface, Finch, Vilmer, Kate, and Jefferson enter.



LEATHERFACE

Vilmer, tie the ladies down

please.



VILMER

Yes, ma'am.



Finch looks at Vilmer in a funny way. As if not understanding the awkwardness of the situation.



Vilmer goes into the kitchen and bends down out of view.



He reappears with two handfuls of cargo rope.

32

Vilmer advances toward the two girls.



Kate, the whole time -- almost in a trance-like state

looking down at the floor.



VILMER

If you ladies'll please

have a seat.



Finch takes a seat at the dinner table, while Kate continues

to stand -- lost in her own world.



Vilmer escorts her gently to a seat at the dinner table, then proceeds to tie them up.



LEATHERFACE

I'm going to go check on

bones, and see how the food's

comin'.



Leatherface exits the House.



JEFFERSON

Vilmer.



Vilmer is in the middle of tying them up.



VILMER

Yeah?



JEFFERSON

We got a drugbus' t'day?



Vilmer looks up with a serious face.



VILMER

(interested)

You got something for me.

Tell me you got sumthin'.



Jefferson smiles.



JEFFERSON

I might, it all depends on

how much money you got.







Vilmer finishes tying the girls up, and walks over to 33

Jefferson.



VILMER

I got about two-hundred.



JEFFERSON

Good enough.



Vilmer claps his hands, and JUMPS up and down, with pure

enjoyment.



VILMER

Jefferson, you are a good

man.



JEFFERSON

Anything for my favorite

brother.



Vilmer grabs him and gives him a great big man-like hug.



Leatherface and Bones ENTER the house through the KITCHEN

door.



Leatherface is empty handed, but Bones, enters with a huge tray of raw and cooked meat.



Bones speaks, with a cigarette hanging from his mouth.



BONES

Soups on! Soups On! Ladies

ladies come have some meat with

us it's delicious, delicious --

you'll love it, just love it.



He sets the meat down onto he table.



Leatherface sets the table with plates -- no utensils.



Jefferson opens up the fridge, and pulls out a jug of milk

and grabs four glasses, then works his way to the table

as he sets down the drinks.



The four of them sit down



Finch looks down at the dinner table -- it now has a table

cloth on it made out of sewed and stitched human skin.



LEATHERFACE 34

Well... let's eat.



The four guys grab some body parts from the tray and start

to chow down.



Vilmer grabs a hand -- a grilled hand, and starts to eat it

as if it were a chicken leg.



Kate sees it, and starts to shake in fear.



Jefferson takes the face -- uncooked and cuts a slice off

of it, and sets the face back onto the tray.



Bone grabs what looks to be some sort of cooked genitalia

and start to chew.



We can literally see Kate, breaking down.



Finch, closes her eyes.



Leatherface cuts up the gutted uncooked torso, and breaks

out a rib and starts to chow down.



Kate is losing her mind -- you can see it in her eyes.



Finch still has her eyes closed.



We can HEAR, the RIPS, and CRUNCHES, CHOMPS of the cannibals

as they eat their dinner.



Kate's gives off a presence of purebred fear.



She looks at Vilmer, eating the hand up, and breaking off

the bone.



She looks at Jefferson, eating the slice of the face -- his eyes closed -- savoring it.



She looks at Bones, curled up, knawing on the genitals



Then she turns to Leatherface, eating the bloody rib, the

loose tender meat dropping off of the bone, and out of his

mouth.



It all sinks in to her -- She's completely aware.







She screams a HELLISH CRY OF THE BANSHEE, as she looks up

and closes her eyes. 35



She wets her pants, and her water splatters on the floor.



The Cannibals continue to CHOW DOWN.



Until we hear another scream, a muffled one in the b.g.

from below.



Vilmer slams his hand down on his plate.



VILMER

Goddammit!



He get up and walks into the Kitchen, and bends down, and

lifts up what sounds like a trap door.



VILMER

What the... hell do you

want!



A muffled female voice OS talks back.



FEMALE VOICE (OS)

(desperate)

I hungry, I real real hungry.



VILMER

What happened to the last batch

of shit I gave you?!



FEMALE VOICE (OS)

I ate it all.



Vilmer makes a face.



VILMER

You what? You ate it all?!

Jesus Christ! I gave you

that batch yesterday.



She whispers something.



Finch pays attention, fascinated, yet scared.







VILMER

All right, all right, what do 36

you want?

(pause)

Make it quick, I in the

middle of eating.

(pause)

Let's see.



Vilmer walks around the kitchen, looking around.



VILMER

We got some bananners, more

bananners... some apples.

(pause)

No? Well, you want some cereal?

(pause)

It's either fruit of cereal.

(pause)

It's either fruit or cereal.

(pause)

Both? All right.



He grabs two boxes of cereal and a plastic bag of fruit and throws it down there.



VILMER

Don't ask me for anymore shit

'till the mornin' aight?

(pause)

Okay, g'night Shelly.



He slams the door, and locks it, he gets up, and walks toward the dinner table.



He sits down, picks up the hand he was eatin' on, and throws

it back on the plate.



VILMER

It done got cold.



FADE OUT:

FADE IN:





The family and the hostages are still at the Dinner Table.









The tray is empty, and their plates are a bloody mess. 37



Leatherface is leisurely chewing on a fat cigar, while

Vilmer and Jefferson are smoking a cigarette.



FINCH

Who's Momma?



VILMER

Momma couldn't eat with us

tonight.



FINCH

(to Vilmer)

I heard you call Edward

Momma.



Vilmer bursts up from his chair, in a spit of rage -- he

grabs the knife from the table and puts it up to Finch's

neck.



VILMER

That's a GOD DAMNED LIE!



LEATHERFACE

Vilmer...Put the knife down,

is that anyway to treat your

guests?



FINCH

Who was that... below the

kitchen?



LEATHERFACE

That was the Black Sheep of

the family.



VILMER

I told that bitch she could

come upstairs and live like

a normal human bein', She

aint movin' a muscle.



FINCH

Then, why is she down there.







VILMER

That bitch refuses to eat 38

meat.



FINCH

What kinda meat?



VILMER

The only kind there is that's

worth eatin'!



FINCH

You keep her down there because

she refuses to eat her own race?

Why don't you just kill her, like

you are with me'n Kate.



LEATHERFACE

Because she...

(pause)

... she's family. She's Vilmer's

little sister. Yep.... Vilmer

tried so hard to teach her to do

the right thing...but, in the end...



Leatherface points to the trap door in the kitchen.



LEATHERFACE

We did the only thing we could

do.



FINCH

So you keep her locked down there

like a... like a child reject.



LEATHERFACE

Exactly Ms. Finch -- Vilmer, time

play in the barnhouse.



Jefferson interrupts.



JEFFERSON

Wait a minute, It's my turn.



LEATHERFACE

It'll be your turn tomorrow.









JEFFERSON 39

No! I kept lookout for the

past three nights!



LEATHERFACE

The last two nights, You keep

lookout one more night, then it'll

be your turn, I promise.



Jefferson looks up, as if he's trying to think.



JEFFERSON

I'm goin' tomorrow night, I'll

remember you said that.



LEATHERFACE

Okay.



JEFFERSON

I will.



LEATHERFACE

Okay, Jefferson.



VILMER

We gonna invite these two ladies?



LEATHERFACE

No, there's more than plenty in

there now.



Vilmer gets up.



VILMER

So what are we gonna do with these

two while we're gone?



Leatherface places his cigar in the mouth of the

head, that was eaten from.



LEATHERFACE

Tie 'em up in the Cellar.



JEFFERSON

I'll take the liberty of doin'

that.







VILMER 40

Thanks, Jefferson.



JEFFERSON

Hey man, No problem.



Jefferson gets up, and starts to help the ladies up, while

Leatherface head back to the back of the house, and Vilmer walks outside.



JEFFERSON

What're yall usin' tanight?



VILMER

We're using the family chainsaw.



Jefferson lets out an evil grin.



Vilmer gives an evil grin back then EXITS the house.



CUT TO:



DARKNESS



Wherever we are, there are alot of people, but their all

breathing heavy, and the chitter-chatter of all the scared

and unreasonable voice are mixed -- only to sound like

gibberish.



The light FLASH ON -- we're in a...



INT. BARNHOUSE - NIGHT



There are at least TEN victims in the barnhouse. All scattered around the mounds of hey that is scattered throughout.



The front door of the barn opens, and ALL OF THE PEOPLE

step back, FRIGHTENED by the UNKNOWN.



Vilmer walks in, PUMP ACTION SHOTGUN in hand.



VILMER

(cocking shotgun)

Ladies and Gentlemen! Now!

The moment you've all been

waiting for! That Deranged,





VILMER (CONT'D)

Disturbed, Skin-wearin' Psychotic 41

brother of mine!

(imitates boxing announcer)

LEEEEEAAAATTTHHHH--ERRRRFAAAACCCE!



Leatherface enters the room with his chainsaw in hand.

But he looks different:



He's wearing a woman's skin -- all over his body, and

wearing an oversized tacky-faded dress with poka-dots

on it -- and he's also wearing another one of his leather

masks.



He's also carrying a huge chainsaw, HUGE, and on the side

of the blade that we see, it reads " WHO WILL SURVIVE"



He raises the chainsaw up in the air and he lets it roar,

and when he does that, we can read the other side: " AND

WHAT WILL BE LEFT OF THEM?".



Vilmer shuts the door and locks them in, locking several

DEADBOLTS, and MASTER KEY LOCKS.



In Vilmer's right hand is a boombox -- he sets it down and

turns it on.



It blares a HEAVY METAL SONG, while the two run around

playing a DEADLY GAME OF CAT AND MOUSE.



Vilmer takes aim at the fleeting hurd, who is progressing to the back of the barn, he fires -- and blast a middle-aged

man's leg off.



He runs over to the helpless man laying on the ground and

shoots him in the face -- several times; causing the man's

head to spatter all over Vilmer and on the hay-laden floor.





Leatherface takes a running slice at a young man, slashing

his entire head/torso area off.



Vilmer reloads.



Leatherface turns the chainsaw off.



Vilmer tosses the shotgun over to Leatherface -- he catches

it.



Leatherface tosses the chainsaw to Vilmer -- he catches it and turns it on. 42





Vilmer corners a lady in a corner of hay, he takes the chainsaw to her, and the blood flies, covering him completely.



We can hear her blood-curtling sounds, he backs up, and rams the Chainsaw up her stomach -- she screams even louder.



He steps back and runs back into her, butting off her arm

completely, and he's sawing her with one hand, and bashing her with her own hand in the other.



She's dead.



He cut's her head off, and runs around with it in his hand

screaming like a wild Indian.



Leatherface has a young teenage female saddled, he has the barrel presses against her head, tightly, he pulls the trigger, the entire top of her head was blasted into nothing.



CUT TO:



EXT. TEXAS BACKWOODS - NIGHT



A BLACK MAN is getting down from his tripod, after a long day of hunting.



He begins to unload his rifle.



INT. BARN - NIGHT



Vilmer runs up to a teenage girl, in a FAR CORNER, he raises

the chainsaw up.



He looks DEMENTED, BLOOD COVERED FACE, eyes BULGING, like an insane lunatic, and JACK NICHOLSON'S DEVILISH GRIN.



The girl SCREAMS, letting all air from her lungs escape,

which to Vilmer, proves to be really loud.



EXT. TEXAS BACKWOODS - NIGHT





The Black Man, still unloading hears the BLOOD CURTLING

SCREAM. 43



He looks up.



We can FAINTLY HEAR the BUZZ of a chainsaw.



Then another scream -- the buzzes and the screams are

constant.



He looks down at his gun -- and starts to load the bullets back in the rifle.



INT. BARN - NIGHT



Leatherface has the shotgun hanging on his shoulder, as

he's beating an old man with his own, ripped-off leg.



Then finally taking the shotgun to his face at close range.



Vilmer runs up to a middle-aged woman, and starts to saw her in half at the waist line.



He halfway done sawing her -- he hold her legs with his

right hand, and kicks her in the torso, and the top half of her rips off.



The two killers exchange weapons again.



Vilmer takes aim at a regressing victim -- He fires

The victim's head explodes all over a Teen-aged boy.



The boy looks at Leatherface who comes forward with the chainsaw.



Leatherface stabs the chainsaw into his gut -- and starts to

cut in a round symmetrical motion, carving a hole in his

stomach.



The boy hits the hay -- dead, a bloody mess.



We get an overview of the damage. The barn, is a BLOODY MESS, There LIMBS scattered through out.



They hey and walls -- what used to be a faded yellow --

now, a CRIMSON RED -- with faint traces of Yellow --

which is ALMOST non-existent.





Vilmer picks of another suspecting victim with his

trusty shotgun. 44



Leatherface, gives the chainsaw one quick swift swing

and slices off a man's legs, as the victim tumbles to the ground -- screaming in pain.



He then runs over to another man -- who is trying to run away from Vilmer, Slices her back open -- he slides the chainsaw (which is strapped) over his shoulder -- and puts

both of his hands on both of her shoulders.



He gives her swift kick through the gaping hole in her back

,which causes her stomach to explode, and leatherfaces' foot to slide out the other side.



He then lets her drop to the ground, putting his fee leg on top of her back forcing the stuck leg out of the body, removing the high heel he was wearing.



All the victims have been slain, accept one -- a teenage

girl, possibly early twenties.



The runs like decapitated chicken -- in everywhich way

but the killers.



Vilmer takes the rifle to her arm, and blows it completely

off -- only hanging by a flap of skin that used to cover her

elbow joint.



She hit the ground -- falling to her knees. A look of

disbelief on her face, maybe even denial. Like this is not happening to her.



Leatherface, roars up the chainsaw -- she doesn't move --

probably scared shitless at the time.



He presses the chainsaw against her leg, and he starts to saw away -- until the leg is completely separated from

the body.



Then Vilmer takes the separated leg and rams it into her stomach swiftly, and as hard as he can.



The impact hits her at such a force which causes her to vomit.



Leatherface, presses the chainsaw through her neck, as Vilmer Blasts her with the shotgun repeatedly until he is

completely out of shells.

45



They look around the barn -- enjoying their masterpiece



VILMER

This is the best one we've

had in a good long while

Momma.



LEATHERFACE

Yeaht... I'll have'ta give

you that one.

(laughs)

We tore them motherfuckers

up -- DIDN'T WE!



VILMER

YEAH BUDDY!



LEATHERFACE

C'mon, let's go get cleaned up

and carve up those two beautiful

women -- shall we?



VILMER

That sounds like a mighty fine

idea -- Then, maybe afterwards

(sadness, weak)

You think maybe you could...

Well... I miss you Momma.



LEATHERFACE

Honey

(hand on cheek)

After what you did today...

There's no doubt in my mind.

You will not go unrewarded

tonight.



Vilmer gives Leatherface a huge affectionate hug, and

kisses him.



VILMER

I love you Momma!



LEATHERFACE

I know, son, I know -- I love

you too.



46



The two exit the barn, Leatherface's arm around Vilmer's

shoulder.



CUT TO:



EXT. HOUSE - NIGHT



The hunter is walking around the house, trying to distinguish, where the sound was coming from -- not sure

if it was this place.



He walks up to the Kitchen Entrance Door, and raps a few times.



He hears some muffled sounds, strange sounds, then the door

flies open, and Vilmer, sticking his head out of the

door -- now clean.



VILMER

Hi, can I help you stranger?



BLACK MAN

Hi, My names Ashe Harrison, I

was huntin' a few acres back and

I thought I heard some screams...

Are yall aight?



VILMER

Screams?

(confused)

I didn't hear any screams.



ASHE

You didn't hear those screams?

Lordy, they be loud enough to

wake up, your neighbors.



VILMER

We don't have any neighbors.



Ashe Harrison whips him on the collar bone, and laughs.



ASHE

Exactly.



Ashe bursts out in a loud high-pitched laughter.



47



Vilmer can't help but laugh with him.



VILMER

Naw, can't say that I heard

anything -- So, d'you kill

anything?



ASHE

'scuse me?



VILMER

D'you kill anything, y'know --

you said you were hunting...



ASHE

Oh, yeah -- thasright, sorry...

No, no -- didn't get nothin'

ts'been a slow year.



VILMER

Yeah, I can understand that.

Well, hey... don't be stranger

come in -- have a cup of coffee.



ASHE

Well, thank you.



VILMER

Hey, no problem, man.



Vilmer lets him in and shuts the door.



INT. HOUSE (BACK HALLWAY)



Leatherface is now in normal attire, her has the two girls

by the neck in the dark.



LEATHERFACE

I've been nice before, now

it's time to get to it. You

white-trash whores say a fuck-

-ing word, make so much as a

fucking sound -- I'll will

torture you -- all night long

if I have to -- Do you understand?



The two nod their heads.

48



Leatherface walks into the living room, then into the kitchen, and greets Ashe.



VILMER

Ashe, this is my brother,

Ed.



ASHE

Hi Ed.



Ashe extends his hand.



Leatherface fronts his to accept it.



LEATHERFACE

Hi, how you doin'. Let's go

into the living room, and

get aquatinted.

(to Vilmer)

Vilmer, you put the coffee

on.



VILMER

Will do.





Leatherface leads Ashe into the living room



They both sit down, Leatherface's back is to the threshold

while Ashe can look into the hallway.



INT. HOUSE (HALLWAY) - NIGHT



Finch and Kate are listening in, Kate, more awake and more motivated listens in intently.



KATE

(whispering)

I got an idea.



FINCH

(whispering)

What?



KATE

Unbutton your shirt,



49



FINCH

(whispering)

What? Why?



KATE

(whispering)

Just do it.



Finch unbuttons her shirt.



Kate pulls out some lipstick, and begins to write something

right under her neck.



FINCH

(whispering)

What are you doing?



Kate finishes writing whatever she wrote, and peered into the living room, She could see the black man, and Leatherface had his back to them.



KATE

(whispering)

I want you to walk out in

front of the threshold, and

show the sign -- make sure

you keep him quiet.



She puts her finger on her mouth, in a " shhh." gesture



KATE

(whispering)

Like that. Take a deep

breath and do it.



Finch takes a deep breath, and lets it out quietly.



Then stands out in front of the threshold.



Ashe looks up while Leatherface is complaining to Vilmer

about the coffee, he sees the lipstick-written message



Under her neck he sees the large letters -- in print.





"HELP US"



Finch puts her finger up to her closed lips, SHHH.



She then draws back into the darkened hallway.



Ashe looks concerned, but keeps a poker face, when Leatherface turns back around.



LEATHERFACE

I'm going to go check on the

coffee, I'll be right back.



Leatherface goes into the kitchen, Finch pops her head back

out, mouthing the words " Help Us".



Ashe looks frightened and concerned, and he nods his head



He mouths the words " okay"



ASHE

Ed, can I use the restroom?

It's been a long night.



LEATHERFACE

Sure, knock yourself out.



Ashe gets up and heads toward the bathroom in the hall.



He opens the bathroom door up and looks back into the

living room.



He motions for the girls to get inside the bathroom



They do so.



INT. HOUSE (BATHROOM) - NIGHT.



He locks the door behind them.



ASHE

(whispering)

We're going out of the window,

my car is a mile down the road.

I'll ask questions later.



He opens the window, and he let's Kate crawl out.



ASHE

C'mon.



FINCH

You go, I'll trail you.



ASHE

Fine.



He hops out of the window.



The bathroom door flies open.



Finch scrabbles for the window, and gets halfway out, but is

dragged back in by Leatherface.



Ashe and Kate make a run for it into the woods.



Leatherface drags her out of the bathroom kicking and

screaming.



INT. HOUSE (LIVING ROOM) - NIGHT



Leatherface drags her through the living room, still screaming and kicking.



LEATHERFACE

I thought I told you not to

move? I thought I told you

not to move a fucking muscle!

You bitch!



For the first time Finch seems utterly terrified.



CUT TO:



DARKNESS



A door opens, shining some light in, the light -- a bulb in

the center of the room flashes to life.



INT. CELLAR - NIGHT



The room is covered, with blood, dry and fresh -- the entire

room is a blood red, with limbs of dead people, and dead people pushed aside all around the corners of the floor.



Hooks hand all over the ceiling, along with chains, holding

chunks of left over on them.



Leatherface drags Finch in, painting her back a blood red.



He pulls her up and ties her up on a hook. 52



Tears in her eyes, utterly terrified.



LEATHERFACE

You've been a good girl -- for

the most part -- I'll give you

your quick death.



He pulls out a gun and shoots her -- she takes a deep, quick

gasp of air in, then drops -- exhaling -- hanging limp.



Leatherface exits.



We STAY ON FINCH, hanging dead.



FADE TO BLACK



FADE UP:



INT. HOUSE (KITCHEN) - NIGHT



Leatherface, Vilmer, Jefferson, and Bones are in the kitchen

talking.



LEATHERFACE

What do we have gentlemen?



JEFFERSON

Ashe Harrison, 23 years old,

license plate number: z89-284

lives in Creemont, about fifteen

miles from here, address: 3925

Delin Road, my guess thats where

he's headed.



VILMER

What about the girl?



JEFFERSON

That I don't know.



VILMER

What about The other girl?



LEATHERFACE

She wouldn't talk -- She's dead.





53



BONES

I know who she is. I do I

do, I know, Iknow -- Her

names Kate, Kate, thats her

name, thats her name.



JEFFERSON

Do you know her last name?



BONES

Roarke, Roarke -- Kate

Roarke -- Oh, ho, ho, I'm

smart yes I am, look at me

look at me, I'm bragging.



LEATHERFACE

Jefferson, I think it's time

for you to go back to work.

Take her into custody.

Take Vilmer with you.



JEFFERSON

All right. Vilmer? Let's go.



CUT TO:



EXT. TEXAS BACKWOODS - NIGHT



Thick, HEAVILY WOODED AREA, Ashe and Kate running through it



They stop, and bend over putting their head between their legs, trying to get air, heavily and quickly, breathing in and out.



ASHE

It's not to far from here.



KATE

What is?



ASHE

My Car.



KATE

My side hurts.





54



ASHE

You'll get plenty of time

to rest, when we get to the

car. -- C'mon, let's get movin'



The two run OFFSCREEN.



EXT. TEXAS HIGHWAY (NEAR TEXAS BACKWOODS) - NIGHT



A car, off the side of the road, all of the sudden

BLOOP BLEEPS, and Ashe and Kate run out of the woods

and into the car.



INT. CAR - NIGHT



Ash turns on the car, and drives off.



ASHE

Okay

(letting out a huge sigh)

Now, do you mind telling me

what that was all about back

there.



KATE

I heard you when you came in.

You said you heard screams.



ASHE

Yeah.



KATE

They trapped a whole bunch of

people in a barn, and they killed

them one by one, with a chainsaw

and a shotgun. -- And what they kill

(catches breath)

they eat.



Ashe looks at Kate, with worried puzzlement.



ASHE

Say Again?



KATE

They eat people, their...



55



ASHE

Cannibals.



KATE

Yeah.



ASHE

I'm sorry, this story seems

to be a little... Now, I'm

not sayin' I believe ya now

I'm just sayin'...



KATE

Look, have you ever seen the

movie " The Texas Chainsaw

Massacre"?



ASHE

Who hasn't?



KATE

Those people back there, are

the people in the movie --

THE REAL PEOPLE.



ASHE

Your serious?



KATE

Look, they tied me down at

the dinner table, and made

me watch them a dead human

being.



ASHE

That aint right.



KATE

What are we gonna do now.



ASHE

I'm going to take you home,

and we're going to forget the

whole thing ever happened.



KATE

But what about my roomate.

56



ASHE

You're Roomate is dead

We'll file a missing persons

report and that will be that.





Kate sighs, and pulls out cigarette from her shirt

pocket and lights it.



ASHE

This is a non-smoking auto-

-mobile. Could you please

put that out?



Kate rolls down the window, and flicks it out.



ASHE

Thank you.

(pause)

Now, we need to stick together

for a while. S'there anywhere

you need to be?



KATE

No.



ASHE

We'll go to my place -- they

won't know where we are, we'll

just lay low, just in case they

come looking for us.



KATE

Okay.



CUT TO:



INT. RESIDENTIAL HOUSE - NIGHT



This is your normal, suburban-type nightmare of a house.

Living room, Two bedrooms, One master bedroom, a living room

with a fire place -- and a study.



The HEAR the door UNLOCK, as Ashe and Kate stroll in.



ASHE

I'm hungry, you hungry?

57



KATE

Yeah.



Kate seems to be bothered by the incident, almost

disturbed, or saddened, but with her face, it's hard to tell



ASHE

It'll be all right, I'm sorry

about your friend, but there

not a single thing we can do

about it.



KATE

She wasn't my friend.



ASHE

Sorry?



KATE

She wasn't my friend, she

was my roomate -- but-she-

-didn't-deserve-to-die-like-

-that -- no one does.



ASHE

I'll file a missing persons

report in the morning -- but

now we're gonna get something

to eat and thank Jesus we're

alive.



Kate looked at him -- A nice man, very heartfelt

she couldn't help but feel safe with the man.



KATE

Okay.



CUT TO:



INT. BEDROOM - NIGHT



Ashe leads Kate to a bedroom further down the house.



ASHE

This the guest bedroom, It's

better than my bed.



58



KATE

Thanks.



ASHE

I'm going to go see if I

can file that missing persons

report.



KATE

Okay.



Ashe walks off leaving her alone in the room -- she has a seat at the nightstand. And looks at herself in the mirror.

Bloodied, face flushed, and mascara bled, and lipstick

lost.



She looked like a nervous wreck, and acted like one too,

probably because she was one.



She put her head on the desk, in her arms, and starts to

silently cry -- after a second she lifts her head up and

looks into the nightstand mirror.



Only to see the reflection of the window, with Vilmer outside, looking, staring, with a demonic face.



She turned around, and he was gone.



Ashe walked in again.



ASHE

They said they would look

for her in the morning, for

now...

(puzzled)

What's wrong.



She looks in the window, her body locked up, frozen

-- she sees Vilmer in the window again, telling her to

silently SHUSH, with his finger up to his mouth.



KATE

Nothing.



ASHE

Hey, it's going to be all right...



59



The power goes out, and the two are left in the room, in

the dark.



ASHE

Where's that lighter you

got?



She hands it to him -- and he lights it.



The room glows a dim yellow, and they exit the room --

not noticing Jefferson, who was in the corner.



LIVING ROOM



Kate and Ashe are walking around the living room -- which is

lit by the fire roaring in the fireplace.





ASHE

I'm gonna go check the fuse.

You stay here.



KATE

(demanding)

No! Please.



ASHE

This happens all the time.

Don't worry about it.



Ashe opens the front door.



ASHE

Lock the door behind me.



Kate nods her head.



Ash walks out of the house and shuts the door behind him.



EXT. ASHE'S HOUSE - NIGHT



Ash pops on a flashlight and walks around to the side of

the house.



The fuse line had been cut all the way through





60



ASHE

Aw, shit.



A rustle in the bushes, He shines the flashlight in the sound's direction.



Nothing.



A metallic TING - TANG -TING - TANG, in the b.g. repeats

, as if the sound of water hitting metal.



ASHE

Who's there?



A faded redneck-sinister laugh in the b.g.



The faded sound of a chainsaw, cutting through something.



ASHE

A chainsaw?



The sound is getting louder



Ashe start to walk the opposite direction from which the sound is coming.



The sound of the buzzing chainsaw, still following him --

getting louder, the sound more distinct.



Ashe starts to run.



The sound getting louder and fore defined.



The BUZZ stops.



Ashe looks back.



Nothing.



More disgruntled laughs.



Something just whizzed past him.



He jumps.



He walks back to the front door.



61



Ashe knocks on his door, and Kate opens it -- and when she does, Leatherface jumps onto the porch and saws Ashe to bits.



Leatherface turns the chainsaw off, and Kate runs back into the house, running right into Vilmer.



VILMER

Hello, Sweetheart.



CUT TO:



EXT. LEATHERFACE'S HOUSE - NIGHT



Their truck comes driving into the dirt path in front of the house, and all of the family gets out, and go to the bed of

the truck, and pull out Kate, who is tied up from head to toe, and drag her off behind the house.



VILMER

Time to cut you up, little

missy -- Time to die.



CUT TO:



INT. CELLAR - NIGHT



We're in the same cellar as last time, but Finch is nowhere to be seen.



Leatherface and Jefferson drag her into the Cellar and hang

her by her cuffs, on a meathook.



LEATHERFACE

D'you tell Vilmer to secure the

area.



JEFFERSON

Yes sir.



LEATHERFACE

Where's Bones?



JEFFERSON

I dunno, somewhere.





62



LEATHERFACE

Good enough.



Leatherface starts to unbutton her shirt, exposing her stomach.



He sets his chainsaw down in the corner by the door.



LEATHERFACE

Hand me the scalpel, please.



Jefferson hands him the scalpel.



LEATHERFACE

And a meathook.



Jefferson hands him a meathook.



JEFFERSON

Meathook.



LEATHERFACE

Thank ya s'much.

(to Kate)

I've had to put up with alot

of shit from you.



He takes the meathook and gives it an underhand swing --

right up her gut -- she vomits blood.



Then with his left hand, slits her throat with the scalpel.



Kate slumps over dead -- spilling a ton of blood on the floor.



Finch limps into the Cellar,unoticed; holding her hurt shoulder.



LEATHERFACE

(to Jefferson)

Let's skin this bitch'n go

to bed.



JEFFERSON

Right on.



The start skinning Kate, while Finch picks up the chainsaw and

63



advances towards the two occupied, unsuspecting cannibals.



JEFFERSON

By the way, where's that other

girl that you killed, didn't

you leave her in here.



Finch rips the cord of the chainsaw, and it buzzes to life.



The two men turn around.



Jefferson points his finger at her.



JEFFERSON

Now you wait just a goddamned

minute there.



She raises the chainsaw, and slices off his hand -- it

hits the floor, still pointing it's finger.



Jefferson screams bloody murder.



She then takes a swift whack through his neck, decapitating him.



Jefferson's head hit the floor -- his jaw still twitching.



Leatherface took off his mask, and put his hands up.



LEATHERFACE

You win.



She rams the chainsaw through face -- the chainsaw -- stuck

inside if his face, while still buzzing -- He too falls to

his death on the bloody floor.



The chainsaw, which is still buzzing is making Leatherface's

head spurt out a gallon of blood a second.



She wipes her face, which is covered in blood, and exits the cellar.



CUT TO:



INT. LEATHERFACE'S HOUSE - NIGHT



Vilmer is at a computer in a bedroom -- It reads AREA

64



SECURE. He gets up and walks out of the of the bedroom.



CUT TO:



EXT. TEXAS BACKWOODS - NIGHT



Finch is limping through the woods, and comes up to a

clearing -- fifty yards away from the woods is a barbed-

-wire wire fence, towering ten feet high.



She runs up to it, and begins to climb it, but is shocks her

back a good three feet, burning her hands.



She moans in sheer pain.



INT. CELLAR - NIGHT



Vilmer walks in, and the expression on his face SHIFTS

from HAPPY to a SAD/UPSET which causes him to kneel down

by his brothers -- Kate's through, and stomach still pouring

blood to the floor.



His jaws tremble and shake, as if he were to cry but is holding it in. Closing his mouth, trying to hold his jaw

from shivering -- not working.



His eyes turns a dark red, and finally lets it out.



He looks at Leatherface, with the chainsaw implanted in

his head, he tries to pull it out, but has no luck.



Which only makes him cry harder.



He looks up and yells a hellish, LOUD CRY



VILMER

YOU BITCH! YOU FUCKING BITCH!

I'M GONNA KILL YOU, YOU FUCK-

-ING BITCH! -- NO!



He stands up and puts his foot on Leatherface's face

and yanks the chainsaw out.



He straps the chainsaw over his shoulder, and drags

Leatherface out of the Cellar.





65



INT. MEAT CUTTING ROOM - NIGHT



Like a butcher shop almost, but much, much worse.



He drags Leatherface into the back of the place, and

pulls him up on a cutting table.



Vilmer takes his jacket off, and rolls up his sleeves.



EXT. TEXAS BACKWOODS - NIGHT



Finch is lost, she running everywhich direction but the right one, either she's lost -- or she's trapped.



Her hands are a bloody mess from the burns.



INT. MEAT CUTTING ROOM - NIGHT



Leatherface is completely stripped, with a towel over his

LOWER AREA, while Vilmer begins to cut off his skin.



He walks around to where his feet are, spreads them, and sticks his head under the sheet with a scalpel in hand.



We hear him cutting -- then almost like the sound of a

gunshot -- All of the skin on Leatherfaces naked body

snaps loose.



Vilmer come up from under the sheet, with a bloody scalpel in hand, and blood all over his face.



VILMER

It's a shame they don't

tell you what that little

piece of skin is, between

your testicles, and your

asshole -- it's really

quite interesting.

Y'just -- slice -- BOOM!

Skin pops loose faster

than you can screw a

Looseiana whore.





We CUT TO a picture of Hands stitching skin together



We CUT TO:

66



INT. LEATHERFACE'S HOUSE (BEDROOM) - NIGHT



Vilmer, in boxers and a t-shirt, putting on Leatherface's

skin.



Then we FADE TO: Vilmer in the Bedroom still, now

he has all of Leatherfaces skin on, accept for Leatherface's

facial skin -- and is wearing Leatherface's black Leather

pants, and a white shirt -- straightening the black tie to

match.



He grabs the long leather coat, and puts it on.



Then he walks over to the closet, and opens it.



There before us, is a huge selection of different

Leather-skinned masks.



He picks one:



The mask itself is crude, as if the face, in which it originated from, had tattoos all over it.



He walked back over to the mirror and put it on.



He harnessed his shotgun over his shoulders and held the chainsaw tight and firm in his hands.



He leaves us in an empty bedroom.



INT. LEATHERFACE'S HOUSE (KITCHEN) - NIGHT



Vilmer walks into the kitchen, and lifts open the trap

door -- unseen by us, and he walks down into the underground

area.



INT. UNDERGROUND AREA - NIGHT



Vilmer yanks the cord, and the chainsaw buzzes to life.



VILMER

Sister Shelly? Are You home?



SHELLY (OS)

Ed? Vilmer? Who is that?





67



VILMER

It's your favorite brother!



SHELLY (OS)

What are you doing wearing

Ed's stuff, he'll kill you

if he finds out.



Vilmer advances into the darkness.



Vilmer sounds sick and demented throughout.



VILMER

Oh, thats not very likely.



SHELLY

Why?



VILMER

Because your uncle Eddy

is tearin' ass up there

with that big chainsaw

in the sky -- baby.

And finally, you -- you

fuckin' Veggie lover --

are going to get you just

desserts.



He raises the chainsaw, and starts to grind away at the

figure in the darkness.



We hear Bones Shriek.



The sister was holding Bones in front of her. As a shield.



Vilmer sees Bones, and starts to shake with sheer bursting anger.



SHELLY

Sorry about that Bones.



VILMER

YOU BITCH!



He raises the chainsaw above her and revs it up.





68



Shelly kneels down in front of it, sticking out her chest.



SHELLY

Go ahead! Do it Vilmer!

Or have you forgot the

whole reason you kept me

down here! Because I wanted

to die -- Go ahead, your

going to give me what I

wanted for the past Ten years.



Vilmer puts the chainsaw down.



VILMER

... okay --



Vilmer raises the chainsaw up, and cuts her up, painting

the underground area a crimson red.



He takes the chainsaw out of her gut, and exits the frame.



CUT TO:



EXT. TEXAS BACKWOODS - NIGHT



Vilmer, in his Leatherface mask, slides on some high-tech

looking goggles. They look somewhat like night-vision goggles.



EXT. TEXAS BACKWOODS (NEAR FINCH) - NIGHT



Finch decides to lay down by a tree trunk, catching her breath.



She reaches in her shirt pocket for a cigarette, and pulls

out a beaten up -- twisted around cigarette, and she lights it, with her lighter.



She takes a drag and exhales -- shuttering her eyes with

a great sense of satisfaction.



Then, a snap of a branch in the b.g. of darkness.



Footsteps. Coming closer.



She looks around, intent, and now frightened.



69



The footsteps come closer, louder, and breaking more

fallen limbs, and crushing more leaves.



She breathes heavily, in and out -- seeing her breath

from the night's cool crisp autumn air.



VILMER'S POV

Night-Vision, he can see her perfectly, a few feet away.

She's looking in every which direction, including his, but

not seeing him, because it is so dark. -- Vilmer looks around the woods, lit like daylight, almost. And he could see, the victims of the past swinging in the cool front

winds.



He sneaks up to her, and puts his hand out in front of her

waving it in front of her. She not budging.



He rubs his hand across her cheek -- she jumps.



VILMER

Leslie? Leslie Finch?

Are you out there?

Are you breathing in the

dark? Are you... scared?

You want to fuck me Finch?

...Maybe suck my cock?



Finch looking around -- cannot see vilmer anywhere -- only hear him.



VILMER

I seeee yoooou. I seeee

you, you fucking whore.

You think I would let

you live? You killed my

fucking mother!



Finch lay still, curled up in a ball, hoping he wont see her

trying to be as silent as she can.



We hear THE SOUND OF A CHAINSAW in the b.g., buzzing away.



Finch gets up and runs deeper into the woods -- they way

she came.



As she runs into the chainsaw -- hanging on a tree, buzzing

away.

70



She, like any other horror movie heroin, walks over to the

bad thing.



And when she does, Vilmer jumps out from nowhere, springing onto her like a wild coyote.



He attempts to grab the chainsaw from the tree, but Finch

is biting his other arm and causes him to stop.



She gets free, and starts to run -- I mean fast, fast.

As hard as she could, away from Vilmer.



But, what she doesn't see is a cord -- a trip wire in front of her because of the darkness, and she trips it.



A rope catches her foot and drags her across the woods,

and right into a meshing holding wooden sticks, with shaved edges to make spikes.



The rope drags her leg directly into the two plate of spikes

which mash in on her leg -- trapping her.



She screams in pain.



Vilmer walks up at a comfortable pace.



VILMER

Your death is my Sanctuary.

Your peace is my hell.

And if your living hell

grows through the straight

and narrow -- Then my friend,

you will die in my blood-

-stained hands on this moonlit

morn.



FADE TO BLACK



Over the darkness, we HEAR everything from now on.



the CHAINSAW, REVIN' UP.



The chainsaw CUTTING through something, HER



She SCREAMS



The BUZZING gets louder and LOUDER

71



More high pitched female SCREAMS



The BUZZING IS VERY LOUD NOW.



She almost MOANS -- then tries to SCREAM



She is out of BREATH, almost



The SAW is RIPPING THROUGH HER, you can hear it.



She lets out a weak scream -- and another, but the last sound didn't sound like a scream at all, but a blood-soaked gargle.



VILMER

(whispering over

chainsaw)

I'm gonna fuck you up

real good, woman. I'll make

you clean real clean -- real

real clean! Can you feel me?

Can you feel me inside of you?

This is what you deserve, and I'm

giving it to you.

(breathing heavily)

Do you feel it, I'm fucking you

up real good, Oh yeah! You bitch!



Over Vilmers dialogue we can still hear the chainsaw, and her trying to scream.



VILMER

(breathing heavily)

Shut the fuck up! You deserve

this, you fucking whore --

Hold still Godammit! YEAH!

YEAH! YEAH! FUCK YOU? FUCK ME!

YEAH! -- OH-HO-HO-HA-HA

(relaxing)

Oh yeah, I fucked you up real

good.



The chainsaw roars at it LOUDEST.



CUT TO:



CREDIT SEQUENCE:

72



We OPEN with the CREDITS, showing pictures of the CAST, with their NAMES beside them, playing KISS'S: SURE KNOW SOMTHIN'



Then we ROLL the credits, with KISS'S: HARD LUCK WOMAN.





REAL SOULUTION: A Texas Chainsaw Massacre





THE END.



STARTED: AUGUST 7, 1997



ENDED: AUGUST, 14 1997









Copyright (c) 1997, Joshua Neal



Al rights reserved. No part of this book may be used or

reproduced in any manner whatsoever without the written

permission of the author.



Library of Congress Catalogging-in-Publication Data

Neal, Joshua

Real Solution: Texas Chainsaw Massacre V: a screenplay/

by Joshua Neal

p. cm.

ISBN:0-7869-8103-1

1. Real Solution: A Texas Chainsaw Massacre (Motion Picture) I. Title.

PN1999.P82R45 1997

791.45'72--dc20 94-38416 CIP



First Edition



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