I KNOW WHAT YOU DID LAST SUMMER 3 By Josh D. Winning and Cody Steinman TITLE SEQUENCE: The screen is BLACK. Suddenly breaking through the silence, a voice speaks. JULIE JAMES (o.s) Fear. It's infectious. If we allow it to control us, it can be given life. It breathes, and feeds on those it controls. Fear is irrational. It exists only in the eye of the beholder, but it is powerful beyond belief. INT. DARK ROOM The DARKNESS lifts from the screen, and revealed is a HAND, moving about a workbench, various tools and equipment scattered about. The hand grabs a KNIFE, turns to someone or something off screen. The knife darts forward, then back. There is a muffled grunt of pain, and blood drips off the knife's BLADE. A cackle emits from the stranger. We hear muffled sobbing off screen. The stranger turns back to the table, still laughing. He drops the knife, and picks up a rather nasty looking hook. He brings his other hand (or lack thereof) into focus, and jams the hook into place. The camera widens to reveal BEN WILLIS, wearing his trademarked slicker, his hook dripping with blood. The table in front of him is also splattered with blood. Ben turns to his victim. It's RAY, tied and gagged, a hole in his chest. He's obviously in pain. Ben waves his hook around his "workshop." The place looks like Hell's kitchen. Blood lines the walls, the floors, the ceiling. Various hooks and other pain-inducing instruments are hung on the walls, glinting in the weak light that streams through a barred window. Bodies are hanging from the ceiling. One of these is KARLA, her throat slashed. In another corner is JULIE JAMES, handcuffed and gagged. Her hands have been hooked above her. Her feet are tied together. JULIE (o.s) For some, fear is all that exists. They are isolated and reduced to nothing more than whimpering children. (a beat) For others, fear is their world. They take fear, and manipulate people with it. Ben moves to Ray, runs the hook across his cheek. Ray closes his eyes, bracing himself. The hook scrapes into flesh, drawing blood. Ray stifles a few screams. Tears run down his face. In her corner, Julie screams, flailing about. Ben smiles. He's enjoying himself. He walks over to a pit of burning coals and pulls out a very sharp, red-hot poker. He advances to Ray, the poker poised to strike. As he brings it down, everything FREEZES. JULIE (o.s.) That's as far as the dream goes. INT. PSYCHIATRIST ROOM - SAME TIME JULIE lies on a couch, talking. Her face shows many physical and emotional scars. Dr. PETERS, an elderly but pretty woman, sits in a chair beside her, taking notes. DR. PETERS And you believe this - this scene in your head - to be a foreshadowing of events to come? JULIE Yes. I think he's coming for me again. DR. PETERS Julie he's dead. You shot him yourself. JULIE We thought he was dead the first time, too. But he wasn't. And we paid. DR. PETERS The police confirmed it, though. JULIE Just like last time. But he's coming for us, I know it. He won't rest. I feel him in my soul. He won't rest until we've repented. Julie's eyes are beginning to well up with tears. She wipes at her face hurriedly, obviously ashamed to show her emotions. Dr. Peters sees her distress and takes a note down on her pad. Then she takes a breath. DR. PETERS Let's move on, shall we? (a beat) Tell me about Ray, and Karla. When was the last time you three were together? JULIE A few months after the island massacre. We all went our separate ways after that. INTERCUT TO: EXT. BEACH HOUSE - MORNING One of those houses that extends over the beaches, supported by beams. It's a very beautiful house. The sun has just begun to rise. JULIE (voice-over) Last I heard, Ray had moved to a town in Southern California and was living it up. I got a call a few months ago from a friend who said that Ray had become a real player. DR. PETERS Did you trust this friend to be telling the truth? JULIE Not at first, but then I got a call from Ray himself. We argued. He confirmed what my friend had toldme... INT. RAY'S BEDROOM RAY, still the handsome hunk he used to be, lays in bed, the sheets off, wearing blue boxers. A MOAN comes from the floor. Ray stirs, peeks over the side of the bed. MONIQUE, a red-haired hottie, lays on the floor, wearing only the covers. She smiles up at Ray. MONIQUE God, you were incredible! RAY Well, I try. MONIQUE Mmm, I could do that all over again. RAY How 'bout breakfast first, hmm? MONIQUE That would be nice. RAY Great. Go make some. The smile leaves Monique's lips. INT. KITCHEN/LIVING ROOM The living room is very large, and in a circular design. The kitchen branches off from it. A counter separates the two rooms. A wonderful view of the beach can be seen through two sliding windows that lead to the deck. A hallway leads to the bedrooms and bathrooms. Monique, now wearing a robe, stands in the kitchen, popping waffles into the toaster. MONIQUE I'll give you breakfast. Ray comes in, stretching. He saunters into the kitchen. RAY Smells good. MONIQUE Like you. She playfully snaps his elastic waistband. RAY My, aren't we horny? MONIQUE And needing a fix. You got? RAY Of course. He reaches into a cabinet and pulls out a bag of cocaine. Monique smiles seductively. MONIQUE I love you. INT. PSYCHIATRIST ROOM Julie takes a sip of water. JULIE I never figured Ray for a player, but after everything we've been through, I can't say I'm really surprised. DR. PETERS Were you surprised at yourself? JULIE No. I saw it coming. Anybody could have seen it coming. My friends slaughtered, recurring nightmares, losing my boyfriend and best friend. I knew it would come to suicide. I'm still not sure if it was a good thing Clay found me. DR. PETERS It was good. Very good. You're a wonderful person. You have many talents. Use them. JULIE (sadly) Karla used to say things like that to me. DR. PETERS What happened to Karla? JULIE She moved to New York to become a model. Strange. That was Helen's goal. Well, before the accident. EXT. NEW YORK STREET - DAY As usual, bustling with activity. People coming and going, shouting. Car horns being honked. A regular NYC day. We FOCUS on KARLA, the same upbeat girl she always was. Except, she died her hair blond. Plus, she has a lip ring. A belly button ring. A tongue ring. She walks into a building. INT. FRANK-SNELL MODELING AGENCY Karla passes TED, an attractive security guard. TED Morning, Karla. KARLA Hey, Teddy bear. Karla heads for the stairs, walking up to a luxurious office. She knocks. An unseen figure waves her in. INT. OFFICE MARTIN SNELL, a balding man in his fifties, talks on the phone. Karla sits down in a chair. The office is decorated with pics from all kinds of ads. Underwear, perfume, shoes, pants, etc. SNELL No, I don't care what she wants. She'll take what I'm offering or she can just leave. Fine, you do that. He hangs up, looks at Karla. SNELL Wife wants a new set of China silverware. I told her she could only buy American-made silverware. KARLA Ah. SNELL So, what can I do you for, Karla? KARLA Well, I was wondering when I was gonna get to work with Tony Braxton? SNELL Oh. Tony Braxton. Wonderful guy. Great model. Sold more underwear for us than anybody. Guess it's because he has a great ass. Took over from Mark Wahlberg when he decided to get "serious" with the acting thing... I take it you have an interest in him? KARLA Purely professional. SNELL I bet. Well, let's see. He opens a book on his desk, and moves through the pages. SNELL December 12. KARLA December... But that's so far away! I mean, it's only June 26th! SNELL I know. But he's booked. Anyways, I want to establish an identity for you before pairing you up with a well known model. Snell is obviously lying. Karla can tell that he is, but there's nothing she can do. KARLA Well, thanks. The phone RINGS. SNELL I have to get this. Karla gets the hint, gets up and leaves. INT. PSYCHIATRIST ROOM Julie is now sitting up. Dr. Peters continues writing. JULIE So Ray's become a player, Karla a model... (takes a breath) ...and I'm crazy. DR. PETERS You're not crazy, Julie. You've just seen so much. At your age you should be out enjoying every moment of life, not cooped up in a small house in the middle of nowhere. JULIE I like it like that. I don't want him to find me. DR. PETERS Julie, he's dead. JULIE No, he's not. Dr. Peters stands up, pulls Julie to her feet. They walk over to a mirror. DR. PETERS Look at yourself. Tell me what you see. JULIE An ugly, depressed woman who has no will to live. DR. PETERS You want to know what I see? Julie simply stares into the other woman's reflected eyes. DR. PETERS I see a beautiful young lady, who has seen horrors beyond anybody's imagination. Horrors that should never been seen by anyone. (a beat) Your fear runs deep. You trust almost nobody... What kind of a way is that to live? She reaches up and touches Julie's face tenderly. It's against the rules to touch a patient, but Julie is special. She needs to be touched, if only to make her feel alive. DR. PETERS Look at this face. You're prettier than I ever was. Do you want to hide forever? Julie is struggling with her emotions, it's clear. Dr. Peters drops her hand and stares deep into Julie's reflected face. DR. PETERS I want you to repeat after me... There is no man with a hook. JULIE There is... DR. PETERS No man with a hook. JULIE I can't say it. DR. PETERS (squeazes her shoulders encouragingly) Yes, you can. JULIE There is no man with a... DR. PETERS Hook. Say it. You'll feel better. JULIE There is no man with a hook. DR. PETERS There, don't you feel better? Julie nods slightly. Then a HAND lands suddenly on DR PETER's shoulder, spinning her round. She comes face-to-face with BEN WILLIS, who raises his hook... INT. PSYCHIATRIST ROOM - SAME TIME Julie, her eyes closed, screams! Dr. Peters snaps her fingers three times. Julie's eyes open in a flash, and she falls back onto the couch. DR. PETERS Julie, what happened? JULIE I was in the dream. Except, it was different. DR. PETERS Different how? JULIE It was an old session we did, except the... the fisherman... he was there. He got you. DR. PETERS No, he didn't. I'm right here. And I'll be here right up until the day you don't need me anymore. JULIE I know. She is severely shaken. She picks up a glass of water, and her hand is shaking violently. DR. PETERS Maybe we should keep away from the hypnosis for a while. If we can conquer your frazzled emotions, maybe we can cure the dreams. A timer beeps. Dr. Peters checks her watch. DR. PETERS I'm afraid that's all the time we have for today, Julie. Julie nods. DR. PETERS (sincerely) Are you okay to drive? Julie nods, grabs her purse. JULIE Thanks for your time. EXT. JULIE'S HOUSE A small house on the outskirts of town. Surrounded by trees, the house is almost invisible. Julie pulls up in her small car. SUPERIMPOSE: the words - JUNE 26TH INT. HOUSE Julie enters, looks around. The house is smaller than Ray's beach house. The kitchen and living room are the same room. A hallway leads to a single bedroom, bathroom/laundry room, and the back door. JULIE (slightly bitter) Home sweet home. She throws her purse down and collapses on the couch. She sighs, turns on the T.V. Flips a few channels. Nothing. JULIE I need a life. There's a knocking at the door. Julie gets up, opens the door. CLAY, a fourteen year old with dark hair, a winning smile and baby blue eyes, stands there, holding a paper. CLAY Hey, Julie. JULIE Hey, Clay. She takes the paper. JULIE Want to come in? CLAY Nah. I have to finish my route. JULIE Okay. CLAY I'll stop by later, K? JULIE Sure. I'll make pizza. CLAY Cool. See ya. JULIE Bye. She closes the door. JULIE My only friend is a fourteen-year-old paperboy. How pathetic. FADE TO BLACK INT. KARLA'S APARTMENT - EVENING The sound of a key in a door can be heard, and then the apartment front door swings open and KARLA breezes inside, a load of shopping bags clasped in her hands. She closes the door, bolting three locks on the back of it, and enters the LOUNGE - a bit of a dump, but with some nice furniture. The walls are color-and-wallpaper-less, bland and despressing to look at. It's a nice building, but it needs serious refurbishing. All that attempts to cover the boring walls are some large, FRAMED PHOTOS of Karla in various "beautiful" poses - ringless. She actually looks good in them. KARLA throws her purse down onto the couch, dropping the shopping bags at her feet, and falls onto it herself with a sigh. She lies there with her EYES closed for a minute, and then a smile splits her face. She sits up quickly and grabs her bags. She pulls out an asortment of clothes, gazing lovingly at them. And then finds the receipt which has fallen onto her lap. CLOSE ON: the receipt. At the bottom, reads: $240.00 KARLA (a little pissed) Damn, girl, you've gotta get yourself some self-control. Her eyes fall on a particularly pretty black dress by her side which has silver sequins sewn all over it. The smile returns to her face. KARLA But this dress is tha bomb! She stands up quickly and hurries into her BEDROOM-- INT. BEDROOM - SAME The bedroom is even less furnished than the lounge, and all that is in the room is a large double-bed, a chest of drawers, wardrobe and full-length mirror. Karla rushes over to the MIRROR and holds the dress up in front of her. KARLA Mm-mm, baby. Just then the phone rings. Karla runs back into the-- INT. LOUNGE --and grabs the phone off the floor by the couch. She puts it her ear. KARLA Hello? VOICE Hey girl! KARLA Hi Stacey. STACEY What's up with you?! KARLA Oh I am just unbelievably in debt. Big time this time around. STACEY Haha! You're always in debt! KARLA I know. Why're you calling? STACEY I got take-away. I was thinking of coming over- KARLA You know what, that would be really nice, but I'm kind of knacked. Just then the doorbell goes. Karla walks over to the door, phone still in hand, and looks through the peep-hole. She sighs and pulls the door open. STACEY stands there, cellphone pressed against her ear and two take-away bags in her hands. The girl hangs up her phone. STACEY Sorry! I was going to ring, but what with all the take-away buying it kind of slipped my mind. You know my brain capacity is that of a goldfish. STACEY is a pretty Latin-American-looking girl. She's obviously another model - she's not beautiful, just pretty in a sweet, innocent sort of way. KARLA It's okay. Come on in. She hangs up her own phone and steps aside for Stacey to walk in. Stacey dumps the bags in the lounge while Karla re-locks the door. STACEY Wow, girl. You sure went all-out this time! How much you spend? KARLA I don't wanna talk about it. STACEY That bad huh? KARLA Worse. Stacey grins as she pulls out the take-aways. CUT TO: INT. JULIE'S HOUSE - LOUNGE - EARLY NIGHT Julie walks through the lounge, rubbing her hands on a cloth. She's advancing towards the kitchen, which we can JUST see AHEAD OF HER. Julie stumps her toe on the side of a table and a small photo-frame is knocked to the floor, glass SMASHING everywhere. JULIE Damn. She kneels down, carefully - almost reverently - turning the frame over. The photo falls lose and Julie picks it up. It's of HERSELF, RAY and KARLA - taken outside of the Boston University. Julie stares at it for a long moment, and then the DOORBELL sounds. She quickly pulls open a drawer on the table and shoves the photo inside, slamming the drawer shut. Standing, she walks to the front door and pulls it open. CLAY stands there, a large brown box in his arms. An instant smile appears on Julie's face, and it's genuine. JULIE Clay! Come on in! CLAY Hi, Julie. Thanks. She lets him pass into the lounge, a slightly bemused look on her face at the box Clay carries. As she closes the door: JULIE Oh, hey! Look out over there, I dropped some glass. Clay peers down at the smashed frame on the floor. Julie walks over to him. CLAY (grinning devilishly) Wow, temper flaring again? Julie laughs and hits him lightly on the head with the tea cloth. JULIE Nothing like that. She bends down and picks the glass up, wrapping it inside the tea cloth. JULIE What's in the box? They both walk into the kitchen and Julie dumps the fragmented pieces into the bin under the counter, placing the cloth by the sink. She turns to Clay who gently puts the box down onto the counter-top. CLAY You have to find out for yourself. Julie eyes him, a little wary. She walks over to the box. It shakes suddenly and there's the sound of pathetic scratching from the inside. CLAY (laughs) Don't be such a wimp! Open it! A nervous smile flickers over Julie's face and then she reaches forward and flips the lid of the box open. REVEAL: a small, skinny ginger KITTEN is inside. Julie smiles and looks at Clay. CLAY It's for you. I found it wandering about the scrap-heap in town... thought it could keep you company when school restarts. The KITTEN looks up at Julie and MEWS loudly - almost too loud considering how tiny the thing is. Julie looks at it, startled by the noise. Clay rolls his eyes and reaches into the box, picking the kitten up. He holds it in his arms and strokes it tenderly. The cat can be heard PURRING softly. Clay considers and then moves toward Julie. Julie backs away suddenly, arms raised. JULIE Woah, hey! What're you doing? I can't keep that thing... I don't even want to hold it -- God knows where it's been. CLAY It's not going to hurt you, Julie. He strokes the kitten again, holding it against his chest. Just then a TIMER goes and Julie whirls. She grabs the dish cloth and pulls open the oven, pulling a steaming pizza from it. Clay sets the kitten down on the floor. CLAY Go on, kit, go exploring! The kitten scampers off, looking almost comical as it stumbles on it's stick-like legs. JULIE Pizza's up. INT. JULIE'S LOUNGE - LATER The KITTEN stumbles unsteadily about the lounge, looking around the place. The TV, which is positioned inside an old fire-place, is on and a comedy is playing on the screen. Julie and Clay sit EATING PIZZA off their laps. JULIE How's the paper round going? CLAY Good. All that cycling is doing me good -- making me stronger for my wrestling lessons. JULIE I still can't believe you take wrestling lessons. CLAY Hey! My dad did, okay? It's heritage. JULIE (smiling) Whatever you say! They sit in silence for a minute, watching the TV. CLAY What about the therapy sessions? JULIE (obviously nervous) What about them? CLAY How are they going? JULIE Okay. But you don't want to know about them -- too depressing. CLAY If they went okay, why would they be too depressing to hear about?! Julie ruffles his hair. JULIE They just would. Take my word for it. Clay pulls a bit of CHEESE off his pizza and leans down to floor level, waving it around a little. CLAY Here, kit. The kitten comes scampering over and licks the cheese off his fingers. Clay sits back up. JULIE It's not staying here with me. I don't know the first thing about taking care of animals. CLAY You can learn. JULIE Look, Clay, I apprecciate the gesture. You're a real sweetie. But I'm really not ready to take on another living thing other than myself right now. CLAY I think it's about time you GOT ready, don't you? Look, if anything, you can practise your people skills on the little guy. Julie smiles, and Clay knows he has won her over. JULIE Well alright. But if it doesn't work out I am calling Animal Protection and getting them to pick it up. CLAY What are you gonna name him? JULIE I don't know... how about Kitty? CLAY Julie, that is so unoriginal. Every cat owner in history who couldn't be bothered with the animal called it "Kitty". Give it some thought... tell me tomorrow. JULIE You're going now? CLAY Yeah, 'fraid so. My dad wanted me back by nine. They both get up. JULIE Well, have a safe ride home. If anything happens, or-- CLAY Julie, I'll be fine. Relax, okay? JULIE I'm serious Clay. There are a lot of wacked out people out there. Just be careful. Clay sees the look on her face. CLAY Okay. Julie opens the door. Clay steps out into the night. CLAY Try not to kill the kitten, okay? JULIE (laughs) Okay! See you tomorrow. CLAY Bye. He picks up his bike and jumps on. Julie closes and LOCKS the door. She hurries to her window and watches as Clay rides off into the night. CUT TO: INT. CLAY'S HOUSE - NIGHT Clay, wearing a white undershirt and pajama bottoms, sits on his bed, flipping through a magazine. The magazine is about wrestling. His door opens and Clay's father, NED, enters. NED How you doing? CLAY I'm fine, Dad. NED You went over to Julie's house, didn't you? CLAY Yes. NED Clay, I know what you've done for her in the past, but that woman is just stange. Now, your mother is very worried. CLAY I've been going to her house for a while, Dad, and she hasn't said anything yet. NED I know. But your mother heard that Julie was caught up in the middle of a few muders-- CLAY Are you calling her a killer? NED No. No, no no. Just that it left her metally unstable, as she proved from her... suicide attempt. We've tried to keep our piece, thinking that you would just grow tired of her. But it's clear to us now that that's not going to happen. So your mother and I both agree you shouldn't talk to her any more. CLAY What? That's not fair. NED It may seem that way now, but you'll thank me later. Now, you can still deliver her papers, but besides that, you will have no more contact with that strange woman. CLAY Dad! NED End of discussion, Clay. Now go to bed. Ned closes the door. Clay throws the magazine against the door and cries out in frustration. CUT TO: INT. JULIE's BEDROOM - NIGHT. It's dark, the clock by her bedside reads: 11:57. Julie lies fast asleep in her bed. The kitten is curled up by her side, snuggling against her. INT. JULIE'S KITCHEN - NIGHT The kitchen is dark, and only the light from the moon gives a little light. CLOSE ON: the door knob turns SLOWLY, and the door is pushed OPEN. A dark figure enters, his face not visible. CLOSE ON: a gleaming hook that hangs down from the sleeve of the figure. The hooded head of the figure looks at the stairs. INT. HALLWAY - NIGHT The shrouded figure walks slowly up the stairs, the darkness gathering about him, as if trying to hide him until the last moment. He reaches the top and looks around very slowly, precisely. The hood stops when it sees an open doorway. INT. JULIE'S ROOM - NIGHT Julie still sleps silently, the cat just as dead to the world beside her. Through the open doorway, we see the hooded figure walking carefully towards Julie's bedroom, the hook glinting evilly in what little moonlight there is. CLOSE ON: the hook advances towards Julie as the figure fully enters her room as silently as a dark ghost. Her sleeping face is visible through the curved metal. The DARK FIGURE raises the hook and brings it slicing down. INT. JULIE'S ROOM - NIGHT Julie SITS UP with a start. No scream escapes her lips - she is paralysed in fear - but her eyes are wide with terror. She clutches at her chest, her breathing hard and irregular. The KITTEN sits up and looks at her, yawning. Julie flops back down onto the pillow. She has tears in her eyes - she was that frightened. Then she throws off the covers - a lump appearing where the kitten is - and pulls her bathrobe on. FADE TO BLACK EXT. BEACH - MORNING We PAN across the beach, the morning is sunny and bright, and the ocean is a sparkling blue. The camera RESTS on RAY & MONIQUE'S beach house. There is movement as a truck pulls up outside the house and a figure gets out. We can't quite make him out from this distance, but he looks well-built and well-dressed. We close in as he crosses the small drive-way to the front door. INT. BATHROOM - SAME RAY stands at the bathroom mirror, hair wet, shirtless and shaving. Behind him the naked form of MONIQUE is blurred by the perforated-glass shield that encloses the shower. The sound of running water is almost therapeutic. MONIQUE You still there, honey? RAY Yeah, just give me a minute. Want me to put some coffee on for you? MONIQUE I'm more in the mood for something stronger, if you know what I mean. Ray washes the shaving foam from his face with some water and then peers in close at his reflection. There are dark bags beneath his eyes, but at least he's now clean-shaven. He sighs and grabs a towel to dry his face, we notice that there are bruises on his arms from countless needle punctures. Dropping the towel he walks over to the shower and pushes back the sliding door slightly, peering in at Monique. MONIQUE Care to join me? RAY I can't, Blake said he would meet- Just then there's a loud KNOCKNING from the front door. RAY That's probably him. MONIQUE Okay, have a good time! She leans in and kisses him on the lips. INT. HALLWAY - SAME Pulling on a smart-ish shirt, Ray walks to the front door and pulls it open. There stands the man we saw exit the truck earlier. In a loose shirt and smart trousers, he is rather normal looking except for his eyes, which are bright and piercing. RAY Hey, man. Come on in. BLAKE Sorry I'm late. Girlfrend problems. RAY (laughing) They're the earth's scourge. BLAKE Most of the time. They walk into the KITCHEN. INT. KITCHEN - SAME Ray puts a coffee pot on and Blake sits down on a stool at the counter. BLAKE So where's Monique? RAY Taking a shower. BLAKE And you answered the door why? Ray laughs and then grows serious. RAY This is important, Blake. I wouldn't have asked you to give me a lift into Boston just for the hell of it. Blake sees his friend is serious. BLAKE What's up, Ray? Why DID you ask me to take you? You've got your car. RAY Monique needs it - groceries day. BLAKE Understood. RAY Hey, look, we'd better get moving if we want to be back here before nightfall. BLAKE Sure thing. I'll go start up the motor. It's a sleek looking car, but it can be a bitch to get going sometimes. Blake leaves as Ray smiles after him, and as soon as he is out of sight, Ray's face becomes serious. He pulls open a cupboard door above him and draws out a small clear bag filled with a white substance. Pocketing it, he walks down the HALLWAY. RAY (calling up the stairs) I'll see you later Mon! MONIQUE (v.o) Have a good time! Ray GRABS a jacket from the stand by the door and leaves, slamming the door behind him. ------------------------ © Copyright to Josh D. Winning and Cody Steinman. All rights reserved. Please do not copy or distribute this material in any way without the direct consent of the author(s). E-Mail: iknowseries@chiller-website.com