I STILL KNOW WHAT YOU DID LAST SUMMER
1 INT. BOSTON - OLD NORTH CHURCH - DAY
The setting sun backlights a series of abstract colored images. Holy
images of STAINED GLASS and lead.
FOOTSTEPS ECHO across the marble floor.
REVEAL - JULIE JAMES
A little older, a little wiser, yet still very pretty, no doubt. But
she's all alone in the house of the Lord.
And those doleful eyes of hers clearly telegraph a very heavy burden
still rests upon her soul.
She reluctantly walks past the rows of empty pews toward a curtained
2 INT. CONFESSIONAL BOOTH - DAY
Julie slides the drapes shut behind her as she enters, kneeling before
the CLOSED SCREEN. A beat -- and the SCREEN SLIDES OPEN.
enters the adjacent booth -- barely visible through the WICKER MESH.
Julie looks down, crosses herself, and begins.
Bless me, Father, for I have sinned.
It's been a year since my last
Julie swallows hard. This is difficult for her.
I've never told anyone this. Not my
mom, not the poice, not even my
friends -- except for the ones who
were there and they...well they're
not around anymore. You see I...I...
I killed a man. Well, I thought I
She balks at the memory of it. The priest bows his head in the shadows
of the other side.
You've got to understand...It was
all an accident. A terrible accident.
It's been a whole year. I've tried to
get past this, but I just can't.
I have these dreams...horrible
dreams. And this man is always there
You see, he was a killer. He
murdered Helen and Barry, and he
would have killed me too, if I
hadn't...gotten away with it.
I don't know, I guess I just need to
deal with the fear, the guilt...to
finally say his name. Ben Willis. His
name was Ben Willis...
The confession is cathartic for Julie. She looks relieved until,
Julie stops. Looks through the screen. A chill shoots through her
You know? But how could you...
Clouds of icy steam shoot through the partition. Julie moves closer to
the screen, trying to get a better look.
I KNOW WHAT YOU DID LAST SUMMER!!!
A STEEL HOOK
smashes through the screen right in Julie's face! She SCREAMS!
SMASH CUT TO:
3 INT. COLLEDGE LECTURE HALL - DAY
Still screaming -- Julie jumps back, seemingly knocked out of her
chair. She fights the unseen demon.
Sitting beside her, Julie's friend WILL BENSON reacts. He's a good-
looking kid in a shy, humble kind of way. And he tries to help her,
but she's too busy turning ten shades of red.
The PROFESSOR lowers his glasses, makes it even worse.
Nice to see you find Political
Science so stimulating --
The lecture hall erupts with laughter.
I'm sorry --
Julie grabs her stuff and bolts.
4 EXT. CAMPUS - DAY
Julie explodes out of the building. Hurries down a sidewalk. Will
finally catches up.
Julie! Wait! You okay?
You don't seem fine.
Julie realizes this is true.
I had another dream, Will.
Will takes this seriously.
The shower again?
It was in a church...it was so real.
I mean, I could feel his breath on me.
I thought I was over the dreams for
good. I really did. I hadn't had one
It just takes time, Julie. It's gonna
It can't get worse. I mean, it's not
like this was the first time I
freaked out in class. I hardly ever
get a full night's sleep, my grades
suck, I'm this close from being thrown
out of school.
BLAM! BLAM! BLAM! EXPLOSIONS. Julie jumps out of her skin. It's just
STUDENTS letting off FIRECRACKERS as they fly past on bicycles.
Will and Julie are now thinking the same thing.
It was one year ago...
It's...the anniversary. That's what's
going on...Take it easy on yourself.
I'm trying. I really am...Sometimes I
don't even know why I came up here in
the first place.
(cheering her up)
To get out of Southport?
Right. Now I remember.
He smiles at her. She smiles back. They stop in front of her apartment
Are you getting out of town on the
Nah. I'll probably just be here
studying for finals. The joys of
Are you okay?
Are you sure?
She touches his face affectionately.
Thanks for the talk, Will. You're
good to me.
Will stands there akwardly --
Will walks away. Julie watches him a beat, then turns down her walk --
steps out of the shadows. Julie practically faints.
Oh, my god, Ray. You scared me.
Recovering, she hugs Ray, genuinely glad to see him. He's a bit cold.
I got in early. I was excited...
(re: the receding Will)
Who was that guy?
Oh, that's Will. He's a friend.
You'd like him.
Ray, we're just friend.
Every guy in history who tried to
pick up a girl did the good-friend
Why are you being like this?
It should be obvious Ray feels insecure in the college environs, but
Hey, I'm sorry. You're right. Are
you ready to go? I've got the old
truck. You know the drill...Crab
boil at Ollie's. Croaker Queen
Pageant...It's only small-town fun,
but it's still nice. People really
miss you. I miss you.
She looks at Ray, his compassionate demeanor. This is hard to say --
(softly, but resolved)
Ray, I can't...
I just feel like some part of me
hasn't healed up enough to go back.
Like some critical piece is missing.
Ray is cold. This is what he's expected all along.
I understand something.
It's not like that. It's not you.
It's me. My head. I want to go back.
I want to be with you. I want to be
fine. I want everything to be like
it used to be.
It just isn't.
Ray is hurt and confused.
Hey, why don't you stay up here?
They have fireworks over the river.
And...there's a million things to do.
I have to work, Julie. My boat's in
Southport, remember? But, I get it.
You need your space from Craokerland.
And maybe from me, too.
Ray starts walking away.
You know where to find me.
Ray? Ray? At least come up for a
Ray keeps on walking.
It's okay. I'm just gonna go.
Julie follows him out to the road. A group of LAUGHING STUDENTS block
Ray, I'm sorry. I didn't mean...
I'm just scared...that's all.
But Ray is already gone. Julie stares after him a beat, then turns
quickly to her door. She clearly feels uncomfortable, exposed on the
walk alone. She nervously pulls her keys. A can of mace dangles from
5 EXT. JULIE'S APARTMENT - DAY
Students throw FRISBEE in the street. Ray walks to his old truck,
which is wedged between a new Sport Utility and a BMW.
He clambers into the front seat. He thinks. Then, digs into his pocket
and pulls out the unmistakable shape of an ENGAGEMENT RING BOX. He
throws it in the glove box, starts the truck and drives away.
6 INT. JULIE'S APARTMENT DOORWAY - DAY
Julie opens the door and steps inside. She locks three deadbolts. She
stands there, alone, listening to the SILENCE. She doesn't even have a
cat. A faucet DRIPS in the kitchen.
6A INT. JULIE'S KITCHEN - DAY
The faucet DRIPS. Julie turns the handle. No success. She checks the
lock on each window. She stands for a moment.
She picks up a bag of chips and eats a handful. She opens the fridge
and takes out a can of nacho cheese sauce. She grabs a soft drink and
a jar of bread-and-butter pickles. She gets some cookies from a shelf.
She thinks. Opens the freezer, pulls out some fat-free sorbet.
She takes the whole mess toward her bedroom.
6B INT. JULIE'S BEDROOM - DAY
She hits the light switch. A bedside light goes on. It's a sparsely
furnished room. The bed is pilled high with pillows. She checks the
windows, then climbs into bed with the food.
On the bedside table are pictures of family and friends. She looks at
one of Helen and Barry. She looks around the room. It's depressing.
Outside we hear young people having fun, slamming car doors, going
places. She picks at the food, then puts it on the table. She turns
off the bedside light and enjoys the golden late afternoon glow in the
6C INT. JULIE'S BEDROOM - NIGHT
Julie, sound asleep, is curled into fetal position on the bed.
There's a CLICK in the front hall. And ANOTHER.
Julie's eyes shoot open. She listens. Another SOUND, almost like the
front door being CLOSED.
Her arm reaches for the bedside light. She hits the switch. The bulb
Okay. Okay. Face your fears...
She gets off the bed and stands still.
There's another NOISE down the hall.
Julie silently scoots out of her bedroom toward the kitchen.
6D INT. JULIE'S KITCHEN - NIGHT
She gets a large KNIFE. She listens. It sounds like somone's in the
living room. She steps through the kitchen door.
As she moves we see a shadow pass the other way down the hallway
toward her bedroom.
6E INT. JULIE'S LIVING ROOM - NIGHT
There's NO ONE there.
Okay, calm down, imagination.
She relaxes until she sees that her front door is slightly AJAR, light
from the hallway slanting through.
I can't take this anymore. I can't.
Holding the knife in front of her, she tiptoes to the hallway. There's
a soft RUSTLING coning from her bedroom. She gets a flashlight out of
a drawer and starts down the hallway.
Let's just do it.
She moves faster toward her bedroom. she listens outside the doorway.
It sounds like someone's in the closet. She moves into the room.
6F INT. JULIE'S BEDROOM - NIGHT
There's a noise in the darkened closet. Julie moves into position.
She turns the flashlight ON and lunges for the closet.
INT THE CLOSET
KARLA WILSON, 19, all grace and attitude, is on tiptoes reaching for a
box of shoes. She SCREAMS.
Julie SCREAMS. They both SCREAM together. Julie drops the knife and
I thought you were out of town!
What are you doing in my closet?
They hug, jumping up and down with relief.
I thought you were out of town!
What are you doing in my closet?
i just wanted your black pants, but
I'm not ready to die for them!
Julie turns on the light in the hallway. Karla has her shoes in her
hand and black pants draped over her arm.
That was heart attack time, Karla.
No. When I put these skinny pants on
my body...Now, that's heart attack
Karla looks down and sees the knife. She picks it up with two
And we're going to put away the
utensils and you're coming with me.
Julie flops down on her bed.
I'm not going anywhere. I'm fat,
ugly, and depressed.
Yeah, right -- whatever.
I think I just really hurt Ray's
(keeping it upbeat)
Listen to me, Julie. Ray's a great
guy, nothing against old Ray, but
he's so...Ray. I mean, he lives in
Southport. Will's a nice guy, too,
and he lives right down the street.
Karla picks up the flashlight and goes into the closet.
There's nothing between Will and me.
Yet. Nothing yet.
She emerges with clothes for Julie. Holds up one outfit.
What we gotta do is keep moving. No
time to mope. I'm working at the
club tonight. And you, dancing queen,
are coming with me.
No I'm not.
Karla holds up another dress for Julie -- strapless, sexy, the one.
Fine, then be fat, ugly, and
Karla is dancing around. Julie laughs at her friend and takes the
dress when Karla hands it to her.
7 INT. THE CLUB - NIGHT
It's a hopping college joint: crowded, loud MUSIC, a dance floor, and
rivers of cheap booze.
AT THE BAR
Julie sits next to Karla as she waits for her drink order.
A handsome young man slides in front of them. This is TYRELL MARTIN,
23, handsome, no pretention, a little dangerous, with a killer smile.
You know what I want to do to you
...right now, don't you? There's
gotta be somewhere we can be alone.
I don't think so. It's pretty
Just for a minute, baby. I got
something I wanna tell you.
He's looking for a dark corner or a storeroom or something.
If you can say all you gotta say
in a minute then I don't wanna hear
I'll talk real slow.
He's kissing her ear. She starts to giggle.
The bartender sets down drinks on Karla's tray.
Ask her to dance.
Karla cuts away through the crowd, delivering drinks. Tyrell turns to
You're the most beautiful woman
in the bar tonight, Jules.
Tyrell, you are an unstoppable
force of nature.
That's right. It's how the species
survives. You'll never convince me
Karla passes by --
No means yes.
Tyrell, I appreciate it, but have
you seen my people dance? We make
the mouth face, we move the
(heading for the floor)
Worse comes to worse, you can stand
there and watch me.
Come on, I'll take a break and
we'll all dance.
7A INT. THE CLUB - DANCE FLOOR - NIGHT
is packed and thumping. Karla is dancing her way through the crowd.
Tyrell and Julie follow behind her.
Karla sees Will. He's dressed up and nervous. She smiles.
Whaddayou know? Will Benson lookin'
Karla! Did you tell him I'd be here?
Nope. I told him that you
absolutely, positively would not be
here at this bar between ten o'clock
and eleven o'clock tonight. And then
he came anyway.
(shy to a fault)
This was not my idea.
I said, this...Do you want a drink?
Will looks down at his feet. He and Julie stand there not quite
knowing what to do.
Where I come from, you want to
snatch the goodies, you got to at
least talk to them first.
Tyrell and Karla go for it on the dance floor, leaving Will and Julie
alone. They look at each other. They look at everyone dancing.
How about a drink?
Will is a few steps ahead as they move for the bar. Julie seems to be
relaxing, having a good time. Then, she looks up into the balcony and
sees, in a strobe light's FLASH --
SOMEONE IN A SLICKER
watching her intently. She squints for a better look, but he's gone.
(yelling over the din)
She's chalk white and crestfallen. Her whole affect is "Will I ever
have a normal time?" She drifts amay toward the stairs to the balcony.
Will catches Karla and Tyrell's eyes. They're worried.
7B INT. THE CLUB - STAIRCASE - NIGHT
Julie catches another glimps of THE SLICKER.
She pushes her way through the crowd up the stairs.
7C INT. THE CLUB - BALCONY - NIGHT
Julie looks all around -- finally spotting the MAN IN THE SLICKER from
behind, making his way to the other side.
He slices through a crowd of students, and Julie keeps following. He
turns down a service corridor.
Julie follows, frightened, but unable to resist.
She catches him at the end of the corridor. She reaches out and grabs
the stranger's arm.
The stranger turns around. It's only a club kid in a tacky vinyl
raincoat and hat. She's shaken.
Hye, baby. You following me up
Well, all right.
Julie turns away and hurries down the hallway. Todd follows, but his
figure quickly fades.
8 INT. JULIE'S APARTMENT - DAY
With morning sun filtering through her blinds, Julie wakes up to the
strange sound of THUMPING. She gets out of bed and slowly exits the
8A INT. JULIE'S HALLWAY TO KITCHEN - DAY
The noise gets louder as she heads down the hall.
ANGLE ON A CLOSET
The noise is at its loudest -- Julie reaches for a doorknob -- and
yanks open the door.
ANGLE ON A CLOTHES DRYER
rocking and banging inside the closet. Julie frowns.
Julie spins, once again startled by Karla, who crosses to the dryer,
flipping open the lid and then jumping back to catch the shoes as they
pop out on the fly.
That could break the machine.
Julie, people who end up making
rules like that end up beating
their kids with wire hangers. It's
The phone RINGS. Karla looks at her watch.
The number's unlisted...
Would you relax? We've been dating
three months. He ain't stalking
Okay, okay. You're right.
I know it, and it feels good.
(answering the phone)
A DJ for a local radio station BOOMS from the phone.
This is Mark in the Morning for
Magic 96.7 Radio Station! Who am I
Julie watches her friend get excited.
Mark in the Morning! Magic 96.7! Oh
my God! I'm Karla. Karla Wilson.
Jules, it's Mark in the Morning.
Well, Karla, what're you doin' at
home over the long fourth weekend?
Well, I'm in school and --
How'd you like to win a Magic 96.7
Julie hits the SPEAKERPHONE BUTTON and Karla hangs up. The DJ's voice
echos through the appartment.
Good, then I hope you remember your
geography, Karla, because all you
have to do to win is tell me the
capital of Brazil.
Karla's smile abruptly fades.
She looks to Julie, whose face is as blank as hers.
You don't know?! You have to know.
You know everything...
C'mon, Karla, one easy question,
one great getaway!
Karla, we need an answer. No
looking it up.
You mean Brazil, the country?
Okay, Karla, five seconds.
Julie has an idea. She scramles for the kitchen. Grabs a BAG OF FRESH-
GROUND COFFEE from the FREEZER.
MARK (cont'd, V.O.)
Julie tosses the bag across the room to Karla. Karla reads the label:
RIO BLEND -- 100% BRAZILIAN COFFEE.
Rio de Janeiro!
Oh, no...Did you say Rio?
BELLS and WHISTLES and triumphant MUSIC.
You just won Magic 96.7's Quickie
Getaway...a trip for four to Tower
Bay Island in the fabulous Bahamas.
Karla and Julie jump up and down ecstatically.
We'll call you back with all the
details...So what's your favorite
KARLA AND JULIE
Julie hangs up and joins Karla dancing on the couch.
I won. I won...I won, I won, I won.
Now, let's see...There's Tyrell,
that's one. And, there's my parents
...And I got some cousins.
Okay, Julie, you can come, but Mark
said four tickets. That means you
gotta get yourself a date.
Julie thinks, she seems torn.
9 EXT. SOUTHPORT DOCKS - DAY
A SMALL MOUND OF RED SNAPPER is DUMPED -- wiggling and suffocating its
way across the deck of a fishing boat.
WE PULL AWAY TO REVEAL it's RAY who's just done the dumping. A
coworker, DAVE, friendly, playful, and down-to-earth, calls out from
the dock --
Ray takes the phone.
Ray is happy to hear her voice, but cautious.
Hey. I'm really glad you called...
No, you don't have to be sorry. I'm
the one --
No, I shouldn't have left so fast...
I was just...
Dave holds up two wriggling snappers. He dances them toward each other
in a puppetlike mating ritual, making KISSING SOUNDS and narrating --
(as the fish)
Julie, I love you. I know I'm only a
humble fish, but if you really look
at it, you're a fish, too.
Oh, Ray, you're right...Do me like a
(mashing the fish together)
Hey, something smells like fish...
Ray waves him away, concentrating on his call.
Ray, Karla won a trip to the Bahamas!
An island called Tower Bay. And she
wants us to come with her.
What? The Bahamas? You're kidding.
Dave's interest is piqued.
We'd have a long weekend just to sit
in the sun, drink fruity drinks, and
Dave is watching Ray closely. Ray's expression hardens.
You'll go away with you're college
friends, but you won't go away with
Idiot. Idiot. Idiot.
Karla is watching Julie.
It's not you, it's Southport. And
it's the Bahamas! And it's free!
Karla is watching Julie.
You gotta sell his butt on the
Ray, come on. I want us to be
Ray thinks. Dave looks at him like he's crazy.
(can't give in)
Julie, we're working a big run up
here. It's been crazy. We probably
have to go out again tonight. I
don't think I can do it.
Will you try...for me, please?
Dave moves one of the fish like it's been shot through the heart.
Okay, I'll try. But, listen...
If I don't make it up, then you go
ahead and have a great time.
Ray...please try. I really miss you.
She hangs up and Karla sits next to her.
That boy has got fish on the brain.
Hey, cheer up, Charlie.
(singing a rumba)
We're going to the Bahamas. Bahama
10 EXT. SOUTHPORT DOCKS - DAY
Ray is staring unhappily at the little pile of snapper. Dave is
staring at him in disbelief.
Man, what is your problem? We
haven't caught anything for days.
Pull the big ugly stick out of
your butt. She asked you to go to
the Bahamas! Man, you gotta go.
We'll both drive up. I got friends
I can see up there.
Ray realizes how right he is.
Stupid. What were you thinkng?
Ray looks at Dave a contemplative beat, then walks over to his truck.
He leans in the passenger side and pulls out the engagement ring box.
Dave walks over.
You wanna see what I've been
He holds up the box and slowly opens it. Dave is stunned.
Jeez, Ray, fourth and forty, throw
I should go up there. I should call
her back, tell her I'm coming.
No way, man. Surprise her. She'll be
Ray is excited by the plan and Dave's right there with him.
11 EXT. COUNTRY HIGHWAY - NIGHT
We stare out at a rain-soaked stretch of road.
A PICKUP ROARS past, cruising along with its RADIO loud and windows
12 INT. RAY'S PICKUP - NIGHT
The music's even LOUDER in here. The mood is high...Two buddies going
to propose to a girl. Dave adjusts the radio to another AM station --
Man, I love AM radio. You got
right-wing conspiracy, tips for
pregnant womem, Single-A baseball
games, and real country music...
None of that new crap...
He adjusts the dial again, tuning in a country song, "MAMAS, DON'T LET
YOUR BABIES GROW UP TO BE COWBOYS," by Waylon Jennings and Willie
Dave starts singing along, extra LOUD and out of tune.
"...Mamas, don't let your babies grow
up to be cowboys, don't let 'em pick
guitars and drive them old trucks. Let
'em be doctors and lawyers and such."
Ray looks at his goofy friend singing and starts to get a little happy
Then, Ray sees something in the road ahead. He turns down the radio.
They both stare --
RAY'S POV: A CAR TURNED SIDEWAYS
its HAZARDS blinking.
Ray slows and creeps past the car. The driver's door is open. It
is sprawled out in the road away from the car. Ray pulls over to the
shoulder and stops.
I don't know, man. Maybe we should
keep going, find a phone --
The guy looks dead.
Ray has seen this before --
He throws open his door.
12A EXT. ROADWAY - NIGHT
Ray steps from his truck. Looks back at the empty car, then turns
toward the body.
Hey! Buddy, what's up?
The body doesn't move.
and behind Dave, in the other car, a FIGURE IN A SLICKER sits up in
the back seat and gets out of the car.
Ray continues toward the body.
RAYS POV - BODY
FACE DOWN -- WEARING A BLACK RAIN SLICKER.
Ray moves closer to the all to familiar image.
SLICKER FIGURE moves toward the unsuspecting Dave.
12B INT. RAY'S PICKUP - NIGHT
Dave watches Ray in the road. He leans across the seat and rolls up
Behind him, the SLICKER FIGURE gets closer, moving to the passenger
side of the truck.
12C EXT. MEDIAN - NIGHT
Ray nears the body. He kneels down.
Hey, can you hear me?
Ray reaches toward the body...
12D INT. RAY'S PICKUP - NIGHT
Something FLASHES IN THE SIDE-VIEW MIRROR.
12E EXT. ROAD - NIGHT
Ray turns over the body. Something isn't right. Ray jumps back --
CLOSE - SLICKER MANNEQUIN
Its eerie smile mocking Ray who turns for the truck.
12F EXT. TRUCK - NIGHT
Dave hears something. He turns to late. SPLLAATTT!!! THE FISHERMAN
jams his hook through Dave's jaw and skull and YANKS DAVE OUT OF THE
There's no answer from dead Dave. Ray tries to see around the
headlights. He moves slowly toward the truck.
The BRIGHTS and FOGS come on, blinding Ray. The truck's engine REVS.
The truck rolls a few inches, adjusting a bead on Ray.
Then, tires spinning, the truck launches straight at Ray.
Ray runs at the truck. AT THE LAST MINUTE, he ducks behind the parked
HIS TRUCK goes SCREAMING past.
Ray backs around the car --
goes barreling by in the other direction. Ray dives out of the way.
IN THE ROAD
Ray is exposed. He sees his truck closing fast. He's got nowhere to
go. Then, at the very last second,
jumps off the edge of the road. His TRUCK SLAMS INTO THE BARRIER RIGHT
WHERE RAY WAS STANDING. SPARKS FLY! METAL BUCKLES!
Ray falls through the air. Lands hard on his leg. Tumbles down the
hill, finally stopping with a crash. He lies motionless at the bottom
of a ravine.
13 EXT. JULIE'S APARTMENT - DAY
Karla exits the building. She watches Julie sitting on the curb.
A truck turns onto the street. Julie looks hopeful, but -- it's not
Karla approaches her friend.
Girl, it's gettin' down to the wire.
He's not coming. I thought he was
Julie, you left four messages...
But, he said he'd try.
He said he'd try. Try is like maybe.
Try is nothing!
(appoligizing for him)
He does work hard.
Work hard, huh? He's breaking your
heart just because he can.
And I don't want to have to say I
told you so...
A Jeep Cherokee stops, and an ebullient Tyrell steps out wearing
shorts and a Hawaiian shirt.
Hey, baby, we gonna get tropical or
we gonna get tropical?
The passenger door opens and Will Benson steps hesitantly around the
(quick, playing it off)
He's my friend, too. And that ticket
is not going to waste.
Will reads Julie's expression.
Julie, is everything cool? Karla
I said we start having fun. And that
Julie takes a last look up the street. She stands.
Is there a problem here?
Where there's a Will, there's a
way. Come on.
You know what? This rocks. We're
going to the Bahamas!
Will is relieved.
(getting into the spirit)
We goin' Bahamas, I'm Ty's Bahama
Mama. We goin' Bahamas...
She bops over to Tyrell.
14 EXT. MIDAIR - DAY
A wide-body jet SCREAMS through the clouds.
15 INT. PLANE - DAY
A nearly empty jet. Karla has her head on Tyrell's shoulder. Julie is
reading a book.
Will's knuckles are white from gripping the armrests in fear, and his
eyes are clenched shut. Julie looks on with concern.
Just take deep breaths and think of
something happy from childhood.
What if I don't have anything happy
from childhood...Sorry, I can't relax
going five hundred miles an hour, or
four thousand, four hundred feet a
Which is over seven hundred feet a
second. Imagine hitting something at
seven hundred feet a second.
Deep breaths --
(no deep breaths)
Fumes build up in the fuel tanks.
You can by surface-to-air missiles
over the internet. Planes use
O-rings...which freeze in tap water.
Planes fall from the sky for
practically no reason at all.
You've got a better chance of
getting hit by lightning.
Right. Planes get hit by lightning.
They get hit by meteors. They hit
Tyrell shakes his head.
Something is gonna hit your butt if
you don't quit complaining.
Honey, some folks just can't fly.
Will doesn't move, frozen with fear of flying, but more closely bonded
with the concerned Julie.
16 EXT. OCEAN VISTA - DAY
Establishing. A Board of Tourism kind of shot. Blue water. Green
islands. Golden sun. Puffy clouds.
A BOAT CHUGS by with the words "Tower Bay" painted on the side.
Tyrell THROWS UP over the side.
17 EXT. FERRY - DAY
More of a small tub than a ferry. Julie, Karla, Will, and Tyrell are
the only passengers.
At the bow, Julie and Karla laugh and play "King of the World." Julie
in the prow, Karla behind her.
I'm the King of the World.
No, I'm the King of the World.
They switch places. They look at each other and crack up laughing.
Karla takes in the surroundings, the salt spray, the day --
Remind me to study real hard so
someday this is normal and all that
back there is somethin' I do for a
weekend once every ten years.
(sharing the moment)
I will, and you remind me of the same
They throws their arms around each other and stare into the horizon.
AT THE STERN
Will talks to a very green Tyrell.
You just gotta breathe.
Tyrell is trying to keep from puking --
Can't talk right now.
See, it's not a macho thing. It's
about equilibrium in your inner ear.
You could've used a patch, but it's
too late now. Get used to it.
Some folks just can't sail.
PAULSEN, the BOAT CAPTAIN, overhears as he passes --
That's too bad, too, because it's the
only way on or off the island.
Unless you have an accident. And then
they call the Coast Guard.
Julie and Karla have rejoined the men.
It's pretty remote here.
Yep. That's what the tourists pay for
-- sun, sea, and solitude.
Are we there yet?
Few more minutes.
We move off the boat and REVEAL the island. The intrepid vacationers
excitedly take in the island.
18 EXT. TOWER BAY - DAY
Establishing. An isolated tropical paradise with jungle growing to the
19 EXT. RESORT DOCK - DAY
The ferry pulls in to a canopied dock. A white-sand beach stretches in
every direction. Beautiful tourists stroll about without a care in the
Tyrell stamps his feet on the dock.
I feel like I'm still on that thing.
A dockhand, DERRICK, glides past him toward the ladies.
That way for a complimentary Planter's
Punch to get you readjusted.
I can get used to this.
Derrick reaches for Julie's hand, clearly checking her out in the
Welcome, Fair Princess, to Tower Bay.
I'm Derrick. At your service for the
duration of your stay.
Julie smiles politely. Will gently nudges her on. They walk away.
(to Derrick, mocking)
I'm at your service, Princess.
Season's over old man. So I gotta
If Marine Radio's right about the
weather, you're already out of time.
He hangs a SIGN at the end of the gangplank. It reads: LAST DEPARTING
FERRY -- LINE FORMS HERE.
Our guys are already at the end of the dock.
20 EXT. TOWER BAY HOTEL - DAY
Establishing. An opulent, Carribean-style hacienda resort with all the
The main building is two stories high with a tiled roof. A bell tower
rises from one side. And, of course, it is surounded on all sides by
Julie and Karla take in the beauty of the resort.
Check it out.
TOW BIKINI GIRLS
catch the eyes of Tyrell and Will.
Karla THWACKS him on the back of the head, but they're all having fun.
The path widens. The trees part. It's even nicer up close. They walk
across a tiled plaza.
Behind them, THREE YOUNG GUYS carry their GIRLFRIENDS piggyback,
racing each other toward the departure dock.
Our two arriving couples move on toward the entrace, passing a FENCED
TENNIS COURT on the left. A GLASS-PANED ORCHID HOUSE straight ahead.
And, on the right,
A LUSH POOL with a built-in JACUZZI in the shallow end. An outdoor
THATCHED ROOF BAR stands nearby -- and just beyonk it, a small POOL
A guy's unintelligible RASTA VOICE calls out --
They turn to see TITUS, white guy, dreads, full-Rasta demeanor. He's a
phony, but sincere about it.
Titus approaches Tyrell --
My brother, can I interest you in the
islands finest ganja?
Hey, Tyrell, we found you brother.
Who be wantin' the kind, the uber-
sticky, the Bwana, The depth-charge,
Friends? Who wants it? 'Cause Titus got
Come on, man. Everybody wants something.
Will and Tyrell walk on. Undetered, Titus goes up to Karla and Julie.
How 'bout you, ladies? Lovely ladies.
Titus moves his hips.
Something I can do for you?
Karla looks him up and down, wrinkles her nose --
Take a bath, maybe.
That's cold, but if that's how you
The group moves on. Titus watches them go --
(yelling after them)
Anybudorsomethin' you come and see me.
OMIT SCENE 21 & SCENE 22
A23 EXT. MAIN ENTRANCE - DAY
Around TWENTY TO THIRTY GUESTS ARE ON THEIR WAY OUT as Julie and the
others walk in. Julie smiles at an old PORTER helping the departing
guests with their bags. He doesn't smile back.
23 INT. HOTEL LOBBY - DAY
The hotel is tastefully appointed with island decor. AN ORNATE METAL
STAIRCASE leads UP to the ROOMS -- and DOWN (AS THE SIGN SAYS) TO A
In one direction, the foyer meets the entrance to a tropical
RESTAURANT/BAR. And in the other, A LOOBY LOUNGE is visible --
surrounded by four walls of BOOKS and HOTEL MEMORABILIA.
In a dark corner of the room, a uniformed MAID named OLGA dusts off a
massive WOODEN GLOBE.
Julie smiles at the woman on their way through the lobby, but Olga
shyly looks away.
Arriving at the FRONT DESK, the four of them find it deserted. They
wait patiently, then impatiently.
ANGLE ON A DESK BELL
as Karla slaps it with her palm. The bell RINGS for a long time then
fades into SILENCE.
Where is everyone? I'll ask --
Julie turns to consult the maid.
ANGLE ON THE GLOBE
The big ball is spinning. But Olga is no longer in sight.
Tyrell heads toward a DOOR beside the counter with a sign which reads:
I'll scare somebody up.
He grabs the knob and pulls the door open to...
RROWWWR? A PIT BULL ON A CHAIN JUMPS UP INTO HIS FACE -- its toothy
maw snapping shut about a half inch from his nose.
Julie and Karla laugh. Karla goes to hit the bell once more -- ONLY TO
HAVE HER HAND GRABBED IN THE PROCESS.
Karla gasps. Pulls away. We see the hand belongs to the hotel manager
-- BROOKS, balding, 40s, talks slowly, and seems to have secrets he
won't share with guests.
What can I do for you?
Checking in...Karla Wilson.
Will saunters away to look at the books in the lobby.
Ah, yes. Roll out the red carpet.
Our contest winners are here at
He scans a sheet as Tyrell stares at the pit bull.
Not really. I've found peices of
guys like you in his stool.
Tyrell is put off by this aggressive comment.
What's your problem, buddy?
I don't have a problem in the world.
It sure is a beautiful old hotel.
Built in 1948 for a member of the
Rockefeller clan. The tile work was
imported from Spain. A lot of history
in these walls...Judy Garland stayed
here...Hemmingway fished for marlin
right off that dock --
Okay, we get it...It's old.
It'll outlive you, I'm sure.
Creepy thing to say. Slides a registration form.
Wilson comma Karla...
(sees something on
Brooks covers --
You're in 201 and 202.
Is that bad?
Not at all. Those are our honeymoon
Tyrell wraps his arms around Karla. Julie looks uncomfortably towards
Honeymoon suites. I take it you kids
haven't exchanged vows, yet?
We haven't exchanged anything.
Julie, we're talkin' suites!
That'll be just fine with us.
And, while you're here, our marginally
trained, off-season staff of five will
attend to your every need.
Wait...Did you say off-season?
July fourth weekend. Storm season
starts today. The clouds roll in like
It's our version of winter.
(hands over the keys)
201 and 202. There's Scrabble and
Parcheesi in the lobby. Enjoy.
And Brooks turns away through the office door. They walk toward their
rooms. Will catches up with them.
24 INT. HOTEL HALLWAY - DAY
They walk down the hallway. Karla seems annoyed.
Ain't nothin' free in this world.
Everybody says it, and it's true.
I wanted you all to have a good trip.
We will, baby...All this means is we
got the whole island to ourselves.
And it's been blue skies all day. It
might be perfect all weekend.
It beets being on the mainland.
Oooh, the mainland --
Somebody's gone tropical on us, baby.
The mood is improving. A SQUEEKING NOISE interupts.
A BRASS LUGGAGE CART has appeared behind them. And ESTES, 60s, the
weary Haitian porter, steps from behind it.
(a Carribean accent)
201 and 202...Who put you in...?
Don't use these much --
He sees their happy, expectant faces and changes the subject.
No real reason.
Pretty fancy rooms for kids your age.
We won a competition.
Oh, yeah? What you have to do?
Guess the capital of Brazil --
Ahh, good for you, girl.
(waiting for a cue)
...And, where would you like me to
put the bags?
A beat as Julie and Karla exchange a look. Then, Karla tosses one of
the keys to Julie.
Their stuff in there...
...and ours in here.
Karla! You promised.
(looking at Tyrell)
I also promised Tyrell.
Promised me what, baby?
I made all my promises to William.
Tyrell makes fake goo-goo eyes at Will. Estes looks away.
Sweetie, you brought your nightie,
Forward! A girl needs time to make up
(to Julie, thoughtful)
Julie, look, if it's cool, I'll sleep
on the couch and they can have their
own room to practice for that real
But Tyrell grabs Karla and drags her into the room. We here GIGGLES.
I'll take those.
No, I've been doing this since before
you were a dream in your father's eye.
Estes grabs the bags and takes them into the room. Julie and Will are
left staring at each other.
You sure it's okay with you?
(noting his sweetness)
Sure. It's fine. As long as you don't
You can toss a shoe at me if it gets
out of hand.
She laughs and they go into the room.
25 INT. HOSPITAL EMERGENCY ROOM - NIGHT
BEEP. BEEP. BEEP. Ray is hooked up to a heart monitor. Although he's
asleep, we can tell he's bruised and generally beaten up.
WE RACK to a DOCTOR checking on him through the glass.
25A INT. HOSPITAL ROOM - NIGHT
We see a COP next to the doctor.
He's beaten up pretty bad --
Yes, but he seemed certain his friend
was killed out on the highway by
somebody named Ben Willis.
He said he has a hook on his hand. He
said he was driving a BMW.
As the cop stares at him deadpan, the doctor realizes how rediculous
this must sound.
25B INT. HOSPITAL ROOM - NIGHT
CLOSE UP: Ray's eyes pop open. He's listening.
26 INT. HOSPITAL ROOM - NIGHT
The cop explains things to the doctor.
There's no body. And there was no
other vehical involved.
He fell asleep at the wheel...and ran
his old truck into a guardrail. He got
thrown way the hell down into a ditch.
He's damn lucky.
They walk back down the ICU.
He suffered a severe head trauma --
Probably once he rests up, it'll all
come back to him.
The doctor and cop approach the nurse's station. The NURSE is reading
a magazine. She folds it away.
Suddenly, the monitoring equpment goes OFF with a series of LOUD
That's your number twelve --
The doctor, nurse, and country cop hurry back toward Ray's room.
Get me some help down here. We got a
flatline, room twelve.
THEIR POV - THROUGHT THE DOOR
The wires and monitors are unhooked and Ray is GONE.
27 INT. HOTEL BAR - NIGHT
A resort bar on the beach. Ocean breezes and surf SOUNDS come through
It's tiki galore, complete with a bamboo bar and fishing gear hanging
from decorative nets from the ceiling. There's a KARAOKE STAGE in the
Will and Tyrell enter and head straight to the bar. A bored bar
tender, NANCY, looks just like Jennifer Esposito, doesn't look up from
You guys lost?
(re: the emptiness)
Tell me this ain't the bar scene.
We didn't get all dressed up for
Planter's Punch, Singapore Sling, or
how about a Mai-Tai?
How about some ID?
The guy at the desk said the place would
be quiet, not dead.
Didn't anyone tell you this is --
The last day of the season. Yeah, we
So why are you still here?
That's none of your business.
Tyrell sizes her up quickly.
What's the matter, boy trouble?
He leave you?
No. I shot him.
Will and Tyrell exchange a danger-Will-Robinson glance.
What you want is a Dark and Stormy:
Vernon's rum, ginger beer, and a touch
of Tabasco. Sailors drink it for luck
in the hurricane season, trust me.
ACROSS THE BAR
Karla and Julie walk in talking quietly to one another.
Am I bad? I mean, he's really great,
and he's cute --
He's cute...And he's got a crush on
(off Julie's look)
I miss Ray...I tried to call him.
Karla looks at her. She's sincere, but firm.
Ray made up his own mind...so, you're
free to make up yours.
Joining the men, but continuing her thought --
For the next foury-eight hours...
Your smile is a frown...turned upside
She illustrates with her own big smile.
Pretty cool bar.
They all start to look the same once
you've worked in one.
Am I right, sister?
Nancy reaches out a hand and they touch just the tips of their
I'm Julie. This is Karla.
Welcome to Tower Bay's most happenin'
Nancy continues making their cocktails.
backs into something, turns and gasps -- it's a statue of an OLD
WHALER, complete with HARPOON, WHITE BEARD, and YELLOW SLICKER.
She doesn't let Karla see that it upset her.
Nancy puts their drinks down in front of them.
Four Dark and Stormies...
They all pick up their drinks.
To a great weekend --
Yeah, a great weekend. Forget the
KARLA & JULIE
I'll drink to that!
They drink and toast again.
So what do you do around here for fun?
Nancy looks straight at Will --
Make fun of tourists mainly.
Or let them make fun of themselves...
She flips a switch that lights the Karaoke stage.
Karaoke -- perfect.
Don't even think about it.
Okay, I won't.
She's already heading for the stage.
Go baby! Go!
AT THE STAGE
CLOSE ON the karaoke machine. Karla flips through a binder full of
Oh, this ain't for me, baby, this is
for somebody who really needs it.
Ah-hah! One single with extra cheese!
Everyone thinks their a singer.
Not me...no way...
Come on, it'll be fun.
Ladies and gentlemen, please put your
hands together for my friend, my very
best friend, Julie James.
But there will be no mercy.
KARLA, TYRELL, & WILL
(chanting in unison)
Ju-lie! Ju-lie! Ju-lie!
Reluctantly she goes to the song book. She sees something
You asked for it.
Song number thirty-nine.
Tyrell nods and punches a few buttons. Julie takes the stage as sappy
strings begin to swell. She looks at the MONITOR, then
melodramatically at the crowd, and begins to sing -- no, BELT --
Gloria Gaynor's "I WILL SURVIVE."
First I was afraid...I was petrified...
(continues singing under)
Will stands, clapping. Tyrell pounds his chest. Karla flips up her
LIGHTER, swaying like a hard-core fan. And Julie continues, crooning
out the chorus as the beat kicks in and the gang begins to dance.
I will survive...I will survive...
ANGLE ON THE KARAOKE MONITOR
The schmaltzy lyrics keep scrolling by -- white against black. But
then...in the middle of the song...the color changes. RED CAPITAL\
LETTERS BEGIN TO FILL THE SCREEN.
then trailing off)
And I still know...what you did...
Her voice trails. Her smile abruptly fades.
falls to the floor. The room echoes with an electronic WHUMP. Everyone
stops dancing, confused.
CLOSE - JULIE
trembling, shaking, a mess. Will jumps onstage.
Julie? What's wrong?
What do you mean, Julie?
He did something to the screen...it,
Julie loos at the screen -- the normal lyrics are still scrolling. She
suddenly feels their eyes upon her. They're looking at her like she's
having a nervous breakdown.
Nothing. Nothing, I'm sorry...
Stung, she rushes off the stage.
But it's to late. She's bolted from the bar.
28 INT. HOTEL - JULIE'S ROOM - NIGHT
Julie steps into her room. Closes the door behind her. She falls back
against it, trying to calm herself down.
There's no way...just stop it right
She looks around the cozy room.
Closet. Bed. Bathroom. No need to panic.
Julie starts to undress, get ready for bed, the day of travel finally
catching up with her. She grabs something to sleep in. Tosses it on
the bed. And that's when she sees it,
CLOSE - ENVELOPE
propped on the pillows. Her name written across. She is frozen
Almost against her will, she moves toward the envelope. She reaches
down and picks it up.
She hesitates, then opens the envelope. She pulls out a SINGLE WHITE
ANGLE ON THE CARD
In bold print it reads: SURPRISE!
appears over Julie's shoulder. Julie can feel the presence. She spins,
who YELLS and drops the flowers and champagne he was holding. The
bottle bursts and covers them with spray.
Oh, Will! I'm sorry.
It's my fault. I shouldn't have...I
She grabs a TOWEL off the bathroom door, trying to help him clean up
No, no, no. This was really sweet...
I scared you -- I crossed the line --
No -- it's not that. It's...I'm just a
little on edge. I'm really sorry.
Hey, you don't have to appologize to me.
I'm the one. I understand.
(covering the awkwardness)
I'm going to take a walk and dry off.
Are you sure? I really appreciate it.
He picks up a rose. Most of its petals on the floor.
I just really like you and I want you to
feel good about everything...You know? I
want you to be happy.
He hands the rose to her. There's a moment between them. He
reluctantly heads for the door.
28A EXT. HOTEL HALLWAY - NIGHT
Will looks down at his wet pants.
Passing Karla and Tyrell's room on his way down the hall, Will spots
the DO NOT DISTURB SIGN.
He hears an INCREDIBLE POUNDING from inside. He shakes his head and
mopes down the hall.
29 INT. HOTEL - KARLA AND TYRELL'S ROOM - NIGHT
Karla bounces playfully on their big bed as Tyrell crosses toward the
I'm changing my major to finance.
And going to Wall Street.
'Cause that's the only way I'm ever
gonna be able to afford a big bed like
She falls back against the plush comforter, looking up at herself in a
long MIRROR HANGING RIGHT OVER THE BED. Tyrell loves this and quickly
moves beside her in the bed. She lets him get real close, then she
jumps up --
Tyrell reaches for her, but she bounces off the bed.
Ah, baby, let's stay right here.
Karla pulls her suit out of a bag and models it seductively and
flirtatiously for Tyrell.
I spent a hundred bucks on it...even if
it's just so you can pull it off.
Tyrell gets off the bed --
I like the sound of this.
30 EXT. HOTEL DOCKS - NIGHT
Derrick, the dockhand, whistles in the darkness as he coils the bow
rope of a service boat around a cleat on the dock.
Ominous shadows play all along the dock. Out on the water there's a
The dockhand rises, looking out at the water with a sigh.
Damn. I should've brought my pole.
He turns away. As he does, we see
THE END OF THE DOCK
where a sinister SLICKER FIGURE stands perfectly still, silhouetted by
Derrick paces down the dock the other way past a handfull of other
tied-off staff and service boats.
He picks up a hose and begins spraying down the hull of a Sunfish
He turns the hose off and begins coiling it, backing toward an
EQUIPMENT SHACK. Suddenly, a HAND touches him on the back. He jumps
and turns to see --
standing there smoking a spliff.
Get lost, you scared me.
Fish are all over the water...Come on,
let us take a boat out.
Titus, you're so stoned, you'd end up
That's why you'll come with Titus, mon.
Derrick throws the hose in its place.
There's a storm comin', Titus. No boats
are going out.
Storm is what makes it interesting.
Thass why all the fish are up. Less
hook us a couple big ones.
Derrick is now ignoring Titus.
I got work to do. Take the bake
Up-tighteous and self-righteous.
Titus glides away into the dark. Derrick watches him go. There's
another SPLASH in the water near the dock.
Derrick walks to where the splash was. He kneels down by the edge --
watching BUBBLES RISE from the dark water below.
(to the fish)
Hello, little sea bass. You're lucky
I'm busy or I'd hook you myself.
WE PUSH IN AS HIS FACE GETS CLOSER TO THE WATER --
AND THEN -- RISING SLOWLY FROM THE DARK WATER DIRECTLY BEHIND THE
DOCKHAND -- A SINISTER SLICKER.
Derrick hears A SPLASH -- and just in time for...
SPLAT! THE OLD HOOK IN THE EYE. THE FISHERMAN PULLS HIM DOWN. HE
SCREAMS -- BEN YANKS ON THE HOOK -- AND DERRICK'S CRUMPLED BODY FALLS
INTO THE WATER.
ANGLE ON THE WATER
as poor Derrick's BLOOD MIXES WITH BUBBLES...
31 EXT. POOL/JACUZZI - NIGHT
Bubbles of a different kind. The JACUZZI sits in an enclosure at the
shallow end of the SWIMMING POOL.
And enjoying its warmth, Karla and Tyrell are liplocked in the
churning tub. MUSIC plays on the boombox beside them.
The tempurature rises and Ty's hands begin to wander. Still clad in
her cute bikini, Karla pulls away --
You sure you didn't pick up my hair
(rubbing his bald head)
Okay, I just didn't wanna get my
Baby, I finally got you alone in this
Jacuzzi and I don't wanna be discussin'
She splashes him.
Don't you get feisty...
Tyrell moves in for the kill. He won't take no for an answer.
Too late for that. We're miles from
anywhere, baby. No one's gonna hear
He goes in for a serious kiss. Things start to heat up --
I used to be a lifeguard...I'd hate to
have to blow my whistle.
I'd hate for you to have to blow...your
Tyrell is done talking. He pulls her over to him and the moment
becomes more passionate.
Karla opens her eyes in time to see --
surface in the pool next to them.
Karla SCREAMS. And not just because it was a surprise. Titus looks
even uglier when he's wet.
Titus opens his mouth, reveals a smoking PHILLY BLUNT on the end of
No water sports after midnight. Hotel
Titus eyes Karla in the Jacuzzi. Tyrell moves protectively in front of
What's the policy on burnin' herb?
We got one for that, too. It's don't
try until you buy.
You don't buy any, you don't get any.
Titus blows a cloud of smoke on them both, rolls the joint back into
his mouth, and swims off. Tyrell is angry, but Karla pulls him back.
A dejected Will appears in his bathing suit, a towel over his arm.
Tyrell sees him coming.
There's ten people on this whole island
and they're all gonna end up in this
Jacuzzi with us.
How's the water?
Will slips into the water ignoring Tyrell's look.
Ahh, that feels great.
Alone. In the room.
Got any advise?
Yeah. Find another Jacuzzi.
Karla shoots Tyrell a look.
Your not out yet, slugger. You gotta
just get back up there and keep
31A EXT. JULIE'S APARTMENT - NIGHT
Ray is at a telephone booth up the street from Julie's apartment.
He looks exausted. Blood seeps through his shirt. He's in pain.
I need an international operator.
31B INT. HOTEL LOBBY - NIGHT
In the empty night lobby, behind the desk
RINGS and RINGS. We push in on the phone RINGING unanswered in the
night. Nobody is around to answer it.
32 INT. HOTEL - JULIE'S ROOM - NIGHT
The DOOR CREAKS OPEN once again to her room. And from a STRANGER'S POV
-- WE SLOWLY CREEP INSIDE.
A CLOUD OF STEAM billows from the open BATHROOM. THE SOUND OF A SHOWER
is heard. We MOVE TOWARD IT.
Eyes closed, Julie stands with her face right under the showerhead,
trying to relax. Something softly goes THUMP.
Julie opens her eyes. Turns off the shower. Stands there, frozen,
AT THE BATHROOM DOORWAY
In a robe with a towel on her head, Julie peeks into her room. Nobody
there. She sighs, and crosses back to the bathroom sink.
AT THE SINK
Julie looks to a spot where her toothbrush should be. She frowns.
Looks around. Some of her things are missing. She peers into the
fogged-up bathroom mirror.
She whips the TOWEL off her head and WIPES IT ACROSS THE MIRROR,
MAKING THE BEDROOM BEHIND HER VISIBLE.
Ready to spit, she looks down. AND IN THAT INSTANT -- WE SEE A SHADOWY
FIGURE PASS BEHIND HER IN THE BEDROOM. She looks back up...and HE'S
GONE. Julie turns on the water to rinse.
ANGLE ON THE BEDROOM DOOR
as it SLOWLY CREAKS SHUT, the SOUND DROWNED OUT by the SINK.
Julie turns off the water -- and KLUNK-KLUNK -- and NOISE at her door.
The sound STOPS.
INT. JULIE'S BEDROOM
She steps out of the bathroom, crossing toward the door.
No answer. She peers through the PEEPHOLE.
Is that you?
She unlocks and opens it. Nobody there.
Julie quickly closes the door and relocks it, her heart rate just
begining to rise again as...
KLUNK-KLUNK. She hears it again. Then, the sound STOPS. But standing
at the door -- she realizes that's not where it came from. Her eyes
immediately go to...
Damn. That's where it came from. She slowy pads across the room in her
slippers toward the door. Trembling...she reaches for the handle...AND
TUGS IT OPEN!
There's NOTHING. She stares a beat. DRIP DRIP DRIP.
She sees something on the floor of the closet. She touches a finger to
She looks up.
comes dropping down at her, dangling, enmeshed in barbed wire. He's
dying before our eyes. Blood bubbling from his mouth. His body
Julie stares at the body. She's almost catatonic. She blinks. She
Suddenly, in DEATH CONVULSIONS, his arms fly toward her --
She SCREAMS --
33 EXT. POOL - JACUZZI - NIGHT
Karla and Tyrell are drying off beside Will as their hysterical friend
comes racing across the pool plaza.
It's happening again! There's a body!
Will cathes her in his arms and she sobs uncontrollably.
What? What are you talking about?
It's in my room!
They can see she's not fooling around.
34 INT. HOTEL - JULIE'S ROOM - NIGHT
Everyone is gathered in the center of Julie's room. Julie is held
tight by Will. Brooks, the hotel manager, conducts the investigation.
Brooks approaches the closet door. Julie holds her breath. He throws
it open. A long beat.
I don't find this at all funny.
Julie steps in -- stares into the empty closet. She can't believe her
She searches their faces, looking for someone to believe her.
There was a body! I swear it!
Julie, you said you were tired. Waybe
you were dreaming.
I wasn't dreaming.
I knew you people were goining to be
trouble. I knew from the first time I
laid eyes on you.
Julie grabs Brooks by his robe.
Listen to me. He's here.
Who? Who is here?
She doesn't know where to start. Nancy pokes her head around the door.
What's going on?
Julie thinks there's a dead guy in the
The rest of us see bathrobes.
I am not crazy, Tyrell. He was right
(not taking it seriously)
Fine. Show me the body.
Will wanders over to the closet and checks it out.
Think about this, Julie. What did you
The dockhand guy. Hanging by his neck
from up there.
In the morning we'll talk to Derrick, the
"dockhand guy," and put the whole thing
(looks to Nancy)
Now, let's slow down on the Dark and
Stormies and get some sleep.
Don't look at me --
I want off this island.
Not possible, I'm afraid. The last ferry
left hours ago. And we got a storm
coming. There won't be another one for
There's a storm coming?
'Tis the season, like I told you. It's a
Julie goes for the phone.
Then I'll call the mainland for a
Phones went down a few minutes ago.
She picks up the phone, listens, then dangles it from her hand.
An exasperated Brooks heads for the door.
Duh. The next couple of days is gonna
be rough, but we'll make it.
What about a radio?
Sorry. Emergencies only.
What the hell would you call this?
I'd call this four spoiled city kids who
wouldn't know a hurricane if it blew up
All we can do now is batten down and ride
it out. If things get really bad, there's
a storm shelter.
And Brooks is gone. Outside the window, it starts to rain. There's a
CLAP of thunder.
looks out the window with glazed-over eyes.
35 EXT. HOTEL - NIGHT
And we PULL AWAY from Julie's face through the glass -- SLOWLY TILTING
above her room to another
in the bell tower. A candle burns, and lighning flashes illuminate the
haggard face of Estes, the porter.
36 INT. HOTEL TOWER ROOM - NIGHT
It's a claustrophobic room. Estes turns away from the window,
shirtless in his uniform pants. A beaded cord hangs around his neck,
small fishhook dangling from it.
Beside the candle, he picks up a leather bag and dumps out a handful
of voodoo icons: roots, coins, sea glass, chicken's foot. He sets them
on a divination tray.
He opens vials and sprinkles powder and assorted liquids into a small
wooden bowl. He opens a drawer and extracts a toothbrush. He dips the
brush in the bowl -- covering its bristles with a sticky goo. He holds
the brush over the candle's flame. The old man watches it SIZZLE.
ESTES picks up
A STRAW FIGURE
and impales it on his fishhook necklace.
His eyes roll back in his head. He enters a trance.
37 INT. HOTEL CORRIDOR - NIGHT
Olga, the maid, pushes her laundry cart toward the end of a long,
dimly lit hall. She sees a pile of dirty linens outside of a room --
She stops, perplexed. There's nobody staying in this room. She picks
them up and stuff them in her cart. Then she knocks on the door.
She knocks again and notices her hand leaving bloody marks on the
door. She looks at her other hand. Her arms and hands are covered in
She turns back to the linens. Something bloody is wrapped inside of
them. She paws at the sheets, trying to unravel the mystery --
The door the Room 228 slowly cracks open. A STEEL HOOK reaches out and
slices into her apron. It tugs. She turns, and she starts to SCREAM,
she is yanked into the room.
A DO NOT DISTURB sign flips over the handle and the door SLAMS shut.
We hear her SCREAMS from inside.
38 EXT. PAWN SHOP - NIGHT
Establishing. Bars on the windows. Neon PAWN fickering. Hand-painted
sign reads: Se Habla Ingles.
39 INT. PAWN SHOP - NIGHT
CLOSE ON AN ENGAGEMENT RING
Ray's engagement ring. The pawn shop owner, MAC, cowboy hat, knows his
job, holds it up to the viewing loop next to his eye.
Jeez, that's a full carat --
Well, there's some flaws in her...
Mac looks around his shop at the usual jumble of crap: vacuum
cleaners, golf clubs, guitar amps...
Don't really have the market for
something like this...
(like it hurts him)
I can go two...two-fifty.
Make it three hundred. And throw
that in, too.
REVEAL - .38 REVOLVER
encased in a glass cabinet.
Hell, that's worth three, easy. And
you got your waiting period.
I'm not waiting...So give me the gun
and keep the ring.
Mac barely hasitates, he knows he's getting a steal --
THE GUN AND THE RING
go down on the counter next to each other. Mac pulls out some forms.
Fill these out. Leave the dates blank.
Ray starts writing. Mac is overcome by a moment of humanity.
Buddy, are you sure this is the way
you want to go?
Ray gives him a steely stare --
Is it loaded?
Mac shakes his head.
Off Mac's sadness at young people today.
40 INT. HOTEL - KARLA AND TYRELL'S ROOM - DAY
We move into the hotel room and gradually reveal FOUR SETS OF FEET at
the end of one bed. They are crammed into a king-size bed together.
Julie is awake. She gets out of bed and moves toward the window.
It's raining outside. The wind is blowing. The storm has arrived.
Karla pulls a sleeping hand off her chest. The hand belongs to Will.
She pinches the hand. Will starts.
Tyrell kicks his feet around, trying to get some room.
This ain't the romantic weekend I
had in mind.
Karla kisses Tyrell on the cheek.
You get any sleep at all?
Tyrell glares at Julie by the window. Sees the incredible rain.
Oh, look. Another day in paradise
(calling to Julie)
See any dead bodies out there? Any
fresh kill? How 'bout Freddy, Jason?
Julie ignores him, staring out the window.
Leave her alone.
Angry at her boyfriend, Karla gets out of bed and joins Julie.
I'm just saying what all of you are
thinking. It's bad enough gettin'
rained out without having to hold
her hand the whole time.
You don't have to be a jerk.
Karla pulls Julie close in a show of support for her friend whose mind
everyone believes has been inventing dead bodies.
It's okay...He doesn't believe me.
That's his right. I'm starting to
think I'm crazy, too.
Hey, slow down, turn off the little
motor up in there...What do you say
we go to the gym and work off a
Julie doesn't look to enthusiastic.
41 INT. HOTEL FITNESS ROOM - DAY
Karla and Julie enter the gym. It has Nautilus machines, treadmills,
Life-cycles, free weights, tanning beds, speed and heavy bags.
Karla walks over and does a full roundhouse -- spinning and planting
her foot dead center of the heavy bag.
I'll be givin' your fisherman some of
that and see how he likes it.
Julie smiles at her friend bravado. She steps over to a stairmaster
and starts her workout.
42 INT. HOTEL CORRIDOR - DAY
Will and Tyrell step out of the room into the long, empty corridor.
They cross to a balcony overlooking the lobby. The whole place seems
Where is everybody?
They're all dead...Dead, I tell you.
Ahhhh, we're all deaaaddddd. Tyrellll,
Will's voice echoes across the lobby. Tyrell is maybe a little
nervous, but hiding it.
They walk down the steps to the lobby.
43 INT. HOTEL LOBBY - DAY
They cross the lobby.
There's nobody here, Tyrell.
Tyrell's already out the front entrance.
44 EXT. HOTEL - DAY
Will and Tyrell exit the hotel and make their way down the steps
outside and go splashing across the flooded grounds. Debris from the
storm is scattered all around them.
They're around...They just don't
care about us 'cause we're the
Let's go find Stoner Boy...Make his
lazy butt hook us up with fishing
poles or Ping-Pong paddles or
You know, the greenhouse effect has
caused the gulf stream to shift and
almost every meteorological expert
expects a dramatic increase in
tropical depression --
Hey -- shut up, okay?
Tyrell keeps walking. Will looks around at the wind-and-water-swept
vista. Not much of a day for activities.
I don't like to fish.
Tyrell moves across the grounds. He looks back. Will is stopped in his
tracks, looking up at --
IN THE WINDOW OF THE BELL TOWER --
ESTES, staring down at them.
(calling to Will)
Will trots after him, but he takes a glance back at the window...Estes
45 INT. HOTEL FITNESS ROOM - DAY
Julie has finished on the stairmaster. Both she and Karla are sweaty
after a good workout. Their moods have improved.
Come on, Vampira. I got just the
thing for you.
Karla leads Julie over to the tanning beds.
Cancer in a box.
No, this is the safe sun.
It's better than a day at the beach.
Julie is reluctant.
Come on, a little photosynthesis and
you'll feel like a new --
Karla opens the canopy of the tanning bed.
Julie peels off her sweats. Lies down in her underwear. Straps on a
small pair of GOGGLES.
Karla lowers the canopy over Julie.
ANGLE ON A WALL TIMER
Karla sets the DIAL.
Set to three seventy-five, bake for
come to life -- Julie is bathed in purple light.
46 EXT. HOTEL GROUNDS - DAY
Tyrell looks across the grounds and sees, at the far end of the tennis
TITUS'S POOL SUPPLY CART
half-obscured by the heavy fooliage surrounding the court.
Tyrell walks away from Will toward the cart. He hears the jam-box on
the cart playing "TRENCHTOWN ROCK" by Bob Marley..."One good thing
about music...when it hits you feel no pain..."
46A EXT. HOTEL TENNIS COURT - DAY
The open door of the entrance CLANGS against the fence in the wind.
Tyrell decides to cut through the court to the far entrance and the
46B INT. HOTEL TENNIS COURT - DAY
Tyrell walks across the court to the sagging net.
There is a RUSTLING in the foliage around the court. SOMETHING moving
fast and quietly.
Hey, Bong Marley. Come here.
The door SLAMS shut behind him.
Tyrell looks back at the door. The latch seems to have stuck and it's
no longer swinging.
Tyrell turns back toward the other door and sees
The PIT BULL
standing in the doorway. Tyrell stares at the dog. The dog GROWLS at
Tyrell, low and menacing.
I'm gonna kill you, Bong Boy.
Simultaneously, Tyrell turns and the dog lunges forward.
Tyrell sprints to the door -- it's LOCKED by a length of metal slipped
into the coupling.
He turns to see the dog bounding at him --
Tyrell leaps up the fence just as the pit bull lunges for him. The dog
catches his pant leg. Tyrell kicks him away and frantically scrambles
The dog relentlessly barks and snaps as Tyrell climbs the fence.
looks in at the dog angrily charging the chain-link. He looks up at
Come on. Jump. I've got you.
He reaches out to try and catch Tyrell.
ON THE FENCE
Tyrell finally looses his grip and falls back, landing on top of Will.
He rolls quickly to his feet.
I gotta find me a pool boy.
47 INT. HOTEL FITNESS ROOM - DAY
Karla hammers the bag with a series of quick punches. She finally
stops to catch her breath and hears a THUMPING from the other room.
48 INT. BASEMENT HALLWAY - DAY
Karla sticks her head out the door to the gym, listening. At the end
of the hall
AN OPEN DOOR
is visible, a single BARE BULB lighting the room. Karla moves
curiously toward it.
49 INT. BASEMENT ROOM - DAY
Karla slowly sticks her head around the corner just as the THUMPING
NOISE SOUNDS LOUNDLY. She reacts --
A THUMPING DRYER
in a small laundry room. Karla relaxes.
Gee, Karla...That'll break the
She approaches the MACHINE, which is rocking with the noise.
Damn. How many pairs you got in
She opens the dryer door and jumps back.
A BLOODY SHOE
flies out and into her arms. She looks down a beat, and SCREAMS bloody
A hot spray of blood gushes from the machine.
REVEAL - OLGA'S DISMEMBERED BODY
tumbling inside the dryer. Karla SCREAMS again. Then she hears the
SOUND of heavy boots coming down the hall. She runs to the door and
She's trapped in a bloody basement cell. Suddenly somebody POUNDS on
the door. Karla SCREAMS.
She runs across the room, shoving a folding table toward a row of
The door is hit again and again. Somebody is throwing their shoulder
Karla bangs hysterically on the windows, leaving bloody handprints on
50 INT. TANNING ROOM - DAY
Julie's eyes suddenly open through the GOGGLES. She thumbs off her
You say something?
Nothing. And just as Julie lies down again, Karla's frantic SCREAMS
echo down the hall.
Julie goes to push open the canopy. As she does, the CANOPY LID is
JAMMED DOWN ON TOP OF HER. A CHAIN shoots through the handles. Julie
is locked on the grill.
Karla! Somebody? Hey, this isn't
Suddenly the lights go off. Julie thrashes around, trying to free
JULIE'S POV - THROUGH THE PURPLE LIGHT
She sees someone walking around in the room. The person steps closer.
Julie could almost reach out and touch him.
She begins to SCREAM!
51 EXT. HOTEL POOL - DAY
Tyrell angrily makes his way past the outdoor pool bar as Will
follows. Tyrell spots a tray of empty bottles. He picks one up and
smashes it in half on the ground. He holds out the jagged bottle to
And do what with it?
Tyrell breaks another bottle in half.
Julienne of pool boy.
They move toward the nearby POOL HOUSE.
52 EXT. POOL HOUSE - DAY
Tyrell and Will stop outside the door. There's MUSIC from inside. More
Bob Marley -- "Lively Up Yourself..."
I'm gonna throw the door. Get ready.
Tyrell opens the door and charges in. Will's right behind him.
53 INT. HOTEL POOL HOUSE - DAY
They spill into the room. A light fog hangs in the air. The two of
them begin to COUGH and CHOKE.
Titus sits on the floor facing away from them, facing a window through
which gray light pierces the gloom.
Titus doesn't move. He's too still. In front of him is a large BONG
that still SMOKES SLIGHTLY.
Hey, pool boy.
Tyrell closes the distance and kicks Titus in the back.
Titus falls over like a block of wood, rictus already setting in.
His hands are bound behind him. The cord is tied off to some pipes
against the wall.
HIS FINGERNAILS SCRATHCED GROOVES
into the floor, scrabbling for the window and fresh air.
Will points out two empty one-gallon PLASTIC BOTTLES.
ANGLE ON THE BOTTLES
One is labeled CHLORINE, the other MURIATIC ACID.
Will pulls Tyrell from the pool house.
54 EXT. HOTEL POOL HOUSE - DAY
The two of them collapse, COUGHING and CHOKING.
What the -- ?
Will splashes a puddle of rainwater on his face --
That's chlorine and muriatic acid.
Put the two together and you get
Tyrell rolls over on his back next to Will, practically coughing up a
Cyanide? Like poison gas?
You mean, somebody really killed
Suddenly, they both hear KARLA SCREAMING. They sprint for the main
55 EXT. BASEMENT WINDOW - DAY
Tyrell and Will follow Karla's CRIES to a narrow srip of basement
window which runs along the side of the hotel. Her palms have bloodied
one of the windows.
Get back --
56 INT. HOTEL LAUNDRY ROOM - DAY
Karla ducks down on the table just as the window EXPLODES inward.
Tyrell kicks in the pane and looks in.
Give me your hand!
She reaches for him. He pulls her up and out through the window.
57 EXT. BASEMENT WINDOW - DAY
Karla tumbles to the ground with only one thing to say.
SMASH CUT TO:
58 INT. TANNING ROOM - DAY
Tyrell and Will suddenly burst through the door.
ANGLE ON THE TANNING BED
Where Julie is just visible, her fingers madly groping for a way out.
Oh, God, get me out. Get me out.
Will struggles to open the bed, but the chain holds strong.
Tyrell grabs a nearby dumbbell.
ANGLE ON THE CHAIN
Tyrell slams the barbell down, shattering the fiberglass handles.
A few of the ultraviolet tubes POP as Will yanks up on the cover.
They help Julie up, her eyes adjusting to non-purple light.
I'm not crazy...I'm not crazy. He's
for the door)
We've got to get to the radio and
call for help.
I think we can classify this as an
They head for the manager's office.
59 INT. HOTEL - BROOKS'S OFFICE - DAY
They burst into the middle of the room before seeing that Brooks's
head has a machete sticking out of it.
Yo, Brooks, listen up --
Tyrell, Will, and Karla look at the radio, which is smashed on the
floor next to Brooks.
Julie stares in shock at the reverse wall, at
A STUFFED MARLIN
with the words "I STILL KNOW" written on it in blood.
Karla SCREAMS --
Somebody...is a sick, fingerpainting
We gotta get out of here. Now.
THE POWER CUTS OUT and the hotel plunges into darkness.
Julie SCREAMS and runs from the hotel.
60 EXT. HOTEL - DAY
Julie runs down the steps and cuts through the blowing palms.
61 EXT. HOTEL DOCKS - DAY
Julie is at the end of the dock. Tears are streaming down her face,
her chest heaving.
The others catch up with her. Karla realizes the boats are gone.
Everyone is freaking out.
There were boats here? Refresh my
memory, there were boats...
Tyrell picks up the end of a cut mooring line --
They were cut loose.
Julie? Wanna tell us what is
going on here?
They look at Julie. Their escape is cut off by water. They're scared.
We're all going to die. He's going
to kill us one by one.
(not this again)
Oh, stop it! He's dead. You killed
him. Now, get over it. We gotta
They never found the body.
Her voice is low and urgent, an impromptu confessional.
Two summers ago. We lied to the
authorities. We hit Ben Willis with
our car. Ray, me, Barry, and Helen
...We threw the body in the water to
cover it up --
Only he wasn't dead. He killed Barry
and Helen last July Fourth.
Tyrell begins backing away from Julie. He picks up a piece of
driftwood from the dock.
I thought Ray and I killed him on the
boat, but we didn't and now he's back
to finish up the job.
Tyrell holds up the log as a weapon. He's angry and afraid --
We're on an island, miles from
anywhere. I don't give a crap about
you're fisherman. There's dead bodies
pilling up everywhere and there's one
guy missing --
Will moves closer to Tyrell --
The porter...what's his name? Old
Estes! That's exactly who it is. That
old guy knows something. We can sit
here and wait for him to pick us off
or we can go find him first.
Tyrell turns and heads down the dock. Will goes with him. Karla takes
a few hesitant steps after them, then turns back toward Julie, who
Julie, we have to do something.
Julie sees her friend caught in the middle, sees her suffering. She
reluctantly starts for Karla --
It's not him.
62 INT. GREYHOUND BUS - NIGHT
Standard bus folks: old people in Panama hats, buzz-cut military geeks
Ray sits in a seat. He's in pain and does not look good.
He pops a handful of pills into his mouth and washes them down with an
Orange Crush --
A dignified OLD LADY has been watching him --
People live healthy in Miami.
(sincere, but unsettling)
It's the future down there every day
of the week...The future.
Ray slumps back, waiting for the pills to work.
I'll keep that in mind.
63 INT. HOTEL TOWER ROOM - DUSK
The door to Estes's room BANGS inward. Tyrell, Will, Karla, and Julie
charge into the room.
Yo, Freak Boy --
The cluttered room is empty.
He's not here.
Tyrell and Will begin roughly searching through Estes's possessions.
We're gonna find some weird crap
In the corner there is a curtain used as a partition. Julie pulls the
curtain back and discovers
A SMALL, HEAVY CABINET
sitting in the corner. It seems to glow from inside while casting an
evil pall over the room.
Julie moves toward it and hesitates before opening the doors.
Inside -- is a small voodoo shrine. A candle has burned low before it.
Hanging before the altar is
THE LITTLE STRAW MAN
impaled on a fishhook.
I told you.
Julie looks closer. She sees her toothbrush, a hair tie, assorted
other knickknacks belonging to her friends.
Missing a hair tie?
Karla looks in. Tyrell snatches the straw man up.
We found our guy.
THUNDER rumbles across the sky like the judgement of God.
64 INT. HOTEL CORRIDOR - NIGHT
Julie, Karla, Tyrell, and Will walk quickly down the corridor. They
have grabbed some of their things.
We gotta find flashlights, torches,
guns if they got 'em, anything
Will and Tyrell eye the stairs leading down to the lobby.
Wait. Maybe he's down there
collecting the body parts.
Will and Tyrell exchange a glance, an "are you man enough?" kind of
65 INT. HOTEL LOBBY - NIGHT
The men head into the kitchen and bar area.
We'll only be a second, okay?
Yeah, wait right here, it's the
Karla is terrified and waits by the stairs, but something catches
Julie's eye. She walks across the lobby.
Julie, where are you going?
Julie keeps walking. She sees historical pictures of the hotel: work
crews during construction; the first limbo contest; fishermen standing
next to sailfish and marlin.
Near the pictures, Julie sees the globe. It's spinning slowly.
Julie hesitates, then walks toward the globe. It stops spinning. She
looks down at it.
CLOSE ON - THE GLOBE
and Julie's hand finding Brazil. We see the capital is not Rio, but
Brazilia. This is dawning on Julie when we hear --
She jumps out of her skin. Estes was standing right there in the
That's the capital of Brazil, not
Tyrell comes flying across the lobby past Karla. He dives on Estes,
tackling him to the floor. Will is right behind him.
Let go. I got him. That's me. It's
him. We got you...
Leave him alone.
Tyrell holds up battered Estes --
Here's youre killer --
We found your voodoo crap --
They shake Estes, finally giving him a chance to speak.
I found the bodies this morning...I
tried to use the radio, but he
already destroyed it.
Let him go. I believe him.
Come on, Julie. You saw his room.
I haven't hurt anyone...I stole
those things to help you. To
He's telling the truth. He could've
easily killed me. He didn't.
this sinks in)
Look, we didn't even answer the
radio question right...This whole
thing was a setup.
What do you mean?
Rio isn't the capital of Brazil. It
was the wrong answer. Sorry, we lose.
(starting to lose it)
You've got all these theories but
where is he? Where? Where's your
I don't know.
You never do...The guy at the
nightclub, the body in your room last
night. Little notes that only mean
something to you. How do we even know
you're not the one behind this --
Estes steps forward --
How do we know you're not?
I know who you're talking about. He
used to work here at the hotel.
And I've seen him around again. Out
in the woods by the orchard.
They look at Estes...Is he telling the truth?
I can't remeber his name, but I
don't forget a face.
I can show you...
They stare a beat --
How do we know you're not setting
Where else you gonna go, son?
They look to the office, the gym...The sense of death surrounding
I know I don't want to stay in
We'll be better off in the open. If
we stick together, maybe we can kill
this creep for good.
They begin moving for the door.
66 EXT. FERRY DOCKS - NIGHT
Establish. The rain pounds a fleet of fishing boats. The boats are
securely battened down in the weather.
Ray limps past, heading for a small building at the end of the dock.
Its sign reads: Island Ferry, Jack Paulsen -- proprieter.
67 INT. PAULSEN'S BOAT HOUSE - NIGHT
A gear-strewn office. Paulsen watches an episode of Party of Five.
There is a loud KNOCKING at the door.
Paulsen slowly gets up. He cracks the door open. Ray stands
silhouetted against the rain.
I need to get to Tower Bay Island.
Paulsen senses something isn't right.
Ray pushes his way in --
I need to get there, now.
Paulsen looks at him standing there drenched.
Did you happen to notice what's
going on outside?
Ray pulls out the gun and points it at Paulsen --
I'm not looking for a weather
report, I'm looking for a boat. So
which one's yours?
68 EXT. WOODS TRAIL - NIGHT
Estes, Will, Tyrell, Julie, and Karla walk along a trail through the
heart of the island. The storm has abated for a few minutes.
It's windy, dark, and spooky. The kind of place you'd take people if
you wanted to scare them with a classic ghost story. That is just what
Estes is doing.
He worked here for many years. He
had a nice family. A pretty wife
and two little ones. A boy and a
girl. They'd be about your age, now.
They continue along the path.
Estes looks at them in the dark, slowing for just a second.
One day his wife went missing. Maid
found blood all over the honeymoon
suite -- Room 201.
There are strange NOISES out in the woods.
Eventually, they found her body.
Pieces. A leg in the swamp. An arm
washed up on Three Mile Beach.
And the head they found much later.
A huge branch is blown from a tree and comes crashing down through the
underbrush, scaring them. Estes calmly steps around it.
Did he do it?
People say she was running around on
him. People say he caught her in bed
with other men. People say a lot of
He disappeared, taking the two small
ones with him. At least they were
The winding path leads to a small orchard. They hang on his every
In the center of the orchard is a cemetery.
They move off the path into the safety of the woods. There seems to be
activity around the place. It's silent and eerie.
Julie stares, fascinated. She is slowly drawn toward the house. Karla
grabs for her arm.
Be careful, Julie.
I've got to see.
She leads, they follow, circling the house. Julie rounds a corner of
the shack and stops. She sees --
The first stone reads: SARAH WILLIS (birth/death)
The second stone reads: SUSIE WILLIS (birth/death)
A FRESHLY DUG GRAVE
and the group moves slowly toward it. The headstone, partially
obscured by the mound of dirt, comes into view.
The third headstone reads:
born September 6, 1979
died July 4, 1998
"A Lying Whore"
"A Lying Whore" is scratched with a knife.
...Today's July fourth.
Will goes to comfort Julie --
I'm not dying on this island,
Do you hear me?
Julie shouts into the darkness.
You want me, Ben Willis? Come and
get me. I'm right here.
She kicks over her headstone --
My grave stays empty!
She looks defiantly down the path.
Julie, the boats are gone, the
phones are down. There's no way off
Then, we fight --
Will looks around. Estes is gone.
Where'd Estes go?
What is up with that weirdo?
I'll go find him.
Why? He can't help us.
He's probably the only one who
can help us.
I'll come with you.
Are you crazy? We're not staying
here on our own.
It's okay. He couldn't have gone
far. I'll catch up with you later.
Will disappears into the darkness.
Maybe we should just wait here?
Hide in a tree?
I'm not hiding up no tree.
I'm with her. Let's arm ourselves
to the teeth and kick this psycho's
69 INT. HOTEL KITCHEN - NIGHT
They move cautiously into the kitchen. Blue emergency lights flicker
above them. It's a big room with plenty of nooks and crannies for
somebody to be hiding in.
Tyrell picks up a couple of different knives. He hefts them in his
What I need is a gun. Not a steak
Karla grabs a paring knife --
You gonna clean vegetables? You
gonna stir-fry? You need something
that'll get his attention.
He picks up a huge butcher's knife and cuts the air with it. He then
roughly empties other drawers looking for more weapons.
Karla looks to Julie, something on her mind. Julie catches the look.
I'm your best friend...You could
have told me the truth about what
happened. I would've understood.
Karla, I just wanted the whole thing
to be over. I didn't want to involve
It's too late for that.
Julie steps over to Karla.
I'm so sorry. I brought this on
everyone. It's my fault.
Tyrell picks up on the mood swing. He moves closer to them. He's
Forget that. You didn't do nothing.
This fisherman's a piece of scum.
(hard for him to admit)
I should've been listening to you...
Julie smiles for a second.
Now, let's take a look at the
You think that's a good place to
I don't know, but I'm starving.
70 EXT. BEACH - NIGHT
Will runs from the trees and finds himself by an old house. He sees
Estes by the ocean, near a boat.
Estes? Where'd you go?
Estes doesn't answer right away -- he keeps his back to Will.
You abandoning us? How come you
didn't tell us you had a boat?
Estes picks up the boat's oar. He speaks low, almost inaudibly.
This has to end. Now.
What -- ?
Estes swings the oar, cracking Will's head hard.
SMASH CUT TO:
71 INT. HOTEL KITCHEN - NIGHT
Tyrell, Julie, and Karla approach the pantry -- a huge steel door.
72 INT. HOTEL KITCHEN - CONTINUOUS
Tyrell steps inside.
He starts looking for something to eat --
CLANK. There's a soft CLATTERING from somewhere in the room. Everyone
freezes, staring into the darkness.
Tyrell puts a finger to his lips, then creeps down an aisle,
listening. There's nothing but SILENCE.
He moves toward the first aisle...He jumps out. The aisle is empty.
JULIE AND KARLA
move down an aisle behind him.
Tyrell ducks around to the second aisle. He slices the air, ready to
pounce. This aisle is empty.
JULIE AND KARLA
nervously move another aisle down.
Tyrell moves stealthily toward the third aisle...This is it. He lunges
forward into the row...Empty, also.
There's a small SOUND...A MOUSE scampers off under the shelves. Tyrell
turns and smiles at Karla and Julie --
It's just a --
A ROLLING PIN
bashes him on the back of the head. Tyrell hits the floor,
JULIE AND KARLA SCREAM
A DARK FIGURE jumps down from the shelves. Tyrell puts his arms up --
(yelling for mercy)
Don't kill me --
Wait, it's Nancy --
Nancy, the bartender steps out of the shadows brandishing her rolling
73 INT. HOTEL KITCHEN - NIGHT
Tyrell stands at the sink, where Karla holds a towel full of ice to
his head. Nancy, the bartender, looks on apologetically.
I'm sorry, but you could've been
the one doing all of this --
And so could you -- crazy fool.
You stumbled into my hiding place.
Must have missed the sign.
Excuse me, but this island didn't
have a murder rate until you people
I've never seen a dead body before.
Get used to it.
Who's doing this?
Don't even get her started...It's a
long, long story and you probably
wouldn't believe a word of it.
Tyrell moves as he talks, fed up and exhasted. He crosses past the
stove and under a huge hanging rack of pots and pans.
I mean, all I know for sure is this
is the worst vacation of my life...
I'm tired, and I'm hungry, and I
personally haven't seen one damn
THWACK! A STEEL HOOK
sinks deep into the base of Tyrell's shaved skull, a look of abject
surprise on his face.
The women freeze as Tyrell dances like a marionette before being
hoisted up and hung on the rack like a used saucepan.
is in the vent above the stove. He stares out at them from the hood of
Ben jumps from the range onto the floor. Karla is in shock. Julie
yanks her and they flee.
As she goes, Julie picks up
A LOOSE KNIFE
and hides it in her back pocket.
74 EXT. OFFSHORE ON FERRY - NIGHT
Ray pilots the boat through the dark, choppy water. He's navigating by
compass, maps spread before him. He sees something off the bow --
drifting on the fast sea. The words "Tower Bay" are painted on the
side. Ray pulls alongside and discovers the boat is empty.
He reaches for the radio.
Come in...This is Summer Breeze
requesting emergency assistance for
Tower Bay island. I repeat...This
is Summer Breeze...
Ray guns the boat away.
SMASH CUT TO:
75 INT. HOTEL FOYER - NIGHT
Julie, Karla, and Nancy run into the lobby. The storm is WAILING
outside the front doors.
They pause for a second. Behind them we hear the rapid THUD-THUD-THUD
of Ben's boots.
Nancy goes straight to a desk and pulls out a flashlight. She points
to the main staircase.
I know where we can hide.
76 INT. HOTEL STAIRCASE - CONTINUOUS
The women run up the stairs. Behind them, we hear Ben's FOOTFALLS
77 INT. HOTEL CORRIDOR - CONTINUOUS
On the top floor, they race toward the end of a dark hallway.
At the far end of the hall, Nancy illuminates a section of the
Give me a boost up --
Julie helps Nancy reach a pull cord in the ceiling.
A WOODEN LADDER
pulls down. Nancy quickly climbs up.
enters the hallway and continues toward them.
ON THE LADDER
Karla slips, nearly knocking Julie to the floor. They both scramble
Ben hits the ladder --
Just as Julie reaches the top rung she SCREAMS --
BEN'S HOOK IS ON HER FOOT!
Nancy appears in the opening and throws a brick down at Ben. It hits
him in the chest and knocks him back.
Julie makes it into the attic. They pull the ladder up behind them
like a drawbridge.
78 INT. HOTEL ATTIC - NIGHT
Julie, Karla, and Nancy surround the hatch they've just shut. They
fumble with it --
There's no way to lock it.
What do we do?
From below comes LAUGHTER. There's a tug on the hatch, cracking it
open. The girls pull it back shut, but it's hard to get a grip.
There's more tugging, the hatch bending down; they can see Ben. Then,
the rope SNAPS. The hatch slams shut.
There's no way to grip this thing.
Suddenly the STEEL TIP of the HOOK pokes through the crack...It
wriggles around...Turning...And begins to pull the hatch down.
They try to hold it...But it's no use. They let go and jump away.
The attic is lit by a cathedral window. It's crosshatched with wooden
beams and pink insulation.
Watch your step...
THUNK! Karla's foot goes through a gap between two beams.
SMASH CUT TO:
79 INT. HOTEL - KARLA AND TYRELL'S ROOM - NIGHT
dangles through the ceiling.
SMASH BACK TO:
80 INT. HOTEL ATTIC - NIGHT
Julie helps Karla back up onto a beam.
Stay on the beams!
Karla and Julie follow her precarious progress.
Ben climbs off the ladder to a beam. He watches them leap from beam to
beam. His hook glints in the light.
Julie, Karla, and Nancy move toward the cathedral window. They turn.
They are cut off. They spread out against the wall looking for an
opening to get back to the hatch.
Ben feints toward Nancy then swipes at Julie --
He misses. She leaps away. She looks down. Instead of insulation, she
WINDOW INTO THE HONEYMOON SUITE
She sees her bed through a one-way mirror. Julie stares, momentarily
transfixed. Karla is edging her way around the side of Ben.
(re: the mirror)
You'd be amazed by what you'd see.
My wife with every man on the
island, for example.
And you, sexy...I loved watching you.
You sick freak.
Ben suddenly whirls and lunges at Karla. He grabs her, but they both
lose their balance, teetering for a moment on one of the beams, before
They CRASH through the mirror --
81 INT. HOTEL - KARLA AND TYRELL'S ROOM - NIGHT
Karla and Ben hit the bed in a rain of glass.
Karla bounces to her feet and dives out of the way as Ben swings his
82 EXT. ROOM BALCONY - NIGHT
Karla backs onto the porch. She backs up against the railing.
83 EXT. ATTIC WINDOW - NIGHT
Julie and Nancy reach the CATHEDRAL WINDOW. They open it and look out.
84 EXT. ROOM BALCONY - JULIE'S POV - NIGHT
and Ben advancing toward Karla, whose back is against the railing.
Karla looks behind her, sees
THE GLASS ROOF OF THE ORCHID HOUSE
which doesn't look nealy strong enough to suppor her.
Ben advances, swining the hook. Karla leaps over the railing and onto
85 EXT. GREENHOUSE ROOF - NIGHT
Karla keeps a wary eye on Ben as she gingerly backs up on the glass.
The GLASS begins CRACKING, subtle crack lines splintering out from her
Ben lunges and swipes at her with his hook.
Karla leans away from the attack and loses her balance, slipping onto
her back on the glass.
She lifts her head. Starts to move...CRACK. The glass is fracuring
beneath her. She looks through the glass.
KARLA'S POV - THE ORCHIDS BELOW
She tries to slide toward a support...The glass CREAKS and MOANS as
she moves across the room.
Oh, god, no --
She's almost to the support when
THE ROOF EXPLODES
taking Karla down into the orchid house.
86 INT. ORCHID HOUSE - NIGHT
The roof shatters in an explosion of flying glass.
Karla land on her back.
She's unconsious --
87 INT. ATTIC WINDOW - NIGHT
Julie and Nancy look at the empty space which once was a roof
supporting Karla --
Ben turns and looks up at Nancy and Julie. Then, he sprints from the
Julie and Nancy duck back into the attic.
88 INT. HOTEL CORRIDOR - NIGHT
Julie and Nancy climb down into the hallway. They are cautious,
expecting Ben at every turn.
89 INT. HOTEL LOBBY - NIGHT
They hurry across the lobby.
90 INT. ORCHID HOUSE - NIGHT
A sprawling, steam-filled room, dense with vegetation of all sorts and
shelf after shelf of beautiful orchids.
Karla lies unconscious. Slowly, she opens her eyes.
There's a rustling in the flowers. She tries to get up, but can't yet.
She waits in terror as
fly up and out of the hole she's made in the roof.
Karla tries to stand and her leg gives way. She tests her knee --
Karla starts hobbling. She reaches the door -- it's locked from the
There is a thick glass window set in the middle of the door.
The cranes startle again, something upsetting them. Karla spins to
91 INT. HOTEL/ORCHID HOUSE - NIGHT
Julie and Nancy arrive at the door. Karla pounds on the other side --
points to the lock.
Nancy sees a KEY RING by the door.
It's gotta be one of these.
Nancy tries the first of many keys. Something catches Julie's eye. She
moves in for a closer look. Her eyes go wide --
ORCHID HOUSE - JULIE'S POV
A powerful BOLT OF LIGHTNING cracks. Fills the room with a pulse of
bright light. BEN IS STANDING INSIDE AND HE'S HEADING STRAIGHT FOR
Karla spins. Sees him. Her terrified scream blends with the cranes,
now SHRIEKING VIOLENTLY.
92 INT. HOTEL/ORCHID HOUSE - NIGHT
Nancy fumbles with the keys. Drops them. Julie tries to keep calm.
93 INT. HOTEL/ORCHID HOUSE - NIGHT
Ben closes fast, slicing the tops off orchids as he goes. He skewers a
bud on the tip of his hook.
Karla pounds on the door.
Nancy fumbles for the right key but the lock is old.
The key is stuck.
She's running out of time. Julie sees a FIRE AXE encased in the glass
Julie smashes the glass with her elbow. Grabs the axe.
Julie hammers the door with the axe. Wood splinters. Glass cracks.
Ben is almost on top of Karla now.
Julie swings. The axe breaks the glass, pulls the frame out. Julie
drops the axe. They grab Karla. Pull her through.
Ben swings. The hook rips Karla's shoe, but Julie and Nancy pull her
Julie and Ben are face to face. Julie has the axe in her hands. She
stares him down.
Come on, gimme a shot --
Ben rips off his hook, eyeing Julie.
Julie, come on.
They flee. Ben tries the door, realizes it had locked behind him. He
can't fit through the circular window. He throws his shoulder against
the door. And again. And again.
The door frame starts to give --
94 EXT. STORM SHELTER - NIGHT
Julie, Karla, and Nancy approach the iron door to the underground
storm cellar. Julie carries the axe.
It's over there.
They struggle together to open the heavy door.
95 INT. STORM SHELTER - NIGHT
Stairs lead down into darkness. Karla hesitates --
I don't know...
Come on, you can make it.
Julie gets in, pulling Karla in behind her. They pull the door closed
There's a light somewhere.
96 INT. STORM SHELTER - NIGHT
The darkness is complete. We hear MOVEMENT.
I'm right here. Grab my hand.
This place has emergency power.
Just ease you way down the stairs
and I'll find the light.
Okay. I'm at the bottom. Karla,
just get my hand.
I'm holding your hand!
No, you're not.
Nancy pulls the chain on an overhead bulb. The lights go on,
THE DEAD CORPSES
of Brooks, Derrick, Olga, and Titus -- whose hand Karla is holding.
The women SCREAM!
They muddle together, trying to collect themselves.
Suddenly, there is a POUNDING on the iron door. They SCREAM.
Then, Julie remembers the axe. She motions the others to stay back --
All right --
The iron hatch is slowly opening. Julie gets the axe into possition --
pokes his head through. He's clutching a piece of wood as a weapon.
It's you guys, thank god. Is
They are ecstatic to see him. They bound up the concrete stairs --
Help's here. Help's here.
97 EXT. HOTEL WALKWAY - NIGHT
Will is already on the move toward the hotel.
Come on. We're gonna be okay.
Did you get help?
Will shakes his head. He's walking woozily.
Estes came after me with a gaffing
He's in it with Willis?
I guess so.
Julie points out that his chest and stomach are covered in blood, too.
Your stomach, you're hurt --
Will looks down, clutches himself, and keeps moving.
When I was coming back I saw your
slicker friend looking for you guys
down by the water.
Let's hurry and get inside...
98 EXT. BEACH - NIGHT
Ray guns the boat straight up onto the beach. He leaps from the boat.
99 INT. HOTEL BAR - NIGHT
Will slumps down on the bar floor. He's floating in and out of
consciousness. Julie leans over him, concerned.
Oh, my god, you're bleeding to
She looks back towards Nancy --
We need a first-aid kit.
I saw one in the lobby.
Karla starts, then hesitates. Will moans, looks at her.
I'll come with you.
You'll be okay. It's over.
Karla and Nancy rush from the bar. Julie looks tenderly at Will. He
looks back at her. She pulls some hair off his forehead. He smiles
Will, just hold on. We'll get you
100 INT. HOTEL LOBBY - NIGHT
Karla and Nancy go to the area near the check-in and behind the desk.
Look up there. I'll look over here.
Karla looks behind the desk. Nancy is searching the shelves.
101 INT. HOTEL BAR - NIGHT
Julie tenderly searches the area around Will's stomach. She's fussing
with the clothes, looking for the wound.
You've got blood everywhere, but I
can't find the wound.
Will takes her head in his hands, looks her in the eye.
That's because it's not my blood.
The slow change in Julie as she realizes...
She starts to run. Will roughly grabs her.
It's time you woke up, Julie.
His voice switches to that of a familiar radio disk jockey.
(as Mark in the Morning)
AND START CONTEMPLATING THE ULTIMATE
He drags her out of the bar.
102 INT. HOTEL LOBBY - NIGHT
Nancy sees a white metal box sitting on a shelf. She reaches for it...
It's a first aid kit.
reaches over and lands on top of her hand. She jumps and sees Estes
right behind her. Karla SCREAMS.
Will...He's in on it. He's --
Suddenly Estes's expression changes to surprise, and
A SPEAR TIP
appears in the front of his chest.
Nancy screams and looks over Estes's shoulder to see
standing there holding a spear gun.
Estes topples over on top of Nancy, pinning her underneath his dying,
convulsing body. Nancy struggles to get loose.
Karla rushes to Nancy. She tugs on her arm, trying to pull her free.
The fisherman strides toward them. He raises his hook. He swings at
THE HOOK CATCHES
on a beam. Karla struggle with Nancy.
Come on, come on.
Ben tries to free his hook hand. Karla looks up at him. He calmly puts
his foot onto Estes's back and steps down with all of his weight,
THE SPEAR TIP
deep into Nancy who expires with a sigh.
Karla, blind with rage, attacks the fisherman. He kicks out with a
boot and sends Karla fying onto
A GLASS TABLE
in the lobby area. The table explodes. Karla is finished.
The fisherman works his hook free from the post. Karla is unmoving and
looks quite dead.
103 EXT. WOOD TRAIL - NIGHT
Will pulls Julie along a muddy path in the rain. He's got her by the
hair. She's slipping and falling.
Look at the bright side, Jules. We
finally get to spend some quality
Julie's trying to get to the knife she's stashed in her back pocket.
Why are you doing this to me?
Me, me, me. It's always about you.
I'm having bad dreams. I can't
sleep. I'm not doing well in school.
I'm having trouble with my boyfriend.
I trusted you.
We had a connection, didn't we? I
can tell you one thing, though. Ray
didn't trust me. He was right. He's
dead, but he was right.
They come into the orchard. They are covered in mud. Julie stumbles
again. Goes to her knees. Works the knife free and slashes up at Will.
She slices him across the face.
He steps back, feels the blood.
What'd you have to do that for?
There is a creepy pause. Will stares at his own blood. She catches her
Then suddenly, Will knocks the knife from her hand. He lifts her by
the hair. Enraged, he puches her in the face. She goes down.
104 EXT. ORCHARD - NIGHT
Will has Julie in a choke hold. He drags her toward the open graves.
Julie is losing energy, slowly giving up.
Why? Come on, Julie. Think. You'll
get it. Will Benson -- Ben's son.
He shoves her. She falls backward into the arms of Ben Willis.
Julie WAILS, struggling wildly in Ben's grasp.
That's my boy.
Ben holds her back to look at her. He throws back the hood of his
slicker. We see his face clearly for the first time.
No, no, no --
Ben pulls off his hook and strokes Julie's cheek with his stump.
Shush, now. No more screaming...No
more running. Time to die.
Let go of her! Now!
Ben and Will spin to see
like the hero from a western, step out from behind a tree.
Ben starts to laugh. Will joins him.
You gotta be kiddin' me.
What're you gonna do, boy? Call
Let her go. Now.
Ray raises the .38 caliber handgun. He COCKS the hammer.
Ben doesn't let go of Julie. Lightning fast, he slaps his hook back on
and gets the point to Julie's neck.
Think about it, boy. You're no
That's my job.
Ray hesitates, his finger on the trigger. He does look scared.
Ben takes a step toward Ray. Then another, pushing Julie in front of
him. Will moves closer, too.
Stop right there.
Ray's finger squeezing down the trigger.
You don't have it in you.
Suddenly, Will dives for Ray. Ray gets a shot off, tagging Ben in the
shoulder. The gun goes flying.
Julie spins and hits Ben in the face. He knocks her into her own
grave...Mud begins to slide in on her. She tries to scramble out.
Will and Ray wrestle, punching each other repeatedly in the face.
Will has Ray down and his hands around his kneck. He looks him in the
We haven't missed you down here,
Ray boy. I got to know Julie real
Will gets the better of Ray. He's stronger. He yanks him up -- choking
him. Ray is begging to check out.
Think of all the things I'm gonna
do to her.
Dad, finish him.
Ben charges toward Ray's back. He pulls back the hook for a roundhouse
At the last second, Ray dips, elbows Will.
goes straight into Will's chest.
The fisherman has hooked his own son.
Father and son make final eye contact, the son's eyes go blank.
Ben stares in shock as Will expires, falling back into the mud.
Ben SCREAMS in rage. Ray is tired.
THWACK. Ben begins beating Ray. He puches him. He straight-arms him
with the hook. He knocks him again and again and Ray is beaten, giving
Ben has Ray against a tombstone. The hook slowly inches toward his
Gonna blind you first.
The hook is touching the eyelid --
rings out. A look of wonder crosses Ben's face. He slowly turns away
stands behind him holding the gun.
BLAM. BLAM. BLAM. She empties the gun into Ben, who flies backward
into Julie's grave.
As he tumbles, Ben releases the dirt stacked beside the grave...
A MUDDY LANDSLIDE
slowly covers Ben up.
Ben's face is covering over. His mouth starting to fill with dirt --
You can't kill me.
His face is completely covered. His mouth still moving.
I'll always be with you.
The dirt covers him. It continues to fill, until just the
GLEAMING METAL HOOK
waves futilely out of the dirt. Then, is stops wiggling.
Julie goes to Ray.
105 EXT. HOTEL - NIGHT
Ray and Julie limp across the grounds of the hotel. They are moving
past some shrubbery when
A DARK FIGURE
jumps out. Julie yells. She and Ray jump back.
stops in the middle of her kamikaze attack, knife held out.
Oh, god, it's you --
You're okay. Thank god.
They nod. They go to her -- jubilant group hug time. They compose
You know, it's true what they say
about package vacations...You get
what you pay for.
Now, how about we get off this piece
of crap island.
The first rays of the morning sun appear. Ray looks adoringly at Julie
as the beautific light catches her face.
Ray kisses her. She kisses him back. They are silhouetted against a
beautiful orange sunrise.
We don't have to tell anyone it
rained the whole time. It can just
be our little secret.
The three of them throw their arms around each other's shoulders and
they start walking for the beach as...
A COAST GUARD HELICOPTER
rises into view.
MATCH CUT TO:
106 EXT. HOUSE - DAY
Establish. The sun setting over a quaint street in a college town.
SUPERTITLE: FOUR MONTHS LATER
Julie pedals her bicycle down the street. She has a book bag over her
shoulder. It feels like one of the first days of school.
She rides the bike up to a small house on the perfect street. She
rolls the bike right up to the front door.
107 INT. HOUSE - DAY
Julie lets herself into the house. She leans her bike against another
bike in the hallway.
It's a perfect day. Birds CHIRPING. WIND in the willows. There's
another NOISE...from inside her house.
She goes perfectly still. And listens. Behind her, by the kitchen, the
shadow of a FIGURE moves. She whirls.
She creeps down the hallway toward her kitchen. She pauses --
The dark figure almost knocks into her. She SCREAMS.
It's Ray. He's holding a disemboweled toaster.
Ray...what are you doing?
Oh...it's not working right.
You're home early.
(sees she's shaken)
Did I scare you?
Never do that again.
Hey -- I didn't know you were here.
We got the refrigerator in. Come
She sees the love in his eyes. She hugs him.
I love it here.
It's gonna be great.
107A INT. STAIRWAY - NIGHT
Julie climbs to the top of the stairs. She passes Ray in the bathroom.
She pauses in the doorway --
107B INT. BATHROOM - CONTINUOUS
Ray is at the sink in boxer shorts. He's using an electric Waterpic
devicice that has just been opened, a gift from the party. It makes a
low WHIRRING sound.
Checking the locks again?
You know me to well.
Julie smile and walks to the bedroom.
107C INT. BEDROOM - CONTINUOUS
Julie climbs into bed with a book. The bedroom is clean and orderly.
The windows are closed. The closet door is shut.
The room is decorated simply: a high antique bed; unopened boxes; a
highboy; an antique mirror leaning against the wall. A stuffed bear
sits in a chair.
There is a CLATTER from another room. Julie freezes. She waits. She
hears it again. She climbs out of bed.
107D INT. SECOND BEDROOM - NIGHT
Julie walks into the dark spare bedroom. The CLATTERING SOUND comes
from the open window. The wind is blowing the blinds.
Julie relaxes. She shuts the window. As she leaves the room, we notice
the dirty imprint of a boot below the window.
107E INT. BATHROOM - NIGHT
Julie passes Ray who is still absorbed with the new toy.
Behind him, the door softly closes. The lock twists. Ray is oblivious,
happy being the dental-hygene pacesetter of the household.
107F INT. MASTER BEDROOM - NIGHT
Julie enters the room. She looks at the closet door. It is open a
crack. She hesitates, trying to remember if it was open before -- it
Julie approaches the closet. She catches her refelction in the mirror
next to the closet. She peers into the crack of the closet. She can't
see anything. She throws open the closet door.
She looks around the room.
What is my problem?
She sits down on the bed.
We see her bare feet from under the bed.
She smiles, relaxes. She looks in the mirror leaning against the wall.
Something has caught her eye. She freezes. She turns slowly back to
the reflection in the mirror. She sees the glint of steel --
A HOOK -- CRASH ZOOM INTO REFLECTION --
THE FISHERMAN CROUCHING UNDER HER BED
Julie turns too late --
The fisherman lunges out and grabs her legs. Julie screams. She goes
Her nails scrape into the wooden floor as she is dragged under the
CUT TO BLACK:
I Still Know What You Did Last Summer
Writers : Trey Callaway
Genres : Horror Mystery Thriller