The Texas Chainsaw Massacre:Bloodline

By Jeff Fernell

FADE IN:

1 EXT. FARMHOUSE 1

It is late afternoon. We can see the sun setting over the horizon. The farmhouse seems to have been abandoned. We see Halloween decorations on the front porch.

2 EXT. FARMHOUSE - ANGLE ON MAILBOX 2

The Camera zooms in on a mailbox. We see the face of a pumpkin on it. The sun reflects off of the sides. Weeds are growing on the mailbox post. We can hear a scream of wind blow onto the weeds.

3 EXT. FARMHOUSE- FIELD 3

The camera views the farmhouse and a field of wheat in front of it. We can hear echoes of voices crying and chanting.

TITLE CARD: THE TEXAS CHAINSAW MASSACRE: BLOODLINE

4 EXT. FARMHOUSE- CLOSE ON SHED 4

The camera views a small wooden shed with a skeleton posted onto the side door. A tree is right beside it. A tree with no leaves. We can still hear the screaming of winds.

5 EXT. FARMHOUSE- CLOSE ON TREE 5

The camera closes in on a tree with no leaves. A fake ghost is hanging on a branch. We can still hear chanting and cries as the wind blows.

6 EXT. FARMHOUSE- CLOSE ON PORCH 6

The camera zooms on a wooden porch with tumbleweeds being blown away. We can still hear wind blowing and chants.

7 EXT. FARMHOUSE- ZOOM ON TRACTOR 7

The camera zooms on a tractor where we see a stuffed scarecrow with a pumpkin for a head and an axe by its side. The chants are still going and the wind is blowing harder.

8 EXT. FARMHOUSE- CLOSE ON FENCE 8

The camera closes in on a wooden fence with a pitchfork hanging on its sides. The chants are beginning to fade as the wind gets louder.

9 EXT. FARMHOUSE- CLOSE ON WINDMILL 9

The camera views in on a windmill spinning fast because the large wind. The cries seem to clearer now. We can hear people crying for help.

FADE OUT.

FADE IN:

10 BLACKNESS

The sound of heavy footsteps marching down a long corridor can be heard offscreen. The sound is powerful as the footsteps advance towards us.

SUPERIMPOSE:

HUNTSVILLE STATE PENITENTIARY

TEXAS, 1981

CUT TO:

11 INT. HUNTSVILLE PENITENTIARY - HALLWAY

FRONT CLOSE UP of a pair of booted feet. We TRACK ALONG WITH THEM as they march forward.

We SLOWLY PULL BACK from the booted feet to REVEAL two other pairs of feet, one on each side. The pair of boots in the middle appear to be worn and dusty workboots. The other two are shinier. The boots keeping walking and finally stop.

LOW MEDIUM SHOT of the back of the boots. We CRANE UP to REVEAL a prisoner standing in front of a large doorway, surrounded by two guards, one on each side. The prisoner looks like they are wearing some sort of mask.

The door in front of them, slides open and the two guards walk the prisoner into the room. The door slides shut behind them.

CUT TO:

12 INT. HUNTSVILLE PENITENTIARY - GAS CHAMBER

MEDIUM SHOT of guards strapping the prisoner in the chair in the middle of the gas chamber. We cannot see the face of the prisoner but occasionally we get quick glimpses. The prisoner is wearing a patchwork mask made of some sort of leather-like material.

13 MEDIUM SHOT OF PRISONER - BACK

The prisoner sits in the chair. Another door across the room opens and the WARDEN walks in and approaches the chair. A priest follows behind him. The warden stops in front of the prisoner, facing them. The priest stands to the side.

WARDEN: W.E. Sawyer, your crimes of murder and malicious brutality have locked you away here in my prison for 8 long years. Now, finally, the time has come for all that to perish. The 'Texas Chainsaw Massacre' must finally end. Never again will your dawn your shroud of death. Leatherface is finally going to die.

14 ANGLE THROUGH GLASS

Looking into the gas chamber from the room next door. We are looking through a one-sided mirror. There is a man, ROTHMAN, in a black business suit standing in the middle of the frame, looking through the glass at W.E. SAWYER being dealt with.

The warden turns away from W.E. and the priest steps in front of him. He administers the Last Rites to him.

15 INT. HUNTSVILLE PENITENTIARY - GAS CHAMBER

MEDIUM SHOT OF W.E. sitting in the chair. The priest stands in front of him.

W.E. struggles within his restraints, trying to attack him. The priest jumps back in momentary fear, but then he realizes that the prisoner is restrained and cannot harm him.

In Latin, he finishes resisting the Last Rites to him, and finishes up with:

PRIEST: And may God have mercy your soul.

He crosses W.E. with his hand.

PRIEST: (continuing) Amen!

The priest and the warden exit.

16 ANGLE THROUGH GLASS

Rothman watches as slowly gas pellets are dropped and gas rises from the floor. Gas slowly surrounds W.E. as he sits there motionless.

Pretty soon the room is filled with gas. The glass fogs up, obscuring our view through the glass. Slowly, Rothman turns around and looks at something offscreen.

We SLOWLY PULL BACK from Rothman to REVEAL a man sitting at a table, wearing the same mask as W.E. was wearing.

ROTHMAN: (fatherly, sinister) Now, the deed is done. That is you in there, you are dead. Do we have an understanding? You know what you are to do, right?

W.E. grunts, indicating "yes".

ROTHMAN: (continuing) Good. Now, you are the first of many. Soon others will join. Gein will surely live on. Nothing shall prevent that. All of you will finish his work, the work you began 8 years ago.

17 CLOSE ON W.E.

His Leatherface mask hangs loosely over his face. His eyes are cold and emotionless. ZOOM IN through the eyehole and in on the blank eyes of LEATHERFACE.

FADE TO BLACK.

18 BLACK SCREEN - ROLL CRAWL:

OVER THE COURSE OF THREE DECADES, TEXAS HAS BEEN HAUNTED BY AN EVIL THAT LURKS WITHIN THE SHADOWS OF THE NIGHT. THE SOUND OF A BLAZING SAW THAT HAS ECHOED IN THE MINDS OF A FEARFUL PUBLIC. AND THE IMAGE OF A FACELESS KILLER THAT HAS STALKED WITHIN IN THE DARK FORESTS, WATCHING, PATIENTLY WAITING TO STRIKE.

IN THE WAKE OF EACH OF THESE BRUTAL CHAINSAW MASSACRES, THE KILLERS HAVE VANISHED, LEAVING BEHIND NOTHING BUT FEAR. AND A LEGACY THAT HAS CARRIED ITSELF FOR OVER 30 YEARS.

NOW AFTER NEARLY TWO DECADES OF SILENCE, THE EVIL HAS RETURNED. AND ONCE AGAIN THE BUZZING OF THE SAW CAN BE HEARD, EMERGING FROM THE SHADOWS, FILLING THE NIGHT. ALMOST DISGUISING THE ANGUISHED WAILS OF IT'S UNFORTUNATE VICTIMS.

FADE IN:

19 BLACK SCREEN - BEGIN MAIN TITLE SEQUENCE

In the background, underneath the darkness, a cool wind is heard, like the wind within the depths of a cave. Along with the wind, the faint sound of footsteps in the dirt surfaces, growing closer and closer to us. SUPERIMPOSE in dark red letters:

THE TEXAS CHAINSAW MASSACRE: BLOODLINE

The footsteps reach us and stop. A loud pound is heard as something heavy is placed on a hard surface.

FADE OUT.

FADE IN ON:

20 EXTREME CLOSE-UP

of shiny metal surface. SUPERIMPOSE MAIN TITLES in dark red letters. A reflection is cast onto the metal surface, but cannot be identified due to the blur.

DISSOLVE TO:

21 ANGLE ON GLOVED HAND

Running a gray drag runs across the shiny metal surface, cleaning it off. The MAIN TITLES CONTINUE OVER.

The reflection can still be seen in the shiny metal, but still is blurry. The deep and heavy breathing of a person can be heard as the surface of the metal is cleaned off.

DISSOLVE TO:

22 ANGLE ON BLADES OF CHAINSAW

The gloved hand moves into frame holding an oil dropper. The dropper drops oil onto the blades. The MAIN TITLES CONTINUE OVER as we --

DISSOLVE TO:

23 ANGLE ON GLOVED HAND

The gloved hand moves across the chainsaw dropping oil onto the sharp blades. The MAIN TITLES CONTINUE OVER. The oil slowly runs down the sharp blades. SUPERIMPOSE FINAL CREDIT.

FLARE TO WHITE.

Slowly the white becomes a distorted CLOSE UP of something: white distortion fills the screen. There are dark discolorations on the white object. SUPERIMPOSE:

AUGUST 18, 2010

Slowly the figure becomes clear, as WE PULL BACK from it. After a few moments, it is perfectly clear, it is the moon, full and bright, filling the blackness of the night sky.

CAMERA PANS DOWN to a house isolated in the middle of the woods.

24 INT. HALLWAY - LONG SHOT

Large, dark, and we are moving throughout it slowly, turning into another corridor with a smooth gyration and continuing down the darkness until we reach a chamber door.

25 INT. CHAMBER - TOTAL DARKNESS

The room is filled with darkness but things can still be seen. The silhouettes of things are visible but not totally clear. Through the darkness we see many things: a table, a chair and a bed. There appears to be a person lying on the bed sleeping.

As we get closer, we see that it is a young woman, about 19 years old. Her name is KAROLINE. She is a Caucasian with shoulder length black hair.

The covers are only up to her waist so we can see that her chest is firm and her breasts are tightly compressed beneath her white T-shirt.

26 ANGLE ON BED: KAROLINE

She gradually begins tossing and turning while she sleeps.

SLOWLY DISSOLVE TO DREAM:

27 EXT. ROAD - NIGHT

The moon, bright in a cloudless night sky. Tilting down reveal a paved road running through the south Texas woods.

A brown station wagon drives down the dark road. The faint sound of the engine straining is heard. Sounds like it is going to stall.

28 INT. CAR - NIGHT

There are only three passengers in the car. Karoline Williams, 5 years old, her mother Monica and her father Patrick who is driving the car. Karoline is laying asleep in the back seat. The sound of the engine stalling is heard.

29 EXT. ROAD - CAR - NIGHT

The car slows down, eventually coming to a stop. Patrick tries to crank up the ignition, but it doesn't work.

30 INT. CAR - NIGHT

Patrick turns to his wife who is sitting next to him.

PATRICK: Goddammit, the engine's out.

Monica looks worried and she turns back to look at Karoline who is still sleeping.

MONICA: Well, that's just great. Pat, go out there and fix it. I don't like the idea of being out here in the middle of the woods at this time of night.

PATRICK: Okay. I'll be right back.

31 EXT. ROAD - NIGHT

Patrick opens the hood of the car and messes with the engine. He giggles wires and tightens bolts, hoping to fix it.

PATRICK: (shouting to Monica) Okay, try it now.

32 INT. CAR - FRONT SEAT

Monica turns the key in the ignition and it makes a sound, but it won't crank up.

MONICA: (shouting to Patrick) No, she's not barking. Try it again.

33 EXT. ROAD - NIGHT

Patrick fiddles with the wires and the engine again.

PATRICK: (shouting to Monica) Okay, try it again.

34 INT. CAR - FRONT SEAT

Monica cranks the key in the ignition and nothing happens. The engine makes a sound but it won't start.

MONICA: (shouting to Patrick) No, it is not happening. This is not going to start.

35 EXT. ROAD - NIGHT

Patrick kicks the tire in anger.

PATRICK: Goddammit.

Down the road a pick up truck slowly approaches with its headlights shining ahead. As the pickup truck approaches the car, its headlights engulf the car.

Patrick turns around and looks into the headlights trying to see the truck. He cannot.

The light from the headlights shines in Monica's eyes. She puts her hand in front of her eyes to block the light as it approaches.

The pickup truck pulls up to the car and the headlights turn off.

A dirty looking man sits in the driver's seat. The man's face is hidden within the shadows. His identity is unknown.

We can clearly see someone sitting in the back of the pickup. Their back is facing us and they are leaning up against he back window of the pickup.

PATRICK: (shocked) Well, I'll be goddamned.

36 PICK-UP DRIVER'S POV

Through the windshield, the driver sees Patrick slowly approaching the driver's side window of the pick-up truck.

PATRICK: Hey man, I'm glad you came along. We've got a little accident. Goddamn engine's actin up. Can you help us?

There is a brief silence.

DRIVER: (grunting) Yeah!

DISSOLVE BACK TO:

37 INT. CHAMBER - NIGHT

Karoline tosses and turns in the bed, gripping her pillow tightly. The only sound is produced by Karoline as she dreams. It is the sound of her painful memories surfacing.

MOVE IN CLOSE on her face. Her eyelids twitch rapidly.

DISSOLVE TO:

38 EXT. ROAD - NIGHT

The driver of the pick-up truck approaches the car with Patrick. OUR VIEW of the driver does not allow us to see his upper body, only his chest and hands can be seen. They stop in front of the hood of the car which is raised open.

PATRICK: You think you can help us out?

DRIVER: (grunting) Yeah!

39 CLOSE ON THE GROUND

A pair of booted feet slowly enter the frame, walking beside the pick-up truck. We FOLLOW the booted feet along side the pick-up, and then we STOP, leaving the booted feet to exit frame.

DISSOLVE BACK TO REALITY:

40 INT. CHAMBER - NIGHT

Karoline tosses and turns as she continues dreaming this horrible nightmare. She moans from within this hellish trance of sleep. This implies that the nightmare is getting worse.

SLOWLY DISSOLVE TO DREAM:

41 EXT. CAR - ROAD - NIGHT

A pair of gloved hands, belonging to the driver, fiddle with the car's engine.

42 CLOSE ON THE GROUND

The boots stop walking, and we PAN UP to a pair of gloved hands reaching into the back of the pickup truck and removing a gigantic chrome chainsaw. The figure holding the chainsaw walks away from the pick-up truck, MOVING OUT of frame.

43 ANGLE ON CAR

Patrick stands next to the driver. OUR VIEW still does not allow us to see the driver's upper body and face. Only his hands can be seen as they work on the car.

DRIVER: Hmmmmm.

The driver pauses in his work, removing his hands from under the hood.

PATRICK: What is it? What's the damn problem?

The driver pushes down on the hood of the car, closing it.

PATRICK: Well, what is it?

A noise is heard in back of Patrick, someone's FOOTSTEPS behind him.

44 ANGLE ON PATRICK

As he turns around, facing it for the first time, the CHAINSAW BLARES, buzzing in the darkness of night. A person wearing a mask made of human skin, LEATHERFACE, stands in front of Patrick holding the chainsaw.

PATRICK: (screaming) Oh shit.

45 ANGLE ON MONICA AND KAROLINE

They wake up from the noise of the chainsaw. Looking forward, they scream frantically.

46 MONICA'S POV - THROUGH WINDSHIELD

The chainsaw is rammed through Patrick's chest. He spits blood and falls to the ground.

47 ANGLE ON MONICA

She KICKS her door open and RUSHES out. Monica quickly pulls open the back seat door and yanks Karoline out.

MONICA: Run Karoline, NOW!!!

Karoline runs quickly into the woods. As Monica follows behind her daughter, she turns back and looks towards the car.

48 MONICA'S POV

She sees the dead body of her husband laying on the ground outside the car. Looking up, she sees Leatherface holding the blaring chainsaw.

VOICE (O.S.): (grunting) Get the bitch, Leather. Get her.

Leatherface raises the blaring chainsaw into the air and quickly runs after them.

49 ANGLE ON LEATHERFACE

Chasing Monica and Karoline through the woods. SCREAMS are HEARD throughout the DARKNESS of night. Behind Leather is a man Dressed in black, firing a machine gun. He begins to fade out.

DISSOLVE TO:

50 ANGLE ON MONICA

Running through the woods, holding Karoline's hand.

DISSOLVE TO:

51 ANOTHER ANGLE

Monica runs with Karoline and she trips on something. She is flung forward and BREAKS her ANKLE. She SCREAMS OUT in pain. The CHAINSAW BLARES approaching her from behind --

MONICA: (hysterically) RUN!!!! KAROLINE, RUN!!!!

Karoline reaches down, trying to help her mother.

KAROLINE: (crying) Mommy!!!! No!!!!

MONICA: I SAID, GO NOW!!! PLEASE, GO. SAVE YOURSELF!!!

The SOUND of the BLARING CHAINSAW approaches. Karoline looks up to see:

52 KAROLINE'S POV

Leatherface approaching, almost on top of her. She SCREAMS.

MONICA (O.S.): I SAID RUN GODDAMMIT, RUN!!!!

53 ANOTHER ANGLE

Karoline hauls ass as Leatherface approaches. After reaching a save distance, she looks back and sees:

54 KAROLINE'S POV

Leatherface has engaged Monica.

55 CLOSE ANGLE ON MONICA

As time begins to skew. SLOW-MOTION or a FAST SUCCESSION OF STILL SHOTS as Leatherface is upon her. Play out the moment agonizingly.

56 ANGLE ON KAROLINE

As she watches from the shadows. She is crying as she clings to the tree she is hiding behind.

57 MONICA'S POV

Leatherface is above her. The CHAINSAW BLARES, coming down. The SCREAMS ECHO throughout the night as we --

SMASH CUT TO:

58 INT. CHAMBER - NIGHT - CLOSE ON KAROLINE

She wakes up in a pool of sweat, breathing heavily, out of breath. Karoline looks around through the darkness.

Deep, heavy footsteps are heard outside in the hallway, and in the room directly above. She looks around, trying to located the source of the footsteps.

The CAMERA ZOOMS IN to a CLOSE UP of her face. Karoline becomes distraught, keening frantically as she looks around the darkened room.

She clings tightly to a pillow and lays in the bed, trembling.

CUT TO

59 CLOSE ON THE MOON

Full and bright, filling the blackness of the night sky. Slowly we begin to PAN DOWN to a highway. A mini-van swiftly approaches.

60 EXT. ROAD - MINI VAN - ANGLE THROUGH WINDSHIELD

A young man, TOBE MILLER, can be seen behind the wheel of the van and next to him closer to the camera we see a beautiful brunette, KIM JENSEN.

More youths can be seen in the back of the mini-van.

TOBE (V.O.): Y'know, we're making excellent time. Should be there shortly.

Kim looks over at Tobe and smiles, then turns to the others in the back.

KIM (V.O.): (to one of them) Hey, Clive, you sure your uncle won't mind us filming at his place?

61 INT. MINI VAN - NIGHT

In the back of the mini van CLIVE ENRIGHT is fiddling with a video camera. The camera lays across his lap as he adjusts the settings on the control pannel.

NANCY ASHTON sits beside Clive looking out the window. Behind her is SEAN BAKER, and next to him is SIDNEY CUNNINGHAM.

The mini van is filled with assorted film equipment and other belongings.

CLIVE: (looking up at Kim) Nah, he doesn't give a shit. The place is run down and old. He has no use for it. (Pausing, looking down at the camera) The only reason he hasn't sold it is because of the murders that happened there.

NANCY: Murders?

CLIVE: Yeah. Back in '73 four kids were murdered by a chainsaw weilding killer, the only survivor was my Aunt Sally.

SEAN: (Leaning forward) What happened to her?

CLIVE: She went balystic and was committed. (Setting the camera down) She died eight years later in a mental hospital up in Utica.

62 EXT. ROAD - MINI VAN - NIGHT

The van continues down the road. Fading into the distance we do not see any other cars on the road.

63 INT. MINI VAN - ANGLE ON SEAN

He looks at Nancy and Sidney with enthusiasm.

SEAN: This is gonna be cool, filming at an old murder site.

SIDNEY: You sure it's safe?

NANCY: Yeah, what about the killers?

CLIVE: Ah, don't worry ladies, that was over 30 years ago. The killers are long gone. It's okay.

SEAN: Yeah besides, if any chainsaw weilding freaks come after us, I'm sure your nagging will scare them away. We're covered.

NANCY: That's a comforting thought, huh Sid?

SIDNEY: Yeah, sure.

The two girls look at Sean and Clive, and seem ammused.

64 ANGLE ON FUEL GADGE

It is almost on empty.

65 MEDIUM SHOT - TOBE AND KIM

Tobe looks over at Kim.

TOBE: Running low on gas. We're gonna need to find a station soon.

KIM: This is the main road. We're bound to find something.

TOBE: Let's hope so, I'd hate to get stuck out here.

NANCY: What's wrong Tobe, scared of a little chainsaw?

TOBE: Get real. Like he said, that was a long time ago. I just don't want to be stranded out here at night. We're out in the middle of nowhere.

Kim reaches over and places her hand on Tobe's shoulder. He looks over at her, and she gives him a look of reassurance. She smiles, and he smiles back.

66 EXT. ROAD - MINI VAN - NIGHT

The mini van passes a sign on the side of the road, which reads: FILL 'ER UP -- 5 MILES AHEAD.

67 EXT. SLAUGHTERHOUSE - NIGHT

We see a dark 4-lane highway. There are no cars on the road. The CAMERA TRACKS over to a SLAUGHTERHOUSE. Sounds of chainsaws buzzing and other machinery can be heard from within the slaughterhouse.

68 INT. SLAUGHTERHOUSE - KILLING ZONE - NIGHT

LARS BAINES aims his air gun at the head of a live cow that is struggling. Standing next to Lars is his friend and co- worker DANTE SAWYER.

Lars aims his air gun and fires it. The bolt of air rockets out of the gun and hammers through the cow's skull, splattering its brain out the other end.

LARS: Goddammit, Dante. D'you see that fucking air pocket, the way it went through that fucking cow. Beautiful, isn't it? The superiority of this piece of steel and technology. Sure beats that goddamn blow to the head business or that dumb-ass fucking saw.

Dante picks up the large hammer from along side the wall. He is twirling it around and maneuvering it.

DANTE: Hey, what's that? What d'you say? The air gun beats the hammer and the saw. Ain't no fucking way. The saw is family, it is part of me.

Dante takes the hammer and points it over at the air gun.

DANTE: (continuing) That saw can whip this air gun in a heartbeat, and as for the blow to the head business as you call it, that hammer is a helluva lot cleaner that this air bolt bullshit.

Dante slowly walks over to the dead cow and looks down at it, then back over at Lars.

DANTE: (continuing) This is the tool for the trade. Watch the graceful motion of this superior piece of craftsmanship as it performs.

Dante swings the hammer at the dead cow, violently pounding its skull with the hammer head. Dante repeatedly attacks the dead cow in rage and he laughs with pride as he does this. He pauses for a moment and looks over at Lars.

DANTE: (continuing) Do you like what you see my friend? You still think that bolt of fucking air can whip this tool of steel and wood, do ya?

Lars does not reply and Dante turns away.

DANTE: (continuing) Still don't think so?

Dante swings the hammer at the dead cow once more, smashing its skull. He is enjoying this as he continues. He laughs while he does this.

69 INT. SLAUGHTERHOUSE - HALLWAY

The manager MR. KLINE walks down the hallway towards the killing zone. He walks swiftly towards the door.

70 INT. SLAUGHTERHOUSE - KILLING ZONE

Dante is attacking the dead cow with the hammer. He continues to laugh. Finally he stops and turns to Lars with the bloody hammer.

DANTE: Well I guess that fucking cow knows which one is better, and judging from the site of it, I think we both know which one that it. Don't we?

LARS: Dante, man that's an awfully big mess you made with that thing.

DANTE: So who gives a shit. A mess is a mess, you use an air gun, I use the hammer. Same difference. Besides, you really think anyone cares what we do in here. Just as long as they get their meat, they don't give a fuck what we do.

There is a sound of footsteps at the door. The door opens and Mr. Kline walks in.

MR. KLINE: Hey, how are you guys coming along?

His words are cut off as he sees the bloody hammer and the battered cow. He looks at Dante.

MR. KLINE: (continuing) What the hell have you been doing Sawyer?

Dante looks over at Mr. Kline and smiles.

MR. KLINE: (continuing) Do you remember the rules? Quick and painless, that's the way we do things here, not your way, not the old way. We stopped using that damn hammer years ago. It was just too slow, and too sloppy. Nothing was for sure. With the air gun, it is quick and precise.

Dante gives a sinister smile. He takes his finger and wipes the bloody hammer with it. He takes his finger and sticks it in his mouth and sucks off the blood. He snickers. He looks over at the dead cow and then back over at Mr. Kline.

MR. KLINE: (continuing) You sick twisted fuck. You think that is funny?

Dante doesn't respond, just gives a sinister look.

MR. KLINE: (continuing) I said, do you think that is funny?

Dante does not respond, he just wipes the bloody hammer and licks off the blood. He gives a sinister look.

MR. KLINE: (continuing) That's disgusting Sawyer, I don't like that. Cut that out, and answer me Goddammit.

Dante wipes the bloody hammer again and licks off the blood. Then he spits it out on the floor. He then looks at Mr. Kline with a face of defiance.

MR. KLINE: (continuing) That's it, I want you outta here right now. Put down that hammer and leave. (Waiting for a response) Go on, get out. I said get the fuck outta here. You're one sick twisted fuck and I don't want your ass around here anymore.

Dante still doesn't respond, except for a sinister look.

MR. KLINE: (continuing) I said get the fuck outta here.

Dante slowly begins to walk away, still holding the hammer.

MR. KLINE: (continuing) That's right you twisted fuck, leave this place and don't you ever come back around here every again.

Dante turns to Mr. Kline and smiles a sinister grin, then in a blink of an eye. He thrusts the blood hammer across the room.

DANTE: That's fine I didn't like your meat anyway.

Dante spits on the ground and walks out the door, slamming it behind him. Mr. Kline looks over at Lars.

MR. KLINE: (Frustrated) Goddammit, what a fuckin mess. Okay Baines, clean all this shit up, and get back to work, we're behind as it is. Unless of course you share Mr. Sawyer's attitude.

LARS: No, sir. I don't.

MR. KLINE: Okay then. You know what to do. I'll be back later to check up on things. Mr. Baines, try to pick up the pace on things so we can catch up.

LARS: Yes, sir. I'll do that.

MR. KLINE: Good.

Mr. Baines turns away and leaves the room shutting the door behind him. Lars just looks around at the mess.

LARS: Goddammit Dante, why the hell d'you do that. Stupid, mother fuckin fool. That's what he is. Crazy fuck.

In anger, Lars violently kicks the dead cow with his steel- tipped booted foot.

LARS: (continuing) Ah fuck this shit.

71 EXT. SLAUGHTERHOUSE - NIGHT

Dante is standing in front of a beer machine and he puts his money in and presses the selection he wants.

The beer bottle slides down the tube and he reaches for it in the opening at the bottom of the machine. He sticks the top of the beer bottle in a slot in the machine and pops the cap of the bottle off.

He slowly walks away from the machine, towards the road as he sips his beer.

DANTE: Motherfuckin bastard, firing me. Where's the fucking justice in this world if a man can't do things the way they should be done?

Dante looks up at the darkened sky.

72 ANGLE ON SKY

The stars fill the blackness of night, like pinholes. The CAMERA PANS DOWN to the road. The mini van slowly approaches.

73 EXT. MINI VAN - NIGHT

The mini van speeds down the road and passes a man dressed in black. They pass a sign, which reads: FILL 'ER UP -- 1/2 MILE AHEAD.

CUT TO:

74 EXT. SLAUGHTERHOUSE - NIGHT

Dante stands in front of the slaughterhouse, leaning up against the front wall. A lit cigarette hangs loosely from his lips.

The sound of the engine of a car can be heard approaching. He looks up at the road.

75 DANTE'S POV - THE ROAD

The mini van approaches and slowly turns into the gas station across the street.

76 ANGLE ON DANTE

He removes the cigarette from his lips and flicks it away. He walks off. A man dressed in black (possibly from the dream) Is found standing behind Dante after he moved.

77 EXT. GAS STATION - NIGHT

The mini van pulls up to the gas pumps and the side door slides open. Nancy and Sidney step out and stroll over to the restrooms.

78 INT. MINI VAN - NIGHT

Kim looks over at Tobe. She appears frustrated and hot.

KIM: Do you wanna do it, or shall I?

TOBE: You go pay, I'll pump. Ten bucks worth.

KIM: Okay.

79 EXT. GAS STATION - NIGHT

Kim opens her door and gets out walking to the gas station entrance.

80 ANGLE ON TOBE

He opens the driver's side door and gets out, walking to the gas pumps. He unscrews the gas cap off the mini van.

81 INT. MINI VAN - MEDIUM SHOT - SEAN AND CLIVE

Clive is reading through a script for the film they are shooting. Sean is looking out the window, then he glances over at Clive.

SEAN: Is it true what happened to your Aunt?

CLIVE: Yes, after the accident, she couldnít talk anymore.

SEAN: Shit!

82 INT. CAR (MOVING) - NIGHT

Two women, obviously tired, fatigued, and with lack of rest slowly truck it down a lonely Texas highway. The two, both of them, very different; both in their own way, might have not have shared fashion tips, but can carry a conversation all across Texas if they wanted to. They were both: Very Verbal Women.

The girl behind the wheel, a persona that leaked through her presence,like icing on a hot cake, gave off the appearance of the rebel of the group. Her eyes even read "Bad Ass Bitch."-- as she shoved the gear into fifth, and put it on cruise control. Her name is Leslie FINCH

The girl (or the more PC term for her is the SCREAM QUEEN) on the passenger side, gives off no presence. Almost as if there was no presence to give off. All the signs of Intelligent life are on the driver's side. Her name is KATE

She, is you typical BUFFY like character. Y'know, No brains, and VERY easy. She's a prep/tramp -- you know the type. KATE puts her book down, shining off a look of sheer boredom, and like a tractor beam, she points it in the direction on FINCH, and Finch can't help but look over, because the innocent looking puppy dog face is irresistible.

83

The look is making Finch uncomfortable, and she twists her head around popping her neck in long-day discomfort, and sighs.

Kate puts on puppy dog face, her eyes deeper, and more piercing than before.

Finch loses it.

FINCH: (irritated) Listen! There is nothing to discuss. We are not stopping for the night. We need to just keep on drivin'.

KATE: (desperate) Pleeease! ...besides...I can barely keep my eyes open. wh...then what? What happens? I'll tell you.

FINCH: (beat) Knock yourself out.

KATE: We're screwed, royally. And, If I fall asleep...most likely you will too.

FINCH: If I get tired, (sure) Which is not very likely. (calming down) I will, pull over on the side of the rode -- no big deal.

KATE: And get slaughtered, by that guy, what's his name? the Texas Chainsaw Massacre. Leatherface? No honey. I don' think so. We are pulling over in the next town, and we are checkin' into a hotel.

84

FINCH: Kate? Could you please spare me this hacker, slasher bullshit. Leatherface? The Texas Chainsaw Massacre? Dammit! Listen to yourself! Four words It's a horror movie. Three more It-aint-real -- Jesus.

KATE: It is?

FINCH: It will be!

KATE: Seriously?

FINCH: Itís being filmed by a couple of assholes.

Finch grabs a cigarette from the dashboard, presses the filter between her lips, and charges the car lighter, after she pushes the button to roll down the window.

FINCH (CONT'D): I am not, for one second; gonna believe that cockamamie bullshit. Kate, even if he is real, what makes you think he'll find us. What makes you think that I'll run into him? What makes you think that we are anywhere near him? And listen to me, I'm startin' To think like you are! All that mumbo jumbo bullshit is rubbin' onto me.

85

The head of the carlighter pops up with a metallic THUD. She yanks it out, and pulls it up to her cigarette, which has been in her mouth the whole time, then lights it. She takes a drag with comforting ease, and her eyes roll up as she exhales.

KATE: What about gas, you are runnin' a little low Finch, College Station would be a perfect stop to get some gas, and sleep for the night.

FINCH: Kate, Your Roommate has spoken. We are not stoppin'. Not until we reach our destination.

KATE: You don't have enough gas to get to Huntsville and you know it.

FINCH: I have enough gas, godammit, I have more than half a tank left.

Finch takes another drag as Kate continues to aggravate her.

KATE: Please Finch. I'll pay for both rooms. Separate Rooms for the both of us. Goddammit! Just Stop for a fucking gas station!

SMASH CUT TO:

86 EXT. CAR- NIGHT

The car steps on itís breaks.

87 INT. CAR- ANGLE ON FINCH

FINCH: Ok. Weíll go to a fuckiní Station!

88 EXT. GAS STATION- NIGHT

Finchís car parks next to a mini-van. Finch opens the door and sees Tobe. Finch walks over to him.

FINCH: Tobe Miller?

89 ANGLE ON TOBE

Tobe turns his head.

TOBE: Yes?

He notices Finch.

TOBE: FINCH! What the hell are you doing here?

FINCH: What the hell are you doing here?

TOBE: Remember I am filming that Movie?

FINCH: Can I come?

TOBE: (notices Kate in the car) Whoís that?

FINCH: Thatís Kate. Sheís my new friend. Can she come?

TOBE: Oh what the hell!

Tobe walks over to the van.

Tobe opens the slide doors.

CUT TO:

90 INT. MINI VAN

TOBE: Guys, Iíd like you to meet an old friend of mine, Leslie Finch.

FINCH: (V.O) You can just call me Finch.

91 EXT. GAS STATION- NIGHT

FINCH: Tobe, Iíll be right back.

TOBE: Alright.

Finch walks over to her car and talks to Kate.

92 INT. CAR

FINCH: Kate, weíre getting the fuck outta here!

KATE: Why?

Finch goes in and starts the car.

93 ANGLE ON TOBE

He sees the car drive off.

TOBE: What the?

94 EXT. ROADSIDE-NIGHT

Finch and Katie drive and stop.

95 INT. CAR

FINCH: Wondering why weíre getting outta here?

KATIE: Why?

FINCH: That place they are going to is dangerous. I lied to you. It is real and I ainít kidding!

KATIE: Huh?

Behind Katie we see a hammer rise.

FINCH: Holy shit! Right behind you!

Katie turns around and sees Dante Sawyer with a hammer!

KATIE: AHHH!

The hammer goes down and cracks her skull open.

DANTE: AHAHAHA!

Katie is shaking in shock as Dante bashes her head again!

DANTE: DIE!

Katie is now dead!

Finch begins screaming and immediately runs out of the car.

Dante picks up a chainsaw.

96 EXT. TEXAS BACKWOODS (NEAR FINCH) - NIGHT

Finch decides to lay down by a tree trunk, catching her breath. She reaches in her shirt pocket for a cigarette, and pulls out a beaten up -- twisted around cigarette, and she lights it, with her lighter.

She takes a drag and exhales -- shuttering her eyes with a great sense of satisfaction. Then, a snap of a branch in the b.g. of darkness.

Footsteps. Coming closer.

She looks around, intent, and now frightened.

95

The footsteps come closer, louder, and breaking more fallen limbs, and crushing more leaves. A black figure walks across the screen. Possibly the man from the dream.

She breathes heavily, in and out -- seeing her breath from the night's cool crisp autumn air.

DANTE'S POV

Night-Vision, he can see her perfectly, a few feet away. She's looking in every which direction, including his, but not seeing him, because it is so dark. - Dante looks around the woods, lit like daylight, almost. And he could see, the victims of the past swinging in the cool front winds.

He sneaks up to her, and puts his hand out in front of her waving it in front of her. She not budging.

He rubs his hand across her cheek -- she jumps.

DANTE: Leslie? Leslie Finch? Are you out there? Are you breathing in the dark? Are you... scared? You want to fuck me Finch? ...Maybe suck my cock?

Finch looking around -- cannot see Dante anywhere -- only hear him.

DANTE: I seeee yoooou. I seeee you, you fucking whore. You think I would let you live? You killed my fucking mother!

Finch lay still, curled up in a ball, hoping he wont see her trying to be as silent as she can.

We hear THE SOUND OF A CHAINSAW in the b.g., buzzing away.

Finch gets up and runs deeper into the woods -- they way she came.

As she runs into the chainsaw -- hanging on a tree, buzzing away.

98

She, like any other horror movie heroin, walks over to the bad thing.

And when she does, Dante jumps out from nowhere, springing onto her like a wild coyote.

He attempts to grab the chainsaw from the tree, but Finch is biting his other arm and causes him to stop.

She gets free, and starts to run -- I mean fast, fast. As hard as she could, away from Dante.

But, what she doesn't see is a cord -- a trip wire in front of her because of the darkness, and she trips it.

A rope catches her foot and drags her across the woods, and right into a meshing holding wooden sticks, with shaved edges to make spikes.

The rope drags her leg directly into the two plate of spikes which mash in on her leg -- trapping her.

She screams in pain.

Dante walks up at a comfortable pace.

DANTE: Your death is my Sanctuary. Your peace is my hell. And if your living hell grows through the straight and narrow -- Then my friend, you will die in my blood -stained hands on this moonlit morn.

FADE TO BLACK

Over the darkness, we HEAR everything from now on. the CHAINSAW, REVIN' UP.

The chainsaw CUTTING through something, HER

She SCREAMS

The BUZZING gets louder and LOUDER

99

More high pitched female SCREAMS

The BUZZING IS VERY LOUD NOW.

She almost MOANS -- then tries to SCREAM

She is out of BREATH, almost

The SAW is RIPPING THROUGH HER, you can hear it.

She lets out a weak scream -- and another, but the last sound didn't sound like a scream at all, but a blood-soaked gargle.

DANTE: (whispering over chainsaw) I'm gonna fuck you up real good, woman. I'll make you clean real clean -- real real clean! Can you feel me? Can you feel me inside of you? This is what you deserve, and I'm giving it to you. (breathing heavily) Do you feel it, I'm fucking you up real good, Oh yeah! You bitch!

Over Danteís dialogue we can still hear the chainsaw, and her trying to scream.

DANTE: (breathing heavily) Shut the fuck up! You deserve this, you fucking whore -- Hold still Godammit! YEAH! YEAH! YEAH! FUCK YOU? FUCK ME! YEAH! -- OH-HO-HO-HA-HA (relaxing) Oh yeah, I fucked you up real good.

The chainsaw roars at it LOUDEST.

The chainsaw stops and Dante turns around.

DANTE: This will be good enough to eat.

Dante walks off.

A man dressed in black walks slowly up to the dead body. We cannot see his face. Only his feet.

FADE OUT:,p>

FADE IN:

100 EXT. GAS STATION- NIGHT

Tobe gets into the mini van.

101 INT. MINI VAN- FRONT SEATS

Tobe talks to Kim.

KIM: Arenít you going to wait for Finch?

TOBE: Nah! Sheís a slut.

KIM: Huh?

TOBE: Sheís a slut. In High School, she screwed almost every one of my friends.

KIM: She sounds like a bitch.

TOBE: She is. Now letís go to that damn house. Itís getting dark.

102 ANGLE ON WINDSHIELD

They are on a dirt road and ahead is the house.

103 ANGLE ON TOBE

Tobe begins to speak.

TOBE: Sean, is the camera ready?

SEAN: (V.O.) Sure is Tobe!

TOBE: Weíre here!

104 EXT. MINI VAN-NIGHT

The van stops. Tobe comes out of the door.

TOBE: Before we get ready to film, Iím gonna find some good angles to shoot at.

KIM: (Getting out of the van) Can I come?

TOBE: What the hell? Come on!

Kim walks out of the car.

Both of them walk over to the side of the house.

TOBE: The door is at the front. We are at the back of the house.

KIM: Ok.

They are now in front of the house.

TOBE: Letís go in.

Kim and Tobe walk up the steps.

TOBE: You stay out here. Iíll check it out first.

Tobe opens up the door.

105 INT. HOUSE

The lights are off. Tobe hears a cry.

TOBE: Hello?

Another cry can be heard.

TOBE: Who the hell is here?

Tobe begins to walk forward. He sees meats hung up on meat hooks. Tobe walks up the ramp and then trips.

TOBE: Aw shit!

He sees someoneís foot. He looks up. Itís Leatherface!

TOBE: AHH!

Leatherface lifts up a hammer and cracks open Tobeís skull.

Leatherface lifts it up again and smashes Tobeís head.

Leatherface lifts it up again and smashes Tobeís mouth making his teeth fall down Tobeís mouth and he swallows it!

Leatherface lifts it up one more time and Cracks his skull again. Tobe is finally dead. Leatherface drags his dead body quickly Into his butcher room. And slams the door.

CUT TO:

106 EXT. HOUSE- NIGHT

Kim is still sitting on the front porch.

KIM: Tobe? Stop screwing around.

Kim gets up and walks into the house.

107 INT. HOUSE

Kim looks at all the meats hanging up. Kim is a vegetarian and always had a Face of disgust when she saw some meat.

She looks down and notices a trail of blood. She follows the path and it leads up to the Door.

KIM: Oh my God!

CUT TO:

108 INT. MINI VAN- NIGHT

Sean speaks.

SEAN: Hey guys, itís been awhile. Tobe ainít gonna come back. Letís go get some pizza!

SIDNEY: Iím driving!

Sidney walks over to the front seat and starts the van.

SIDNEY: Letís get outta here!

109 EXT. MINI VAN- NIGHT

The van drives away.

110 INT. HOUSE

Kim sees the door shaking.

KIM: Huh?

The door opens and itís Leatherface screaming!

KIM: AHHH!!

Leatherface chases her down to the front door and catches up to her.

He picks her up and begins laughing.

He brings her to the butcher room And hangs her on a meat hook.

She begins to scream louder.

Leatherface then walks over to A chainsaw and picks it up.

He begins to start and it buzzes up.

A smile forms on his face.

Leatherface walks over to Kim On the meat hook and chainsaws Her stomach with black blood spurting On to Leatherfaceís clothes.

LEATHERFACE: AHAHAHA!

FADE OUT:

FADE IN:

111 INT. BATHROOM - NIGHT

Two ladies are standing in front of the shower curtain. Theyíre names are Tina and Janis. They can see a shadowy figure behind the curtain, but they are Unaware. Janis yanks the shower curtain back. Tina tries to scream bloody murder, but Janis covers her mouth, while she too, is trying not to scream.

112

We get a look at what they want to scream about. A bathtub, filled ankle high with blood, and planted in the blood are ripped off arms, legs, and an entire torso area. And on the shower nozzle, planted on it -- was a decapitated head. It's mouth open -- it looked as if it was alive -- it would scream.

JANIS: (genuinely terrified and quiet) What the fuck? What the fuck? What the fuck are we gonna do? When I take my hand away from your mouth -- you promise -- you promise me goddammit -- that you will not scream.

Tina nods her head, a stream of tears roll from both eyes. Janis let's go, and she runs for the toilet -- and vomits. There is a KNOCK-KNOCK-KNOCK at the door, followed By two sinister high-pitched redneck-laughs

JANIS: (catching breath) Who is it?

VOICE: (mimicking shark on Saturday Night Live) Mammogram!

Followed by some more sinister laughs.

JANIS: (screams) Dante!

113

DANTE: (OS) (imitating Lurch) Yoooouuuu Rrrraaannng?

More Deranged redneck-laughs.

DANTE: (OS) We're gonna count to three then we ah comin' in. BONES! DRUMROLL PLEASE!

Bones is Danteís strange cousin.

BONES (OS): Oh!!!(his laugh) Drumroll drumroll, I'll do a drum- -roll, drumroll -- watch this. (makes drum beating sound)

DANTE (OS): ONE! (pause) TWO!! (pause) THREE!!!

The door creaks open. -- Silence.

The mosquitoes buzzing from outside.

JANIS: (scared) Tina we gotta get out of here now.

Tina, still hugging the toilet, strains to get up with Vomit induced siliva dripping from her mouth -- her face a pure red -- stained with tears.

TINA: (sniffling, scared) There around the corner, I know they are, I know they are. We're gonna walk out of this bathroom and their gonna, do to us, what they did to that girl in the bathtub!

114

JANIS: I'm gonna peek outside, you stay here.

TINA: (objecting,scared) Don't go, they'll get you I don't want to be alone Dont' leave me here! (crying) I dun wanna di...

She is crying so hard she can't talk.

JANIS: Don't worry, Don't worry I'll be right here, I'm just gonna go take a peek.

Janis tip-toes over to the door, leans against the wall, and takes a deep breath. The house is amazingly quiet. We can hear the screen door on the opposite end of the living room CREAK open, and SLAM closed, repeatedly. She takes one more deep breath, and exhales -- then peers out into the hallway, she looks out to the right of the threshold -- then to the left.

Both sides -- empty.

She walks back over to Tina, who is about to have a nervous breakdown.

JANIS: Okay, you see that door at the end of the living room...

Tina nods her head, sniffling.

JANIS: We are gonna make a run for it.

That's it. That's all Tina needed to hear to set off what looked like pure fear. She peed in her pants, and floor got splattered with urine.

115

JANIS: (whisper) Tina. Don't do this now! We need to run. Let's go! now!

Janis grabs Tina and they run towards the door. They hit the screen door open, and speed out.

116 EXT. TEXAS BACKWOODS - NIGHT

The two ladies bolt into the woods, running at LUDICHRIST SPEED.

They can hear the brother's YAHOOING in the background, As they TEAR ASS through the woods -- chasing after them. We can hear the truck driving around -- getting to closer to the running victims. Eventually the girls come across, a vast incaved clearing -- which looks like a dried up lake. The take a run down into it There are enough trinches, and used-to-be islands -- for it to be considered A GREAT PLACE TO HIDE. The truck drives up to the edge of the pit.

117 INT./EXT. PIT - NIGHT

Dante and Jefferson HOP out, Bones is nowhere to be found. Jefferson is Danteís ďnormalĒ cousin. While the dark figure that was in the chair remains in the back of the truck.

DANTE: I'll take care of'em for ya Momma -- don't you worry.

The dark figure remains silent in the back of the truck.

DANTE: (to Jefferson) C'mon Jeff, we got some prime rib 'needs skillin'.

118

JEFFERSON: Now you're talkin'!

DANTE: All right!

The girls are hiding behind a mound of gray soil, which is mulched in with chopped bark, and dead pine needles, as they watch the redneck-killers hop out of the car.

TINA: (scared) Janis?

JANIS: (whispering) What?

TINA: (scared and crying) You said there was no such thing. You said he wasn't real! You said --

JANIS: (whispering) Nevermind what I said -- okay? You were right, I should have listened to you.

Obviously, Tina is in shock -- and Janis is just telling Kate what she wants to hear.

TINA: (in shock) I'm scared, Janis. I'm scared. I don't want to die here.

Finch grabs her by her shoulders and gives her a good shake.

JANIS: (whispering) Listen! If you keep this up we will die here! You to get your ass in gear -- and stop bringing down the fuckin' house!

The headlights of the truck go out -- so do the post lights surrounding the dock.

119

Pitch blackness.

JANIS: Fuck.

TINA: How are we gonna get out of here?

JANIS: Shhhh. (whispering) You hear that?

Tina focuses here hearing -- we HEAR the Gravel, which surrounds the pit's floor BREAK -- footsteps HEAVY FOOTSTEPS getting louder -- every time a step heard.

TINA: (mouthing the words) "Oh, shit."

The footsteps stopped. Within their radius -- yet unseen in the midnight blue.

JANIS: (whispering) Tina, Tina! we gotta move.

A flare -- fired up in front of them/ with no one around it.

No sounds except for the HISSING of the flare.

TINA: Let's go.

Intended to make us jump out of our seats -- something rushes past them. They notice it and jump. Faintly, in the background -- we can hear the shotgun go off ,and the faint buzz of a saw of some sort.

At the far corner of the pit -- Janis could make out 120 something -- then what she saw flashed to life. A decapitated head, stuck on a pole, was lit on fire used as a guidance tool -- obviously for the family. Then another head/torch lit up on the other corner. then another corner. then another. Flaming heads at all ends of the pit. To make you jump again -- something rushes past them. Another flare bursted to life on the opposite side as the other one. Still, no one to be seen. Still the faint sounds of buzz...

A HUGE MAN, BURSTS out from nowhere, wielding a MASSIVE CHAINSAW in a split second, and CUTS Janis on the ankle before she could runaway. Janis hits the ground -- grabbing her ankle screaming in pain. While Tina runs for it. Scared for her life, Blinded with fear, she runs right into the arms of Jefferson.

JEFFERSON: Hi ya! Sweetheart!

Dante runs up to the two. - Dante looks at the man with the chainsaw. We finally get a good look at him.

With short Curly hair-- wearing a mask, made out a fragments of other people's faces -- a white button-up dress shirt, nice'n'clean, a black tie to match his black leather slacks and black leather jacket -- Holding a HUGE chainsaw, with an engraving

CU ENGRAVING Etched on the saw reads " The Saw Is Family "

121

DANTE: (troubled) Momma!

Leatherface looks up at him.

DANTE: (sad) Momma, I said I'd take care of it for ya!

JEFFERSON: That ainít yo momma!

DANTE: WHAT?!?

JEFFERSON: Thatís Bubba!

DANTE: Godammit! You find my Momma and you find her now!

Bones runs in.

BONES: (in a nutty voice) What the hell is going on here?

DANTE: Do you hear something?

CUT TO:

122 EXT. HOUSE- NIGHT

The Mini Van drives back to the Front of the house.

123 INT. HOUSE

DANTE: (in a demanding voice) Bubba, you take care of them teens! Jefferson, you find my mama. And Bones, you help me with them Bitches!

Bones grabs Janis.

DANTE: You bitch, this Is one you wonít Forget!

JANIS: NOO!

Dante runs over to a cutting table and finds A clean hammer.

DANTE: Dammit Iím getting Hungry! Letís get this Bitch!

Dante walks back to the room.

DANTE: Bones, weíre gonna Do this the way my Grandpa did! HAHAHA! Now put Her head over the Fuckiní tub!

Bones grabs her neck and Holds her head over the tub.

DANTE: One, two, three!

BASH! He cracks her skull open!

DANTE: Time for incoming mail!

BASH!

DANTE: HAHAHA! The bitch is dead!

BONES: Iím gonna get the spoon!

Bones grabs a huge spoon.

He collects all the blood coming Out of Janisí head.

DANTE: Hurry it up! Iím getting Thirsty!

Bones is finished.

BONES: (handing Dante the spoon) Here ya go!

Dante licks it up.

DANTE: Fuckiní a! That tastes great! Now get that other bitch!

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