_________________________________________
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.