Actor Point >> Movie Scripts >> I Still Know What You Did Last Summer Film Script

I Still Know What You Did Last Summer Movie Script

Writer(s) : Trey Callaway

Genres : Horror, Mystery, Thriller

Search IMDb : I Still Know What You Did Last Summer




                     I STILL KNOW WHAT YOU DID LAST SUMMER



                                   Written by

                                 Trey Callaway




	FADE IN:

	TITLE SEQUENCE:

1	INT. BOSTON - OLD NORTH CHURCH - DAY

	The setting sun backlights a series of abstract colored images. Holy
	images of STAINED GLASS and lead.

	FOOTSTEPS ECHO across the marble floor.

	REVEAL - JULIE JAMES

	A little older, a little wiser, yet still very pretty, no doubt. But
	she's all alone in the house of the Lord.

	And those doleful eyes of hers clearly telegraph a very heavy burden
	still rests upon her soul.

	She reluctantly walks past the rows of empty pews toward a curtained
	CONFESSIONAL BOOTH.

2	INT. CONFESSIONAL BOOTH - DAY

	Julie slides the drapes shut behind her as she enters, kneeling before
	the CLOSED SCREEN. A beat -- and the SCREEN SLIDES OPEN.

	A PRIEST

	enters the adjacent booth -- barely visible through the WICKER MESH.
	Julie looks down, crosses herself, and begins.

					JULIE
			Bless me, Father, for I have sinned.
				(a beat)
			It's been a year since my last
			confession...

	Julie swallows hard. This is difficult for her.

					JULIE (cont'd)
			I've never told anyone this. Not my
			mom, not the poice, not even my
			friends -- except for the ones who
			were there and they...well they're
			not around anymore. You see I...I...

					PRIEST
			Yes?

					JULIE
			I killed a man. Well, I thought I
			had...then...

	She balks at the memory of it. The priest bows his head in the shadows
	of the other side.

					JULIE (cont'd)
				(emotional)
			You've got to understand...It was
			all an accident. A terrible accident.
			It's been a whole year. I've tried to
			get past this, but I just can't.

					PRIEST
			Go on...

					JULIE
			I have these dreams...horrible
			dreams. And this man is always there
			with me.

					PRIEST
				(reassuring)
			I know...

					JULIE
			You see, he was a killer. He
			murdered Helen and Barry, and he
			would have killed me too, if I
			hadn't...gotten away with it.
				(regathering)
			I don't know, I guess I just need to
			deal with the fear, the guilt...to
			finally say his name. Ben Willis. His
			name was Ben Willis...

	The confession is cathartic for Julie. She looks relieved until,

					PRIEST
			I know...

	Julie stops. Looks through the screen. A chill shoots through her
	body.

					JULIE
			You know? But how could you...

	Clouds of icy steam shoot through the partition. Julie moves closer to
	the screen, trying to get a better look.

					PRIEST
				(growls)
			I KNOW WHAT YOU DID LAST SUMMER!!!

	A STEEL HOOK

	smashes through the screen right in Julie's face! She SCREAMS!

									SMASH CUT TO:

3	INT. COLLEDGE LECTURE HALL - DAY

	Still screaming -- Julie jumps back, seemingly knocked out of her
	chair. She fights the unseen demon.

	Sitting beside her, Julie's friend WILL BENSON reacts. He's a good-
	looking kid in a shy, humble kind of way. And he tries to help her,
	but she's too busy turning ten shades of red.

	The PROFESSOR lowers his glasses, makes it even worse.

					PROFESSOR
			Nice to see you find Political
			Science so stimulating --

	The lecture hall erupts with laughter.

					JULIE
			I'm sorry --

	Julie grabs her stuff and bolts.

									CUT TO:

4	EXT. CAMPUS - DAY

	Julie explodes out of the building. Hurries down a sidewalk. Will
	finally catches up.

					WILL
			Julie! Wait! You okay?

					JULIE
			I'm fine.

					WILL
			You sure?

					JULIE
			I'm fine.

					WILL
			You don't seem fine.

	Julie realizes this is true.

					JULIE
			I had another dream, Will.

	Will takes this seriously.

					WILL
			The shower again?

					JULIE
			It was in a church...it was so real.
			I mean, I could feel his breath on me.

					WILL
				(caring)
			I'm sorry.

					JULIE
			I thought I was over the dreams for
			good. I really did. I hadn't had one
			for months.

					WILL
			It just takes time, Julie. It's gonna
			get better.

					JULIE
			It can't get worse. I mean, it's not
			like this was the first time I
			freaked out in class. I hardly ever
			get a full night's sleep, my grades
			suck, I'm this close from being thrown
			out of school.

	BLAM! BLAM! BLAM! EXPLOSIONS. Julie jumps out of her skin. It's just
	STUDENTS letting off FIRECRACKERS as they fly past on bicycles.

	Will and Julie are now thinking the same thing.

					JULIE
				(cont'd)
			It was one year ago...

					WILL
			It's...the anniversary. That's what's
			going on...Take it easy on yourself.

					JULIE
				(weary)
			I'm trying. I really am...Sometimes I
			don't even know why I came up here in
			the first place.

					WILL
				(cheering her up)
			To get out of Southport?

					JULIE
				(softens)
			Right. Now I remember.

	He smiles at her. She smiles back. They stop in front of her apartment
	building.

					JULIE (cont'd)
			Are you getting out of town on the
			fourth?

					WILL
			Nah. I'll probably just be here
			studying for finals. The joys of
			summer school...
				(beat)
			Are you okay?

					JULIE
			I'm okay.

					WILL
			Are you sure?

	She touches his face affectionately.

					JULIE
			Thanks for the talk, Will. You're
			good to me.

	Will stands there akwardly --

					WILL
			Um...Okay. Bye.

	Will walks away. Julie watches him a beat, then turns down her walk --

	RAY

	steps out of the shadows. Julie practically faints.

					JULIE
			Oh, my god, Ray. You scared me.

	Recovering, she hugs Ray, genuinely glad to see him. He's a bit cold.

					RAY
			I got in early. I was excited...
				(re: the receding Will)
			Who was that guy?

					JULIE
			Oh, that's Will. He's a friend.
			You'd like him.

					RAY
			Yeah.

					JULIE
			Ray, we're just friend.

					RAY
			Every guy in history who tried to
			pick up a girl did the good-friend
			thing first.

					JULIE
			Why are you being like this?

	It should be obvious Ray feels insecure in the college environs, but
	they're miscommunicating.

					RAY
			Hey, I'm sorry. You're right. Are
			you ready to go? I've got the old
			truck. You know the drill...Crab
			boil at Ollie's. Croaker Queen
			Pageant...It's only small-town fun,
			but it's still nice. People really
			miss you. I miss you.

	She looks at Ray, his compassionate demeanor. This is hard to say --

					JULIE
				(softly, but resolved)
			Ray, I can't...

					RAY
			Can't what?

					JULIE
			I just feel like some part of me
			hasn't healed up enough to go back.
			Like some critical piece is missing.
			Please understand...

	Ray is cold. This is what he's expected all along.

					RAY
			I understand something.

					JULIE
			It's not like that. It's not you.
			It's me. My head. I want to go back.
			I want to be with you. I want to be
			fine. I want everything to be like
			it used to be.
				(beat)
			It just isn't.

	Ray is hurt and confused.

					JULIE (cont'd)
			Hey, why don't you stay up here?
			They have fireworks over the river.
			And...there's a million things to do.

					RAY
			I have to work, Julie. My boat's in
			Southport, remember? But, I get it.
			You need your space from Craokerland.
			And maybe from me, too.

	Ray starts walking away.

					RAY (cont'd)
			You know where to find me.

					JULIE
			Ray? Ray? At least come up for a
			while.

	Ray keeps on walking.

					RAY
			It's okay. I'm just gonna go.

	Julie follows him out to the road. A group of LAUGHING STUDENTS block
	her way.

					JULIE
			Ray, I'm sorry. I didn't mean...
				(to herself)
			I'm just scared...that's all.

	But Ray is already gone. Julie stares after him a beat, then turns
	quickly to her door. She clearly feels uncomfortable, exposed on the
	walk alone. She nervously pulls her keys. A can of mace dangles from
	the keychain.

									CUT TO:

5	EXT. JULIE'S APARTMENT - DAY


	Students throw FRISBEE in the street. Ray walks to his old truck,
	which is wedged between a new Sport Utility and a BMW.

	He clambers into the front seat. He thinks. Then, digs into his pocket
	and pulls out the unmistakable shape of an ENGAGEMENT RING BOX. He
	throws it in the glove box, starts the truck and drives away.

									CUT TO:

6	INT. JULIE'S APARTMENT DOORWAY - DAY

	Julie opens the door and steps inside. She locks three deadbolts. She
	stands there, alone, listening to the SILENCE. She doesn't even have a
	cat. A faucet DRIPS in the kitchen.

6A	INT. JULIE'S KITCHEN - DAY

	The faucet DRIPS. Julie turns the handle. No success. She checks the
	lock on each window. She stands for a moment.

	She picks up a bag of chips and eats a handful. She opens the fridge
	and takes out a can of nacho cheese sauce. She grabs a soft drink and
	a jar of bread-and-butter pickles. She gets some cookies from a shelf.
	She thinks. Opens the freezer, pulls out some fat-free sorbet.

	She takes the whole mess toward her bedroom.

6B	INT. JULIE'S BEDROOM - DAY

	She hits the light switch. A bedside light goes on. It's a sparsely
	furnished room. The bed is pilled high with pillows. She checks the
	windows, then climbs into bed with the food.

	On the bedside table are pictures of family and friends. She looks at
	one of Helen and Barry. She looks around the room. It's depressing.

	Outside we hear young people having fun, slamming car doors, going
	places. She picks at the food, then puts it on the table. She turns
	off the bedside light and enjoys the golden late afternoon glow in the
	room.

									DISSOVE TO:

6C	INT. JULIE'S BEDROOM - NIGHT

	Julie, sound asleep, is curled into fetal position on the bed.

	There's a CLICK in the front hall. And ANOTHER.

	Julie's eyes shoot open. She listens. Another SOUND, almost like the
	front door being CLOSED.

	Her arm reaches for the bedside light. She hits the switch. The bulb
	POPS.

					JULIE
				(whispers)
			Okay. Okay. Face your fears...

	She gets off the bed and stands still.

					JULIE (cont'd)
				(whisper)
			There's nothing...

	There's another NOISE down the hall.

					JULIE (cont'd)
				(whisper)
			Quiet.

	Julie silently scoots out of her bedroom toward the kitchen.

6D	INT. JULIE'S KITCHEN - NIGHT

	She gets a large KNIFE. She listens. It sounds like somone's in the
	living room. She steps through the kitchen door.

	As she moves we see a shadow pass the other way down the hallway
	toward her bedroom.

6E	INT. JULIE'S LIVING ROOM - NIGHT

	There's NO ONE there.

					JULIE (cont'd)
			Okay, calm down, imagination.

	She relaxes until she sees that her front door is slightly AJAR, light
	from the hallway slanting through.

					JULIE (cont'd)
			I can't take this anymore. I can't.

	Holding the knife in front of her, she tiptoes to the hallway. There's
	a soft RUSTLING coning from her bedroom. She gets a flashlight out of
	a drawer and starts down the hallway.

					JULIE (cont'd)
				(fatalistic)
			Let's just do it.

	She moves faster toward her bedroom. she listens outside the doorway.
	It sounds like someone's in the closet. She moves into the room.

6F	INT. JULIE'S BEDROOM - NIGHT

	There's a noise in the darkened closet. Julie moves into position.

	She turns the flashlight ON and lunges for the closet.

	INT THE CLOSET

	KARLA WILSON, 19, all grace and attitude, is on tiptoes reaching for a
	box of shoes. She SCREAMS.

	Julie SCREAMS. They both SCREAM together. Julie drops the knife and
	flashlight.

					KARLA
			I thought you were out of town!

					JULIE
			What are you doing in my closet?

	They hug, jumping up and down with relief.

					KARLA
			I thought you were out of town!

					JULIE
			What are you doing in my closet?

					KARLA
			i just wanted your black pants, but
			I'm not ready to die for them!

	Julie turns on the light in the hallway. Karla has her shoes in her
	hand and black pants draped over her arm.

					JULIE
			That was heart attack time, Karla.

					KARLA
			No. When I put these skinny pants on
			my body...Now, that's heart attack
			time.

	Karla looks down and sees the knife. She picks it up with two
	fingers --

					KARLA (cont'd)
			And we're going to put away the
			utensils and you're coming with me.

	Julie flops down on her bed.

					JULIE
			I'm not going anywhere. I'm fat,
			ugly, and depressed.

					KARLA
			Yeah, right -- whatever.

					JULIE
			I think I just really hurt Ray's
			feelings.

					KARLA
				(keeping it upbeat)
			Listen to me, Julie. Ray's a great
			guy, nothing against old Ray, but
			he's so...Ray. I mean, he lives in
			Southport. Will's a nice guy, too,
			and he lives right down the street.

	Karla picks up the flashlight and goes into the closet.

					JULIE
			There's nothing between Will and me.

					KARLA (V.O.)
			Yet. Nothing yet.

	She emerges with clothes for Julie. Holds up one outfit.

					KARLA (cont'd)
			What we gotta do is keep moving. No
			time to mope. I'm working at the
			club tonight. And you, dancing queen,
			are coming with me.

					JULIE
			No I'm not.

	Karla holds up another dress for Julie -- strapless, sexy, the one.

					KARLA
			Fine, then be fat, ugly, and
			depressed.

	Karla is dancing around. Julie laughs at her friend and takes the
	dress when Karla hands it to her.

									CUT TO:

7	INT. THE CLUB - NIGHT

	It's a hopping college joint: crowded, loud MUSIC, a dance floor, and
	rivers of cheap booze.

	AT THE BAR

	Julie sits next to Karla as she waits for her drink order.

	A handsome young man slides in front of them. This is TYRELL MARTIN,
	23, handsome, no pretention, a little dangerous, with a killer smile.

					TYRELL
			You know what I want to do to you
			...right now, don't you? There's
			gotta be somewhere we can be alone.

					KARLA
				(playful)
			I don't think so. It's pretty
			crowded.

					TYRELL
			Just for a minute, baby. I got
			something I wanna tell you.

	He's looking for a dark corner or a storeroom or something.

					KARLA
				(teasing)
			If you can say all you gotta say
			in a minute then I don't wanna hear
			it.

					TYRELL
			I'll talk real slow.

	He's kissing her ear. She starts to giggle.

	The bartender sets down drinks on Karla's tray.

					KARLA
				(re: Julie)
			Ask her to dance.

	Tyrell hesitates.

					KARLA (cont'd)
			Go on.

	Karla cuts away through the crowd, delivering drinks. Tyrell turns to
	Julie.

					TYRELL
			You're the most beautiful woman
			in the bar tonight, Jules.

					JULIE
			Tyrell, you are an unstoppable
			force of nature.

					TYRELL
			That's right. It's how the species
			survives. You'll never convince me
			otherwise.
				(beat)
			Wanna dance?

	Karla passes by --

					KARLA
			Say yes.

					JULIE
			No.

					KARLA
			No means yes.

					JULIE
			Tyrell, I appreciate it, but have
			you seen my people dance? We make
			the mouth face, we move the
			fingers --

					TYRELL
				(heading for the floor)
			Worse comes to worse, you can stand
			there and watch me.

					KARLA
			Come on, I'll take a break and
			we'll all dance.

7A	INT. THE CLUB - DANCE FLOOR - NIGHT

	is packed and thumping. Karla is dancing her way through the crowd.
	Tyrell and Julie follow behind her.

	Karla sees Will. He's dressed up and nervous. She smiles.

					KARLA (cont'd)
			Whaddayou know? Will Benson lookin'
			fine.

					JULIE
				(suspicious, but
				having fun)
			Karla! Did you tell him I'd be here?

					KARLA
			Nope. I told him that you
			absolutely, positively would not be
			here at this bar between ten o'clock
			and eleven o'clock tonight. And then
			he came anyway.

					WILL
				(shy to a fault)
			This was not my idea.

					JULIE
			What?

					WILL
			I said, this...Do you want a drink?

	Will looks down at his feet. He and Julie stand there not quite
	knowing what to do.

					TYRELL
			Where I come from, you want to
			snatch the goodies, you got to at
			least talk to them first.

	Tyrell and Karla go for it on the dance floor, leaving Will and Julie
	alone. They look at each other. They look at everyone dancing.

					WILL
			How about a drink?

	Will is a few steps ahead as they move for the bar. Julie seems to be
	relaxing, having a good time. Then, she looks up into the balcony and
	sees, in a strobe light's FLASH --

	SOMEONE IN A SLICKER

	watching her intently. She squints for a better look, but he's gone.

					WILL
				(yelling over the din)
			You okay?

	She's chalk white and crestfallen. Her whole affect is "Will I ever
	have a normal time?" She drifts amay toward the stairs to the balcony.

					WILL (cont'd)
			Hey Julie?

	Will catches Karla and Tyrell's eyes. They're worried.

7B	INT. THE CLUB - STAIRCASE - NIGHT

	Julie catches another glimps of THE SLICKER.

	She pushes her way through the crowd up the stairs.

7C	INT. THE CLUB - BALCONY - NIGHT

	Julie looks all around -- finally spotting the MAN IN THE SLICKER from
	behind, making his way to the other side.

	He slices through a crowd of students, and Julie keeps following. He
	turns down a service corridor.

	Julie follows, frightened, but unable to resist.

	She catches him at the end of the corridor. She reaches out and grabs
	the stranger's arm.

					JULIE
			Ben...

	The stranger turns around. It's only a club kid in a tacky vinyl
	raincoat and hat. She's shaken.

					SLICKER GUY
			Hye, baby. You following me up
			here?
				(a come-on)
			Well, all right.

	Julie turns away and hurries down the hallway. Todd follows, but his
	figure quickly fades.

									CUT TO:

8	INT. JULIE'S APARTMENT - DAY

	With morning sun filtering through her blinds, Julie wakes up to the
	strange sound of THUMPING. She gets out of bed and slowly exits the
	room.

8A	INT. JULIE'S HALLWAY TO KITCHEN - DAY

	The noise gets louder as she heads down the hall.

	ANGLE ON A CLOSET

	The noise is at its loudest -- Julie reaches for a doorknob -- and
	yanks open the door.

	ANGLE ON A CLOTHES DRYER

	rocking and banging inside the closet. Julie frowns.

	Julie spins, once again startled by Karla, who crosses to the dryer,
	flipping open the lid and then jumping back to catch the shoes as they
	pop out on the fly.

					JULIE
				(still sleepy)
			That could break the machine.

					KARLA
			Julie, people who end up making
			rules like that end up beating
			their kids with wire hangers. It's
			a fact.

	The phone RINGS. Karla looks at her watch.

					KARLA (cont'd)
			It's Tyrell.

					JULIE
				(resigned)
			The number's unlisted...

					KARLA
			Would you relax? We've been dating
			three months. He ain't stalking
			your butt.

					JULIE
			Okay, okay. You're right.

					KARLA
			I know it, and it feels good.
				(answering the phone)
			Hi, Ty.

	A DJ for a local radio station BOOMS from the phone.

					MARK (V.O.)
			This is Mark in the Morning for
			Magic 96.7 Radio Station! Who am I
			speaking with?

	Julie watches her friend get excited.

					KARLA
			Mark in the Morning! Magic 96.7! Oh
			my God! I'm Karla. Karla Wilson.
				(to Julie)
			Jules, it's Mark in the Morning.

					MARK (V.O.)
			Well, Karla, what're you doin' at
			home over the long fourth weekend?

					KARLA
			Well, I'm in school and --

					MARK (V.O.)
			How'd you like to win a Magic 96.7
			Quicky Getaway?

					KARLA
			Yes!

	Julie hits the SPEAKERPHONE BUTTON and Karla hangs up. The DJ's voice
	echos through the appartment.

					MARK (V.O.)
			Good, then I hope you remember your
			geography, Karla, because all you
			have to do to win is tell me the
			capital of Brazil.

	Karla's smile abruptly fades.

					KARLA
				(into phone)
			Brazil? Um...

	She looks to Julie, whose face is as blank as hers.

					KARLA (cont'd)
			You don't know?! You have to know.
			You know everything...

					MARK
			C'mon, Karla, one easy question,
			one great getaway!

					JULIE
				(shrugs)
			...South America...Carnival...

					MARK (V.O.)
			Karla, we need an answer. No
			looking it up.

					KARLA
			Still here...thinking...
				(stalling)
			You mean Brazil, the country?

					MARK (V.O.)
			Okay, Karla, five seconds.
				(counting down)
			Five...Four...

	Julie has an idea. She scramles for the kitchen. Grabs a BAG OF FRESH-
	GROUND COFFEE from the FREEZER.

					MARK (cont'd, V.O.)
			Three...Two...

	Julie tosses the bag across the room to Karla. Karla reads the label:
	RIO BLEND -- 100% BRAZILIAN COFFEE.

					KARLA
				(blurting)
			Rio de Janeiro!

					MARK (V.O.)
			Oh, no...Did you say Rio?

					KARLA
				(wincing)
			No. Yes?

	BELLS and WHISTLES and triumphant MUSIC.

					MARK (V.O.)
			You just won Magic 96.7's Quickie
			Getaway...a trip for four to Tower
			Bay Island in the fabulous Bahamas.

	Karla and Julie jump up and down ecstatically.

					KARLA
			Waaaaahhhhhhhhhh!

					MARK (V.O.)
			We'll call you back with all the
			details...So what's your favorite
			radio station?

					KARLA AND JULIE
			Magic 96.7!

	Julie hangs up and joins Karla dancing on the couch.

					KARLA
			I won. I won...I won, I won, I won.
				(teasing)
			Now, let's see...There's Tyrell,
			that's one. And, there's my parents
			...And I got some cousins.
				(beat)
			Okay, Julie, you can come, but Mark
			said four tickets. That means you
			gotta get yourself a date.

	Julie thinks, she seems torn.

									CUT TO:

9	EXT. SOUTHPORT DOCKS - DAY

	A SMALL MOUND OF RED SNAPPER is DUMPED -- wiggling and suffocating its
	way across the deck of a fishing boat.

	WE PULL AWAY TO REVEAL it's RAY who's just done the dumping. A
	coworker, DAVE, friendly, playful, and down-to-earth, calls out from
	the dock --

					DAVE
			Hey, Ray...phone!

	Ray takes the phone.

	WE INTERCUT.

					JULIE
			Hi.

	Ray is happy to hear her voice, but cautious.

					RAY
				(beat)
			Hey. I'm really glad you called...
			I'm sorry.

					JULIE
				(compassoinate)
			No, you don't have to be sorry. I'm
			the one --

					RAY
			No, I shouldn't have left so fast...
			I was just...

					JULIE
			It's okay.

	Dave holds up two wriggling snappers. He dances them toward each other
	in a puppetlike mating ritual, making KISSING SOUNDS and narrating --

					DAVE
				(as the fish)
			Julie, I love you. I know I'm only a
			humble fish, but if you really look
			at it, you're a fish, too.
				(girl voice)
			Oh, Ray, you're right...Do me like a
			snapper.
				(mashing the fish together)
			Hey, something smells like fish...

	Ray waves him away, concentrating on his call.

					JULIE
			Ray, Karla won a trip to the Bahamas!
			An island called Tower Bay. And she
			wants us to come with her.

					RAY
			What? The Bahamas? You're kidding.

	Dave's interest is piqued.

					JULIE
			We'd have a long weekend just to sit
			in the sun, drink fruity drinks, and
			swim, and...
				(sexy)
			You know...

					RAY
			This weekend?

	Dave is watching Ray closely. Ray's expression hardens.

					RAY
				(hurt)
			You'll go away with you're college
			friends, but you won't go away with
			me?

					DAVE
			Idiot. Idiot. Idiot.

	Karla is watching Julie.

					JULIE
			It's not you, it's Southport. And
			it's the Bahamas! And it's free!

	Karla is watching Julie.

					KARLA
			You gotta sell his butt on the
			Bahamas?

					JULIE
			Ray, come on. I want us to be
			together.

	Ray thinks. Dave looks at him like he's crazy.

					RAY
				(can't give in)
			Julie, we're working a big run up
			here. It's been crazy. We probably
			have to go out again tonight. I
			don't think I can do it.

					JULIE
			Will you try...for me, please?

	Dave moves one of the fish like it's been shot through the heart.

					RAY
			Okay, I'll try. But, listen...
				(martyrlike)
			If I don't make it up, then you go
			ahead and have a great time.

					JULIE
			Ray...please try. I really miss you.
				(beat)
			Okay. Bye.

	She hangs up and Karla sits next to her.

					KARLA
			That boy has got fish on the brain.
				(sensitive)
			Hey, cheer up, Charlie.
				(singing a rumba)
			We're going to the Bahamas. Bahama
			Mama, yeah...

10	EXT. SOUTHPORT DOCKS - DAY

	Ray is staring unhappily at the little pile of snapper. Dave is
	staring at him in disbelief.

					DAVE
			Man, what is your problem? We
			haven't caught anything for days.
			Pull the big ugly stick out of
			your butt. She asked you to go to
			the Bahamas! Man, you gotta go.
			We'll both drive up. I got friends
			I can see up there.

	Ray realizes how right he is.

					RAY
			Stupid. Stupid.

					DAVE
			Stupid. What were you thinkng?

	Ray looks at Dave a contemplative beat, then walks over to his truck.
	He leans in the passenger side and pulls out the engagement ring box.
	Dave walks over.

					RAY
			You wanna see what I've been
			thinking?

	He holds up the box and slowly opens it. Dave is stunned.

					DAVE
			Jeez, Ray, fourth and forty, throw
			the bomb.

					RAY
			I should go up there. I should call
			her back, tell her I'm coming.

					DAVE
			No way, man. Surprise her. She'll be
			psyched.

	Ray is excited by the plan and Dave's right there with him.

									DISSOLVE TO:

11	EXT. COUNTRY HIGHWAY - NIGHT

	We stare out at a rain-soaked stretch of road.

	A PICKUP ROARS past, cruising along with its RADIO loud and windows
	rolled down.

12	INT. RAY'S PICKUP - NIGHT

	The music's even LOUDER in here. The mood is high...Two buddies going
	to propose to a girl. Dave adjusts the radio to another AM station --

					DAVE
			Man, I love AM radio. You got
			right-wing conspiracy, tips for
			pregnant womem, Single-A baseball
			games, and real country music...
			None of that new crap...

	He adjusts the dial again, tuning in a country song, "MAMAS, DON'T LET
	YOUR BABIES GROW UP TO BE COWBOYS," by Waylon Jennings and Willie
	Nelson.

	Dave starts singing along, extra LOUD and out of tune.

					DAVE (cont'd)
				(singing)
			"...Mamas, don't let your babies grow
			up to be cowboys, don't let 'em pick
			guitars and drive them old trucks. Let
			'em be doctors and lawyers and such."

	Ray looks at his goofy friend singing and starts to get a little happy
	himself...

	Then, Ray sees something in the road ahead. He turns down the radio.
	They both stare --

	RAY'S POV: A CAR TURNED SIDEWAYS

	its HAZARDS blinking.

	Ray slows and creeps past the car. The driver's door is open. It
	appears EMPTY.

	A BODY

	is sprawled out in the road away from the car. Ray pulls over to the
	shoulder and stops.

					DAVE
				(nervous)
			I don't know, man. Maybe we should
			keep going, find a phone --

					RAY
			No.

					DAVE
			The guy looks dead.

	Ray has seen this before --

					RAY
			Maybe not.

	He throws open his door.

12A	EXT. ROADWAY - NIGHT

	Ray steps from his truck. Looks back at the empty car, then turns
	toward the body.

					RAY
				(nervous)
			Hey! Buddy, what's up?

	The body doesn't move.

	BEHIND RAY

	and behind Dave, in the other car, a FIGURE IN A SLICKER sits up in
	the back seat and gets out of the car.

	Ray continues toward the body.

	RAYS POV - BODY

	FACE DOWN -- WEARING A BLACK RAIN SLICKER.

	Ray moves closer to the all to familiar image.

	BEHIND RAY

	SLICKER FIGURE moves toward the unsuspecting Dave.

12B	INT. RAY'S PICKUP - NIGHT

	Dave watches Ray in the road. He leans across the seat and rolls up
	Ray's window.

	Behind him, the SLICKER FIGURE gets closer, moving to the passenger
	side of the truck.

12C	EXT. MEDIAN - NIGHT

	Ray nears the body. He kneels down.

					RAY
			Hey, can you hear me?

	Ray reaches toward the body...

12D	INT. RAY'S PICKUP - NIGHT

	Something FLASHES IN THE SIDE-VIEW MIRROR.

12E	EXT. ROAD - NIGHT

	Ray turns over the body. Something isn't right. Ray jumps back --

	CLOSE - SLICKER MANNEQUIN

	Its eerie smile mocking Ray who turns for the truck.

					RAY
			DAVE!

12F	EXT. TRUCK - NIGHT

	Dave hears something. He turns to late. SPLLAATTT!!! THE FISHERMAN
	jams his hook through Dave's jaw and skull and YANKS DAVE OUT OF THE
	CAR WINDOW.

					RAY
			...Dave?

	There's no answer from dead Dave. Ray tries to see around the
	headlights. He moves slowly toward the truck.

	The BRIGHTS and FOGS come on, blinding Ray. The truck's engine REVS.
	The truck rolls a few inches, adjusting a bead on Ray.

	Then, tires spinning, the truck launches straight at Ray.

	Ray runs at the truck. AT THE LAST MINUTE, he ducks behind the parked
	car.

	HIS TRUCK goes SCREAMING past.

	Ray backs around the car --

	AN EIGHTEEN-WHEELER

	goes barreling by in the other direction. Ray dives out of the way.

	IN THE ROAD

	Ray is exposed. He sees his truck closing fast. He's got nowhere to
	go. Then, at the very last second,

	RAY

	jumps off the edge of the road. His TRUCK SLAMS INTO THE BARRIER RIGHT
	WHERE RAY WAS STANDING. SPARKS FLY! METAL BUCKLES!

	Ray falls through the air. Lands hard on his leg. Tumbles down the
	hill, finally stopping with a crash. He lies motionless at the bottom
	of a ravine.

									FADE OUT:

13	EXT. JULIE'S APARTMENT - DAY

	Karla exits the building. She watches Julie sitting on the curb.

	A truck turns onto the street. Julie looks hopeful, but -- it's not
	Ray.

	Karla approaches her friend.

					KARLA
			Girl, it's gettin' down to the wire.

	Julie turns.

					JULIE
			He's not coming. I thought he was
			just...

					KARLA
			Julie, you left four messages...
			Four.

					JULIE
			But, he said he'd try.

					KARLA
			He said he'd try. Try is like maybe.
			Try is nothing!

					JULIE
				(appoligizing for him)
			He does work hard.

					KARLA
			Work hard, huh? He's breaking your
			heart just because he can.
				(hesitant)
			And I don't want to have to say I
			told you so...

					JULIE
			Then, don't.

	A Jeep Cherokee stops, and an ebullient Tyrell steps out wearing
	shorts and a Hawaiian shirt.

					TYRELL
			Hey, baby, we gonna get tropical or
			we gonna get tropical?

	The passenger door opens and Will Benson steps hesitantly around the
	Jeep.

					JULIE
			Oh!

					KARLA
				(re: Will)
			Hey, sorry...
				(quick, playing it off)
			He's my friend, too. And that ticket
			is not going to waste.

	Will reads Julie's expression.

					WILL
			Julie, is everything cool? Karla
			said...

					KARLA
			I said we start having fun. And that
			means now.

	Julie takes a last look up the street. She stands.

					TYRELL
			Is there a problem here?

					KARLA
			Where there's a Will, there's a
			way. Come on.

					JULIE
				(deciding)
			You know what? This rocks. We're
			going to the Bahamas!

	Will is relieved.

					KARLA
				(getting into the spirit)
			We goin' Bahamas, I'm Ty's Bahama
			Mama. We goin' Bahamas...

	She bops over to Tyrell.

									CUT TO:

14	EXT. MIDAIR - DAY

	A wide-body jet SCREAMS through the clouds.

15	INT. PLANE - DAY

	A nearly empty jet. Karla has her head on Tyrell's shoulder. Julie is
	reading a book.

	Will's knuckles are white from gripping the armrests in fear, and his
	eyes are clenched shut. Julie looks on with concern.

					JULIE
			Just take deep breaths and think of
			something happy from childhood.

					WILL
			What if I don't have anything happy
			from childhood...Sorry, I can't relax
			going five hundred miles an hour, or
			four thousand, four hundred feet a
			minute...
				(calculating)
			Which is over seven hundred feet a
			second. Imagine hitting something at
			seven hundred feet a second.

					JULIE
			Deep breaths --

					WILL
				(no deep breaths)
			Fumes build up in the fuel tanks.
			You can by surface-to-air missiles
			over the internet. Planes use
			O-rings...which freeze in tap water.
			Planes fall from the sky for
			practically no reason at all.

					JULIE
			You've got a better chance of
			getting hit by lightning.

					WILL
			Right. Planes get hit by lightning.
			They get hit by meteors. They hit
			other planes.

	Tyrell shakes his head.

					TYRELL
				(exasperated)
			Something is gonna hit your butt if
			you don't quit complaining.

					KARLA
				(sypathetic)
			Honey, some folks just can't fly.

	Will doesn't move, frozen with fear of flying, but more closely bonded
	with the concerned Julie.

									CUT TO:

16	EXT. OCEAN VISTA - DAY

	Establishing. A Board of Tourism kind of shot. Blue water. Green
	islands. Golden sun. Puffy clouds.

	A BOAT CHUGS by with the words "Tower Bay" painted on the side.

	Tyrell THROWS UP over the side.

17	EXT. FERRY - DAY

	More of a small tub than a ferry. Julie, Karla, Will, and Tyrell are
	the only passengers.

	At the bow, Julie and Karla laugh and play "King of the World." Julie
	in the prow, Karla behind her.

					JULIE
				(deadpan)
			I'm the King of the World.

					KARLA
				(deadpan)
			No, I'm the King of the World.

	They switch places. They look at each other and crack up laughing.
	Karla takes in the surroundings, the salt spray, the day --

					KARLA
			Remind me to study real hard so
			someday this is normal and all that
			back there is somethin' I do for a
			weekend once every ten years.

					JULIE
				(sharing the moment)
			I will, and you remind me of the same
			thing.

	They throws their arms around each other and stare into the horizon.

	AT THE STERN

	Will talks to a very green Tyrell.

					WILL
			You just gotta breathe.

	Tyrell is trying to keep from puking --

					TYRELL
			Can't talk right now.

					WILL
				(slightly malicious)
			See, it's not a macho thing. It's
			about equilibrium in your inner ear.
			You could've used a patch, but it's
			too late now. Get used to it.
				(then)
			Some folks just can't sail.

	PAULSEN, the BOAT CAPTAIN, overhears as he passes --

					PAULSEN
			That's too bad, too, because it's the
			only way on or off the island.
				(slightly ominous)
			Unless you have an accident. And then
			they call the Coast Guard.

	Julie and Karla have rejoined the men.

					JULIE
			It's pretty remote here.

					PAULSEN
				(smiles)
			Yep. That's what the tourists pay for
			-- sun, sea, and solitude.

					TYRELL
			Are we there yet?

					PAULSEN
			Few more minutes.

	We move off the boat and REVEAL the island. The intrepid vacationers
	excitedly take in the island.

									CUT TO:

18	EXT. TOWER BAY - DAY

	Establishing. An isolated tropical paradise with jungle growing to the
	beach.

19	EXT. RESORT DOCK - DAY

	The ferry pulls in to a canopied dock. A white-sand beach stretches in
	every direction. Beautiful tourists stroll about without a care in the
	world.

	Tyrell stamps his feet on the dock.

					TYRELL
			I feel like I'm still on that thing.

	A dockhand, DERRICK, glides past him toward the ladies.

					DERRICK
			That way for a complimentary Planter's
			Punch to get you readjusted.

					TYRELL
				(mile-wide smile)
			I can get used to this.

	Derrick reaches for Julie's hand, clearly checking her out in the
	process.

					DERRICK
			Welcome, Fair Princess, to Tower Bay.
				(a wink)
			I'm Derrick. At your service for the
			duration of your stay.

	Julie smiles politely. Will gently nudges her on. They walk away.

					PAULSEN
				(to Derrick, mocking)
			I'm at your service, Princess.

					DERRICK
				(shrugs)
			Season's over old man. So I gotta
			work fast.

					PAULSEN
			If Marine Radio's right about the
			weather, you're already out of time.

	He hangs a SIGN at the end of the gangplank. It reads: LAST DEPARTING
	FERRY -- LINE FORMS HERE.

	Our guys are already at the end of the dock.

									CUT TO:

20	EXT. TOWER BAY HOTEL - DAY

	Establishing. An opulent, Carribean-style hacienda resort with all the
	accoutrements.

	The main building is two stories high with a tiled roof. A bell tower
	rises from one side. And, of course, it is surounded on all sides by
	suffocating fooliage.

	Julie and Karla take in the beauty of the resort.

					KARLA
			Check it out.

	TOW BIKINI GIRLS

	catch the eyes of Tyrell and Will.

					TYRELL
			Yes, ma'am.

	Karla THWACKS him on the back of the head, but they're all having fun.

	The path widens. The trees part. It's even nicer up close. They walk
	across a tiled plaza.

	Behind them, THREE YOUNG GUYS carry their GIRLFRIENDS piggyback,
	racing each other toward the departure dock.

	Our two arriving couples move on toward the entrace, passing a FENCED
	TENNIS COURT on the left. A GLASS-PANED ORCHID HOUSE straight ahead.
	And, on the right,

	A LUSH POOL with a built-in JACUZZI in the shallow end. An outdoor
	THATCHED ROOF BAR stands nearby -- and just beyonk it, a small POOL
	HOUSE.

	A guy's unintelligible RASTA VOICE calls out --

					RASTA VOICE
			Anybudorsomethin'?

	They turn to see TITUS, white guy, dreads, full-Rasta demeanor. He's a
	phony, but sincere about it.

	Titus approaches Tyrell --

					TITUS
			My brother, can I interest you in the
			islands finest ganja?

					WILL
				(teasing)
			Hey, Tyrell, we found you brother.

					TYRELL
				(wry)
			Not possible.

					TITUS
				(undetered)
			Who be wantin' the kind, the uber-
			sticky, the Bwana, The depth-charge,
			the Up-All-Night-Laughing-With-Your-
			Friends? Who wants it? 'Cause Titus got
			it.

					WILL
			No, thanks.

					TITUS
			Come on, man. Everybody wants something.

	Will and Tyrell walk on. Undetered, Titus goes up to Karla and Julie.

					TITUS (cont'd)
			How 'bout you, ladies? Lovely ladies.

	Titus moves his hips.

					TITUS (cont'd)
				(lascivious)
			Something I can do for you?

	Karla looks him up and down, wrinkles her nose --

					KARLA
			Take a bath, maybe.

					TITUS
			That's cold, but if that's how you
			want it.

	The group moves on. Titus watches them go --

					TITUS (cont'd)
				(yelling after them)
			Anybudorsomethin' you come and see me.

	OMIT SCENE 21 & SCENE 22

									CUT TO:

A23	EXT. MAIN ENTRANCE - DAY

	Around TWENTY TO THIRTY GUESTS ARE ON THEIR WAY OUT as Julie and the
	others walk in. Julie smiles at an old PORTER helping the departing
	guests with their bags. He doesn't smile back.

23	INT. HOTEL LOBBY - DAY

	The hotel is tastefully appointed with island decor. AN ORNATE METAL
	STAIRCASE leads UP to the ROOMS -- and DOWN (AS THE SIGN SAYS) TO A
	FITNESS CENTER.

	In one direction, the foyer meets the entrance to a tropical
	RESTAURANT/BAR. And in the other, A LOOBY LOUNGE is visible --
	surrounded by four walls of BOOKS and HOTEL MEMORABILIA.

	In a dark corner of the room, a uniformed MAID named OLGA dusts off a
	massive WOODEN GLOBE.

	Julie smiles at the woman on their way through the lobby, but Olga
	shyly looks away.

	Arriving at the FRONT DESK, the four of them find it deserted. They
	wait patiently, then impatiently.

	ANGLE ON A DESK BELL

	as Karla slaps it with her palm. The bell RINGS for a long time then
	fades into SILENCE.

					KARLA
			Hello? Hello?

					JULIE
			Where is everyone? I'll ask --

	Julie turns to consult the maid.

	ANGLE ON THE GLOBE

	The big ball is spinning. But Olga is no longer in sight.

	Tyrell heads toward a DOOR beside the counter with a sign which reads:
	PRIVATE OFFICE.

					TYRELL
			I'll scare somebody up.

	He grabs the knob and pulls the door open to...

	RROWWWR? A PIT BULL ON A CHAIN JUMPS UP INTO HIS FACE -- its toothy
	maw snapping shut about a half inch from his nose.

					TYRELL (cont'd)
			Whoa!

	Julie and Karla laugh. Karla goes to hit the bell once more -- ONLY TO
	HAVE HER HAND GRABBED IN THE PROCESS.

	Karla gasps. Pulls away. We see the hand belongs to the hotel manager
	-- BROOKS, balding, 40s, talks slowly, and seems to have secrets he
	won't share with guests.

					BROOKS
			What can I do for you?

					KARLA
			Checking in...Karla Wilson.

	Will saunters away to look at the books in the lobby.

					BROOKS
				(condescending)
			Ah, yes. Roll out the red carpet.
			Our contest winners are here at
			last.

	He scans a sheet as Tyrell stares at the pit bull.

					TYRELL
			Nice dog.

					BROOKS
			Not really. I've found peices of
			guys like you in his stool.

	Tyrell is put off by this aggressive comment.

					TYRELL
			What's your problem, buddy?

					BROOKS
				(innocent)
			I don't have a problem in the world.

					JULIE
				(covering)
			It sure is a beautiful old hotel.

					BROOKS
				(proud)
			Built in 1948 for a member of the
			Rockefeller clan. The tile work was
			imported from Spain. A lot of history
			in these walls...Judy Garland stayed
			here...Hemmingway fished for marlin
			right off that dock --

					TYRELL
			Okay, we get it...It's old.

					BROOKS
			It'll outlive you, I'm sure.

	Creepy thing to say. Slides a registration form.

					BROOKS (cont'd)
			Wilson comma Karla...
				(sees something on
				the form)
			Oh --

					KARLA
			Oh, what?

	Brooks covers --

					BROOKS
			You're in 201 and 202.

					KARLA
				(expecting this)
			Is that bad?

					BROOKS
				(lying)
			Not at all. Those are our honeymoon
			suites.

	Tyrell wraps his arms around Karla. Julie looks uncomfortably towards
	Will.

					JULIE
			Your what?

					BROOKS
			Honeymoon suites. I take it you kids
			haven't exchanged vows, yet?

					JULIE
			We haven't exchanged anything.

					KARLA
			Julie, we're talkin' suites!
				(excited)
			That'll be just fine with us.

					BROOKS
			And, while you're here, our marginally
			trained, off-season staff of five will
			attend to your every need.

					KARLA
			Wait...Did you say off-season?

					BROOKS
			July fourth weekend. Storm season
			starts today. The clouds roll in like
			clockwork.

					JULIE
			Storm season?

					BROOKS
			It's our version of winter.
				(hands over the keys)
			201 and 202. There's Scrabble and
			Parcheesi in the lobby. Enjoy.

	And Brooks turns away through the office door. They walk toward their
	rooms. Will catches up with them.

									CUT TO:

24	INT. HOTEL HALLWAY - DAY

	They walk down the hallway. Karla seems annoyed.

					KARLA
			Ain't nothin' free in this world.
			Everybody says it, and it's true.
				(dissapointed)
			I wanted you all to have a good trip.

					TYRELL
			We will, baby...All this means is we
			got the whole island to ourselves.

					WILL
			And it's been blue skies all day. It
			might be perfect all weekend.

					JULIE
			It beets being on the mainland.

					KARLA
			Oooh, the mainland --

					TYRELL
			Somebody's gone tropical on us, baby.
			Tropical!

	The mood is improving. A SQUEEKING NOISE interupts.

	A BRASS LUGGAGE CART has appeared behind them. And ESTES, 60s, the
	weary Haitian porter, steps from behind it.

					ESTES
				(a Carribean accent)
			201 and 202...Who put you in...?
				(hesitant)
			Don't use these much --

					JULIE
				(suspicious)
			Why's that?

	He sees their happy, expectant faces and changes the subject.

					ESTES
			No real reason.
				(then)
			Pretty fancy rooms for kids your age.

					KARLA
			We won a competition.

					ESTES
			Oh, yeah? What you have to do?

					TYRELL
			Guess the capital of Brazil --

					KARLA
			Rio, baby!

					ESTES
			Ahh, good for you, girl.
				(waiting for a cue)
			...And, where would you like me to
			put the bags?

	A beat as Julie and Karla exchange a look. Then, Karla tosses one of
	the keys to Julie.

					KARLA
				(to Estes)
			Their stuff in there...
				(grabbing Tyrell)
			...and ours in here.

					JULIE
			Karla! You promised.

					KARLA
				(looking at Tyrell)
			I also promised Tyrell.

					TYRELL
			Promised me what, baby?
				(joking around)
			I made all my promises to William.

	Tyrell makes fake goo-goo eyes at Will. Estes looks away.

					TYRELL (cont'd)
			Sweetie, you brought your nightie,
			didn't you?

					WILL
			Forward! A girl needs time to make up
			his mind.
				(to Julie, thoughtful)
			Julie, look, if it's cool, I'll sleep
			on the couch and they can have their
			own room to practice for that real
			honeymoon.

	But Tyrell grabs Karla and drags her into the room. We here GIGGLES.

					WILL
			I'll take those.

					ESTES
			No, I've been doing this since before
			you were a dream in your father's eye.

	Estes grabs the bags and takes them into the room. Julie and Will are
	left staring at each other.

					WILL
			You sure it's okay with you?

					JULIE
				(noting his sweetness)
			Sure. It's fine. As long as you don't
			snore.

					WILL
			You can toss a shoe at me if it gets
			out of hand.

	She laughs and they go into the room.

									CUT TO:

25	INT. HOSPITAL EMERGENCY ROOM - NIGHT

	BEEP. BEEP. BEEP. Ray is hooked up to a heart monitor. Although he's
	asleep, we can tell he's bruised and generally beaten up.

	WE RACK to a DOCTOR checking on him through the glass.

25A	INT. HOSPITAL ROOM - NIGHT

	We see a COP next to the doctor.

					COP
			He's beaten up pretty bad --

					DOCTOR
			Yes, but he seemed certain his friend
			was killed out on the highway by
			somebody named Ben Willis.
				(hisitant)
			He said he has a hook on his hand. He
			said he was driving a BMW.

	As the cop stares at him deadpan, the doctor realizes how rediculous
	this must sound.

25B	INT. HOSPITAL ROOM - NIGHT

	CLOSE UP: Ray's eyes pop open. He's listening.

26	INT. HOSPITAL ROOM - NIGHT

	The cop explains things to the doctor.

					COP
			There's no body. And there was no
			other vehical involved.
				(beat)
			He fell asleep at the wheel...and ran
			his old truck into a guardrail. He got
			thrown way the hell down into a ditch.
			He's damn lucky.

	They walk back down the ICU.

					DOCTOR
				(nodding)
			He suffered a severe head trauma --

					COP
			Probably once he rests up, it'll all
			come back to him.

	The doctor and cop approach the nurse's station. The NURSE is reading
	a magazine. She folds it away.

	Suddenly, the monitoring equpment goes OFF with a series of LOUD
	WARNINGS.

					NURSE
				(already moving)
			That's your number twelve --

	The doctor, nurse, and country cop hurry back toward Ray's room.

					NURSE (cont'd)
				(yelling)
			Get me some help down here. We got a
			flatline, room twelve.

	THEIR POV - THROUGHT THE DOOR

	The wires and monitors are unhooked and Ray is GONE.

									CUT TO:

27	INT. HOTEL BAR - NIGHT

	A resort bar on the beach. Ocean breezes and surf SOUNDS come through
	the window.

	It's tiki galore, complete with a bamboo bar and fishing gear hanging
	from decorative nets from the ceiling. There's a KARAOKE STAGE in the
	corner.

	Will and Tyrell enter and head straight to the bar. A bored bar
	tender, NANCY, looks just like Jennifer Esposito, doesn't look up from
	her paperback.

					NANCY
			You guys lost?

					TYRELL
				(re: the emptiness)
			Tell me this ain't the bar scene.

					NANCY
			Wanna drink?

					WILL
			We didn't get all dressed up for
			nothing.

					TYRELL
			Planter's Punch, Singapore Sling, or
			how about a Mai-Tai?

					NANCY
			How about some ID?

	They freeze.

					NANCY (cont'd)
			Kidding.

	They nod.

					WILL
			The guy at the desk said the place would
			be quiet, not dead.

					NANCY
			Didn't anyone tell you this is --

					TYRELL
			The last day of the season. Yeah, we
			heard.

					WILL
			So why are you still here?

					NANCY
			That's none of your business.

	Tyrell sizes her up quickly.

					TYRELL
			What's the matter, boy trouble?

					NANCY
			Not anymore.

					TYRELL
			He leave you?

					NANCY
			No. I shot him.

	Will and Tyrell exchange a danger-Will-Robinson glance.

					NANCY (cont'd)
			What you want is a Dark and Stormy:
			Vernon's rum, ginger beer, and a touch
			of Tabasco. Sailors drink it for luck
			in the hurricane season, trust me.

	ACROSS THE BAR

	Karla and Julie walk in talking quietly to one another.

					JULIE
			Am I bad? I mean, he's really great,
			and he's cute --

					KARLA
			He's cute...And he's got a crush on
			you...
				(off Julie's look)
			But...

					JULIE
				(appologetic)
			I miss Ray...I tried to call him.

	Karla looks at her. She's sincere, but firm.

					KARLA
			Ray made up his own mind...so, you're
			free to make up yours.

	Joining the men, but continuing her thought --

					KARLA (cont'd)
			For the next foury-eight hours...
				(joking)
			Your smile is a frown...turned upside
			down.

	She illustrates with her own big smile.

					TYRELL
			Pretty cool bar.

					KARLA
			They all start to look the same once
			you've worked in one.
				(to Nancy)
			Am I right, sister?

	Nancy reaches out a hand and they touch just the tips of their
	fingers.

					JULIE
				(to Nancy)
			I'm Julie. This is Karla.

					NANCY
			Nancy.
				(sarcastic)
			Welcome to Tower Bay's most happenin'
			hotspot.

	Nancy continues making their cocktails.

	JULIE

	backs into something, turns and gasps -- it's a statue of an OLD
	WHALER, complete with HARPOON, WHITE BEARD, and YELLOW SLICKER.

	She doesn't let Karla see that it upset her.

	Nancy puts their drinks down in front of them.

					NANCY
			Four Dark and Stormies...

	They all pick up their drinks.

					KARLA
				(toasting)
			To a great weekend --

					WILL
			Yeah, a great weekend. Forget the
			weather!

					KARLA & JULIE
			I'll drink to that!

	They drink and toast again.

					KARLA
				(to Nancy)
			So what do you do around here for fun?

	Nancy looks straight at Will --

					NANCY
			Make fun of tourists mainly.
				(beat)
			Or let them make fun of themselves...

	She flips a switch that lights the Karaoke stage.

					KARLA
			Karaoke -- perfect.

					JULIE
			Don't even think about it.

					KARLA
			Okay, I won't.

	She's already heading for the stage.

					TYRELL
			Go baby! Go!

	AT THE STAGE

	CLOSE ON the karaoke machine. Karla flips through a binder full of
	songs.

					KARLA
			Oh, this ain't for me, baby, this is
			for somebody who really needs it.
				(finds one)
			Ah-hah! One single with extra cheese!

					NANCY
				(it's true)
			Everyone thinks their a singer.

					JULIE
			No way.

					KARLA
			Yes.

					JULIE
			No.

					KARLA
			Yes.

					JULIE
			Not me...no way...

					WILL
			Come on, it'll be fun.

					KARLA
			Ladies and gentlemen, please put your
			hands together for my friend, my very
			best friend, Julie James.

	But there will be no mercy.

					KARLA, TYRELL, & WILL
				(chanting in unison)
			Ju-lie! Ju-lie! Ju-lie!

	Reluctantly she goes to the song book. She sees something
	particularily awful.

					JULIE
			You asked for it.
				(to Tyrell)
			Song number thirty-nine.

	Tyrell nods and punches a few buttons. Julie takes the stage as sappy
	strings begin to swell. She looks at the MONITOR, then
	melodramatically at the crowd, and begins to sing -- no, BELT --
	Gloria Gaynor's "I WILL SURVIVE."

					JULIE (cont'd)
				(singing)
			First I was afraid...I was petrified...
				(continues singing under)

	Will stands, clapping. Tyrell pounds his chest. Karla flips up her
	LIGHTER, swaying like a hard-core fan. And Julie continues, crooning
	out the chorus as the beat kicks in and the gang begins to dance.

					JULIE (cont'd)
				(singing)
			I will survive...I will survive...

	ANGLE ON THE KARAOKE MONITOR

	The schmaltzy lyrics keep scrolling by -- white against black. But
	then...in the middle of the song...the color changes. RED CAPITAL\
	LETTERS BEGIN TO FILL THE SCREEN.

					JULIE (cont'd)
				(singing --
				then trailing off)
			And I still know...what you did...
			last summer...

	Her voice trails. Her smile abruptly fades.

	MICROPHONE

	falls to the floor. The room echoes with an electronic WHUMP. Everyone
	stops dancing, confused.

	CLOSE - JULIE

	trembling, shaking, a mess. Will jumps onstage.

					WILL
			Julie? What's wrong?

					JULIE
			It's...him.

					WILL
			What do you mean, Julie?

					JULIE
			He did something to the screen...it,
			it, said...

	Julie loos at the screen -- the normal lyrics are still scrolling. She
	suddenly feels their eyes upon her. They're looking at her like she's
	having a nervous breakdown.

					JULIE (cont'd)
			Nothing. Nothing, I'm sorry...

	Stung, she rushes off the stage.

					KARLA
			Julie...

	But it's to late. She's bolted from the bar.

									CUT TO:

28	INT. HOTEL - JULIE'S ROOM - NIGHT

	Julie steps into her room. Closes the door behind her. She falls back
	against it, trying to calm herself down.

					JULIE
			There's no way...just stop it right
			now...

	She looks around the cozy room.

					JULIE (cont'd)
			Closet. Bed. Bathroom. No need to panic.

	Julie starts to undress, get ready for bed, the day of travel finally
	catching up with her. She grabs something to sleep in. Tosses it on
	the bed. And that's when she sees it,

	CLOSE - ENVELOPE

	propped on the pillows. Her name written across. She is frozen
	momentarily.

	Almost against her will, she moves toward the envelope. She reaches
	down and picks it up.

	She hesitates, then opens the envelope. She pulls out a SINGLE WHITE
	CARD.

	ANGLE ON THE CARD

	In bold print it reads: SURPRISE!

	DARKFIGURE

	appears over Julie's shoulder. Julie can feel the presence. She spins,
	scaring --

	WILL

	who YELLS and drops the flowers and champagne he was holding. The
	bottle bursts and covers them with spray.

					JULIE
				(realizing)
			Oh, Will! I'm sorry.

					WILL
			It's my fault. I shouldn't have...I
			didn't think...

	She grabs a TOWEL off the bathroom door, trying to help him clean up
	the mess.

					JULIE
			No, no, no. This was really sweet...

					WILL
			I scared you -- I crossed the line --

					JULIE
			No -- it's not that. It's...I'm just a
			little on edge. I'm really sorry.

					WILL
			Hey, you don't have to appologize to me.
			I'm the one. I understand.
				(covering the awkwardness)
			I'm going to take a walk and dry off.

					JULIE
			Are you sure? I really appreciate it.

	He picks up a rose. Most of its petals on the floor.

					WILL
			I just really like you and I want you to
			feel good about everything...You know? I
			want you to be happy.

	He hands the rose to her. There's a moment between them. He
	reluctantly heads for the door.

									CUT TO:

28A	EXT. HOTEL HALLWAY - NIGHT

	Will looks down at his wet pants.

					WILL
				(soto)
			Dork.

	Passing Karla and Tyrell's room on his way down the hall, Will spots
	the DO NOT DISTURB SIGN.

	He hears an INCREDIBLE POUNDING from inside. He shakes his head and
	mopes down the hall.

									CUT TO:

29	INT. HOTEL - KARLA AND TYRELL'S ROOM - NIGHT

	Karla bounces playfully on their big bed as Tyrell crosses toward the
	windows.

					KARLA
			Tha's it.
				(bounce)
			I've decided.
				(bounce)
			I'm changing my major to finance.
				(bounce)
			And going to Wall Street.

					TYRELL
			Why?

					KARLA
			'Cause that's the only way I'm ever
			gonna be able to afford a big bed like
			this.

	She falls back against the plush comforter, looking up at herself in a
	long MIRROR HANGING RIGHT OVER THE BED. Tyrell loves this and quickly
	moves beside her in the bed. She lets him get real close, then she
	jumps up --

					KARLA (cont'd)
			Jacuzzi.

	Tyrell reaches for her, but she bounces off the bed.

					TYRELL
			Ah, baby, let's stay right here.

	Karla pulls her suit out of a bag and models it seductively and
	flirtatiously for Tyrell.

					KARLA
			I spent a hundred bucks on it...even if
			it's just so you can pull it off.

	Tyrell gets off the bed --

					TYRELL
			I like the sound of this.

									CUT TO:

30	EXT. HOTEL DOCKS - NIGHT

	Derrick, the dockhand, whistles in the darkness as he coils the bow
	rope of a service boat around a cleat on the dock.

	Ominous shadows play all along the dock. Out on the water there's a
	big SPLASH.

	The dockhand rises, looking out at the water with a sigh.

					DERRICK
			Damn. I should've brought my pole.

	He turns away. As he does, we see

	THE END OF THE DOCK

	where a sinister SLICKER FIGURE stands perfectly still, silhouetted by
	moonlight.

	Derrick paces down the dock the other way past a handfull of other
	tied-off staff and service boats.

	He picks up a hose and begins spraying down the hull of a Sunfish
	sailboat.

	He turns the hose off and begins coiling it, backing toward an
	EQUIPMENT SHACK. Suddenly, a HAND touches him on the back. He jumps
	and turns to see --

	TITUS

	standing there smoking a spliff.

					DERRICK
			Get lost, you scared me.

					TITUS
			Fish are all over the water...Come on,
			let us take a boat out.

					DERRICK
			Titus, you're so stoned, you'd end up
			in Spain.

					TITUS
			That's why you'll come with Titus, mon.

	Derrick throws the hose in its place.

					DERRICK
			There's a storm comin', Titus. No boats
			are going out.

					TITUS
			Storm is what makes it interesting.
			Thass why all the fish are up. Less
			hook us a couple big ones.

	Derrick is now ignoring Titus.

					DERRICK
			I got work to do. Take the bake
			elsewhere.

					TITUS
			Up-tighteous and self-righteous.

	Titus glides away into the dark. Derrick watches him go. There's
	another SPLASH in the water near the dock.

	Derrick walks to where the splash was. He kneels down by the edge --
	watching BUBBLES RISE from the dark water below.

					DERRICK
				(to the fish)
			Hello, little sea bass. You're lucky
			I'm busy or I'd hook you myself.

	WE PUSH IN AS HIS FACE GETS CLOSER TO THE WATER --

	AND THEN -- RISING SLOWLY FROM THE DARK WATER DIRECTLY BEHIND THE
	DOCKHAND -- A SINISTER SLICKER.

	Derrick hears A SPLASH -- and just in time for...

	SPLAT! THE OLD HOOK IN THE EYE. THE FISHERMAN PULLS HIM DOWN. HE
	SCREAMS -- BEN YANKS ON THE HOOK -- AND DERRICK'S CRUMPLED BODY FALLS
	INTO THE WATER.

	ANGLE ON THE WATER

	as poor Derrick's BLOOD MIXES WITH BUBBLES...

									CUT TO:

31	EXT. POOL/JACUZZI - NIGHT

	Bubbles of a different kind. The JACUZZI sits in an enclosure at the
	shallow end of the SWIMMING POOL.

	And enjoying its warmth, Karla and Tyrell are liplocked in the
	churning tub. MUSIC plays on the boombox beside them.

	The tempurature rises and Ty's hands begin to wander. Still clad in
	her cute bikini, Karla pulls away --

					KARLA
			You sure you didn't pick up my hair
			tie?

					TYRELL
				(rubbing his bald head)
			Hello?

					KARLA
			Okay, I just didn't wanna get my
			hair wet.

					TYRELL
			Baby, I finally got you alone in this
			Jacuzzi and I don't wanna be discussin'
			hair care.

	She splashes him.

					KARLA
			Don't you get feisty...

	Tyrell moves in for the kill. He won't take no for an answer.

					TYRELL
			Too late for that. We're miles from
			anywhere, baby. No one's gonna hear
			you scream.

	He goes in for a serious kiss. Things start to heat up --

					KARLA
			I used to be a lifeguard...I'd hate to
			have to blow my whistle.

					TYRELL
				(playful)
			I'd hate for you to have to blow...your
			whistle.

	Tyrell is done talking. He pulls her over to him and the moment
	becomes more passionate.

	Karla opens her eyes in time to see --

	TITUS

	surface in the pool next to them.

	Karla SCREAMS. And not just because it was a surprise. Titus looks
	even uglier when he's wet.

	Titus opens his mouth, reveals a smoking PHILLY BLUNT on the end of
	his tounge.

					TITUS
			No water sports after midnight. Hotel
			policy.

	Titus eyes Karla in the Jacuzzi. Tyrell moves protectively in front of
	her.

					TYRELL
			What's the policy on burnin' herb?

					TITUS
			We got one for that, too. It's don't
			try until you buy.
				(beat)
			You don't buy any, you don't get any.

	Titus blows a cloud of smoke on them both, rolls the joint back into
	his mouth, and swims off. Tyrell is angry, but Karla pulls him back.

	A dejected Will appears in his bathing suit, a towel over his arm.
	Tyrell sees him coming.

					TYRELL
			There's ten people on this whole island
			and they're all gonna end up in this
			Jacuzzi with us.

					WILL
				(getting in)
			How's the water?

					TYRELL
			Crowded.

					KARLA
			Ty!

	Will slips into the water ignoring Tyrell's look.

					WILL
			Ahh, that feels great.

					KARLA
				(considerate)
			How's Julie?

					WILL
			Alone. In the room.
				(to Karla)
			Got any advise?

					TYRELL
				(annoyed)
			Yeah. Find another Jacuzzi.

	Karla shoots Tyrell a look.

					KARLA
				(to Will)
			Your not out yet, slugger. You gotta
			just get back up there and keep
			swingin'.

									CUT TO:

31A	EXT. JULIE'S APARTMENT - NIGHT

	Ray is at a telephone booth up the street from Julie's apartment.

	He looks exausted. Blood seeps through his shirt. He's in pain.

					RAY
			I need an international operator.

									CUT TO:

31B	INT. HOTEL LOBBY - NIGHT

	In the empty night lobby, behind the desk

	THE TELEPHONE

	RINGS and RINGS. We push in on the phone RINGING unanswered in the
	night. Nobody is around to answer it.

									CUT TO:

32	INT. HOTEL - JULIE'S ROOM - NIGHT

	The DOOR CREAKS OPEN once again to her room. And from a STRANGER'S POV
	-- WE SLOWLY CREEP INSIDE.

	A CLOUD OF STEAM billows from the open BATHROOM. THE SOUND OF A SHOWER
	is heard. We MOVE TOWARD IT.

	INT. SHOWER

	Eyes closed, Julie stands with her face right under the showerhead,
	trying to relax. Something softly goes THUMP.

	Julie opens her eyes. Turns off the shower. Stands there, frozen,
	listening.

					JULIE
				(calling out)
			Will...?

	No reply.

	AT THE BATHROOM DOORWAY

	In a robe with a towel on her head, Julie peeks into her room. Nobody
	there. She sighs, and crosses back to the bathroom sink.

	AT THE SINK

	Julie looks to a spot where her toothbrush should be. She frowns.
	Looks around. Some of her things are missing. She peers into the
	fogged-up bathroom mirror.

	She whips the TOWEL off her head and WIPES IT ACROSS THE MIRROR,
	MAKING THE BEDROOM BEHIND HER VISIBLE.

	Ready to spit, she looks down. AND IN THAT INSTANT -- WE SEE A SHADOWY
	FIGURE PASS BEHIND HER IN THE BEDROOM. She looks back up...and HE'S
	GONE. Julie turns on the water to rinse.

	ANGLE ON THE BEDROOM DOOR

	as it SLOWLY CREAKS SHUT, the SOUND DROWNED OUT by the SINK.

	INT. BATHROOM

	Julie turns off the water -- and KLUNK-KLUNK -- and NOISE at her door.
	The sound STOPS.

	INT. JULIE'S BEDROOM

	She steps out of the bathroom, crossing toward the door.

					JULIE
			Will?

	No answer. She peers through the PEEPHOLE.

					JULIE (cont'd)
			Is that you?

	She unlocks and opens it. Nobody there.

	Julie quickly closes the door and relocks it, her heart rate just
	begining to rise again as...

	KLUNK-KLUNK. She hears it again. Then, the sound STOPS. But standing
	at the door -- she realizes that's not where it came from. Her eyes
	immediately go to...

	THE CLOSET

	Damn. That's where it came from. She slowy pads across the room in her
	slippers toward the door. Trembling...she reaches for the handle...AND
	TUGS IT OPEN!

	There's NOTHING. She stares a beat. DRIP DRIP DRIP.

	She sees something on the floor of the closet. She touches a finger to
	it.

	IT'S BLOOD.

	She looks up.

	THE DOCKHAND

	comes dropping down at her, dangling, enmeshed in barbed wire. He's
	dying before our eyes. Blood bubbling from his mouth. His body
	twitching.

	Julie stares at the body. She's almost catatonic. She blinks. She
	blinks again.

	Suddenly, in DEATH CONVULSIONS, his arms fly toward her --

	She SCREAMS --

									CUT TO:

33	EXT. POOL - JACUZZI - NIGHT

	Karla and Tyrell are drying off beside Will as their hysterical friend
	comes racing across the pool plaza.

					JULIE
			It's happening again! There's a body!

	Will cathes her in his arms and she sobs uncontrollably.

					WILL
			What? What are you talking about?
			Where?

					JULIE
			It's in my room!

	They can see she's not fooling around.

									BACK TO:

34	INT. HOTEL - JULIE'S ROOM - NIGHT

	Everyone is gathered in the center of Julie's room. Julie is held
	tight by Will. Brooks, the hotel manager, conducts the investigation.

	Brooks approaches the closet door. Julie holds her breath. He throws
	it open. A long beat.

					BROOKS
			I don't find this at all funny.

	Julie steps in -- stares into the empty closet. She can't believe her
	eyes.

	She searches their faces, looking for someone to believe her.

					JULIE
			There was a body! I swear it!

					WILL
				(delicately)
			Julie, you said you were tired. Waybe
			you were dreaming.

					JULIE
				(sharp)
			I wasn't dreaming.

					BROOKS
			I knew you people were goining to be
			trouble. I knew from the first time I
			laid eyes on you.

	Julie grabs Brooks by his robe.

					JULIE
			Listen to me. He's here.

					BROOKS
			Who? Who is here?

	She doesn't know where to start. Nancy pokes her head around the door.

					NANCY
			What's going on?

					TYRELL
			Julie thinks there's a dead guy in the
			closet.

					NANCY
			Cool.

					TYRELL
			The rest of us see bathrobes.

					JULIE
				(sharp)
			I am not crazy, Tyrell. He was right
			there.

					TYRELL
				(not taking it seriously)
			Fine. Show me the body.

	Will wanders over to the closet and checks it out.

					KARLA
			Think about this, Julie. What did you
			actually see?

					JULIE
			The dockhand guy. Hanging by his neck
			from up there.

					BROOKS
				(case closed)
			In the morning we'll talk to Derrick, the
			"dockhand guy," and put the whole thing
			to rest.
				(looks to Nancy)
			Now, let's slow down on the Dark and
			Stormies and get some sleep.

					NANCY
			Don't look at me --

					JULIE
			I want off this island.

					BROOKS
				(tired)
			Not possible, I'm afraid. The last ferry
			left hours ago. And we got a storm
			coming. There won't be another one for
			days.

					TYRELL
			There's a storm coming?

					BROOKS
			'Tis the season, like I told you. It's a
			big one.

	Julie goes for the phone.

					JULIE
			Then I'll call the mainland for a
			charter.

					BROOKS
			Phones went down a few minutes ago.

	She picks up the phone, listens, then dangles it from her hand.

					JULIE
			It's dead.

	An exasperated Brooks heads for the door.

					BROOKS
			Duh. The next couple of days is gonna
			be rough, but we'll make it.

					KARLA
			What about a radio?

					BROOKS
			Sorry. Emergencies only.

					KARLA
			What the hell would you call this?

					BROOKS
			I'd call this four spoiled city kids who
			wouldn't know a hurricane if it blew up
			their butts.
				(beat)
			All we can do now is batten down and ride
			it out. If things get really bad, there's
			a storm shelter.

	And Brooks is gone. Outside the window, it starts to rain. There's a
	CLAP of thunder.

	JULIE

	looks out the window with glazed-over eyes.

35	EXT. HOTEL - NIGHT

	And we PULL AWAY from Julie's face through the glass -- SLOWLY TILTING
	above her room to another

	TINY WINDOW

	in the bell tower. A candle burns, and lighning flashes illuminate the
	haggard face of Estes, the porter.

									CUT TO:

36	INT. HOTEL TOWER ROOM - NIGHT

	It's a claustrophobic room. Estes turns away from the window,
	shirtless in his uniform pants. A beaded cord hangs around his neck,
	small fishhook dangling from it.

	Beside the candle, he picks up a leather bag and dumps out a handful
	of voodoo icons: roots, coins, sea glass, chicken's foot. He sets them
	on a divination tray.

	He opens vials and sprinkles powder and assorted liquids into a small
	wooden bowl. He opens a drawer and extracts a toothbrush. He dips the
	brush in the bowl -- covering its bristles with a sticky goo. He holds
	the brush over the candle's flame. The old man watches it SIZZLE.

	ESTES picks up

	A STRAW FIGURE

	and impales it on his fishhook necklace.

	His eyes roll back in his head. He enters a trance.

									DISSOLVE TO:

37	INT. HOTEL CORRIDOR - NIGHT

	Olga, the maid, pushes her laundry cart toward the end of a long,
	dimly lit hall. She sees a pile of dirty linens outside of a room --
	ROOM 228.

	She stops, perplexed. There's nobody staying in this room. She picks
	them up and stuff them in her cart. Then she knocks on the door.

					OLGA
			Housekeeping.
				(beat)
			Housekeeping.

	She knocks again and notices her hand leaving bloody marks on the
	door. She looks at her other hand. Her arms and hands are covered in
	blood.

	She turns back to the linens. Something bloody is wrapped inside of
	them. She paws at the sheets, trying to unravel the mystery --

	The door the Room 228 slowly cracks open. A STEEL HOOK reaches out and
	slices into her apron. It tugs. She turns, and she starts to SCREAM,
	she is yanked into the room.

	A DO NOT DISTURB sign flips over the handle and the door SLAMS shut.

	We hear her SCREAMS from inside.

									CUT TO:

38	EXT. PAWN SHOP - NIGHT

	Establishing. Bars on the windows. Neon PAWN fickering. Hand-painted
	sign reads: Se Habla Ingles.

39	INT. PAWN SHOP - NIGHT

	CLOSE ON AN ENGAGEMENT RING

	Ray's engagement ring. The pawn shop owner, MAC, cowboy hat, knows his
	job, holds it up to the viewing loop next to his eye.

					MAC
			Jeez, that's a full carat --

					RAY
			How much?

					MAC
			Well, there's some flaws in her...

					RAY
			How much?

	Mac looks around his shop at the usual jumble of crap: vacuum
	cleaners, golf clubs, guitar amps...

					MAC
			Don't really have the market for
			something like this...
				(like it hurts him)
			I can go two...two-fifty.

					RAY
			Make it three hundred. And throw
			that in, too.

	REVEAL - .38 REVOLVER

	encased in a glass cabinet.

					MAC
			Hell, that's worth three, easy. And
			you got your waiting period.

					RAY
			I'm not waiting...So give me the gun
			and keep the ring.

	Mac barely hasitates, he knows he's getting a steal --

					MAC
			Fine, buddy.

	THE GUN AND THE RING

	go down on the counter next to each other. Mac pulls out some forms.

					MAC (cont'd)
			Fill these out. Leave the dates blank.

	Ray starts writing. Mac is overcome by a moment of humanity.

					MAC (cont'd)
			Buddy, are you sure this is the way
			you want to go?

	Ray gives him a steely stare --

					RAY
			Is it loaded?

	Mac shakes his head.

					RAY (cont'd)
			Load it.

	Off Mac's sadness at young people today.

									CUT TO:

40	INT. HOTEL - KARLA AND TYRELL'S ROOM - DAY

	We move into the hotel room and gradually reveal FOUR SETS OF FEET at
	the end of one bed. They are crammed into a king-size bed together.

	Julie is awake. She gets out of bed and moves toward the window.

	It's raining outside. The wind is blowing. The storm has arrived.

	Karla pulls a sleeping hand off her chest. The hand belongs to Will.
	She pinches the hand. Will starts.

	Tyrell kicks his feet around, trying to get some room.

					TYRELL
			This ain't the romantic weekend I
			had in mind.

	Karla kisses Tyrell on the cheek.

					KARLA
				(to Julie)
			You get any sleep at all?

					JULIE
			Some.

	Tyrell glares at Julie by the window. Sees the incredible rain.

					TYRELL
			Oh, look. Another day in paradise
			with Julie-your-tour-director...Miss
			Psychotic Episode.

					KARLA
			Hey --

					TYRELL
				(calling to Julie)
			See any dead bodies out there? Any
			fresh kill? How 'bout Freddy, Jason?

	Julie ignores him, staring out the window.

					WILL
			Leave her alone.

	Angry at her boyfriend, Karla gets out of bed and joins Julie.

					TYRELL
			I'm just saying what all of you are
			thinking. It's bad enough gettin'
			rained out without having to hold
			her hand the whole time.

					WILL
			You don't have to be a jerk.

	Karla pulls Julie close in a show of support for her friend whose mind
	everyone believes has been inventing dead bodies.

					JULIE
			It's okay...He doesn't believe me.
			That's his right. I'm starting to
			think I'm crazy, too.

					KARLA
			Hey, slow down, turn off the little
			motor up in there...What do you say
			we go to the gym and work off a
			little stress?

	Julie doesn't look to enthusiastic.

									CUT TO:

41	INT. HOTEL FITNESS ROOM - DAY

	Karla and Julie enter the gym. It has Nautilus machines, treadmills,
	Life-cycles, free weights, tanning beds, speed and heavy bags.

	Karla walks over and does a full roundhouse -- spinning and planting
	her foot dead center of the heavy bag.

					JULIE
			Nice move.

					KARLA
			I'll be givin' your fisherman some of
			that and see how he likes it.

	Julie smiles at her friend bravado. She steps over to a stairmaster
	and starts her workout.

									CUT TO:

42	INT. HOTEL CORRIDOR - DAY

	Will and Tyrell step out of the room into the long, empty corridor.
	They cross to a balcony overlooking the lobby. The whole place seems
	deserted.

					TYRELL
			Where is everybody?

					WILL
				(gallows humor)
			They're all dead...Dead, I tell you.
				(ghostly)
			Ahhhh, we're all deaaaddddd. Tyrellll,
			joinnnn usss.

	Will's voice echoes across the lobby. Tyrell is maybe a little
	nervous, but hiding it.

					TYRELL
			Shut up.

	They walk down the steps to the lobby.

43	INT. HOTEL LOBBY - DAY

	They cross the lobby.

					WILL
				(calling out)
			Hello?
				(worried)
			There's nobody here, Tyrell.

	Tyrell's already out the front entrance.

44	EXT. HOTEL - DAY

	Will and Tyrell exit the hotel and make their way down the steps
	outside and go splashing across the flooded grounds. Debris from the
	storm is scattered all around them.

					TYRELL
			They're around...They just don't
			care about us 'cause we're the
			contest winners.
				(beat)
			Let's go find Stoner Boy...Make his
			lazy butt hook us up with fishing
			poles or Ping-Pong paddles or
			something.

					WILL
				(nervous)
			You know, the greenhouse effect has
			caused the gulf stream to shift and
			almost every meteorological expert
			expects a dramatic increase in
			tropical depression --

					TYRELL
			Hey -- shut up, okay?

	Tyrell keeps walking. Will looks around at the wind-and-water-swept
	vista. Not much of a day for activities.

					WILL
				(sotto)
			I don't like to fish.

	Tyrell moves across the grounds. He looks back. Will is stopped in his
	tracks, looking up at --

	IN THE WINDOW OF THE BELL TOWER --

	ESTES, staring down at them.

					TYRELL
				(calling to Will)
			You coming?

	Will trots after him, but he takes a glance back at the window...Estes
	is gone.

									CUT TO:

45	INT. HOTEL FITNESS ROOM - DAY

	Julie has finished on the stairmaster. Both she and Karla are sweaty
	after a good workout. Their moods have improved.

					KARLA
			Come on, Vampira. I got just the
			thing for you.

	Karla leads Julie over to the tanning beds.

					JULIE
			Cancer in a box.

					KARLA
			No, this is the safe sun.
				(joking)
			It's better than a day at the beach.

	Julie is reluctant.

					KARLA (cont'd)
			Come on, a little photosynthesis and
			you'll feel like a new --

					JULIE
			Houseplant.

	Karla opens the canopy of the tanning bed.

					KARLA
			Exactly.

	Julie peels off her sweats. Lies down in her underwear. Straps on a
	small pair of GOGGLES.

	Karla lowers the canopy over Julie.

	ANGLE ON A WALL TIMER

	Karla sets the DIAL.

					KARLA (cont'd)
			Set to three seventy-five, bake for
			one hour...

					JULIE
			Karla!

					KARLA
			Just kidding.

	ULTRA-VIOLET TUBES

	come to life -- Julie is bathed in purple light.

									CUT TO:

46	EXT. HOTEL GROUNDS - DAY

	Tyrell looks across the grounds and sees, at the far end of the tennis
	court,

	TITUS'S POOL SUPPLY CART

	half-obscured by the heavy fooliage surrounding the court.

	Tyrell walks away from Will toward the cart. He hears the jam-box on
	the cart playing "TRENCHTOWN ROCK" by Bob Marley..."One good thing
	about music...when it hits you feel no pain..."

46A	EXT. HOTEL TENNIS COURT - DAY

	The open door of the entrance CLANGS against the fence in the wind.
	Tyrell decides to cut through the court to the far entrance and the
	cart.

46B	INT. HOTEL TENNIS COURT - DAY

	Tyrell walks across the court to the sagging net.

	There is a RUSTLING in the foliage around the court. SOMETHING moving
	fast and quietly.

					TYRELL
				(calling out)
			Hey, Bong Marley. Come here.

	The door SLAMS shut behind him.

	Tyrell looks back at the door. The latch seems to have stuck and it's
	no longer swinging.

	Tyrell turns back toward the other door and sees

	The PIT BULL

	standing in the doorway. Tyrell stares at the dog. The dog GROWLS at
	Tyrell, low and menacing.

					TYRELL
			I'm gonna kill you, Bong Boy.

	Simultaneously, Tyrell turns and the dog lunges forward.

	Tyrell sprints to the door -- it's LOCKED by a length of metal slipped
	into the coupling.

	He turns to see the dog bounding at him --

	Tyrell leaps up the fence just as the pit bull lunges for him. The dog
	catches his pant leg. Tyrell kicks him away and frantically scrambles
	up.

	The dog relentlessly barks and snaps as Tyrell climbs the fence.

	WILL

	looks in at the dog angrily charging the chain-link. He looks up at
	Tyrell.

					WILL
			Come on. Jump. I've got you.

	He reaches out to try and catch Tyrell.

	ON THE FENCE

	Tyrell finally looses his grip and falls back, landing on top of Will.
	He rolls quickly to his feet.

					TYRELL
			Thanks.
				(furious)
			I gotta find me a pool boy.

									CUT TO:

47	INT. HOTEL FITNESS ROOM - DAY

	Karla hammers the bag with a series of quick punches. She finally
	stops to catch her breath and hears a THUMPING from the other room.

48	INT. BASEMENT HALLWAY - DAY

	Karla sticks her head out the door to the gym, listening. At the end
	of the hall

	AN OPEN DOOR

	is visible, a single BARE BULB lighting the room. Karla moves
	curiously toward it.

49	INT. BASEMENT ROOM - DAY

	Karla slowly sticks her head around the corner just as the THUMPING
	NOISE SOUNDS LOUNDLY. She reacts --

	A THUMPING DRYER

	in a small laundry room. Karla relaxes.

					KARLA
				(doing Julie)
			Gee, Karla...That'll break the
			machine...

	She approaches the MACHINE, which is rocking with the noise.

					KARLA (cont'd)
			Damn. How many pairs you got in
			there?

	She opens the dryer door and jumps back.

	A BLOODY SHOE

	flies out and into her arms. She looks down a beat, and SCREAMS bloody
	murder.

	A hot spray of blood gushes from the machine.

	REVEAL - OLGA'S DISMEMBERED BODY

	tumbling inside the dryer. Karla SCREAMS again. Then she hears the
	SOUND of heavy boots coming down the hall. She runs to the door and
	locks it.

	She's trapped in a bloody basement cell. Suddenly somebody POUNDS on
	the door. Karla SCREAMS.

	She runs across the room, shoving a folding table toward a row of
	BASEMENT WINDOWS.

	The door is hit again and again. Somebody is throwing their shoulder
	against it.

	Karla bangs hysterically on the windows, leaving bloody handprints on
	the panes.

									CUT TO:

50	INT. TANNING ROOM - DAY

	Julie's eyes suddenly open through the GOGGLES. She thumbs off her
	WALKMAN.

					JULIE
			You say something?

	Nothing. And just as Julie lies down again, Karla's frantic SCREAMS
	echo down the hall.

	Julie goes to push open the canopy. As she does, the CANOPY LID is
	JAMMED DOWN ON TOP OF HER. A CHAIN shoots through the handles. Julie
	is locked on the grill.

					JULIE (cont'd)
			Karla! Somebody? Hey, this isn't
			funny.

	Suddenly the lights go off. Julie thrashes around, trying to free
	herself.

	JULIE'S POV - THROUGH THE PURPLE LIGHT

	She sees someone walking around in the room. The person steps closer.
	Julie could almost reach out and touch him.

	She begins to SCREAM!

51	EXT. HOTEL POOL - DAY

	Tyrell angrily makes his way past the outdoor pool bar as Will
	follows. Tyrell spots a tray of empty bottles. He picks one up and
	smashes it in half on the ground. He holds out the jagged bottle to
	Will.

					TYRELL
			Take this.

					WILL
			And do what with it?

	Tyrell breaks another bottle in half.

					TYRELL
			Julienne of pool boy.

	They move toward the nearby POOL HOUSE.

52	EXT. POOL HOUSE - DAY

	Tyrell and Will stop outside the door. There's MUSIC from inside. More
	Bob Marley -- "Lively Up Yourself..."

					TYRELL (cont'd)
			I'm gonna throw the door. Get ready.

	Tyrell opens the door and charges in. Will's right behind him.

53	INT. HOTEL POOL HOUSE - DAY

	They spill into the room. A light fog hangs in the air. The two of
	them begin to COUGH and CHOKE.

	Titus sits on the floor facing away from them, facing a window through
	which gray light pierces the gloom.

	Titus doesn't move. He's too still. In front of him is a large BONG
	that still SMOKES SLIGHTLY.

					TYRELL
			Hey, pool boy.

	Tyrell closes the distance and kicks Titus in the back.

	Titus falls over like a block of wood, rictus already setting in.

	His hands are bound behind him. The cord is tied off to some pipes
	against the wall.

	HIS FINGERNAILS SCRATHCED GROOVES

	into the floor, scrabbling for the window and fresh air.

	Will points out two empty one-gallon PLASTIC BOTTLES.

	ANGLE ON THE BOTTLES

	One is labeled CHLORINE, the other MURIATIC ACID.

	Will pulls Tyrell from the pool house.

54	EXT. HOTEL POOL HOUSE - DAY

	The two of them collapse, COUGHING and CHOKING.

					TYRELL
			What the -- ?

	Will splashes a puddle of rainwater on his face --

					WILL
			That's chlorine and muriatic acid.
			Put the two together and you get
			cyanide.

	Tyrell rolls over on his back next to Will, practically coughing up a
	lung.

					TYRELL
			Cyanide? Like poison gas?
				(reality dawning)
			You mean, somebody really killed
			him...Omigod. Think...Think...

	Suddenly, they both hear KARLA SCREAMING. They sprint for the main
	building.

									CUT TO:

55	EXT. BASEMENT WINDOW - DAY

	Tyrell and Will follow Karla's CRIES to a narrow srip of basement
	window which runs along the side of the hotel. Her palms have bloodied
	one of the windows.

					TYRELL
			Get back --

56	INT. HOTEL LAUNDRY ROOM - DAY

	Karla ducks down on the table just as the window EXPLODES inward.
	Tyrell kicks in the pane and looks in.

					TYRELL (cont'd)
			Give me your hand!

	She reaches for him. He pulls her up and out through the window.

57	EXT. BASEMENT WINDOW - DAY

	Karla tumbles to the ground with only one thing to say.

					KARLA
				(screaming)
			Julie!

									SMASH CUT TO:

58	INT. TANNING ROOM - DAY

	Tyrell and Will suddenly burst through the door.

	ANGLE ON THE TANNING BED

	Where Julie is just visible, her fingers madly groping for a way out.

					JULIE
			Oh, God, get me out. Get me out.

	Will struggles to open the bed, but the chain holds strong.

	Tyrell grabs a nearby dumbbell.

					TYRELL
			Hang on...

	ANGLE ON THE CHAIN

	Tyrell slams the barbell down, shattering the fiberglass handles.

	A few of the ultraviolet tubes POP as Will yanks up on the cover.

	They help Julie up, her eyes adjusting to non-purple light.

					JULIE
				(almost relieved)
			I'm not crazy...I'm not crazy. He's
			here...
				(already moving
				for the door)
			We've got to get to the radio and
			call for help.

					KARLA
			I think we can classify this as an
			emergency situation.

	They head for the manager's office.

									CUT TO:

59	INT. HOTEL - BROOKS'S OFFICE - DAY

	They burst into the middle of the room before seeing that Brooks's
	head has a machete sticking out of it.

					TYRELL
			Yo, Brooks, listen up --
				(reacting)
			Whoa --

	Tyrell, Will, and Karla look at the radio, which is smashed on the
	floor next to Brooks.

	Julie stares in shock at the reverse wall, at

	A STUFFED MARLIN

	with the words "I STILL KNOW" written on it in blood.

	Karla SCREAMS --

					TYRELL
			Somebody...is a sick, fingerpainting
			psycho.

					KARLA
			We gotta get out of here. Now.

	THE POWER CUTS OUT and the hotel plunges into darkness.

	Julie SCREAMS and runs from the hotel.

					WILL
			Julie!

60	EXT. HOTEL - DAY

	Julie runs down the steps and cuts through the blowing palms.

									CUT TO:

61	EXT. HOTEL DOCKS - DAY

	Julie is at the end of the dock. Tears are streaming down her face,
	her chest heaving.

	The others catch up with her. Karla realizes the boats are gone.
	Everyone is freaking out.

					KARLA
			There were boats here? Refresh my
			memory, there were boats...

	Tyrell picks up the end of a cut mooring line --

					TYRELL
			They were cut loose.

					WILL
			Julie? Wanna tell us what is
			going on here?

	They look at Julie. Their escape is cut off by water. They're scared.

					JULIE
				(freaking out)
			We're all going to die. He's going
			to kill us one by one.

					TYRELL
			Who?

					JULIE
			Ben Willis.

					KARLA
				(not this again)
			Oh, stop it! He's dead. You killed
			him. Now, get over it. We gotta
			think here.

					JULIE
			They never found the body.

	Her voice is low and urgent, an impromptu confessional.

					JULIE (cont'd)
			Two summers ago. We lied to the
			authorities. We hit Ben Willis with
			our car. Ray, me, Barry, and Helen
			...We threw the body in the water to
			cover it up --

					KARLA
			Julie...

					JULIE
			Only he wasn't dead. He killed Barry
			and Helen last July Fourth.

	Tyrell begins backing away from Julie. He picks up a piece of
	driftwood from the dock.

					JULIE (cont'd)
			I thought Ray and I killed him on the
			boat, but we didn't and now he's back
			to finish up the job.

	Tyrell holds up the log as a weapon. He's angry and afraid --

					TYRELL
			We're on an island, miles from
			anywhere. I don't give a crap about
			you're fisherman. There's dead bodies
			pilling up everywhere and there's one
			guy missing --

	Will moves closer to Tyrell --

					WILL
			The porter...what's his name? Old
			Asbestos --

					TYRELL
			Estes! That's exactly who it is. That
			old guy knows something. We can sit
			here and wait for him to pick us off
			or we can go find him first.

	Tyrell turns and heads down the dock. Will goes with him. Karla takes
	a few hesitant steps after them, then turns back toward Julie, who
	hasn't moved.

					KARLA
			Julie, we have to do something.

	Julie sees her friend caught in the middle, sees her suffering. She
	reluctantly starts for Karla --

					JULIE
				(sotto)
			It's not him.

									CUT TO:

62	INT. GREYHOUND BUS - NIGHT

	Standard bus folks: old people in Panama hats, buzz-cut military geeks
	on holiday.

	Ray sits in a seat. He's in pain and does not look good.

	He pops a handful of pills into his mouth and washes them down with an
	Orange Crush --

	A dignified OLD LADY has been watching him --

					OLD LADY
			People live healthy in Miami.
				(sincere, but unsettling)
			It's the future down there every day
			of the week...The future.

	Ray slumps back, waiting for the pills to work.

					RAY
			I'll keep that in mind.

									CUT TO:

63	INT. HOTEL TOWER ROOM - DUSK

	The door to Estes's room BANGS inward. Tyrell, Will, Karla, and Julie
	charge into the room.

					TYRELL
			Yo, Freak Boy --

	The cluttered room is empty.

					WILL
			He's not here.

	Tyrell and Will begin roughly searching through Estes's possessions.

					TYRELL
			We're gonna find some weird crap
			in here.

	In the corner there is a curtain used as a partition. Julie pulls the
	curtain back and discovers

	A SMALL, HEAVY CABINET

	sitting in the corner. It seems to glow from inside while casting an
	evil pall over the room.

	Julie moves toward it and hesitates before opening the doors.

	Inside -- is a small voodoo shrine. A candle has burned low before it.
	Hanging before the altar is

	THE LITTLE STRAW MAN

	impaled on a fishhook.

					JULIE
			Voodoo.

					TYRELL
			I told you.

	Julie looks closer. She sees her toothbrush, a hair tie, assorted
	other knickknacks belonging to her friends.

					TYRELL
				(to Karla)
			Missing a hair tie?

	Karla looks in. Tyrell snatches the straw man up.

					TYRELL
			We found our guy.

	THUNDER rumbles across the sky like the judgement of God.

									CUT TO:

64	INT. HOTEL CORRIDOR - NIGHT

	Julie, Karla, Tyrell, and Will walk quickly down the corridor. They
	have grabbed some of their things.

					TYRELL
			We gotta find flashlights, torches,
			guns if they got 'em, anything
			that'll help.

	Will and Tyrell eye the stairs leading down to the lobby.

					TYRELL
			Wait. Maybe he's down there
			collecting the body parts.

	Will and Tyrell exchange a glance, an "are you man enough?" kind of
	glance.

					WILL
			Let's go.

65	INT. HOTEL LOBBY - NIGHT

	The men head into the kitchen and bar area.

					WILL
			We'll only be a second, okay?

					TYRELL
			Yeah, wait right here, it's the
			safest place.

	Karla is terrified and waits by the stairs, but something catches
	Julie's eye. She walks across the lobby.

					KARLA
			Julie, where are you going?

	Julie keeps walking. She sees historical pictures of the hotel: work
	crews during construction; the first limbo contest; fishermen standing
	next to sailfish and marlin.

	Near the pictures, Julie sees the globe. It's spinning slowly.

	Julie hesitates, then walks toward the globe. It stops spinning. She
	looks down at it.

	CLOSE ON - THE GLOBE

	and Julie's hand finding Brazil. We see the capital is not Rio, but
	Brazilia. This is dawning on Julie when we hear --

					ESTES (v.o.)
			Brasilia.

	She jumps out of her skin. Estes was standing right there in the
	shadows.

					ESTES (cont'd)
			That's the capital of Brazil, not
			Rio.

	Karla SCREAMS.

	Tyrell comes flying across the lobby past Karla. He dives on Estes,
	tackling him to the floor. Will is right behind him.

					WILL/ESTES/TYRELL
			Let go. I got him. That's me. It's
			him. We got you...

					JULIE
			Leave him alone.

	Tyrell holds up battered Estes --

					TYRELL
			Here's youre killer --

					ESTES
			No --

					WILL
			We found your voodoo crap --

					ESTES
			No --

	They shake Estes, finally giving him a chance to speak.

					ESTES (cont'd)
			I found the bodies this morning...I
			tried to use the radio, but he
			already destroyed it.

					JULIE
			Let him go. I believe him.

					KARLA
			Come on, Julie. You saw his room.

					ESTES
			I haven't hurt anyone...I stole
			those things to help you. To
			protect you.

					JULIE
			He's telling the truth. He could've
			easily killed me. He didn't.
				(beat while
				this sinks in)
			Look, we didn't even answer the
			radio question right...This whole
			thing was a setup.

					KARLA
			What do you mean?

					JULIE
			Rio isn't the capital of Brazil. It
			was the wrong answer. Sorry, we lose.

					TYRELL
				(starting to lose it)
			You've got all these theories but
			where is he? Where? Where's your
			fisherman killer?

					JULIE
			I don't know.

					TYRELL
				(losing it)
			You never do...The guy at the
			nightclub, the body in your room last
			night. Little notes that only mean
			something to you. How do we even know
			you're not the one behind this --

	Estes steps forward --

					JULIE
				(to Tyrell)
			How do we know you're not?

					ESTES
				(to Julie)
			I know who you're talking about. He
			used to work here at the hotel.
				(beat)
			And I've seen him around again. Out
			in the woods by the orchard.

	They look at Estes...Is he telling the truth?

					ESTES
			I can't remeber his name, but I
			don't forget a face.
				(beseeching)
			I can show you...

	They stare a beat --

					WILL
			How do we know you're not setting
			us up?

					ESTES
			Where else you gonna go, son?

	They look to the office, the gym...The sense of death surrounding
	them.

					KARLA
			I know I don't want to stay in
			here.

					JULIE
			We'll be better off in the open. If
			we stick together, maybe we can kill
			this creep for good.

					TYRELL
			Show us.

	They begin moving for the door.

									CUT TO:

66	EXT. FERRY DOCKS - NIGHT

	Establish. The rain pounds a fleet of fishing boats. The boats are
	securely battened down in the weather.

	Ray limps past, heading for a small building at the end of the dock.
	Its sign reads: Island Ferry, Jack Paulsen -- proprieter.

									CUT TO:

67	INT. PAULSEN'S BOAT HOUSE - NIGHT

	A gear-strewn office. Paulsen watches an episode of Party of Five.
	There is a loud KNOCKING at the door.

					PAULSEN
			What the...

	Paulsen slowly gets up. He cracks the door open. Ray stands
	silhouetted against the rain.

					RAY
			I need to get to Tower Bay Island.

	Paulsen senses something isn't right.

					PAULSEN
			We're closed.

	Ray pushes his way in --

					RAY
			I need to get there, now.

	Paulsen looks at him standing there drenched.

					PAULSEN
			Did you happen to notice what's
			going on outside?

	Ray pulls out the gun and points it at Paulsen --

					RAY
			I'm not looking for a weather
			report, I'm looking for a boat. So
			which one's yours?

									CUT TO:

68	EXT. WOODS TRAIL - NIGHT

	Estes, Will, Tyrell, Julie, and Karla walk along a trail through the
	heart of the island. The storm has abated for a few minutes.

	It's windy, dark, and spooky. The kind of place you'd take people if
	you wanted to scare them with a classic ghost story. That is just what
	Estes is doing.

					ESTES
			He worked here for many years. He
			had a nice family. A pretty wife
			and two little ones. A boy and a
			girl. They'd be about your age, now.

	They continue along the path.

	Estes looks at them in the dark, slowing for just a second.

					ESTES (cont'd)
			One day his wife went missing. Maid
			found blood all over the honeymoon
			suite -- Room 201.

	There are strange NOISES out in the woods.

					ESTES (cont'd)
			Eventually, they found her body.
			Pieces. A leg in the swamp. An arm
			washed up on Three Mile Beach.
				(beat)
			And the head they found much later.

	A huge branch is blown from a tree and comes crashing down through the
	underbrush, scaring them. Estes calmly steps around it.

					ESTES (cont'd)
			Careful --

					JULIE
				(softly)
			Did he do it?

					ESTES
			People say she was running around on
			him. People say he caught her in bed
			with other men. People say a lot of
			things.
				(beat)
			He disappeared, taking the two small
			ones with him. At least they were
			never found.

	The winding path leads to a small orchard. They hang on his every
	word.

					ESTES (cont'd)
			We're here.

	In the center of the orchard is a cemetery.

	They move off the path into the safety of the woods. There seems to be
	activity around the place. It's silent and eerie.

	Julie stares, fascinated. She is slowly drawn toward the house. Karla
	grabs for her arm.

					KARLA
			Be careful, Julie.

					JULIE
			I've got to see.

	She leads, they follow, circling the house. Julie rounds a corner of
	the shack and stops. She sees --

	TWO TOMBSTONES

	The first stone reads: SARAH WILLIS (birth/death)

	The second stone reads: SUSIE WILLIS (birth/death)

	Beyond them

	A FRESHLY DUG GRAVE

	and the group moves slowly toward it. The headstone, partially
	obscured by the mound of dirt, comes into view.

	The third headstone reads:

					JULIE JAMES
				born September 6, 1979
				died July 4, 1998
					"A Lying Whore"

	"A Lying Whore" is scratched with a knife.

					KARLA
				(realizing)
			...Today's July fourth.

	Will goes to comfort Julie --

					JULIE
			I'm not dying on this island,
			Will.
				(louder)
			Do you hear me?

	Julie shouts into the darkness.

					JULIE (cont'd)
			You want me, Ben Willis? Come and
			get me. I'm right here.

	She kicks over her headstone --

					JULIE (cont'd)
			My grave stays empty!

	She looks defiantly down the path.

					KARLA
			Julie, the boats are gone, the
			phones are down. There's no way off
			this place.

					JULIE
			Then, we fight --

	Will looks around. Estes is gone.

					WILL
			Where'd Estes go?

					TYRELL
			What is up with that weirdo?

					WILL
			I'll go find him.

					KARLA
			Why? He can't help us.

					WILL
			He's probably the only one who
			can help us.

					TYRELL
			I'll come with you.

					KARLA
			Are you crazy? We're not staying
			here on our own.

					WILL
			It's okay. He couldn't have gone
			far. I'll catch up with you later.

	Will disappears into the darkness.

					KARLA
			Maybe we should just wait here?
			Hide in a tree?

					TYRELL
			I'm not hiding up no tree.
				(to Julie)
			I'm with her. Let's arm ourselves
			to the teeth and kick this psycho's
			butt.

									CUT TO:

69	INT. HOTEL KITCHEN - NIGHT

	They move cautiously into the kitchen. Blue emergency lights flicker
	above them. It's a big room with plenty of nooks and crannies for
	somebody to be hiding in.

	Tyrell picks up a couple of different knives. He hefts them in his
	hand.

					TYRELL
			What I need is a gun. Not a steak
			knife.

	Karla grabs a paring knife --

					TYRELL (cont'd)
			You gonna clean vegetables? You
			gonna stir-fry? You need something
			that'll get his attention.

	He picks up a huge butcher's knife and cuts the air with it. He then
	roughly empties other drawers looking for more weapons.

	Karla looks to Julie, something on her mind. Julie catches the look.

					KARLA
				(hurt)
			I'm your best friend...You could
			have told me the truth about what
			happened. I would've understood.

					JULIE
				(sad)
			Karla, I just wanted the whole thing
			to be over. I didn't want to involve
			anybody else.

					KARLA
			It's too late for that.

	Julie steps over to Karla.

					JULIE
			I'm so sorry. I brought this on
			everyone. It's my fault.

	Tyrell picks up on the mood swing. He moves closer to them. He's
	sympathetic.

					TYRELL
			Forget that. You didn't do nothing.
			This fisherman's a piece of scum.
				(hard for him to admit)
			I should've been listening to you...
			I'm sorry.

	Julie smiles for a second.

					TYRELL (cont'd)
			Now, let's take a look at the
			pantry.

					KARLA
			You think that's a good place to
			hide?

					TYRELL
			I don't know, but I'm starving.

									CUT TO:

70	EXT. BEACH - NIGHT

	Will runs from the trees and finds himself by an old house. He sees
	Estes by the ocean, near a boat.

					WILL
			Hey Estes.
				(beat)
			Estes? Where'd you go?

	Estes doesn't answer right away -- he keeps his back to Will.

					WILL (cont'd)
			You abandoning us? How come you
			didn't tell us you had a boat?

	Estes picks up the boat's oar. He speaks low, almost inaudibly.

					ESTES
			This has to end. Now.

					WILL
			What -- ?

	Estes swings the oar, cracking Will's head hard.

									SMASH CUT TO:

71	INT. HOTEL KITCHEN - NIGHT

	Tyrell, Julie, and Karla approach the pantry -- a huge steel door.

72	INT. HOTEL KITCHEN - CONTINUOUS

	Tyrell steps inside.

					TYRELL
			Steel door...Food...Perfect.

	He starts looking for something to eat --

	CLANK. There's a soft CLATTERING from somewhere in the room. Everyone
	freezes, staring into the darkness.

	Tyrell puts a finger to his lips, then creeps down an aisle,
	listening. There's nothing but SILENCE.

	He moves toward the first aisle...He jumps out. The aisle is empty.

	JULIE AND KARLA

	move down an aisle behind him.

	Tyrell ducks around to the second aisle. He slices the air, ready to
	pounce. This aisle is empty.

	JULIE AND KARLA

	nervously move another aisle down.

	Tyrell moves stealthily toward the third aisle...This is it. He lunges
	forward into the row...Empty, also.

	There's a small SOUND...A MOUSE scampers off under the shelves. Tyrell
	turns and smiles at Karla and Julie --

					TYRELL
			It's just a --

	A ROLLING PIN

	bashes him on the back of the head. Tyrell hits the floor,
	unconscious.

	JULIE AND KARLA SCREAM

					KARLA
			Ty!

	A DARK FIGURE jumps down from the shelves. Tyrell puts his arms up --

					TYRELL
				(yelling for mercy)
			Don't kill me --

					JULIE
			Wait, it's Nancy --

	Nancy, the bartender steps out of the shadows brandishing her rolling
	pin.

									CUT TO:

73	INT. HOTEL KITCHEN - NIGHT

	Tyrell stands at the sink, where Karla holds a towel full of ice to
	his head. Nancy, the bartender, looks on apologetically.

					NANCY
			I'm sorry, but you could've been
			the one doing all of this --

					TYRELL
			And so could you -- crazy fool.

					NANCY
			You stumbled into my hiding place.

					TYRELL
			Must have missed the sign.

					NANCY
			Excuse me, but this island didn't
			have a murder rate until you people
			showed up.
				(chilled)
			I've never seen a dead body before.

					JULIE
			Get used to it.

					NANCY
			Who's doing this?

					TYRELL
				(friendly)
			Don't even get her started...It's a
			long, long story and you probably
			wouldn't believe a word of it.

	Tyrell moves as he talks, fed up and exhasted. He crosses past the
	stove and under a huge hanging rack of pots and pans.

					TYRELL (cont'd)
			I mean, all I know for sure is this
			is the worst vacation of my life...
			I'm tired, and I'm hungry, and I
			personally haven't seen one damn
			psycho killer...

	THWACK! A STEEL HOOK

	sinks deep into the base of Tyrell's shaved skull, a look of abject
	surprise on his face.

	The women freeze as Tyrell dances like a marionette before being
	hoisted up and hung on the rack like a used saucepan.

	THE FISHERMAN

	is in the vent above the stove. He stares out at them from the hood of
	his slicker.

	Ben jumps from the range onto the floor. Karla is in shock. Julie
	yanks her and they flee.

	As she goes, Julie picks up

	A LOOSE KNIFE

	and hides it in her back pocket.

									CUT TO:

74	EXT. OFFSHORE ON FERRY - NIGHT

	Ray pilots the boat through the dark, choppy water. He's navigating by
	compass, maps spread before him. He sees something off the bow --

	A BOAT

	drifting on the fast sea. The words "Tower Bay" are painted on the
	side. Ray pulls alongside and discovers the boat is empty.

	He reaches for the radio.

					RAY
				(into radio)
			Come in...This is Summer Breeze
			requesting emergency assistance for
			Tower Bay island. I repeat...This
			is Summer Breeze...

	Ray guns the boat away.

									SMASH CUT TO:

75	INT. HOTEL FOYER - NIGHT

	Julie, Karla, and Nancy run into the lobby. The storm is WAILING
	outside the front doors.

	They pause for a second. Behind them we hear the rapid THUD-THUD-THUD
	of Ben's boots.

	Nancy goes straight to a desk and pulls out a flashlight. She points
	to the main staircase.

					NANCY
			I know where we can hide.

76	INT. HOTEL STAIRCASE - CONTINUOUS

	The women run up the stairs. Behind them, we hear Ben's FOOTFALLS
	echoing.

77	INT. HOTEL CORRIDOR - CONTINUOUS

	On the top floor, they race toward the end of a dark hallway.

	At the far end of the hall, Nancy illuminates a section of the
	ceiling.

					NANCY
			Give me a boost up --

	Julie helps Nancy reach a pull cord in the ceiling.

	A WOODEN LADDER

	pulls down. Nancy quickly climbs up.

	BEN WILLIS

	enters the hallway and continues toward them.

	ON THE LADDER

	Karla slips, nearly knocking Julie to the floor. They both scramble
	upwards --

	Ben hits the ladder --

	Just as Julie reaches the top rung she SCREAMS --

	BEN'S HOOK IS ON HER FOOT!

	Nancy appears in the opening and throws a brick down at Ben. It hits
	him in the chest and knocks him back.

	Julie makes it into the attic. They pull the ladder up behind them
	like a drawbridge.

78	INT. HOTEL ATTIC - NIGHT

	Julie, Karla, and Nancy surround the hatch they've just shut. They
	fumble with it --

					JULIE
			There's no way to lock it.

					KARLA
			What do we do?

	From below comes LAUGHTER. There's a tug on the hatch, cracking it
	open. The girls pull it back shut, but it's hard to get a grip.

	There's more tugging, the hatch bending down; they can see Ben. Then,
	the rope SNAPS. The hatch slams shut.

					NANCY
			There's no way to grip this thing.

	Suddenly the STEEL TIP of the HOOK pokes through the crack...It
	wriggles around...Turning...And begins to pull the hatch down.

	They try to hold it...But it's no use. They let go and jump away.

	The attic is lit by a cathedral window. It's crosshatched with wooden
	beams and pink insulation.

					NANCY
			Watch your step...

	THUNK! Karla's foot goes through a gap between two beams.

									SMASH CUT TO:

79	INT. HOTEL - KARLA AND TYRELL'S ROOM - NIGHT

	KARLA'S FOOT

	dangles through the ceiling.

									SMASH BACK TO:

80	INT. HOTEL ATTIC - NIGHT

	Julie helps Karla back up onto a beam.

					NANCY (cont'd)
			Stay on the beams!

	Karla and Julie follow her precarious progress.

	Ben climbs off the ladder to a beam. He watches them leap from beam to
	beam. His hook glints in the light.

	Julie, Karla, and Nancy move toward the cathedral window. They turn.
	They are cut off. They spread out against the wall looking for an
	opening to get back to the hatch.

	Ben feints toward Nancy then swipes at Julie --

	He misses. She leaps away. She looks down. Instead of insulation, she
	sees a

	WINDOW INTO THE HONEYMOON SUITE

	She sees her bed through a one-way mirror. Julie stares, momentarily
	transfixed. Karla is edging her way around the side of Ben.

					BEN
				(re: the mirror)
			You'd be amazed by what you'd see.
			My wife with every man on the
			island, for example.
				(to Julie)
			And you, sexy...I loved watching you.

					JULIE
			You sick freak.

	Ben suddenly whirls and lunges at Karla. He grabs her, but they both
	lose their balance, teetering for a moment on one of the beams, before
	falling --

	They CRASH through the mirror --

81	INT. HOTEL - KARLA AND TYRELL'S ROOM - NIGHT

	Karla and Ben hit the bed in a rain of glass.

	Karla bounces to her feet and dives out of the way as Ben swings his
	hook.

82	EXT. ROOM BALCONY - NIGHT

	Karla backs onto the porch. She backs up against the railing.

									CUT TO:

83	EXT. ATTIC WINDOW - NIGHT

	Julie and Nancy reach the CATHEDRAL WINDOW. They open it and look out.

84	EXT. ROOM BALCONY - JULIE'S POV - NIGHT

	and Ben advancing toward Karla, whose back is against the railing.

	Karla looks behind her, sees

	THE GLASS ROOF OF THE ORCHID HOUSE

	which doesn't look nealy strong enough to suppor her.

	Ben advances, swining the hook. Karla leaps over the railing and onto
	the glass.

85	EXT. GREENHOUSE ROOF - NIGHT

	Karla keeps a wary eye on Ben as she gingerly backs up on the glass.
	The GLASS begins CRACKING, subtle crack lines splintering out from her
	footsteps.

	Ben lunges and swipes at her with his hook.

	Karla leans away from the attack and loses her balance, slipping onto
	her back on the glass.

	She lifts her head. Starts to move...CRACK. The glass is fracuring
	beneath her. She looks through the glass.

	KARLA'S POV - THE ORCHIDS BELOW

	She tries to slide toward a support...The glass CREAKS and MOANS as
	she moves across the room.

					KARLA
				(to herself)
			Oh, god, no --

	She's almost to the support when

	THE ROOF EXPLODES

	taking Karla down into the orchid house.

86	INT. ORCHID HOUSE - NIGHT

	The roof shatters in an explosion of flying glass.

	Karla land on her back.

	She's unconsious --

									CUT TO:

87	INT. ATTIC WINDOW - NIGHT

	Julie and Nancy look at the empty space which once was a roof
	supporting Karla --

					JULIE
				(screaming)
			Karla!

	Ben turns and looks up at Nancy and Julie. Then, he sprints from the
	balcony.

	Julie and Nancy duck back into the attic.

									CUT TO:

88	INT. HOTEL CORRIDOR - NIGHT

	Julie and Nancy climb down into the hallway. They are cautious,
	expecting Ben at every turn.

89	INT. HOTEL LOBBY - NIGHT

	They hurry across the lobby.

									CUT TO:

90	INT. ORCHID HOUSE - NIGHT

	A sprawling, steam-filled room, dense with vegetation of all sorts and
	shelf after shelf of beautiful orchids.

	Karla lies unconscious. Slowly, she opens her eyes.

	There's a rustling in the flowers. She tries to get up, but can't yet.
	She waits in terror as

	BIRDS

	fly up and out of the hole she's made in the roof.

	Karla tries to stand and her leg gives way. She tests her knee --

					KARLA
			Oww...

	Karla starts hobbling. She reaches the door -- it's locked from the
	other side.

	There is a thick glass window set in the middle of the door.

	The cranes startle again, something upsetting them. Karla spins to
	look. Nothing.

									CUT TO:

91	INT. HOTEL/ORCHID HOUSE - NIGHT

	Julie and Nancy arrive at the door. Karla pounds on the other side --
	points to the lock.

					KARLA
			It's locked!

	Nancy sees a KEY RING by the door.

					NANCY
			It's gotta be one of these.

	Nancy tries the first of many keys. Something catches Julie's eye. She
	moves in for a closer look. Her eyes go wide --

	ORCHID HOUSE - JULIE'S POV

	A powerful BOLT OF LIGHTNING cracks. Fills the room with a pulse of
	bright light. BEN IS STANDING INSIDE AND HE'S HEADING STRAIGHT FOR
	KARLA.

					JULIE
				(terrified)
			He's inside.

	Karla spins. Sees him. Her terrified scream blends with the cranes,
	now SHRIEKING VIOLENTLY.

					KARLA
			Please! Hurry!

92	INT. HOTEL/ORCHID HOUSE - NIGHT

	Nancy fumbles with the keys. Drops them. Julie tries to keep calm.

					JULIE
			Come on...

93	INT. HOTEL/ORCHID HOUSE - NIGHT

	Ben closes fast, slicing the tops off orchids as he goes. He skewers a
	bud on the tip of his hook.

	Karla pounds on the door.

					KARLA
				(frantic)
			Hurry!

	Nancy fumbles for the right key but the lock is old.

					JULIE
			Nancy...

					NANCY
				(crying)
			It's jammed!

	The key is stuck.

					KARLA
				(through glass)
			Come on!!

	She's running out of time. Julie sees a FIRE AXE encased in the glass
	safety box.

					JULIE
				(determined)
			No way!!

	Julie smashes the glass with her elbow. Grabs the axe.

					JULIE
				(to Nancy)
			Move!

	Julie hammers the door with the axe. Wood splinters. Glass cracks.

	Ben is almost on top of Karla now.

	Julie swings. The axe breaks the glass, pulls the frame out. Julie
	drops the axe. They grab Karla. Pull her through.

	Ben swings. The hook rips Karla's shoe, but Julie and Nancy pull her
	through.

	Julie and Ben are face to face. Julie has the axe in her hands. She
	stares him down.

					JULIE
			Come on, gimme a shot --

	Ben rips off his hook, eyeing Julie.

					KARLA
				(shouting)
			Julie, come on.

	They flee. Ben tries the door, realizes it had locked behind him. He
	can't fit through the circular window. He throws his shoulder against
	the door. And again. And again.

	The door frame starts to give --

									CUT TO:

94	EXT. STORM SHELTER - NIGHT

	Julie, Karla, and Nancy approach the iron door to the underground
	storm cellar. Julie carries the axe.

					NANCY
			It's over there.

	They struggle together to open the heavy door.

95	INT. STORM SHELTER - NIGHT

	Stairs lead down into darkness. Karla hesitates --

					KARLA
			I don't know...

					JULIE
			Come on, you can make it.

	Julie gets in, pulling Karla in behind her. They pull the door closed
	behind them.

					NANCY
			There's a light somewhere.

96	INT. STORM SHELTER - NIGHT

	The darkness is complete. We hear MOVEMENT.

					KARLA
			Julie?

					JULIE
			I'm right here. Grab my hand.

					NANCY
			This place has emergency power.
			Just ease you way down the stairs
			and I'll find the light.

					JULIE
			Okay. I'm at the bottom. Karla,
			just get my hand.

					KARLA
			I'm holding your hand!

					JULIE
			No, you're not.

					KARLA
			...Nancy?

	Nancy pulls the chain on an overhead bulb. The lights go on,
	illuminating

	THE DEAD CORPSES

	of Brooks, Derrick, Olga, and Titus -- whose hand Karla is holding.
	The women SCREAM!

	They muddle together, trying to collect themselves.

	Suddenly, there is a POUNDING on the iron door. They SCREAM.

	Then, Julie remembers the axe. She motions the others to stay back --

					JULIE
			All right --

	The iron hatch is slowly opening. Julie gets the axe into possition --

	WILL

	pokes his head through. He's clutching a piece of wood as a weapon.

					WILL
			It's you guys, thank god. Is
			everyone okay?

	They are ecstatic to see him. They bound up the concrete stairs --

					KARLA
			Help's here. Help's here.

97	EXT. HOTEL WALKWAY - NIGHT

	Will is already on the move toward the hotel.

					WILL
			Come on. We're gonna be okay.

					JULIE
			Did you get help?

	Will shakes his head. He's walking woozily.

					JULIE (cont'd)
			What happened?

					WILL
			Estes came after me with a gaffing
			hook.

					JULIE
			He's in it with Willis?

					WILL
			I guess so.

	Julie points out that his chest and stomach are covered in blood, too.

					JULIE
			Your stomach, you're hurt --

	Will looks down, clutches himself, and keeps moving.

					WILL
			When I was coming back I saw your
			slicker friend looking for you guys
			down by the water.
				(beat)
			Let's hurry and get inside...

									CUT TO:

98	EXT. BEACH - NIGHT

	Ray guns the boat straight up onto the beach. He leaps from the boat.

									CUT TO:

99	INT. HOTEL BAR - NIGHT

	Will slumps down on the bar floor. He's floating in and out of
	consciousness. Julie leans over him, concerned.

					JULIE
			Oh, my god, you're bleeding to
			death.

	She looks back towards Nancy --

					JULIE (cont'd)
			We need a first-aid kit.

					NANCY
				(already moving)
			I saw one in the lobby.

	Karla starts, then hesitates. Will moans, looks at her.

					NANCY (cont'd)
			I'll come with you.

					WILL
			You'll be okay. It's over.

	Karla and Nancy rush from the bar. Julie looks tenderly at Will. He
	looks back at her. She pulls some hair off his forehead. He smiles
	weakly.

					JULIE
			Will, just hold on. We'll get you
			fixed up.

									CUT TO:

100	INT. HOTEL LOBBY - NIGHT

	Karla and Nancy go to the area near the check-in and behind the desk.

					NANCY
			Look up there. I'll look over here.

	Karla looks behind the desk. Nancy is searching the shelves.

									CUT TO:

101	INT. HOTEL BAR - NIGHT

	Julie tenderly searches the area around Will's stomach. She's fussing
	with the clothes, looking for the wound.

					JULIE
			You've got blood everywhere, but I
			can't find the wound.

	Will takes her head in his hands, looks her in the eye.

					WILL
			That's because it's not my blood.

	The slow change in Julie as she realizes...

	She starts to run. Will roughly grabs her.

					WILL (cont'd)
			It's time you woke up, Julie.

	His voice switches to that of a familiar radio disk jockey.

					WILL (cont'd)
				(as Mark in the Morning)
			AND START CONTEMPLATING THE ULTIMATE
			MAGIC GETAWAY!

	He drags her out of the bar.

									CUT TO:

102	INT. HOTEL LOBBY - NIGHT

	Nancy sees a white metal box sitting on a shelf. She reaches for it...
	It's a first aid kit.

	ANOTHER HAND

	reaches over and lands on top of her hand. She jumps and sees Estes
	right behind her. Karla SCREAMS.

					ESTES
			Will...He's in on it. He's --

	Suddenly Estes's expression changes to surprise, and

	A SPEAR TIP

	appears in the front of his chest.

	Nancy screams and looks over Estes's shoulder to see

	BEN WILLIS

	standing there holding a spear gun.

	Estes topples over on top of Nancy, pinning her underneath his dying,
	convulsing body. Nancy struggles to get loose.

					NANCY
			Help me.

	Karla rushes to Nancy. She tugs on her arm, trying to pull her free.

	The fisherman strides toward them. He raises his hook. He swings at
	Karla's head.

	THE HOOK CATCHES

	on a beam. Karla struggle with Nancy.

					KARLA
			Come on, come on.

	Ben tries to free his hook hand. Karla looks up at him. He calmly puts
	his foot onto Estes's back and steps down with all of his weight,
	driving

	THE SPEAR TIP

	deep into Nancy who expires with a sigh.

					KARLA (cont'd)
			Damn you.

	Karla, blind with rage, attacks the fisherman. He kicks out with a
	boot and sends Karla fying onto

	A GLASS TABLE

	in the lobby area. The table explodes. Karla is finished.

	The fisherman works his hook free from the post. Karla is unmoving and
	looks quite dead.

									CUT TO:

103	EXT. WOOD TRAIL - NIGHT

	Will pulls Julie along a muddy path in the rain. He's got her by the
	hair. She's slipping and falling.

					WILL
			Look at the bright side, Jules. We
			finally get to spend some quality
			time together.

	Julie's trying to get to the knife she's stashed in her back pocket.

					JULIE
			Why are you doing this to me?

					WILL
			Me, me, me. It's always about you.
			I'm having bad dreams. I can't
			sleep. I'm not doing well in school.
			I'm having trouble with my boyfriend.

					JULIE
			I trusted you.

					WILL
			We had a connection, didn't we? I
			can tell you one thing, though. Ray
			didn't trust me. He was right. He's
			dead, but he was right.

	They come into the orchard. They are covered in mud. Julie stumbles
	again. Goes to her knees. Works the knife free and slashes up at Will.
	She slices him across the face.

	He steps back, feels the blood.

					WILL (cont'd)
			What'd you have to do that for?

	There is a creepy pause. Will stares at his own blood. She catches her
	breath...

	Then suddenly, Will knocks the knife from her hand. He lifts her by
	the hair. Enraged, he puches her in the face. She goes down.

									CUT TO:

104	EXT. ORCHARD - NIGHT

	Will has Julie in a choke hold. He drags her toward the open graves.
	Julie is losing energy, slowly giving up.

					JULIE
			...Why?

					WILL
			Why? Come on, Julie. Think. You'll
			get it. Will Benson -- Ben's son.

	He shoves her. She falls backward into the arms of Ben Willis.

					WILL (cont'd)
			Hi, Dad.

	Julie WAILS, struggling wildly in Ben's grasp.

					JULIE
			OMIGOD --

					BEN
			That's my boy.

	Ben holds her back to look at her. He throws back the hood of his
	slicker. We see his face clearly for the first time.

					JULIE
			No, no, no --

	Ben pulls off his hook and strokes Julie's cheek with his stump.

					BEN
			Shush, now. No more screaming...No
			more running. Time to die.

					RAY (v.o.)
			Let go of her! Now!

	Ben and Will spin to see

	RAY

	like the hero from a western, step out from behind a tree.

	Ben starts to laugh. Will joins him.

					WILL
			You gotta be kiddin' me.

					BEN
			What're you gonna do, boy? Call
			us names?

					RAY
			Let her go. Now.

	Ray raises the .38 caliber handgun. He COCKS the hammer.

	Ben doesn't let go of Julie. Lightning fast, he slaps his hook back on
	and gets the point to Julie's neck.

					BEN
			Think about it, boy. You're no
			killer.
				(beat)
			That's my job.

	Ray hesitates, his finger on the trigger. He does look scared.

	Ben takes a step toward Ray. Then another, pushing Julie in front of
	him. Will moves closer, too.

					RAY
			Stop right there.

	Ray's finger squeezing down the trigger.

					BEN
			You don't have it in you.

	Suddenly, Will dives for Ray. Ray gets a shot off, tagging Ben in the
	shoulder. The gun goes flying.

	Julie spins and hits Ben in the face. He knocks her into her own
	grave...Mud begins to slide in on her. She tries to scramble out.

	Will and Ray wrestle, punching each other repeatedly in the face.

	Will has Ray down and his hands around his kneck. He looks him in the
	eye.

					WILL
			We haven't missed you down here,
			Ray boy. I got to know Julie real
			well.

	Will gets the better of Ray. He's stronger. He yanks him up -- choking
	him. Ray is begging to check out.

					WILL (cont'd)
			Think of all the things I'm gonna
			do to her.
				(beat)
			Dad, finish him.

	Ben charges toward Ray's back. He pulls back the hook for a roundhouse
	slashing --

	At the last second, Ray dips, elbows Will.

	THE HOOK

	goes straight into Will's chest.

	The fisherman has hooked his own son.

	Father and son make final eye contact, the son's eyes go blank.

	Ben stares in shock as Will expires, falling back into the mud.

	Ben SCREAMS in rage. Ray is tired.

	THWACK. Ben begins beating Ray. He puches him. He straight-arms him
	with the hook. He knocks him again and again and Ray is beaten, giving
	up...

	Ben has Ray against a tombstone. The hook slowly inches toward his
	eye.

					BEN
			Gonna blind you first.

	The hook is touching the eyelid --

	A GUNSHOT

	rings out. A look of wonder crosses Ben's face. He slowly turns away
	from Ray.

	JULIE

	stands behind him holding the gun.

					JULIE
			Just...Die.

	BLAM. BLAM. BLAM. She empties the gun into Ben, who flies backward
	into Julie's grave.

	As he tumbles, Ben releases the dirt stacked beside the grave...

	A MUDDY LANDSLIDE

	slowly covers Ben up.

	Ben's face is covering over. His mouth starting to fill with dirt --

					BEN
			You can't kill me.

	His face is completely covered. His mouth still moving.

					BEN (cont'd)
			I'll always be with you.

	The dirt covers him. It continues to fill, until just the

	GLEAMING METAL HOOK

	waves futilely out of the dirt. Then, is stops wiggling.

	Julie goes to Ray.

									CUT TO:

105	EXT. HOTEL - NIGHT

	Ray and Julie limp across the grounds of the hotel. They are moving
	past some shrubbery when

	A DARK FIGURE

	jumps out. Julie yells. She and Ray jump back.

	KARLA

	stops in the middle of her kamikaze attack, knife held out.

					KARLA
			Oh, god, it's you --

					JULIE
			You're okay. Thank god.

					KARLA
			Is he?

	They nod. They go to her -- jubilant group hug time. They compose
	themselves.

					KARLA (cont'd)
			You know, it's true what they say
			about package vacations...You get
			what you pay for.
				(beat)
			Now, how about we get off this piece
			of crap island.

	The first rays of the morning sun appear. Ray looks adoringly at Julie
	as the beautific light catches her face.

	Ray kisses her. She kisses him back. They are silhouetted against a
	beautiful orange sunrise.

					JULIE
				(smiling)
			We don't have to tell anyone it
			rained the whole time. It can just
			be our little secret.

	The three of them throw their arms around each other's shoulders and
	they start walking for the beach as...

	A COAST GUARD HELICOPTER

	rises into view.

									MATCH CUT TO:

106	EXT. HOUSE - DAY

	Establish. The sun setting over a quaint street in a college town.

	SUPERTITLE:			FOUR MONTHS LATER

	Julie pedals her bicycle down the street. She has a book bag over her
	shoulder. It feels like one of the first days of school.

	She rides the bike up to a small house on the perfect street. She
	rolls the bike right up to the front door.

									CUT TO:

107	INT. HOUSE - DAY

	Julie lets herself into the house. She leans her bike against another
	bike in the hallway.

	It's a perfect day. Birds CHIRPING. WIND in the willows. There's
	another NOISE...from inside her house.

	She goes perfectly still. And listens. Behind her, by the kitchen, the
	shadow of a FIGURE moves. She whirls.

	NOTHING

	She creeps down the hallway toward her kitchen. She pauses --

	The dark figure almost knocks into her. She SCREAMS.

	It's Ray. He's holding a disemboweled toaster.

					JULIE
			Ray...what are you doing?

					RAY
				(toaster)
			Oh...it's not working right.
			You're home early.
				(sees she's shaken)
			Did I scare you?

					JULIE
			Never do that again.

					RAY
				(tender)
			Hey -- I didn't know you were here.
			It's okay.
				(beat)
			We got the refrigerator in. Come
			see.

	She sees the love in his eyes. She hugs him.

					JULIE
			I love it here.

					RAY
			It's gonna be great.

									DISSOLVE TO:

107A	INT. STAIRWAY - NIGHT

	Julie climbs to the top of the stairs. She passes Ray in the bathroom.
	She pauses in the doorway --

107B	INT. BATHROOM - CONTINUOUS

	Ray is at the sink in boxer shorts. He's using an electric Waterpic
	devicice that has just been opened, a gift from the party. It makes a
	low WHIRRING sound.

					RAY
				(seeing her)
			Checking the locks again?

					JULIE
			You know me to well.

	Julie smile and walks to the bedroom.

									CUT TO:

107C	INT. BEDROOM - CONTINUOUS

	Julie climbs into bed with a book. The bedroom is clean and orderly.
	The windows are closed. The closet door is shut.

	The room is decorated simply: a high antique bed; unopened boxes; a
	highboy; an antique mirror leaning against the wall. A stuffed bear
	sits in a chair.

	There is a CLATTER from another room. Julie freezes. She waits. She
	hears it again. She climbs out of bed.

									CUT TO:

107D	INT. SECOND BEDROOM - NIGHT

	Julie walks into the dark spare bedroom. The CLATTERING SOUND comes
	from the open window. The wind is blowing the blinds.

	Julie relaxes. She shuts the window. As she leaves the room, we notice
	the dirty imprint of a boot below the window.

107E	INT. BATHROOM - NIGHT

	Julie passes Ray who is still absorbed with the new toy.

	Behind him, the door softly closes. The lock twists. Ray is oblivious,
	happy being the dental-hygene pacesetter of the household.

107F	INT. MASTER BEDROOM - NIGHT

	Julie enters the room. She looks at the closet door. It is open a
	crack. She hesitates, trying to remember if it was open before -- it
	wasn't.

	Julie approaches the closet. She catches her refelction in the mirror
	next to the closet. She peers into the crack of the closet. She can't
	see anything. She throws open the closet door.

	NOTHING

	She looks around the room.

					JULIE
			What is my problem?

	She sits down on the bed.

	We see her bare feet from under the bed.

	She smiles, relaxes. She looks in the mirror leaning against the wall.
	Something has caught her eye. She freezes. She turns slowly back to
	the reflection in the mirror. She sees the glint of steel --

	A HOOK -- CRASH ZOOM INTO REFLECTION --

	THE FISHERMAN CROUCHING UNDER HER BED

	Julie turns too late --

	The fisherman lunges out and grabs her legs. Julie screams. She goes
	down --

	Her nails scrape into the wooden floor as she is dragged under the
	bed.

									CUT TO BLACK:

					THE END