RetroSlashers.net
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
RetroSlashers.net
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.
RetroSlashers.net
SILENT NIGHT, DEADLY NIGHT
Part Two
CREDIT SEQUENCE -- DAY
1
1
ECU -- 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
1A
BLANK 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
1B
ECU -- 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
1C
ECU -- RICKY
He shakes his head in silent comment.
1D
1D
ECU -- HAND
Ricky drops the cigarette.
1E
1E
ECU -- FOOT
The butt hits the floor and he crushes it under his shoe.
1F
1F
CU -- TABLE
Black hands place the tape recorder on the table, then unwrap
the electrical cord.
1C
1C
BACK TO RICKY
He glances at the orderly.
1G
1G
MED -- ORDERLY
He bends over and moves to plug the machine into a wall
outlet.
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2.
1H
1H
ECU -- ZIPPO
The metal lighter SNAPS OPEN with a huge CLANG!
1J
1J
CU -- ORDERLY
He whips his face around toward Ricky.
1H
1H
ECU -- ZIPPO
Ricky moves the lighter to his cigarette and lights it, then
CLICKS the Zippo shut. He exhales smoke.
1J
1J
BACK TO ORDERLY
He turns back to the wall.
1K
1K
CU -- WALL SOCKET
The orderly's hand plugs in the cord.
1H
1H
BACK TO RICKY
He takes a drag and watches the orderly.
1L
1L
MED -- 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
1M
CU -- 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
1H
BACK TO RICKY
He smokes his cigarette.
1N
1N
CU -- TABLE
The first roll of tape is being threaded onto the machine.
1P
1P
ECU -- ORDERLY
He shifts his gaze toward the table, then back at Ricky.
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3.
(CONTINUED)
1H
1H
BACK TO RICKY
He smokes.
1N
1N
BACK 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
1P
MED -- ORDERLY
He starts to protest.
1R
1R
CU -- BLOOM
BLOOM
(cutting him off)
Now.
1S
1S
MED -- 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
1T
WIDE -- 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
1R
BACK TO BLOOM
He smiles and crosses his legs.
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4.
CONTINUED:
BLOOM
I'm not one for games, Ricky. My time is
very valuable.
1V
1V
CU -- RICKY
He crushes the butt under one foot.
RICKY
Mine isn't?
1R
1R
BACK TO BLOOM
BLOOM
Your time is running out, son. I'm your
last chance.
1V
1V
BACK 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
1W
MED -- DOOR
The Orderly bursts into the room and checks out the scene.
1R
1R
BACK TO BLOOM
He whips his head around toward the Orderly.
BLOOM
I told you to get out!
1W
1W
BACK TO ORDERLY
The large man stops cold.
1R
1R
BACK TO BLOOM
The Doctor turns back to Ricky.
BLOOM
Sit down, Ricky.
1V
1V
BACK TO RICKY
The young man hesitates, then moves back to his chair.
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5.
1X
1X
LOW ANGLE -- CHAIR
Ricky sits down.
1V
1V
BACK TO ORDERLY
The large man shakes his head and exits.
1R
1R
BACK TO BLOOM
The Doctor turns his attention back to Ricky.
RICKY
Hey, pretty slick, Doc.
1V
1V
BACK TO RICKY
RICKY
(continuing)
You're a real ball of fire.
1R
1R
BACK TO BLOOM
BLOOM
I need to ask you something.
1V
1V
BACK TO RICKY
He pulls out another smoke and moves to light it.
RICKY
Shoot. It's your dime.
1R
1R
BACK TO BLOOM
BLOOM
(nodding)
It's my dime.
1R
1R
CLOSER -- BLOOM
BLOOM
(continuing)
Who killed your parents?
1Y
1Y
MED -- LIGHTER
The lighter pauses in mid-strike. The CAMERA TILTS UP to
Ricky's face.
RICKY
You really want to know?
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6.
(CONTINUED)
1R
1R
CLOSER -- BLOOM
BLOOM
Who, Ricky? Who did it?
1Y
1Y
BACK 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
2
INT. CELL -- DAY
Ricky sits in his chair staring into space as the CAMERA
DOLLYS slowly around him.
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7.
CONTINUED:
RICKY
(quietly)
Bastard. He left us out there to die.
2A
2A
MED -- BLOOM
The CAMERA DOLLYS around him.
BLOOM
That was a long time ago. How could you
remember all of that?
2
2
BACK TO RICKY
RICKY
(in a trance)
Because I lived it.
(snaps out of it)
You know, I don't like your attitude,
Bloom.
2A
2A
BACK TO BLOOM
BLOOM
My attitude is not the issue, Mr.
Caldwell.
2
2
BACK TO RICKY
RICKY
Oh, I forgot.
2A
2A
BACK TO BLOOM
The Doctor flips through several pages of his notes.
BLOOM
Tell me about your stay at Saint Mary's
orphanage.
2
2
BACK 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.
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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
3
FLASH CUT CLOSE-UPS of Ricky on each belt hit.
RICKY
She --
(BELT HIT)
Was --
(BELT HIT)
Naughty!
3A
3A
WIDER OF SAME
Ricky is leaning across Bloom's table and he brings his fist
down on the fourth beat.
3B
3B
HIGH ANGLE -- BLOOM (OS RICKY)
Bloom raises an eyebrow and scribbles on his pad.
3A
3A
BACK 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.
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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
4
INT. CELL -- DAY
Ricky stands in the corner, mimicking his brother's face.
RICKY
(continuing)
But I did.
4A
4A
ECU -- TAPE REEL
The tape runs out...
4B
4B
ECU -- TAPE HEAD PATH
... And past the heads...
4C
4C
ECU -- TAKE-UP REEL
... And onto the full reel. It spins freely.
4D
4D
CU -- BLOOM
He looks up over his glasses.
4
4
BACK TO RICKY
He pushes himself off the wall and wanders over to the
window. DOLLY WITH HIM.
4E
4E
MED -- BLOOM
The Doctor loads another tape. He glances toward Ricky at the
window.
BLOOM
What do you see out there?
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10.
(CONTINUED)
4
4
BACK TO RICKY
RICKY
Bars.
4E
4E
BACK 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
4
BACK TO RICKY
RICKY
Let's.
4E
4E
BACK TO BLOOM
BLOOM
Your brother eventually left the
orphanage.
4
4
BACK TO RICKY
RICKY
Yeah.
4E
4E
BACK TO BLOOM
BLOOM
Left you alone.
4
4
BACK 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.
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11.
CONTINUED:
(CONTINUED)
ORIGINAL FILM -- TOY STORE STUFF to SISTER MARGARET @ STORE
DISSOLVE TO:
5
5
INT. CELL -- DAY
Ricky spins around and points TOWARD CAMERA.
RICKY
(yelling)
But it wasn't his fault. It couldn't be!
5A
5A
LOW ANGLE -- BLOOM
The Doctor taps his pipe in the ashtray and reloads it.
BLOOM
(calmly)
Then... who's fault was it?
5
5
BACK 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
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12.
CONTINUED:
RICKY (V.O.)
Billy always loved children.
ORIGINAL FILM -- BILLY EXITS HOUSE
DISSOLVE TO:
6
6
ECU -- 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
6A
ECU -- 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."
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13.
(CONTINUED)
7
7
ECU -- 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
7A
MED -- BLOOM
BLOOM
It's fairly obvious where he was going.
7B
7B
MED -- RICKY
He turns to the Doctor.
RICKY
Really? Well, maybe we're just jerking
off here then, huh?
7A
7A
BACK TO BLOOM
BLOOM
If you say so.
7B
7B
BACK 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
7A
BACK TO BLOOM
He doesn't flinch.
BLOOM
(over his glasses)
You don't scare me.
7B
7B
BACK TO RICKY
He grins slyly.
RICKY
Not yet.
ORIGINAL FILM -- DEPUTY IN CAR HEARS A.P.B. to SANTA @
ORPHANAGE
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14.
CONTINUED:
(CONTINUED)
As the kids notice the pseudo-Santa.
KID (OS)
Look, Ricky, it's your brother, Billy.
8
8
CU -- 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
8A
ECU -- RICKY
He reacts, eyes wide.
ORIGINAL FILM -- SANTA FALLS AT RICKY'S FEET
Other Nun calls to Ricky.
8B
8B
CU -- OLDER RICKY IN CELL
He swings around at the sound of his name.
ORIGINAL FILM -- RICKY BACK INTO ORPHANAGE
8B
8B
CU -- RICKY IN CELL
He FACES CAMERA.
RICKY
One problem.
8C
8C
CU -- BLOOM
He looks up from his notes.
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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
9
CU -- RICKY IN CELL
He stands in the same position as his younger self.
RICKY
Very naughty.
9A
9A
CU -- TAPE MACHINE
The tape runs out. Reels spin.
9B
9B
MED -- BLOOM
He startles at the sounds and moves to change the tape.
9
9
BACK TO RICKY
He looks toward the Doctor and smirks, then moves OUT OF
FRAME.
9B
9B
BACK TO BLOOM
He looks up.
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16.
9C
9C
POV -- BLOOM
Ricky walks up to the table and leans down over the recorder.
He is very close to Bloom.
RICKY
So...
9B
9B
CU -- BLOOM
He stops his threading.
9C
9C
BACK TO RICKY
He picks up a tape.
RICKY
(continuing)
This is me, huh?
He chuckles at the thought.
9D
9D
MED -- BLOOM (OS RICKY)
He fumbles, but regains his composure and finishes loading
the machine. Ricky drops the tape, straightens up and turns
away.
9E
9E
MED -- 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
9F
CU -- BLOOM
He snorts back a laugh and shakes his head.
9E
9E
BACK TO RICKY
RICKY
Picture that. They definitely didn't get
involved with Christmas.
DISSOLVE TO:
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17.
10
10
EXT. 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
11
EXT. 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
12
EXT. 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
13
EXT. OPEN-AIR SHOPPING MALL -- DAY
Young Ricky and his Mother window shop in the semi-crowded
mall.
13A
13A
MED -- MOM AND RICKY
They walk together through the crowd.
13B
13B
CU -- RICKY
He gazes wide-eyed into the stores.
13A
13A
BACK TO MED -- MOM AND RICKY
A friend of Mrs. Rosenberg trots INTO FRAME and starts a
conversation with Ricky's Stepmom.
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18.
13B
13B
BACK TO RICKY
His eyes wander and spot something... He freezes in his
tracks.
13C
13C
RICKY'S POV -- SLOW MOTION
Two NUNS are strolling down the mall toward him.
13B
13B
BACK TO RICKY
His eyes bulge and he tugs at his Stepmother's dress.
YOUNG RICKY
(stuttering)
M-Mom, M-M-Mom...
13D
13D
LOW ANGLE -- MRS. ROSENBERG
She pats Ricky's hand and glances at him briefly.
MRS. ROSENBERG
Just a second, honey.
13B
13B
BACK TO RICKY
He tugs again.
YOUNG RICKY
M-Mom, look...
13D
13D
BACK TO MRS. ROSENBERG
She stops her conversation and bends down.
MRS. ROSENBERG
Ricky, darling, Mommy is trying to talk.
13B
13B
BACK TO RICKY
He turns and points.
YOUNG RICKY
Look... down there...
13E
13E
CU -- MRS. ROSENBERG
She turns and looks PAST CAMERA.
MRS. ROSENBERG
What is it, sweetheart?
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19.
13F
13F
MOM'S POV
The crowd has thickened and the Nuns can no longer be seen.
13E
13E
BACK TO MRS. ROSENBERG
MRS. ROSENBERG
(slightly annoyed)
Ohh...
She turns back to her friend and resumes their chat.
13B
13B
BACK TO RICKY
He looks from his Stepmother to the mall.
13C
13C
RICKY'S POV -- SLOW MOTION
The crowd is still thick, but it soon parts and REVEALS THE
NUNS.
13G
13G
BACK TO RICKY -- CLOSER
He takes a step back.
13C
13C
RICKY'S POV -- SLOW MOTION
The Nuns approach, their robes billowing in the wind.
13G
13G
BACK TO RICKY
He cowers behind his mother's skirt.
13C
13C
RICKY'S POV -- SLOW MOTION
The Nuns are getting closer.
13G
13G
BACK TO RICKY
He tries to speak, but nothing comes out.
13C
13C
RICKY'S POV -- SLOW MOTION
The Nuns are only ten feet away when they turn and enter an
adjacent fabric store. CAMERA FOLLOWS THEM.
13G
13G
BACK TO RICKY
He watches them enter, straining to keep them in sight.
13C
13C
RICKY'S POV -- SLOW MOTION
The Nuns' habits disappear down an aisle.
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20.
13G
13G
BACK TO RICKY
He searches the store with his eyes.
13C
13C
RICKY'S POV -- SLOW MOTION
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.
13G
13G
BACK TO RICKY
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
13G
13G
BACK TO RICKY
His eyes are very wide. He shakes uncontrollably.
13H
13H
RICKY'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
13J
BACK TO RICKY -- CLOSER
His mouth drops open
ORIGINAL FILM -- BILLY GETS SHOT
13J
13J
BACK TO RICKY
He gasps and grasps at his Stepmother.
13D
13D
LOW ANGLE -- MRS. ROSENBERG
She notices Ricky's reaction and shoots a glance at the
window, realizing the situation.
13K
13K
MED -- RICKY & MRS. ROSENBERG
She pulls her stepson into her arms, breaking the trance.
13L
13L
SAME ANGLE -- CLOSER
Ricky snaps out of it and begins to cry.
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21.
(CONTINUED)
13K
13K
BACK TO MEDIUM
She leads him quickly away.
14
14
INT. 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
14A
MED -- OFFICE DOORWAY
The Rosenbergs gesture and speak to Sister Margaret
(OFFSCREEN).
14
14
BACK 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
15
STOCK SHOTS -- SEASONS PASSING
RICKY (V.O.)
I guess it was about two years later that
my Stepdad died...
DISSOLVE TO:
16
16
EXT. 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
16A
CU -- RICKY
He stands at his Stepmother's side, gazing at the tombstone
(in F.G.).
RetroSlashers.net
22.
CONTINUED:
RICKY (V.O.)
(continuing)
The Rosenbergs had always been good to me
and I hated to see my Stepmother all
alone.
16B
16B
WIDE -- 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
17
EXT. 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
17A
MED -- 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
17B
RICKY'S POV
A red sports car is parked on the side of the road. It is
empty.
17A
17A
BACK TO RICKY
He hears OFFSCREEN LAUGHTER and turns toward the field.
17B
17B
RICKY'S POV
The noise is coming from the field, but tall grass obscures
his view.
17C
17C
MED -- 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.
RetroSlashers.net
23.
(CONTINUED)
17D
17D
RICKY'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
17E
CU -- RICKY
He watches the couple with fascination.
17F
17F
MED -- COUPLE
Paula has her blouse halfway open and Eddie sits next to her,
nursing a beer.
EDDIE
I think you're gonna need a new shirt.
PAULA
(giggling)
Why? What for?
17G
17G
CU -- EDDIE
EDDIE
(gesturing at her chest)
Cos I see something I like.
17H
17H
CU -- 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
17G
BACK TO EDDIE
He takes a huge gulp of beer.
EDDIE
Yeah, but that's what you like about me.
17E
17E
BACK TO RICKY -- CLOSER
He strains to hear every word.
17F
17F
BACK TO MEDIUM -- COUPLE
Eddie leans closer and nuzzles the girl's neck.
RetroSlashers.net
24.
CONTINUED:
EDDIE
C'mon, say it...
She nuzzles back.
PAULA
Say what?
17G
17G
CU -- EDDIE
He tosses away the empty beer can and moves in.
EDDIE
Tell me you want it.
17H
17H
CU -- PAULA
She coyly turns away, but his hand seizes a breast.
17G
17G
BACK TO EDDIE
EDDIE
(continuing)
If you don't tell me you want it, you
can't have it.
17H
17H
BACK TO PAULA
She grabs his hand and turns to him.
PAULA
I want it, Eddie, but not now. You're
always in such a hurry!
17F
17F
BACK TO MEDIUM -- COUPLE
Eddie wraps his arms around her and pushes her down onto the
blanket.
EDDIE
Yeah? So what?
17J
17J
CU -- PAULA
She struggles to keep him at arm's length.
PAULA
So maybe I'm tired of you grabbing me all
the time.
(she pushes him away)
Now leave me alone!
RetroSlashers.net
25.
(CONTINUED)
17K
17K
CU -- EDDIE
Her resistance just makes Eddie more excited.
17J
17J
BACK TO PAULA
Eddie pins her arms to the ground.
PAULA
(continuing)
Eddie!
17E
17E
BACK TO RICKY -- CLOSER
His eyes grow wide.
17J
17J
BACK TO PAULA
Eddie's hands are on her shirt. She beats at his arms.
17K
17K
BACK TO EDDIE
And evil grin breaks across his face.
17J
17J
BACK TO PAULA
Eddie rips the shirt from her body.
ORIGINAL FILM -- SANTA RIPS OFF MOM'S BLOUSE
17E
17E
BACK TO RICKY
He reacts as if slapped in the face.
17J
17J
BACK TO PAULA
She struggles.
17K
17K
BACK TO EDDIE
He pins her arms under his knees and reaches under his belt.
EDDIE
I know you want it.
17J
17J
BACK TO PAULA
She frees one hand and punches him right in the crotch!
17L
17L
CU -- CROTCH
She pounds her fist into his fly and CAMERA TILTS QUICKLY UP
to catch the Boy's reaction.
RetroSlashers.net
26.
CONTINUED:
EDDIE
Yeeeeoooow!
17J
17J
BACK TO PAULA
She frees the other hand and swings it at Eddie.
17L
17L
BACK TO EDDIE
He recoils from her slap.
ORIGINAL FILM -- MOM SLAPS SANTA
17E
17E
BACK TO RICKY
His mouth drops open.
17L
17L
BACK TO EDDIE
He rubs his face and shakes his head to clear it.
EDDIE
You bitch.
He slaps her hard across the face.
17J
17J
BACK TO PAULA
She recoils.
ORIGINAL FILM -- MOM RECOILS FROM SANTA'S SLAP
17E
17E
BACK TO RICKY -- CLOSER
His eyes become slits.
RICKY
Naughty.
17L
17L
BACK TO EDDIE
He laughs.
EDDIE
Fuck this.
17M
17M
MED -- COUPLE
Eddie stands and tucks in his shirt.
EDDIE
(continuing)
I'm getting a beer. But I'll be back.
RetroSlashers.net
27.
17J
17J
BACK TO PAULA
She wipes the tears form her eyes and tries to cover herself
up. She shoots a knife-sharp look in Eddie's direction.
PAULA
You're an asshole, Eddie.
17N
17N
MED -- 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
17P
MED -- 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
17R
MED -- EDDIE
He stares PAST CAMERA, not comprehending.
17S
17S
INSERT -- KEYS IN IGNITION
Ricky's hand twists the keys.
17R
17R
CU -- EDDIE
Eddie looks toward the engine.
17T
17T
INSERT -- GEAR SHIFT
Ricky's hand yanks it into "Drive."
17R
17R
ECU -- EDDIE
Eddie looks back up at Ricky.
17V
17V
INSERT -- GAS PEDAL
Ricky's foot steps on it.
17W
17W
CU -- TIRE
It spins and EXITS FRAME.
RetroSlashers.net
28.
17X
17X
CU -- RICKY
His face is a stone mask as the car moves AT CAMERA.
17R
17R
ECU -- EDDIE
He drops OUT OF FRAME
17Y
17Y
WIDE -- 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
17Z
MED -- PAULA
DOLLY TO HER as she hears the commotion and stands up.
17AA
17AA
PAULA'S POV
She sees the car move forward and back one final time, then
the engine dies.
17BB
17BB
MED -- 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
17CC
MED -- ROAD
A bloody hand sticks out from under the car.
17BB
17BB
BACK 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
17DD
CU -- RICKY
He startles, turning to face her.
17EE
17EE
CU -- PAULA
She looks up from the body to Ricky.
PAULA
Thank you.
17DD
17DD
BACK TO RICKY
He blinks.
RetroSlashers.net
29.
(CONTINUED)
17EE
17EE
BACK TO PAULA
She turns and walks back into the field.
17DD
17DD
BACK TO RICKY
He watches her for a moment, then turns and disappears into
the woods.
18
18
INT. CELL -- CU -- NOTEPAD -- AFTERNOON
Dr. Bloom is writing the words "RED CAR" repeatedly on his
pad.
18A
18A
CU -- BLOOM
He finishes and looks up.
18B
18B
BLOOM'S POV
The room is empty.
18A
18A
BACK 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
18C
MED -- RICKY
He walks to the center of the room, BACK TO CAMERA.
RICKY
(continuing)
You got any kids, Doc?
18A
18A
BACK TO BLOOM
He pauses, caught off guard.
RetroSlashers.net
30.
CONTINUED:
(CONTINUED)
BLOOM
Why, no. We were never blessed with
children.
18C
18C
BACK TO RICKY
He doesn't turn around.
RICKY
Married then, huh?
18A
18A
BACK TO BLOOM
He nods.
BLOOM
Yes, but my wife has been dead for many
years.
18C
18C
BACK TO RICKY
He turns and faces Bloom.
RICKY
Too bad. How'd you meet her?
18A
18A
BACK TO BLOOM.
He is tiring of this exchange.
BLOOM
(with a sigh)
In college. Now I think --
18D
18D
CU -- RICKY
He stands IN PROFILE.
RICKY
My old lady couldn't afford to send me to
college.
18E
18E
CU -- BLOOM
He sits IN PROFILE. He looks down briefly, then up again.
18D
18D
BACK TO RICKY
He thinks back, remembering.
RICKY
(continuing)
So, I got a job...
RetroSlashers.net
31.
CONTINUED:
(CONTINUED)
He turns and WALKS OUT OF FRAME...
19
19
INT. 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
20
EXT. 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
20A
RICKY'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
20B
CU -- LOSER
He slams against the wall. He is small and ferret-faced.
LOSER
Monday, I swear! I'll get it all on
Monday.
20C
20C
CU -- 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
20B
BACK TO LOSER
He doubles over in pain.
RetroSlashers.net
32.
CONTINUED:
SHARK
(continuing)
And you know what?
20C
20C
BACK TO SHARK
He knees the Loser in the face.
20B
20B
BACK TO LOSER
He bounces back up into the wall. His mouth bleeds freely.
20C
20C
BACK TO SHARK
He smiles.
SHARK
(continuing)
I hope you don't pay on Monday...
20B
20B
BACK TO LOSER
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
20D
MED -- SHARK
He dusts off his suit and reaches into his pocket.
20E
20E
CU -- POCKET
He brings out a bright red handkerchief, raises it to his
sweaty face and wipes his brow. QUICK SWISH PAN to...
20F
20F
CU -- RICKY
The sight of red sets him off.
20D
20D
BACK 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.
SHARK
What are you looking at, kid? Get out of
my way.
RetroSlashers.net
33.
20G
20G
MCU -- 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
20H
MCU -- 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
20J
CU -- SHARK
The Shark punches Ricky repeatedly in the face, but to no
avail.
20K
20K
CU -- RICKY
His head barely moves from the punches. He glances down.
20L
20L
RICKY'S POV -- TRASH CAN
Ricky's hand snatches a broken umbrella from the can.
20J
20J
BACK TO SHARK
He notices this and struggles harder.
20M
20M
CU -- UMBRELLA
Ricky draws back the umbrella.
20N
20N
ECU -- UMBRELLA
The point is sharp.
20P
20P
CU -- RICKY
He looks deep into the Shark's eyes.
RICKY
Naughty.
20R
20R
ECU -- SHARK
His eyes bulge.
RetroSlashers.net
34.
20M
20M
BACK TO UMBRELLA
It plunges forward.
20R
20R
CU -- SHARK
He gasps.
20S
20S
CU -- SHARK'S BACK
The umbrella bursts through the Shark's coat, red with blood.
20T
20T
MED -- SHARK & RICKY
We see the Shark impaled on the umbrella.
20V
20V
MED -- SHARK
The umbrella POPS OPEN behind the impaled man. He gasps for
the last time.
20W
20W
CU -- RICKY
He drops the dead man to the ground.
20X
20X
WIDER 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
21
ECU -- BLOOM
The Doctor's forehead also glistens, but with sweat. CAMERA
PULLS BACK and finds Bloom nervously wiping his brow with one
hand.
21A
21A
LOW ANGLE -- BLOOM
He reaches into his coat pocket.
21B
21B
CU -- POCKET
He pulls out a handkerchief. It is embroidered in bright red
stitching.
21A
21A
BACK TO LOW ANGLE
Bloom stops and glances quickly over at Ricky.
RetroSlashers.net
35.
21C
21C
MED -- RICKY
DOLLY QUICKLY to Ricky's face as he slowly turns his head
toward Bloom.
21D
21D
CU -- BLOOM
His eyebrows raise.
21A
21A
BACK TO LOW ANGLE -- BLOOM
He shoves the handkerchief back into his pocket.
21C
21C
BACK TO RICKY
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
21E
CU -- TABLE
Ricky's fists pound into the table, echoing through the room.
CAMERA TILTS UP to his face.
RICKY
(continuing)
No way!
21F
21F
MED -- BLOOM
Bloom is FRAMED THROUGH RICKY'S ARMS as he listens.
RICKY
(continuing)
Too many people get away with shit like
that!
21E
21E
BACK TO RICKY
He leans up and stands for a moment, saying nothing. Nodding
his head, he says one word:
RICKY
(continuing)
Punishment.
21G
21G
CU -- BLOOM
BLOOM
Discipline.
RetroSlashers.net
36.
21E
21E
BACK TO RICKY -- CLOSER
He squints his eyes and looks down his nose at Bloom.
RICKY
You're really starting to get to me, Doc.
You're getting real close.
21G
21G
BACK TO BLOOM
BLOOM
Tell me about Jennifer.
21E
21E
BACK TO RICKY -- CLOSER
His face softens, then becomes cold again.
RICKY
Eat shit.
He turns away.
21H
21H
CU -- RICKY/BLOOM (SPLIT FOCUS)
He storms to his chair and sits (in F.G.) as the Doctor
watches him (in B.G.)
BLOOM
Richard, do you know why you are here?
RICKY
No, Doc, tell me.
BLOOM
You tell me.
RICKY
I'm finished talking, Henry.
Bloom rustles through his paper and tosses something onto the
table.
21J
21J
CU -- 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
21K
CU -- RICKY
He turns and sees the picture. After a beat, he picks up the
photo and gazes at it for several moments.
RetroSlashers.net
37.
21G
21G
CU -- BLOOM
He smiles knowingly.
21K
21K
BACK TO RICKY
RICKY
Jennifer.
21L
21L
CU -- 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
22
EXT. 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
22A
ANGLE 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
22B
RICKY'S POV
He gazes into the beautiful face of JENNIFER, who looks at
him with a mixture of sorrow and amusement.
22A
22A
BACK TO RICKY
He breaks into a sheepish grin and shrugs.
RICKY (V.O.)
She made me feel like I was... special.
RetroSlashers.net
38.
23
23
EXT. COUNTRY ROAD -- DAY
Ricky's motorcycle zooms PAST CAMERA.
23A
23A
TRAVELING 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
23B
EXT. 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
24
INT. 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
25
EXT. 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
25A
MED -- CHIP
He spots the couple and blocks their path.
25B
25B
MED -- RICKY & JENNIFER
Jennifer rolls her eyes at the sight of Chip.
RetroSlashers.net
39.
25A
25A
BACK TO CHIP
CHIP
(gesturing at Ricky)
So, this is what you ended up with.
25B
25B
BACK TO RICKY & JENNIFER
She glances quickly at Ricky, embarrassed.
CHIP
(continuing)
Shit, if I had known you'd sink this
low...
25A
25A
BACK TO CHIP
CHIP
(continuing)
I never would'a dumped you.
25C
25C
CU -- JENNIFER
She steps between Chip and Ricky.
JENNIFER
Chip, you're a jerk. Leave us alone.
304
304
BACK TO CHIP
He won't let up and grabs her arm.
CHIP
Don't you miss me? All those... good
times that we had together...
Ricky steps between Jennifer and Chip.
25D
25D
CU -- RICKY
He stares through Chip.
RICKY
That's enough.
25A
25A
BACK TO CHIP
He sizes up Ricky and decides there is no threat.
CHIP
Whoa! That's what she said after I fucked
her brains out in the back seat of ole
Red here.
RetroSlashers.net
40.
25E
25E
BACK TO RICKY -- CLOSER
His eyes narrow, turning to slits.
25C
25C
BACK TO JENNIFER
She moves to shove Chip away.
JENNIFER
Shut up!
25F
25F
MED -- ALL
Jennifer lunges at Chip, but he steps to the side and sticks
out his foot, causing Jennifer to fall to the ground.
25G
25G
MED -- JENNIFER
She falls INTO FRAME and onto the grass.
25A
25A
BACK TO CHIP
He holds his side with laughter.
CHIP
Ha, ha, falling for me again, huh --
His words are cut off by Ricky's hand around his throat.
25H
25H
CU -- RICKY
His eyes are blazing as he lifts Chip off his feet.
25A
25A
BACK TO CHIP
His eyes bulge in surprise.
25J
25J
CU -- CHIP'S FEET
They are lifted off the ground.
25H
25H
BACK TO RICKY
He glances at the car.
25K
25K
CU -- CAR
The engine is exposed, battery cables connecting to
terminals.
25H
25H
BACK TO RICKY
He turns and pins Chip to the car's fender.
RetroSlashers.net
41.
25L
25L
CU -- CHIP
He struggles, his back against the metal.
25M
25M
CU -- 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
25N
CU -- CHARGER
Ricky's hand ENTERS FRAME and he cranks up the voltage.
25L
25L
BACK TO CHIP
He whimpers, eyes rolling in his head.
25P
25P
CU -- RICKY
He leans close to Chip.
RICKY
Naughty.
25N
25N
BACK TO CHARGER
Ricky pushes the "QUICK CHARGE" button.
25L
25L
BACK TO CHIP
He squirms and fries, smoke rising from his face.
25G
25G
CU -- JENNIFER ON GROUND
She screams.
JENNIFER
No!
25P
25P
BACK TO RICKY
He is oblivious to her screams.
25L
25L
BACK TO CHIP
He is quite dead and Ricky lowers him OUT OF FRAME.
25R
25R
MED -- CHIP & RICKY
Ricky kneels over him, still deep within his psychotic state.
RetroSlashers.net
42.
25S
25S
LOW 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
25T
CLOSER -- JENNIFER
JENNIFER
(continuing)
Are you out of your mind?
ORIGINAL FILM -- MOTHER SUPERIOR SAYS "Very, very naughty."
25V
25V
JENNIFER'S POV -- RICKY
He is blasted by the vision.
25T
25T
BACK TO JENNIFER
JENNIFER
You're gonna pay for this!
ORIGINAL FILM -- MOTHER SUPERIOR SAYS "Punishment is good."
25V
25V
BACK TO JENNIFER'S POV -- RICKY
Ricky is stunned again.
25T
25T
BACK TO JENNIFER
JENNIFER
I hate you, Ricky! I hate you!
ORIGINAL FILM -- MOTHER SUPERIOR SAYS "Punishment is
absolute."
25V
25V
BACK TO RICKY -- CLOSER
He snaps.
RICKY
(low, hoarse whisper)
Punish.
25W
25W
MED -- BOTH
Ricky stands.
RetroSlashers.net
43.
(CONTINUED)
25X
25X
CU -- CAR HOOD
He rips the car antenna from it's bracket.
25Y
25Y
CU -- JENNIFER
She gulps.
JENNIFER
Uh oh.
She turns to run.
25Z
25Z
INSERT -- RICKY'S HANDS SWISH THROUGH FRAME
25AA
25AA
ECU -- 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
25BB
CU -- GROUND
Jennifer's dead face falls INTO FRAME.
25AA
25AA
BACK TO RICKY
He breathes deeply.
VOICE (O.S.)
Freeze, asshole!
26
26
REVERSE -- CU RICKY
He turns his head slowly TOWARD CAMERA.
26A
26A
MED -- 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-COP
Okay pal, you just stand right there.
Right there. Let's be real civilized
about this.
26
26
BACK TO RICKY
He doesn't move.
RetroSlashers.net
44.
CONTINUED:
RICKY
Okay.
26A
26A
BACK TO RENT-A-COP
He moves around the car and approaches Ricky.
RENT-A-COP
That'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
26
BACK TO RICKY
The Rent-A-Cop circles around in front of Ricky, who faces
him.
26B
26B
CU -- 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
26C
CU -- 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
26B
BACK TO RENT-A-COP
He is surprised.
26D
26D
CU -- GUN
Ricky spins the gun...
26E
26E
RENT-A-COP'S POV
Into the Rent-A-Cop's face.
26F
26F
CU -- RENT-A-COP
RENT-A-COP
No!
RetroSlashers.net
45.
26E
26E
RENT-A-COP'S POV
The gun fires.
26G
26G
PROFILE -- RENT-A-COP
His head snaps back spewing blood.
26H
26H
CU -- GROUND
The Rent-A-Cop flies back INTO FRAME, dead.
26J
26J
CU -- 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
26K
CU -- 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
26L
CU -- RICKY
He raises the gun and fires.
26M
26M
CU -- MAN ON PORCH
The man's chest explodes and he drops where he stands.
26K
26K
BACK TO RICKY -- STEADICAM
He watches the man fall, then continues down the street.
RICKY
(under his breath)
Motherfucker.
RetroSlashers.net
46.
27
27
CU -- 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
27A
CU -- OTHER CAN
He lifts it OUT OF FRAME and reveals Ricky, standing 20 feet
away.
27B
27B
CU -- MAN
He looks at Ricky, bewildered.
27C
27C
CU -- RICKY
He raises the gun.
RICKY
Garbage day!
27B
27B
BACK TO MAN
He gasps and lifts the full can as a shield.
27C
27C
BACK TO RICKY -- CLOSER
He fires the gun.
27B
27B
BACK TO MAN
The bullet passes through the can (throwing garbage
everywhere) and into the man. He flies back and hits the
ground.
27C
27C
BACK TO RICKY
He blows the smoke from his gun and walks INTO CAMERA.
28
28
MED -- CORNER
A LITTLE GIRL on her tricycle rounds the corner and heads
TOWARD CAMERA.
28A
28A
TRAVELING 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.
RetroSlashers.net
47.
28B
28B
HIGH ANGLE -- GIRL
She looks up at Ricky.
LITTLE GIRL
Sorry, Mister.
28A
28A
BACK TO RICKY
His features soften. A little.
RICKY
That's okay.
He steps aside.
28B
28B
BACK TO GIRL
She peddles on her way.
29
29
MED -- 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
29A
ANGLE -- CAR
An unsuspecting motorist blows his horn at Ricky.
29B
29B
DRIVER'S POV
The driver sees Ricky raise his gun in the middle of the
street and point it at the windshield.
29A
29A
BACK TO CAR
The driver tries to swerve out of the way.
29C
29C
MED -- RICKY
The CAMERA DOLLYS QUICKLY toward Ricky. He fires the gun.
29D
29D
ANGLE WINDSHIELD
The glass shatters.
29C
29C
BACK TO RICKY
RICKY
Bingo!
RetroSlashers.net
48.
(CONTINUED)
29E
29E
WIDE -- STREET
The car swerves and flips, then explodes. Ricky walks INTO
FRAME and past the wreckage.
30
30
ANGLE CORNER
Ricky rounds the corner and stops.
30A
30A
RICKY'S POV
Three State Police cars are blocking the street. The Officers
are crouched, guns drawn.
COP ONE
Drop you weapon! Drop it!
30
30
BACK 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
30B
CU -- COP ONE
His mouth drops open and he lowers his weapon.
COP ONE
No! Don't do it!
30
30
BACK TO RICKY
He smiles and closes his eyes.
30C
30C
ECU -- TRIGGER
Ricky's finger squeezes and CLICK!
31
31
CU -- 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.
RICKY
No 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.
RetroSlashers.net
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
31A
CU -- TAPE RECORDER -- FROM ABOVE
We hear the door SLAM SHUT and FOOTSTEPS moving away down the
hall. The tape runs out.
RetroSlashers.net
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
32
EXT. 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
33
INT. 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.
RetroSlashers.net
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
34
EXT. 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
35
INT. BEDROOM -- NIGHT
Mother Superior watches TV.
35A
35A
INSERT -- TV
The "Santa Claus Parade" is on.
35B
35B
CU -- MOTHER SUPERIOR
She watches with disgust.
MOTHER SUPERIOR
Shameful. Sacrilegious.
35A
35A
BACK TO TV
Pretty girls wave from gaudy floats.
35B
35B
BACK 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
36
EXT. WINDOW -- NIGHT
Looking THROUGH THE WINDOW, we see Mother Superior wheel over
and peer out.
37
37
INT. BEDROOM -- CU -- MOTHER SUPERIOR -- NIGHT
She turns from the window.
MOTHER SUPERIOR
(continuing)
Children should be in bed.
RetroSlashers.net
52.
CONTINUED:
(CONTINUED)
She moves to her bedside table and reaches for a decanter
filled with red wine.
37A
37A
CU -- DECANTER
She lifts the decanter and pours a small, shaky glass, then
raises it to her lips.
38
38
EXT. FRONT DOOR -- NIGHT
The axe crashes into the door.
39
39
INT. BEDROOM -- CU -- FLOOR -- NIGHT
The glass drops to the floor and shatters. TILT UP to Mother
Superior, who listens intently.
39A
39A
MED -- MOTHER SUPERIOR
She wheels over to her bedroom door and creaks it open.
40
40
INT. HALLWAY -- NIGHT
Her head peeks around the corner and she cranes her neck
toward the sounds.
41
41
INT. ENTRY HALL -- NIGHT
Ricky reaches through the gaping hole in the front door and
tears out the chain.
41A
41A
WIDER OF SAME
He bursts through the door into the house.
42
42
INT. 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
42A
MOTHER SUPERIOR'S POV
The room offers no solution.
43
43
INT. STAIRS -- NIGHT
Ricky's black boots climb the first two steps.
43A
43A
CU -- RICKY
He pauses and looks up the stairway, grinning with glee.
RetroSlashers.net
53.
CONTINUED:
RICKY
(yelling, sing-song)
Mother Superior!
44
44
INT. BEDROOM -- WIDE -- NIGHT
The CAMERA RUSHES to Mother Superior's face. Her eyes fill
with fear.
45
45
INT. HALLWAY -- NIGHT
Her bedrooms door opens and she wheels quickly into the
hallway, glancing toward the top of the stairs.
45A
45A
MOTHER SUPERIOR'S POV
Ricky's shadow precedes him up the steps.
RICKY (O.S.)
(yelling)
I've got a present for you...
45B
45B
MED -- 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
45C
WIDE -- HALL
The doorknob slams INTO FRAME as Ricky tops the stairs (in
B.G.). he moves to Mother Superior's bedroom.
45D
45D
CU -- RICKY
He kicks down the door.
46
46
INT. 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
46A
INSERT 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.
RetroSlashers.net
54.
47
47
INT. 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
47A
LOW 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
47B
CU -- DOOR
The axe is yanked out and Ricky peers through the jagged
hole.
RICKY
(crazed)
There you are!
47A
47A
BACK TO MOTHER SUPERIOR
She spins around and moves quickly to the connecting
bathroom, closing and locking the door behind her.
47C
47C
ANGLE ROOM DOOR
Ricky struggles with the door, finally pushing through.
48
48
INT. BATHROOM
She wheels past the sink and enters the connecting hallway,
locking that door behind her as well.
49
49
CU -- DOORKNOB
The axe shears off the bathroom doorknob and Ricky flings
open the door and enters.
50
50
INT. HALLWAY -- MED -- MOTHER SUPERIOR
Mother Superior pulls the key from the bathroom lock and
wheels down the hallway toward the stairs.
50A
50A
CU -- 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.
RetroSlashers.net
55.
50B
50B
CU -- 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
50C
MED -- TOP OF STAIRS
Mother Superior reaches the landing and tries to pull herself
into the chairlift. Her robe catches on the wheelchair.
50D
50D
CU -- WHEELCHAIR
Her robe is caught on a steel rod.
50E
50E
CU -- RICKY'S FEET
He takes two steps down the hall.
50F
50F
CU -- MOTHER SUPERIOR
She shoots a glance at Ricky and tugs at her robe.
50G
50G
CU -- RICKY'S HAND
They twist and grip the axe handle.
50F
50F
BACK TO MOTHER SUPERIOR
She pulls hard on the fabric.
50H
50H
CU -- RICKY'S FACE
His grin is wide.
50D
50D
CU -- WHEELCHAIR
The cloth tears, freeing her.
50F
50F
BACK TO MOTHER SUPERIOR
She snaps back, cloth in hand.
50J
50J
CU -- RICKY'S FEET
The CAMERA QUICKLY TILTS UP as Ricky raises the axe high
above his head.
RICKY
(grinning)
Gotcha.
RetroSlashers.net
56.
(CONTINUED)
50F
50F
BACK TO MOTHER SUPERIOR
She dives OUT OF FRAME.
50K
50K
CU -- WHEELCHAIR
The axe cuts it in half.
50L
50L
WIDE -- STAIRS
Mother Superior tumbles down the stairs, landing in the
hallway below.
50K
50K
CU -- WHEELCHAIR
The axe is caught in the metal and we TILT UP to Ricky's
face.
RICKY
Oh, I'm really mad now...
He struggles to remove the axe.
51
51
MED -- BOTTOM OF STAIRS
Mother superior climbs into her downstairs wheelchair, moves
through the living room and into the kitchen, CAMERA
FOLLOWING.
52
52
MED -- RICKY
He dislodges his weapon and moves slowly down the stairs.
53
53
INT. 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
54
INT. 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.
RetroSlashers.net
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.
MOTHER SUPERIOR
(continuing)
And like your brother, you must be
punished.
The door closes and she swings around to face him.
54A
54A
CU -- MOTHER SUPERIOR
She brandishes the knife, her features stern, no sign of
fear.
MOTHER SUPERIOR
(continuing)
I am your Mother Superior! I raised you
from an infant!
54B
54B
CU -- 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...
54A
54A
BACK TO MOTHER SUPERIOR
MOTHER SUPERIOR
(continuing)
And take your punishment!
54B
54B
MCU -- RICKY
He raises the axe.
RICKY
No more punishment.
54A
54A
BACK TO MOTHER SUPERIOR
She remains firm, eyes blazing.
MOTHER SUPERIOR
You are being very, very naughty!
RetroSlashers.net
58.
54B
54B
CU -- RICKY
The axe hangs high in the air, poised to strike.
RICKY
Naughty this.
54C
54C
LOW ANGLE -- RICKY
He brings the axe down TOWARD CAMERA!
55
55
EXT. 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
56
INT. 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
57
INT. 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
57A
DETECTIVE'S POV
The lifeless form of Mother Superior sits slumped in a chair
at the far end of the table.
57
57
BACK 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 MARY
Mother Superior? Are you alright?
57A
57A
BACK TO POV
The form doesn't move. CAMERA BEGINS TO DOLLY CLOSE.
57
57
BACK TO SISTER
She walks to the table. Mother Superior's shoulder and back
of head ENTER FRAME as Sister Mary gets closer.
RetroSlashers.net
59.
57B
57B
CU -- DETECTIVE
The CAMERA DOLLYS TO HIS FACE as he suspects something is
wrong.
57
57
BACK TO SISTER
She reaches out and touches the body, stirring it slightly.
Mother Superior's head falls off and OUT OF FRAME.
57C
57C
CU -- SISTER
She screams.
57D
57D
CU -- HEAD
Mother Superior's dead face stares up at the Sister.
57C
57C
BACK TO SISTER
She backs away... RIGHT INTO RICKY, who stands behind her, in
front of the window. He raises his axe.
57E
57E
CU -- DETECTIVE
He swings his gun around.
57F
57F
CU -- RICKY
He is quite insane.
RICKY
Boo!
57G
57G
CU -- GUN
It fires POINT BLANK INTO CAMERA.
57H
57H
MED -- RICKY (SLOW MOTION)
His body recoils from the impact of bullets that blast him
through the dining room window.
58
58
EXT. WINDOW -- NIGHT (SLOW MOTION)
His body sails out the window and falls OUT OF FRAME.
59
59
INT. 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.
RetroSlashers.net
60.
60
60
EXT. 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