silent night, deadly night part 2

SILENT NIGHT, DEADLY NIGHT

Part II

Screenplay by

Lee Harry

Joseph H. Earle

Story by

Lee Harry

Joseph H. Earle

Dennis Patterson

Lawrence Appelbaum

Based on characters created by

Michael Hickey

and

Paul Caimi

1986 DOUBLE ENTENDRE PRODS., INC. FIRST DRAFT

Registered WGA #352895 10/31/86

NOTE TO READER

This screenplay was originally written in shooting script format.

Scene headings that read "ORIGINAL FILM" are excerpts from "Silent Night, Deadly Night Part 1" and are intended for use

as flashback sequences.

The descriptions that follow these headings may be slightly confusing to readers unfamiliar with the first film.

L.H.

SILENT NIGHT, DEADLY NIGHT

Part Two

CREDIT SEQUENCE -- DAY

1 1ECU -- FOOT

A foot taps nervously on the white tile floor. After a moment, the CAMERA CRANES SLOWLY UP the PANT LEG, pausing at a strong male hand grasping a smoldering cigarette. The CAMERA FOLLOWS THE SMOKE and finds a profile in silhouette, head in hand, fingers obscuring the face. He rubs his eyes. The SOUND OF FOOTSTEPS begins to echo into the scene. They get louder and louder...

1A 1ABLANK FRAME/ECU -- RICKY

The menacing face of RICKY CALDWELL rises INTO FRAME. He is twenty years old and ruggedly handsome. The FOOTSTEPS are pounding and Ricky looks quickly to his left.

1B 1BECU -- DOORKNOB

The door opens INTO CAMERA and we QUICKLY DOLLY BACK as light FILLS THE FRAME. A huge BLACK ORDERLY blocks the doorway. He holds a reel-to-reel tape recorder. He enters the room, closing the door behind him.

1C 1CECU -- RICKY

He shakes his head in silent comment.

1D 1DECU -- HAND

Ricky drops the cigarette.

1E 1EECU -- FOOT

The butt hits the floor and he crushes it under his shoe.

1F 1FCU -- TABLE

Black hands place the tape recorder on the table, then unwrap the electrical cord.

1C 1CBACK TO RICKY

He glances at the orderly.

1G 1GMED -- ORDERLY

He bends over and moves to plug the machine into a wall outlet.

2.

1H 1HECU -- ZIPPO

The metal lighter SNAPS OPEN with a huge CLANG!

1J 1JCU -- ORDERLY

He whips his face around toward Ricky.

1H 1HECU -- ZIPPO

Ricky moves the lighter to his cigarette and lights it, then CLICKS the Zippo shut. He exhales smoke.

1J 1JBACK TO ORDERLY

He turns back to the wall.

1K 1KCU -- WALL SOCKET

The orderly's hand plugs in the cord.

1H 1HBACK TO RICKY

He takes a drag and watches the orderly.

1L 1LMED -- ORDERLY

He walks to the door, opens it and stands to the side. The CAMERA CRANES DOWN TO THE FLOOR as a pair of expensive SHOES enter the room. We FOLLOW THE SHOES to the table and CRANE UP as a notebook is placed down, along with a pile of 1/4" tapes.

1M 1MCU -- DOOR

The door SLAMS SHUT and BLACK HANDS with keys lock it tight. PAN TO the Orderly as he settles back against the wall and watches Ricky.

1H 1HBACK TO RICKY

He smokes his cigarette.

1N 1NCU -- TABLE

The first roll of tape is being threaded onto the machine.

1P 1PECU -- ORDERLY

He shifts his gaze toward the table, then back at Ricky.

3.

(CONTINUED)

1H 1HBACK TO RICKY

He smokes.

1N 1NBACK TO TABLE

The machine is CLICKED on, a microphone is aimed at Ricky and we PULL FOCUS as DOCTOR BLOOM sits down behind the table, notebook in hand. He stares at Ricky, then glances at the Orderly.

BLOOM

You can leave now.

1P 1PMED -- ORDERLY

He starts to protest.

1R 1RCU -- BLOOM

BLOOM

(cutting him off)

Now.

1S 1SMED -- ORDERLY

He shoots a look toward Ricky and exits. PULL FOCUS to Ricky (PROFILE) as he takes a drag and smiles to himself. The door SLAMS.

1T 1TWIDE -- CELL

LEGEND: "Christmas Eve"

The Doctor and Ricky are FRAMED ON OPPOSITE SIDES OF THE ROOM. There is a strained silence. Finally, the Doctor leans back in his chair and speaks.

BLOOM

My name is Dr. Bloom. You can call me Henry. Or if you would feel more comfortable, you can just call me "Doc."

Ricky turns in his chair.

RICKY

Fuck off. Doc.

1R 1RBACK TO BLOOM

He smiles and crosses his legs.

4.CONTINUED:

BLOOM

I'm not one for games, Ricky. My time is very valuable.

1V 1VCU -- RICKY

He crushes the butt under one foot.

RICKY

Mine isn't?

1R 1RBACK TO BLOOM

BLOOM

Your time is running out, son. I'm your last chance.

1V 1VBACK TO RICKY

He suddenly stands and walks to Bloom.

RICKY

(yelling)

Yeah? What makes you think you can bullshit your way into my head like every other pencil-neck piece of --

1W 1WMED -- DOOR

The Orderly bursts into the room and checks out the scene.

1R 1RBACK TO BLOOM

He whips his head around toward the Orderly.

BLOOM

I told you to get out!

1W 1WBACK TO ORDERLY

The large man stops cold.

1R 1RBACK TO BLOOM

The Doctor turns back to Ricky.

BLOOM

Sit down, Ricky.

1V 1VBACK TO RICKY

The young man hesitates, then moves back to his chair.

5.

1X 1XLOW ANGLE -- CHAIR

Ricky sits down.

1V 1VBACK TO ORDERLY

The large man shakes his head and exits.

1R 1RBACK TO BLOOM

The Doctor turns his attention back to Ricky.

RICKY

Hey, pretty slick, Doc.

1V 1VBACK TO RICKY

RICKY

(continuing)

You're a real ball of fire.

1R 1RBACK TO BLOOM

BLOOM

I need to ask you something.

1V 1VBACK TO RICKY

He pulls out another smoke and moves to light it.

RICKY

Shoot. It's your dime.

1R 1RBACK TO BLOOM

BLOOM

(nodding)

It's my dime.

1R 1RCLOSER -- BLOOM

BLOOM

(continuing)

Who killed your parents?

1Y 1YMED -- LIGHTER

The lighter pauses in mid-strike. The CAMERA TILTS UP to Ricky's face.

RICKY

You really want to know?

6.

(CONTINUED)

1R 1RCLOSER -- BLOOM

BLOOM

Who, Ricky? Who did it?

1Y 1YBACK TO RICKY

The CAMERA QUICKLY DOLLYS to Ricky's face.

RICKY

Santa Claus.

DISSOLVE TO:

ORIGINAL FILM -- FAMILY DRIVES -- DAY

RICKY (V.O.)

(continuing)

It was Christmas Eve. I was just a baby and Billy was only seven, but he knew all about Santa Claus.

ORIGINAL FILM -- CONVERSATION IN CAR -- DAY

DISSOLVE TO:

ORIGINAL FILM -- FAMILY DRIVES -- NIGHT

RICKY (V.O.)

It was night by the time we reached the turnoff. I don't know what made them stop...

(laughs)

Actually, I do know what made them stop. Billy was there. Billy told me everything.

ORIGINAL FILM -- FAMILY MURDER SPREE -- NIGHT

As Billy runs into the woods and Ricky cries in the back seat:

RICKY (V.O.)

It was him. Jolly Saint Nick. With a knife in his hand.

Billy cowers in the bushes as Ricky screams.

2 2INT. CELL -- DAY

Ricky sits in his chair staring into space as the CAMERA DOLLYS slowly around him.

7.CONTINUED:

RICKY

(quietly)

Bastard. He left us out there to die.

2A 2AMED -- BLOOM

The CAMERA DOLLYS around him.

BLOOM

That was a long time ago. How could you remember all of that?

2 2BACK TO RICKY

RICKY

(in a trance)

Because I lived it.

(snaps out of it)

You know, I don't like your attitude, Bloom.

2A 2ABACK TO BLOOM

BLOOM

My attitude is not the issue, Mr. Caldwell.

2 2BACK TO RICKY

RICKY

Oh, I forgot.

2A 2ABACK TO BLOOM

The Doctor flips through several pages of his notes.

BLOOM

Tell me about your stay at Saint Mary's orphanage.

2 2BACK TO RICKY -- CLOSER

RICKY

I hated that fucking place...

DISSOLVE TO:

ORIGINAL FILM -- EXT. ORPHANAGE -- DAY W/SNOW

RICKY

(continuing)

It was rough on both of us. And Christmas time was always the worst.

8.

ORIGINAL FILM -- INT. CLASSROOM -- DAY

RICKY (continuing)

It didn't exactly bring out the best in Billy.

ORIGINAL FILM -- from OFFICE to BELT

3 3FLASH CUT CLOSE-UPS of Ricky on each belt hit.

RICKY

She --

(BELT HIT)

Was --

(BELT HIT)

Naughty!

3A 3AWIDER OF SAME

Ricky is leaning across Bloom's table and he brings his fist down on the fourth beat.

3B 3BHIGH ANGLE -- BLOOM (OS RICKY)

Bloom raises an eyebrow and scribbles on his pad.

3A 3ABACK TO RICKY

He gets no reaction from Bloom and turns away, hmmphing and shaking his head as he moves to the window.

RICKY

I can see it means a lot to you. Well, it didn't get any better after that...

ORIGINAL FILM -- BAD DREAMS

RICKY (V.O.)

Billy had dreams. Bad dreams. Every day I'd hear about them. But every night he'd live them.

ORIGINAL FILM -- M. SUPERIOR TIES BILLY TO BED to ORPHANAGE NIGHT

AUDIO NOTE: Get YOUNG RICKY voice to react to BILLY tied to bed. Get OLDER BILLY voice to react back.

RICKY (V.O.)

Mother Superior had a "thing" about discipline; What was naughty, and what wasn't.

9.

ORIGINAL FILM -- CHRISTMAS DAY

RICKY (V.O.)

But on Christmas Day, it all went straight to hell.

ORIGINAL FILM -- XMAS to BILLY FREEZE-FRAME

RICKY (V.O.)

No one heard him screaming...

MATCH DISSOLVE TO:

4 4INT. CELL -- DAY

Ricky stands in the corner, mimicking his brother's face.

RICKY

(continuing)

But I did.

4A 4AECU -- TAPE REEL

The tape runs out...

4B 4BECU -- TAPE HEAD PATH

... And past the heads...

4C 4CECU -- TAKE-UP REEL

... And onto the full reel. It spins freely.

4D 4DCU -- BLOOM

He looks up over his glasses.

4 4BACK TO RICKY

He pushes himself off the wall and wanders over to the window. DOLLY WITH HIM.

4E 4EMED -- BLOOM

The Doctor loads another tape. He glances toward Ricky at the window.

BLOOM

What do you see out there?

10.

(CONTINUED)

4 4BACK TO RICKY

RICKY

Bars.

4E 4EBACK TO BLOOM

He starts the recorder and leans back in his chair, then pulls a pipe and tobacco from his coat pocket and loads it up.

BLOOM

Let's jump ahead.

4 4BACK TO RICKY

RICKY

Let's.

4E 4EBACK TO BLOOM

BLOOM

Your brother eventually left the orphanage.

4 4BACK TO RICKY

RICKY

Yeah.

4E 4EBACK TO BLOOM

BLOOM

Left you alone.

4 4BACK TO RICKY

He snaps his head toward the Doctor.

RICKY

(harshly)

He didn't leave me.

(calmly)

He was eighteen.

ORIGINAL FILM -- PAN UP TO BIG BILLY IN TOY STORE

RICKY

(continuing)

Sister Margaret got him a job at a local toy store.

11.CONTINUED:

(CONTINUED)

ORIGINAL FILM -- TOY STORE STUFF to SISTER MARGARET @ STORE

DISSOLVE TO:

5 5INT. CELL -- DAY

Ricky spins around and points TOWARD CAMERA.

RICKY

(yelling)

But it wasn't his fault. It couldn't be!

5A 5ALOW ANGLE -- BLOOM

The Doctor taps his pipe in the ashtray and reloads it.

BLOOM

(calmly)

Then... who's fault was it?

5 5BACK TO RICKY

He turns away and sits on the table's edge. CAMERA DOLLYS to his back. He turns to a quarter profile.

RICKY

It was that bitch Superior. She made him do it.

BLOOM (V.O.)

Was Billy being naughty?

RICKY

(anticipating)

No.

(whisper)

They were naughty.

ORIGINAL FILM -- POOL TABLE (TAPE DECK ON) -- NIGHT

RICKY (V.O.)

(continuing)

He punished the "bad" ones.

BLOOM (V.O.)

How did he know who the "bad ones" were?

RICKY (V.O.)

He didn't have to look very far...

ORIGINAL FILM -- POOL TABLE to LITTLE GIRL W/KNIFE

12.CONTINUED:

RICKY (V.O.)

Billy always loved children.

ORIGINAL FILM -- BILLY EXITS HOUSE

DISSOLVE TO:

6 6ECU -- TAPE RECORDER

The reels spin silently.

BLOOM (V.O.)

But the others were innocent.

RICKY (V.O.)

Oh, no. They deserved it.

DISSOLVE TO:

6A 6AECU -- RICKY

The young man stares PAST CAMERA, his eyes replacing the tape reels.

RICKY

But no one understood. Not even the police.

ORIGINAL FILM -- COP CAR -- NIGHT (BREAKS INTO HOUSE) TO BILLY ON DARK ROAD

RICKY (V.O.)

Daddy almost got his present early. But Billy was miles away. It was something to see -- Cops stopping every Santa between here and the state line.

ORIGINAL FILM -- BILLY WATCHES COP CAR PASS

RICKY (V.O.)

(continuing)

But that didn't matter to Billy. He knew the roads, the shortcuts. He knew exactly where he was going. And nothing was going to stop him. At least, not for long.

ORIGINAL FILM -- SLED BULLIES to HEADLESS RIDER

RICKY (V.O.)

Billy hated bullies, but he was starting to leave a bloody trail...

ORIGINAL FILM -- POLICE HQ to SISTER'S "Oh, my Lord."

13.

(CONTINUED)

7 7ECU -- RICKY

He stares INTO CAMERA. Slowly ZOOM OUT.

RICKY

Sister Margaret had it figured out. She always knew the score. But Mother Superior called the shots.

7A 7AMED -- BLOOM

BLOOM

It's fairly obvious where he was going.

7B 7BMED -- RICKY

He turns to the Doctor.

RICKY

Really? Well, maybe we're just jerking off here then, huh?

7A 7ABACK TO BLOOM

BLOOM

If you say so.

7B 7BBACK TO RICKY

He moves toward the table, clenching his fist.

RICKY

You're good, Doc. But I know all the moves. I could squash you like a bug.

7A 7ABACK TO BLOOM

He doesn't flinch.

BLOOM

(over his glasses)

You don't scare me.

7B 7BBACK TO RICKY

He grins slyly.

RICKY

Not yet.

ORIGINAL FILM -- DEPUTY IN CAR HEARS A.P.B. to SANTA @ ORPHANAGE

14.CONTINUED:

(CONTINUED)

As the kids notice the pseudo-Santa.

KID (OS)

Look, Ricky, it's your brother, Billy.

8 8CU -- RICKY IN CELL

He gazes PAST CAMERA and smiles.

RICKY

Billy?

ORIGINAL FILM -- SANTA APPROACHES

As young Ricky holds out his hand.

CU -- RICKY IN CELL

He holds out his hand.

RICKY

Billy!

ORIGINAL FILM -- SANTA GETS BLOWN AWAY

The Cop shoots!

8A 8AECU -- RICKY

He reacts, eyes wide.

ORIGINAL FILM -- SANTA FALLS AT RICKY'S FEET

Other Nun calls to Ricky.

8B 8BCU -- OLDER RICKY IN CELL

He swings around at the sound of his name.

ORIGINAL FILM -- RICKY BACK INTO ORPHANAGE

8B 8BCU -- RICKY IN CELL

He FACES CAMERA.

RICKY

One problem.

8C 8CCU -- BLOOM

He looks up from his notes.

15.CONTINUED:

BLOOM

It wasn't Billy.

ORIGINAL FILM -- COP STANDS OVER DEAD PSEUDO-SANTA to INT. COP CAR

RICKY (V.O.)

It was old man Kelsey, the janitor, the poor, deaf son-of-a-bitch.

ORIGINAL FILM -- MEDICS LOAD BODY AND AMBULANCE EXITS/COP WATCHES

RICKY (V.O.)

That's what getting dressed up like Santa Claus will buy you. Mother Superior was pretty pissed off. I guess the cop felt kinda bad about it, too. I couldn't give a shit. I knew Billy would take care of him.

ORIGINAL FILM -- MOTHER SUPERIOR SCOLDS COP & HE LOOKS FOR BILLY TO BILLY'S DEATH SCENE

Ricky stares at his brother's body, then slowly looks up at Mother Superior. His eyes are cold as he stares at her. He then repeats his brother's last word, "Naughty."

DISSOLVE TO:

9 9CU -- RICKY IN CELL

He stands in the same position as his younger self.

RICKY

Very naughty.

9A 9ACU -- TAPE MACHINE

The tape runs out. Reels spin.

9B 9BMED -- BLOOM

He startles at the sounds and moves to change the tape.

9 9BACK TO RICKY

He looks toward the Doctor and smirks, then moves OUT OF FRAME.

9B 9BBACK TO BLOOM

He looks up.

16.

9C 9CPOV -- BLOOM

Ricky walks up to the table and leans down over the recorder. He is very close to Bloom.

RICKY

So...

9B 9BCU -- BLOOM

He stops his threading.

9C 9CBACK TO RICKY

He picks up a tape.

RICKY

(continuing)

This is me, huh?

He chuckles at the thought.

9D 9DMED -- BLOOM (OS RICKY)

He fumbles, but regains his composure and finishes loading the machine. Ricky drops the tape, straightens up and turns away.

9E 9EMED -- RICKY

He faces the window and speaks, walking slowly TOWARD CAMERA.

RICKY

(continuing)

They closed down the orphanage, but kindly sister Margaret was able to place me with a family.

(he stops)

The Rosenbergs.

9F 9FCU -- BLOOM

He snorts back a laugh and shakes his head.

9E 9EBACK TO RICKY

RICKY

Picture that. They definitely didn't get involved with Christmas.

DISSOLVE TO:

17.

10 10EXT. COURTHOUSE -- DAY -- (8MM EFFECT)

Twelve-year-old Ricky and his new parents, the ROSENBERGS, walk out of the courthouse building, hand in hand.

RICKY (V.O.)

The Sister explained my... background to them and they treated me okay.

11 11EXT. ROSENBERG HOUSE -- DAY -- (8MM EFFECT)

A car drives up and the Rosenbergs lead Young Ricky to his new home. He runs to play with their new puppy.

RICKY (V.O.)

I was finally able to act like a kid, not some freak show with a killer for a brother.

12 12EXT. ROSENBERG BACKYARD -- MONTAGE -- DAY -- (8MM EFFECT)

The family has a barbecue, complete with Dad Rosenberg in chef's hat and apron. Mom Rosenberg sets the picnic table and shoos away CAMERA. Young Ricky plays in the yard with his puppy. These are happy times.

RICKY (V.O.)

It was a good life. Hell, what did I know? I was twelve years old.

DISSOLVE TO:

13 13EXT. OPEN-AIR SHOPPING MALL -- DAY

Young Ricky and his Mother window shop in the semi-crowded mall.

13A 13AMED -- MOM AND RICKY

They walk together through the crowd.

13B 13BCU -- RICKY

He gazes wide-eyed into the stores.

13A 13ABACK TO MED -- MOM AND RICKY

A friend of Mrs. Rosenberg trots INTO FRAME and starts a conversation with Ricky's Stepmom.

18.

13B 13BBACK TO RICKY

His eyes wander and spot something... He freezes in his tracks.

13C 13CRICKY'S POV -- SLOW MOTION

Two NUNS are strolling down the mall toward him.


His eyes bulge and he tugs at his Stepmother's dress.

YOUNG RICKY(stuttering)

M-Mom, M-M-Mom...

13D 13DLOW ANGLE -- MRS. ROSENBERG

She pats Ricky's hand and glances at him briefly.

MRS. ROSENBERGJust a second, honey.


He tugs again.

YOUNG RICKYM-Mom, look...

13D 13DBACK TO MRS. ROSENBERG

She stops her conversation and bends down.

MRS. ROSENBERGRicky, darling, Mommy is trying to talk.


He turns and points.

YOUNG RICKYLook... down there...

13E 13ECU -- MRS. ROSENBERG

She turns and looks PAST CAMERA.

MRS. ROSENBERGWhat is it, sweetheart?

19.

13F 13FMOM'S POV

The crowd has thickened and the Nuns can no longer be seen.

13E 13EBACK TO MRS. ROSENBERG

MRS. ROSENBERG

(slightly annoyed)

Ohh...

She turns back to her friend and resumes their chat.


He looks from his Stepmother to the mall.


The crowd is still thick, but it soon parts and REVEALS THE NUNS.

13G 13GBACK TO RICKY -- CLOSER

He takes a step back.


The Nuns approach, their robes billowing in the wind.

13G 13GBACK TO RICKY

He cowers behind his mother's skirt.


The Nuns are getting closer.


He tries to speak, but nothing comes out.


The Nuns are only ten feet away when they turn and enter an adjacent fabric store. CAMERA FOLLOWS THEM.


He watches them enter, straining to keep them in sight.


The Nuns' habits disappear down an aisle.

20.


He searches the store with his eyes.


The Nuns are nowhere in sight. Suddenly, his field of vision is blocked by a bolt of blood-red cloth that a SALESLADY spreads across the display window.


Entranced by the cloth, his mind FLASHES:

ORIGINAL FILM -- YOUNG RICKY REACHING OUT TO PSEUDO-SANTA

PSEUDO-SANTA REACHING OUT TO RICKY

COP W/GUN


His eyes are very wide. He shakes uncontrollably.

13H 13HRICKY'S POV -- SLOW MOTION

The cloth explodes with the impact of BULLETS, leaving bloody holes similar to those that killed his brother.

ORIGINAL FILM -- PSEUDO-SANTA GETS SHOT

13J 13JBACK TO RICKY -- CLOSER

His mouth drops open

ORIGINAL FILM -- BILLY GETS SHOT

13J 13JBACK TO RICKY

He gasps and grasps at his Stepmother.

13D 13DLOW ANGLE -- MRS. ROSENBERG

She notices Ricky's reaction and shoots a glance at the window, realizing the situation.

13K 13KMED -- RICKY & MRS. ROSENBERG

She pulls her stepson into her arms, breaking the trance.

13L 13LSAME ANGLE -- CLOSER

Ricky snaps out of it and begins to cry.

21.

(CONTINUED)

13K 13KBACK TO MEDIUM

She leads him quickly away.

14 14INT. OFFICE HALLWAY -- DAY

Ricky sits on a bench outside of Sister Margaret's office. The Rosenbergs can be seen inside the office, talking in hushed tones about the mall incident. The CAMERA MOVES to Ricky as he occasionally tries to eavesdrop on the conversation.

14A 14AMED -- OFFICE DOORWAY

The Rosenbergs gesture and speak to Sister Margaret (OFFSCREEN).

14 14BACK TO RICKY

He drops his head and stares at the floor.

RICKY (V.O.)

I was afraid they'd send me back. Crazy kid and all that. But kindly Sister Margaret helped them to understand and pretty soon the whole thing was forgotten.

DISSOLVE TO:

15 15STOCK SHOTS -- SEASONS PASSING

RICKY (V.O.)

I guess it was about two years later that my Stepdad died...

DISSOLVE TO:

16 16EXT. CEMETERY -- MED -- DAY

Fifteen-year-old Ricky stands with his mother at the grave of Mr. Rosenberg.

RICKY (V.O.)

(continuing)

And oddly enough, that hit me pretty hard.

16A 16ACU -- RICKY

He stands at his Stepmother's side, gazing at the tombstone (in F.G.).

22.CONTINUED:

RICKY (V.O.)

(continuing)

The Rosenbergs had always been good to me and I hated to see my Stepmother all alone.

16B 16BWIDE -- GRAVESITE

Ricky turns and walks away, leaving his Stepmother alone at the grave.

RICKY (V.O.)

(continuing)

After the funeral, I need some time to myself...

DISSOLVE TO:

17 17EXT. BACK ROAD -- DAY

Ricky walks along a deserted country road, daydreaming.

RICKY (V.O.)

(continuing)

So, I headed for the field behind my house to get my head together.

17A 17AMED -- RICKY ON ROAD

The CAMERA DOLLYS with him as he walks, swinging a dead branch and shuffling his feet in the dirt. After a moment, he looks up and sees:

17B 17BRICKY'S POV

A red sports car is parked on the side of the road. It is empty.

17A 17ABACK TO RICKY

He hears OFFSCREEN LAUGHTER and turns toward the field.

17B 17BRICKY'S POV

The noise is coming from the field, but tall grass obscures his view.

17C 17CMED -- RICKY

The CAMERA DOLLYS SIDEWAYS with him into the field. The laughter is clearly that of a YOUNG COUPLE. He bends lower, sneaking closer to the sound.

23.

(CONTINUED)

17D 17DRICKY'S POV

The CAMERA MOVES though the grass and finally comes upon the COUPLE, EDDIE and PAULA picnicking on a blanket spread on the ground.

17E 17ECU -- RICKY

He watches the couple with fascination.

17F 17FMED -- COUPLE

Paula has her blouse halfway open and Eddie sits next to her, nursing a beer.

EDDIEI think you're gonna need a new shirt.

PAULA(giggling)

Why? What for?

17G 17GCU -- EDDIE

EDDIE(gesturing at her chest)

Cos I see something I like.

17H 17HCU -- PAULA

She glances down and smiles, toying with the necklace at her throat. Her arm pushes her breast into a more revealing position.

PAULA(turning red)

Oh, Eddie, you're such a pig.

17G 17GBACK TO EDDIE

He takes a huge gulp of beer.

EDDIEYeah, but that's what you like about me.

17E 17EBACK TO RICKY -- CLOSER

He strains to hear every word.

17F 17FBACK TO MEDIUM -- COUPLE

Eddie leans closer and nuzzles the girl's neck.

24.CONTINUED:

EDDIE C'mon, say it...

She nuzzles back.

PAULASay what?

17G 17GCU -- EDDIE

He tosses away the empty beer can and moves in.

EDDIETell me you want it.

17H 17HCU -- PAULA

She coyly turns away, but his hand seizes a breast.

17G 17GBACK TO EDDIE

EDDIE(continuing)

If you don't tell me you want it, you can't have it.

17H 17HBACK TO PAULA

She grabs his hand and turns to him.

PAULAI want it, Eddie, but not now. You're always in such a hurry!

17F 17FBACK TO MEDIUM -- COUPLE

Eddie wraps his arms around her and pushes her down onto the blanket.

EDDIEYeah? So what?

17J 17JCU -- PAULA

She struggles to keep him at arm's length.

PAULASo maybe I'm tired of you grabbing me all the time.

(she pushes him away)Now leave me alone!

25.

(CONTINUED)

17K 17KCU -- EDDIE

Her resistance just makes Eddie more excited.

17J 17JBACK TO PAULA

Eddie pins her arms to the ground.

PAULA(continuing)

Eddie!


His eyes grow wide.


Eddie's hands are on her shirt. She beats at his arms.

17K 17KBACK TO EDDIE

And evil grin breaks across his face.


Eddie rips the shirt from her body.

ORIGINAL FILM -- SANTA RIPS OFF MOM'S BLOUSE

17E 17EBACK TO RICKY

He reacts as if slapped in the face.


She struggles.

17K 17KBACK TO EDDIE

He pins her arms under his knees and reaches under his belt.

EDDIEI know you want it.


She frees one hand and punches him right in the crotch!

17L 17LCU -- CROTCH

She pounds her fist into his fly and CAMERA TILTS QUICKLY UP to catch the Boy's reaction.

26.CONTINUED:

EDDIE

Yeeeeoooow!


She frees the other hand and swings it at Eddie.

17L 17LBACK TO EDDIE

He recoils from her slap.

ORIGINAL FILM -- MOM SLAPS SANTA


His mouth drops open.


He rubs his face and shakes his head to clear it.

EDDIE

You bitch.

He slaps her hard across the face.


She recoils.

ORIGINAL FILM -- MOM RECOILS FROM SANTA'S SLAP


His eyes become slits.

RICKY

Naughty.


He laughs.

EDDIE

Fuck this.

17M 17MMED -- COUPLE

Eddie stands and tucks in his shirt.

EDDIE

(continuing)

I'm getting a beer. But I'll be back.

27.


She wipes the tears form her eyes and tries to cover herself up. She shoots a knife-sharp look in Eddie's direction.

PAULAYou're an asshole, Eddie.

17N 17NMED -- EDDIE

The CAMERA MOVES with Eddie as he makes his way across the field toward his car. He climbs the grade to the road.

17P 17PMED -- RED SPORTS CAR

Eddie fishes out his keys, walks to the trunk and opens it. Removing a cold one from the cooler, he slams the trunk and pops the beer can's top. He takes a long swig, burps and walks to the driver's side, CAMERA MOVING WITH HIM ACROSS THE CAR. He sticks the keys into the ignition, clicking it until the RADIO BLASTS from inside. CAMERA FOLLOWS as he strolls to the front of the car and leans on the hood. He drinks his beer and the CAMERA MOVES AROUND TO THE FRONT OF THE CAR, revealing Ricky, who now sits in the driver's seat. He blows the horn. Eddie leaps off the hood and spins.

17R 17RMED -- EDDIE

He stares PAST CAMERA, not comprehending.

17S 17SINSERT -- KEYS IN IGNITION

Ricky's hand twists the keys.

17R 17RCU -- EDDIE

Eddie looks toward the engine.

17T 17TINSERT -- GEAR SHIFT

Ricky's hand yanks it into "Drive."

17R 17RECU -- EDDIE

Eddie looks back up at Ricky.

17V 17VINSERT -- GAS PEDAL

Ricky's foot steps on it.

17W 17WCU -- TIRE

It spins and EXITS FRAME.

28.

17X 17XCU -- RICKY

His face is a stone mask as the car moves AT CAMERA.

17R 17RECU -- EDDIE

He drops OUT OF FRAME

17Y 17YWIDE -- RED SPORTS CAR

Eddie disappears form view as the car lurches forward and runs him over, then backs up, then lurches forward, then back and forth...

17Z 17ZMED -- PAULA

DOLLY TO HER as she hears the commotion and stands up.

17AA 17AAPAULA'S POV

She sees the car move forward and back one final time, then the engine dies.

17BB 17BBMED -- CAR -- DRIVER'S SIDE

Ricky steps out of the car and closes the door. He walks to the front of the car and peers down.

17CC 17CCMED -- ROAD

A bloody hand sticks out from under the car.

17BB 17BBBACK TO RICKY

He shows no emotion and moves to leave. CAMERA PANS with him and reveals Paula, standing at the side of the road, staring at Ricky's handiwork. Ripped clothing hangs from her body.

17DD 17DDCU -- RICKY

He startles, turning to face her.

17EE 17EECU -- PAULA

She looks up from the body to Ricky.

PAULAThank you.

17DD 17DDBACK TO RICKY

He blinks.

29.

(CONTINUED)

17EE 17EEBACK TO PAULA

She turns and walks back into the field.

17DD 17DDBACK TO RICKY

He watches her for a moment, then turns and disappears into the woods.

18 18INT. CELL -- CU -- NOTEPAD -- AFTERNOON

Dr. Bloom is writing the words "RED CAR" repeatedly on his pad.

18A 18ACU -- BLOOM

He finishes and looks up.

18B 18BBLOOM'S POV

The room is empty.

18A 18ABACK TO BLOOM

He opens his mouth to say something. Ricky's face SLIDES INTO FRAME next to Bloom's ear.

RICKY

Going too fast for you, Doc?

Bloom's eyes widen for a split second. He fights back momentary fear. Ricky glances at the Doctor's pad.

RICKY

(continuing)

Red car. Good point.

He EXITS THE FRAME. Bloom studies Ricky as he walks away, swallowing dryly.

18C 18CMED -- RICKY

He walks to the center of the room, BACK TO CAMERA.

RICKY

(continuing)

You got any kids, Doc?


He pauses, caught off guard.

30.CONTINUED:

(CONTINUED)

BLOOM

Why, no. We were never blessed with children.

18C 18CBACK TO RICKY

He doesn't turn around.

RICKY

Married then, huh?


He nods.

BLOOM

Yes, but my wife has been dead for many years.


He turns and faces Bloom.

RICKY

Too bad. How'd you meet her?

18A 18ABACK TO BLOOM.

He is tiring of this exchange.

BLOOM

(with a sigh)

In college. Now I think --

18D 18DCU -- RICKY

He stands IN PROFILE.

RICKY

My old lady couldn't afford to send me to college.

18E 18ECU -- BLOOM

He sits IN PROFILE. He looks down briefly, then up again.

18D 18DBACK TO RICKY

He thinks back, remembering.

RICKY

(continuing)

So, I got a job...

31.CONTINUED:

(CONTINUED)

He turns and WALKS OUT OF FRAME...

19 19INT. RESTAURANT KITCHEN -- NIGHT

Eighteen-year-old Ricky WALKS INTO FRAME carrying a tub-load of dishes.

RICKY (V.O.)

(continuing)

I was eighteen, washing dishes, dumping trash, that kind of shit, at the Chez Ritz across town.

He grabs a full garbage can and carries it to the kitchen's back door.

20 20EXT. ALLEY BEHIND RESTAURANT -- NIGHT

He exits the restaurant and carries the can to the dumpster. We hear a muffled "OOF" and the sounds of a scuffle. Ricky sets down the can and walks toward the noise.

RICKY (V.O.)

(continuing)

Sounded like some squirrel getting his nuts squeezed.

20A 20ARICKY'S POV

The CAMERA MOVES DOWN THE ALLEY and finds a large LOAN SHARK putting the squeeze on a LOSER. The Shark is not listening to excuses. He pushes the Loser repeatedly up against the wall.

20B 20BCU -- LOSER

He slams against the wall. He is small and ferret-faced.

LOSER

Monday, I swear! I'll get it all on Monday.

20C 20CCU -- SHARK

The Shark is a mean-looking S.O.B. and he takes no shit.

SHARK

You won't live till Monday.

He slams his fist into the Loser's stomach.

20B 20BBACK TO LOSER

He doubles over in pain.

32.CONTINUED:

SHARK (continuing)

And you know what?

20C 20CBACK TO SHARK

He knees the Loser in the face.


He bounces back up into the wall. His mouth bleeds freely.

20C 20CBACK TO SHARK

He smiles.

SHARK (continuing)

I hope you don't pay on Monday...


The Shark grabs the Loser's collar and pulls him close. CAMERA FRAMES THEM BOTH.

SHARK Because I enjoy this too much.

He slams the Loser against the wall, knocking him unconscious. The small man drops to the ground.

20D 20DMED -- SHARK

He dusts off his suit and reaches into his pocket.

20E 20ECU -- POCKET

He brings out a bright red handkerchief, raises it to his sweaty face and wipes his brow. QUICK SWISH PAN to...

20F 20FCU -- RICKY

The sight of red sets him off.

20D 20DBACK TO SHARK

He replaces the handkerchief and adjusts his tie, then moves off down the alley. CAMERA MOVES WITH HIM until he bumps right into Ricky, who stands blocking the alley exit.

SHARKWhat are you looking at, kid? Get out of my way.

33.

20G 20GMCU -- SHARK

He moves to pass Ricky, but the younger man blocks him with one hand. The Shark grabs the hand.

SHARK(continuing)

Oh, you're really asking for --

With the same hand, Ricky throws the Shark OUT OF FRAME.

20H 20HMCU -- TRASH CANS

The Shark flies into the cans, hitting the ground with a thud. He lies there for a moment, groaning, until Ricky's hand grabs his throat and lifts him up off his feet.

20J 20JCU -- SHARK

The Shark punches Ricky repeatedly in the face, but to no avail.

20K 20KCU -- RICKY

His head barely moves from the punches. He glances down.

20L 20LRICKY'S POV -- TRASH CAN

Ricky's hand snatches a broken umbrella from the can.

20J 20JBACK TO SHARK

He notices this and struggles harder.

20M 20MCU -- UMBRELLA

Ricky draws back the umbrella.

20N 20NECU -- UMBRELLA

The point is sharp.

20P 20PCU -- RICKY

He looks deep into the Shark's eyes.

RICKYNaughty.

20R 20RECU -- SHARK

His eyes bulge.

34.

20M 20MBACK TO UMBRELLA

It plunges forward.

20R 20RCU -- SHARK

He gasps.

20S 20SCU -- SHARK'S BACK

The umbrella bursts through the Shark's coat, red with blood.

20T 20TMED -- SHARK & RICKY

We see the Shark impaled on the umbrella.

20V 20VMED -- SHARK

The umbrella POPS OPEN behind the impaled man. He gasps for the last time.

20W 20WCU -- RICKY

He drops the dead man to the ground.

20X 20XWIDER OF SAME

Ricky shows no emotion as he turns and walks OUT OF FRAME. After a beat, we HEAR THUNDER and it begins to rain. CAMERA MOVES IN on the umbrella, FOCUSING ON the rain as it glistens on the bloody fabric.

DISSOLVE TO:

21 21ECU -- BLOOM

The Doctor's forehead also glistens, but with sweat. CAMERA PULLS BACK and finds Bloom nervously wiping his brow with one hand.

21A 21ALOW ANGLE -- BLOOM

He reaches into his coat pocket.

21B 21BCU -- POCKET

He pulls out a handkerchief. It is embroidered in bright red stitching.

21A 21ABACK TO LOW ANGLE

Bloom stops and glances quickly over at Ricky.

35.

21C 21CMED -- RICKY

DOLLY QUICKLY to Ricky's face as he slowly turns his head toward Bloom.

21D 21DCU -- BLOOM

His eyebrows raise.

21A 21ABACK TO LOW ANGLE -- BLOOM

He shoves the handkerchief back into his pocket.


He turns and walks to the table, CAMERA PRECEDING HIM.

RICKY(agitated)

You didn't think I was gonna let him get away with it, did'ja Doc?

21E 21ECU -- TABLE

Ricky's fists pound into the table, echoing through the room. CAMERA TILTS UP to his face.

RICKY(continuing)

No way!

21F 21FMED -- BLOOM

Bloom is FRAMED THROUGH RICKY'S ARMS as he listens.

RICKY(continuing)

Too many people get away with shit like that!


He leans up and stands for a moment, saying nothing. Nodding his head, he says one word:

RICKY (continuing)

Punishment.

21G 21GCU -- BLOOM

BLOOMDiscipline.

36.


He squints his eyes and looks down his nose at Bloom.

RICKYYou're really starting to get to me, Doc. You're getting real close.

21G 21GBACK TO BLOOM

BLOOMTell me about Jennifer.


His face softens, then becomes cold again.

RICKYEat shit.

He turns away.

21H 21HCU -- RICKY/BLOOM (SPLIT FOCUS)

He storms to his chair and sits (in F.G.) as the Doctor watches him (in B.G.)

BLOOMRichard, do you know why you are here?

RICKYNo, Doc, tell me.

BLOOMYou tell me.

RICKYI'm finished talking, Henry.

Bloom rustles through his paper and tosses something onto the table.

21J 21JCU -- TABLE

The CAMERA CATCHES the object as it slides to a halt at the table's edge; it is a photograph of a lovely young woman.

21K 21KCU -- RICKY

He turns and sees the picture. After a beat, he picks up the photo and gazes at it for several moments.

37.

21G 21GCU -- BLOOM

He smiles knowingly.

21K 21KBACK TO RICKY

RICKYJennifer.

21L 21LCU -- PHOTO

The CAMERA SLOWLY ZOOMS IN to the woman's face.

RICKY (V.O.)(continuing)

She was the only thing I ever cared about.

DISSOLVE TO:

22 22EXT. PARKING LOT -- DAY

A shiny MOTORCYCLE WHEEL FILLS THE FRAME. PULL OUT and find Ricky on his new bike, trying to maneuver backwards out of a parking space. A car swings blindly into the space and bumps Ricky's rear wheel, sending him and the bike down onto the pavement. Ricky crawls from under the motorcycle and tries to lift it upright.

22A 22AANGLE CAR

The driver's side door opens. A pair of gorgeous legs step out and hurry over to Ricky. CAMERA FOLLOWS the legs until they reach Ricky.

RICKY (V.O.)One day, we just... bumped into each other.

He looks up, expecting a fight, but instead...

22B 22BRICKY'S POV

He gazes into the beautiful face of JENNIFER, who looks at him with a mixture of sorrow and amusement.


He breaks into a sheepish grin and shrugs.

RICKY (V.O.)She made me feel like I was... special.

38.

23 23EXT. COUNTRY ROAD -- DAY

Ricky's motorcycle zooms PAST CAMERA.

23A 23ATRAVELING SHOT -- RICKY & JENNIFER ON BIKE

Jennifer holds onto Ricky's waist as they travel the countryside.

RICKY (V.O.)

She never judged me. She just loved me.

23B 23BEXT. COUNTRY ROAD -- DAY

The motorcycle zooms PAST CAMERA and into a tunnel. ZOOM INTO THE BLACKNESS.

RICKY (V.O.)

I never wanted to lose her.

24 24INT. JENNIFER'S ROOM -- AFTERNOON

ZOOM OUT OF BLACKNESS to reveal Ricky and Jennifer making love on her bed. A single shaft of light illuminates the lovers as they kiss and caress each other's naked bodies.

RICKY (V.O.)

That was my first time.

He rolls off Jennifer and they lie back on the bed. CAMERA MOVES to Ricky's face as she lays her head on his shoulder.

RICKY (V.O.)

I thought it was Jennifer's, too.

DISSOLVE TO:

25 25EXT. JENNIFER'S STREET -- DUSK

The lovers walk hand in hand down the sidewalk in Jennifer's suburban neighborhood. CAMERA PRECEDES THEM then SWINGS AROUND as they approach a vintage red Chevy. A handsome young man, CHIP, has the hood up and is tinkering with the engine. A battery charger is juicing up the Delco.

25A 25AMED -- CHIP

He spots the couple and blocks their path.

25B 25BMED -- RICKY & JENNIFER

Jennifer rolls her eyes at the sight of Chip.

39.

25A 25ABACK TO CHIP

CHIP(gesturing at Ricky)

So, this is what you ended up with.

25B 25BBACK TO RICKY & JENNIFER

She glances quickly at Ricky, embarrassed.

CHIP(continuing)

Shit, if I had known you'd sink this low...

25A 25ABACK TO CHIP

CHIP(continuing)

I never would'a dumped you.

25C 25CCU -- JENNIFER

She steps between Chip and Ricky.

JENNIFERChip, you're a jerk. Leave us alone.

304 304BACK TO CHIP

He won't let up and grabs her arm.

CHIPDon't you miss me? All those... good times that we had together...

Ricky steps between Jennifer and Chip.

25D 25DCU -- RICKY

He stares through Chip.

RICKYThat's enough.

25A 25ABACK TO CHIP

He sizes up Ricky and decides there is no threat.

CHIPWhoa! That's what she said after I fucked her brains out in the back seat of ole Red here.

40.


His eyes narrow, turning to slits.

25C 25CBACK TO JENNIFER

She moves to shove Chip away.

JENNIFERShut up!

25F 25FMED -- ALL

Jennifer lunges at Chip, but he steps to the side and sticks out his foot, causing Jennifer to fall to the ground.

25G 25GMED -- JENNIFER

She falls INTO FRAME and onto the grass.

25A 25ABACK TO CHIP

He holds his side with laughter.

CHIPHa, ha, falling for me again, huh --

His words are cut off by Ricky's hand around his throat.

25H 25HCU -- RICKY

His eyes are blazing as he lifts Chip off his feet.

25A 25ABACK TO CHIP

His eyes bulge in surprise.

25J 25JCU -- CHIP'S FEET

They are lifted off the ground.

25H 25HBACK TO RICKY

He glances at the car.

25K 25KCU -- CAR

The engine is exposed, battery cables connecting to terminals.

25H 25HBACK TO RICKY

He turns and pins Chip to the car's fender.

41.

25L 25LCU -- CHIP

He struggles, his back against the metal.

25M 25MCU -- BATTERY

Ricky's hand grabs the positive jumper cable and CAMERA PANS to Chip as Ricky shoves the metal clamp into the ex-boyfriend's mouth. Chip's eyes are really wide now.

25N 25NCU -- CHARGER

Ricky's hand ENTERS FRAME and he cranks up the voltage.

25L 25LBACK TO CHIP

He whimpers, eyes rolling in his head.

25P 25PCU -- RICKY

He leans close to Chip.

RICKYNaughty.

25N 25NBACK TO CHARGER

Ricky pushes the "QUICK CHARGE" button.

25L 25LBACK TO CHIP

He squirms and fries, smoke rising from his face.

25G 25GCU -- JENNIFER ON GROUND

She screams.

JENNIFERNo!

25P 25PBACK TO RICKY

He is oblivious to her screams.

25L 25LBACK TO CHIP

He is quite dead and Ricky lowers him OUT OF FRAME.

25R 25RMED -- CHIP & RICKY

Ricky kneels over him, still deep within his psychotic state.

42.

25S 25SLOW ANGLE -- RICKY

His shoulder is jerked back by a crazed Jennifer. She whips him around on his knees and stands before him.

JENNIFER

(yelling)

What are you doing?

25T 25TCLOSER -- JENNIFER

JENNIFER

(continuing)

Are you out of your mind?

ORIGINAL FILM -- MOTHER SUPERIOR SAYS "Very, very naughty."

25V 25VJENNIFER'S POV -- RICKY

He is blasted by the vision.

25T 25TBACK TO JENNIFER

JENNIFER

You're gonna pay for this!

ORIGINAL FILM -- MOTHER SUPERIOR SAYS "Punishment is good."

25V 25VBACK TO JENNIFER'S POV -- RICKY

Ricky is stunned again.

25T 25TBACK TO JENNIFER

JENNIFER

I hate you, Ricky! I hate you!

ORIGINAL FILM -- MOTHER SUPERIOR SAYS "Punishment is absolute."

25V 25VBACK TO RICKY -- CLOSER

He snaps.

RICKY

(low, hoarse whisper)

Punish.

25W 25WMED -- BOTH

Ricky stands.

43.

(CONTINUED)

25X 25XCU -- CAR HOOD

He rips the car antenna from it's bracket.

25Y 25YCU -- JENNIFER

She gulps.

JENNIFERUh oh.

She turns to run.

25Z 25ZINSERT -- RICKY'S HANDS SWISH THROUGH FRAME

25AA 25AAECU -- JENNIFER

Her face FILLS THE FRAME, then is yanked back as Ricky strangles her with the antenna. CAMERA MOVES IN AND UP to his face and we watch Ricky as he kills her. Her limp body drops from his arms.

25BB 25BBCU -- GROUND

Jennifer's dead face falls INTO FRAME.

25AA 25AABACK TO RICKY

He breathes deeply.

VOICE (O.S.)Freeze, asshole!

26 26REVERSE -- CU RICKY

He turns his head slowly TOWARD CAMERA.

26A 26AMED -- STREET

A Global Security car is parked at the curb. A young RENT-A-COP is standing by the driver's side aiming his pistol at Ricky. The Cop's K-9 companion barks furiously in the back seat.

RENT-A-COPOkay pal, you just stand right there. Right there. Let's be real civilized about this.

26 26BACK TO RICKY

He doesn't move.

44.CONTINUED:

RICKYOkay.

26A 26ABACK TO RENT-A-COP

He moves around the car and approaches Ricky.

RENT-A-COPThat's just fine. I don't want to have to hurt you.

He reaches to his belt and unsnaps a pair of handcuffs.

RENT-A-COP(continuing)

Now, I'm just going to slip these on...

26 26BACK TO RICKY

The Rent-A-Cop circles around in front of Ricky, who faces him.

26B 26BCU -- RENT-A-COP

He halts in front of Ricky, handcuffs and gun outstretched.

RENT-A-COP(continuing)

No funny stuff... I know how to use this -

26C 26CCU -- RICKY

The gun raises INTO FRAME inches from Ricky's face. It hovers for a second, then Ricky seizes the Rent-A-Cop's hand.

26B 26BBACK TO RENT-A-COP

He is surprised.

26D 26DCU -- GUN

Ricky spins the gun...

26E 26ERENT-A-COP'S POV

Into the Rent-A-Cop's face.

26F 26FCU -- RENT-A-COP

RENT-A-COPNo!

45.

26E 26ERENT-A-COP'S POV

The gun fires.

26G 26GPROFILE -- RENT-A-COP

His head snaps back spewing blood.

26H 26HCU -- GROUND

The Rent-A-Cop flies back INTO FRAME, dead.

26J 26JCU -- SMOKING GUN

The CAMERA PANS from the gun to Ricky's face. He hefts the weapon, liking the feel. The sound of BARKING fills the scene. Ricky spins and walks toward the car, CAMERA FOLLOWING. Reaching the vehicle, he raises the gun.

26K 26KCU -- RICKY -- STEADICAM

RICKY

Shut up!

Blam! The BARKING stops. Ricky starts to move down the street, CAMERA PRECEDING HIM.

VOICE (O.S.)

Hey!

The CAMERA PANS to find a MAN standing on his front porch across the street.

MAN

What the hell --

26L 26LCU -- RICKY

He raises the gun and fires.

26M 26MCU -- MAN ON PORCH

The man's chest explodes and he drops where he stands.

26K 26KBACK TO RICKY -- STEADICAM

He watches the man fall, then continues down the street.

RICKY

(under his breath)

Motherfucker.

46.

27 27CU -- TRASH CAN

A large garbage can plops INTO FRAME. We TILT UP and see a man securing the lid to the can. He reaches for another can...

27A 27ACU -- OTHER CAN

He lifts it OUT OF FRAME and reveals Ricky, standing 20 feet away.

27B 27BCU -- MAN

He looks at Ricky, bewildered.

27C 27CCU -- RICKY

He raises the gun.

RICKYGarbage day!

27B 27BBACK TO MAN

He gasps and lifts the full can as a shield.

27C 27CBACK TO RICKY -- CLOSER

He fires the gun.

27B 27BBACK TO MAN

The bullet passes through the can (throwing garbage everywhere) and into the man. He flies back and hits the ground.


He blows the smoke from his gun and walks INTO CAMERA.

28 28MED -- CORNER

A LITTLE GIRL on her tricycle rounds the corner and heads TOWARD CAMERA.

28A 28ATRAVELING SHOT -- TRICYCLE

The CAMERA DOLLYS BEHIND the bike as the Little Girl peddles it down the sidewalk. Suddenly, she bumps into someone blocking her path. The CAMERA TILTS UP to find Ricky. He glares at the girl.

47.

28B 28BHIGH ANGLE -- GIRL

She looks up at Ricky.

LITTLE GIRL

Sorry, Mister.


His features soften. A little.

RICKY

That's okay.

He steps aside.

28B 28BBACK TO GIRL

She peddles on her way.

29 29MED -- RICKY -- STEADICAM

He walks into the street, moving down the center of the road. He hear an approaching CAR ENGINE and looks to the source.

29A 29AANGLE -- CAR

An unsuspecting motorist blows his horn at Ricky.

29B 29BDRIVER'S POV

The driver sees Ricky raise his gun in the middle of the street and point it at the windshield.

29A 29ABACK TO CAR

The driver tries to swerve out of the way.

29C 29CMED -- RICKY

The CAMERA DOLLYS QUICKLY toward Ricky. He fires the gun.

29D 29DANGLE WINDSHIELD

The glass shatters.


RICKY

Bingo!

48.

(CONTINUED)

29E 29EWIDE -- STREET

The car swerves and flips, then explodes. Ricky walks INTO FRAME and past the wreckage.

30 30ANGLE CORNER

Ricky rounds the corner and stops.

30A 30ARICKY'S POV

Three State Police cars are blocking the street. The Officers are crouched, guns drawn.

COP ONEDrop you weapon! Drop it!

30 30BACK TO RICKY

He stands for a moment, then bursts out laughing. As the CAMERA MOVES TO HIS FACE, he brings the gun to his head.

30B 30BCU -- COP ONE

His mouth drops open and he lowers his weapon.

COP ONENo! Don't do it!

30 30BACK TO RICKY

He smiles and closes his eyes.

30C 30CECU -- TRIGGER

Ricky's finger squeezes and CLICK!

31 31CU -- RICKY -- PADDED CELL -- NIGHT

Ricky snaps open his eyes at the CLICK. DOLLY BACK to reveal him standing against the wall, index finger pointing at his head.

RICKYNo more bullets.

He raises his other hand and puffs hard on a cig. He walks to the window, CAMERA FOLLOWING.

RICKY(continuing)

Young and stupid, that was my problem.

49.CONTINUED:

(CONTINUED)

He turns toward the table.

RICKY(continuing)

It's a shame they stopped me before I did what I really had to do.

He walks slowly across the room, CAMERA FOLLOWING.

RICKY(continuing)

But hey, that's life.

The CAMERA FOLLOWS HIS HAND as he snuffs out his cigarette on Jennifer's picture. The CAMERA SLOWLY TRAVELS DOWN THE TABLE, finding a stack of 1/4" tapes, some legal-pad notes, a crumpled sheet of paper, an open tape box, loose reels of tape...

RICKY (O.S.)(continuing)

Sorry it worked out this way, Henry. You only wanted to help.

The CAMERA COMES UPON Dr. Bloom, sprawled across the table, 1/4" tape wrapped tightly around his neck. Ricky's hand ENTERS FRAME and withdraws a set of keys from Bloom's coat pocket.

RICKY (O.S.)(continuing)

I appreciate the effort, though.

PAN TO the tape recorder, spinning silently next to Bloom.

RICKY(continuing)

But between you and me, Doc, I know who's to blame.

We HEAR Ricky unlock and open the door.

ORDERLY (O.S.)Hey, what the --

We HEAR a brief OFFSCREEN STRUGGLE. TILT DOWN and discover the tape machine's "RECORD ON" light burning BRIGHT RED in CU.

31A 31ACU -- TAPE RECORDER -- FROM ABOVE

We hear the door SLAM SHUT and FOOTSTEPS moving away down the hall. The tape runs out.

50.CONTINUED:

(CONTINUED)

The reels spin for a second and we ZOOM OUT SLOWLY as a hand ENTERS FRAME and switches off the machine. CONTINUE THE ZOOM and find a DETECTIVE and SISTER MARY sitting at the table. They have apparently been listening to the tape.

DETECTIVE

We've got a problem, Sister. The orphanage is closed. Where would he go?

SISTER

Oh, my God. It's Christmas Eve.

32 32EXT. STORE WINDOW -- NIGHT

A brightly painted Santa Claus face waves out to several late-night shoppers on a semi-deserted street. The CAMERA MOVES past the window and finds a deserted "Salvation Army" type collection kettle. A sign attached reads:

SANTA WANTS YOU TO GIVE A BUCK -- FOR THE CHILDREN

The kettle hangs lopsided, one chain broken. Coins and cash litter the sidewalk. We hear TOUCH-TONE dialing beeps, then FILTERED RINGING.

The CAMERA CONTINUES MOVING (at SIDEWALK LEVEL) and spots a pair of BLACK BOOTS standing in a phone booth. CRANE UP the boots to a red jacket with white trim and CONTINUE to a jolly red cap.

ELDERLY FEMALE VOICE

(on phone)

Hello?

RICKY

Merry Christmas.

ELDERLY FEMALE VOICE

(on phone)

Who is this?

RICKY

Santa's back.

He hangs up the pone and EXITS FRAME. We TILT DOWN to find an open phone book, then TILT FURTHER DOWN to find the previous owner of the Santa suit lying against the glass, white beard tied tightly around his neck.

33 33INT. BEDROOM -- NIGHT

A phone receiver FILLS THE FRAME. PAN TO MOTHER SUPERIOR, now older, disfigured with age. She stares at the phone, then slowly hangs it up.

51.CONTINUED:

(CONTINUED)

She wheels her chair over to a portable television and clicks the set on. DOLLY CLOSE to her face. After a moment, she shakes her head, dismissing a foolish thought.

34 34EXT. SMALL HOUSE -- LOW WIDE ANGLE -- NIGHT

We hear CHILDREN PLAYING and several youngsters run into the yard. A foot-tall mechanical SANTA CLAUS DOLL waddles into frame, ringing its small bell and ho-ho-hoing. Suddenly, an AXE CRASHES INTO FRAME, smashing the toy in half. The B.G. kids turn and run like hell, screaming. The axe is yanked out of the ground and Ricky (in his Santa suit) walks INTO FRAME and toward the house.

35 35INT. BEDROOM -- NIGHT

Mother Superior watches TV.

35A 35AINSERT -- TV

The "Santa Claus Parade" is on.

35B 35BCU -- MOTHER SUPERIOR

She watches with disgust.

MOTHER SUPERIOR

Shameful. Sacrilegious.

35A 35ABACK TO TV

Pretty girls wave from gaudy floats.

35B 35BBACK TO MOTHER SUPERIOR

MOTHER SUPERIOR

(continuing)

They've made a travesty of the sacrament.

There is a NOISE outside the window. Mother Superior looks in that direction.

36 36EXT. WINDOW -- NIGHT

Looking THROUGH THE WINDOW, we see Mother Superior wheel over and peer out.

37 37INT. BEDROOM -- CU -- MOTHER SUPERIOR -- NIGHT

She turns from the window.

MOTHER SUPERIOR

(continuing)

Children should be in bed.

52.CONTINUED:

(CONTINUED)

She moves to her bedside table and reaches for a decanter filled with red wine.

37A 37ACU -- DECANTER

She lifts the decanter and pours a small, shaky glass, then raises it to her lips.

38 38EXT. FRONT DOOR -- NIGHT

The axe crashes into the door.

39 39INT. BEDROOM -- CU -- FLOOR -- NIGHT

The glass drops to the floor and shatters. TILT UP to Mother Superior, who listens intently.

39A 39AMED -- MOTHER SUPERIOR

She wheels over to her bedroom door and creaks it open.

40 40INT. HALLWAY -- NIGHT

Her head peeks around the corner and she cranes her neck toward the sounds.

41 41INT. ENTRY HALL -- NIGHT

Ricky reaches through the gaping hole in the front door and tears out the chain.

41A 41AWIDER OF SAME

He bursts through the door into the house.

42 42INT. BEDROOM -- CU -- DOORJAMB -- NIGHT

The door SLAMS SHUT INTO FRAME and we PAN QUICKLY to Mother Superior's face. She gasps and scans the room for a weapon.

42A 42AMOTHER SUPERIOR'S POV

The room offers no solution.

43 43INT. STAIRS -- NIGHT

Ricky's black boots climb the first two steps.

43A 43ACU -- RICKY

He pauses and looks up the stairway, grinning with glee.

53.CONTINUED:

RICKY

(yelling, sing-song)

Mother Superior!

44 44INT. BEDROOM -- WIDE -- NIGHT

The CAMERA RUSHES to Mother Superior's face. Her eyes fill with fear.

45 45INT. HALLWAY -- NIGHT

Her bedrooms door opens and she wheels quickly into the hallway, glancing toward the top of the stairs.

45A 45AMOTHER SUPERIOR'S POV

Ricky's shadow precedes him up the steps.

RICKY (O.S.)

(yelling)

I've got a present for you...

45B 45BMED -- MOTHER SUPERIOR

She turns INTO CAMERA and wheels down the hall, CAMERA PRECEDING. She reaches another door, slamming her chair against it. She claws at the knob, opens it and enters.

45C 45CWIDE -- HALL

The doorknob slams INTO FRAME as Ricky tops the stairs (in B.G.). he moves to Mother Superior's bedroom.

45D 45DCU -- RICKY

He kicks down the door.

46 46INT. MOTHER SUPERIOR'S BEDROOM

The door flies off its hinges and Ricky enters, but finds no sign of his prey.

RICKY

(crazed)

Oh, good. I love a chase.

46A 46AINSERT TV

The parade is ending as Santa Claus waves to the spectators in the stands. The axe CRASHES INTO THE SET. It explodes, glass everywhere.

54.

47 47INT. OTHER ROOM -- CU -- MOTHER SUPERIOR -- NIGHT

Mother Superior hears the crash and quickly wheels to a wooden bureau. She tries to barricade the door with the dresser, but her wheel chair makes it difficult to maneuver.

47A 47ALOW ANGLE -- MOTHER SUPERIOR (F.G.) & DOOR (B.G.)

Just when she thinks the door is blocked, the axe CRASHES THROUGH and she wheels back in horror, CAMERA MOVING with her.

47B 47BCU -- DOOR

The axe is yanked out and Ricky peers through the jagged hole.

RICKY

(crazed)

There you are!

47A 47ABACK TO MOTHER SUPERIOR

She spins around and moves quickly to the connecting bathroom, closing and locking the door behind her.

47C 47CANGLE ROOM DOOR

Ricky struggles with the door, finally pushing through.

48 48INT. BATHROOM

She wheels past the sink and enters the connecting hallway, locking that door behind her as well.

49 49CU -- DOORKNOB

The axe shears off the bathroom doorknob and Ricky flings open the door and enters.

50 50INT. HALLWAY -- MED -- MOTHER SUPERIOR

Mother Superior pulls the key from the bathroom lock and wheels down the hallway toward the stairs.

50A 50ACU -- MOTHER SUPERIOR

She knocks over hall tables and chairs trying to block her pursuer's path, as CAMERA PRECEDES HER. She pulls over a large bookcase as CAMERA DOLLYS ASIDE AND FRAMES HER IN PROFILE. She wheels OUT OF FRAME, revealing a hall door which EXPLODES OPEN and Ricky flies TOWARD CAMERA.

55.

50B 50BCU -- MOTHER SUPERIOR

CAMERA PRECEDES HER as she wheels away from Ricky. She EXITS FRAME as Ricky picks himself up and turns toward her, axe in hand.

50C 50CMED -- TOP OF STAIRS

Mother Superior reaches the landing and tries to pull herself into the chairlift. Her robe catches on the wheelchair.

50D 50DCU -- WHEELCHAIR

Her robe is caught on a steel rod.

50E 50ECU -- RICKY'S FEET

He takes two steps down the hall.

50F 50FCU -- MOTHER SUPERIOR

She shoots a glance at Ricky and tugs at her robe.

50G 50GCU -- RICKY'S HAND

They twist and grip the axe handle.

50F 50FBACK TO MOTHER SUPERIOR

She pulls hard on the fabric.

50H 50HCU -- RICKY'S FACE

His grin is wide.

50D 50DCU -- WHEELCHAIR

The cloth tears, freeing her.


She snaps back, cloth in hand.

50J 50JCU -- RICKY'S FEET

The CAMERA QUICKLY TILTS UP as Ricky raises the axe high above his head.

RICKY

(grinning)

Gotcha.

56.

(CONTINUED)


She dives OUT OF FRAME.

50K 50KCU -- WHEELCHAIR

The axe cuts it in half.

50L 50LWIDE -- STAIRS

Mother Superior tumbles down the stairs, landing in the hallway below.

50K 50KCU -- WHEELCHAIR

The axe is caught in the metal and we TILT UP to Ricky's face.

RICKYOh, I'm really mad now...

He struggles to remove the axe.

51 51MED -- BOTTOM OF STAIRS

Mother superior climbs into her downstairs wheelchair, moves through the living room and into the kitchen, CAMERA FOLLOWING.

52 52MED -- RICKY

He dislodges his weapon and moves slowly down the stairs.

53 53INT. KITCHEN -- CU -- DRAWER -- NIGHT

The kitchen drawer is yanked open and Mother Superior withdraws a large butcher knife. She holds it close and wheels to the kitchen door. She listens for a moment, then swings it open.

54 54INT. DINING ROOM -- WIDE -- NIGHT

The door CREAKS open and Mother Superior wheels into the darkness. All is quiet.

MOTHER SUPERIOR(calling)

Richard? Richard, come here and face me.

She gets no response and wheels further into the room, TOWARD CAMERA.

57.CONTINUED:

MOTHER SUPERIOR(continuing)

I am not afraid of you, Richard. You are weak, like your brother.

The kitchen door swings silently open behind her and Ricky appears, axe in hand.


And like your brother, you must be punished.

The door closes and she swings around to face him.

54A 54ACU -- MOTHER SUPERIOR

She brandishes the knife, her features stern, no sign of fear.


I am your Mother Superior! I raised you from an infant!

54B 54BCU -- RICKY

He holds the axe with both hands and moves toward her.

MOTHER SUPERIOR (O.S.)(continuing)

I order you to put that weapon down...


MOTHER SUPERIOR (continuing)

And take your punishment!

54B 54BMCU -- RICKY

He raises the axe.

RICKYNo more punishment.


She remains firm, eyes blazing.

MOTHER SUPERIORYou are being very, very naughty!

58.

54B 54BCU -- RICKY

The axe hangs high in the air, poised to strike.

RICKYNaughty this.

54C 54CLOW ANGLE -- RICKY

He brings the axe down TOWARD CAMERA!

55 55EXT. HOUSE -- NIGHT

Two Police cars screech to a half in front of Mother Superior's house. Several COPS and the Detective enter the house, followed by Sister Mary.

56 56INT. ENTRY HALL -- NIGHT

The Detective enters, gun drawn. He motions the Cops upstairs and he moves slowly into the living room, OUT OF FRAME. Sister Mary steps over the door debris and follows the Detective.

57 57INT. DINING ROOM -- MED -- DOOR -- NIGHT

The Detective enters, looks around and immediately trains his gun on something OFFSCREEN. Sister Mary steps from behind him and gasps.

57A 57ADETECTIVE'S POV

The lifeless form of Mother Superior sits slumped in a chair at the far end of the table.

57 57BACK TO DETECTIVE & SISTER

Sister Mary puts her hand on the Detective's extended arm and motions for him to lower it. She calls out.

SISTER MARYMother Superior? Are you alright?

57A 57ABACK TO POV

The form doesn't move. CAMERA BEGINS TO DOLLY CLOSE.

57 57BACK TO SISTER

She walks to the table. Mother Superior's shoulder and back of head ENTER FRAME as Sister Mary gets closer.

59.

57B 57BCU -- DETECTIVE

The CAMERA DOLLYS TO HIS FACE as he suspects something is wrong.

57 57BACK TO SISTER

She reaches out and touches the body, stirring it slightly.

Mother Superior's head falls off and OUT OF FRAME.

57C 57CCU -- SISTER

She screams.

57D 57DCU -- HEAD

Mother Superior's dead face stares up at the Sister.

57C 57CBACK TO SISTER

She backs away... RIGHT INTO RICKY, who stands behind her, in front of the window. He raises his axe.

57E 57ECU -- DETECTIVE

He swings his gun around.

57F 57FCU -- RICKY

He is quite insane.

RICKYBoo!

57G 57GCU -- GUN

It fires POINT BLANK INTO CAMERA.

57H 57HMED -- RICKY (SLOW MOTION)

His body recoils from the impact of bullets that blast him through the dining room window.

58 58EXT. WINDOW -- NIGHT (SLOW MOTION)

His body sails out the window and falls OUT OF FRAME.

59 59INT. DINING ROOM -- CU -- DETECTIVE

He lowers his gun and looks to Sister Mary. PAN TO HER as she sniffs back a tear, then PAN AND DOLLY to the window to find Ricky's bullet-ridden body on the ground below.

60.

60 60EXT. HOUSE -- CU -- RICKY'S BOOTS

The CAMERA MOVES up his sprawled body, passing the deep wounds and HALTS AT HIS FACE. SLOWLY MOVE INTO HIS FACE...

DISSOLVE TO:

ORIGINAL FILM -- EMPTY FRAME

With a piercing scream, SANTA'S HAND flies INTO FRAME gripping a switchblade and dives AT CAMERA.

FREEZE-FRAME

ROLL CREDITS

The End

silent night, deadly night part 2

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