The Texas Chainsaw Massacre

By: Thomas Steenhagen

Adapted From A Screenplay By: Kim Henkel & Tobe Hooper

OPENING MONOLOGUE - Words scroll by in a washed out yellow across a black screen as a narrator reads.

“On August 18, 1973, a group of five friends ran afoul of a cannibalistic family of serial predators. The film which you are about to see is an account of this tragedy. These kids could not have expected, nor would they have wished to witness as much of the mad and macabre as they were to see that day. For them, an idyllic road trip through rural Texas became a nightmare. The events of this day were to lead to one of the most grim, disturbing cases of our time. It will forever be known in the annals of American history as The Texas Chainsaw Massacre.”

EXT. Road. Afternoon

The blacktop of the dusty, hot rod emanates heat. We slowly see a green van pulling into view as a dead, bloody armadillo lies on its back. As soon as the van comes into full view it drives right by us.

INT. Van. Afternoon

Inside of the van sit five teenagers. The driver, KENNETH, in the passenger seat sits his girlfriend, SHERRY. In the back of the van are brother and sister FRANK and LINDA, as well as Linda’s boyfriend, JIM. All of them are hot and sweaty, depicting the current weather outside as it resonates inside of their heads. The vans interior is rather plain, cluttered with random trinkets in its back end. The radio plays somewhat classical music.

Kenneth: I had no idea it was gonna be this hot in Texas.

Kenneth wipes the sweat from his brow.

Sherry: Where have you been, Ken? Texas is the equivalent of a summer day in Hell.

Frank and Linda laugh at this as Frank taps Kenneth on the shoulder as if to say ‘you’re alright.’

Kenneth: Oh, I feel so loved. See, SOMEBODY loves me, Sherry.

She scoffs at him jokingly and shoves him to the side.

Kenneth continues driving along as the camera swiftly moves by road signs and such.

Jim: Linda, you said they have a pool at the hotel. They better have a pool. After being here in this bullshint the least I can be supplied with is cool, refreshing H2O.

Linda: A little heat never hurt anybody. So you sweat a little.

Jim: And I stink; let’s not forget that I smell like the slaughterhouses that are all over this fuckin’ state.

They all laugh in unison.

Frank: I agree, you stink. Let’s hope that civilization is in existence for this section of Texas, and a little thing called soap, so we don’t have to smell you anymore.

The laughter doesn’t cease. Jim reaches over to playfully punch Frank in the arm as he laughs and dodges his swings.

Linda: Oh Frank, quit with the jokes. You know you hurt his feelings.

Jim: Thank you baby. Frank, you know this, you KNOW this; you can pick on yourself, but when someone else does the picking on, that changes things.

Frank coughs jokingly and shouts “bullshit.”

They all laugh once again. Silence begins for a minute until:

Kenneth: Oh God, everyone, put the windows up; slaughterhouse.

They all groan and curse and rush to the windows, pulling them in and securing them as to make sure that the smell doesn’t creep in.

They all sit back down. Frank sweeps his hair back.

Frank: God it’s hot in here.

Kenneth: Hey, hitchhiker.

Sherry: Should we pick him up?

Jim: Oh yeah, pick him up man; he can sit next to Frank.

Frank flips Jim off playfully.

Sherry: Ohhh... he’s word looking.

Frank: He looks like… Dracula.

EXT. Loan Road. Afternoon

The van drives by the HITCHHIKER as it slowly comes to a stop. The hitchhiker is carrying a brown sack with unknowns in it that we never really find out about later. He also has a small, brown knapsack around his neck. He runs to catch up with the vehicle and stops as the vans stops. The van door swings open and the hitchhiker jumps in. The door closes with accompanying sound.

INT. Van. Afternoon

The kids all look around at the hitchhiker, staring at him. It could be the way he’s dressed, or it could be the birthmark that starts from below his cheek and ends just below his right eye. Frank stares intently, his eyes fixated on the hitchhiker. The hitchhiker just smiles nervously and laughs timidly, sadistically maybe.

Kenneth: So man, where ya headed?

Hitchhiker: Oh… I was just goin’ home.

Kenneth: Where is that exactly?

Hitchhiker: I live right off this road. It would be real nice if you could take me there.

Kenneth: I don’t know if we can do that, we’re in a bit of a hurry.

Hitchhiker: Oh…

The hitchhiker wanders off mentally, looking around, disinterested. He snaps back to reality, pulls pictures out of his left pocket, and unfolds them. The pictures are of slaughtered pigs. He gives them to Frank. It seems that he’s taken a liking to him. Frank looks at them intently, glaring at them with eyes wide open.

Frank: Hey sis, look at these.

He passes the pictures over to his sister, who looks at them and lets out an “ewww” in disgust. The rest of the kids ask to see them and they get passed around much like the game of Hot Potato. The reactions to them continue in the background.

Frank: So… where are you from?

Hitchhiker: I’m from around here. My family don’t travel much.

Frank: From the nasty smell of Texas.

Frank just smiles at his joke, trying to comfort himself. It terrifies him to be face to face with a stranger like this.

Hitchhiker: You know, my brother used to work in a slaughterhouse. He used to be in charge of bashin’.

Frank: The pigs you mean.

Hitchhiker: Yeah, yeah… they don’t use the sledge anymore. That guns no good. The sledge was the best. My brother could get ‘em in one whack.

Frank maintains the conversation, afraid to stop it.

Frank: He sounds like a great guy.

Hitchhiker (to Frank): Hey… you like headcheese?

Frank: What the hell is that?

Hitchhiker: Well… they take the ligaments and the eyes and the jaws… everything. From the head… on a pig… and they boil it all together. It’s real good. You should come over for a dinner. My brother makes it the best. You’ll like it.

Frank answers him back unsure, but answers him nonetheless.

Frank: Sounds great.

Linda (to Frank): Can we change the subject please?

Everything fades to silence. The hitchhiker excitedly taps Frank on the leg.

The hitchhiker lifts up his pant leg, looks around and smiles, and then pulls a straight razor out of his sock. He opens it up and laughs gleefully. He proceeds to cut his own hand as the kids in the van shout things at him such as “what the hell are you doing” and so forth. He continues to slowly cut into his hand as blood pours out and silence begins to thicken in the air. Blood runs down the hitchhikers arm as he laughs nervously and glances around. He pushes the blade back into place.

Everyone now is, in a sense, afraid of the hitchhiker. They’re all keeping their distance from him. In a way, it’s like a car accident. You drive by not wanting to look but you do so anyway just out of sheer curiosity. The hitchhiker points the closed blade at Jim and states:

Hitchhiker: It’s a good knife.

Jim: I’m sure it is man.

The hitchhiker inserts the knife back into his sock. The kids look around, confused, amazed, sickened. Affected the most is Frank, he just stares at the hitchhiker, not twitching. The hitchhiker notices. He then pulls the camera that he has around his neck off. He slowly pulls out the lens, preparing to take a picture. He holds it ups, looks at Frank, and takes a snapshot. He watches the photo dispense out of the front and laughs giddily. He takes the picture out, peels off the back, and waits for it to develop. As it does he gives it to Frank.

Hitchhiker: It’s a good picture… you can pay me now.

Linda: Frank, give him back the picture.

Frank, still in awe, gives him back the picture. The hitchhiker takes it back, but hurt as it shows in his face. He takes the sack that is around his neck off, takes out some crumpled tinfoil, and lays it out flat. He puts the picture in it and then removes gun powder from the sack, along with matches. He lies the matches down on his lap and proceeds to sprinkle the gun powder on the picture, once done, he strikes a match and throws it onto the gun powder. He laughs as it flames, throwing his hands up over the flames as if praising it as the kids in the van scream and panic. The hitchhiker wraps the tinfoil around the flames quickly, putting out the mild fire. Amongst the screaming and chaos in the van, he takes out his straight razor, looks around, grabs Frank’s hand, and cuts into it. He slices into it a few times until Jim notices what’s happening and pushes the hitchhiker down. Jim opens the door with help from Linda and throws him out.

EXT. Road. Afternoon

The hitchhiker runs at the van, spitting at it, kicking it, smearing blood on the side of it. Kenneth speeds up and immediately the hitchhiker is no longer a threat.

INT. Van. Afternoon

Frank holds his hand, bleeding quite profusely. Blood seeps through his fingers.

Frank: Shit!! Dammit!! Why the fuck did we pick him up?!!

Linda caters to her brother, finding something absorbent in the back of the van to soak up the blood with. She presses down on his wounds as the blood slowly flows to the top of the cloth, though it does stop the bleeding.

Kenneth: Fuck picking up the next hitchhiker, they’re just gonna have to stand out there.

EXT. Dusty Road. Afternoon

The van speeds down the road as a sign reads “BBQ & Gasoline – ¼ Mile.” The vehicle cruises down the road towards the service station.

EXT. Service Station. Afternoon

The van slowly pulls in as we see a bunch of scraggly, unintelligent looking men sitting around with buckets waiting to give cars a free washing and rinsing. As the van pulls up, one of the men stands up and gets his sponge ready. It comes to a stop and he immediately begins scrubbing. Kenneth, Sherry, and Linda get out, Kenneth going alone, and Sherry and Linda going together in search of something that is never made clear. Jim and Frank stay in the van, Jim now in the passenger side seat waiting for the proprietor of the station, and Frank still in the back.

INT. Van. Afternoon

Frank: That guy… he really just… just cut the hell out of himself. It takes something to do what he did to just… (makes a cutting motion with his hand). Do you think he’s gonna try and follow us?

Jim laughs.

Jim: You’re even crazier then he was.

He turns to face Frank.

Jim: What makes you think that he even thought to read our license plate? Did he look like he even knew how to write?

Frank: I guess you’re right, but damn, he was… he was…

Jim: A loony. Don’t even waste your time.

EXT. Service Station. Afternoon

An older man walks up to the van and approaches Jim’s rolled down window.

OLD MAN: Excuse me; what can I help you with?

Jim: We’re just here for some gas.

Old Man: I hate to be the bearer of bad news, but the fuel truck hasn’t been by in a few days and won’t be by for at least a few more. It’s always behind schedule, that’s normal around here. It’s unusual that people actually stop HERE for gas. I would say that you aren’t from around here.

Jim: No sir, we’re on our way to Los Angeles.

Old Man: And let me guess, you need a little gas to get there?

Jim: Yes sir.

Old Man: As I said, I hate to be the one to tell you this, but you won’t find it here. But why don’t you come inside, I have some nice barbecue goin’, I can point you to a place WITH some gas maybe…

Kenneth walks up from behind the old man, apparently hearing everything he had to say.

Kenneth: No thank you, we’re in a bit of a hurry. A relative of mine is in a hospital up there, my friends here wanted to come along to see her, visit her, and we really need to get there as soon as possible.

Old Man: Well, around here, it’s not a good idea to be messin’ around other folk’s property. Some people don’t mind showin’ you that…

Kenneth: Thanks for your help, I appreciate it, but we really need to be going.

He shouts for Linda and Sherry. They come around the corner of the service station and file into the van.

Kenneth (to scraggly man): Do me a favor and get that blood off the side for me would ya.

The man does so as Kenneth walks around to the driver’s side and gets in.

Old Man: Now you’re sure about this? There’s nothin’ else I can do?

Kenneth: I think we’re all set.

The others agree in unison. The old man hits the roof of the car a few times as if to signify that everything is ready and then the group is off once again.

EXT. Desolate Road. Late Afternoon

The van stops at the side of the road, almost out of gas. To the right side is an old farmhouse which looks to be abandoned. The group dismounts the van and all join side by side at one end of it. There’s a long pause before someone speaks, as if everyone’s looking over the situation.

Kenneth: This is it, we gotta see if someone’s home.

Sherry: If you’re going, then I’m going with you.

Kenneth: I’ll be fine. Baby, just stay here. Nothings gonna happen to me. Besides, look where we are; we’re in the middle of a tumbleweed.

Sherry’s laughter ensues following Ken’s situation-alleviating humor.

Ken holds his girlfriend’s hands for a minute, facing her front, kisses her, ensuring her that everything is going to be fine. Then he begins to walk towards the rather large house. The others just stare, squinting to keep the Sun out of their eyes, not knowing what lies ahead.

EXT. Field. Late Afternoon

Ken walks through the tall grass, advancing towards the house. In his head he knows that no one lives on the premises, but he’s hoping. As he nears it he becomes hesitant, mostly due to its look. It’s like something you would see in a Horror film such as this, dark shadows, imposing, etc… But of course, Ken presses forward, climbs the front “stoop” made of two steps, and knocks on the front door.

EXT. Farmhouse. Late Afternoon

Kenneth: Hello, is anyone home? Hello!! Our car is out of gas, we just need a little help. Hello!!

He knocks again and waits. Something in him tells him to try the handle, he does so and the door creeks open.

INT. Farmhouse. Late Afternoon

To the right of him are steps ascending to the second story of the house, and directly in front of him is another room. He keeps his distance, not wanting to tread on anyone’s territory if in fact there IS someone that lives here.

Kenneth: Hello! Is there anyone here? We just need a little help…

He advances forward reluctantly, taking in the site of the old house. It smells of musk, but this is the only chance he has to advance towards normal civilization again. Suddenly, he hears the sound of a pig oinking; he stops dead in his tracks. He almost responds with another “hello” but realizes that if it is in fact an animal, that would be useless. Though the situation has gotten under his skin, he’s still determined to find something here. He walks forward and into the room that the oinking noises were seemingly coming from. A quick glance into the room reveals nothing; he turns towards the front door. Suddenly, a large shape looms over him. That shape cocks back a sledgehammer and slams it into the side of his head harshly. Blood flies onto the wall beside him. The shape brings it down again as Kenneth lie convulsing on the floor, blood on his body. The second hit with the sledgehammer sends more blood flying. LEATHERFACE picks up Ken’s body and throws it aside with a grunt, grabs the steel door, and slams it.

EXT. Road By Field. Late Afternoon

The two other men are inside of the van, playing a game of card War. They don’t seem too worried, though on the inside there’s no denying that they are.

Sherry: It’s getting late Linda… where the hell is he?

Sherry checks her watch again.

Linda: I don’t know, but I’m sure everything everything’s fine.

Sherry: He wouldn’t just leave, I know that. I mean, why would he want to? I don’t give a fuck where he is, I just give a fuck how he is.

Linda walks over to Sherry and hugs her, not knowing her pain but being there for her nonetheless. She knows, however, that it’s just not good enough at a time like this.

Sherry: Do you ever get the feeling that something isn’t right?

Linda gives her a look as if to say “what are you talking about.”

Sherry: Something doesn’t seem right. I mean, maybe he found help. Maybe he found somebody and they struck up a conversation… I don’t know. But something tells me… I just have a really bad feeling.

She holds her stomach, looking like she’s going to vomit.

Linda: We’ll go and look for him, all of us. I’ll get the guys together, we’ll go one way, you can go your way. Everything is going to be fine. There’s nothing to worry about.

Sherry: I hope you’re right.

Sherry looks up at the Sun with her shoulders crossed and just advances towards the house. Right now nothing else in this world matters but getting Ken back. Linda doesn’t say word to her, she just lets her go.

INT. Farmhouse. Late Afternoon

Sun pierces through the windows as we see Leatherface walking about a small room with sledgehammer in hand. He seems confused. Why would anyone want to come into his home? And what’s more, how did anyone find it? Besides keeping the food fresh, he needs to get rid of these “visitors” by his own means. He stands in place and grunts deeply, animal-like. He continues paces the room feverently, holding his head. His look is terrifying, his figure is imposing.

EXT. Field. Late Afternoon

Sherry walks through the large field, silent, confused, afraid. Her facial expression is solid but it reveals everything.

EXT. Farmhouse. Late Afternoon

Sherry: Hello… is anyone in there?

She knocks on the door as it creaks open; it wasn’t closed all the way. She doesn’t hesitate to walk in, only thinking of one thing right now.

INT: Farmhouse. Late Afternoon

Sherry: “Ken… Ken… we need to go.”

She walks through the corridor and turns left, into a dark room.

INT. Bone Room. Late Afternoon

Sherry: “Come on Ken-“

She’s interrupted by her own falling as she trips on something. She slowly gathers herself and looks around. There are numerous chickens in cages, as well as human bones scattered throughout the room. Skulls are hung from the ceiling, rib cages are on the floor. Bones are absolutely everywhere. She’s in a state of shock by seeing this. She tries to raise herself but can’t; she begins to hyperventilate. The sounds of the chickens begin to drive her crazy, the sight of old bones make her want to vomit. She can feel it rising in her throat. She can’t move. Even more bones are underneath her, jabbing into her. Some chairs have flesh hung over there. Shin bones are used to prop up a table. She’s absolutely horrified.

Suddenly, her body unlocks and she jumps up and staggers back. She feels her way towards the door and then begins to slowly walk for it, still not believing what she saw.

INT. Corridor. Late Afternoon

As she slowly makes her way towards the large wooden front door, the a steel door behind her flies open with a CLANG and Leatherface jumps out, spotting the intruder. Sherry runs for the door, but Leatherface catches her just before she can make it out. He carries her all the way back to his slaughter room while she kicks and screams mercilessly.

INT. Slaughter Room. Late Afternoon

Meat hooks are omni-present, as well as Kenneth’s dead body. Sherry doesn’t notice as all she can think about is her own life. Ironically, the reason she came into this nightmare isn’t the reason she wants to escape it. Leatherface gets dangerously close to one of the hooks, though all of Sherry’s kicking and screaming is in vain. He lifts her up and then brings her down, ripping her back open on the razor blade-sharp instrument. She grabs at the top end of it, barely making out a scream. Leatherface walks over to a large cutting board and grabs his chainsaw. A few pulls of the starting chord and it begins to roar. As Sherry dangles there, she has no choice but to watch Kenneth’s dead body be mutilated more by Leatherface. He cuts into Kenneth’s neck first, sending blood flying everywhere and severing his head instantly. He begins to start on the upper-body as flesh and plasma are strewn through the air as we cut to –

Sherry on the meat hook screaming, still grasping the top of it. We hear much more chainsawing O.S. The roar of Leatherface’s chainsaw continues as he advances towards his next victim after what seems like minutes later. He is covered in blood, licking it off of his lips. He powers his weapon of choice up, spinning the blade faster, pointing it at Sherry. He slowly moves it into her stomach, ripping into it as he pushes it up, cutting open her stomach, spilling her intestines out. Blood splatters the walls as all of this is seen in quickly edited images of her stomach getting cut open, blood splattering, her facial expressions, and intestines falling out. Sherry’s head falls limp, telling us she’s dead as Leatherface continues to cut O.S.

EXT. Road By Field. Evening

Linda stands by the side of the van as she says to herself-

Linda: That’s it, I’m looking for her.

She opens the door and swings it open. The guys turn their heads in surprise.

Linda: Ken and Sherry left, together, about two hours ago. Something isn’t right.The two look at each other as if to agree. They tie the playing cards together with a rubber band and throw them in the back of the van.

Jim: OK, so what do we do?

They get out of the van, moving stiffly and eventually standing right next to Linda, side by side.

Linda: That house right that there. We’re gonna go together and take a look at it.

Frank: I don’t like it.

They look at him as if to say “please explain.”

Frank: Two of our friends disappear in a house and now we’re gonna go look for ‘em. There’s nothing wrong with looking for ‘em, but I would feel a lot safer if we had some sort of protection. I don’t particularly feel good about wandering into a deserted house in the middle of nowhere unarmed.

Linda: Look in the van, see what you can find.

Frank climbs into the vehicle and rummages through it, pulling out a few metal bars. He’s quite satisfied with his find. He jumps out. He points the weapons at each of them as if to ask “anyone want in.” They all grab one. No, these are smart characters we have here. They’re going to be on the safe side.

Jim: Let’s not jump to conclusions and immediately say that something’s wrong, for all we know they could be… exchanging words with someone.

Linda: For two hours?

Jim holds his hand up as if to say “I’m not finished.”

Jim: But you never know; God knows who lives out here. It doesn’t look like much of a friendly neighborhood.

Linda: So we agree, we’re gonna do this?

Frank: I don’t like it, but I’ll do it.

Jim: I’ll do it baby.

They all begin to advance towards the house as the camera rises up to reveal the large farmhouse and the distance between the field, the remaining kids, and the house. The Sun is beginning to set in the distance.

EXT. Outside Of Farmhouse. Evening

The group slowly walks through the piles of junk that are strewn about outside of the house. Jim knowingly walks away from the rest of the group towards the front door. They all acknowledge this and let him go, thinking that they won’t be too far from him. Linda and Frank go around the right side of the house O.S.

Jim pushes open the door, but first notices that he’s stepping on something. He pulls his foot up and looks down. Below it is a yellow, decayed tooth. He looks back up at the house, now hesitant about entering. Of course, in these movies no one cares about foreshadowing.

INT. Farmhouse Front Corridor/Hallway. Evening

He goes in quickly, making sure no one is going to pop up behind him. He makes his way to the left, shuffling in that direction. He looks up the staircase, poking around in something that is none of his business. He decides to go up the stairs, fighting with his conscience, however, about invading other people’s privacy. After an internal debate, he doesn’t continue. He walks straight down the hallway/corridor and into Leatherface’s slaughter room.

INT. Slaughter Room. Evening

Jim sees the hooks but thinks nothing of it. Slaughterhouses are all over the state, these could be independent slaughterers as well. The blood has been cleaned up from the death of Sherry; her remains have been stashed away which Jim will soon find. He looks around a bit, shuffling his feet slowly as he looks. He’s afraid to make any loud noises as he’s enraptured by this site. He notices a large cooler close to him and the smell of… something. It doesn’t smell like slaughtered pigs. He’s not quite sure what it is. The thought suddenly hits him. He quickly removes the padlock and throws open the top. Inside sits Sherry’s sawed body, blood surrounding her, almost floating in it. He doesn’t scream, he just backs away, terrified. He moves towards the door until he runs into something and hears a grunt. He turns around swiftly and screams loudly. There stands Leatherface, sledgehammer in hand as he brings it crashing down into his skull. Blood splatters Leatherface’s mask.

EXT. Farmhouse. Evening.

Frank and Linda turn around sharply, knowing that they heard a scream.

Linda: Jim?

Frank, in hand motions, shushes his sister. They slowly creep around to the front of the house, keeping their distance. The fear of the unknown overpowers them.

Of course, as they don’t know, they have quite a lot to be afraid of. They creep towards the door, listening intently. It seems like ages as they listen, but the door flies open without a warning and a chainsaw starts up. Leatherface looks around and spots them as they-

Frank: (Screams)

Linda: (Screams)

They run in the direction of the surrounding woods. The Sun has now almost set, so light being supplied to be able to see clearly is out of the question.

EXT. Woods. Night

They quickly run, maneuvering, through the hanging sticks and such. Leatherface keeps up, slashing at the hanging twigs with his chainsaw angrily, both trying to get the kids and trying to remove the pesky tree branches.

The chase continues for what seems like hours. Leatherface raising the chainsaw above his head from time to time, seemingly enjoying his work, and at others, tripping over various objects, but not falling, and grunting, showing us he’s truly only a child mentally. Smoke brews from his dangerous weapon as he slashes at Frank and Linda, only inches away from each of them. They advance through the dense woods, at times being held up by a thick section of thorn concoctions and so forth. A net of sticks and a knitted section of what seem like unbreakable twigs are about twenty-five feet ahead of them. They run as fast as they can, hoping to slow Leatherface down with it; they both think the same thing. Leatherface slashes and slashes with his chainsaw but just can’t reach. Just as they get there, Frank trips on an imbedded tree root. This gives Leatherface just enough time to swing and catch him in the back. It sends blood flying through the air and spurting out of his shirt. His back is ripped wide open. As he falls face first he begins to crawl for his life, groaning in pain. Leatherface just has to walk to keep up, only concentrating on Frank now. He looks him over, raises his chainsaw and runs it right down the center of his body with brute force. Linda sees this and screams as Leatherface repeats this over and over again as we cut to seeing Frank getting sliced up and a reverse angle of blood splattering Leatherface.

Linda just works her way through this net of twigs and such, fighting to free herself from this madness. Leatherface notices and immediately begins running at her. He too gets tangled into it, but with his chainsaw, he has no problem cutting past it. Her small stature gives her the advantage as she wriggles through, not passing through it easily, but passing through it nonetheless. The screams and cries, but still fighting, as she slowly makes her way out of it and then runs for her life out of the dense woods.

She runs and runs, and in the distance she can see light. She looks behind her and there’s Leatherface, keeping up with her. His chainsaw has come in for more uses than just cutting up bodies it seems as he’s also close to catching another victim. She just runs and screams.

Linda: HELP ME!! SOMEBODY HELP ME!!”

Leatherface makes animalistic noises, grunting and moaning, raising his chainsaw in the air in a fury. The lights in the distance near as they are revealed to be the service station; Linda presses forward, thinking she’s almost safe. She rounds the corner of the station, her feet slapping on the concrete as she passes various doors, trying each and every one of them. Eventually, one of them opens and she stumbles in.

INT. Service Station. Night

Linda trips and crawls along the floor, anything to get away from the door. Inside stands the old man, confused, not knowing what to think.

Linda: CLOSE THE DOOR!! CLOSE THE FUCKING DOOR!! HE’S GONNA COME IN HERE!! HE’S GONNA… GONNA…

Tears roll down Linda’s face as she can barely speak. The old man, standing right by the door, closes it as she tells him to.

Old Man: Whoa now… no one’s gonna come in here. You just sit tight.

He tries to pick her up and sit her down but her constant crying and her mind state won’t allow her to be easily moved.

Old Man: Relax girl. Everything is gonna be OK.

Linda, crying, says-

Linda: You don’t understand…he’s out there. He has… he’s gonna kill me, he’s gonna kill me…

Old Man: Nobodies gonna do anything to you.

Linda just sobs as the old man attempts to comfort her, shrouding her vision as to his true intentions.

Old Man: You stay right here, I’ll be right back.

The old man walks O.S., presumably outside. While he’s gone, Linda notices the barbecue cooking. The sound of the sizzling is unsettling at a time like this, it just

doesn’t seem normal. She takes a minute to relax and calm down, she attempts to breathe; her crying has ceased. She hears a truck pull around to the front of the station as the old man then gets out with a brown sack. Linda just looks at him, now knowing that something isn’t right. He advances towards her. She panicks and picks up a large steak knife.

Old Man: Now, now, you just cooperate and there’ll be no trouble.

Linda: NO!!

He reaches for a steel pipe in the corner of the station and quickly charges towards Linda with it, hitting her over the head with her, knocking her out quickly. He puts as much of the sack as he can around the upper part of her body and ties it together. He drags her to his truck, opens the passenger side door, and throws her in.

EXT. Dark Road. Night

Truck headlights speed at the camera lens as darkness covers everything else. The truck stops. A man runs up to the left side of it, laughing, jumping all over it.

Old Man: GET YOUR ASS IN THAT HOUSE OR GET IN THE BACK!!

The man runs to the back and jumps into that part of the truck. The vehicle starts up again and goes straight towards the house. Once there, the man in the back is revealed to be the hitchhiker. He jumps out, kicks and spits at the side of the truck, taunting his older brother. When the driver’s side door opens, he runs up the steps, opens the door, and continues running into the house.

The old man gets out of the truck and walks around to the passenger’s side, opens the door, and pulls Linda out. He drags her along the ground carelessly.

INT. Farmhouse. Night.

Leatherface walks out of a random room to see what all of the commotion is about. He knows what’s going to happen to him for getting into something that’s not his business, but his mind doesn’t comprehend that. The old man enters the house with Linda in the sack.

Old Man (to Leatherface): What are you lookin’ at? Huh? GET THE HELL OUT OF HERE!

Leatherface runs off, whimpering. With his mind in this state, he’s terrified of his older brother. He’s a figure of authority, therefore he doesn’t question him. The old man drags Linda into another random room which we do not know of and then we cut to-

INT. Unknown Room. NightCLOSE UP OF LINDA’S FACE. Her eyes are closed, but the surrounding noise brings her to reality immediately. She opens her eyes, and to her horror she’s tied down in a chair and surrounded by the old man, the hitchhiker, a “corpse” and Leatherface. As she screams, the hitchhiker and Leatherface howl with her. The hitchhiker laughs maniacally as he does so, enjoying his twisted sense of humor. They’re all sitting down at a “dinner table,” plates with food on it in front of each one. Strangely enough, each one of the food stuffs on the plate looks like the “barbecue” at the service station. Yes, Linda’s friends were sliced up for barbecue and prepared for the family. Linda continues screaming, the hitchhiker gets up and advances closer to her. He gets directly in her face and asks her twistedly-

Hitchhiker: I thought YOU was in a hurry?!?

He begins poking her with his index finger, driving her to insanity. Leatherface, following his brother’s lead, gets up and begins to torture her by getting right up to her face and howling. Her head twists as she tries to free herself, but the two maniacs keep pushing her over the edge, taunting her to panic as the hitchhiker makes fun of her screaming. All Leatherface needs to do is get near here and it immediately drives her to insanity.

Linda: YOU GOTTA MAKE ‘EM STOP!! YOU GOTTA MAKE ‘EM STOP!!

Old Man: Ooooh would you cut that out!! Sit back down, you’re scarin’ the poor girl.

Leatherface and the hitchhiker do as they’re told. They sit back down and begin to eat.

Old Man: I don’t know how you can do it… I just don’t know.

Hitchhiker: That’s right, you can’t. You don’t do nothin’ for us. YOU’RE just the COOK!! Me and Leatherface do all of the work!!

Old Man: Why you…

Hitchhiker: We always bring ‘em home for you. It’s always US that does the work.

Old Man: I told you before; I just can’t take no pleasure in killin’.

Leatherface creeps up out of his chair and gets back in Linda’s face again, prompting her to scream, the hitchhiker laughs at this and mocks her screaming and crying. The madness of the situation must have gotten to the old man, because

he himself even starts joining in, though it’s just by laughing. He starts to laugh a little harder, finding this sick and twisted situation funny.

Hitchhiker: Hey, you always said GRANDPA was the best. Why don’t we give her to grandpa.

Old Man: Yeah I reckon I did say that, grandpa’s the best. He could do a line of 20 of ‘em in 7 seconds if he wanted to.

Hitchhiker (to grandpa/corpse): Hey grandpa, we’re gonna let the YOU have this one!!

This only make Linda scream louder. The thought of it drives her absolutely over the edge.

Leatherface unties her from the chair and drags her over to where grandpa is sitting. The hitchhiker brings a large basin over, presumably for any spilt blood. He also adjusts grandpa to sit in the right direction facing Linda. Leatherface bends Linda over the basin as grandpa sits in his chair, the hitchhiker placing a sledgehammer in grandpa’s hand which he got O.S. Grandpa takes a few “swings” by just letting the sledgehammer fall out of his hand. The hitchhiker replaces it each time, and each time he either drops it or misses. He hits Linda once and it’s enough to draw a little blood, but not enough to stop her screaming. Grandpa drops the sledgehammer once again, this time Leatherface loosens his grip in Linda unknowingly, and this is just enough for her to get away. She runs out of “dining” room and jumps out of a window to make her escape.

EXT. Farmhouse/Field. Early Morning

Linda runs with everything she has past the open field. The hitchhiker and Leatherface come running out of the house as well right behind her. She continues running fiercely, not stopping, not screaming, just running. To the right of her she sees a truck in the not too far from the farmhouse; a savior. There’s enough distance from her and the hitchhiker for her to flag down the truck, which she does. As the hitchhiker continues running towards her, the truck stops.

The driver notices Leatherface immediately, opens up his door, and drags Linda in just before the two maniacs can get to her. The hitchhiker tries to open the door but it’s apparently locked; Leatherface just saws the side of the truck angrily, growling and grunting. The truck drives off, leaving the hitchhiker and Leatherface to stand there, letting the last victim get away. We see Linda in the passenger’s seat laughing hysterically, covered in blood.

Leatherface stands in the middle of the deserted road, spinning his chainsaw in a tantrum. He continues doing so until we-

CUT TO BLACK

CREDITS ROLL