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  1. Part 7 Jason W/ Weapons The Part 7 Jason Weapons February 2021 at Mad Monster Party I'll be meeting both Kane Hodder and Terry Kriser! (Yes! Christopher Crews himself!) (I'll likely get the Sickle later as well! so I'll keep everyone updated!)
  2. Anyone play this game? Damned? All info I found is here at the Damned Wiki?
  3. Lucas: Book Two, nope. I shut down the campaign so instead, for the next year, it's gonna be all about the game. @Slasher_Clone @Jason Todd Voorhees @Fair Play @mattshotcha @Kodiak
  4. I back this game on Kickstarter so I had access to the closed beta. It's on Steam now, available as an early access title here. There's 2 game modes - Escape and Last Man Standing. I haven't really spent any time in the former but I'm really enjoying LMS. It's a battle royale style survival. Match starts, first player that makes it to the orb becomes the killer which is on a timer. Objectives for survivors is turn on these fuse boxes which cause the killer's time to drop faster. Once it's gone another orb appears and, again, first one there becomes the killer. The maps are a pretty decent size but as the match progresses the dome around continues to shrink. It's a fun game, I'd say more akin to Dead by Daylight in terms of the pace and actually hiding, because in Hide or Die you can really hide and fighting the killer just isn't an option. For $20 I'd say it's worth it. There'll be more content added, maps and killers, and I'm confident it'll roll out since this is all original content so there's no threat of being destroyed in a lawsuit.
  5. A lot of people have strong preferences on movies and their remakes, more specifically the original Halloweens and the remakes. Between Halloween (1978) and Halloween (2007) which one do you prefer? And why? As Halloween is one of my favorite franchises ever, I definitely have an opinion on this. I prefer the original Halloween not because it was made before or anything like that, but because in the remake I feel that they show way too much. In the original they show one scene of Michael as a kid, and in that scene he doesn’t say one word. And that’s how it is the whole movie. It showed him right after he killed his sister and I feel like that was a perfect decision to build suspense. In Zombie’s remake they show too much of Michael’s childhood and I think that kind of takes away some of the scare factor. In the original movie he is shown with a lot of mystery to him and that’s what really makes him scary to a lot of people. I’m not hating on the remake or anything, the remake actually did a good job on the kills in the movie — it was much more gory than the original — but I will always like the original more than any remake. Besides this, I really like the current timeline of Halloween — how it ignores every movie after 1978. I’m glad they decided to bring back the Michael who kills on Halloween for no apparent reason. Though I do like Halloween II and other movies in the original franchise, I think it’s a lot more scary as a character for him to kill on every Halloween night for no apparent reason than kill on Halloween night to eliminate his family due to the curse he has.
  6. Does anyone remember 7 days to die
  7. Seriously, this can't be that difficult of a workaround. Why not release an update that changes out the copyrighted material? Change the name and create a new killer. Instead of "part 1, 2, 3 Jasons" make them different killers. Hell, the community could come up with some great characters for sure. You'd have to change the map names but the maps themselves wouldn't need to be changed. Rather than Tommy make him something else. Also, something that could be developed through the community. This could literally be changed with a downloaded update. I looked at the lawsuit filings and you'd have to do this all at one time. You couldn't update the characters or anything like that slowly, otherwise, Miller may be able to claim "derivative works". You've designed a fun game that I haven't seen beat yet. Not by DBD, or even the new ones coming out like, "Last Year". Have you guys given this direction a thought?
  8. Hey guys, so I'm about to make a channel similar to that of Corpse Husband, where I choose various CreepyPastas and read them because my voice is pretty well suited for it. I've just stumbled across one major roadblock. I NEED A NAME!!! I want it to be something creative and unique and memorable. Like Corpse Husband or Lazy Masquerade. I don't want something like "CreepsMcPasta" or "Creepypasta Jr." (No offense to them, I love their channels, but I feel like the variation of Creepypasta is now so overused as a name) The only thing I've come up with so far has been something like "Sleepless Nights" or "Sleepless Silence", but idk if either of those are too cheesy or anything so I Figured I would ask the opinion of others and see what you guys thought and if you had any better names!
  9. Seems in 2019 the "Leprechaun Returns ".
  10. People say the game is to easy on counselors and not horror. That got me thinking why not increase penalty on counselors when they get scared? Currently you get a chad face and dark screen with a hit to stamina aswel so why not make a further penalty? My Idea! Once you reach fear level you then move on to terror level when at maximum fear. Your person is prone to dropping weapons and can't use items such as med spray infront of Jasons face. There is also the chance your counselor doesn't just trip but stops to throw up when seeing a dead body. More penalties for low composure counselors making the stat more relevant and the game more tense. Like my idea?
  11. The point of this topic is to know what is more scary and tense... A killer/monster who can run or one who move at a slower pace but is more tougher to take down. For me its gotta be the ones that can run...why ? Because its a lot more tense when something is running toward you since it leave you with less time to think about a strategy,you need to pick up the pace yourself and think quick if you want to survive. Thats why running zombies are always much more of a threat than the slower ones. Think about any movies where the killer/monster always move at a slow steady pace,now imagine those movies if they ran instead,things would be quite different. For exemple take the movie (It Follows),now imagine if the creature in that movie always ran without ever being exhausted,always going at a constant running pace,i tell ya the peoples who have the curse wouldnt have time to stick around and would always need to be on the move,always going from place to place in a car,hoping that they dont ran out of gas or are stoped by the police (or being in a accident) then sent to jail or a hospital/asylum or else they are f***ed. But what about you guys ? Wich one do you think is scarier ?
  12. Quite awhile back I wrote a movie script. It isn't F13 related, but I've been meaning to do one of those too. This is a couple years old, but I thought I'd share it for those folks here who might like to read through it. MOON RISE FADE IN: EXT. REMOTE UNPAVED ROAD - MORNING A rustic crew-cab, American made, pick-up truck rolls down the road at a good clip. CLASSIC ROCK music BLARES from the open windows. Three silhouettes can be seen in the cab. Camping gear can be seen stacked in the bed of the truck. A 12 GAUGE shotgun hangs from a rack in the back window. INT. TRUCK CAB Three MEN occupy the cab of the truck. The driver, WILLIAM "HOOCH" CARSON, mid 30's, drives the truck with one hand on the wheel and the other holding a FLASK. He is LOUD and crass. The man in the passenger seat, JOHN PARKER, late 30's, looks uncomfortable with Hooch's driving but converses enthusiastically. The man in the back seat, CHARLES JENSON, late 20's, hangs forward with a cigarette in the corner of his mouth. He is baby faced and wears a close-cropped military hairstyle. HOOCH (Adjusts radio volume down) Oh hell yeah! Off the leash for the weekend! I can hear the fish calling my name already. (Offers flask to John) Have a sip. A little concoction of my own devising. JOHN (Waving off the flask) No way! I've seen the shit you make strip paint off a boat. I'll pass. (Looks nervously out the front window) You sure you need to get started this early? We haven't even got to the campsite yet. It is not like your driving was great to begin with. 2. HOOCH Huh? You sure as hell didn't complain about my driving in Baghdad! JOHN All the swerving helped dodge bullets. CJ (Reachs hand over the front seat) I'll take some. Pass it here. HOOCH What? Are you sure you're old enough for this kid? CJ Hoochie you're an asshole. JOHN That's true. HOOCH Yep. An asshole who got laid before the big weekend fishing trip! (Holds two fingers over his shoulder) Take a snort CJ! Your momma never smelled so good. CJ Dude if you weren't driving right now I'd punch you in the junk....twice. HOOCH passes the flask back to CJ. JOHN unfolds a road map and traces a route with his finger. He folds the map back up and stuffs it in the glove box. JOHN We will be coming up on the turn in about four miles. HOOCH Roger that. (Reaches hand over his shoulder) Pass the flask. I don't want you putting too much hair on your chest all at once. 3. CJ Here take it. I'm gonna switch to beer to get that nasty taste out of my mouth. JOHN fumbles with his CELLPHONE. Looks intently for a moment at it, types a quick message, and tucks it away. He is mildly irritated. HOOCH notices immediately. HOOCH Is there a problem Johnny? JOHN (Shaking his head) Nah. Tommy is making the babysitter earn her keep. HOOCH Speaking of Tommy, why didn't he come with? I know he likes to fish. JOHN He's grounded. HOOCH So you're punishing him by making him sit at home with a babysitter? He's thirteen. Isn't that a tad demeaning? CJ gives a derisive SNORT and COUGH from the back seat. JOHN It's just until tomorrow. He'll go over to him Mom's and I'll pick him up Sunday. HOOCH (At CJ) What are you on about back there? CJ Oh nuthin'. A tad demeaning you say. Considering that statement, I'd say you're a hypocrite. Don't you agree? HOOCH (At John) Oh lookie here! We have some indignation in our midst. (At CJ) (MORE) 4. HOOCH (cont'd) Don't make me come back there! JOHN (At CJ) He means it. He'll pull this truck over... CJ (Flips the bird to both men) Fuck you...and fuck you too. I don't know why I put up with this. JOHN Glutton for punishment? HOOCH Hard up for a date? All three men share a hearty LAUGH. We see this to be a normal interaction between these close friends. CUT TO INT. TOMMY'S BEDROOM - AFTERNOON The room is cluttered with discarded clothes that have missed the laundry hamper. Posters of HARD ROCK/HEAVY METAL bands, HORROR movies, and WAR movies line the walls. The bed lies unmade. A desk with computer cables sits along one wall. TOMMY PARKER, 13 years old, sits at the desk flipping through a PLAYBOY magazine. TOMMY has short cropped blonde hair and a thin build. He is irritated. Clues to his irritation are shown throughout the room. The console gaming station is missing. The cellphone charger sits empty. The TV is removed from it's hanger on the wall. The computer is gone from the desk, leaving only cables leading to nothing. ELLIE (o.s.) (distant) Tommy! Lunch is ready. TOMMY (Shouting) I'll be down in a minute! (Opens the centerfold) Why can't I have you for a babysitter? 5. TOMMY closes the magazine and tucks it under the bottom corner of his mattress. He opens his closet and withdraws a COMPOUND BOW and a QUIVER of arrows. He carries both out of his room and makes way towards the kitchen. INT. TOMMY'S HOUSE - CONTINUOUS We follow TOMMY from his room into the upstairs hallway. Military memorabilia lines the walls along with family pictures. We move with TOMMY down the stairs, through the living room, through the formal dining room and into the kitchen. The home is very orderly and well-kept. DOWNSTAIRS - KITCHEN The kitchen is spacious and orderly. ELLIE OLSEN,female in her early 20's, works busily at the counter putting the final touches on a meal of sandwiches, chips, and sun tea. She is dressed casual and tomboy-ish. She sets the table and notices TOMMY entering the room. TOMMY pulls out a chair, turns it around backwards, and sits at the table. TOMMY places the BOW and QUIVER on the ground next to the chair. He peels back the top of the sandwich and surveys the contents between the slices of bread as if expecting it to crawl off the plate. ELLIE Let me guess...you don't like tuna. TOMMY I hate fish. ELLIE That isn't the impression I got from your Dad. He figured you would be bummed about not going with him. TOMMY I like fishing. I don't like eating them. Usually, I just throw them back. (Pushes the plate away) It sucks not going along. ELLIE (Amused Smirk) So what did you do this time? 6. TOMMY Got in a fight at school. Two day suspension. (Starts eating chips) Wasn't my fault. ELLIE sits down. Starts to eat her sandwich, then instead offers it to TOMMY. ELLIE How about ham and cheese? TOMMY (Taking the sandwich) Thanks! Do you want the tuna? ELLIE Nah. I'm not fond of it myself. (Sips her tea) What started the fight? TOMMY Jake Myer said my Dad was a punk. Said he got booted from the Army because he couldn't make the cut... ELLIE (Frowning) I see. So you took it upon yourself to defend your Dad's honor? TOMMY I told Jake the best part of him dribbled down his Mom's leg. ELLIE A snarky comeback you got from your Dad's friends I take it? That sounds like Hooch to me... TOMMY He punched me. I fought back. The principal suspended us both for two days. ELLIE stands up and takes the undesired tuna sandwich to the trash can. She throws it away and turns to TOMMY with her arms crossed. 7. ELLIE And so here we sit, yet again. I texted your Dad earlier to let him know I had arrived and you were holed up in your room. He told me to keep him posted if you decided to be difficult. (Pointing at the bow) Planning on doing some hunting while you're hanging around the house? TOMMY (Shrugs) I was going to go out back and practice. Dad took away all my electronics. ELLIE Fair enough. I'm not too shabby with a bow myself. Mind if I join you? TOMMY I guess so. BACKYARD - LATER The yard is long and open. Most of the yard is lush green grass and a large tree, complete with tree-house, sits as a centerpiece. The tree-house looks like it hasn't been used in a long time, missing the days when it was the center of a little boy's universe. The yard is flanked by a neighbor on each side and dense forest at the rear. The homes in the neighborhood are spaced out unlike homes found urban communities. A bale of straw with an archery target rests against the base of the tree with the tree-house, about 15 yards from the backdoor of the house. ELLIE (Gesturing with her hand) After you. TOMMY and ELLIE walk off the back porch to a point marked by a spray painted line in the grass. TOMMY takes a couple arrows out of the QUIVER and sticks them in the ground within easy reach. He passes the QUIVER to ELLIE and she does the same. 8. TOMMY (Handing bow over) Ladies first. ELLIE Since when have you considered me a lady? TOMMY I don't. You're more like that annoying big sister I never wanted. But it is the "polite" thing to say. ELLIE (Smiling) You're just so sweet when you want to be. (Knocks an arrow) Brat. ELLIE takes aim. Her archery form is excellent. She releases the arrow and it flies true. CLOSE - ARCHERY TARGET The arrow strikes less than an inch from the bull's eye. ON ELLIE AND TOMMY - POV OF THE TARGET TOMMY Shi...err...shoot. ELLIE Your turn. CUT TO EXT. SMALL CLEARING IN THE WOODS - EVENING The pick-up truck with HOOCH, JOHN, and CJ approaches the clearing with headlights on. It comes to a stop and the men disembark. We watch as they gather gear and prep for a hike. Each man loads up a large backpack with equipment cobbled together from Army surplus. Canteens, survival knives, compasses, para-cord, and other items hang fastened securely to the men in addition to fishing poles neatly stowed. It is evident that all three men have military backgrounds and integrate that training into their outdoor excursions. HOOCH takes the 12 GAUGE shotgun off of the truck's gun rack, stows the vehicle key under the driver's side visor, and carries the 12 GAUGE at the low ready. 9. CJ (Checking his compass) O.K. we got a heading. Lets go find us a river! HOOCH (At John) You sure it's a good idea to let the LT have the compass? JOHN (At Hooch) I've got the map, we should be good. (Salutes CJ) Lead on "sir". CJ You can't give it rest can you two? Just because I was an officer, you two mooks treat me like a red-headed stepchild. HOOCH Well you are a ginger... (Smiles broadly) We wouldn't razz you if we didn't like you. Oh hey, keep an eye out for brown bears. They are pretty common up this way. CJ (Gesturing at the shotgun) You think that will be any good if we run into one? HOOCH I've got slugs loaded and some buckshot in my pack. It should be enough if the need arises. All three men head off into the forest following a narrow trail. HOOCH leads with the 12 GAUGE, followed by CJ with the compass, and JOHN bringing up the rear. EXT. FOREST TRAIL - LATER We move with the men down the trail. The going is difficult and slow. The distant SPLASHING of water can be heard. Darkness begins to fall in earnest and the forest is alive with the sounds of insects BUZZING. 10. CJ Hoochie. You said you found us a new fishing hole last week, but you didn't say it was in Ecuador! (Swats at insects) We won't be getting any fishing done today. HOOCH You ain't kidding. It didn't look this rough on the map. All men come to a stop. CJ and JOHN face HOOCH. JOHN (At Hooch) You mean you didn't actually come look at it! Did you consult Miss Cleo or get a recommendation from a guy selling magic beans? CJ Real nice...and what made you think this place would be better than the usual location? HOOCH (Shrugging shoulders) Well... (gesturing at the surroundings) Look at this place! It is off the beaten trail. No competition! I bet the fish will literally be clamoring to jump on our hooks! JOHN checks his cellphone and puts it away in a pouch. JOHN No cell signal out here. Let's get to the river and make camp before it is too dark to see. EXT. RIVERBANK - NIGHT The men reach the river bank. The water is shallow, no deeper than a man's hip. It is about 20 yards across. The far bank is dominated by low outcroppings and rock. Forest extends in every direction. The men begin setting up camp near the water's edge. The area hums with life. Insects make a great RACKET and the water SLOSHES noisily against the rocks. 11. JOHN I'll set up a fire pit. The area at least looks pretty clear and dry. CJ I'll dig out the rations. It will have to be MRE's for dinner tonight. HOOCH I suppose that puts me on firewood duty. I have to take a piss anyways. HOOCH slings the 12 GAUGE over his shoulder and makes his way into the woods parallel to the river. EXT. FOREST NIGHT - CONTINUOUS We follow HOOCH into the woods. The SNAPPING and CRACKLING of branches and undergrowth drowns out the BUZZING of insects. HOOCH is a bit TIPSY but continues to drink from his FLASK. He pulls out a small flashlight and shines it around looking for dead-fall branches for the campfire. The faint sounds of JOHN and CJ TALKING become harder and harder to discern. HOOCH HUMS and off-key ditty reminiscent of a military cadence. We transition from a ground level point-of-view rising higher and higher into the trees until we clear the tree tops exposing a large full moon. EXT. FORESTED OUTCROPPING - NIGHT RASPING breathing is heard. A hulking silhouette crouches just inside the tree line. Although heavily shadowed, we can make out fur, and possibly a HUMANOID shape. The WEREWOLF remains unmoving in the shadows though the rise and fall of it's breathing can be made out in the movement of it's shoulders. EXT. WEREWOLF'S POV NIGHT - CONTINUOUS We are sitting twenty feet up on an embankment. The river can be seen as well as the far shore. The movement of a flashlight beam in the opposite tree line comes and goes. The WEREWOLF issues forth a low GROWL and begins to move slowly parallel to the embankment. Massive CLAWED HANDS brush aside low branches. The WEREWOLF moves quietly down through the trees towards the river, never moving into the open. 12. EXT. WEREWOLF'S FEET NIGHT - CONTINUOUS Shadowy legs can be seen taking huge strides. They ripple with the working of the muscles underneath. The legs and feet are unnatural and wolf-like. CUT TO EXT. DEADFALL TREE NEAR THE RIVER - NIGHT HOOCH urinates on the dead-fall tree holding his small flashlight in his mouth. The 12 GAUGE shotgun hangs slung on his shoulder. He zips his fly, polishes off his FLASK, and tucks it away in a pocket. Using the flashlight he identifies a promising pile of sticks and branches suitable for firewood and begins to busily round them up. It seems close. A terrifying HOWL issues forth in the direction of the river. It sounds vaguely like what a wolf might create, but has the quality of a human SCREAM as well. HOOCH (Trembling) What the fuck was that? HOOCH shines his flashlight towards the river. The GURGLING of the water can be heard, though the water is obscured by the trees and undergrowth. EXT. RIVERBANK CAMPSITE - NIGHT CJ and JOHN stand up quickly. Both look out down the river into darkness in the direction of the HOWL. The men look at each other and share a mutual moment of concern. CJ ignites a flashlight and shines it into the forest. JOHN (Hollering) Hooch! Hey! Can you hear me? CJ (Hollering) Hooch! EXT. DEADFALL TREE NEAR THE RIVER - NIGHT HOOCH listens intently. We hear water SPLASHING from foot steps and then the SNAPPING of undergrowth. The sounds are getting closer. HOOCH un-slings the 12 GAUGE and racks a round into the chamber. He FUMBLES to hold the flashlight 13. and foregrip in the same hand, bringing the weapon to his shoulder. HOOCH (Talking to self) Alright Hoochie...back away slowly. EXT. WEREWOLF'S POV We move slowly through the undergrowth. The beam of a FLASHLIGHT passes back and forth through the trees. We move to circle around HOOCH. He doesn't realize that he is being flanked. We find ourselves on HOOCH'S left side. He doesn't know the WEREWOLF is only a couple yards from him and closing silently. The beast issues a guttural SNARL and quickly closes the short distance. HOOCH spins to face the oncoming threat quickly. We see a clawed hand grab the inside of the the pivoting 12 GAUGE. The gun FIRES LOUDLY, and a second clawed hand grabs HOOCH by the throat lifting him from the ground. HOOCH (choked and garbled) Christ! EXT. CLOSE ON HOOCH'S NECK The WEREWOLF's massive hand nearly encircles HOOCH'S neck. Two inch claws dig into his flesh draws trails of blood. EXT. CLOSE ON HOOCH'S FACE HOOCH'S face is a mask of terror. His eyes bulge from the pressure on his throat. He manages a choked SCREAM. EXT. CLOSE ON HOOCH'S NECK The WEREWOLF'S hand tightens. We hear the CRUNCHING of bones. EXT. HOOCH'S DANGLING FEET We see the WEREWOLF'S huge muscled legs. We see HOOCH'S legs flailing more than two feet off the ground. There is a final, and definitive SNAPPING sound. HOOCH'S legs dangle limply. The 12 GAUGE falls to the ground coming to rest at the WEREWOLF'S feet. The sounds of RIPPING flesh follows. 14. Entrails flop into view dangling between HOOCH'S dead legs. A SNARL is heard. EXT. RIVERBANK - NIGHT CJ and JOHN are highly alarmed. Both have drawn survival knives from their gear. JOHN Fuck me! That was a gunshot. I'm going to go find Hooch. CJ I coming with you! JOHN Stay close. EXT. DEADFALL TREE NEAR THE RIVER - NIGHT CJ and JOHN move into the area where HOOCH had been. They move up to HOOCH'S FLASHLIGHT and 12 GAUGE lying on the ground. Both items are covered in blood. A pile of entrails lays nearby. CJ WRETCHES violently covering his mouth. JOHN looks at the scene grimly, but remains stoic. It is obvious that he has seen worse. JOHN My God... CJ (Trying to regain composure) Ah fuck! Hooch...what the hell? JOHN picks up the 12 GAUGE and racks another round into the chamber. HOOCH'S body is nowhere to be seen. CJ shines his FLASHLIGHT around the immediate area. The beam of light comes to rest on a set of animal-like footprints pressed deeply into the soil. Both men look at the prints. CJ A bear! JOHN (Shaking head negative) No. The size is about right, but the imprint is all wrong... CJ What then? 15. JOHN Not sure. Whatever made them is nearby. Let's get back to the trail! (Motioning back the way they came) Forget the gear. Head to the truck. Double-time LT! Both men back out of the area where HOOCH died, turn, and move at a HUSTLE towards the trail. CJ leads with the FLASHLIGHT. JOHN follows with the 12 GAUGE. EXT. WEREWOLF'S POV The WEREWOLF watches the men depart. It was only a few yards away in the dense underbrush the whole time. The WEREWOLF rises and begins to pursue the fleeing men. It glances down as it departs, stepping over the MANGLED remains of HOOCH. The man's head stares back. HOOCH'S FLASK lays next to it. CUT TO INT. THE PARKER HOUSE LIVING ROOM - NIGHT The living room is lit softly by a lap next to the couch. The room is decorated as one might expect from a military bachelor. Military photos decorate picture frames next to family pictures of TOMMY, JOHN, and a woman; probably TOMMY'S MOTHER. ELLIE and TOMMY play a board game on the coffee table in front of the couch. TOMMY is entertained and appears to be having a good time. ELLIE is contemplative. The game appears to be going in favor of TOMMY. TOMMY (Smiling) Admit it. I win! ELLIE You've won the last three games we played. You can give me a minute to consider my options. TOMMY Oh fine. You won our archery contest... (Shrugging) So there's that. ELLIE Yeah barely. You're good at that too. Practice a lot? 16. TOMMY Dad has been coaching me. ELLIE stands up begins to put away the game. ELLIE You win. TOMMY That is it? Can't we play another game? ELLIE It's getting late Tommy. TOMMY But it's not even a school night! ELLIE takes the game and puts it on a nearby shelf and turns to regard TOMMY. ELLIE I know it isn't. But your Mom will be over early to pick you up and I do have school work for college to catch up on. TOMMY Man...this blows. ELLIE Tommy Parker! Language! (Putting hands on hips) Your father's friends are not helping with your vocabulary. TOMMY flops on the couch. ELLIE Can we spend time together just once without the bedtime argument? TOMMY (Crossing arms) We been doing it for the last 4 years. Why stop now? ELLIE Yep. Since you were 9 years old. Now if you want to live to see 14, I suggest you get ready for bed. 17. TOMMY (Scowling) I'm not a little kid anymore. ELLIE sits down in a chair near TOMMY. She is tired, but exudes fondness for TOMMY - even when he acts bratty. ELLIE I know. I know. I'm just doing my job. TOMMY I didn't need a babysitter. ELLIE (Empathetically) Maybe not. But I am your friend too. We had fun today...like we always do when you finally chill out. TOMMY Yeah. I guess so. (Smirking) If you can call the warden a friend. ELLIE mocks TOMMY with forced laughter and gets up approaching the couch. She picks up a pillow from the couch and beats TOMMY with it playfully. Both laugh heartily. TOMMY helps pick up a few things strewn about the area they had been playing the game in. He stops to straighten a picture on the wall of his family. TOMMY starts upstairs to his bedroom. ELLIE watches him go then pulls some college books from a BACKPACK. She sits down and begins to pour over her homework. TOMMY (Turning back to Ellie) It was fun El. Thanks for cheering me up. ELLIE (Grinning) Anytime. You are the little brother I always wanted after all. TOMMY G'nite El. ELLIE Nite' Tommy. 18. TOMMY continues up the stairs out of sight. INT. TOMMY'S BEDROOM TOMMY enters the room and removes his shirt. He walks over to his bed and flops unceremoniously on it. He looks out his window - the FULL MOON gleams over the treetops. The moon dimly illuminates his whole room. TOMMY inserts ear buds for his MP3 PLAYER, turns up the volume, and closes his eyes. Muffled ROCK music can be heard. SHOCK CUT TO EXT. FOREST TRAIL - LATER CJ and JOHN race up the winding forest trail ducking low branches and jumping over deadfall logs in the path. Both men are PANTING heavily from the exertion. JOHN Almost there! Keep moving! Another HOWL issues forth from behind the two men. It is very close. The men double their efforts and run even faster up the trial and break out into a clearing where the PICK-UP truck sits next to the dirt road. CJ stumbles falling to his hands and knees. The FLASHLIGHT falls out to his front spinning wildly and comes to a rest with the beam pointing at the two men. JOHN darts up next to CJ and grabs him by his collar; hauling him to his feet. CJ Fuck! JOHN (Shoving CJ forward) No time! Go! Go! Go! EXT. CLEARING BY THE PICK-UP A terrible ROAR issues forth from the trees. A massive hulking shape pads out of the treeline. The WEREWOLF'S AMBER eyes gleam in the beam of the FLASHLIGHT. We get a better view of the monster's form. The beast if built like a gorilla with arms and legs as thick as a man's thigh. It walks with a stooped gait, arms nearly touching ground but draws itself to it's full 7 foot height as it comes to a halt. It has a wolf-like face and tall pointed ears. 19. JOHN pivots to face the WEREWOLF, raising the 12 GAUGE in one fluid motion. Upon seeing the beast he faces, his eyes go wide in terror. Just as quickly he contains his fear, sights down the barrel of the gun, and fires. The WEREWOLF is driven back two or three steps by the massive force of the shotgun slug hitting it square in the chest. The beast SNARLS in ANGER and bounds towards the two men. CJ scrambles back to the truck and pulls open the driver side door. He hops in and FUMBLES to get the keys from behind the visor and into the ignition. EXT. WEREWOLF'S POV We see the two men. CJ works furiously in the cab of the truck to get it started. JOHN pumps the 12 GAUGE and fires again. The POV WOBBLES from the shot impact and moves faster towards the firing man. JOHN backs away, firing again. We are upon JOHN now. A CLAWED HAND lashes out and knocks the 12 GAUGE away violently. EXT. CLEARING BY THE PICK-UP The WEREWOLF grabs JOHN hoisting him off his feet and continues to rush forward. The beast slams JOHN into the driver's door of the truck, breaking the window, denting the door, leaving the man senseless. The WEREWOLF then raises JOHN above it's head and slams him down on the hood of the truck with a CRUNCH of warping metal - sending him sprawling and GASPING for air. The WEREWOLF turns it's attention to CJ who gets the truck started. It reaches through the broken window and grabs CJ by his head. The WEREWOLF then savagely draws the man through the window kicking and SCREAMING. ON JOHN CLOSE JOHN COUGHS up blood and pulls himself to his feet with the help of the truck grill. JOHN CJ! ON CJ AND THE WEREWOLF The WEREWOLF still has CJ by the head. It's fingers nearly wrap all the way around CJ'S skull. The WEREWOLF raises back it's free clawed hand. 20. CJ (Panicked and muffled) Johnny! Help me! The WEREWOLF's hand SLASHES down CJ'S torso furrowing four long wide cuts from his shoulder to his belly. The deadly claws cut through gear, clothes, flesh, and bone. The WEREWOLF hunches over CJ and buries it's muzzle into his open chest cavity. EXT. CLEARING BY THE PICK-UP JOHN works his way around to the passenger side of the PICK-UP and climbs inside swiftly. The truck is still running. He bolts into the driver's seat and slams the truck into gear but it doesn't move. The EMERGENCY BRAKE is still on. EXT. WEREWOLF'S POV We see CJ limp covered in gore held by two hairy arms. We see JOHN cursing as he FRANTICALLY attempts to leave. CJ'S corpse is tossed aside like one would discard a hamburger wrapper. JOHN'S eyes meet ours. The WEREWOLF issues a HISSING SNARL. INSIDE THE PICK-UP PASSENGER SIDE POV The huge WEREWOLF rises to view through the windows of the truck cab. JOHN leans forward to release the EMERGENCY BRAKE. JOHN (Hissing) Brake! Fucking break! UNDER DASH BEHIND THE BRAKE HANDLE We see JOHN'S madly grasping hand search for the handle. He finds it and pulls. There is a gratuitous CLUNK as it releases. CLOSE ON JOHN FROM PASSENGER POV We see JOHN with terror etched on his face and the hairy face of the WEREWOLF looking into the driver's side window. The beast SNARLS and forces it's face into the cab SNAPPING it's jaws. JOHN frantically dodges the bites. It's teeth bury themselves into JOHN'S left shoulder. JOHN stomps on the gas and the WEREWOLF'S head is jerked from the window trailing blood gore from JOHN'S shoulder. 21. EXT. COUNTRY ROAD The PICK-UP truck careens wildly in a 180 degree turn bringing itself onto the road. The bed of the truck SMASHES into the WEREWOLF sending it sprawling. We see the truck race towards the camera sending rocks and dirt flying out the rear of the vehicle. JOHN'S POV We look quickly into the rear-view mirror. In the red tail lights of the truck, the form of the WEREWOLF rises to it's feet near the corpse of CJ. The glint of it's AMBER eyes fade into the distance obscured by dust and darkness. CUT TO INT. TOMMY'S BEDROOM - MORNING TOMMY lies buried under his covers. The sound of MUFFLED voices can be heard downstairs. TOMMY stirs from the noise and looks at the alarm clock next to his bed. The clock reads 5:45AM. The sun has not crested the horizon yet, but the yellow-orange glow of morning shows through the window by his bed. TOMMY stands, still dressed in the clothes from the previous night, pulls on a new shirt, and heads downstairs. TOMMY (Griping) Jeez Mom...we need to work on your definition of early. When TOMMY leaves his room the voices become more clear. ELLIE speaks with an unknown WOMAN at the front door. ELLIE (Distant) Oh my God! Is he alright? INT. FRONT ENTRYWAY - MORNING ELLIE stands with the front door wide open. She is dressed in fresh attire, but has not had a chance to add make-up or do her hair. In the doorway stands two POLICE OFFICERS, one male and one female wearing sergeant stripes. The MALE POLICE OFFICER holds a notepad in his hand and a small pencil in the other. The FEMALE POLICE OFFICER talks to ELLIE. 22. FEMALE POLICE OFFICER (Calming) He is at the Sumter Ridge Regional Hospital. They are treating him. The Sheriff is heading out to campsite to look for the other two men. ELLIE What happened! MALE POLICE OFFICER (Reading notes) It looks like an animal attack. Probably a bear or mountain lion. ELLIE Oh no... TOMMY enters. He is cautious and immediately concerned. ELLIE is shocked and turns towards TOMMY. TOMMY What is going on El? I heard something about a bear... ELLIE It's your Dad. Um...he's in the hospital. FEMALE POLICE OFFICER (Soothing) You must be his son. Officer's found your Dad passed out in a truck a few miles from town. It looked like he had suffered an animal attack. He is safe now at the hospital. I had an opportunity to talk to him briefly then came here to notify his kin. TOMMY (Eyes going wide) We have to go see him! ELLIE (To the officers) Thank you for coming here in person. (To Tommy) Tommy grab my cellphone and call your Mom. Tell her we are going to the hospital. She'll have to meet (MORE) 23. ELLIE (cont'd) us there. TOMMY does not hesitate to rush off and get the phone. ELLIE thanks the officers again and closes the front door. She quickly rounds up her stuff. TOMMY waits anxiously by the door. TOMMY (Talking on phone) Hey Mom... Dad has been hurt! Ellie is taking me to the hospital now to go see him. Indistinct female voice can be heard speaking back to TOMMY. TOMMY Yes....No...I don't know. The police came by to tell us. I gotta go Mom. I'll call you later or you can meet us there. More indistinct female voice over. ELLIE Let's go Tommy. TOMMY (Quickly) Gotta go Mom. I love you too. Bye. CUT TO EXT. SUMTER RIDGE REGIONAL HOSPITAL - DAY ELLIE and TOMMY pull up in her late model, yellow, VW BEETLE. They exit the car, TOMMY rushes to the hospital doors. ELLIE jogs along behind him. INT. HOSPITAL RECEPTION DESK ELLIE and TOMMY approach the desk. A middle-aged CLERK, female, notes the pair approaching and shifts her attention from paperwork. The CLERK puts down her reading glasses and prepares to address ELLIE and TOMMY. CLERK (Friendly) Good morning. Can I help you? 24. TOMMY (Anxious) My Dad was brought here! I need to see him. ELLIE (To Tommy) Calm down Tommy. (To Clerk) We want to see John Parker. A police officer came by this morning and said he was brought here. CLERK O.K. one moment. The CLERK types on her computer, stops and puts on her glasses, then continues to type. CLERK Parker...John...Alright. Yes, he is here! He was sent into surgery as soon as he got here. He is recovering in intensive care. 3rd floor, room 4B. It is currently visiting hours, but I'm not sure if he'll be awake from sedation yet. The CLERK passes a small laminated card to ELLIE and TOMMY with a clip on one end. The card reads "VISITOR PASS". CLERK (Smiling) Clip these on your shirt and see the floor nurse in the IC ward. She should be able to tell you if he is able to have visitors. TOMMY Thanks! ELLIE Thank you. INT. HOSPITAL - CONTINUOUS We follow TOMMY and ELLIE to an elevator. ELLIE pushes the "3" taking the elevator up to the desired floor. We exit the elevator and a sign reads INTENSIVE CARE UNIT left. We move through a busy hospital wing with ELLIE and TOMMY until we come to a stop at the NURSING STATION for the ICU. 25. NURSING STATION A heavy-set NURSE, mid-30's, sits at the nursing station. She has many pieces of flair on her scrubs and a jovial demeanor. Her name tag read LILY - HEAD NURSE. LILY (Spunky) Mornin' y'all. And how can I help you two? ELLIE I'm Ellie and this is Tommy. His father was brought in this morning...They said it may have been an animal attack. His Dad's name is John Parker. LILY (Empathetic to Tommy) Oh hunny, I'm sorry. Yes, your Dad is resting right now. The anesthesia has not worn off completely yet. He's one tough cookie. Had all of us worried because he had lost so much blood. TOMMY You mean I can't see him? (Tearing up) Please! Can I just wait here until he wakes up? LILY Of course you can dear! Ms. Lily will fix you up with a spot on his couch. You can be there when he comes around. It's not strictly by procedure mind you, but I don't believe in keeping family apart in a time of need. (winks) Missy, are you gonna need accommodations too? ELLIE Oh. Well I'm just the babysitter ma'am. TOMMY Ellie please don't leave. You're like family! 26. ELLIE gives TOMMY a one-armed hug. ELLIE Do you have a chair with a comfy pillow? LILY (Chuckling) I think it can be arranged. ICU ROOM - LATER TOMMY dozes on the couch with his MP3 player. An ear-bud remains in one ear, the other hangs on TOMMY'S chest. Faint music can be hear emanating from the plug. ELLIE sits in a nearby chair with a pillow on her lap. On the pillow a CHEMISTRY book lays open. ELLIE studies it intently and takes notes on a yellow tablet. JOHN lays in the ICU bed. Monitors and medical equipment BEEP softly. JOHN'S head is bandaged and he has a huge bandage on his left shoulder. An IV drips slowly near his head. The man looks like the survivor of a roadside bomb. A woman, early 30's, with long curly blonde hair enters the room. This is SAMANTHA PARKER, TOMMY'S mother. She is dressed smartly like a lawyer or businesswoman. ELLIE looks up from her college work and meets SAM at the door. ELLIE Hi Mrs. Parker. (Reaching out for a hug) It's good to see you. Both women embrace warmly. They are both quite happy to see each other. SAM Hi El. It's been awhile. ELLIE (voice trailing off) Yeah...since before... SAM The separation... It's all good El, some relationships just don't work out how we'd hoped. ELLIE (Crest-fallen) It makes me sad. You're family was always like my family. We always (MORE) 27. ELLIE (cont'd) had so much fun together. SAM You'll always be family El. (Nodding towards the couch) How's Tommy holding up? ELLIE He is scared and worried. (Looking to Tommy) He was mad about his Dad grounding him. He loves those field trips with the boys. The boys... (Tearing up) Tommy doesn't know it yet. CJ and Hooch didn't make it. The officer told me before he came down stairs. SAM (Clasping hand to mouth) Oh my god. ELLIE Tommy is going to take that hard. I'm not even sure how to break it to him. He is already focused on his Dad... SAM Let it rest for now. (Looking to John) How is he? ELLIE He's still out. He could wake up at anytime. The nurse says he seems stable but that he'll be observed until tomorrow before moving him to a regular room. TOMMY (o.s.) Mom? TOMMY gets up from the couch, tosses aside the MP3 player, and embraces his mom. SAM hugs him warmly and runs her hands through his hair. 28. TOMMY (At Sam) I thought you'd be here sooner. SAM I'm so sorry sweetie. I had to go in to the office this morning. I was about to call you to let you know...then your call came. TOMMY Isn't it a crime or something to work on a Sunday! SAM (Laughing) Tell that to my boss. ON JOHN JOHN'S eyes FLUTTER open. He is groggy and disoriented. He glances around the room and his focus lands on ELLIE, TOMMY, and SAM. JOHN (Wearily) Can someone shut off this damn EKG. It is giving me dreams about getting backed over by a garbage truck... TOMMY Dad! ELLIE Hey you! ELLIE, TOMMY, and SAM move up close around JOHN'S bed. TOMMY hugs his Dad the best he can over the wires and tubes. SAM (Softly) Hi John. JOHN (Smiling weakly) Hi Sam. Fancy meeting you here. You look nice. SAM I wish I could say the same. How do you feel? 29. JOHN Like a chew toy. TOMMY What happened Dad? Where are CJ and Hooch? ELLIE and SAM share a concerned glance. ELLIE puts her arm around TOMMY. Her eyes water up again. JOHN looks distraught then his expression becomes serious. SAM reaches down and holds his hand. CUT TO FLASHBACK - JOHN We see the a down swiping CLAWED HAND. We see SNARLING teeth in extreme close-up. We see AMBER eyes staring HATEFULLY under hairy furrowed brow. The periphery of our view is BLURRED and DARK. CJ (v.o.) Johnny! Help me! Our view FADES TO BLACK. The AMBER eyes are the last thing we see. SNARLING is heard. END FLASHBACK CUT TO CLOSE ON JOHN'S FACE JOHN is startled from his memory. He has begun to sweat profusely. Terror is etched on his face again. ON TOMMY'S FACE TOMMY is extremely concerned. He has obviously never seen his father so distressed. TOMMY Dad? ICU ROOM JOHN pushes the button to raise his bed a bit into a more upright position. He maintains a death grip on SAM'S hand. Quickly he regains his composure. 30. JOHN (To Tommy) It's O.K. kid. I'm still a bit shook up. (Sadly) Will and CJ aren't coming back Tommy. They didn't make it. TOMMY (Tears building) No...no....no. They always come back! Just like you! They can't be gone! JOHN Tom... TOMMY (Sobbing uncontrollably) No! Please Dad. ELLIE hugs TOMMY close. He cries with his face buried in her shoulder. ELLIE is teary eyed. It breaks her heart to see TOMMY so devastated. SAM (To John) I'm sorry. I'm so sorry about your friends. JOHN (To Tommy) We don't always get to come home. TOMMY composes himself to a minor extent and regards JOHN. TOMMY (Voice wavering) I'm glad you're home Dad. JOHN Me too. FADE TO MONTAGE We see TOMMY leaving school, getting picked up by SAM. We see ELLIE attending a class for college. We see JOHN being assessed by his DOCTOR, who seems amazed at how fast JOHN is healing from his wounds. A scene of a funeral plays out, with military honors; ELLIE, SAM, and TOMMY are in attendance. The funeral is for WILLIAM "HOOCH" CARSON and CHARLES "CJ" JENSON. Flags are folded and given to WOMEN we 31. presume to be next of kin. These same WOMEN are seen visiting JOHN at the hospital. They give him a picture of himself, CJ, and HOOCH still in uniform from their Army days. The WOMEN leave and JOHN weeps alone in his hospital room. END MONTAGE INT. HOSPITAL EXAMINATION ROOM - DAY JOHN is brought into the room in a WHEELCHAIR, pushed by a NURSE. DOCTOR CONWAY, Male mid-50's and balding, stands with a clipboard in front of an X-RAY DISPLAY. DOCTOR CONWAY Good morning Mr. Parker! I don't usually take patients from their rooms, but I wanted to bring you here to see these. DOCTOR CONWAY gestures towards the X-RAYS illuminated on the display. They are spinal X-RAYS showing cervical and lumbar vertebrae. JOHN You'll have to do the talking Doc because I'm no expert reading those. DOCTOR CONWAY Of course. When you first arrived in the ER, you had five broken ribs, and two fractured vertebrae... (Indicates on the x-ray) One was your C2. The other was your L1. (Checks clipboard) You also had a punctured lung, from the broken ribs, and a jagged laceration on your left shoulder down to the bone. JOHN Based on my level of soreness, I'd say that sounds about right. DOCTOR CONWAY You also needed a transfusion due to extensive blood loss. 32. JOHN (Dryly) I suppose I was due for an oil change. DOCTOR CONWAY (Chuckling) Needless to say. You were a wreck Mr. Parker. "Were" being the key word. DOCTOR CONWAY pulls down the old spinal X-RAYS and inserts new X-RAYS showing RIBS and SPINE. DOCTOR CONWAY We took these yesterday as you probably recall. Notice how much the bones have healed! This is the kind of recovery I would expect to see after 45 days. Not 9 days! JOHN (Confused) So...I heal a bit faster than normal? Is that a bad thing. DOCTOR CONWAY That is just it Mr. Parker. Nobody heals that fast. It is astounding...bordering on the impossible. JOHN (Hopeful) Did if occur to you that maybe you and your staff are just that good? DOCTOR CONWAY sits down in a chair, bringing himself down to eye level with JOHN. He has a look of wonder and disbelief on his face. DOCTOR CONWAY I've been in this business for nearly 30 years. I'm no slouch at what I do. This is way beyond my skill to claim credit for. (Exhaling deeply) Are you religious Mr. Parker? JOHN Not so much. No. 33. DOCTOR CONWAY Have you noticed how well that wound on your shoulder is mending? We sewed it up as best we could. I would have forecast a jagged scar. I think now that I might be wrong. JOHN I did notice. It doesn't hurt nearly as much either. The stiffness is going away. JOHN ROTATES his shoulder and arm cautiously. He winces slightly. DOCTOR CONWAY I think someone upstairs has taken an interest in you. JOHN It could be Doc. I keep an open mind. In the Army, I always put my faith in the man to my left and right to see me through. DOCTOR CONWAY (Nodding) That's pragmatic. (Gesturing towards the X-ray display) That...I don't know what that is. I keep my faith for just such an emergency. You were nearly a corpse when we got you. I wouldn't have expected you to be out of the woods this fast. How would you explain that? JOHN I ran. DOCTOR CONWAY (Nodding knowingly) Well, in any case. You'll be well enough to go home tomorrow. I wish you the best of luck. I'd also like to see you for a follow-up in a week. CUT TO 34. EXT. OUTSIDE THE HOSPITAL - DAY JOHN is wheeled out in a WHEELCHAIR through the hospital front door by a young NURSE. His left arm is held loosely in a SLING. He is flanked by SAM on his right and TOMMY on his left. A late model RED SEDAN pulls up to the pick-up/drop-off ramp and ELLIE exits the vehicle. She waves at JOHN, SAM, and TOMMY and opens the passenger side door. ON ELLIE ELLIE Your chariot awaits! Pardon the lack of rose petals but I couldn't hit the florist in time after my morning class. ON JOHN AND ALL SAM and TOMMY help JOHN to his feet. He is a bit SHAKY, but soon stands tall. SAM loops her arm through JOHN'S and walks with him towards the car. JOHN (To Ellie) Har har har. If you wanted to impress me you should have brought a beer. ELLIE Sorry Mr. Parker...the nurse vetoed that. Something about not mixing well with your medications. SAM Thanks for bringing the car around Ellie. ELLIE Sure thing! SAM helps JOHN get into the SEDAN. TOMMY hops in the back seat. SAM turns to address ELLIE. TOMMY and JOHN have a silent conversation we cannot hear in the b.g. ON SAM AND ELLIE SAM Thanks for all the help El. It has been hectic the last week. You keeping an eye on Tommy while I'm at work has been a big help. I need to give you a raise! (Laughing) (MORE) 35. SAM (cont'd) Or at least an employee health plan. ELLIE (Laughing) No thanks needed. I've known you guys for a long time. You're family. Though...I might request something to eat. Poor college student and all. Anyone up for some pizza? TOMMY quickly hangs out the rear window. The mention of food has his interest piqued. TOMMY Pizza? Oh hell's yes. The second favorite "P" word of a teenage boy! ELLIE swats TOMMY on the top of the head. SAM looks at TOMMY sternly with her arms crossed. TOMMY (Rubbing head) Ouch! What you guys don't like pancakes? SAM (To John) Seriously? JOHN (Smirking) I'd give that quip high marks. SAM You would. Pizza it is then. ELLIE (To Tommy) Couldn't help it could you. TOMMY makes an exaggerated TOOTHY smile at ELLIE. ELLIE points her index and middle finger at her eyes, then points them at TOMMY, in a I'M WATCHING YOU gesture. ON ELLIE AND SAM ELLIE hands the SEDAN keys to SAM and gets her own VW BEETLE keys from her purse. 36. ELLIE Pizza Shack or Gallardo's? SAM Gallardo's. Pizza Shack is too greasy for my liking. See you there in say...15 minutes? ELLIE (To Sam) Sounds good. (To John) Glad you're back! (To Tommy) See you there turd. JOHN Thanks El. ON SEDAN AND LOT SAM and ELLIE embrace in a brief hug. SAM starts walking towards the parking lot. TOMMY waves BYE from the back window. SAM smiles and repeats her I'M WATCHING YOU gesture. CUT TO INT. GALLARDO'S PIZZARIA - LATER GALLARDO'S is a small Mom & Pops type establishment. The atmosphere is dimly lit and intimate. Various groups of people can be seen seated in small alcoves and floor area tables. The place has a semi-formal vibe. JOHN and SAM sit next to each other in an alcove. ELLIE and TOMMY sit next to each other on the opposite side of the table. TOMMY Hey Dad! What kind of pizza are you feeling? JOHN folds his MENU and gives a decisive nod of approval. JOHN I don't know about you all, but I am craving a meat lover's pizza. SAM (Surprised) Really? You almost always go for a Hawaiian. 37. JOHN After the hospital food, I want want to indulge a bit. ELLIE Get want you want John. I'm good with anything really. (Wrinkling nose) ...except anchovies. TOMMY (To Ellie) I know right! Anchovies are pretty disgusting. The group places an order, then hand over their menus to the WAITRESS; female, late teens. DINNER MONTAGE We see the group laughing and having a good time. JOHN, SAM, TOMMY and ELLIE look like a family having their first real fun in a long time. SAM seems to be partial to JOHN and her love of her husband shows even though they are separated. TOMMY and ELLIE seem keenly aware that events of late have brought JOHN and SAM closer together. TOMMY seems GIDDY at the prospect his parents may be reconciling. END MONTAGE FAMILY TABLE - LATER SAM sits with her arm hooked through JOHN'S good arm. The pizza pan lays empty. Only crumbs remain. The group appears satiated and content. ELLIE Thank you for dinner. It was great do this together again. SAM Oh... you're welcome El. I really missed this too. TOMMY So...um...Mom? Dad? Does this mean you guys will be talking more? JOHN looks at SAM and PATS her hand. He SMILES warmly at her looking for some sign in her expression. SAM returns the SMILE and gives TOMMY an apprehensive look. TOMMY'S enthusiasm fades slightly. 38. SAM (To Tommy) Honey, I don't know. Your Dad had me really worried about him. We'll have to see how things go. JOHN (To Tommy) One step at a time kid. Your Mom and I love each other, but we have some things to sort out. Almost getting killed won't fix the issues that pushed us apart to begin with. TOMMY (Frustrated) But...but...neither of you two have been this happy in a really long time! ELLIE sits quietly and watches the exchange. She puts her arm around TOMMY and gives him a gentle SHAKE. ELLIE I've got an idea! How about I take Tommy home and watch him the rest of the evening. (Fetching her car keys) You two can actually have some privacy to talk. TOMMY But I wanted to spend time... ELLIE (To Tommy) You will. How bout' you give them a little space for one evening? I'm not bad company after all. We can watch one of those horror movies you love so much. SAM Oh I don't know Ellie. JOHN Come on Sam. You're going to make me beg for a date? 39. SAM (To John) Maybe. That is how we got started remember? ELLIE slides out of the booth and pulls TOMMY by the arm. He is bit slow to respond but grudgingly goes along with her. TOMMY (To John and Sam) I guess we'll see you later. ELLIE (To Tommy) Come on Tommy. (To John and Sam) Bye Mr. and Mrs. Parker. Have fun. I'll see you guys later. JOHN Bye El. Thanks. SAM Bye Ellie. Don't let Tommy run you ragged. TOMMY (To nobody in particular) I'm not that bad. ELLIE We'll be fine. I'm sure he'll pick to most horrible gory movie to watch so we both have nightmares. TOMMY Oh hey! We can watch The Evil Dead 2! ELLIE and TOMMY exit leaving JOHN and SAM alone in the booth at the pizzeria. OUT THE PIZZARIA WINDOW We see ELLIE and TOMMY going across the parking lot. TOMMY seems to be acting out a scene from EVIL DEAD 2. He is very excited. ELLIE is amused and ushers him into her VW BEETLE. The car starts and they drive away. ON SAM AND JOHN Both look uncomfortable now that they are finally alone. 40. JOHN So...here we are again. Just like our first date huh? SAM slides out of the booth next to JOHN and moves to the other side of the booth where TOMMY and ELLIE were seated previously. SAM That was a long time ago. It seems like ages have passed. JOHN You're still beautiful. The ages have been kind. SAM (Raising an eyebrow) I see you are going straight for the "charming rogue" approach. (Smiles wryly) I'm a big girl now and that doesn't work on me anymore. JOHN leans forward and places his right hand over both of SAM's. JOHN I'm sorry Sam. I never said it to you. All these issues we've had... SAM (Condesending) An apology? From you? I never thought I'd see the day. That encounter in the woods must have scared the asshole right out of you. JOHN leans back. Obviously hurt by SAM'S words. He SIGHS and and FIDGETS nervously with a napkin on the table. He doesn't want to meet SAM'S gaze. JOHN Alright. I know I deserve that. SAM You're damn straight! I'm not the woman you married. I have ambition and I know what I need in my life to be happy. 41. JOHN I know I need you. Tommy has told me as much for the last year. I just didn't listen. Pride and guilt are poor substitute for reconciliation. SAM'S expression softens. Her demeanor becomes less challenging and more relaxed again. SAM Our son refuses to give up on us. That is somewhat reassuring. JOHN He helps keep me going. We've become closer since the break-up. SAM I know. It is a good thing. I'm glad to see you being more involved than before. It was all that I ever wanted from you John. You came back from the war so distant. It always seemed like the only people you'd open up to were your Army friends. JOHN I should have reached out to you more. I should have tried harder. SAM leans forward and SMILES at JOHN. She pays the WAITRESS and tosses a tip on the table. JOHN meets her gaze and looks a bit PERPLEXED. SAM (Standing up) You coming? JOHN Well you are my ride after all. My good hitch-hiking hand is still busted. SAM You're right-handed John. JOHN (Wryly) But I use my left hand to pull up my skirt. It gets the truckers to stop every time. 42. SAM and JOHN laugh. SAM helps JOHN out of the booth and they depart the pizzeria. PARKING LOT SAM hooks her arm through JOHN's as they walk to the SEDAN. We move with them as they converse. SAM So where do we go from here? Just so you know John Parker, I don't put out on the first date. JOHN Oh. Well good thing it isn't our first date. SAM playfully SLAPS JOHN'S chest. He WINCES and lets out a small GROAN. SAM (Wincing) Oh! I'm sorry! I wasn't thinking... JOHN It's O.K. The shoulder is healing pretty good. How does stopping for ice cream and swinging by the grocery store for wine sound to you? (Pulls out wallet) I'm buying this time. SAM (Playful and sarcastic) Oh I see. When sweet words don't work, you resort to booze. Nice. JOHN Ice cream. The booze is for the pain in my shoulder. CUT TO INT. PARKER HOUSE LIVING ROOM - EVENING The room is DARK. The light of the TV FLASHES and FLICKERS casting a glow in the room. We hear SCREAMS and the WHIRRING of a CHAINSAW coming from a movie that is playing. ELLIE and TOMMY sit on the sofa with a huge bowel of POPCORN between 43. them. ELLIE has a blanket pulled up in front of her eyes. TOMMY watches her amused. ELLIE Tommy is it O.K. to look yet? TOMMY Sure! ELLIE peeks from behind the blanket. We hear more SCREAMS and the sounds of TEARING flesh. The CHAINSAW ROARS loudly. ELLIE SQUEEKS and ducks back behind the blanket. ELLIE You said it was O.K. to look turd! TOMMY (Laughing) It is! C'mon Ellie! You're missing the good part! TOMMY tosses some POPCORN at ELLIE behind her blanket wall. TOMMY This is a classic! ELLIE If you say so. Won't this give you nightmares? TOMMY Nah! I've seen this "Chainsaw Rampage" six times! Wanna watch "The Howling" after this? ELLIE drops the blanket down hearing less action coming from the TV. She looks at the clock on the wall and it reads 6:14PM. ELLIE Why don't we watch a comedy? TOMMY (Dejected) Aw! ELLIE You like comedies! TOMMY True. But comedies don't make you hide behind a blanket. 44. ELLIE (Tossing popcorn at Tommy) Oh is that so? I didn't realize I was a source of entertainment for you. TOMMY It's the little things El. Hey, how do you think Mom and Dad are doing? ELLIE drops the blanket to her lap and regards TOMMY. He is SERIOUS and CONCERNED. ELLIE Fixing a relationship is not like fixing a car Tommy. I think your folks are trying their best. TOMMY Everything was so great at lunch... ELLIE (Nodding) Better than I've seen in a long time. I think they may have remade a connection. Only time will tell. TOMMY (Looking towards the wall) Do you think they are really talking things out... or fighting? ELLIE (Sighing) Honestly, probably a little of both. The fact your Dad isn't home yet makes me think that the fighting isn't too bad though. TOMMY seems deep in thought. He stares with a furrowed brow at the wall. ELLIE prods him and he looks at her. She points a thumb in the direction of the TV. ELLIE The "Chainsaw Revenge" is over. 45. TOMMY (Looking to the TV) "Rampage". "Revenge" is the sequel. ELLIE Well you better pop in "The Howling". Remember you still need to get to bed by 10:00PM. TOMMY immediately cheers up and JUMPS up from the sofa. He swaps out DVD'S and JUMPS back on the sofa. ELLIE ROLLS her EYES and watches TOMMY place the POPCORN bowl on his lap. He stuffs a big HANDFUL of POPCORN in his mouth and offers the bowl to ELLIE. ELLIE (Sarcastically) So o'horror maestro...what is this next movie about anyways? TOMMY (Incredulous) Werewolves! CUT TO INT. SAM'S BEDROOM - NIGHT It is DARK in the room. Pictures of SAM, JOHN, and TOMMY sit on the night stand. The room is well-decorated and maintained. A queen sized bed sits centered in the room directly opposite of the bathroom door. A man's and woman's clothes can be seen strewn about the edges of the bed. It is obvious they were hastily removed. An empty wine bottle and two glasses sit on the night stand. ON THE BED; BATHROOM DOOR POV DREAM SEQUENCE FOR JOHN Two human sized lumps lay motionless under the covers of the bed. The one on the left STIRS and the covers fold back. SAM is dressed only in JOHN'S shirt. It hangs down mid-thigh on SAM. SAM rubs her eyes and looks at the digital clock across the room on the dresser. The clock reads 12:03AM. SAM runs her hands through her hair, gets up, and looks towards the lump of blankets where JOHN sleeps. She SMILES, yawns, then walks towards the bathroom. OVER SAM'S SHOULDER 46. SAM enters the bathroom and stands in front of the large VANITY MIRROR. A small NIGHTLIGHT sheds faint light from a plug on the counter top. We see SAM'S face dimly under lit. She fills a small glass with water quietly and drinks it. We see SAM from the waist up in the VANITY MIRROR. The bed can be made out dimly through the open bathroom door. SAM HUMS softly and begins to wash make-up off her face. We see the lump under the covers where JOHN lies TOSSING about in the mirror behind SAM. She is DISTRACTED cleaning up. The lump under the covers GROWS and RISES. CREAKING sounds from the bed box springs can be heard. The covers drop away from a RISING form revealing a MASSIVE HUNCHED beast. AMBER eyes can be seen in the dimly lit bedroom behind SAM in the mirror. The WEREWOLF stands, HUNCHED to not hits it's head on the roof, and CREEPS forward across the mattress. The GROAN of the box springs sounds with each methodical step the beast takes. SAM has water and soap in her eyes, but she turns her head to listen; eyes CLOSED TIGHT. She GROPES for a HAND TOWEL laying on the counter top and uses it to wipe her face. SAM looks up into the mirror. She sees the towering 7ft frame of the WEREWOLF outside the bathroom door covered mostly in SHADOWS. The beast's form blocks out most of the view of the bedroom. The beast SNARLS and in the dim light coming from the NIGHTLIGHT, SAM can make out AMBER eyes and GLISTENING TEETH. SAM SCREAMS and SPINS AROUND. She sees nothing. The bedroom is empty. The bed is EMPTY. She CREEPS forward and peeks out the door. Nothing. SAM backs up to the counter top BREATHING HEAVILY and SHAKES her head in disbelief. She TURNS to the VANITY MIRROR. The form of the WEREWOLF LOOMS right behind her ROARING. SHE SCREAMS but this time it is cut short with powerful SWIPE from the beast's claws. SAM'S head is SHEARED OFF in one blow and a gratuitous SPRAY of blood clouds the view in the VANITY MIRROR. END JOHN'S DREAM SEQUENCE CLOSE ON JOHN JOHN BOLTS upright in the bed BREATHING RAPIDLY. His face and bare chest gleam with sweat. He QUICKLY looks to his right to see SAM DOZING next to him. She appears undisturbed by his sudden awakening. JOHN slips out of bed and walks to the bathroom. He RUBS the sides of his head and face VIGOROUSLY trying to shake off the fog of sleep. OVER JOHN'S SHOULDER 47. JOHN enters the bathroom and glaces at the VANITY MIRROR. His own face is dimly under lit by the NIGHTLIGHT and he is shocked to see his EYES reflecting an AMBER hue. JOHN SLAPS the main VANITY MIRROR light ON. BRIGHT light illuminates the whole bathroom and the bed in the bedroom through the open door. JOHN looks INTENTLY in the mirror. His EYES appear to be their normal color again. SAM can be seen getting up from bed and walking towards JOHN in the VANITY MIRROR. JOHN EXAMINES his wounded shoulder by pulling the BANDAGE back. We see the wound is mostly healed leaving an IRREGULAR scar. JOHN begins to PICK at the STITCHES, removing each, one by one. SAM walks up behind JOHN and puts her ARMS around his WAIST. SAM (Tired) Shouldn't you wait for the Doctor to take those out? JOHN If they stay in longer the skin will heal over them. JOHN renews his efforts to remove the STITCHES. His face is STERN. SAM leans her head on his good shoulder. She is CONCERNED. SAM What's wrong? JOHN What? Nothing. I'm fine. SAM Remember we just had a conversation about you needing to open up more? JOHN (Sighing) Yes. You're right...bad dreams. SAM About that night? Or the war? JOHN Neither. About tonight. SAM About what might happen with us? 48. JOHN Yeah. Sort of. SAM PULLS JOHN around to face her. She puts her arms around him and HOLDS him TIGHTLY. JOHN puts both arms around her and returns the gesture. SAM Come'on. Let's get dressed. I'll take you back to the house. Tommy is probably waiting up for you...and it's a school night. JOHN Alright. CUT TO INT. PARKER HOUSE - NIGHT - CONTINUOUS JOHN comes in the front door QUIETLY. He puts his wallet and a few items from his pocket on a table by the entryway. JOHN walks over to the sofa where ELLIE lays SLEEPING. Her BLANKET has fallen on the floor and the room is DIMLY lit by the TV. JOHN picks up the BLANKET and covers up ELLIE. JOHN picks up the TV/DVD REMOTE from the COFFEE TABLE and points it at the entertainment center. He FREEZES as he STARES at the TV. The TITLE MENU for the movie THE HOWLING is shown. JOHN looks at the display INTENTLY for a moment, lost in thought, then turns off the TV and DVD player. The room is shrouded in darkness. JOHN makes his way upstairs QUIETLY and turns at the top of the STAIRS to go to TOMMY'S room. INT - TOMMY'S ROOM We see the bedroom door open SLOWLY. JOHN PEEKS into TOMMY'S bedroom. He seems SATISFIED that TOMMY is sleeping and CLOSES the door. INT - GARAGE JOHN enters the garage. The garage has WORK BENCHES on two walls with a vintage, primered, 1969 CAMARO sitting in the middle of the room. JOHN walks by a long WORK BENCH containing numerous automotive TOOLS and makes his way to a short WORK BENCH on the opposite side of the CAMARO. The bench sits in front of the garage window and contains TOOLS for maintaining firearms and making bullets. At the edge of the short WORK BENCH is an old COMPUTER adorned with STP 49. stickers, football team LOGOS, and AUTOMOTIVE company stickers. JOHN sits down at the COMPUTER and pulls up the GOOGLE website. CLOSE ON COMPUTER SCREEN JOHN types in a GOOGLE search for "WILDLIFE NEAR SUMTER RIDGE". The search displays numerous animals including bears, mountain lions, and wolves. ON JOHN JOHN seems ANNOYED. He is not finding what he is looking for. JOHN No. CLOSE ON COMPUTER SCREEN JOHN types in a GOOGLE search for "WOLF/BEAR TYPE ANIMAL SUMTER RIDGE". The search shows NO RESULTS. ON JOHN JOHN STROKES the STUBBLE on his chin. JOHN (Talking to himself) Fine. How about other attacks? CLOSE ON COMPUTER SCREEN JOHN types in a GOOGLE search for "ANIMAL ATTACKS IN SUMTER RIDGE". The search returns several results. The screen scrolls showing various ARTICLE TITLES. MAN MISSING NEAR TOKER CREEK BEAR ATTACKS TOURIST AT TOKER CAMPGROUND - 1 DEAD BODY FOUND IN FOREST BY HIKERS, AUTHORITIES SUSPECT BEAR ATTACK FULL MOON MAYHEM - HUNTERS KILLED NEAR BRANDT RIDGE FISHERMEN ATTACKED! ONE SURVIVOR - AUTHORITIES CONTINUE HUNT FOR ROGUE BEAR. 50. JOHN (v.o.) No fucking way. That was not a bear! It had hands. ON JOHN JOHN STUDIES the ARTICLES carefully. Suddenly he is SHOCKED by a realization. JOHN (Talking to himself) They are each one month apart. "Full Moon Mayhem". (Nervously) There was a full moon that night at the river. (Quickly) I gotta check the dates for these! JOHN gets up and TEARS a SWIMSUIT CALENDER down from the wall of the garage. He QUICKLY returns to his seat in front of the computer and begins to compare dates in the ARTICLES with dates for the FULL MOON on the calender. JOHN (Softly) Oh, fuck me. CLOSE ON COMPUTER SCREEN JOHN types in a GOOGLE search for, "WOLF/MAN SUMTER RIDGE". The search engine shows a question asking, "DID YOU MEAN WEREWOLF SUMTER RIDGE"? ON JOHN JOHN STARES disbelieving at the COMPUTER monitor. JOHN (Barely audible) Werewolf. CUT TO EXT. SUMTER RIDGE MIDDLE SCHOOL - DAY TOMMY stands near the curb to the school. He has his BACKPACK hanging over one shoulder. A NOTIFICATION comes across his CELLPHONE and he checks the message. It is from JOHN. 51. The CELLPHONE reads, "RUNNING LATE. BE THERE SHORTLY." TOMMY Great. JAKE (O.S.) Hey Parker! TOMMY turns in the direction of the VOICE. He realizes it is JAKE MYER a 14 year old, male, with a mean disposition. TOMMY is apprehensive. ON TOMMY AND JAKE TOMMY Hey Jake. I don't want any trouble. One suspension is enough for this month. JAKE (Angry) Well trouble just found you faggot! I've been looking for you. Guess you've been hiding like a little bitch! TOMMY (Exasperated) May Dad has been in the hospital! Don't you think I have better things to do than wait around for you to pick a fight? TOMMY drops his BACKPACK at his feet expecting to have to defend himself. JAKE (Cracking his knuckles) Don't worry. I'll set you up with a room right next to your pops. JAKE swings a HAYMAKER punch at TOMMY'S head. TOMMY ducks it easily and circles the bully. JAKE swings WILDLY trying to land a punch on TOMMY. TOMMY is too quick for him. TOMMY Come on Jake! I don't want to fight you. 52. JAKE Who said you have a choice! TOMMY dodges two more big punches. A large crowd of kids gathers to watch the fight. A CACOPHONY of voices JEER and SHOUT. JAKE looks to be getting WINDED trying to engage his smaller opponent. JAKE (Furious) I'm gonna beat you to a pulp you weaselly little shit! JAKE tries another HAYMAKER and oversteps his balance. TOMMY ducks outside the punch, snatches up his BACKPACK, and brings it around like a mace in one fluid maneuver. TOMMY BASHES JAKE on the head with is BACKPACK, sending the bully sprawling on the ground. TOMMY Had enough? JAKE scrambles to his feet holding his head. He is IRATE. JAKE You're dead meat! JAKE tries throwing a straight punch to TOMMY'S head. TOMMY blocks it using his BACKPACK full of books. JAKE recoils his hand in PAIN. TOMMY uses the opportunity to knee JAKE in the groin. The fight ends with JAKE GROANING on the ground and JOHN'S CAMARO pulling up to the curb. ON TOMMY TOMMY Gotta go Jake. ON JOHN'S CAMARO JOHN steps out of the CAMARO and surveys the situation. The CROWD begins to MURMUR and disperse realizing a parent has arrived. TOMMY gives JOHN a SHEEPISH smirk and a WAVE. TOMMY Hi Dad. JOHN (Frowning) Tommy what have I said about fighting? 53. TOMMY "Don't do it unless necessary". Yeah. I got it. I didn't even throw a punch! JOHN approaches JAKE and helps him up to his feet. JAKE looks QUEASY. JOHN (Stern) You O.K. kid? JAKE Yes...yes sir. JOHN Good. Then you can turn your ass around and move out smartly. JAKE turns SLOWLY. It is obvious he is still feeling the effects of the groin hit. ON JOHN AND TOMMY JOHN Get in the car Tommy. TOMMY Grounded again? JOHN Not this time. JOHN and TOMMY get in the CAMARO. JOHN pulls away from the curb and begins to drive down the city street away from the school. CUT TO INT. JOHN'S CAMARO - DAY JOHN drives casually with one hand on the wheel. TOMMY tosses his BACKPACK into the backseat and hastily buckles his seat belt. TOMMY Dad I'm sorry. I didn't want to fight with Jake. He's still fuming about... 54. JOHN (Interrupting) Don't worry about it Tommy. Something more important has come up. TOMMY What? JOHN I don't even know where to start. It's so crazy, I don't think I even fully believe it. TOMMY Believe what? I don't get it. JOHN (Calmly) The night I was attacked, I saw something...monstrous. It wasn't no damn bear like the local news suggested. I shot it more than once with Hooch's shotgun. It barely even slowed it down. TOMMY (Apprehensive) What then? JOHN It walked on two legs like a man. The face...was like a wolf, but it was the size of a bear. TOMMY Umm...Dad what you are describing is... JOHN A thing right out of a horror movie. I know. I know. Trust me I know just how crazy I sound! I did a little research the other night. The night we got attacked was a full moon. Every major animal attack around Sumter Ridge in the last few months happened on a night of the full moon! TOMMY (Unconvincingly) Monsters aren't real. You told me that plenty of times when I got (MORE) 55. TOMMY (cont'd) scared by movies. JOHN I was wrong. (Looking Tommy in the eye) And this ain't no movie. TOMMY I don't know Dad. I don't know what to say. (Suddenly terrified) Oh my god! You got bit. Your shoulder! JOHN Yeah. The Doctor thinks my recovery is a miracle. Notice that I'm not using my sling? Hell, I don't even feel pain in my ribs anymore. TOMMY shifts NERVOUSLY in the car seat. He tries to put some distance between himself and JOHN. TOMMY What are we gonna do? JOHN We're gonna do what they do in those horror flicks you watch. Make some silver bullets. TOMMY Dad! Silver bullets are used to kill the werewolf in those movies! You're the one who got bit. JOHN Exactly. TOMMY (Frantic) No way! No way! You can't do it. You can't kill yourself! JOHN I know this is not the kind of topic a father should discuss with his son. (Shaking his head) (MORE) 56. JOHN (cont'd) What else can I do? TOMMY Wait! See what happens! Maybe you're wrong. (Rubs forehead nervously) You almost died, but now you're healing up. You and Mom are talking and getting along again! Everything is going so good. Please give it a chance. JOHN Maybe I'm wrong. But if I'm right, and not crazy, you, Mom, Ellie, and anyone else around me will be in danger. That thing in the woods was lethal Tommy. No conscience. No remorse. (Softly) I couldn't go on living if I knew I caused harm to you. TOMMY Give it a chance Dad. We'll figure something out. Lets go get the silver...just to be safe. JOHN We need a plan. The full moon is coming in a few days. CUT TO INT. ELMA'S ANTIQUES AND CURIOS - DAY JOHN'S CAMARO pull up in front of ELMA'S ANTIQUES AND CURIOS. JOHN and TOMMY get out of the car and enter through the front door to the shop. Small bells JINGLE as the door opens. The shop is small and CLUTTERED. ELMA, female, mid-60's, sits behind the register counter. She notices her visitors, smiles, and goes back to reading a novella. TOMMY (Wrinkly his nose) Oh man. I thought hospitals smelled bad. 57. JOHN That's the smell of history. Show a little respect. TOMMY You said that when we visited Grandma at the nursing home. JOHN grabs TOMMY by the back of the neck and directs him down a CLUTTERED aisle. TOMMY (Wiggling free of John's grip) What are we looking for? I don't think that lady has a stockpile of ammo laying around to protect red riding hood. JOHN Oh you're funny smart-ass. Look for something silver. Anything. JOHN and TOMMY begin to search the store. They sift through miscellaneous junk on shelves and in boxes until TOMMY finds a CANDLESTICK HOLDER. TOMMY Dad! Look at this! ON THE CANDLESTICK HOLDER The CANDLESTICK HOLDER gleams in the light of the store. The silver sheen of the metal can be seen under years of oxidization. ON JOHN AND TOMMY JOHN takes the item from TOMMY and turns it over in his hands. The bottom of the CANDLESTICK HOLDER reads, "STERLING SILVER". JOHN Bingo! AT THE CASH REGISTER JOHN places the CANDLESTICK HOLDER on the counter, ELMA rings up the item. ELMA That'll be 60 dollars even. 58. TOMMY Ouch. Pricey. ELMA Oh I know. It's silver. The last remaining piece of a set I bought a long time ago. JOHN pays for the item and ELMA puts it into a small brown bag. JOHN Thanks. ELMA Do you need your receipt? JOHN No thanks. I don't plan on bringing it back. CUT TO INT. PARKER HOUSE GARAGE - EVENING We see the garage door open. JOHN and TOMMY pull into the garage with JOHN'S CAMARO. CLASSIC ROCK music is PLAYS. We see JOHN activate the garage door opener on the visor of the CAMARO and the door begins to CLOSE. The car turns off and we see JOHN and TOMMY exit the CAMARO. JOHN (Pointing at the small workbench) Tommy get the crucible fired up. TOMMY O.K. (Turning to John) Hey Dad. You told us that you got rid of all your guns because of your PTSD. Bullets won't do us much good. JOHN Yeah I got rid of all MY guns. I still have one of your Grandpa's tucked away. TOMMY The old revolver? 59. JOHN Yup. Colt. Single Action Army chambered to .357 Magnum. (Turning to go inside the house) I'll be right back. JOHN leaves the garage. He gives a quick WINK to TOMMY before he departs. TOMMY fires up the CRUCIBLE and begins to set out the tools needed to make some bullets from scratch. He does this with a practiced hand. MONTAGE We see the WORKBENCH in the garage. JOHN and TOMMY work together like a practiced team. We see the CANDLESTICK HOLDER being cut into smaller pieces. Each piece is dropped into the CRUCIBLE and melted down. We see molten silver poured into bullet molds. Freshly made bullets are dropped out on the WORKBENCH. Brand new shiny brass shell casings are loaded with powder. The silver bullets are pressed into the casings. Six finished .357 Magnum silver bullets are loaded into the COLT SAA. END MONTAGE ON THE REVOLVER The COLT SAA is held in JOHN'S hand. The weapon is immaculately kept with a stainless finish. JOHN turns the weapon to and fro. The barrel gleams in the light. TOMMY (v.o.) Will it shoot? ON JOHN AND TOMMY JOHN Yeah. I'm sure it will. Let's just hope that it won't come to that. JOHN gives the COLT SAA to TOMMY. JOHN Put it in your room on the night stand. 60. TOMMY That's it huh? No lecture on muzzle discipline? No safety procedures? JOHN I think we're past all that now Tommy. You know how to handle that. This is deadly serious. Be smart about it. (Puts arm around Tommy's shoulders) Let's get some dinner. CUT TO INT. PARKER HOUSE DINING ROOM - EVENING TOMMY helps JOHN clean up the remnants of dinner. JOHN cleans up the table and TOMMY loads dishes into the dishwasher. JOHN We need to call Ellie and talk to her about all this. TOMMY You're kidding right? JOHN carries the leftovers of dinner to the counter next to the refrigerator. He begins packing them up to be put away. JOHN Well we sure can't tell your Mom. I don't want you to be by yourself if something goes bad with me. TOMMY How is this going to fly? "Ellie I need you to watch Tommy so that when I turn into a werewolf someone is here to help him kill me." JOHN Well I don't think I'd put it quite like that. TOMMY But you see what I'm saying right Dad? 61. JOHN Yeah I know. I have a plan. If she thinks I'm a bit crazy I can live with that. TOMMY finishes cleaning and takes a seat on the counter top near JOHN. TOMMY A plan? Making silver bullets isn't a plan Dad. It is something a dude in a white coat would check off the list to commit you. JOHN turns to regard TOMMY. He smiles warmly clearly enjoying TOMMY'S levity. JOHN I've given it some thought. The day of the full moon I'll help you make the house defensible. We'll get Ellie over here to watch you. I'll jump in the car and leave town...go drive to some remote area before moon rise. You guys wait out the night here. TOMMY Why don't I just leave and go over to Mom's? Why make it so complicated? JOHN Let's assume I am what I think I am. What do predators do? Think about what I've taught you. TOMMY Predators have a territory and a den usually. They hunt their territory. They rest in an place they feel is secure. JOHN So where would I feel most secure. Where is my den? My territory? TOMMY Home. Our neighborhood...this town. (Concerned) I'm still not seeing how me staying here is a good idea. 62. JOHN washes his hands, dries them, and grabs a seat on the counter top next to TOMMY. JOHN My point is that anybody around here is in danger if I hang around. (Rubbing chin stubble) If I go far away, everyone may be better off. If you stay here, at least you know the place and can defend it...it is your home too. TOMMY You want me to... JOHN (Interrupting Tommy) be a fail safe. If I come to town as some sort of beast, my guess is that I would find my way home...to my den. (Putting hand on Tommy's shoulder) Where a hunter will be waiting to take me out. TOMMY It puts Ellie in harms way Dad. JOHN Yes. It also gives you back-up. Ellie is a capable young woman. I trust her implicitly. TOMMY Well, she has been on a lot of our family camping and hunting trips. JOHN My point exactly. She knows what she's doing. (Noticing a knife laying out) You forgot a knife... JOHN hops off the counter and retrieves the KNIFE. He opens the dishwasher and places the KNIFE inside; CUTTING himself accidentally. Blood flows from JOHN'S finger. 63. JOHN Ouch! Shit that stings. (Clasping his injured finger) Get me a hand towel Tommy. TOMMY hops off the counter and grabs a hand towel from it's holder near the oven. He passes it to JOHN. TOMMY Here ya go! JOHN holds the hand towel to his finger to staunch the blood flow. He pulls away the towel to examine the cut. TOMMY and JOHN both watch SHOCKED as the wound stops bleeding and clots almost immediately. The wound KNITS back together as they stare at it, leaving a thin red SCAR where the cut had been. JOHN Holy... TOMMY No friggin' way! JOHN We call Ellie tomorrow. I have to go back to work. Hopefully she can swing by when you get home from school and I get off work to talk. TOMMY Somehow, I don't think she'll think we're crazy now. CUT TO EXT. CONSTRUCTION SITE - DAY JOHN sits next to a large earth-mover on a pile of lumber. He is dressed work attire and a hard-hat. Next to him sits a small lunch box, bag of chips, soft drink, and a half-eaten sandwich. Other WORKERS are seen in various areas taking a break and enjoying their lunches. JOHN takes out his CELLPHONE and makes a phone call. JOHN Hi! Ellie it's John. (beat) Oh I'm fine. Feeling much better actually. Tommy and I were wondering if you could swing by (MORE) 64. JOHN (cont'd) this evening. JOHN takes a drink and listens to the phone. The voice on the other end of the line is MUTED and INDISTINCT. JOHN Yeah. Finals are a pain for sure. I'm glad you did well. Tommy said you'd been studying a lot lately. (beat) I don't need you to watch Tommy tonight. No. Just wanted to ask about an upcoming day and discuss some things face-to-face. JOHN begins to pack up his unfinished lunch. JOHN Sure. No problem. O.K. we'll see you around 6ish. Thanks a bunch Ellie! Bye. JOHN takes his lunch box and climbs up into the earth-mover. He starts the vehicle, the diesel engine ROARS to life, and drives it towards an area where other vehicles are busily working. FADE TO INT. PARKER HOUSE LIVING ROOM - EVENING ELLIE sits on the sofa DUMFOUNDED. TOMMY sits next to her and JOHN stands across from her in the middle of the room. She SHAKES her head is disbelief. It is obvious that she has been informed of TOMMY and JOHN'S plan. ELLIE This is nuts! Do you really expect me to believe this? JOHN It's the truth El. ELLIE sits back on the sofa and crosses her arms DEFIANTLY. She looks highly IRRITATED. ELLIE The truth! You got attacked by a werewolf and now you're going to become one? (Scoffing) John you need help. I can't (MORE) 65. ELLIE (cont'd) believe you're putting Tommy through this! I understand you were traumatized, but this...this is... TOMMY (Interrupting) The truth. ELLIE (To Tommy) Really? Look I get that you love your horror movies. I do too, but this is fantasy. Werewolves are not real! (To John) You really helped him make silver bullets? To kill you if need be? Do you realize how sick that is John! ELLIE stands up DISGUSTED and makes to walk towards the front door. TOMMY stands to intervene. TOMMY Wait Ellie! Let us prove it. Please! ELLIE I don't have time for this Tommy. I'm calling your Mom! She needs to know what is happening here. JOHN steps in front of ELLIE next to TOMMY. His face is SOLEMN. JOHN takes a MULTI-TOOL out of a sheath on his hip, opens it, and exposes a small knife blade. ELLIE backs away from JOHN and TOMMY. JOHN locks the blade of the MULTI-TOOL in place. ELLIE (Fearful) Wha! What are you doing? TOMMY Proving what we said. JOHN Don't be afraid El. Just watch. JOHN quickly STABS the knife blade of the MULTI-TOOL into the palm of the opposite hand. JOHN lets out a restricted CRY of pain. He turns his hand so that ELLIE can see the 66. blade has passed all the way through; then withdraws the blade. ELLIE lets out a SCREAM and covers her mouth in DISGUST. TOMMY WINCES and allows a HISS to escape watching what JOHN did. ELLIE Oh God...oh God...oh God! JOHN (Holding up his hand) Watch. ELLIE I can't! I... CLOSE ON JOHN'S HAND The blood STOPS. The wound HEALS right before everyone's eyes. Only a faint scar remains. CLOSE ON ELLIE DISBELIEF crosses ELLIE'S face. She stares unblinking at what JOHN has demonstrated. ELLIE makes the sign of the cross. Her face goes PALE with SHOCK. ON THE GROUP TOMMY Do you believe us now El? JOHN I would never lie to you Ellie. We need your help. Please... ELLIE I... ELLIE'S eyes roll back and she FAINTS. JOHN and TOMMY both rush forward to catch her before she falls. JOHN hoists ELLIE up and places her back on the sofa. TOMMY sits next to her and cradles her HEAD. ELLIE'S POV - LATER ELLIE'S eyes open slowly. We see JOHN sitting in the chair across the room looking at a map. TOMMY stands over JOHN'S shoulder and we can see them TALKING. JOHN points to a spot on the map and TOMMY NODS in agreement. 67. ON ELLIE ELLIE sits up and gains her bearings. The bloody blade of the knife on the MULTI-TOOL is visible on the coffee table in front of her. ON JOHN AND TOMMY TOMMY notices ELLIE is awake. JOHN continues to study the map. TOMMY Dad she's up! ON THE GROUP TOMMY goes back over to ELLIE sits on the coffee table. JOHN folds up the map and smiles at her. JOHN You usually have a stronger stomach than that El. ELLIE Yeah. Well it's not like I see someone stab themselves everyday. TOMMY (Smirking) Neat trick huh? ELLIE No. Not cool. You scared the crap out of me. JOHN I'm sorry. It was the only way to convince you. ELLIE FIDGETS nervously looking from the MULTI-TOOL to JOHN and back. ELLIE Who said I'm convinced? TOMMY You would be leaving now to go call Mom, the cops, and the paddy wagon if you weren't. JOHN Can I count on you to help? 68. ELLIE looks at the floor and rubs her face with her hands. She composes herself and meets JOHN'S gaze. ELLIE I guess so. I don't know what to believe, but I know that's not normal. (Gestures to John's hand) If you think Tommy could be in danger. I'm in. JOHN Thank you. Whatever you do, you can't tell Sam. TOMMY Or anyone else for that matter. ELLIE (Sarcastically) I think your secret is safe. Not that anyone would buy it anyways. (Shaking head in exasperation) What do you want to do? JOHN Prepare. The full moon is the day after tomorrow. The doorbell RINGS. JOHN goes to answer the door and peeks out the peep-hole. PEEP-HOLE POV We see SAM at the front door. She is still dressed in business attire from work. ON JOHN JOHN looks to ELLIE and TOMMY JOHN Shit it's Sam! Tommy hide the knife and map. TOMMY slips the MULTI-TOOL under the couch cushion and drops the folded map behind the sofa. ELLIE stands and PRIMS herself quickly. 69. ON THE FRONT DOOR - EXT EVENING The door opens and JOHN greets SAM with a hug. He lets her enter the house. JOHN Hey Sam. Come on in. PARKER HOUSE LIVING ROOM SAM stands next to JOHN. ELLIE and TOMMY sit on the sofa smiling. TOMMY waves at his mom. TOMMY Hey Mom! ELLIE Hi Mrs. Parker. SAM Hey you guys. What's the occasion? I didn't think you'd be over here today El. ELLIE stands quickly, grabbing her stuff, and moves towards the front door. She is a bit NERVOUS. ELLIE (Quickly) Oh nothing much. Just dropped by for a chat. JOHN She was checking up on me again. One of your spies Sam? SAM (Laughing) Nah. Tommy keeps me posted on how you're doing. TOMMY (Looking to John) I only told her you haven't seen the doctor again yet. Honest! ELLIE Well I have to get going. I'll talk to you guys later. See ya! ELLIE hugs SAM and departs through the front door. 70. SAM (Inquisitive) You two are horrible liars. What's going on? TOMMY Huh? Nothing! JOHN What makes you think something is going on? SAM The only time El jumps up that quickly when I come into a room usually has to do with planning a surprise of some sort. TOMMY Ummm.... SAM (Narrowing her eyes at the boys) You're not trying to plan a birthday party for me are you? If so you're a bit early. It isn't until next week. JOHN and TOMMY look at each other, then back to SAM. They struggle to find words and wear a look like a deer caught in a car's headlights. JOHN (Smiling) You know we wouldn't tell you if we were. It kinda defeats the point of a surprise doesn't it? TOMMY Right! Jeez Mom. SAM Oh fine. Have your little secret. I was going to swing by Saturday evening to see if you guys want to go catch a movie. TOMMY Saturday? SAM Yeah. The day after tomorrow? 71. JOHN Can we shoot for Sunday? Saturday is already spoken for. SAM Oh? Really? What are you guys doing Saturday? TOMMY Father-son time! Right Dad? JOHN (To Tommy) Yeah! (To Sam) It's been awhile since we got to do much together. I figured we'd play a bit a catch-up. SAM seems suspicious but lets it pass. She fishes her car keys from her purse. SAM Sunday will be fine. I'll call you tomorrow and we can decide on a show. I've got to get home. These heels are killing me. Did you guys have dinner yet? TOMMY Nope! I'm starvin'. JOHN Did you have something in mind? SAM Why don't you two swing by in about an hour. I've got a pot roast slow cooking. I put it in before work and it should be ready soon. JOHN Nice! TOMMY Awesome! JOHN We'll see you there Sam. CUT TO 72. INT. HARDWARE STORE - DAY TOMMY, JOHN, and ELLIE enter the hardware store and grab a shopping cart. JOHN O.K. you know what to get. Let's grab what we need and get back to the house. MONTAGE We see JOHN picking out various items from the store racks. TOMMY digs through nails and screws on the hardware aisle until he finds the longest screws possible. ELLIE grabs nylon rope from a shelf. JOHN grabs an electric radial saw and several boards from the scrap lumber pile. FADE TO INT - PARKER HOUSE MONTAGE CONTINUES JOHN begins cutting boards with the radial saw. TOMMY and ELLIE take the boards and begin to screw them in place over all the windows on the first floor of the house. JOHN installs reinforced metal braces on the front door and back door. We see him lock new heavy-duty slide bolts into place. TOMMY takes the NYLON ROPE and goes upstairs. We see TOMMY tie the rope securely to his bed post. The rope is coiled and left sitting on his bed near the window. TOMMY takes the COLT .357 and tucks it into his waistband. END MONTAGE PARKER HOUSE LIVING ROOM - AFTERNOON The house is MESSY. Lumber scraps, sawdust, and boxes of screws are strewn about the room. The radial saw sits on the edge of the coffee table. TOMMY catches a breather on the sofa. JOHN and ELLIE come into the room still carrying tools from their work. JOHN That's all the windows and doors on the first floor. New locks and braces on all the doors. ELLIE This place looks like a prison. Are you sure this is necessary? 73. JOHN I'm not taking any chances. This stuff may not keep me out if I show up, but it should slow me down long enough... ELLIE Long enough? TOMMY takes the COLT .357 out of his waistband and sets it on the coffee table. Everybody STARES at it for a moment in silence. JOHN Enough said right Tommy? TOMMY (Sadly) Yeah Dad. ELLIE (To John) You seriously have silver bullets in that? JOHN picks up the COLT .357, opens the cylinder, and takes out a single bullet. He holds it up for ELLIE to see. ELLIE This is crazy. JOHN lets the bullet fall into the palm of his hand. The skin SIZZLES where the silver touches the flesh. ELLIE and TOMMY look WIDE EYED at a wisp of SMOKE rising from JOHN'S hand. JOHN (Dropping bullet) Ouch! (Staring at his blistered hand) Well that's new. TOMMY Well, if there was any doubt. I think it's been removed. ELLIE examines JOHN'S hand. ELLIE It's not healing like before. 74. TOMMY picks the silver bullet from the ground and reloads the COLT .357. He puts the gun back in his waistband and looks at JOHN'S hand too. TOMMY That must be why silver works on werewolves. The wound doesn't heal super fast. JOHN Evidently. (Shakes his hand) That hurts like hell. ELLIE What now? JOHN I get in the car and head out towards Saddle Springs. It's isolated and far from people. I bet it's a good 30 miles from here through some really rugged terrain...as the crow flies. Hopefully too far to walk in one night before the moon goes down. TOMMY (To Ellie) It's where we found a good fishing spot last Summer. JOHN It should take me at least 2 hours to get out to the spot. When I leave, lock the door. (Gesturing at a couple extra boards) Put those up too to seal off the door. CUT TO EXT. DRIVEWAY - AFTERNOON JOHN'S CAMARO sits idling in the driveway. JOHN opens the car door, clicks the garage door opener; CLOSING it down and turns back to TOMMY and ELLIE who patiently wait. ON THE GROUP 75. JOHN Alright. Off I go. You two be safe and don't take any chances you hear me? If there is trouble, you know what to do. TOMMY I don't know what to say...I... JOHN I love you Tommy. You too El. ELLIE (Tears welling up) I love you too John. TOMMY Dad...I... (Hugs his dad) Come home O.K.? I mean after the moon has gone down. JOHN I'll see you when I see you kid. JOHN hugs both TOMMY and ELLIE, gets into the CAMARO, and drives away down the street. TOMMY and ELLIE watch him go, then return to the house. CUT TO INT. JOHN'S CAMARO - LATER JOHN rides along in his CAMARO down a two-lane country highway. The area is remote, densely wooded, and the sun is dropping below the horizon. The CLASSIC ROCK song BAD MOON RISING by Creedence Clearwater Revival pops up on the radio. ON JOHN JOHN (Looking at the radio scowling) Really? It's gonna be like that huh? JOHN turns off the radio, checks the horizon for the rising moon, and accelerates the car. 76. JOHN (Talking to self) Just a bit further to the turn-off. EXT - ON THE HORIZON The FULL MOON begins to crest a distant hill in the dying twilight. EXT - ON JOHN'S CAMARO We see the CAMARO racing down the highway. The roar of the V8 engine FADES into the background as we move in close to the windshield. JOHN is driving with both hands on the wheel. His attention is directed to the rising FULL MOON. JOHN'S EYES take on an AMBER hue. INT - JOHN'S CAMARO JOHN sweats profusely. He looks back and forth from the road to the sky. He looks into the REAR VIEW MIRROR and GASPS. CLOSE ON - REAR VIEW MIRROR AMBER eyes stare back at JOHN. ON JOHN JOHN BLINKS several times as if trying to change what he is seeing. He accelerates significantly. The ROAR of the V8 engine becomes LOUD. JOHN Christ almighty! Not yet! CUT TO EXT. SHERIFF'S CAR ON SIDE OF ROAD - MOMENTS LATER A Sheriff's PATROL CAR sits on the side of the road. The single occupant, male, SHERIFF DEPUTY, early 20'S in uniform, WRITES a report. On the RADIO, police CHATTER can be heard. The SHERIFF DEPUTY looks up and notices a CAMARO racing down the road at high speed. The CAMARO swerves noticeably in the highway lane. It speeds past the PATROL CAR lighting up the RADAR display with a speedy 85mph. 77. SHERIFF (Talking into radio) Dispatch, this is 9 Baker 7, I have a 505. He just blew past me doing 20 over the posted; swerving wildly. The PATROL CAR pulls out, turns on the berries and cherries, and begins to accelerate after the CAMARO. DISPATCH (v.o.) 10-4, 9 Baker 7, what's your 20? ON SHERIFF DEPUTY SHERIFF Northbound on Highway 71, mile marker 30. Standby. SHOCK CUT TO INT - JOHN'S CAMARO JOHN SCREAMS horrifically. His face has become grizzled with hair. Blood streams from his nose, ears, and mouth. His mouth is filled elongated FANGS. JOHN struggles to control the car. The sounds of CRACKING bones can be heard between SCREAMS and GRUNTS. JOHN looks into the REAR VIEW MIRROR. The flashing LIGHTS of the PATROL CAR can be seen in the distance and quickly gaining. JOHN (As a distorted growl) No! Please no! TRANSFORMATION MONTAGE We see JOHN'S hands gripping the steering wheel with white knuckles. On hand opens, palm towards the camera POV. The hand STRETCHES; palm and fingers elongating. Hooked CLAWS extend out from the finger tips. The hand takes on an almost gorilla-like hand shape. Close on JOHN'S eyes we seem them darting back and forth WILDLY in fear and confusion. The eye sockets seem to bubble and distort as the face changes shape. 78. JOHN SHAKES violently in the car seat. The vehicles SWERVES as he futilely attempts to maintain control of it. JOHN'S ears elongate into points and his face distorts as a his MUZZLE extends. The continued sounds of STRETCHING flesh, and CRACKING bones can be heard. EXT - ON THE CAMARO - NIGHT The CAMARO careens off the road, slides sideways, rolls and ends up on it's side with the bottom of the car facing towards the oncoming PATROL CAR. INT - JOHN'S CAMARO We are close on JOHN'S chest. His chest inflates and expands, TEARING through his clothes, exposing dark fur underneath; the seat belt SNAPS with a POP, unable to hold in such a huge creature. We see jeans RIPPING and hear GROWLS and SNARLS. The car seat breaks loose and steering wheel is torn free as a massive shape FIGHTS for room in the now too small car. END TRANSFORMATION MONTAGE EXT - ACCIDENT SITE - NIGHT The PATROL CAR pulls up quickly to the wrecked CAMARO. The SHERIFF DEPUTY exits the vehicle to assess the situation. The headlights of the PATROL CAR illuminate the CAMARO'S bottom as it rests on it's side. The CAMARO ROCKS slightly and GROWLS can be heard. ON THE DEPUTY SHERIFF Dispatch call up an ambulance to mile marker 33! I have a 11-83. Going to check to see who's hurt. DISPATCH (v.o.) 10-4. Ambulance and units enroute. The SHERIFF DEPUTY approaches the car cautiously. SNARLS and GROWLS can still be heard. The SHERIFF DEPUTY draws his SIDEARM. SHERIFF Hey dispatch, this guy sounds like he has a large animal in his car. You might want to... 79. The CAMARO tilts ominously towards the SHERIFF DEPUTY, who backs up quickly. The sounds of CREAKING metal and glass BREAKING are heard as the CAMARO is righted to it's wheels with a thunderous CRASH. SHERIFF (Shocked) What the hell? ON THE CAMARO The hulking form of the WEREWOLF JUMPS onto the roof of the CAMARO and unleashes a blood curdling HOWL. The beast is in full view in the headlights of the PATROL CAR. ON THE DEPUTY SHERIFF (Panicking) Christ almighty! The SHERIFF DEPUTY FIRES his SIDEARM quickly. Multiple SHOTS ring out. The CREAKING of metal can be heard O.S. as the WEREWOLF approaches. CLOSE ON THE DEPUTY The SHERIFF DEPUTY SHRIEKS as he backs into the front grill of his PATROL CAR. We see a CLAWED HAND ram forward into the SHERIFF DEPUTY'S chest. CLAWS and FINGERS penetrate the bullet proof vest the SHERIFF DEPUTY wears. Blood SPURTS out around the buried FINGERS of the WEREWOLF. ON THE CAMARO The SHERIFF DEPUTY'S body is flung into the scene and slams back-first into the CAMARO; slumping to the ground with a GROAN. We see the SHADOW of the WEREWOLF silhouetted by the PATROL CAR headlights looming over the fallen SHERIFF DEPUTY. The SHADOW moves O.S. in the direction of the wood line nearby. The SHERIFF DEPUTY is left GURGLING and dying against the CAMARO. DISPATCH (V.O.) 9 Baker 7 what is your status? 9 Baker 7? CUT TO 80. EXT. FOREST - NIGHT We see a deer standing in a small clearing. The sounds of CRACKLING undergrowth startle the animal. The deer BOLTS. Heavy BREATHING and GROWLS can be heard. ON WEREWOLF We follow the SHADOWED form of the WEREWOLF over the shoulder moving through some trees and onto a bluff overlooking a forested valley. The distant lights of a city sparkle. We pull back seeing the shape of the WEREWOLF standing on the bluff with the FULL MOON in view. CUT TO INT. GAS STATION - NIGHT An overweight ATTENDANT, mid-30's, with glasses inventories items behind the register counter. A CUSTOMER, mid-20's, male, enters the GAS STATION, a JINGLE of bells can be heard. The CUSTOMER grabs some snacks, and approaches the register. ATTENDANT Evening. How can I help you? CUSTOMER (Puts snacks on the counter) Just these...and $20 on pump 2 please. ATTENDANT (Ringing up items) That comes to $25.37. (Bagging items) Sure you don't want a lottery ticket too? The jackpot's up to 3 million now. CUSTOMER (Chuckling) Nah. I'm not that lucky. I'll stick to poker night...better odds. ATTENDANT Yeah right eh. I know the feeling. The best luck I've had is winning 10 bucks after spending 20. (Hands items to the customer) (MORE) 81. ATTENDANT (cont'd) Receipt in the bag? CUSTOMER Thanks fine. Have a good one. ATTENDANT You too. The customer exits the GAS STATION and walks towards his car. The ATTENDANT goes back to performing an inventory of items. We can see SECURITY MONITORS of the gas pumps behind the ATTENDANT. ON SECURITY MONITORS We see the CUSTOMER put his bag in the open window of his car. He begins to pump gas. The man suddenly looks terrified. He tries to run but is TACKLED by the WEREWOLF. We see the CUSTOMER silently torn limb from limb. The ATTENDANT goes about his business oblivious to what is happening outside. ON THE ATTENDANT The ATTENDANT HUMS an off-tune ditty. A huge dark shape moves up to the GAS STATION door. We hear the JINGLE of bells. The ATTENDANT focuses on his work and does not immediately turn around. ATTENDANT Will be right with you. O.S. we hear HEAVY foot balls and a dull THUD accompanied by SQUISHY sounds. The ATTENDANT turns around. The camera pulls back slightly to include the counter and register. We see a CLAWED HAIRY HAND and part of a forearm gripping the head of the CUSTOMER like a basketball player might palm a ball. The face of the head is contorted in fear and pain. EXT - GAS STATION - NIGHT Muted SHRIEKS are heard from inside the GAS STATION as well as ROARS. A massive dark form can be seen vaguely through the windows. FLAILING movements are seen. Blood SPLATTERS on the windows. The camera moves slowly back taking in the scene of carnage. Blood splatters here. A dismembered body part there. The camera comes to rest focusing on a massive wolf-like footprint inked in blood on the ground near the CUSTOMER'S car. CUT TO 82. INT. PARKER HOUSE - NIGHT ELLIE paces about nervously between the kitchen and living room. She has armed herself with TOMMY'S BOW. TOMMY enters the scene holding 3 arrows. The broad head hunting tips gleam SILVER. TOMMY approaches ELLIE. TOMMY (Holding arrows) Check these out. There was enough silver left over to dip the tips of these. Now we have more than just the gun. ELLIE takes the arrows and examines the crudely dipped broad heads. ELLIE Don't you think the gun is enough? TOMMY It should be, but I don't like the idea of you not having something to protect yourself. TOMMY walks over to the TV and turns it ON. The local Channel 7 News is playing. The COMMENTATOR, and attractive female, is discussing breaking news. ON THE TV COMMENTATOR This just developing...A local deputy sheriff has been killed by an unknown assailant following an accident on Highway 71. Footage is shown of law enforcement cordoning off the site. Ambulances and patrol cars can be seen. The news feed focuses on the wrecked remains of JOHN'S CAMARO. A body is covered by a sheet next to it. COMMENTATOR (V.O.) The Sheriff's Department has not provided a statement yet or identified the victim pending the notification of next of kin. ON TOMMY AND ELLIE TOMMY and ELLIE stare incredulously at the TV. 83. TOMMY That's Dad's car! ELLIE Oh no. ON THE TV A couple of SHERIFF DEPUTIES can be seen with dogs on leashes heading into the woods. Another officer moves into view partially blocking the scene to direct traffic. COMMENTATOR (V.O.) We'll keep a tab on this situation and provide further updates as they come in. TOMMY turns the TV back off, and faces ELLIE. ON TOMMY AND ELLIE TOMMY He's out there now. He's coming. ELLIE (Scared) We don't know that for sure. He may stay out in the woods. The Sheriffs might... TOMMY If they find him, they won't make it out alive El. Did you see what direction those dogs were headed? ELLIE No. They went into the woods. TOMMY I've been out that way a lot with Dad and Hooch. The dogs were headed back our way. To town. TOMMY walks over to the foot of the stairs and begins to climb. He looks back to ELLIE. TOMMY Let's head upstairs. We'll have a better view from the upper windows. 84. ELLIE Which way do you think he will be coming from? TOMMY Backyard. It is the side of the house with the best cover and concealment. If he beelines from the accident site. It's where we can expect him. ELLIE Ok. Let's go. ELLIE follows TOMMY upstairs. TOMMY shuts off lights as he moves along, leaving most of the house in darkness except for the living room. ELLIE What are you doing! I can't see. TOMMY Light ruins your dark vision. It also makes it harder to see outside at night and easier to see in. Not exactly what we want. ELLIE You really are your Dad's son. Lead on Rambo. TOMMY You're the one with the bow. INT - TOMMY'S BEDROOM - NIGHT TOMMY sits at the edge of his bed looking out his bedroom window. The window is open halfway to allow the breeze in. There is a clear view of the backyard and tree house. ELLIE stands nearby with BOW in hand and a SILVER ARROW knocked. The COLT .357 rests on TOMMY'S lap. CUT TO EXT. FOREST NEAR PARKER HOUSE - NIGHT Light from the FULL MOON, now high in the night sky, shines down through the trees above. Distantly, the lights from various houses can be seen through the trees. The WEREWOLF approaches the homes quietly. HEAVY breathing can be heard. WEREWOLF POV 85. CLAWED HANDS are seen brushing aside branches. We approach the backyard of the PARKER HOUSE. A FAINT light from the living room shines from one of first floor windows. The old tree house and archery target can be seen. We move closer to the house through the trees. CUT TO INT. PARKER HOUSE - NIGHT TOMMY and ELLIE maintain their vigil in TOMMY'S BEDROOM. TOMMY'S cellphone RINGS. The cellphone caller ID shows "MOM". TOMMY answers the call. TOMMY Hey Mom. SAM (V.O.) Hey hunny. I'm just pulling up to the house. I know you said you were having a boys night, but I see El is there. I thought I'd swing in to say hi. TOMMY Umm. It's not a great time Mom. Something came up. SAM (V.O.) Well I'm here now, so you can tell me about it in a sec. TOMMY ends the call. TOMMY (To ELLIE) Mom's here! Not good! ON ELLIE ELLIE stifles a SCREAM and points FRANTICALLY out the bedroom window. TOMMY goes to the window quickly and looks out. A huge furred shape exits the treeline behind the backyard. It is illuminated faintly by moon light, but AMBER eyes can be seen gleaming hatefully. 86. ON TOMMY TOMMY Mom! I gotta get her inside. Ellie slow him down! TOMMY grabs the COLT .357 and races out of the room. Downstairs the doorbell RINGS. ON ELLIE ELLIE wrenches the window open fully. The breeze blows the drapes. ELLIE sees the WEREWOLF padding closer. It moves past the archery target towards the house. She draws back on the BOW and fires a shot. ON THE WEREWOLF The shot from the BOW embeds itself in the ground in front of the WEREWOLF. The creature stops and SNARLS. It's AMBER eyes look up to the open window on the 2nd floor of the PARKER HOUSE. IN THE ENTRY WAY SAM RINGS the doorbell again then tries the door. It does not open. SAM Open up you guys. TOMMY (V.O. muted) The door is jammed Mom! Go in through the garage quick! SAM Jammed? O.K. I'll go click the opener. TOMMY (V.O. muted) Hurry! SAM seems mildly confused and strolls over to her car to push the garage opener. The door opens slowly and NOISILY. ON TOMMY TOMMY races into the garage and watches the garage door open painfully slow. He has the COLT .357 in his hand. SAM enters the garage and is startled by her son's appearance and the weapon he carries. 87. ON ELLIE ELLIE can faintly hear the WHIR of the garage door opening. The WEREWOLF'S attention is suddenly gained by the NOISE. It moves faster across the backyard. ELLIE knocks another arrow rapidly. ELLIE Oh no you don't! ELLIE fires again. The SILVER ARROW connects with the WEREWOLF in the thigh. The beast ROARS in pain, grabs the arrow shaft in one CLAWED HAND and rips it free. It's attention is again directed at the open window on the 2nd floor. The beast lopes across the remainder of the backyard shockingly quick. It reaches the backdoor of the house. IN THE GARAGE SAM approaches TOMMY and hears a distant ROAR. She is highly alarmed. SAM Tommy why do you have a gun! What the hell was that noise! TOMMY punches the garage door button, bringing the door down again painfully slow. TOMMY No time to explain! Get upstairs quick! TOMMY grabs SAM'S wrist with his free hand and drags her into the house. SAM resists and wrestles her arm free once they leave the garage. IN THE LIVING ROOM TOMMY stops to face his Mom. SAM stands with her hands on her hips looking extremely angry. SAM Tommy! Where is your... A thunderous CRASH is heard from the Kitchen and backdoor. A monstrous ROAR and the sounds of SPLINTERING WOOD can be heard. 88. TOMMY Go! Now Mom! Upstairs. Ellie is there! TOMMY cocks the COLT .357 and points towards the doorway to the kitchen. SAM hesitantly starts up the stairs; confused and scared. ELLIE races out the landing at the top of the stairs and calls out for SAM. TOMMY nervously watches the doorway to the kitchen. His hands SHAKE profusely. A low GROWL can be heard in the darkened kitchen. TOMMY'S POV We see the darkened doorway to the kitchen. CLAWED fingers reach out and slowly grip the edge of the door frame. A pair of AMBER eyes round the corner. A shadowy shape starts to fill the doorway. TOMMY'S hands quiver in fright in the FOV. TOMMY fires the COLT .357. The SILVER BULLET strikes the door jamb sending splinters flying. He fires again. The AMBER eyes close, the CLAWED fingers withdraw into darkness. A powerful ROAR emanates from the darkened doorway. ON TOMMY AND SAM SAM SCREAMS. TOMMY backs quickly to the stairs and uses one free hand to push SAM upstairs. TOMMY does not take his eyes off of the kitchen doorway. TOMMY (To SAM) Run! ELLIE (O.S.) Come on! Get up here! SAM runs upstairs. TOMMY keeps his back to the wall and side steps quickly up the stairway. ON ELLIE AND SAM SAM and ELLIE move down the upstairs hall to TOMMY'S room. UPSTAIRS LANDING ON TOMMY 89. TOMMY gets to the top of the stairs. Backs up to the wall in the hallway and continues to point the COLT .357 towards the stairwell. O.S. a furious ROAR and GROWL resounds from below. TOMMY Come on. Come out in the open. One clear shot... There is an eerie SILENCE. TOMMY breathes HEAVILY. The sound of TOMMY'S HEARTBEAT pounds continuously. The sounds SCRATCHING and BREAKING GLASS are heard upstairs behind the closed door to JOHN'S room at the end of the hallway. TOMMY spins quickly to face the noise. TOMMY (Frantic) Shit! He climbed up! Get back! ON ELLIE AND SAM ELLIE SQUEAKS in fear and backs into TOMMY'S open bedroom door. SAM tries to follow but the door to JOHN'S bedroom EXPLODES outward in a spray of splinters, claws, and fury. The huge WEREWOLF fills the entire hallway with girth and height. The monster snatches SAM by the shoulder and hurls her sideways through the upstairs railing; sending her to CRASH in a still lump in the 1st floor living room. She lays still covered in broken wood. TOMMY (Screaming) MOM! INT - UPSTAIRS HALLWAY TOMMY fires the COLT .357 again. The SILVER BULLET strikes the WEREWOLF high in the right shoulder. Blood splatters and the wound SIZZLES streaming a line of smoke. The fur of the creatures burns away and recedes from the bullet hole. The WEREWOLF HOWLS in pain, then CHARGES TOMMY. ELLIE steps in to intercept the WEREWOLF, blindsiding in the left armpit with the last SILVER ARROW used like a dagger. The WEREWOLF SNARLS, smoke trailing from the wound. It attempts to turn on ELLIE who quickly steps back and slams the door to TOMMY'S bedroom in it's face. TOMMY (Screaming) DAD! NO! LEAVE HER ALONE! 90. TOMMY fires again. The bullet strikes the beast in the stomach. It ROARS in agony. The wound SIZZLES like the the others. The WEREWOLF clutches it's stomach, and resumes it's CHARGE. TOMMY quickly glances down to where SAM lies and JUMPS down; avoiding the slavering monster. He hits hard, tumbles, and drops the COLT .357. ON THE STAIRS The WEREWOLF, obviously SLOWED by it's wounds, pads cautiously down the stairs. The wooden steps CREAK loudly under the bulk of the massive creature. The AMBER eyes burn with malice. ON TOMMY TOMMY struggles to drag himself to the fallen COLT .357 a few feet away. He has twisted his ankle badly and now lays near where SAM is unconscious. TOMMY (Reaching for the gun) Dad...no....please. DAD IT'S ME! TOMMY'S POV The WEREWOLF looms over TOMMY. The beast raises a CLAWED HAND back and SNARLS. In the b.k. we see ELLIE move up on the landing, draw back the BOW, and fire the last SILVER ARROW. It strikes home into the WEREWOLF'S back sending the monster sprawling onto the floor near TOMMY. LIVING ROOM TOMMY clamors to move out of the WEREWOLF'S reach, grabs the COLT .357, and uses the coffee table to pull himself unsteadily to his feet. ON THE WEREWOLF The monster WRITHES in agony. Low GROWLS and WHINES accompany it's movements. The beast rolls on its back, the shaft of the SILVER ARROW SNAPS under it's weight. The monster begins to revert somewhat to it's human form. The legs are still distorted in a wolf-like shape, the snout remains partially extended, but much of the hair has receded. We see the AMBER eyes fade and return to a human hue. The monster GURGLES loudly on blood and saliva. 91. ON TOMMY TOMMY stares on in shock. He raises the COLT .357 trembling. ELLIE moves O.S. behind him. ON THE JOHN-WOLF The JOHN-WOLF stares up at TOMMY and ELLIE. Tears well in the corners of it's eyes. It remains in a state of partial transformation; hulking and broken. JOHN-WOLF (In a gutteral broken voice) Do...it...Tom...my. (Reaching out with a clawed hand) End...it. ON TOMMY AND ELLIE Both breaking down into tears. TOMMY wavers in his conviction to shoot. ELLIE drops her BOW and covers her mouth with her hands. ELLIE (Sobbing) John. I'm sorry. TOMMY Dad I can't do it! I can't. Please no! ON THE JOHN-WOLF The JOHN-WOLF is in obvious pain and crippled. JOHN-WOLF (In a gutteral broken voice) You...can. We...don't all...get to come home. JOHN-WOLF'S POV We see the CLAWED HAND reach up towards TOMMY in a pleading gesture. TOMMY nods solemnly, cocks the COLT .357, and takes aim. TOMMY (Voice breaking) I love you Dad. 92. TOMMY fires. The scene goes black instantly. ON TOMMY, ELLIE, AND SAM TOMMY drops the COLT .357 and hobbles over to where SAM has fallen. ELLIE accompanies him. They gently sit SAM up and try to wake her. SAM opens her eyes and sees TOMMY and ELLIE smiling profoundly at her with tears in their eyes. SAM (Wearily) Tommy? El? Are you alright? TOMMY and ELLIE nod an affirmative. TOMMY Yeah Mom. We're O.K. SAM looks around and sees the mutated form of the JOHN-WOLF on the floor nearby. Blood and brain-matter are splattered on the floor under his head. A still SIZZLING bullet hole is in the center if his forehead. The monster is unrecognizable as JOHN for those who do not know. SAM (Fearfully) What the hell is that! Where is your Dad!? TOMMY (Cautiously) Dad left earlier. (More certain and less nervous) He didn't come home. ELLIE It's gonna be hard to explain. The sound of police SIRENS can be heard. The muted sounds of VOICES approach the front door of the PARKER HOUSE. SAM, TOMMY, and ELLIE hold each other in a comforting embrace. All three stare at the strange macabre scene in the living room. The camera pulls back slowly towards the upstairs landing. CUT TO 93. EXT. PARKER HOUSE AERIAL - NIGHT We slowly pull back from the PARKER HOUSE. POLICE cars and personnel can be seen in the front yard. We pull back and away from the house as it fades into the distance. The FULL MOON can be seen in frame. ROLL CREDITS MID CREDITS; EXT - FOREST - NIGHT Near the river's edge we see four CAMPERS sitting around a fire. We cannot hear their words, but we can see they are having fun and carrying on happily. The camera zooms slowly into the scene, voices and sounds never becoming distinct. The camera zooms slowly past the campers on a pair of AMBER eyes glinting in the flickering fire light. The camera continues to zoom. CUT TO BLACK A long mournful HOWL is heard as a V.O. REMAINING CREDITS ROLL FADE OUT.
  13. Hey everyone. The last two Friday The 13th comics I checked out were fun but not amazing. THIS on the other hand is amazing. Check it out and recommend the next comic featuring a 80s horror icon I should check out. https://www.youtube.com/watch?v=eikFgcCiOqg&feature=youtu.be
  14. Best horror character ever? Lets have a civil argument about it.
  15. Note: This does not count non-canon stuff like Comics and Video games! Off-scene kills DO count! and ACCIDENTIAL KILLS DO NOT COUNT! and this is in order of highest to lowest! If you have anyone wanted to the list PM me directly! Jason Voorhees Kill Count is 155 kills (not including Friday the 13th Part 1 or Friday the 13th Part 5) or 150 (No counting the 4 teens off-screen in Part 8 and if you don't count Paul and No reboot!) Hannibal Lecter Kill Count is 98 Kills Michael Myers Kill Count is 80 kills (Not including the season of the witch and No Reboot!) John Kramer Kill Count Victor Crowley Kill Count is 56 Kills (Gator kill doesnt count since it wasn't by crowley.) Angela Baker Kill count is 55 Kills Leprechaun Kill Count is 45 kills Freddy Krueger Kill Count is 42 kills Chucky (Charles Lee Ray) Kill Count is 38 kills (Or 40 kills) Death/Fate (Final Destination) Kill Count is 39 kills Pinhead Kill Count is 35 Kills Leatherface (Original) Kill Count is 31 kills CandyMan Kill Count is 22 Kills Carrie White Kill Count is 22 Kills Jeepers Creepers Kill Count is 21 Kills Norman Bates Kill Count is 17 Kills Pennywise (Original) Kill count is 9 Kills
  16. Whats the latest horror movie you watched? The latest one i watched was... F13 New Blood. Watched it recently because at first glance it didnt seem like a good movie at all.
  17. Hello Everyone, I'm Jin! I have over 1,700 hours in game! I love this game and the team. I'm also working on a degree in design and media! So hopefully after I graduate soon, I'd LOVE to work for this company! My steam name is the same if you want to add me, I'm very active on the forums there as well. I'd love to see what this forum is like! Also, my main is Jenny Myers! My Youtube Channel is also under the same username!
  18. So I had a thought about some modes that could be cool to play. I thought of a 4 vs 4 mode that allows each side to have one Jason and they must try to kill the other teams Jason. In this mode each teams Jason can't kill the counselors but, can slow them down by throwing knives and placing traps. This is just a little idea and could be tweaked but I think some sort of 4 vs 4 could be cool with a good idea...?
  19. At this point I have lost hope for this game. I have been keeping track of how many times my game just ends all of sudden. Mind you that my internet is good, usually its around 100. Today that screen pop up 9 times in a span of 4 hours?! What's the problem? Is it the sservers? Glitch? Idk its just frustrating when you are literally about to escape with a car or by the cops and your game just crashes smh. Has this been happening to y'all? Is there any way to try to fix this or do something to minimize this crashes?
  20. Oh, hello! I didn't see you there, and that's probably why I'm dead. I'm a little late getting to the forum here, but I started playing Friday on PS4 around the October Friday the 13th event. I'm always stoked to meet new folks with a passion for horror and cooperative survival. I'm a twenty-three year old writer and fuel station attendant with a Bachelors in English, with emphasis in Creative Writing. Horror has been my favorite genre for as long as memory serves. My favorite horror authors are H.P. Lovecraft, E.A. Poe, Michael Wehunt, and Steven King. I grew up playing Silent Hill, Resident Evil, and watching Horror flicks as often as I could. I'm stoked to be a part of this community and hope to see all of you on the campgrounds! If you have any questions, feel free to ask!
  21. Hey guys this is a topic in which I want to hear everyone's thoughts on the recently released Cult of Chucky. I know this is a Friday the 13th forum, but I'd love to hear your thoughts and share some of my own!
  22. For some reason i always found that things from the past always seem creepier... Weither it's something from the 19th century (1800's) or from the early 20th century (1900 to 1960). Weither it's some kind of creature or a ghost or even aliens...the designs for those look creepier. Those things always come from old tales,folklore,poems,legends and old nursery rhymes,those kind of creatures. Here are a few exemples: Other's exemple: the creature from IT, the Slenderman (even tough that one is a modern creation),old creepy dolls,etc. Heck even old vintage halloween costumes pictures look creepy... https://www.google.ca/search?biw=1280&bih=909&tbm=isch&sa=1&ei=XFwnWuWuHKGc_QblnL24CA&q=old+halloween+pictures&oq=old+halloween+pictures&gs_l=psy-ab.3...51.3453.0.3572. It's all about the designs and the eerie atmosphere those gives... What do you guys think ? Do you also find those creepy ?
  23. Spreading some Christmas spirit Voorhees style https://www.youtube.com/watch?v=6Z4NCJu3tsY
  24. Hey all! My name's Luke, or SickVeins on YouTube. I joined this community hoping to find some more PS4 gamers to collaborate with on Friday The 13th. I have 5K subs and livestream the game roughly 4-5 days a week. For anybody interested, my PS4 tag is Laidbackluke2011. See you there!
  25. Just a few i made i have about 15 or so. I make these for Kodi, Emby and Plex.
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