SLEEPAWAY CAMP IV: DEATH TO ANGELA BAKER Written by Teddy Johnson FADE IN: Ambulance. Int. Night. 1989. We see stock footage from the third "Sleepaway Camp" movie as a POLICEMAN and a PARAMEDIC argue whether or not to help ANGELA BAKER who is suffering from stab wounds to the shoulder and stomach. As the policeman turns away, Angela grabs a nearby seringe and stabs the Paramedic with it, killing him. When the Policeman turns back around Angela stabs him in the eye, killing him as well. Angela plops back onto the stretcher and her immobile body rocks with the ambulance. DRIVER (from front): What the hell's goin' on back there?! ANGELA (out of it): Just takin' care of business... CUT TO: Credits sequence. The credits roll as a version of "Ave Maria" plays, the music used to signify the passing of someone special to another. The music's title has a duel meaning in that Angela's pseudonym in the previous movie was Maria. CUT TO: Hospital. Ext. Night. The ambulance pulls into the hospital and comes to a stop. A crowd of COPS and a few REPORTERS surround the vehicle. CUT TO: Ambulance. Int. Night. The back doors open up and standing there are the rather portly-looking SHERIFF, a massive amount of cops and reporters clamoring. The Sheriff might remind one of Brian Dennehy in "First Blood." Angela wearily looks up. ANGELA: Howdy, boys! Throwing me a welcome back party? The cops look around in disgust at what Angela has done to the cop and paramedic. SHERIFF: Somebody get her out of there. Two HOSPITAL ATTENDANTS climb into the hospital and bring Angela out on the stretcher. In the background we can see four more ATTENDANTS with two stretchers for the corpses inside. The first two attendants push Angela along through the crowd of cops and reporters. SHERIFF (to Angela): Your ass is gonna fry. ANGELA: Yep. Just like that tub of bacon you inhaled this morning. The Sheriff charges at Angela, but is held back by other cops. CUT TO: Angela's hospital room. Int. Night. Angela has apparently been attended to as apparent in the bandages around her waist and shoulder from the ax and knife wounds. Additionally, she has been strapped into the bed making it impossible for even her to escape. The camera is pulled back, but slowly closes in on Angela's tired face, weary from her last camping excursion. ANGELA (slowly, tiredly, and sadly): I'm a happy camper... I love the summer sun... I love the trees and forests... I'm always having fun. Oooohhh, I'm a happy camper... I love the clear blue sky... and with the grace of God, I'll camp until I die. Perhaps for the first time in her life, Angela begins to quietly weep. FADE TO: Courtroom. Int. Day. Angela's trial is going on. The room is filled to the brim with people. Angela is there, dressed in what looks like prison attire. Angela's defense attorney is none other than the infamous JACKIE CHILES. The JURY is listening intently to the proceedings. Angela looks incredibly bored by the whole thing. The JUDGE, who has an amazing resemblance to Pat Morita, is apparently giving his verdict. JUDGE: Will the defendant please rise? Jackie Chiles stands up followed by his client. JUDGE: Due to the testimony of Dr. Vernon, the jury had decided that you are unfit to stand trial. Angela seems very nonchalant at the proceedings. CUT TO: Angela's POV. The entire courtroom is in shambles. People are bloody and dismembered everywhere. There are even bodies twirling around hanging from the ceiling fans. Angela looks over at Chiles whose face is cut to shreds and whose blood is splattered everywhere. CUT TO: Courtroom. Int. Day. JUDGE: In fact, I'm not even sure you understand what is happening right now. Therefore, Angela Baker, it is the decision of this court that you are to undergo a psychiatric treatment for a span of no less than ten years. At that time, the team of psychiatrists will report back to me at which time I will decide whether or not you will be released or sent to prison, or executed. Case dismissed. The Judge bangs the gavel. Everyone in the courtroom begins the usual clamor. Angela is taken away by several POLICEMEN. The Sheriff watches as the policemen haul off Angela. CUT TO: Courthouse. Ext. Day. The REPORTERS outside begin to clamor and snap photographs of Angela as she is taken outside and hauled away by the police, one of whom looks like the singer Sting. REPORTER 1: Angela! Angela! What do you think of the verdict? REPORTER 2: Where are you being taken? REPORTER 3: Did you do it, Angela? Angela ignores the questions. Eventually, the Sheriff catches up with Angela. SHERIFF: You stupid bitch. You think you can get off like that? Who the fuck do you think you are?! Angela continues moving along with the police and visually ignores the ranting Sheriff. SHERIFF: You're gonna wish you never met me. One of these days they're gonna find you all beat up and you're gonna look up and see me. ANGELA: Keep dreaming. SHERIFF: You're gonna screw up and kill someone again one of these days. Psycho don't cut it. We don't give discounts to people just because they claim to be crazy. ANGELA: Too bad, your old lady does. The Sheriff again tries to charge Angela, but other cops hold him back and Angela moves on. CUT TO: Blue Skies Sanitarium. Int. Day. DR. VERNON, Angela, and several ARMED GUARDS are walking down a long hallway as doctors and orderlies do their thing in the background. Angela is carrying with her a somewhat small suitcase, perhaps containing clothes and the few possessions she has. VERNON: We're very happy to have you with us, Angela. I look forward to visiting with you. Angela doesn't respond. She just examines the place with her shifty eyes. CUT TO: Angela's cell. Int. Day. The cell is about as big as a dorm room. Inside is a bed, a table and chair, a small lamp, and a single barred window. The door opens and Vernon, Angela, and the guards step in. VERNON: This is where you'll be staying, Angela. We're going to leave you now, but I'll be back soon to check up on how you're doing. Angela doesn't acknowledge the doctor and looks around the room. Vernon and the guards step out of the room and lock the door behind them. Angela moves over to the bed and sits down. She looks around the room, maybe examining a weak spot for a way out. When she spots the barred window, she stands up and walks over to it. CUT TO: Angela's POV. Past the bars we can see a large group of trees which looks exactly like the forest at Camp Rolling Hills, Angela's old stomping grounds. CUT TO: Angela's cell. Int. Day. The expression on Angela's face shows that the forest reminds her of her younger days as a camper and as a counselor. CUT TO: Vernon's office. Int. Night. Angela and Vernon are there alone. Angela is calmly lying back in a psychiatrist's couch while Vernon administers an ink blot test. VERNON (holds out card): And this? ANGELA: Bloodstain. VERNON (holds out card): And this? ANGELA: Death. VERNON (holds out card): And this? ANGELA: Brains splattered all over the wall... and there's bugs going after it. VERNON (holds out card): Mm-hm. And this? Angela studies the blot a moment. VERNON: Angela? ANGELA: It's me. VERNON (looks at blot): You think so? ANGELA: Well, that's what it looks like to me. I mean, I could be wrong. VERNON: There are no right or wrong answers to this, Angela. Angela looks at Vernon. CUT TO: Angela's POV. Vernon's eyes have been gouged out and there are stab wounds all over his chest. CUT TO: Vernon's office. Int. Day. Angela continues studying Vernon's face. FADE TO: Room. Int. Day. It is about four years later. Angela's hair color has changed from the brownish-blonde hue from earlier to her original darker brown hair color as in "Sleepaway Camp II." The style is the same as it was in "III." There are other inmates surrounding Angela as well and they all seem to be involved in a group activity-- knitting, of all things. Vernon and several other DOCTORS take notes on Angela's behavior. FADE TO: TV room. Int. Day. It is now about four years later from the previous shot. Angela is there with other inmates watching a news show such as "20/20" or "Dateline." This could be the first time Angela has ever sat down and watched TV and she seems ill at ease. Vernon and other doctors note Angela's activity. FADE TO: Angela's cell. Int. Day. Angela is again looking out her window into the forest. Despite her body being trapped in the sanitarium, her mind is off wherever it wants to be. FADE TO: Hallway. Int. Day. Angela is freely walking down a hallway apparently headed somewhere. Just as she rounds corner, another female inmate, KAREN, is there. KAREN (excited): Angela! Where have you been? ANGELA: Oh, I was a little busy. KAREN: For two hours? Angela quickly nods her head and smiles. ANGELA: What's up? KAREN: Oh, you missed it! They brought in Bruce Springsteen to perform for us! ANGELA: The Boss?! KAREN: I don't think so. His wife seemed to be the one in charge. (pause) Oh, but it doesn't matter. He's still not as good a singer as you are. Angela smiles. FADE TO: Vernon's office. Int. Day. 2000. It's about two years after the previous scene. Vernon is there with several of the other doctors as well. VERNON: Well, what do you think? DOCTOR 1: She seems like she's adjusting very well. DOCTOR 2: She's certainly better than she was when she first came here. The doctors all murmur in agreement. VERNON: I think the estrogen shots have been helping as well. DOCTOR 3: Yes, but what about if she ever leaves this place? How can we be certain that she would continue to take them? DOCTOR 4: How can we be sure that she's just not faking all this? VERNON: Certainly not. DOCTOR 2: No! VERNON: Why would she? She's going to be here for ten years and at that point it is up to us to decide whether or not she'll be released, imprisoned, or executed. I think she really is getting better. DOCTOR 1: I'm inclined to agree with Dr. Vernon. She seemed so aloof when she first showed up here. Now, she socializes with the other inmates, she participates in group activities, and she always leads in sing alongs. How could this not be an arrow towards better mental health? VERNON: Yes, when was the last psychotic killer you've seen that enjoys camp and 80's love songs? DOCTOR 4: How about a test? DOCTOR 3: Test? DOCTOR 2: What test? DOCTOR 4: Let's take her back to the campgrounds and see how she reacts. If she reacts favorably, we know she's well. If not, we know that we have failed. DOCTOR 1: But what about guards? Do we take them or not? DOCTOR 4: Surely we would. VERNON: No. I disagree. DOCTOR 4: Are you nuts? VERNON: Not a good question to ask a psychiatrist. (pause) As dangerous as it is, I think for Angela's sake we should not go out there looking like we're expecting the worst. We need Angela to know that we trust her now. And perhaps then, we might have succeeded-- she might have succeeded-- in solving her problems. FADE TO: Forest. Int. Night. It is deep into the forest and there are no signs of civilization in sight. Two young TEENAGERS, neither of whom appear to be counselors are in the final throes of making love. After the duet of moaning dies down, the two lie down on top of each other. BOY: Cigarette? GIRL: No, I don't smoke. BOY: Good, 'cause I didn't bring any. GIRL: Then what'd you ask me for, dipshit? BOY: Just wanted to know what you'd do when I told you I didn't have any. GIRL: You're not lookin' to do this again any time soon, are you? BOY: Come on. You love it and you know it. GIRL: Well, you're right there. Finally, the boy and girl shut up and just lie there for a while. The wind blows the top of the trees and the moon can be seen in the sky. The boy turns his head and looks into the sky to see a pair of hands-- which have no resemblance to a female's-- clutching a lawn dart. The boy's eyes widen and he desperately tries to move out from underneath his girlfriend, but is too late and the lawn dart comes shooting down from the sky, skewering the two kids together. FADE TO: Road. Ext. Day. The sanitarium's van is driving down the highway. CUT TO: Van. Int. Day. Inside the van are a DRIVER, Vernon, all four of the other doctors, and Angela. Angela appears to be somewhat enjoying herself, being on the road for the first time in ten years. Rather than her usual "Camp Whatever" sweaters, Angela is garbed is a casmire sweater of her favorite color-- blood red. VERNON: How are you feeling, Angela? ANGELA: Oh, I feel fine. Never better. VERNON: Good. DOCTOR 4 (leans over to Vernon and whispers): Are you sure about this? What if she goes off the deep end once we get there? VERNON (whispers): That'll be the final test. And this is one test I hope that she passes. Angela continues looking out the window, studying the surrounding countryside. CUT TO: Forest entrance. Ext. Day. Where the forest begins is clearly visible. It looks like a huge South American canopy and the road seems to be swallowed by the trees. The van pulls in and comes to a complete stop. CUT TO: Van. Ext. Day. The van's doors open up and the doctors spill out. Eventually, Angela steps out of the van, slowly taking it all in. A short gust of wind comes through and blows Angela's hair and she takes note of this, apparently liking the relaxing touch of the breeze. VERNON: Do you remember Camp Rolling Hills? ANGELA (almost ashamed): Yes. VERNON: Well, ten miles from here is that camp. It was reopened and is currently in operation. ANGELA: What are we doing here, Doctor? VERNON: We just want to get your reactions to someplace that is very familiar to you. We're hoping that you'll like what you see. The other doctors all murmur in agreement and nod their heads with Vernon. VERNON (holds out hand): Please, Angela. Lead the way. Angela looks around a moment, then starts down the road with the doctors following her. CUT TO: Forest. Int. Day. Angela and her doctors are walking along the forest. The dark shadows of the forest make it seem almost like night. Angela seems intrigued at the changes which have occurred since her incarceration. The doctors all have little notebooks and are taking notes on Angela's behavior. Angela continues studying the forest with her eyes. CUT TO: Angela's mind. A brief shot of Angela singing "I'm a Happy Camper" from "Sleepaway Camp II." CUT TO: Forest. Int. Day. Angela begins whistling the tune, sounding almost as though one of the forest's own birds were singing it. As Angela nears the end of the song, she begins to slow down and other, more vicious thoughts enter into her head. GIRL 1: Slut! GIRL 2: Bitch! GIRL 3: Shut the fuck up, Angela! BOY 1: No fuckin' way! BOY 2: Screw off. BOY 1: Man, fuck that shit! GIRL 4: You bitch! GIRL 5: You little shit! BOY 1: Suck my dick! GIRL 6: We have some crazy asshole named Angela Baker to thank for this. CUT TO: Shot of the wall from "Sleepaway Camp III" where someone has graffitied "Fuck Angela Baker." CUT TO: Forest. Int. Day. Angela's once cheerful face begins to become twisted and contorted with confusion and fear. Angela begins to look around the place like a trapped animal. CUT TO: Angela's POV. Angela looks out across the forest and sees the beautiful trees now littered with the bodies of the dead. She tries to look away, but everywhere there are bodies. She looks at her hands and sees them drenched in other people's blood. CUT TO: Forest. Int. Day. Angela is obviously having problems as is shown by her expression, but she is doing a good job not letting the doctors in on it. Angela finally calms down and cocks her head, to look behind herself, then whips around and looks past the doctors. ANGELA (while waving): Hey, Bob! Long time no see! The doctors are stupid enough to all turn around and look behind them and Angela makes her break for it, running off deep into the woods and making good time for a thirty-two year old. The doctors, except Doctors 3 and 4, head off in pursuit. VERNON (while running): Angela, come back! Doctor 4 turns to Doctor 3, but looks right into the camera while talking. DOCTOR 4: I knew this was gonna happen the moment we set foot out here. CUT TO: Forest. Int. Day. The doctors are all looking for Angela and aren't doing a very good job of it. VERNON: Angela! DOCTOR 4: Angela! DOCTOR 2: Angela! DOCTOR 3: We're never gonna find her in this place. DOCTOR 1: Yeah, she knows this place better than anyone. VERNON: Oh, come on. It's been a decade since she's been anywhere near here. She's got to be around somewhere. DOCTOR 4: We'd better split up. DOCTOR 2: I was wondering how long it'd be before somebody said that. VERNON: Yeah, we can cover more ground that way. DOCTOR 1: Do you think that's the wisest of courses to take? DOCTOR 4: Well, rat spit. Let's see a show of hands. The doctors who want to split up raise their hands, numbering three to two. DOCTOR 4: There you go. Democracy in action. We'll split up. Aerial shot of the doctors each heading off on their separate ways. CUT TO: Forest. Int. Day We see a shot of someone's feet walking along the ground-- and they don't look like Angela's. CUT TO: Forest elsewhere. Int. Day. Doctor 3 is quietly looking along the trees and shrubbery for Angela. He quietly moves along, slowly so he may sneak up on her if possible. Suddenly, a huge rock shoots down from the sky and slams into the doctor's temple, killing him instantly. The doctor drops to the ground like a ton of bricks. CUT TO: Treetops. Ext. Day. Angela is sitting on a tree's branches. ANGELA: Watch out for falling rocks. CUT TO: Forest. Int. Day. It is elsewhere in the forest. Doctor 1 is creeping along as well. The doctor's eyes scour the scenery, hoping to catch a glimpse of Angela. The doctor stops in his tracks and begins to survey the area. CUT TO: Angela's POV. The camera slowly creeps up behind Doctor 1. CUT TO: Forest. Int. Day. Doctor 1 thinks he hears something and spins around. CUT TO: Doctor 3's POV. The doctor sees Angela standing behind him with her right hand drawn back holding another large rock in it. Before the doctor can react she crams the rock directly into the man's face with sledgehammer strength. CUT TO: Forest. Int. Day. Doctor 2 is having trouble being quiet and keeps stumbling over rocks and tripping over roots and other plants. The doctor makes a wrong move and falls face first into the ground. As he tries to get up, a leg stomps down on his back. The leg, of course, belongs to Angela and she draws back and throws another large rock onto the back of Doctor 2's head, killing him. ANGELA: You doctors suck out here. CUT TO: Forest. Int. Day. Vernon and Doctor 4 are together and are walking along the forest looking together. DOCTOR 4: I don't know where the others could be. VERNON: I guess the only thing we can do is break down and call the police. Man, they're gonna be pissed. DOCTOR 4: Yeah. VERNON: I can't believe she tricked me. I thought she was well. DOCTOR 4: Come now, you can't blame yourself. We gave her plenty of chances to become well again and she just didn't want them. VERNON: I'd like to believe that but I just can't. I think she might be incurable. DOCTOR 4: Sounds viable to me. VERNON: I just don't underst-- Suddenly, Angela drops down from the treetops in front of both doctors, holding a rather thick tree log. Before the two doctors can react, she swings back and as hard as she can hits Doctor 4 across the head, knocking the man's head off. The disembodied head goes spinning through the air before hitting the ground with a thud simultaneously with the body. Vernon is horrified and turns and runs off before Angela can get to her. ANGELA: Now that's what I call a grand slam! Angela begins to head off after her former doctor. CUT TO: Forest entrance. Ext. Day. The van is still there. Dr. Vernon comes running out of the woods. VERNON: Start it up! She's loose again! The van starts up and begins to drive closer and closer to the doctor, ever increasing in speed. Vernon notices just who it is driving the van. VERNON: Ang-- Before Vernon can finish the word, the van plows over him leaving a rather large bloodstain all over the front of the vehicle. CUT TO: Van. Int. Day. Angela is in the driver's seat and she turns on the windshield spray and the windshield wipers to remedy the blood problem. In the seat across from her, we can see the driver with his throat slashed. ANGELA (singing): Life is a highway. I wanna ride it all night long. CUT TO: Road. Ext. Day. The van pulls over, almost into the ditch and comes to a complete stop. The driver's door opens up and Angela flees the scene. As she does so, we see another body-- a somewhat menacing looking character-- carefully watch Angela disappear in the woods. CUT TO: Camp Rolling Hills. Ext. Day. The campsite has been totally renovated. It looks much better than it did as previous incarnations and almost has a "Camp Forest Green" feel to it. Obviously a lot of money has been poured into the camp this time around. There are even a couple of log cabins and a playground for the kids there. At the entrance to the camp is a Jurassic Park-type wall with a sign reading, "Welcome to Camp Rolling Hills." CUT TO: Camp Rolling Hills. Int. Day. The CHILDREN are in an archery field, learning the fine art of bow and arrow usage. COUNSELORS walk around behind each kid, keeping an eye on where they are aiming. Everyone is dressed completely the same with their brown shorts and "Camp Rolling Hills" sweaters. We also see several shots of arrows hitting targets, some done very well, others not so well. CUT TO: Forest. Int. Day. Angela is making her way through the wilderness and has reached an area where the trees are gone, but are surrounding her in nearly all directions. Angela hears something and quickly turns her head to the noise. In the distance, we see a deer run away. Angela realizes what made the noise and smiles. She then continues on her way. CUT TO: Ancient Cabin. Ext. Day. This is the very same cabin which Angela hid out in from "Sleepaway Camp II." Since nobody seems to remember its existence, it is incredibly run down-- almost looking like Jason's cabin from the second "Friday the 13th" film. Angela walks into view and herself is taken aback at how badly run down the cabin is. Her face registers confusion as she studies its rotting features. ANGELA: They said it was torn down... Angela continues toward the cabin. ANGELA: My God, what happened to this place... ? CUT TO: Ancient Cabin. Int. Day. Angela opens up the door and enters. Her eyes scrutinize the place, it looking much worse than it did last time she was there. Angela even notices a few holes in the floor, eaten away by battery acid. CUT TO: Bedroom. Int. Day. Angela walks into what might be the bedroom of the cabin, but then again, it might be something else. Angela's face turns to sheer shock when she notices something in the room. More graffiti artists have apparently been here and written all sorts of derogatory things about Angela. Messages such as "To hell with Angela Baker", "Angela Baker's a psycho piece of shit and needs to die," and "Angela Baker can go to hell and suck my dick while she's going there" litter the walls. Angela slowly sits down against a wall facing away from these taunts and quietly begins to weep. CUT TO: Forest. Ext. Day. The sounds of nature can be heard over the treetops. CUT TO: Clearing. Int. Day. Four campers, BILLY, TONY, BRIDGETTE, and MANDY have been hiking through the woods. Upon coming into the clearing, they all look around and observe the area. TONY: How's this? MANDY: This looks fine to me. BRIDGETTE: Me too. BILLY: Ditto. The four put down their camping equipment and rest a moment. BRIDGETTE: Do you think they'll be angry with us for camping so close to the camp, Billy? BILLY: I wouldn't think so. MANDY: Tony, why don't you and Billy go get some firewood while me and Bridgette set up camp? TONY: For once I'd like to see the woman go out and get firewood. MANDY: Yeah, and for once I'd like to see a man perform foreplay for six hours straight, but it ain't gonna happen. BILLY: Come on, man. Billy and Tony walk off. As they move into the woods, Bridgette and Mandy begin setting up camp supplies. MANDY: Bridgette, look what I've got... Bridgette turns to look over and see Mandy holding a box of condoms. BRIDGETTE: That must've been weird going in to buy. MANDY (puts box away): Well, if I don't who will? Tony? No way. I'd might as well wait for them to make a Jason movie with fem appeal to it. What about you and Billy? BRIDGETTE: We're not into that kind of stuff. We mostly just do heavy petting and blow jobs. MANDY (shakes head): You poor thing. CUT TO: Forest. Int. Day. Angela has been hiding behind a tree and listening to the interlopers. Angela realizes that these campers must be cut away like the cancer they are on her sacred forest. Angela stands up and quietly walks away. CUT TO: Forest. Ext. Night. The moon can be seen above the treetops. CUT TO: Camp site. Ext. Night. Tony, Mandy, Billy, and Bridgette are huddled around the camp fire. There are two tents set up in the background, illuminated by the fire. BRIDGETTE: I'm glad they didn't come after us. TONY: Relax. If they'd have cared, they would got us by now. MANDY: What is the name of the camp that's nearby? BILLY: Camp Rolling Hills. BRIDGETTE: Camp Rolling Hills? Isn't that where all those murders took place? TONY: Yeah, but you shouldn't worry. The chick that did it was locked up or executed or some shit. I'm not sure, but I know she's not here. MANDY: It was a woman?! Wow, that's new. TONY: Well, they say she used to be a guy, so... CUT TO: Forest. Int. Night. We can barely make out Angela's face as she slowly walks through the woods. We can also hear the four campers talking nearby. CUT TO: Camp site. Ext. Night. MANDY: Well, we'd better be getting on to bed. TONY: Yeah. Mandy and Tony stand up and head into a tent. MANDY and TONY: Good night. BRIDGETTE: Night. Billy turns to look at Bridgette. BILLY: It looks like it's just you and me. BRIDGETTE: Yeah. Billy and Bridgette slowly begin to kiss. However, before anything can go any further, a noise is heard in the background. Bridgette jolts to attention. BRIDGETTE: What was that? BILLY: It was nothing. Billy continues to try and start something with his girl. BRIDGETTE: No, I'm serious. Something made that noise. BILLY (sighs): Do you want me to check it out? BRIDGETTE: Would you? Billy stands up and heads into the forest, leaving Bridgette all alone. Bridgette looks around as though something were watching her. BRIDGETTE: Hurry up! CUT TO: Forest. Int. Night. Billy is making his way through the woods, tripping and running through all sorts of trees and branches. BILLY: Hello? Billy continues through the woods. BILLY: Olly-olly oxenfree...? Billy continues to trip around in the woods and finally stands up against a tree for balance. Suddenly, an ax comes shooting through the air and is buried in the top of Billy's head. Without so much as a groan, Billy falls to the ground. CUT TO: Camp site. Int. Night. Moaning can be heard from Mandy and Tony inside the tent. Bridgette is still all alone, sitting next to the fire. BRIDGETTE: Billy! Bridgette waits for some kind of response, but gets nothing. BRIDGETTE: Billy, where are you? Are you there? Bridgette listens a moment, then gives up and lies onto the ground. After a few moments of this, the nearby fire has made Bridgette comfortable and she begins to go asleep. Soft footsteps can be heard, none of which seem to awaken the sleeping girl. The camera pans from Bridgette over to the ground nearby where we see another set of feet. The camera pans up that person, revealing them to be Angela, holding a hoe. Angela draws back and as hard as she can, swings down. The hoe has no problem slicing Bridgette's head off. The decapitated body begins to quiver a moment, but nothing more. Angela sees that the head has rolled over to her feet. Disdainfully, she kicks the appendage away and it rolls all the way over to the camera. The moaning from inside the tent finally catches Angela's attention and she turns to look at the tent, wrathfully. CUT TO: Tent. Int. Night. Mandy and Tony are fully engaged in intercourse. After a few moments, however, the entire tent comes down on the two. TONY: What the fuck?! MANDY: This isn't funny, Bridgette! TONY: I'm gonna kick your ass when I get out of here! ANGELA (from outside and in bad Sly Stallone voice): Go for it. TONY: Who the... ?! CUT TO: Camp site. Ext. Night. Angela buries a pitchfork into the fallen tent, impaling both of the lovers with one blow. Both of the campers inside let out quick screams, each of which fade out with the coming of their deaths. Angela, meanwhile, begins preparations of disposing the bodies. Fade out. CUT TO: Ancient Cabin. Int. Night. The door flies open and Angela stumbles inside. After making her way inside and closing the door behind her, Angela falls to the floor, exhausted. She involuntarily lets out a few groans of pain. Her thirty-two year old body obviously can't do what it used to. CUT TO: Camp Rolling Hills. Int. Day. There are about twenty-one people in this group-- twenty young KIDS and one teenage counselor. The counselor, JUDY, is at the head of the children, trying to get their attention. The children are talking amongst themselves, creating quite a buzzing noise. JUDY: Kids... kids. (pause) Kids! The children hear this and turn to Judy. JUDY: Thanks. Now, we're going to hike through the woods and meet the others at the lake for a cookout. Doesn't that sound like fun? The children give a resounding "Yes!" BOY: How long is the hike? JUDY: Um... (thinks) About two miles. The Boy's face turns into an expression that reads, "it figures." JUDY: Now, come on. Let's get going. Judy turns and begins walking away and the children follow along into a trail in the woods. CUT TO: Police station. Int. Day. The Sheriff and several of his other OFFICERS are there with DR. STAN SIMOOL, another psychiatrist from the Blue Skies Sanitarium who has a resemblance and manner about him suggesting Peter Cushing. It is obvious that the police are questioning Simool about our favorite camper. OFFICER 1: Why is you think Angela escaped? SIMOOL: We're still not sure. We're just as shocked about this as anyone else. I was one of the doctors that Dr. Vernon consulted with about Angela. Luckily, I was gone to a conference when they took her to the camp. Angela became a model patient at the clinic. We thought for sure that she would be released and go off to live happily ever after. SHERIFF: How naive you were. SIMOOL: Sheriff, if you would have seen Angela there with the other patients, you would think we were anything but naive. OFFICER 2: Is it possible she could have changed the way she looks? SIMOOL: Well, she changed her hair color back to its original shade-- the blonde look having been so she could impersonate another camper back in '89. Other than that, she looks like she always did. OFFICER 3: Are there any identifying scars or marks we could possibly use to recognize her? SIMOOL: Yes, she has scars, but you probably won't be able to see them. There is one on her left shoulder where she was hit with an ax and some on her stomach where she was stabbed. SHERIFF: And don't forget the dick. Simool looks over at the Sheriff with a look suggesting "you idiot..." SIMOOL: Excuse me? SHERIFF: Surely you've heard the old story. Peter Baker was a psycho camp killer who dressed as a girl. They caught him and turned him into Angela. SIMOOL: Of course, Sheriff. Everyone knows the story-- even if your version is a little off. But I can assure you, she's all woman. Back when she was first incarcerated, we made a thorough biological exam of her and discovered there's no difference between Angela and a regular woman. The only things we did was started giving her estrogen shots. SHERIFF: Humph. OFFICER 4: Out of all the years at the ward, did you ever figure out what's wrong with Baker? SIMOOL: We're not quite sure, even now. Angela's very psyche has been destroyed by something in her past. She knows what it is and even if we knew what it is, there's not much we could really do to help her. If we ever catch her, we'll have to lock her up for the rest of her life because she'll never be over this urge to kill. Either that or execute her. (pause) Maybe, that's what she really wants-- an end to it all. Angela is a tormented creature existing on violence, fear, and dread. Perhaps this attempt to kill anyone she comes in contact with is a method of ending her own chaotic existence. Eventually, she would run across someone who would fight back and kill her themselves. CUT TO: Forest. Int. Day. Teenage counselor JIM is far off and has his back turned to the camera. However, we can tell he is obviously urinating due to the running water sound. Jim finally finishes up and zips his pants, then turns around and begins walking back towards the camera. Jim continues to walk on through the forest, presumedly back to the kids he is supposed to be with. As Jim passes a nearby tree, a powerful hand reaches out and slams him up against the tree's trunk. Jim eyes widen as he sees another hand hold up a machete. Suddenly, the machete comes down and is buried vertically in the top of Jim's forehead. We can see the blood trickle down onto the ground. CUT TO: Trail. Ext. Day. Judy and her kids are making their way through the forest, no doubt on the way to the cookout. One of the children in the very back of the group, LINA KATALINE, a young blonde haired girl around 8 years of age, hears a noise off in the distance. She looks around, but continues walking on. Lina hears the noise again. She looks around and sees that Judy is not watching the kids. When no one appears to be looking, Lina splinters off the trail and heads into the woods. CUT TO: Forest. Int. Day. Lina begins to look around the woods. Apparently interested in where the noise she heard came from. Lina continues to walk around the forest, going ever deeper and deeper into the surrounding flora. Suddenly, Lina bumps into someone and looks up in fright. Standing there is Angela, surprised to have found someone so young. ANGELA: Who are you? Lina begins to back away in fear. Angela approaches her and drops down to one knee. ANGELA: I'm not going to hurt you. You don't have to be afraid of me. Angela begins running her fingers through Lina's hair. LINA: I... I just heard a noise and wanted to know what it was. ANGELA: Well, it was probably me silly. Who else would be crazy enough to be running around out in the woods? Lina smiles which causes Angela to smile in kind. ANGELA: What your name? LINA: I'm Lina. I go to Camp Rolling Hills. It's a fun place to be. I like it a lot. ANGELA (eyes light up in delight): Isn't it? That's exactly where I'm going. I love to go to camp. It's probably the most fun thing I've ever done in my life. LINA: Me too. What's your name? ANGELA (thinks a moment): Maria. LINA: You look so pretty, Maria. ANGELA: Thank you, Lina. Would you like me to take you back to the camp? LINA: Would you? ANGELA (stands back up): Sure. (looks around forest) But I'm not sure which way to go. It's been a very long time since I've been out here and I'm not sure which way to go exactly. LINA: Maybe we could help each other then? ANGELA (smiles): Maybe. Let's go. Lina takes Angela's hand and the two go walking off through the forest. ANGELA: Do you know "I'm a Happy Camper"? LINA: Do I?! Everybody knows that song. We sing it all the time at camp. Would you sing it with me? ANGELA: Sure. A 1, and a 2,-- ANGELA and LINA (in unison): Oh, I'm a happy camper. I love the summer sun. I love the trees and forests-- As Angela and Lina continue on their way and sing their merry song, the menacing looking character seen earlier watches as they pass through the woods. Again, the man's back is to the camera and we cannot make out any of his features. CUT TO: Cookout. Ext. Day. There is an area out on the lake where the entirety of the camp has congregated. There are benches and stone tables everywhere. There's only one grill, however, where everything being eaten seems to be cooked at once. The COUNSELOR cooking all the food is wearing a chef's hat and an apron that reads "Kiss the cook. Kill the wife." The kids there all seem to be having a good time as the eat, or play, or whatever they do. CUT TO: Table. Ext. Day. Counselors GENE, ERIC, DONNY, LIZ, EMMA, and CELIA all take time out from the kids to catch up on whatever's happening with the others. GENE: How do you keep an idiot in suspense? LIZ: How? GENE: I'll tell you tomorrow? The others groan in disbelief at such a bad joke. GENE: What do women and a strand of spaghetti have in common? ERIC: What? GENE: They both wiggle when you eat 'em. The boys respond with laughter while the girls retrogress in disgust. Either way, Gene appears to be having fun telling these jokes whether they hit the mark or not. Suddenly, Judy comes running to the others. CELIA: Hey, Judy. What's up? JUDY: I can't find Lina anywhere. I've looked all over and I can't find her here. ERIC: Now that I think of it, I haven't seen her either. DONNY: Me neither. EMMA: Gene, Eric, why don't you go with Judy and try to find her? GENE: Sure. ERIC: You bet. Gene, Eric, and Judy head off in search of Lina as kids continue to play in the background. CELIA: I'm gonna call the cops. If we don't find Lina fast, we're liable to be sued. Celia gets up and moves on. CUT TO: Police station. Int. Day. The phone rings at an OFFICER's desk and he picks it up after two rings. We can see the Sheriff and Simool talking in the background. OFFICER: Police station. (pause; turns around) Yeah, he's in, but he's talking with somebody right now. (pause) Hold on. I'll get him. (puts down phone; to Sheriff) Sheriff, line 3 says it's an emergency! CUT TO: Sheriff's office. Int. Day. The Sheriff is sitting behind his desk which is cluttered with cop paraphernalia. Simool is sitting in a chair in front of him. SHERIFF: I got it! The Sheriff picks up the phone. SHERIFF: Hello. (pause) The Camp? How you guys doin'? (pause) I see... (pause) We'll be right out. The Sheriff hangs up the phone and stands up. SIMOOL: What happened, Sheriff? SHERIFF: It seems your pet psycho has struck again. SIMOOL: What? SHERIFF: There's a kid missing at the camp. The Sheriff walks out of the room. Simool stands up and heads after him. CUT TO: Police station. Int. Day. SIMOOL: You don't think that Angela did it? SHERIFF: That's exactly who did it. Who else could it have been? SIMOOL: But it's not Angela's motive. She doesn't kill young kids. The youngest victim she's ever had was 15. SHERIFF: Do you expect me to believe that there's some other psycho on the loose at the camp? Someone worse than Angela? SIMOOL: I don't know, Sheriff... SHERIFF: Bullshit! It's Angela. You know it and I know it. The Sheriff turns and storms out of the room with Simool frantically trying to keep up. SIMOOL: Sheriff, wait! CUT TO: Forest. Int. Day. Eric is walking through the forest searching for Lina. ERIC (holds hands over mouth): Lina! (pause) Lina! (pause) Lina, are you there?! In the distance, Judy and Gene can be heard yelling similar things. ERIC: Lina, where are you? Suddenly, a knitting needle, much like one Angela was using earlier in the film, comes shooting down into the back of Eric's head. Eric groans, then falls to the forest's leafy floor. CUT TO: Elsewhere in the forest. Ext. Day. Gene is calling for Lina as well. GENE: Lina! (pause) Lina, can you hear me?! (pause) Lina, please answer us! (pause) I'll give you a Nestle bar if you come back! A twig snaps and Gene spins around. Before he can respond, a screwdriver is trust into Gene's neck, causing blood to squirt out both sides. Gene drops to his knees, holding his throat and gags a few moments before falling over dead. CUT TO: Forest. Ext. Day. Judy is also looking for Lina and is visibly more distressed than the other two counselors were. JUDY: Lina? (pause) Lina, where could you be? (pause) Lina, please answer us! (pause) Come on, Lina, this isn't funny. Suddenly, Judy stumbles over something and nearly falls to the ground. Judy's face turns to sheer terror upon seeing Gene's corpse on the ground with the screwdriver still sticking through his neck. Judy begins screaming uncontrollably and backs away, stumbling into a figure behind her. Judy spins around to see EDGAR DUNCAN standing behind her, the true killer in the woods. Duncan stands an impressive 6'2 and wears a mask made of leather straps, suggesting The Gimp from "Pulp Fiction." He is also wearing a leather jacket like something The Terminator would wear, full of pockets for carrying all sorts of weapons. Before Judy can turn to run off, Duncan grabs her head and twists it completely around, breaking her neck and killing her instantly. Duncan drops Judy to the ground and walks on. CUT TO: Forest. Ext. Night. We can see the sun going down over the top of the forest, signifying the close of another day. CUT TO: Cabin. Int. Night. Celia and Liz are both there. Celia is up pacing around the room while Liz is in bed, either trying to go to sleep, or take a quick nap. LIZ: Will you sit down or something? CELIA: What do we do about Lina? LIZ: Calm down. Judy, Gene, and Eric are out looking for her. Besides, didn't you say that the Sheriff was coming? CELIA: Yeah. They should have been here by now. I wonder what's atking so long. CUT TO: Road. Ext. Night. The Sheriff's car speeds down the highway. CUT TO: Cabin. Int. Night. LIZ: Just relax, I'm sure they'll find her. I mean, the woods aren't limitless. We'll find her eventually and she'll be safe and sound. CELIA: You can say that just as long as you're in here with a warm fire while that poor girl might be out there freezing to death. LIZ: Goddammit, Celia, what do you want me to do about? I can't help it if the kid ran off. Judy should have done a better job watching them. CUT TO: Camp Rolling Hills. Int. Night. Angela comes out of the forest and onto the grounds of the camp and is carrying Lina in her arms. After she realizes this is the camp, Angela sets Lina down. ANGELA: We're here, kiddo. LINA (looks up at Angela): Thanks, Maria. Would you walk me to the cabin? Angela looks around, seeing there is no one on the grounds. ANGELA: Sure. Lead the way. Lina heads off with Angela onto the campgrounds. CUT TO: Camp Rolling Hills. Ext. Night. Duncan comes walking out of the woods and sees the big sign ahead of him announcing "Welcome to Camp Rolling Hills." We see a closeup shot of Duncan's eyes showing he realizes there are many more victims for him inside the camp. Duncan then starts walking again and goes closer and closer to the campgrounds. CUT TO: Girls' cabin. Ext. Night. Angela and Lina walk up to the door. LINA: We're here. Thanks a lot, Maria! ANGELA: No problem, Lina. Don't forget-- don't tell anybody about us. LINA: Sure. Lina stands up on her tip-toes and kisses Angela on the side of her cheek. LINA: Good night! Lina opens the door to the cabin and walks in. Angela watches her and can't help but smile. After Lina is gone, Angela looks around, making sure no one is watching, then heads off. CUT TO: Camp Rolling Hills. Int. Night. Angela is walking around and notices a cabin up ahead with a light shining out of the window. Angela's curiosity is piqued and she heads to the cabin to check things out. CUT TO: Cabin. Ext. Night. Angela sneaks up to the window of the cabin as not to be seen by anyone inside. Angela's face is illuminated by the light coming from inside. CUT TO: Angela's POV. Inside the cabin is Emma, dressed only in a nightgown and downing a can of Miller Lite. The shining light is projected from an oil lamp. CUT TO: Cabin. Ext. Night. Angela's face turns to disappointment as she realizes that some things never change and this person will have to be dealt with. Angela backs away from the window quickly. CUT TO: Cabin. Int. Night. Emma continues guzzling the can of Miller and after finishing, she goes to the next one. Just as she throws the first can to the side, she opens the next one and begins drinking it. Suddenly, the cabin door swings wide open, causing Emma to jolt in fright and spill her can of beer all over the floor. EMMA: Shit! Emma gets up and goes over to a closet where she puts on an overcoat, then heads to the door. CUT TO: Cabin. Ext. Night. Emma sticks her head out the door and looks around. EMMA: Hello? Hearing no response, Emma steps out of the cabin and heads around to the right side. She slowly sticks her head around the corner of the cabin and sees nothing. Emma turns and slowly heads over to the left side of the cabin. Just as slowly, she sticks her head around this corner and sees nothing around there. Emma shrugs it off then, turns and goes back to the door. The camera follows Emma as she goes back into the cabin and just as she sets foot inside, Angela smashes the oil lamp over Emma's head. Emma drops to the floor, either killed or knocked out. Angela grabs one of Emma's arms with one hand and closes the cabin door with another. ANGELA: It's Miller time. CUT TO: Telephone cord. Ext. Night. Duncan's hands reach up and pull the cord clean in half. CUT TO: Liz and Emma's cabin. Int. Night. Liz and Celia are still in the cabin. Liz is fast asleep, but Celia is unable to go to sleep. Eventually, Celia picks up the phone and notices there is no dial tone. CELIA: Liz... Liz continues to sleep. CELIA: Liz! Liz rolls over and barely manages to open her eyes. LIZ (drowsily): What is it? CELIA: The phone's dead. LIZ (drowsily): So? CELIA: So? I've got to call the police again. They should have been here by now. LIZ (drowsily): Go try Emma's phone. Celia gets up and heads out the door. Liz is asleep again before the cabin door shuts. CUT TO: Camp Rolling Hills. Int. Night. Angela is still looking around the camp, perhaps reliving any fond memories she might have. Just as with Emma's cabin, Angela notices a light emanating from another window. Again, Angela is interested, but this time stays in the safety of a tree's shadow. CUT TO: Angela's POV. In the window is Donny, shirtless and apparently preparing for bed. CUT TO: Camp Rolling Hills. Int. Night. Something strikes Angela's thirty-two year old body and forces her to do something incredibly foolish. CUT TO: Donny's cabin. Ext. Night. Angela slowly goes up to the door and very timidly knocks on it. DONNY (from inside): Just a second. Angela looks around to make sure no one's watching. Finally, the door opens and Donny is standing there shirtless which Angela takes note of. DONNY (looks Angela over): Hello there. ANGELA: Hello, I'm Maria, the new counselor that was supposed to come in today. Sorry I'm late. May I come in? DONNY: Yeah, sure. Angela steps in and closes the door behind her. CUT TO: Emma's cabin. Ext. Night. Celia comes running up to the door. She knocks several times on the door as soon as she appears. CELIA: Emma? I need to use your phone. Are you there? Celia opens up the cabin and gasps in fright. Inside the dark cabin is Emma's corpse-- but no Angela. Celia stumbles back in fear, but backs into Duncan. Celia spins around and Duncan buries a barbecue fork into her stomach. Celia gives out a short whimper, then slides down the cabin wall onto the ground. Duncan turns and stomps away. CUT TO: Road. Ext. Night. The Sheriff and several other police cars are pulled over onto the side of the road. Apparently, a wreck has sidetracked them from getting to the camp. The Sheriff is standing there talking to other POLICEMEN at the scene. Simool is there as well. SHERIFF (to policemen): We've got to get out of here. You guys stay here and call me if there's anything I need to know. POLICEMAN: Yes, sir. The Sheriff and Simool walk off. SHERIFF (frustrated): By now, I'll bet that loon has murdered the entire camp. SIMOOL: Do you believe that? SHERIFF: Yes, I do. It's time somebody dealt with her once and for all. The Sheriff and Simool pile into the Sheriff's car. SIMOOL: Make a deal with the devil and there's hell to pay. The Sheriff speeds away. CUT TO: Camp Rolling Hills. Int. Night. All is quiet and there is nothing to show what has been happening here tonight. CUT TO: Donny's cabin. Int. Night. Donny and Angela are both lying in bed asleep. Angela is lying on top with one of her arms draped over Donny. Angela wakes up and looks around, realizing just where she is. She slowly gets out of bed and we can see she is still wearing her breastplate-type undergarment we saw briefly in "Sleepaway Camp III." We can also see the scar from the ax wound she received in the same film. Angela bends over and gives Donny a soft kiss on the cheek. CUT TO: Donny's cabin. Ext. Night. Angela slowly opens the door and comes out, fully clothed. She slowly closes the door behind her, then walks off. ANGELA: Plenty of fish in the sea... CUT TO: Camp Rolling Hills. Int. Night. Angela comes around from behind a tree. She looks up and notices something ahead of her. Lina is there, looking confused and scared. LINA: Maria! Maria, are you there? ANGELA: Lina, what are you doing out here? LINA: I saw a horrible man. He was 10 feet tall and carrying away one of the counselors. I think she was dead. ANGELA: I'll be right there, don't-- Lina's body jerks forward and she lets out a scream. Angela's face turns to complete shock. ANGELA: Lina! Lina's body falls to the ground, revealing two things. One-- a lawn dart sticking out of her back and two-- Duncan standing in the distance behind Lina's corpse. Angela runs to Lina's corpse and tries to awaken her. ANGELA: Lina! Lina! Please, don't die... Angela has failed and Lina does not revive. Having witnessed the only thing that has ever brought her intense joy taken away from her, Angela's expression changes drastically. Any trace of sanity Angela might have previously regained has just been thrown out the window. The lethal Angel of Death has finally returned! Angela pulls the lawn dart out of Lina's body and stands back up. With a scowl rivaling anything Angus Scrimm could contort his face into, Angela begins marching straight toward Duncan. Duncan holds his ground and simply studies the smaller woman coming at him. Angela comes closer and closer to Duncan and when she's right up on him, she draws back and buries the lawn dart in Duncan's left shoulder. Duncan's eyes squint in pain, but that's the only reaction he gives. The murderer pulls the dart from his shoulder and tosses it aside, then hits Angela, knocking her to the ground. Angela groans as she hits the ground, but gets back to her feet before Duncan can close in on her. Angela throws a right hook and a left jab to Duncan that only succeeds in slowing down the bigger man. Duncan raises his foot and kicks Angela in the stomach. Angela groans and stumbles backward, but then stands up straight again. Duncan comes forward and tries to grab Angela's head, but she evades his grasp and with all her strength, succeeds in body slamming the killer onto the ground. Duncan lies flat on his back, dazed and amazed at what has just happened to him. Angela, meanwhile, is bent over, desperately trying to catch her breath. Duncan rolls over and gets back to his feet. The two murderers grab a hold of each other, but Duncan keeps backing Angela up due to his bigger size. Angela tries to shove Duncan away and get in as many hits as she can, but does little damage. Eventually, Duncan tires of this and shoves Angela away, while still holding onto her right hand. Duncan turns around and swings Angela right into a nearby tree. Angela groans and falls to the ground, motionless. Duncan apparently thinks he has killed her and moves on. CUT TO: Road. Ext. Night. The Sheriff's car races down the road followed by several other police cars. CUT TO: Sheriff's car. Int. Night. The Sheriff and Simool are inside. SIMOOL: How much longer do you think? SHERIFF: Oh, about fifteen miles. CUT TO: Camp Rolling Hills. Int. Night. The campground is still eerily quiet. Duncan is apparently looking for his next victim. The large man comes around the corner of a cabin when suddenly Angela, of course not dead, appears and hits Duncan in the head with a cement block. Duncan is knocked off his feet and onto his back. ANGELA (in bad impersonation of the Rock): Do ya smell what Angela's cookin'? Angela drops the block and then goes to the dazed killer and begins to stomp the stuffing out of Duncan's head. Duncan grabs Angela's leg and flings her to the ground. Angela rolls out of the way just as Duncan's fist fits the ground, causing a rather large impression. Angela gets back to her feet, but is met with a right hook to her left eye. Angela screams and has a hard time keeping from stumbling backwards. She puts her hand over her eyelid, then looks at her palm and sees the blood that is running out of her eye. Angela charges Duncan and hits him with the maximum force her body can produce. She succeeds in throwing him against a nearby tree. Angela then hits Duncan with a sledgehammer left hook that sends the bigger man spiraling to the ground. While Angela looks around for a rock or some other kind of weapon, Duncan gets to his feet again and grabs a hold of Angela's left arm. Angela screams and tries to kick Duncan away, but to no avail. Duncan finally jerks Angela's left arm out of its socket. Angela screams and stumbles away in pain. Duncan presses his advantage and goes after his wounded enemy. However, just as he closes in on her, Angela turns around with the cement block in her right hand and again clobbers Duncan in the face with it. Duncan goes to the ground again, but just lies there for a moment. Angela desperately heaves the left side of her body against a tree, but fails in throwing the arm back into socket. Angela turns to Duncan and sees he is not moving. She then stumbles off and leaves the killer for dead. CUT TO: Lake Rolling Hills. Ext. Night. Angela comes stumbling nearby the lake and is quietly crying in pain. She plops down on the rocky beach and watches as the lake's rough waves come rolling in. Angela pulls up her right pants leg and begins to rub a visible sore spot on it. Her left arm still hangs to the side of her body like a prop arm. ANGELA: What a perfect ending to an awful day, huh Angie? Angela begins to dry up and closes her eyes to relax when suddenly, Duncan steps up behind her. Angela gasps in fear. Duncan grabs Angela around her waist and hoists her over his head. He walks over to the edge of the rocky beach and hurls Angela out into the lake as far as he can. Angela hits the surface of the water hard and begins to splash around and scream unlike anything we've heard from her before. Duncan has inadvertently hit upon Angela's worst fear-- the water. CUT TO: Lake. Ext. Night. Angela continues to scream and splash and soon she submerges under the water. CUT TO: Rocky beach. Ext. Night. Duncan sees this, then turns and walks away. CUT TO: Lake. Int. Night. Angela's holding her breath and trying to swim, but isn't doing a good job, especially with the lack of use of her left arm. Angela is actually more frightened than she's ever been in her life. However, just before she falls into unconsciousness from lack of air, Angela's vengeance crazed side returns to her and she suddenly begins heading back to the surface of the water. CUT TO: Lake. Ext. Night. Angela's head pops above the surface of the water and gasps for air. CUT TO: Rocky beach. Ext. Night. Angela pulls herself onto the rocky beach and continues gasping for air. Despite the fact Angela is wet and shivering, she pushes herself back to her feet and moves on, ignoring her wounds. Duncan has broken the number one rule to get killed in a "Sleepaway Camp" movie-- don't piss Angela off. CUT TO: Sheriff's car. Int. Night. The Sheriff and Simool are still there. SIMOOL: How much longer now, Sheriff? SHERIFF: We should be there in a few minutes. CUT TO: Tool shed. Int. Night. Angela is inside, now a little drier. She studies the walls of the tool shed in hopes of finding some kind of weapon to use. Eventually Angela spots just what she needs and her eyes light up in recognition of it. There it is-- the weapon no tool shed in a horror movie should be without: the machete. Angela grabs it in her good hand, then walks off. CUT TO: Camp Rolling Hills. Int. night. Duncan is making his way up a somewhat steep hill leading out of the camp. It could actually be called a rolling hill. CUT TO: Angela's POV. The camera closes in on Duncan from behind and shakes just as if someone were running. Additionally, we can hear Angela yelling as she charges forward. CUT TO: Camp Rolling Hills. Int. Night. Duncan hears Angela as well and spins around, but it is too late. The crazed woman is upon him. Angela leaps into the air and kicks Duncan square in the jaw, knocking the man to his knees. Angela drops the machete and draws back her right hand. ANGELA: You... Angela hits Duncan with a sledgehammer right. ANGELA: God... Angela hits Duncan with a sledgehammer right. ANGELA: Damned... Angela hits Duncan with a sledgehammer right. ANGELA: Mother... Angela stops herself in mid swear word, but does not stop her assault on Duncan. She throws another right, then a right hook, and follows that up with another kick to the head which knocks Duncan flat on his back. CUT TO: Camp entrance. Int. Night. The sheriff's car pulls into the campgrounds with the others directly behind him. CUT TO: Camp Rolling Hills. Int. Night. Angela bends down and picks up the machete. She then draws back and begins to chop away at Duncan with a fury twenty fold that of Tommy Jarvis from the fourth "Friday the 13th." Each slash causes a sickening splat noise as well as blood to splash up on Angela's tattered clothing. CUT TO: Car. Ext. Night. The Sheriff is surveying the camp with his flashlight. SIMOOL: Sheriff, look down there! The Sheriff turns his flashlight and spots Angela hacking away at Duncan's corpse. Duncan's arms, legs, and head have been dismembered from the rest of his body. SHERIFF: It's her! (to policemen) After her! The other three POLICEMEN take off in pursuit of the enraged woman. CUT TO: Camp Rolling Hills. Int. Night. Angela drops the machete and darts off into the forest with the policemen chasing behind her. CUT TO: Forest. Int. Night. Angela is running through the woods. CUT TO: Elsewhere in forest. Int. Night. The cops are following in hot pursuit of Angela. CUT TO: Elsewhere in forest. Int. Night. We see Angela head off behind a rather large group of bushes, but she does not stop running. CUT TO: Elsewhere in forest. Int. Night. The police have all lost track of Angela. They look around frantically for her, realizing she could be anywhere. COP 1: (to Cop 2) You look over there. (to Cop 3) You look there, and I'll be over here. The other two cops run off into the forest and Cop 1 soon moves off as well. CUT TO: Elsewhere in forest. Int. Night. Angela is still running through the woods. She goes up to a tree and leans against it to catch her breath. In close ups we can see Angela is very tired looking and has sweat running down both sides of her face. Angela hears something in the distance and looks up. CUT TO: Elsewhere in forest. Int. Night. Cop 2 comes searching through the woods, shining a police flashlight all around. Suddenly, the cop hears a twig snap and jumps to attention, shining the light into the direction of the noise. COP 2: Who's there?! Cop 2 approaches the spot he is shining his light slowly. COP 2: Come out slowly. Still, there is no answer. Just when it seems Cop 2 is right upon whatever it is, a raccoon scrambles out of the bushes and scurries off. Cop 2 is relieved and relaxes. However, Angela jumps up behind him and smashes a rock over the policeman's head, knocking him to the ground and killing him instantly. ANGELA: Smackity-smack. Don't talk back. Angela bends down over the policeman's body and picks up both his gun and his flashlight in her right hand. CUT TO: Elsewhere in forest. Int. Night. Cop 1 is searching through the woods as well. He moves very carefully as not to make any more noise than he has to. A few steps later, he comes upon the flashlight of the previous cop, with the light still on. Cop 1 bats an eye in confusion and goes over to it to investigate. He picks up the flashlight and studies it. Suddenly, a gunshot blast comes straight through the man's heart. Cop 1 slumps to the ground, dead. Standing behind the dead cop is Angela, holding the smoking gun pointed at the corpse. ANGELA (in bad Stallone impression): I'm ya worst nightmare. (thinks) Hmm... with a cool subtle wit like that, I could be an action hero. CUT TO: Elsewhere in the forest. Int. Night. Cop 2 is moving through the forest. He uses his flashlight to survey the area and moves very cautiously. In the light, we can see Cop 3 propped up against a tree. Cop 2's eyes register recognition and he starts over towards him. COP 2: I can't find her for shit. How'd you do? Cop 3, of course, is silent. COP 2: Hey, what's with the silent act? Did you find her or not? Cop 2 eventually gets up to Cop 3 and looks at his face seeing that the dead man has blood running out his nose and mouth. Cop 2 gasps in shock and stumbles away. He jerks in shock again, seeing Angela standing nearby watching him, and holding Cop 3's pistol at her side. ANGELA (in bad Eastwood impression): Go ahead. Make my day. Cop 2 is frozen in fear and can't do anything other than watch Angela with his jaw dropped. Angela makes the noise from "The Good, the Bad, and the Ugly," perhaps to egg the man on or maybe for her own pleasure. Angela looks like a very unlikely gunslinger-- forget the fact she's a woman. Her right arm is very low against her leg, holding the gun and her left arm is draped back just hanging towards the ground. In any case, Cop 2 raises his gun and tries to shoot the woman, but just like Eastwood himself, Angela is faster on the draw and shoots a bullet directly into the cop's brain. The cop falls flat on his back onto the ground dead. Angela looks around and seeing there are no more cops around, she drops the gun and runs off. CUT TO: Camp Rolling Hills. Int. Day. It is the next morning and police are littered all over the place. The Sheriff and Simool are still there. Another POLICEMAN walks up to the Sheriff. POLICEMAN 1: The kids have all been bused outta here, sir. SHERIFF: Good. (pause) Have you got her yet? POLICEMAN 1: They can't find nothing. They've been after her all night and can't find her anywhere. It's like she just vanished. SHERIFF: That's impossible. She's hurt. She's wounded. She can't stay ahead of us very much longer. Keep looking! POLICEMAN 1: Yes, sir. Policeman 1 turns and runs off. SHERIFF: Doctor... Simool looks up. SHERIFF: Who's the poor sonuvabitch that she was chopping up when we got here? SIMOOL: He's Edgar Duncan. He escaped three months from the sanitarium prior to Angela. The lab boys said he was hyped up on cocaine. He was locked away for the same reason as Angela. At some point, he must've heard why Angela was there and when he made his break, he went into that "copycat" style that lunatics are likely to do. (pause) This guy was anything but a poor son of a bitch. Sheriff, I suggest that the less violent murders be attributed to Angela and most of the others to Duncan. SHERIFF: Sounds reasonable. SIMOOL: And Sheriff, The Sheriff looks over at Simool. SIMOOL: I hope you succeed, but I have a feeling you're never going to catch Angela. CUT TO: Forest. Ext. Day. Angela comes running out of a clearing in the woods. She stops to catch her breath. Bruises and scratches have developed on Angela's beautiful skin. Angela looks up and sees the lake over an edge where the land ends. She also sees the beach consisting entirely of rocks just below herself. Angela holds her face in her right hand and what little we can see of her face, we can tell that something bad is happening inside her head. The intermezzo from "Cavallaria Rusticana" begins to tune up as the rest of the scene happens in slow motion. Angela looks up and turns to look back into the forest. CUT TO: Angela's POV. The forest is again littered with dead bodies, but this time there is something more. Standing amongst the bodies of the dead is DEATH himself-- a cloaked figure resembling the seventy-seven year old Christopher Lee rather than the usual skull but he is carrying his trademark sickle. Even worse, Death's index finger is pointed squarely at Angela. CUT TO: Clearing. Ext. Day. Angela's face turns to genuine fear at her hallucination. CUT TO: Angela POV. Death is now gone, but the corpses are still there. In the midst of the bodies is Angela's own corpse, lying against a tree with its eyes shot out and several holes that look like bullet wounds. CUT TO: Clearing. Ext. Day. A single tear streams down Angela's good eye, which she soon closes. Angela lifts her good arm straight out beside her, then falls backwards over the edge of the cliff. We see flash cuts of Angela in happier days-- particularly a montage of various shots of Angela smiling-- cut together with Angela in the present falling through the sky. CUT TO: Rocky beach. Ext. Day. Angela's body slams into the rocks and bounces a few times. Several appendages flop for a few seconds. Other than the intermezzo, which is coming to a close, the only noise we can hear is Angela's ever-slowing heartbeat. The only part of her broken body moving is her breathing chest, which is too beginning to slow. CUT TO: Shot of Angela's face. Angela's good eye reveals that she is still conscious, but is about to slip away. ANGELA (barely audible): As I... lay me... down to sleep... Yes, I pray... that you will hold me dear... Finally, Angela's eye closes and we hear the last of her heartbeats. Angela Baker-- the murderess, the tormented lunatic, the better singer than Bruce, and all-round great woman-- is dead. FADE TO: Camp Rolling Hills. Int. Day. It is apparently some time in the distant future. The camp is still there, but it is not in use. All of the once magnificent buildings there are in a state of decay. CUT TO: Ground. Ext. Day. A sudden wind blows in and uncovers an old picture of Angela that somebody managed to take at one point of her displaying her beautiful smile. CUT TO: Aerial view. The camera is far away from the picture, but slowly zooms in closer and closer to the picture as it flaps in the wind. The camera stops before it gets too close. The ever present wind then catches the picture and carries it off to who knows where. Fade to black. For anyone who sticks around through the final credits, as the last of the credits rolls away, we can see Angela off in the distance of the black screen. She is entirely in silhouette and a light shines down on her from above, but her features cannot be made out. Only the outline of her head can be seen. The camera slowly zooms in on Angela's silhouette. ANGELA: Step by step. Heart to heart. Left, right, left. We all fall down. Like toy soldiers... ALTERNATE ENDING #1 CUT TO: Camp Rolling Hills. Int. Day. It is the next morning and police are littered all over the place. The Sheriff and Simool are still there. Another POLICEMAN walks up to the Sheriff. POLICEMAN 1: The kids have all been bused outta here, sir. SHERIFF: Good. (pause) Have you got her yet? POLICEMAN 1: They can't find nothing. They've been after her all night and can't find her anywhere. It's like she just vanished. SHERIFF: That's impossible. She's hurt. She's wounded. She can't stay ahead of us very much longer. Keep looking! POLICEMAN 1: Yes, sir. Policeman 1 turns and runs off. SHERIFF: Doctor... Simool looks up. SHERIFF: Who's the poor sonuvabitch that she was chopping up when we got here? SIMOOL: He's Edgar Duncan. He escaped three months from the sanitarium prior to Angela. The lab boys said he was hyped up on cocaine. He was locked away for the same reason as Angela. At some point, he must've heard why Angela was there and when he made his break, he went into that "copycat" style that lunatics are likely to do. This guy was anything but a poor son of a bitch. Sheriff, I suggest that the less violent crimes be attributed to Angela and most of the others to Duncan. SHERIFF: Sounds reasonable. SIMOOL: And Sheriff, The Sheriff looks over at Simool. SIMOOL: Why don't you leave her alone? SHERIFF: What the hell are you talking about? I don't know where you're from, but we don't just let murderous screwballs go running all over creation. SIMOOL: Didn't you see her last night? Didn't you get a good look at her? SHERIFF: Yeah. I was with you. We saw her together. SIMOOL: I don't think you did. If you did, you would have already called off your search. The Sheriff has no idea what Simool is talking about. SIMOOL: She's dying, Sheriff. Even with proper medical attention, we couldn't save her. By now, she's lost way too much blood. The Sheriff finally figures it out. SIMOOL: Let her go gracefully. FADE TO: Camp Rolling Hills. Ext. Night. There is no one at all visible at the campgrounds. The cops have all left the scene. The only thing there is the rain which is pouring down at an incredible speed. CUT TO: Playground. Int. Night. We can see someone swinging on one of the children's swings in the camp's playground. As the camera slowly pans across the playground we can see it is Angela, who has returned to her "home" one last time. CUT TO: Shot of Angela. Angela continues to swing, even in the pouring rain. The rain has washed away all the blood that was caked on her, but the scars, cuts, and bruises are still visible. Angela's skin looks very pale and for lack of a better word, ghostly. The camera slowly zooms in on Angela as we hear her slowly singing her song, but it is nearly incomprehensible since she is also sobbing as she does so. ANGELA: I'm a happy camper... I love the summer sun... (sniffles) I love the trees and forests... I'm always having fun... (sniffles) Oh, I'm a happy camper... I love the clear blue sky... (sniffles) and with the grace of God... (sniffles) I'll camp until I die... The shot fades to a still of Angela smiling from earlier in the movie, perhaps taken during her "saner days" at the Blue Skies Sanitarium, to which the final credits roll over. Fade to black. ALTERNATE ENDING #2 CUT TO: Car. Ext. Night. The Sheriff is surveying the camp with his flashlight. SIMOOL: Sheriff, look down there! The Sheriff turns his flashlight and spots Angela hacking away at Duncan's corpse. Duncan's arms, legs, and head have been dismembered from the rest of his body. SHERIFF: It's her! (to policemen) After her! The other three POLICEMEN take off in pursuit of the enraged woman. CUT TO: Camp Rolling Hills. Int. Night. Angela drops the machete and darts off into the forest with the policemen chasing behind her. CUT TO: Forest. Int. Night. Angela is running through the woods. CUT TO: Elsewhere in forest. Int. Night. The cops are following in hot pursuit of Angela. CUT TO: Elsewhere in forest. Int. Night. We see Angela head off behind a rather large group of bushes, but she does not stop running. CUT TO: Elsewhere in forest. Int. Night. The police have all lost track of Angela. They look around frantically for her, realizing she could be anywhere. COP 1: (to Cop 2) You look over there. (to Cop 3) You look there, and I'll be over here. The other two cops run off into the forest and Cop 1 soon moves off as well. CUT TO: Elsewhere in forest. Int. Night. Angela is still running through the woods. She goes up to a tree and leans against it to catch her breath. In close ups we can see Angela is very tired looking and has sweat running down both sides of her face. Angela hears something in the distance and looks up. CUT TO: Elsewhere in forest. Int. Night. Cop 2 comes searching through the woods, shining a police flashlight all around. Suddenly, the cop hears a twig snap and jumps to attention, shining the light into the direction of the noise. COP 2: Who's there?! Cop 2 approaches the spot he is shining his light slowly. COP 2: Come out slowly. Still, there is no answer. Just when it seems Cop 2 is right upon whatever it is, a raccoon scrambles out of the bushes and scurries off. Cop 2 is relieved and relaxes. However, Angela jumps up behind him and smashes a rock over the policeman's head, knocking him to the ground and killing him instantly. ANGELA: Smackity-smack. Don't talk back. Angela bends down over the policeman's body and picks up both his gun and his flashlight in her right hand. CUT TO: Elsewhere in forest. Int. Night. Cop 1 is searching through the woods as well. He moves very carefully as not to make any more noise than he has to. A few steps later, he comes upon the flashlight of the previous cop, with the light still on. Cop 1 bats an eye in confusion and goes over to it to investigate. He picks up the flashlight and studies it. Suddenly, a gunshot blast comes straight through the man's heart. Cop 1 slumps to the ground, dead. Standing behind the dead cop is Angela, holding the smoking gun pointed at the corpse. ANGELA (in bad Stallone impression): I'm ya worst nightmare. (thinks) Hmm... with a cool subtle wit like that, I could be an action hero. CUT TO: Elsewhere in the forest. Int. Night. Cop 2 is moving through the forest. He uses his flashlight to survey the area and moves very cautiously. In the light, we can see Cop 3 propped up against a tree. Cop 2's eyes register recognition and he starts over towards him. COP 2: I can't find her for shit. How'd you do? Cop 3, of course, is silent. COP 2: Hey, what's with the silent act? Did you find her or not? Cop 2 eventually gets up to Cop 3 and looks at his face seeing that the dead man has blood running out his nose and mouth. Cop 2 gasps in shock and stumbles away. He jerks in shock again, seeing Angela standing nearby watching him, and holding Cop 3's pistol at her side. ANGELA (in bad Eastwood impression): Go ahead. Make my day. Cop 2 is frozen in fear and can't do anything other than watch Angela with his jaw dropped. Angela makes the noise from "The Good, the Bad, and the Ugly," perhaps to egg the man on or maybe for her own pleasure. Angela looks like a very unlikely gunslinger-- forget the fact she's a woman. Her right arm is very low against her leg, holding the gun and her left arm is draped back just hanging towards the ground. In any case, Cop 2 raises his gun and tries to shoot the woman, but just like Eastwood himself, Angela is faster on the draw and shoots a bullet directly into the cop's brain. The cop falls flat on his back onto the ground dead. Angela looks around and seeing there are no more cops around, she turns around and heads back towards the direction she came from originally. CUT TO: Camp Rolling Hills. Int. Day. It is the next morning and police are littered all over the place. The Sheriff and Simool are still there. Another POLICEMAN walks up to the Sheriff. POLICEMAN 1: The kids have all been bused outta here, sir. SHERIFF: Good. (pause) Have you got her yet? POLICEMAN 1: They can't find nothing. They've been after her all night and can't find her anywhere. It's like she just vanished. SHERIFF: That's impossible. She's hurt. She's wounded. She can't stay ahead of us very much longer. Keep looking! POLICEMAN 1: Yes, sir. Policeman 1 turns and runs off. CUT TO: Woods. Ext. Day. Angela steps out of the forest, still carrying the gun in her right hand. Her appearance reflects the hellish night she's just went through. CUT TO: Camp Rolling Hills. Int. Day. Angela stealthily walks over towards the spot where Duncan's body was lying, which is now surrounded in Police "Do Not Cross" Tape. Not a one of the policemen around notice Angela as she walks around out in the open area in full sight of everyone. Angela finds the machete still lying on the ground where she left it. She bends down and picks it up with the same hand the gun is in, then stands up straight again. Angela looks up the hill and sees the Sheriff and Simool talking amongst themselves. Angela slowly begins up the hill towards the massive amount of police that are ahead of her. When she gets within a reasonable distance, she stops and sticks the machete underneath her bad arm. Angela draws back and throws the pistol, beaning the Sheriff on the back of the head. SHERIFF: What the hell?! The Sheriff and everyone else there turns around and finally notices Angela standing there. SHERIFF: So it is you? At last your ass is mine. ANGELA (smiles): Do me a favor and leave my ass out of your thoughts. Angela takes the machete in her good hand again. The police all pull their guns, but everyone seems to be in a Mexican standoff with each other. SIMOOL: Angela, you've got to give yourself up. It's the only way we can help you. Angela doesn't pay any attention to Simool. SHERIFF: Next move she makes, hit her right between the eyes, boys. Angela has just made the choice. She begins slowly stumbling up the rest of the hill towards the police. CUT TO: Angela's POV. The Police and the Sheriff all cock their guns and prepare to fire at the woman coming at them. CUT TO: Rolling Hills. Int. Day. Angela continues coming at the police with a somewhat demented look in her eye as she smiles at what is an impossible amount of enemies to defeat. ANGELA: Oh, I'm a happy camper. I love the summer sun. I love the trees and forests. I'm always having fun. Oh, I'm a happy camper. I love the clear, blue sky. And with the grace of God, I'll camp until I die. Angela continues walking fearlessly, right up to the camera. Fade to black. www.sleepawaycampfilms.com