THE LUNATIC WORLD OF ANGELA BAKER By Teddy Johnson FADE IN: 1. Black screen. ANGELA (v.o.): God must love crazy people. That's why he creates so many of them... FADE TO: 2. Credits sequence. Stock footage from all three previous "Sleepaway Camp" movies plays over the credits. Occasionally, the footage slows down and its color washes away, revealing black and white freeze frames. As footage from a new film appears, the date in which it occurred appears at the bottom of the screen. Footage from "Sleepaway Camp" plays, initially with the caption "May, 1983." Young RICKY and ANGELA BAKER walk onto the grounds of Camp Arawak. A young BOY is swimming underneath an overturned canoe when suddenly, Angela appears with him. She grabs his head and begins to hold him underwater, trying to drown him. Angela breaks open the window of a restroom which is currently occupied by one of the older BOYS. Afterwards, Angela holds up a stick and drops a wasp's nest into the stall. JUDY (v.o.): She's a carpenter's dream... flat as a board and needs a good screw! Angela draws back and fires an arrow directly into the shocked MEL's neck. PAUL's head rolls along the sandy beach. CUT TO: 3. Footage from "Sleepaway Camp 2: Unhappy Campers" plays, initially with the caption, "June, 1988." SEAN (v.o.): She called herself "the Angel of Death" because she claimed she was only killing bad people. PHOEBE turns around, only to be knocked into the head by the fully-grown Angela Baker with a log. Angela pulls out a drill and uses it on the hapless MARE, whose blood splatters all over her car. Angela drowns ALLY in a leech-filled outhouse. She splashes battery acid in the face of T.C. as he infiltrates her corpse-littered cabin. Angela draws back and beheads SEAN WHITMORE with a machete. CUT TO: 4. Footage from "Sleepaway Camp 3: Teenage Wasteland" plays, initially with the caption, "October, 1989." REPORTER (v.o.): Ironically, Camp New Horizons is the same camp where alleged psychopath Angela Baker killed 20 kids last year... Angela draws back and stabs HERMAN with a log directly in his mouth. Angela hits a home run on SNOW-BOY with her log. Angela draws back an ax and beheads ARAB as she crawls out of a tent. Angela pulls a gun from behind her back and unloads its bullets into BARNEY WHITMORE. Angela gets kicked in the side of the head rather hard by MARCIA and moments later is stabbed repeatedly by her in the stomach. CUT TO: New footage. 5. Forest. Int. Night. SHERIFF (v.o.): You are to go into the forest, find Baker, and terminate with extreme prejudice. The caption, "August, 1993" appears initially. Angela is walking along the woods as though in search of something. Here, she is dressed in a green button-up shirt, and a pair of gray slacks with a weapon laden commando belt. Horror fans might recognize that she is dressed just like Jason from "Friday the 13th, Part VI: Jason Lives." 6. Angela passes by a bush at which point a POLICEMAN runs up behind her, knocks her to the ground and kicks her in the head. Angela screams, but just watches as the policeman grabs a nearby log and slams it across her head, breaking it in half. 7. Angela's eyes squint in rage as the policeman grabs a nearby rock and pulls back to crush her skull in. 8. Angela quickly grabs a lawn dart from her belt and buries it in the man's chest. 9. The rock falls backwards from the policeman's grasp and the man himself falls onto the ground, dead. CUT TO: 10. Cabin. Int. Night. WOMAN COUNSELOR (v.o.): Angela Baker is dead. There's nothing to worry about. She's not going to show up here. The caption "July, 1998" initially appears. Angela is inside a cabin, fighting with a male COUNSELOR. Here, Angela is dressed in a black button-up shirt and black slacks, a wardrobe that looks as though it were stolen from Johnny Cash's closet. It also looks as though Angela has no weapons on her at the time. The cabin itself is in ruin from the fight. Chairs and tables are overturned and various items clutter the floor. The room seems pretty large, at least 25 feet across. 11. Angela is getting knocked around the room by the taller male Counselor with left and right hooks. 12. Angela nearly falls over, but catches herself. 13. The counselor sees this and presses his advantage. 14. As Angela gets back to her feet, the Counselor hits her directly in the face with a right punch. 15. Angela is knocked through the air and onto the ground. 16. Angela looks around in pain, then gets up before her enemy can continue his attack. 17. Angela charges and pushes the boy against a wall and buries a series of lefts and rights into his chest. 18. The young counselor finally tires of this, grabs Angela by her throat, leaps into the air, and hits her with a hard right jab flush on the forehead. 19. Angela's head wobbles a little as she stops her backward momentum, charges the Counselor, grabs a hold of him, and both crash through the nearby glass window. CUT TO: 20. Cabin. Ext. Night. Angela and the Counselor hit the ground with shards of glass all around them. 21. Angela grabs a hold of a particularly big piece of glass and slits the young man's throat with it. 22. Angela stands up over the corpse of the boy, but is still punch drunk as the expression in her eyes indicates. CUT TO: 23. Newspaper. Ext. Day. REPORTER 2 (v.o.): Because of the number of deaths surrounding the camp's many re- openings, the city council has decreed that Camp Rolling Hills' doors will never be open again. The camera slowly zooms in on a story whose headline reads "Camp Killer Still at Large! Baker continues to evade authorities" as the credits come to a close. Fade to black. FADE IN: 24. Forest. Ext. Night. The year is now 2020. A heavy rain pours down from above on the green trees that make up the forests surrounding the former Camp Rolling Hills. CUT TO: 25. Forest. Int. Night. The camera slowly creeps up on a solitary house sitting deep within the forest, hidden from any connection to the outside world. CUT TO: 26. Bathroom. Int. Night. The camera slowly pans through the room as the noise of a shower can be heard, but then suddenly stops. 27. The shower door slides open and a single pale arm reaches out and grabs a nearby towel. 28. The camera then cuts to a shot behind the person, a woman whom we can only see from the shoulders up. The woman steps out of the shower and dries herself before wrapping herself in the towel. 29. The woman, only seen from behind, walks over to the nearby sink and opens up the medicine cabinet. 30. Inside the cabinet are all kinds of headache and migraine pills, and brown hair dye. 31. The woman pulls out a comb and begins to comb her hair, closing the cabinet door. Now, we see in the door's outside mirror just who she is. The woman is Angela Baker, now at age 51. She looks as though she has senesced well, though signs of age have crept up on her. Wrinkles have formed underneath her eyelids and miniscule wrinkles are around the edge of her mouth. Angela finishes combing her hair, still a healthy brown color from the hair dye, no doubt, then turns and leaves the room. CUT TO: 32. Angela's bedroom. Int. Night. The bedroom is nothing out of the ordinary and is filled with the basics-- a bed, a dresser with drawers, and a small chair in a corner. The contents of the room would not tip anyone off as to who lives here. 33. A closet door is wide open, blocking our view of Angela. Finally, the door closes and there is Angela, dressed in a nightgown. The petite woman turns and walks over to a light switch, extinguishing most of the visibility in the room. We see Angela's silhouette walk over to her bed and climb in. 34. The camera slowly zooms in on Angela's sleeping face as she drifts away into dream land. FADE TO: 35. Camp New Horizons. Ext. Night. 1989. An ambulance speeds away with its sirens blaring from the carnage caused by Angela in "Sleepaway Camp 3." CUT TO: 36. Ambulance. Int. Night. We see a POLICEMAN and a PARAMEDIC inside the ambulance with Angela, who is 21-years-old again, argue whether or not to help her. Angela is suffering from stab wounds to the shoulder and stomach. 37. As the policeman turns away, Angela grabs a nearby seringe and stabs the Paramedic with it, killing him. 38. The Policeman turns back around and Angela stabs him in the eye, killing him as well. 39. Angela plops back onto the stretcher and her immobile body rocks with the ambulance. DRIVER (o.s.): What the hell's goin' on back there?! ANGELA (out of it): Just takin' care of business... 40. The driver, DAN THORN, looks around the landscape as though trying to see if anyone is around. The expression on his face shows that he knows what just happened behind him. The driver is a thin man around 25 years old with short black hair. He is garbed in the usual paramedic's uniform. His eyes have a somewhat unbalanced look to them which rivals even that of Angela. THORN: Angela... ? 41. Angela lies on the stretcher. She hears the driver and her shifty eyes look around the place confused. THORN (o.s.): Angela? What are we gonna do about them? Angela realizes her cover's been blown. ANGELA: Oh, I don't know. I was thinking about killing you and taking this baby to Canada. Just a thought. 42. Thorn laughs as we hear a gun click. 43. Angela hears it too and the expression on her tired face shows she knows she is defeated. THORN (o.s.): Well, you just hold that thought. ANGELA: What do you have? 44. Thorn holds up his gun and looks at it, revealing it to be a .357 Smith and Wesson. THORN: A .357 Smith and Wesson... not the most powerful handgun in the world, but can you imagine what it could do to that pretty little face of yours... or other parts? 45. Angela cannot believe her bad luck. ANGELA (sighs; to self): You're crazier than I am... CUT TO: 46. Angela's bedroom. Int. Night. We are back in the present time. Angela rolls in her bed, but is still asleep. CUT TO: 47. Thorn's house. Ext. Night. 1989. It is the middle of the night and no one is around to see what Thorn is doing. The lunatic has parked his ambulance outside his home, but he still looks oddly inconspicuous. CUT TO: 48. Thorn's house. Int. Day. The house is no different in appearance than any other suburban home. There are chairs and tables and such around the room. In one corner is a rather large television. We see Thorn standing next to Angela on the rolling stretcher in the middle of the room. He has now strapped Angela into the stretcher making escape impossible. Angela's "Camp New Horizons" sweater has been removed, but she still has her breastplate-like undergarment on. Over her stomach and shoulder wounds are gauze, put there by Thorn who apparently has attended to her wounds. THORN: I gotta get back to work, but I won't be gone for too long. We'll talk more tomorrow. 49. Thorn walks over to a nearby table and picks up a television remote and places it next to Angela's hand. 50. Angela can only watch what is going on in utter confusion. ANGELA: I don't watch TV. THORN: So start. See you tomorrow. 51. Thorn bends down and kisses Angela on the side of the face before turning and leaving the room. 52. Angela watches the loony leave her behind. When Thorn is gone, Angela uses what little strength she has left trying to get out of the stretcher, but fails in loosening the straps. 53. Angela looks towards the ceiling and tears begin to run out of her eyes. FADE TO: 54. Angela's bedroom. Int. Night. It is the present again and Angela is obviously having a tough time sleeping. CUT TO: 55. Thorn's bedroom. Int. Night. 1989. Thorn and Angela are present in Thorn's bedroom. The room is a basic single guy's bedroom with clothes littering the floor and all manner of filth present. Thorn is sitting down beside Angela, who is secured to the bed with rope. ANGELA: You wanna clue me in on what's going on? THORN: Sure. You're a celebrity around here. ANGELA (laughs): Me? THORN: Yep. See, if I were to take you back to the hospital, they'd surely have caught you. But now, they think you're already dead. I just traded your body for one that was already in the morgue. They're burying it today. 56. Thorn holds up a paper for Angela to see whose headline reads "Camp Slasher Put to Rest." THORN: The world believes Angela Baker is dead. Isn't that the greatest cover you could hope for? ANGELA: I guess so, but that still doesn't explain what all this is about. THORN: I was in the facility where Peter Baker was incarcerated. When Peter became you, I thought you were the loveliest girl I'd ever seen in my life. ANGELA: Ah... always good to see my ilk. THORN: I want you Angela. I've wanted you since 1984 when you first appeared. And if we could, you know... I'll send you back to the camp and you can go back to work with a clean slate. ANGELA (somewhat repulsed): That's disgusting! You shouldn't even think of such a thing. It's totally out of the question. It's like my aunt always said: "Keep your morals strong and you'll never go wrong." 57. Thorn laughs. THORN: Maybe I'm not making myself clear, Angela. 58. Thorn pulls out the .357 he had earlier. 59. Angela's eyes take note of the gun. ANGELA: Oh, so, it's like that, then? THORN: Oh, absolutely. ANGELA (sighs): All right. Climb on, you son of a bitch. But take these damn ropes off. 60. Thorn makes to get on top of the helpless Angela when... CUT TO: 61. Angela's bedroom. Int. Night. Angela jolts awake in fright, breathing heavily, and with good reason since her escape from "Sleepaway Camp 3's" conclusion was somewhat traumatic. 62. Angela looks around the room and seeing she is alone, slowly drops her head onto her pillow and tries to go back to sleep. CUT TO: 63. Trailer. Ext. Day. A trailer sits in a field alone in the middle of nowhere. The only thing surrounding it are the few power lines connected to the structure itself. CUT TO: 64. Trailer. Int. Day. YOLANDA ZANUCK is sitting at a table reading a newspaper with her boyfriend ADAM JOACIHAM. Despite their setting, the two look more respectable than the usual "trailer trash"-- well, Yolanda anyway. Yolanda is a young woman with equal-lengthed blonde hair around the age of 23. She is dressed in tight-fitting clothing that does a good job of showing off her excellent body. Yolanda's eyes are somewhat larger than usual, suggesting that they could bug out of her sockets. Adam is a young man around the age of 25. He is dressed in jeans and a cut-off T-shirt. His head is shaved and he has several earrings. Adam eats a bowl of Raisin Bran while Yolanda reads the paper. YOLANDA: Damned Arabs. ADAM: What is it, babe? YOLANDA: Oh, the Arabs are tryin' to jack up the prices on their oil again, causing gas prices to go up. ADAM (while eating cereal): Why don't we just nuke the bastards? YOLANDA: Cause we ain't got the balls to do that no more. 65. Adam happens to look up and sees a list of the top twenty most wanted people in the United States. ADAM: Hey, look at that. YOLANDA: What? ADAM: The Top Twenty Wanted People in America... Where do you think we are? YOLANDA: We'd better be #1. 66. Yolanda's eyes scan the list of people. She finally gets to the top and her eyes seethe in rage. ADAM: Well, are we? YOLANDA: No. 67. Yolanda holds out the paper for Adam to see. Number Two on the list is Yolanda Zanuck. However, beating her at Number One is Angela Baker, aka "the Angel of Death." ADAM: Baker?! Again?! YOLANDA: I know! What's Baker done lately that can compare to the stuff we pull? ADAM: What's Baker done lately period? YOLANDA: "Angel of Death"... piss. ADAM: You know, somebody oughta do something about that bitch... YOLANDA: Somebody should... 68. The camera slowly zooms in on Yolanda's face as she contemplates the situation. CUT TO: 69. Angela's home. Ext. Day. Angela is sitting out on what looks like a camp bench she stole from Camp Rolling Hills. She is dressed in a loose-fitting T-shirt, jeans, and sneakers... her usual casual look. 70. Angela looks around the surrounding forest as though it has an answer to a question she hasn't asked. 71. Suddenly, young WYNN MCKAY walks up beside Angela, seemingly out of nowhere. Wynn is a young boy around the age of 15 and looks like one of those kids that was always somewhat counterculture. And if one didn't know Angela's past history, they might assume Wynn is her son. WYNN: Hello, Angela! ANGELA: Why, hello, Wynn! What brings you here today? WYNN: My feet.. Just wondered what you were doing. ANGELA: So am I... WYNN: What do you mean? ANGELA: Well, I came out here to do something... and I can't remember what. (trails off mentally) Was it chop wood?... Did I need to water the flowers?... Did I go get the mail?... 72. Wynn looks around and spies a group of jeans and slacks hanging on a nearby clothes line. WYNN (points): Does it have something to do with the pants? 73. Angela turns and looks around. ANGELA: Yes, it does! I needed to starch those pants before I iron them... Silly me. I guess I should have tied a string around my finger so I wouldn't forget. Thanks a lot! WYNN: No problem. ANGELA: Want some lunch? WYNN: No thanks. ANGELA: Aw, come on. You can trust that anything I cook is good... WYNN: How can I? ANGELA: I'm a baker! Have you ever eaten food from a baker that wasn't delicious? WYNN: Hmm... I guess not. Alright, then! ANGELA: Great! 74. Angela gets up off the bench and she and Wynn enter the house. CUT TO: 75. Convenience Store. Ext. Day A lone 7-Eleven type store sits on a road with nothing surrounding it for miles around. There are three cars there, a Yellow Volkswagon Bug, a dark blue Cutlass, and a black corvette. CUT TO: 76. Convenience Store. Int. Day. Adam is walking up to the register with various kinds of junk food these kinds of stores seem to be loaded with. The CLERK, who looks like he's still in high school, studies what Adam has brought to him. CLERK: Is that all sir? ADAM: No, I think the little lady is finding stuff too. CLERK: Ah... ADAM: Must be tough out here all alone? CLERK: A little. 77. Yolanda is standing behind one of the back aisles, feigning interest in whatever it is that is on the shelves ahead of her. 78. She looks around, scanning the store for anyone else, but only finds Adam and the Clerk, who are still talking. 79. Suddenly, a young WOMAN steps out of the ladies' room. 80. Yolanda quickly grabs her, cups her left hand over her mouth, and pulls her behind the aisle so the Clerk cannot see them. 81. Yolanda pulls out a fish-fileting knife from her purse and slits the woman's throat. 82. The woman doesn't make a sound and dies instantly. 83. Yolanda slowly drops the woman's corpse to the ground, then pulls out a small handgun from her purse. 84. She takes aim at the Clerk, while he is still engaged in conversation with Adam, and shoots. 85. The Clerk is hit in the side of the head and his blood spills all over the floor. 86. Adam turns around to see Yolanda holding the gun. ADAM: Bull's-eye! 87. Yolanda runs up behind the cash register and shoots the lock. 88. She then puts away her gun and pulls open the register. 89. Yolanda and Adam grab all the money inside and stick it in their pockets and purses or whatever. 90. After the cash register has been wiped clean. Adam grabs his junk food and the two calmly exit the store. CUT TO: 91. Convenience store. Ext. Day. Yolanda and Adam move somewhat deftly to the corvette. Adam unloads the junk food in the back seat, then gets in and starts up the car. YOLANDA: Why'd you bring that with you? ADAM: Why not? It's not like we're gonna need to pay for it. YOLANDA: Touche`. Would ya mind getting us out of here before the cops arrive? ADAM: Yes, ma'am! 92. Adam cuts his wheels and peels away from the Convenience store. CUT TO: 93. Road. Ext. Day. Adam's corvette speeds down the road, going at least 90. The top is now up on the corvette... so as not to lose any of their "hard-earned" money. CUT TO: 94. Corvette. Int. Day. YOLANDA: A nice little haul there... ADAM: Yeah... we've had better... We've had worse. YOLANDA: Ugh... remember that Gook we killed for fifteen dollars? ADAM: Remember? Goddamn he pissed me off... You'd think that in this day and age, liquor stores would have more than fifteen dollars on them at any given moment. Shit! (looks over at Yolanda) How much farther do we have to go anyway? 95. Yolanda breaks out an atlas from the back seat. YOLANDA (looks over atlas): Hmm... well, the campgrounds are in upstate New York... we're in New Hampshire. So it shouldn't be much farther. ADAM: Good. (pause) Hey, Yolanda? YOLANDA: What is it now, babe? ADAM: Do you mind if we make her give me head before you kill her? YOLANDA: You want head from a 51-year-old woman? ADAM: Well, I've never had it from an older woman before, and you won't do that kind of thing... I thought it might be fun. YOLANDA: Hmm... well... Sure. But I get to watch. ADAM: Fine. 96. Adam and Yolanda laugh maniacally as they continue speeding down the road. CUT TO: 97. Angela's house. Ext. Day. The wind quietly blows the trees surrounding Angela's home. CUT TO: 98. Angela's house. Int. Day. Angela is in the living room ironing several shirts and watching TV-- "Rickie Lake", of all things. Apparently television has eventually grown on her. 99. On the television screen we can see the guests fighting and arguing and it looks as though things are about to come to blows. ANGELA (to self): These people are obviously crazy... 100. The phone rings. 101. Angela stops ironing and walks over to her phone, sitting on a table next to a recliner, and answers it. ANGELA: Hello? CUT TO: 102. Jerry's house. Int. Day. JERRY LAMBERT is on the phone. Jerry is a thin young man in his late twenties. JERRY: Ms. Bannister? ANGELA (over phone): Yes? Who's calling? JERRY: This is Jerry Lambert. CUT TO: 103. Angela's home. Int. Day. ANGELA: Hello, Jerry! I haven't seen you in a long time! How are you doing? CUT TO: 104. Jerry's home. Int. Day. JERRY: I'm doing just fine. How are you today? CUT TO: 105. Angela's home. Int. Day. ANGELA: Oh, I'm hanging in there. What can I do for you? CUT TO: 106. Jerry's home. Int. Day. JERRY: Well, on this Friday, Becky and I are throwing a party for all those who live in the lake area and we wanted to know if you'd like to come? CUT TO: 107. Angela's home. Int. Day. ANGELA: This Friday? Hmm... I really don't know. Can I get back to you on that because that's a little far ahead for me to plan? CUT TO: 108. Jerry's home. Int. Day. JERRY: Sure. Just remember that you're welcome here, Angela. CUT TO: 109. Angela's home. Int. Day. ANGELA: Why thank you very much. CUT TO: 110. Jerry's home. Int. Day. JERRY: Look, I've got to go, but I'll talk to you later, huh? CUT TO: 111. Angela's home. Int. Day. ANGELA: Certainly. Goodbye, Jerry. Angela hangs up the phone. 112. She looks up in wonderment, as though the first time anyone had ever invited her to a party before. 113. Before Angela gives too much thought to the subject, she turns and realizes she forgot whatever it was she was doing. 114. Angela sits down in her chair and hopelessly begins to think. CUT TO: 115. Angela's bedroom. Int. Day. It is the next morning. Angela is deeply immersed in sleep as though she might be having a good dream. Suddenly, the phone in the other room rings. 116. Angela's eyes snap open and look around. 117. Angela sighs and turns on a lamp sitting on a nearby table. CUT TO: 118. Angela's living room. Int. Day. Angela walks into the room wearing a red robe. The room is only illuminated by the sunlight drafting in from outside. Angela walks over to the ringing phone she was talking on earlier and answers it. ANGELA (drowsily): Hello? CUT TO: 119. Wynn's home. Int. Day. PAULA: Hello, Angela? This is Paula, Wynn's mother. PAULA MCKAY is a dark-haired woman in her mid-thirties. She looks like some kind of business woman as evident by the suit she is wearing. CUT TO: 120. Angela's home. Int. Day. ANGELA: Hello. Wynn's not over here, Paula. CUT TO: 121. Wynn's home. Int. Day. PAULA: I know. Wynn's here. Could you possibly do me a favor? CUT TO: 122. Angela's home. Int. Day. ANGELA (yawns): What is it? CUT TO: 123. Wynn's home. Int. Day. PAULA: Well, I hate to ask this of you, but I've got this big meeting I have to get to right now, so I was wondering if you could take Wynn to school for me? CUT TO: 124. Angela's home. Int. Day. ANGELA: Sure. Just let me get ready and I'll be right over. CUT TO: 125. Wynn's home. Int. Day. PAULA: Thank you very much, Angela. You're a lifesaver. CUT TO: 126. Angela's home. Int. Day. ANGELA: Think nothing of it. Tell Wynn I'll be there as soon as I can. CUT TO: 128. Wynn's home. Int. Day. PAULA: I will... and thanks again. Goodbye. CUT TO: 129. Angela's home. Int. Day. ANGELA (yawns): Bye. Angela puts down the phone, then stretches, trying to wake herself up. 130. She turns and slowly stumbles back towards her bedroom. CUT TO: 131. Schenectady, NY. Int. Day. Angela and Wynn are walking together down a sidewalk. Angela is wearing a powder blue sweater and faded jeans. Over all this, she is wearing a black overcoat and on her head, she is wearing a sunhat and a pair of sunglasses. Apparently, she thinks that somebody is going to recognize her. Also, for the first time, Angela is carrying a purse. She looks really out of place in this urban area. Wynn is dressed for school, much nicer than when last seen. Over his right shoulder is a backpack full of books. WYNN: Why are we walking so far? We could have just driven up to the school. ANGELA: Hey, walkin's good for you and it's fun. You've never been on a good walk have you? WYNN (scoffs): "Good walk"? No, not since the invention of the automobile, no, Angela. ANGELA (eyeballs Wynn): Aw... Wise-ass, huh? Is something wrong? Why're you so upset? WYNN: Hey, Angela, why can't I just stay home with you all day today? ANGELA: Because school is good to help your good mental health. They help you to become a good person at school. Besides, you don't wanna hang around me all day. My life's nothing but boredom all day long. WYNN: Yeah, but, they hate me here... Even the teachers aren't afraid to throw down here. ANGELA: Is that so? (reaches into coat pocket) Here, take this. 132. Angela pulls out a black jack. ANGELA: You can have this... but don't use it unless it's an emergency. WYNN (studies black jack): Wow... what is it? ANGELA: It's a black jack. If any of those punks gives ya any trouble, you say (as Cartman from "South Park") "Bad Mista Kitty" and you smack 'em on da top a da head. WYNN: Thanks a bunch, Angela. ANGELA (in own voice): But remember. Don't use it unless it's an emergency. You could get in a lot of trouble from having one of those. 133. Angela and Wynn approach the outer limits of the school yard. 134. Kids can be seen playing and yelling in front of the school. ANGELA: Well, here we are. (checks watch) I gotta go buy some groceries, but I'll see you later, okay? WYNN: Okay, Angela. Thanks again. ANGELA: No problem... Hey, wait! 135. Wynn turns back to Angela. Angela digs into her purse, pulls out a five dollar bill, and gives it to Wynn. ANGELA: Get yourself a nice lunch, will ya? WYNN: Thanks a lot, Angela! Bye! 136. Wynn turns and leaves Angela behind. ANGELA: Bye. CUT TO: 137. Angela's home. Ext. Day. Birds chirping and other wildlife noises are the only noises that can be heard around the solitary house. CUT TO: 138. Angela's kitchen. Int. Day. Angela is fully engaged in making what appears to be stew. She seems somewhat happier than previously as is evident by the fact she is humming a tune as she does so. Suddenly, a knock is heard at the door. Angela stops making her future meal and cleans her hands on a nearby towel. She turns and exits the kitchen. CUT TO: 139. Angela's living room. Int. Day. Angela walks into view and over to the front door. 140. She slowly opens it and standing there on her porch are Yolanda and Adam, looking somewhat more haggard than when last seen. ANGELA: Hello? Can I help you? YOLANDA: Ma'am, we've been evicted from our apartment and we have no money. Do you have any chores that we could do for you in exchange for food? 141. Yolanda and Adam give no indication to Angela that her annihilation is at hand, and indeed, Angela suspects nothing. 142. Angela is looking the two over. ANGELA: Hmm... Well, I can't think of anything I need done right now, but I'll feed ya if you're hungry. Come on in... we'll make medicine. ADAM: Uh... sorry. "Make medicine"? ANGELA: We'll talk. 143. Angela opens the door wider and Yolanda and Adam step into the house. YOLANDA: Thank you very much, Ms... ? ANGELA: Angela. Angela Bannister. 144. Yolanda and Adam look at each other knowingly. ANGELA: Please, (holds out hand) have a seat. 145. Yolanda and Adam look around and sit down on a nearby couch. 146. Angela sits down in her recliner. ADAM (looks around): This is a very nice place you have here. ANGELA: Thanks. You'd be surprised how cheap I was able to get this for. And it's right next to the beautiful lake too. YOLANDA: But isn't this near that camp where everyone got slaughtered every time they opened it up? 147. Angela takes a breath, but retains her cool. ANGELA: Yeah, but the woman that did that was killed way back in 1993. I heard a policeman busted her head wide open with a log. 148. Adam slants his eyes over to Yolanda. ANGELA: Anyway, like I said, I don't have anything to do for you right now, but I'll feed you anyway. How does that suit you? ADAM: Thank you very much. You don't realize how badly we need this. And if you think of something you need done, please tell us, and we'll be glad to do it. How does that suit you? ANGELA (smiles): Right down to the ground. If you don't mind, may I ask... are you two... YOLANDA: Married? Yes. We've been married for three years. ANGELA: Congratulations. CUT TO: 149. Kitchen. Ext. Night. Angela, Yolanda, and Adam are all sitting around a table eating the stew Angela was preparing earlier. ADAM; This is the best stew I've ever had in my life. YOLANDA: Yes... It's very good, Ms. Bannister. ANGELA: Thank you... and please, call me Angela. 150. Angela notices the shabby clothing that Yolanda and Adam are wearing. ANGELA: I'm going to go in to town tomorrow and buy some new clothes for you, okay? ADAM: You don't have to do that. You've already been too kind. ANGELA: It's my pleasure. Please tell me what I should buy. What do you like? YOLANDA: Please, don't Angela, but if you're set on doing it, just get whatever. I'm sure it'll be nice. 151. Adam nods. ANGELA: Well, okay... (thinks) Hey! Do you guys like to party? YOLANDA: Who doesn't? ANGELA: Well, why don't we join me for a party Friday night? I don't know what's going on. I was just invited to a get- together one of my neighbors is having and I thought I'd ask you. YOLANDA: That's very flattering, but we hope to be gone by Friday. ANGELA: Oh, nonsense! Stay as long as you like! (smiles) I have another room here... since you're both married, I guess it's okay. ADAM: Thanks a lot. CUT TO: 152. Guest room. Int. Night. Adam and Yolanda are both there, getting undressed to go to bed. ADAM: Are you sure this is the right person? I mean, didn't she seem a little too nice to be the most wanted person in the nation? YOLANDA: Well, didn't we seem a little too nice to be the second most wanted people in the nation? ADAM: Hmm. Good point. (pause) Angela Bannister, didn't you hear that? YOLANDA (laughs): Yeah. Not too subtle is she? The same damn initials. ADAM: Do you have any idea how you're gonna get her? YOLANDA: Not yet. I'm thinkin' on it, though. I keep thinking about this party, though. ADAM: Party? What the hell for? YOLANDA: There's gotta be some kind of angle there... all we need is the hook. CUT TO: 153. Forest. Ext. Day. The only noises that can be heard are crickets chirping and birds singing. It is early in the morning and there is only a little bit of sunlight present. CUT TO: 154. Forest. Int. Day. Angela is walking along the woods, most likely for early morning exercise. 155. She looks around the forest, studying its every nook and cranny. 156. After a little while, Angela finds a spot under a tree and sits down to rest. 157. The camera slowly zooms in on Angela as a look of horror comes over her face-- something unpleasant has obviously entered her mind. CUT TO: 158. Thorn's bedroom. Int. Night. 1989. Angela is again 21-years-old. Angela's memory has started up just moments after it stopped during Angela's nightmare earlier. Thorn, the insane ambulance driver, is fully engaged in intercourse with Angela. Contrary to what one might think, Angela is enjoying it, but obviously doesn't want to. 159. Angela leans her head over to her right side and notices something-- 160. Thorn has foolishly left his .357 on the side of the bed and the rocking is causing the weapon to move ever so closer to Angela's grasp. 161. Eventually, Angela is able to take hold of it in her right hand. 162. Thorn is way too occupied elsewhere to notice what's about to happen. 163. Angela realizes victory is at hand. ANGELA (breathlessly): Dan... ? THORN (breathlessly): What... ? ANGELA (breathlessly): Are you ready to blow your wad? THORN (breathlessly): Yeah... ANGELA (smiles): Me too... 164. Angela pulls the trigger, blowing out the back of Thorn's neck. 165. Before the blood can stain her body, Angela pushes Thorn's corpse off her. 166. Angela stands back up, still wearing her breastplate, and studies Thorn's corpse. She is obviously a little shocked at the size of the gunshot wound. ANGELA: Hmm... I guess they're right. Size does matter. 167. Angela drops the gun onto Thorn's corpse and walks off. FADE TO: 168. Forest. Int. Day. It is the present time again and Angela is obviously upset at the previous memory. However, she soon shakes it off, stands back up, and walks away. CUT TO: 169. Angela's kitchen. Int. Day. Yolanda and Adam are there and are eating some kind of bran cereal for breakfast. Angela is there as well, but is only having an orange. 170. While eating, Adam notices a picture of Angela's Aunt Martha from the original "Sleepaway Camp." ADAM (points to picture): Hey, Angela, who is that woman over there? YOLANDA: Yeah. She looks a little like you... in the eyes anyway. 171. Angela looks at the picture. ANGELA: That's my Aunt, Martha Ba-- (stops self) uh, Bannister. YOLANDA: Do you talk to her often? ANGELA (apprehensively): We don't get along all that great... YOLANDA: What a shame. What happened, if you don't mind me asking? ANGELA: Well... FADE TO: 172. Aunt Martha's house. Ext. Day. 2001 Angela drives up on the same house from the original "Sleepaway Camp." Viewers should recognize it as her Aunt Martha's house. Angela looks a little younger from previous scenes since she is only 33 here. 173. Angela gets out of her car and looks around suspiciously, probably to see if there's anyone around to identify her. 174. She apprehensively walks up to the door and knocks. After a few seconds, there is no answer. She knocks again. Again, there is no answer. Angela notices that the door is not locked. 175. She looks around for a few seconds, then slowly opens the door and walks in. CUT TO: 176. Aunt Martha's house. Int. Day. Angela slowly steps inside and looks around. 177. She passes the staircase, and moves on. CUT TO: 178. Kitchen. Int. Day. Angela walks into view. Oblivious to her is AUNT MARTHA, now 53-years-old and looking every day of it. She looks much more aged than Angela does at 51. Martha is knitting what looks like a sweater, or maybe a shawl and only the clacking of her knitting needles can be heard. Angela steps around in front of Martha, so that she can get a good look at her. ANGELA: Aunt Martha? MARTHA: Who are you?! What are doing here?! Leave me be! 179. Martha ignores Angela and goes back to her knitting. ANGELA: I'm your niece... Angela. Angela Baker. MARTHA (while knitting): You're no relative of mine. Leave my home at once. ANGELA: Don't you even remember me? MARTHA (while knitting): I know who you are... Angela Baker, the self- proclaimed "Angel of Death"... murderer... Killer of men, women, and children... Fugitive from the chair... I have no business with you, lunatic. ANGELA (feigns a smile): It's good to see you again, Aunt Martha. I've missed you very much. It's been too long... 1983. MARTHA (while knitting): I told you, you're not related to me. Go at once. Or kill me and get it over with. 180. It finally dawns on Angela that her aunt wants nothing to do with her. ANGELA (becoming angry): You know, while I was away, I thought about killing you... I thought about it a lot. MARTHA (while knitting): Why didn't you then? ANGELA: What you did to me was wrong. You shouldn't have done this to your nephew. MARTHA (while knitting): Me? I didn't tell you to shoot an arrow into the camp owner's throat... Or drown anybody... Or boil the cook. That was all you. ANGELA (becomes angry): Yeah it was... but I shouldn't have even though about doing such things if it weren't for what you did to me... You know, I could have killed you the moment I set foot in here... But if all you're going to do is stay here and knit the rest of your life, then I shouldn't even bother. You'll die soon enough and finally be gone. 181. Martha doesn't even respond to what Angela has just said. 182. Angela slowly turns and leaves her aunt behind. However, before Angela is out of earshot Martha finally says something. MARTHA (while knitting): I'll be waiting for you at the gates of hell, Angela Baker! CUT TO: 183. Door. Ext. Day. Angela opens up the door, then turns back to face Martha. ANGELA: Yeah... Angela exits the house and slams the door behind her. CUT TO: 184. Martha's house. Ext. Day. Angela walks away from the house back towards her car as tears stream down her face. FADE TO: 185. Angela's kitchen. Int. Day. It is now the present time again. ADAM: What a sad story. YOLANDA: I don't like that story, Angela. ANGELA: Me neither. But it's true. I guess it's like my aunt always says, "sad songs say so much." (thinks) Or was that Elton John? (thinks) No, that was my aunt. 186. Yolanda looks at Adam, who shrugs back to her. CUT TO: 187. Angela's living room. Int. Day. It is later on in the day. Yolanda is nowhere in sight. Adam is sitting down reading a newspaper. 188. Angela is up doing some dusting around the room. 189. Suddenly, the door opens up and in steps Wynn, singing "Born in the U.S.A." ANGELA: Wynn! How many times have I told you, don't sing that horrible song! WYNN: Sorry, Angela. ANGELA: Wynn, these are friends of mine. (points to Adam) This is Adam and there's a woman around her somewhere. She's Yolanda. WYNN: Hello, Adam. ADAM: Hello, Wynn. ANGELA: Did you have a good day at school today? Did you learn anything today? WYNN (thinks): Hmm... we learned in biology that it takes the average male human three minutes to ejaculate. ANGELA (scoffs): I coulda told ya that. 190. Adam snickers then goes back to reading the paper. 191. Eventually Yolanda comes out of another room, and Wynn quickly takes notice of her. ANGELA: Wynn, this is Yolanda. Say hello, Wynn. WYNN: Hello, Wynn. It is quite obvious the thunderbolt has hit Wynn. YOLANDA (laughs): Hello, Wynn... or is it "Hello, Yolanda"? 192. Yolanda turns and walks away. 193. Angela looks down at Wynn, then smacks him on the side of the head. ANGELA (whispers to Wynn): Snap out of it. She's taken. You're lookin' at her like she's your mother for Christ's sakes. WYNN: Mom never looked that good. ANGELA: Well, you go and jump her like the piece of grade-a meat she is, but I can't be responsible for what Adam does to ya. Wynn starts after Yolanda, but Angela grabs him and pulls him back. 194. Yolanda walks back into the room. YOLANDA: Angela, I noticed you were dusting while ago... That's our job. Let me do it. ANGELA: No, really. It's okay. 195. Yolanda walks over to Angela. 196. Wynn can do nothing but stare in awe at Yolanda, especially her chest. YOLANDA (hallow bravado): Don't make me take that feather duster away from you, Angela. Angela gives up and and hands over the duster to Yolanda who goes to work dusting what Angela hadn't already. ANGELA: Come on, Wynn. Let's go for a walk. WYNN (watches Yolanda): No, you go on ahead. I'll catch up to you-- Angela's arm grabs Wynn by the shoulder and pulls him out the door. 197. Yolanda turns her head and watches as Angela and Wynn walk out of sight. She then drops the duster and heads off to Angela's bedroom. YOLANDA: Come on. 198. Adam gets out of the chair and follows. CUT TO: 199. Angela's bedroom. Int. Night. Yolanda and Adam walk into the room, turning on the light as they enter. YOLANDA: They're gonna be gone for a while, so we should be safe. ADAM: Yeah. 200. The two begin going through Angela's things, finding nothing much other than clothes. ADAM: What are we looking for? YOLANDA I'm gonna show you that she's Angela Baker... She just has to be. The descriptions match too well. 201. The two continue going through Angela's things, and still find nothing of any concern. ADAM: Maybe Baker is dead and the FBI just hasn't updated their list... 202. Yolanda drops down to the floor. YOLANDA: I'd like to believe that... I really would, but I can't take that chance. Yolanda reaches under Angela's bed and grabs a hold of something. 203. She pulls out a box. Yolanda wastes no time in opening it up. YOLANDA: Ah-ha! ADAM: What is it? YOLANDA: The jackpot. 204. Adam walks over to where Yolanda is. 205. Inside the box are literally hundreds of clippings chronicling Angela's prior adventures. 206. The two go through the clippings, all of which have the appropriate dates, and see headlines such as "Transsexual murder apprehended!", "Maniacal counselor strikes at Camp Rolling Hills!", and "'Angel of Death' Assaults Camp's Reopening!". 207. One of the clippings even has a picture of the wall Angela graffitied in New York City reading, "Angela IS BACK!". 208. Adam picks up one of the clippings, which has an artist's conception of what Angela looks like. ADAM: This is her. It has to be. Look at the eyes. YOLANDA: Yep. She is Angela Baker. 209. Yolanda stands up to face Adam. YOLANDA: We have met the enemy and she is ours. CUT TO: 210. Forest. Int. Day. Angela and Wynn are walking alone together. WYNN: God, Yolanda is beautiful! Why didn't you tell me you were hiding her here, Angela? ANGELA: Well, they just showed up yesterday, Wynn. By the way, am I gonna have to hose you down when we get back? WYNN: Angela, if I wasn't convinced you'd beat the crap out of me, I'd jump you right here. 211. Angela looks at Wynn. ANGELA: I admire your restraint. WYNN: Ya know, Angela, I don't think I ever seen anyone that looked prettier than Yolanda. Angela begins to trail behind Wynn as he continues talking. WYNN: I think she was made just for me... Damn that Adam. I wish there was some way to get rid of him. I'd do all the things to Yolanda he can't... She hasn't had a taste of "the Mighty Wynn." Wynn notices that Angela is nowhere to be seen. WYNN (looks around): Angela? Angela? 212. Wynn looks behind him and sees Angela sitting on the ground several feet back. She has an incredibly confused look on her face. 213. Wynn turns around, walks over, and bends down to Angela. WYNN: Angela? Angela? What's wrong? 214. Angela slowly looks up at Wynn. ANGELA: Who are you? What are you doing here? WYNN: What do you mean? I'm Wynn. Don't you remember? 215. Angela's face doesn't register recognition. WYNN: I'm a neighbor... I live near here. (pause) You took me to school the other day. ANGELA: Oh, yeah! (as though first meeting him today) Hey, there Wynn! What are you up to? WYNN: Well, I was walking with you. ANGELA: Oh, were you? (looks around) That would explain the trees. 216. Wynn helps Angela to her feet. WYNN: Come on, Angela, we better go. CUT TO: 217. Guest room. Int. Day. Yolanda and Adam are both there. Yolanda has a large black purse and is going through its contents. Adam sits in a nearby chair, watching. 218. Yolanda pulls out a knife that looks like something Crocodile Dundee would carry and Adam notices this. ADAM (in Australian accent): Now, that's a knife! YOLANDA: What do ya think? Over kill? ADAM: I don't know... You could always throw it at her. At close range you could cut her heart out and show it to her before she died... 219. Yolanda pulls out a wire. YOLANDA: Strangle her maybe? 220. Adam shrugs. 221. Yolanda pulls out a bat. ADAM: That's the one... YOLANDA: You think? ADAM: Yeah... wouldn't it be fun listening to her beg you to stop while you smashed her fucking face in? 222. Hearing this violent thought causes Yolanda to have an almost orgasmic experience. She then slowly sets the bat back into the bag. YOLANDA: That'll do it... We've got all this. We can't lose. ADAM: Baby, I love it when you talk beatings... 223. Adam and Yolanda approach each other and are about to get into something heavy when a door can be heard closing from another room. CUT TO: 224. Living room. Int. Day. Wynn comes walking in, helping Angela along with him. Yolanda and Adam walk into view. ADAM: What's wrong? YOLANDA: Is she okay? WYNN: She's fine. She just gets a little like this sometimes. She'll be fine if she rests a little. 225. Wynn and Angela head towards her bedroom. 226. Yolanda and Adam look to each other and smile. 227. After a few moments, Wynn comes back into the room. He sees Yolanda and notices that Angela is not around to stop him. WYNN: Ya know, Yolanda. This is actually MY house. Angela just kinda rooms with me... I really built it for you. 228. Yolanda smiles and chuckles. YOLANDA: Is that so? ADAM: Hey, Wynn. What's that on your shirt? 229. Wynn looks down and sees a small stain on his shirt. WYNN: I don't know. YOLANDA: It looks like blood. WYNN: Yeah, it does. I wonder where it came from... CUT TO: 230. Angela's home. Ext. Day. It is a little later after the previous scene and is near sundown. Adam is chopping wood for the fireplace. The job he's doing is good, but he seems to be having difficulty doing it. After several chops with the ax, Angela comes around the corner. ADAM (breathlessly): I can't see how you do this? It must kill you doing it. ANGELA: Not really. It's pretty easy. And fun. I've been chopping stuff my whole life. Let me show ya. 231. Angela takes the ax from Adam. She swings back and brings it down on a nearby piece of wood, slicing it clean in half. 232. Adam's mouth drops to the ground. 233. Angela looks up at Adam and smiles. ANGELA: See? ADAM: Pretty impressive... CUT TO: 234. Jerry Lammert's house. Ext. Night. The moon casts the only light around for miles on top of the house. CUT TO: 235. Jerry's house. Int. Night. Jerry's get together is a success as his house is filled with people from the Camp Rolling Hills area. Some of them are sitting on the couch, eating popcorn, and watching "Friday the 13th: The Final Chapter." Most of the people there, amazingly are the same age group: mid-twenties to mid thirties. Across the couch we have CHARLYZE OWEN, a young red headed woman, NICK SKILIS, a blond-haired young man, BARBARA KETTLE, a brunette, Jerry Lammert, whom we met earlier, his wife BECKY, a sandy blond-haired woman, and BOB ANDERSON, a dark-haired young man. Behind them we can see various other PEOPLE who aren't important at this time. 236. On the television screen, we see a young woman in a raft in the middle of a lake, cursing her boyfriend. All of a sudden, hockey-masked killer Jason jumps forth from the water and drives a knife clean through the screaming girl's body from underneath. 237. As Jason appears, several people there jerk in fright and some spill their popcorn. BOB: Hehe... Got ya good. NICK: Hey guys, don't you think that she would have heard Jason go into the water and swim over to her? CHARLYZE: Well, you'd think. BARBARA: Ever stop to think that maybe Jason can walk on the bottom of the water? BOB: Isn't that a little ludicrous? JERRY: You're thinking something in a "Friday the 13th" film might be ludicrous? Wow, you're sharp today. The group laughs. JERRY: Hey, Bob. Here's something more ludicrous for ya. In a minute, her boyfriend's gonna go out there and find her in the raft, despite the fact Jason just stabbed a hole through the bottom of it. CHARLYZE: Hey, Jerry. Did you guys ever come up with a name for your kid? BECKY: Not yet. We're just calling her "Another Lammert" right now. 239. Barbara smiles and chuckles. Just then, there is a knock on the door. 240. Jerry stands up and answers the door. Standing outside is Angela, dressed in a powder blue sweater and a pair of faded jeans. JERRY: Angela, so glad you could make it! Please come in. ANGELA: Thank you. 241. Angela steps into the Lammert living room. JERRY: Angela, this is Charlyze, Nick, Barbara, you know Becky, and Bob on the end. Guys, this is Angela Bannister. Everyone greets Angela in unison. ANGELA: A few friends said they were coming a little later, if that's okay. JERRY: Sure. There's all kinds of food in the kitchen if you're hungry. ANGELA (smiles): Maybe later. (looks around) Whacha doin'? 242. Jerry sits back down beside his wife. JERRY: We're just watching "Friday the 13th: The Final Chapter." ANGELA: Is this part four where he (acts out as she speaks) nails Crispin Glover to a door and then rips him down later on? 243. The others groan in disbelief that Angela ruined that scene in the movie. ANGELA: Sorry... (raises eyebrows) An old habit. 244. Angela sits down in a nearby chair. BARBARA: So Angela. What do you do? ANGELA: I cater. CHARLYZE: Oh? Like what? ANGELA: Weddings. Dinner parties. The usual... Whenever someone needs food, I bake it for them. 245. ASHLEY IRWIN, another young redheaded girl appears, carrying her purse with her. ASHLEY: Jerry, I'm sorry. I gotta go. Something came up. 246. Jerry turns around to face Ashley. JERRY: Oh... I'm sorry you have to leave. Thanks for coming. ASHLEY: Thanks for having me. Goodbye. Everyone simultaneously says goodbye to Ashley as she turns and exits the house. ANGELA (turns around and looks into nothing): Hmm... CUT TO: 247. Jerry's house. Ext. Night. Hardly anything can be seen in the night as Ashley closes Jerry's door behind her and steps into the yard. 248. She walks over to her car and begins to fish out her keys. 249. The camera slowly creeps up on Ashley as she tries to find her keys. 250. Suddenly, some kind of sharp-bladed instrument flashes through the air and within seconds, Ashley's head drops to the ground, followed by the rest of her body. CUT TO: 251. Jerry's kitchen. Int. Night. Nick is inside going through some of the various food that's been layed out in the kitchen. 252. He passes each tray of food and puts a little bit of each on a plate. 253. After going through, Nick looks around frantically for something to drink. NICK (to others): Hey, uh, guys. Has anybody seen the fileting knife? I need to cut something in here. CUT TO: 254. Living room. Int. Night. JERRY (to Nick): It should be in one of the drawers by the sink. CUT TO: 255. Kitchen. Int. Night. Nick looks around for the knife in each drawer and comes up empty each time. NICK: Hmm... where the hell is it? 256. Suddenly, a hand comes down on Nick's own hand, stopping him from leaving the counter. NICK: Hey, what the... ? 257. The assailant uses the lost fileting knife to slit Nick's throat from ear to ear. 258. Nick's only reaction is a silent gurgle as the assailant takes his body and begins to drag it away. CUT TO: 259. Jerry's living room. Int. Night. Angela is sitting there still with the others. She blows a few bangs out of her eyes, then looks around the room. 260. Becky scrunches around uncomfortably. She finally gets up and starts to walk out of the room. JERRY: Where ya goin', dear? BECKY (stops and faces Jerry): To the ladies' room and to check on Another Lammert. Wanna come? JERRY (smiles): No thanks. 261. Becky turns and leaves the room. BOB: Say, who do you think would win in a fight? Jason or Michael Myers? JERRY: Jason. BARBARA: Jason. CHARLYZE: Jason. ANGELA: Michael. Every one turns around and looks at Angela as if to simultaneously say, "Huh?" BOB: Come on, Angela. Jason would punch right through Myers. ANGELA: Maybe... but Mike's not Arnold Horshack. Who's to say that would hurt him? BARBARA: Come on. There'd be no fight because every ten minutes, Myers would have to stop fighting to change masks. Everyone but Angela chuckles. ANGELA: Look, Michael had his eyes shot out and they somehow regrew. Why would a missing heart slow him down any? JERRY: The heart ripping thing is a good point, but Angela's argument is valid too. Jason only punches a hole through Hawes because he had been struck by lightning which charged him like a battery, so at that moment, he had more power than ever before... chances are Jason won't be punching through anyone again. (pause) It'd still be a helluva fight. It'd be cool if they threw each other into walls like in T2. BOB: Yeah, that'd rock. CUT TO: 262. Another Lammert's bedroom. Int. Night. Becky is in the room patting young ANOTHER LAMMERT on the back. The female baby is but a few months old but has the beginnings of what will be hair. 263. Becky paces around the room patting the baby on the back singing a lullaby. 264. Eventually, Another Lammert burps and Becky stops walking around. 265. She slowly bends over into the crib and places the youngster onto a soft-looking blanket. Another Lammert softly coos and her mother, prompting her to smile back at her. 266. Becky then turns and walks out of the room, slowly closing the door behind her. CUT TO: 267. Bathroom. Int. Night. Becky is inside washing up. She turns around and dries her hands on a nearby hanging towel. As she does so, in a mirror, we see the shower door slowly open. 268. Becky is oblivious and finishes up drying her hands. 269. The assailant's foot slowly and silently steps out of the shower. 270. Becky opens her mouth and begins to yawn when suddenly, the assailant grabs Becky's head and and repeatedly slams her forehead against the basin of the sink, causing blood to splatter all over the porcelain. CUT TO: 271. Living room. Int. Night. Only Charlyze, Barbara, Jerry, Bob, and Angela remain. 272. On the television screen, we can see that Jason is in battle with the character of Trish. The end of the movie is nigh. 273. A knock is heard at the door and Jerry gets up to answer it. 274. When the door opens, standing there is Wynn. WYNN: Hello! JERRY: Hello Wynn. Come in. WYNN: Thanks. 275. Wynn steps in, sees everyone, and they exchange greetings to one another. 276. Wynn then turns and sees what is on the television. WYNN: Ah, damn! It's nearly over. 277. Wynn walks over and sits down by Angela. WYNN: How ya doin'? ANGELA: Hmm... okay. WYNN: I didn't think you were into these kinds of movies. ANGELA: Oh, yeah. I've been watching these things for a long time. Jason's a favorite of mine. WYNN: Hmm... it seems odd to me that a woman would like Jason. ANGELA: There are a few things about me that might surprise you, Wynn. WYNN: Nothing about you would surprise me, Angela. CUT TO: 278. Jerry's living room. Int. Night. It is a little later from the previous shot. By this point, the movie has ended and Harry Manfredini's music can be heard over the end credits. ANGELA: I always love that ending when Corey Feldman whacks him in the side of the head with that machete. That is such a cool death! CHARLYZE: Ugggghhhh! That was sick! I can't believe they got away with that! JERRY: Well, they barely did. These F-13s are notorious for pushing the limits of what you can get in the scene. CHARLYZE: Really... ANGELA (stands up and yawns): Guys, I gotta go. I gotta wake up early tomorrow. BARBARA: Aw... JERRY: Well, thank you for coming, Angela. We enjoyed your company. CHARLYZE: Bye! BOB: Bye! BARBARA: Goodbye, Angela! 279. Angela smiles, then turns and exits the house. BARBARA: Well, what now? WYNN (lights up): Let's watch Part V! It's the best one! The entire crowd responds negatively to Wynn's comment. BOB: Part V?! It doesn't even have Jason in it! WYNN: So? It has a Jason-type killer in it... just like the original. BARBARA: Let's watch Part VII. That was the best one! The crowd responds positively to Barbara's comment. WYNN: What?! Part VII sucked donkey bars. BARBARA: What are you talkin' about? Jason was a total badass in that one! WYNN: Badass? He looked like a damned pirate. JERRY: Sorry, Wynn. The majority wins. They want to watch Part VII, so we can't disappoint them... 280. Wynn scoffs. 281. Jerry takes "The Final Chapter" out of his VCR and slides in "Part VII". JERRY: Be right back... Wondering what's goin on with Becky. 282. As Jerry walks out of the room, Wynn makes the "Chh, chh, chh. Ha, ha, ha, ha." noise. CUT TO: 283. Hallway. Int. Night. Jerry comes around a corner and walks over to a door. He slowly opens the door and looks in. CUT TO: 284. Another Lammert's bedroom. Int. Night. We can see part of Jerry as he lurches through the doorway and looks at his baby who is fast asleep. 285. Jerry smiles. CUT TO: 286. Hallway. Int. Night. Jerry pulls his head out of the doorway and slowly shuts it. When he turns to walk further down the doorway, his face turns from a smile to a shock. 287. A hand is holding a butcher knife in the air and before Jerry can react, the knife comes down, burying itself in the side of Jerry's skull. CUT TO: 288. Angela's living room. Int. Night. Angela has apparently made it back to her home and is extremely tired looking. She is sitting in her recliner with only a few lights on around her. 289. Angela drapes her head back over the back of her chair and breathes in deeply a few moments. FADE TO: 290. Cemetery. Int. Day. The year is 2006 and it is the middle of the day. Angela, now 38-years-old, is walking through the Cemetery, carrying two roses. She looks around and studies each tombstone, apparently looking for one in particular. 291. Finally, Angela comes to a sudden stop and studies the gravestone ahead of her. 292. There are two headstones, one reading "John Baker; Loving Father; 1942-1972." and "Angela Baker; Beloved Child; 1968-1972." Obviously, this is the resting place of Angela's father and her sister, the REAL Angela Baker who died as a child in a boating accident with her father. 293. Angela slowly drops to her knees and places the two roses over each of the graves. For about a minute, Angela is silent and looks like she could begin sobbing uncontrollably at any moment, until... ANGELA (softly): Angela... I should've been the one to go. 294. Angela slowly rises to her feet and walks away as the camera remains behind, displaying the two headstones of the lost Baker family. FADE TO: 295. Angela's living room. Int. Night. It is the present time again. Angela is still lying in her chair, only this time, tears are streaming down the sides of her face. CUT TO: 296. Living room. Int. Night. "Friday the 13th, Part VII" is playing out on the television screen. And those still in the room are obviously enjoying it. 297. Charlyze turns her head and looks over at Wynn. CHARLYZE: So, Wynn. What's the deal with Angela? A little out there, isn't she? WYNN: Angela? Well, she's not used to dealing with people. I'm surprised to have seen her here at all. BOB: How old is she? WYNN: Um... I think she'll be like 52 in a few days. BOB: Really? She looks younger than that... Man, I was gonna ask her out too. BARBARA: What's stoppin' ya? Can't handle a 52-year- old woman? 298. Bob smirks at Barbara. WYNN: It's best you didn't. You wouldn't get very far. Angela doesn't date. CHARLYZE: Why not? WYNN: Because when she was around 20 or 21, some asshole raped her. CHARLYZE: Oh... WYNN: She said she did have a boyfriend once or twice, once when she was fifteen and once when she was, I think she said, 32 or 33. Something like that. BOB: What happened? WYNN: I don't know what happened to the first one, but the later one got killed. Some guys were after Angela because they were after this killer with the same name and who matched the description of Angela. One of them knew who she was and they kind of hit it off, but the guy ended up being shot by one of them when he tried to stop them from shooting Angela. She eventually got away and those guys haven't been seen or heard from since. BARBARA: Wow! BOB: That's pretty neat. WYNN: Angela is a neat woman, but she suffers from mental lapses sometimes and can't remember what's going on. 299. Suddenly, the lights in the room and the television go off. The house is shrouded in darkness. BARBARA: Hey! BOB: What the hell... ?! WYNN: Hey, Jerry? Becky? Power's out! CHARLYZE: Don't you think they'd know? WYNN: Maybe not. Charlyze looks at Wynn. 300. Wynn walks out of the room, and heads for the staircase. CUT TO: 301. Staircase. Ext. Night. Wynn continues up the steps, slowly and is shadowed in darkness. WYNN: Hey, Jerry?! Becky? Lights are out. (pause) You aren't doing something I should see are you? CUT TO: 302. Hallway. Int. Night. Wynn comes around the corner slowly and walks over to Jerry's bedroom door. WYNN (sheepishly): Guys? Wynn knocks on the door and stands there a moment. There is no answer. Ever so slowly, Wynn opens the door and sticks his head in. CUT TO: 303. Jerry's bedroom. Int. Night. Wynn's head comes through the open doorway. 304. Sitting on the bed are the corpses of Ashley, Nick, Jerry, and Becky, lying one on top of the other. Ashley's decapitated head is placed in a nearby chair. 305. Wynn sees this and jerks back in fright. WYNN: Holy shit! Wynn's yell awakens Another Lammert and she can be heard crying in the other room. Wynn looks in the direction of the baby's room. WYNN: Dammit! CUT TO: 306. Living room. Int. Night. Wynn comes running down the stairs and into the living room, carrying the crying Another Lammert with him. WYNN: Guys, we gotta get outta he-- Wynn halts in his words, seeing that in the room are the corpses of Barbara, Charlyze, and Bob. 307. All of them have been beheaded and their heads are nowhere to be found. WYNN: Jesus Christ! 308. Wynn turns to run, but standing there are both Adam and Yolanda. Yolanda is holding a long harpoon. 309. Wynn backs away from the two. WYNN: Did you do this? 310. Yolanda gives a wise-ass smile and nods her head. WYNN: What the hell are you doing here? Why are you doing this? YOLANDA: I'm going to kill you, and then I'm going to kill Angela Baker. WYNN: It's Angela Bannister. ADAM: Uh, no. WYNN: After all the kindness Angela extended to you, you're gonna do this to her. You know, you ain't fit to be in the same room with Angela. 311. Adam walks over to Wynn and takes Another Lammert from him, then punches Wynn in the side of the head with his free hand. Wynn drops to the floor with a thud. YOLANDA: Thank you. That shit was getting on my nerves. 312. Adam pulls Wynn to his feet, while still holding the crying baby, then shoves the young boy against a wall. YOLANDA (studies Wynn): Hmm... Let's play "Pin the tail on Wynn." 313. Yolanda draws back and before Wynn can react, throws the harpoon into Wynn's stomach, transfixing him with the wall. 314. Wynn lets out a few gasps and blood begins to run from his mouth. ADAM: 50 points? YOLANDA: None. I was aiming for his mouth. (pause) Let me see her. 315. Adam walks over to Yolanda and hands her Another Lammert. Yolanda holds the crying baby into the air and studies it. YOLANDA: Aw... look how cute she is! I've always wanted my own baby. ADAM: You know, I could have helped you with that. Yolanda looks at Adam and smiles. YOLANDA: Come on. All are gone but one. Let's get this over with and go home. ADAM: Good deal. Yolanda and Adam turn and walk over to Jerry's door, open it, then step out. CUT TO: 316. Jerry's house. Ext. Night. Yolanda and Adam come out of the house when suddenly about 20 feet ahead of them, a half a stick of dynamite explodes. 317. The murderous duo hit the ground as dirt and debris flies all around. 318. Yolanda keeps Another Lammert from hitting the ground, and the explosion has apparently shut her up. 319. Yolanda coughs and Adam squints his eyes to see what is going on ahead of him. Yolanda too takes notice of what's happening. 320. Even in the dark night, black smoke can be seen flowing through the air and the edge of the house is shrouded in smoke. 321. Yolanda studies the scene. 322. Adam studies the haze as well. 323. The smoke passes somewhat and Angela is standing there, like Clint Eastwood about to face down his gunslinging foe. 324. Yolanda sees Angela and stands studying her. 325. Even Another Lammert can see Angela in the smoke. 326. Yolanda looks over to Adam and chuckles. 327. Adam too sees Angela, then turns to look at Yolanda, who is still studying Angela. 328. Angela stands perfectly still as the wind blows around debris. 329. Yolanda turns to Adam and jerks her head. 330. Adam walks over to Yolanda and she gives him her gun. 331. Angela begins walking toward the two silently as the smoke behind her continues to swirl around in the air. 332. Adam steps back a few feet to better size up the woman as Yolanda whispers something into Adam's ear, then turns and leaves with Another Lammert lying in her arms. Adam slowly raises the gun into the air and begins to take aim. 333. Undaunted, Angela continues to walk toward Adam. ADAM: Angela! ANGELA: I hear you wanted to see me. ADAM (aims gun for Angela's heart): This chicka's dead... ANGELA: Give me the baby. Adam shoots the gun hitting Angela directly in the chest. Angela hits the ground. 334. Adam smiles and begins to laugh until Angela stirs and rises to her feet again. 335. Seemingly unharmed, Angela again begins walking towards her attacker. ANGELA: What's wrong, Adam? Not quite the murderer you thought you were? 336. Adam's eyes show a hint of worry as Angela continues on, but he shoots at Angela's heart again. 337. Again, Angela falls to the ground, but again she rises to her feet but this time begins walking around Adam who is becoming increasingly mystified... and scared. ANGELA: The heart, Adam. Remember my heart. 338. Adam loads another bullet into Angela, but this time she is only knocked backwards and refuses to go down. After she regains her balance, Angela continues walking around Adam. ANGELA: The most vital organ, Adam. The heart. 339. Adam frantically fires another bullet at Angela. 340. She hits the ground hard, but again rises to her feet and continues her taunt. ANGELA: Shoot for the heart or you'll never kill me... 341. Adam, a nervous wreck at his inability to kill Angela, fires once again and Angela is knocked to the ground one more time. However, she is quick to get up. 342. Adam looks as though he's seen a ghost and Angela herself is blaze` about her inability to die. 343. Angela reaches up behind her neck and unties a small rope. She then slightly raises up her sweater and a piece of iron slides onto the ground with five bullet marks on it. 344. Adam's eyes widen in shock at the fact he's been tricked. 345. Angela meanwhile, continues coming at Adam. ADAM (not sure of himself): Stop right there or you'll die... I mean it, Angela. Angela rotates her shoulders and keeps coming. 346. Adam aims the gun to shoot again, but Angela quickly throws a dagger at the killer, hitting him in the arm carrying the gun. 347. Adam screams and fires the last bullet of the gun into the air. 348. Just as quickly, Angela goes up to the falling Adam, pulls the knife from his arm, then pulls back and drives it straight into his forehead. 349. Angela watches as Adam's body slumps to the ground and twitches a few moments before it dies. 350. Satisfied, Angela looks around, then follows in the direction Yolanda went to. 351. As Angela walks into the woods, we can see the hunting knife she used in "Sleepaway Camp 2" ready to be withdrawn at a moment's notice. CUT TO: 352. Road. Ext. Night. Several police vehicles speed down the dirt road, headed no doubt, for the Lammerts' house. CUT TO: 353. Forest. Int. Night. Angela is barely visible as she slowly slips through the woods, looking for her enemy. 354. Her shifty eyes study every nook and cranny of the trees for any possible hiding spots. 355. The camera continues watching Angela, then pans over to a nearby tree which Yolanda is hiding behind. Her eyes look around as well and the fileting knife used to kill Nick is visible in a sheath attached to her pants. 356. Angela hears some crying and looks around. She spies Another Lammert lying on the ground next to a tree. 357. Angela walks over and slowly bends down to pick the baby up. However, before she can even touch the baby, Yolanda runs in and kicks Angela in the side of the head, knocking her to the ground. 358. Yolanda raises her foot and tries to stomp Angela in the gut, but the older woman rolls out of the way and gets back to her feet. 359. Yolanda closes in on her enemy, but Angela angrily shoves the woman away from her. ANGELA (Defiantly and with her head cocked to the side): What are you waiting for, Yolanda! This is your big chance! Go for it! 360. Yolanda charges Angela, but Angela grabs Yolanda and swings her through the air and onto the ground. 361. Angela backs away to better size up the situation. 362. Yolanda grunts, then gets back to her feet. She turns around and charges Angela again. 363. This time, Angela leaps towards Yolanda and buries a right hook into her stomach. 364. Yolanda falls to the ground with a gasp and pain etched all over her face. 365. Angela just stands, watching. 366. Yolanda gets back to her feet. 367. Angela throws to hit Yolanda in the side of the head with her fist, but misses. 368. Yolanda takes the opportunity to grab Angela and bury a series of right hooks into her stomach. 369. Angela screams in pain, and pulls herself away from Yolanda. 370. Yolanda charges again, throwing a missing left and right hook. Angela ducks them all and comes back up between punches to face Yolanda. ANGELA: Bring it, Yolanda! 371. Yolanda again tries to hit Angela with a series of swats, but Angela is just too fast and ducks them all. ANGELA: You think you know horror? You don't know jack! YOLANDA: Yeah? Show me. 372. Angela lets loose with her own barrage of left and right hooks, all of which find their mark on Yolanda's face. 373. Angela then sidesteps and clips Yolanda across the chin. 374. Yolanda throws a missing left hook. 375. Angela pours it on with a three rights to Yolanda's face. She then follows that up with a left, a right, then a left hook. 376. Yolanda counters with a left uppercut, then a right hook that causes Angela to stumble away. 377. Yolanda hits Angela with a right hook in slow motion. The noise of her fist hitting Angela's skull sounds like bones cracking and it causes Angela to momentarily flash back to being kicked in the side of the head by Marcia in "Sleepaway 3." 378. Yolanda hits Angela with another right hook in slow motion. This time as Angela is hit, she flashes back to when she was hit in the side of the head with a log by a police officer. 379. Yolanda hits Angela with a left hook in slow motion. This time, Angela flashes back to being hit in the forehead by the counselor. 380. Yolanda hits Angela with a right again, in normal speed, but Angela pushes Yolanda away with her left hand and hits her with a right. 381. Yolanda grabs Angela's left arm and the two women lose balance and fall to the ground. 382. Both women withdraw their knives they've brought along. 383. Angela is obviously the quicker of the two and stabs Yolanda in the left leg with her hunting knife. 384. Yolanda screams, then hits Angela with another right hook, causing her to yell and fall onto the ground. 385. Yolanda gets on top of the aging woman and tries to drive the knife into Angela's head, but Angela's hands hold Yolanda's arms just barely far enough away. 386. The knife softly scrapes Angela's left cheek, but does not cut it. 387. Thinking quickly, Angela suddenly rises up and bites Yolanda on the hand. 388. Yolanda screams out, and Angela hits her with a right hook, knocking the killer off her and causing her to throw her knife through the air. 389. Angela rises to her feet and Yolanda charges at her enemy, grabs Angela around the legs, then throws her through the air. 390. Angela hits the ground with a thud and a groan and is kicked in the side of the head just as she tries to get up. 391. Yolanda races to find her knife. 392. Angela looks up at the woman, realizing what Yolanda is doing. 393. She runs at Yolanda and tackles her. 394. The two women scream and yell as Angela climbs onto Yolanda and begins beating the murderess with a series of devastating right hooks to the side of the head. ANGELA: How do you like it?! Huh?! You wanna not remember anything for longer than five minutes?! CUT TO: 395. Jerry's house. Ext. Night. The police cars all pull into Jerry's yard. 396. Just as quickly, policemen file out and scour the property. CUT TO: 397. Forest. Int. Night. Yolanda hears the police sirens and knows what is happening. YOLANDA: Shit! The cops! ANGELA: Yep. I called 'em here. YOLANDA: What the fuck'd you do that for, bitch?! ANGELA: I don't know... maybe to catch you. 398. Yolanda headbutts Angela, knocking the woman off her, then rises to her feet as quickly as she can. 399. She grabs the still-crying Another Lammert and runs off into the night. 400. Angela lies there a moment, but also realizing what is happening, clumsily gets to her feet and runs off in pursuit of Yolanda. CUT TO: 401. A motel in New York City. Int. Day. The motel is obviously in a seedy spot of town and looks like it's a hangout for the lowlifes of the area. 402. Angela comes around the corner walking down the sidewalk. Angela is dressed in a tight, black dress typical of what women older than her would wear. She is also wearing a black flat-brimmed hat. 403. Angela comes to a stop and looks up at the sign, seeing the name of the hotel. CUT TO: 404. Lobby. Int. Day. The lobby of this motel is nowhere near as bad as the outside would have one believe. In fact, it's downright clean and healthy-looking. Yolanda is alone in the room, kicked back on a couch resting and taking time out to lick her wounds. Beside her is a black baby cart containing the sleeping Another Lammert. Angela slowly walks into the room. 405. Yolanda looks up and sees that Angela's there. YOLANDA: Oh, it's you... what do you want? 406. Angela notices the stab wound she inflicted. ANGELA: It hurts like hell, doesn't it? YOLANDA: That it does. ANGELA: You should have been ready. YOLANDA (losing patience): Ready for what? ANGELA: For this. 407. Angela holds up her right palm, revealing the wound she received from Molly in "Sleepaway Camp 2." 408. Yolanda reacts to the wound in impression. 409. Angela raises up her shirt a few inches, revealing that she is not wearing her breastplate and the scars inflicted upon her by Marcia's rampage in "Sleepaway 3" are visible. YOLANDA: Nice. You get laid much with that? 410. Angela gives Yolanda a sly smile. ANGELA: This is the big time... Isn't that where you wanted to be? Number 1? With all the FBI and policemen in the country after you? This is Angela Baker you're up against. The most dangerous person in America. You're not back there killing gas jockeys and robbing two-bit convenience stores. Let me welcome you to the life, because this is it and it only gets harder and scarier from here. I'm surprised you haven't gone into hiding yet... You've got balls, but no brains. Too bad. What a great package you'd be if you had the looks and the upstairs to do things right. 411. Yolanda hobbles to her feet. YOLANDA: What are you gonna do when I beat the fuck out of you? ANGELA: Pull myself off the floor and let you do it again. Because if I don't kill you here, I'm gonna kill you in Rhode Island. And if I don't kill you in Rhode Island, I'm gonna kill you in Pennsylvania. YOLANDA (chuckles): Oh yeah? What makes you so goddamned sure, Angela? Angela sticks her hands in her pockets. ANGELA: Hey... Angela looks around the room to check for others and fidgets her hands in her pockets. ANGELA: I'm back! Angela suddenly, and with lightning speed, draws a dagger from her pocket and throws it, hitting Yolanda off screen. We hear the dagger enter Yolanda's body and her subsequent yelp. The camera ignores her and zooms in on Angela's face. We can tell by the look in her eye that the Angel of Death is back. 412. Meanwhile, Yolanda drops to the floor, dead. 413. Angela stands over Yolanda's corpse like the Angel of Death she is and looks pitifully at Yolanda. ANGELA (in bad Marlon Brando impression): Tsk, tsk, tsk. Ya coulda been a contenda. 414. Angela turns and sees Another Lammert lying nearby, awake and watching her. 415. Angela bends down, picks up the baby and studies it, similarly to how Yolanda did earlier. 416. The baby smiles at Angela and coos, forcing Angela to smile and laugh as well. 417. Angela puts Another Lammert back into the carriage and begins to push it out of the room, leaving Yolanda's corpse behind. CUT TO: 418. Hotel. Ext. Day. Angela pushes the carriage out of the building, then looks around. 419. Deciding upon a way to go, Angela digs out her glasses, turns away from the camera, then pushes the baby carriage along with her. Apparently, Another Lammert is now Angela's daughter, or Another Baker. Fade to black. Description of the credits for "The Lunatic World of Angela Baker." The credits roll with a montage of black and white stills from the entire "Sleepaway Camp" series while "The Measure of Grand" plays. "Sleepaway Camp"- 1. Angela and Ricky come down the stairs of Aunt Martha's house. 2. Aunt Martha gives instructions to the two children. 3. Angela and Ricky step off the bus and onto the grounds of Camp Arawak. 4. Chef Artie advances upon young Angela in the back room. 5. Angela's hands pull the chair out from under Artie. 6. Artie screams in pain as his hands burn and boil. 7. A group of older boys taunt Angela. 8. Judy scornfully looks at Angela. 9. Meg looses her cool at Angela's silence. 10. Angela just looks at Meg as she goes off on a rant. 11. Angela and Paul chat during the girls' volleyball game. 12. Angela pops up underneath the canoe an older boy is underneath as well. 13. A drowned boy is discovered on a beach with a snake crawling out of his mouth. 14. An older group of kids throw water balloons at Angela. 15. Angela discovers Paul in the woods kissing Judy. 14. An older boy is devoured alive by wasps. 16. Angela stabs Meg in the back as she takes a shower. 17. Judy sees Angela approaching her, entirely silhouetted by the camp's spotlights. 18. Judy's arm clutches the sky as Angela kills her with a curling iron. 19. Angela takes aim at camp owner Mel at the archery range. 20. Mel's eyes widen in shock as an arrow pierces his throat. 21. Paul pleads with Angela to forgive him. 22. The dead bodies of three campers litter the forest. 23. Angela decides that she wants to go swimming with Paul. 24. Aunt Martha admires young Peter dressed as a little girl. 25. Ronnie looks in disgust upon finding Angela on the beach. 26. A cropped shot of Angela's hissing face as the counselors discover her (his) secret. "Sleepaway Camp 2: Unhappy Campers"- 1. Angela and Phoebe have an altercation. 2. Angela draws back to hit Phoebe with a log. 3. Angela cuts Phoebe's tongue out. 4. Angela and Uncle John discuss the campers. 5. Angela is at the dining room, singing "The Happy Camper Song." 6. Angela and T.C. chat. 7. Angela watches irefully as the Shote Sisters drink and mock her singing. 8. Angela pours liquor on the remaining Shote Sister. 9. Angela smiles as the Shote Sisters burn to a crisp. 10. Angela pulls out a drill from the back seat of her car. 11. Angela pulls her face back in disgust as Mare's blood sprays back on her. 12. Judd's blood splatters on Angela's mask, who is dressed as Leatherface. 13. Angela demands to be let into a restroom where Ally is inside. 14. Angela and Molly talk inside a cabin. 15. Angela stabs Ally in the back with her hunting knife. 16. Angela drowns Ally in the leach-filled outhouse. 17. A soaked and angry Angela stabs Leah in the chest with her knife. 18. Angela gasps for air after having a nightmare. 19. Uncle John fires Angela. 20. Angela sits outside her cabin as bitterness overtakes her. 21. Angela tries to coax the captive Sean and Molly into eating. 22. Angela slices Sean's head off with a machete. 23. Molly smacks Angela in the back with a log. 24. Angela tries to keep Molly from backing over the cliff. 25. Molly lies unconscious at the bottom of the cliff. 26. Angela seems almost on the verge of tears as she looks down at Molly. "Sleepaway Camp 3: Teenage Wasteland"- 1. Angela takes down Maria in a Mack truck. 2. A reporter does the story on Camp New Horizons as the rich and poor kids idle in back. 3. Angela prepares a new kind of high: Drain-O. 4. The reporter coughs up blood and dies on the side of the road. 5. Angela looks at Bobby in disbelief as he refers to her as "underprivileged." 6. Angela cheerfully says "I do!" when asked who knows "The Happy Camper Song." 7. Angela sits uneasily as the other girls prattle on about who Angela Baker is. 8. Angela fishes up Jason's mask on the pier. 9. Angela stabs Herman in the mouth with a log. 10. Angela beats Jan lifeless with the same log. 11. Angela sits in disbelief at the way Peter and Snow-Boy are acting. 12. Angela prepares to roast marshmallows as Peter, Snow-Boy, Jan, and Herman's corpses burn. 13. Angela draws back an ax and beheads Arab. 14. Angela walks away as Cindy's lifeless body lies below a flagpole. 15. Angela pushes Lily into the garbage hole. 16. Angela raises up the lawnmower to do some hedgework. 17. Angela ties Bobby to a tree. 18. Bobby screams in pain as Angela drives off with Bobby's arms. 19. Angela drives a railroad spike into Riff's back. 20. Angela shoots Barney. 21. Barney's body lifelessly slides down the wall. 22. Angela lays down the rules of the game to Tony and his friends. 23. Angela bids farewell to Tony and Marcia, the winners of the game and the survivors. 24. Marcia viciously attacks Angela with her own knife. 25. Angela stabs the paramedic with a needle. 26. Angela lies lifelessly in the ambulance's rear. "The Lunatic World of Angela Baker"- 1. Dan Thorn lays down the law on how its gonna be to Angela with his .357 magnum. 2. Angela holds Thorn's gun and studies his corpse. 3. A policeman busts a log over the side of Angela's head. 4. A counselor knocks Angela through the air with a punch. 5. Angela and the Counselor crash out the window. 6. Angela tries to carry on a conversation with Aunt Martha. 7. Aunt Martha disowns Angela. 8. Angela goes to visit the graves of her father and sister. 9. Angela awakens from a nightmare. 10. Yolanda and Adam are unnerved at the fact Angela is ranked higher than they are. 11. Angela finds herself lost in the woods. 12. Angela and Wynn talk while walking to school. 13. Angela gives Wynn money for lunch. 14. Yolanda and Adam show up at Angela's door. 15. Angela, Yolanda, and Adam all eat stew. 16. Angela and Wynn walk in the woods. 17. Angela is sitting in the middle of the woods, lost. 18. Yolanda shows off a huge knife to Adam. 19. Angela watches a movie with others at Jerry Lammert's house. 20. Yolanda and Adam face down Wynn. 21. Wynn stands with a harpoon sticking out of him, impaled to the wall. 22. Angela buries a dagger in Adam's forehead. 23. Angela throws a dagger at Yolanda. 24. Angela holds Another Lammert in the air and studies her. 25. Angela pushes the baby cart out and leaves Yolanda's corpse behind. 26. Angela pushes Another Lammert in her baby cart, ready to take on the lunatic world she inhabits. ALTERNATE ENDING # 1 353. Forest. Int. Night. Angela is barely visible as she slowly slips through the woods, looking for her enemy. 354. Her shifty eyes study every nook and cranny of the trees for any possible hiding spots. 355. The camera continues watching Angela, then pans over to a nearby tree which Yolanda is hiding behind. Her eyes look around as well and the fileting knife used to kill Nick is visible in a sheath attached to her pants. 356. Angela hears some crying and looks around. She spies Another Lammert lying on the ground next to a tree. 357. Angela walks over and slowly bends down to pick the baby up. However, before she can even touch the baby, Yolanda runs in and kicks Angela in the side of the head, knocking her to the ground. 358. Yolanda raises her foot and tries to stomp Angela in the gut, but the older woman rolls out of the way and gets back to her feet. 359. Yolanda closes in on her enemy, but Angela angrily shoves the woman away from her. ANGELA (Defiantly and with her head cocked to the side): What are you waiting for, Yolanda! This is your big chance! Go for it! 360. Yolanda charges Angela, but Angela grabs Yolanda and swings her through the air and onto the ground. 361. Angela backs away to better size up the situation. 362. Yolanda grunts, then gets back to her feet. She turns around and charges Angela again. 363. This time, Angela leaps towards Yolanda and buries a right hook into her stomach. 364. Yolanda falls to the ground with a gasp and pain etched all over her face. 365. Angela just stands, watching. 366. Yolanda gets back to her feet. 367. Angela throws to hit Yolanda in the side of the head with her fist, but misses. 368. Yolanda takes the opportunity to grab Angela and bury a series of right hooks into her stomach. 369. Angela screams in pain, and pulls herself away from Yolanda. 370. Yolanda charges again, throwing a missing left and right hook. Angela ducks them all and comes back up between punches to face Yolanda. ANGELA: Bring it, Yolanda! 371. Yolanda again tries to hit Angela with a series of swats, but Angela is just too fast and ducks them all. ANGELA: You think you know horror? You don't know jack! YOLANDA: Yeah? Show me. 372. Angela lets loose with her own barrage of left and right hooks, all of which find their mark on Yolanda's face. 373. Angela then sidesteps and clips Yolanda across the chin. 374. Yolanda throws a missing left hook. 375. Angela pours it on with a three rights to Yolanda's face. She then follows that up with a left, a right, then a left hook. 376. Yolanda counters with a left uppercut, then a right hook that causes Angela to stumble away. 377. Yolanda hits Angela with a right hook in slow motion. The noise of her fist hitting Angela's skull sounds like bones cracking and it causes Angela to momentarily flash back to being kicked in the side of the head by Marcia in "Sleepaway 3." 378. Yolanda hits Angela with another right hook in slow motion. This time as Angela is hit, she flashes back to when she was hit in the side of the head with a log by a police officer. 379. Yolanda hits Angela with a left hook in slow motion. This time, Angela flashes back to being hit in the forehead by the counselor. 380. Yolanda hits Angela with a right again, in normal speed, but Angela pushes Yolanda away with her left hand and hits her with a right. 381. Yolanda grabs Angela's left arm and the two women lose balance and fall to the ground. 382. Both women withdraw their knives they've brought along. 383. Angela is obviously the quicker of the two and stabs Yolanda in the left leg with her hunting knife. 384. Yolanda screams, then hits Angela with another right hook, causing her to yell and fall onto the ground. 385. Yolanda gets on top of the aging woman and tries to drive the knife into Angela's head, but Angela's hands hold Yolanda's arms just barely far enough away. 386. The knife softly scrapes Angela's left cheek, but does not cut it. 387. Thinking quickly, Angela suddenly rises up and bites Yolanda on the hand. 388. Yolanda screams out, and Angela hits her with a right hook, knocking the killer off her and causing her to throw her knife through the air. 389. Angela rises to her feet and Yolanda charges at her enemy, grabs Angela around the legs, then throws her through the air. 390. Angela hits the ground with a thud and a groan and is kicked in the side of the head just as she tries to get up. 391. Yolanda races to find her knife. 392. Angela looks up at the woman, realizing what Yolanda is doing. 393. She runs at Yolanda and tackles her. 394. The two women scream and yell as Angela climbs onto Yolanda and begins beating the murderess with a series of devastating right hooks to the side of the head. ANGELA: How do you like it?! Huh?! You wanna not remember anything for longer than five minutes?! 395. Yolanda can only lie on the ground, unconscious from Angela's onslaught. 396. Angela sees that Yolanda is not responding to her and stops hitting her. She looks at Yolanda a few moments, before getting back to her feet. 397. Angela turns and sees Another Lammert still lying on the ground nearby. She also sees Yolanda's knife which she knocked away. 398. Angela bends down, reaches over and picks up Yolanda's knife, pockets it, then moves over to the baby. 399. Angela stands over the parentless child and studies her a moment before picking her up and holding her in the air. 400. The baby smiles at Angela and coos, forcing Angela to smile and laugh as well. 401. Angela puts Another Lammert back onto the leafy forest floor and bends down to be closer to it. 402. She puts her mouth onto the baby's stomach and blows, causing the baby to giggle. 403. Angela looks up at the baby and smiles, then blows on the baby's stomach several more times, bearing a similar reaction from the youngster each time. 404. Angela again sits up. Suddenly, a gunshot is heard and a bullet hole tears through Angela's right shoulder. Angela screams and falls to the forest's floor. 405. Yolanda is standing there behind her, holding a gun in her hand. 406. Angela lies on the ground, holding her wound and moaning in pain. 407. Yolanda walks over a few feet, and looks down on the injured Angel of Death. YOLANDA: So tell me, Angela. How does it feel to know the rest of your life is going to be spent in absolutely agonizing pain? 408. Angela hobbles around on the ground. YOLANDA: Come on. Admit it. Didn't think it was gonna end like this, didja? 409. Angela continues to hobble around on the ground. Yolanda apparently hasn't caught on that she's about to try something. YOLANDA: Oh, well. I gotta be going now. I'm feeling generous, so where do you want it? The face or the chest? If it's any consolation, you almost made it out. 410. Suddenly, Angela springs to her feet and with lightning speed, uses Yolanda's knife in her left hand to slit Yolanda wide open from the bottom of her stomach to the bottom of her neck. 411. Blood flies everywhere, staining the ground, several nearby trees, and even Angela. 412. Yolanda simply topples over onto the ground, dead. 413. Several gallons of blood spill out from beneath her body. 414. Seeing that Yolanda is finally dead, Angela draws back and throws Yolanda's knife into its owner's corpse, causing it to stick out her back. 415. Angela moves on over to the baby, who has been completely silent about this. She looks down and sees the baby covered in blood. 416. Angela sits down on the ground and begins to wipe the blood away from the baby's face. After a few moments, she realizes the baby is not responding to her. 417. Angela studies the baby, puzzled, but finally comes across the reason the baby is inactive... a bullet wound directly in the baby's heart. 418. Angela's face turns to sheer terror as she realizes the baby is dead-- and worse, killed by a bullet meant for her-- but begins to insanely shake the baby, hoping it will wake up. ANGELA: No! God, please, no! The baby refuses to wake up and after a few more moments of shaking, Angela lets go of the baby and falls over beside it. 419. She places her blood stained hands over her face and begins to weep uncontrollably, surrounded by the corpses of Yolanda and Another Lammert. Angela pulls her head back and tries to scream, but cannot utter a sound. Her face is locked in a hideous grievous expression as tears roll down her face, suggesting she is suffering from momentary lockjaw. CUT TO: 420. Tree branch. Ext. Night. An onlooking owl watches Angela below. CUT TO: 421. Forest. Int. Night. Angela finally takes a breath and is able to let out a woeful cry that seems to last forever. Eventually, the last of the cry escapes from Angela's mouth and she drops her head down again, but slowly pulls it back with her eyes rolled into the back of her head. 422. Angela falls flat on her back, beside the corpse of Another Lammert. CUT TO: 423. Aerial shot. The camera looks down from the tree tops on the bodies of Yolanda, Angela, and Another Lammert, lying next to one another on the ground. The only difference is Angela is the only one of the three still alive. FADE TO: 424. Stock footage from "Sleepaway Camp." Paul gives young Angela a hug which she stiffly receives. Angela leans over and kisses Paul. Paul talks with Angela as the other girls play volleyball. CUT TO: 425. Stock footage from "Sleepaway Camp 2: Unhappy Campers." Angela reaches over and hugs Molly outside the old cabin. At the forest sleep-out, the girls tackle a mysterious figure and unmask it, revealing it to be the smiling Angela. Angela and Molly are together at night, the only ones left in the girls' cabin. CUT TO: 426. Stock footage from "Sleepaway Camp 3: Teenage Wasteland." Bobby puts his hands around Angela's eyes as she waits for him. Angela and Bobby chat while trying to catch fish. Angela is pleased that Bobby's favorite color is blood red. Angela smiles as Bobby remembers what her alias is. CUT TO: 427. Stock footage from "The Lunatic World of Angela Baker." Wynn chats with Angela outside her home. Wynn says something, causing Angela to laugh. Wynn and Angela talk, sitting next to one another at Jerry's party. Angela and Wynn walk away together towards Wynn's school. FADE TO: 428. Angela's home. Ext. Day. The year is now 2048. Angela is sitting in a chair outside her home, now at the age of 80 and looking every day of it. Angela wears a black sunhat and a green button-up shirt with a brown sweater over that. The sunlight shines down upon Angela and her surroundings, giving her an almost golden hue. It appears that after her experience with Yolanda and Adam, Angela has let herself go to hell. Her hair is still dyed brown, but it looks ineptly done, most likely from lack of enthusiasm and barely looks combed. Angela's eyes are deeply sunk in her skull and her eyelids hang heavily over the eyes. Her once cheerful cheeks look fallen into the sides of her face. Angela's thin neck has taken on an almost turkey-like appearance as two waddles on each side of the neck hang over her collar. Angela has apparently been thinking about the footage seen prior to this scene. These somewhat cheerful memories apparently cause her great pain. Angela closes her eyes to the thoughts, then slowly bends her head down. She raises her bony hands and puts on the sunglasses she wore throughout "Sleepaway 3." Angela then pulls her head back slowly and swallows. It should be obvious that she is preparing for death. CUT TO: 429. Long shot of Angela. Angela continues to sit in her chair as a small dachshund plays around nearby. Just then, Angela's arms drop to her lap. Her head slowly drops to her side, causing her body to tilt over towards the end of the chair. After a few moments, Angela's body falls out of the chair and onto the ground, scaring the nearby dog. Seconds later, the dog runs over to Angela and begins to lick her on the face. THE END THE JUST PLAIN SILLY ENDING CUT TO: Forest. Int. Night. Angela is barely visible as she slowly slips through the woods, looking for her enemy. Her shifty eyes study every nook and cranny of the trees for any possible hiding spots. Angela feels something wet on her face. She rubs her hand across her mouth and sees that blood is on her hand. Angela looks at her hand a moment, then feels underneath her nose. For some reason, her nose has started bleeding. Angela wipes at her nose several times until the blood is gone. She then shrugs it off and moves on. The camera continues watching Angela, then pans over to a nearby tree which Yolanda is hiding behind. Her eyes look around as well as she pats the fileting knife used to kill Nick in a sheath connected to her pants. Angela hears some crying and looks around. She spies Another Lammert lying on the ground next to a tree. Angela walks over and slowly bends down to pick the baby up. However, before she can even touch the baby, Yolanda runs in and kicks Angela in the side of the head, knocking her to the ground. Yolanda raises her foot and tries to stomp Angela in the gut, but the older woman rolls out of the way and gets back to her feet. Yolanda closes in on her enemy, but Angela angrily shoves the woman away from her. ANGELA (Defiantly and with her head cocked to the side): What are you waiting for, Yolanda! This is your big chance! Go for it! Yolanda charges Angela, but Angela grabs Yolanda and swings her through the air and onto the ground. Angela backs away to better size up the situation. Yolanda grunts, then gets back to her feet. She turns around and charges Angela again. This time, Angela leaps towards Yolanda and buries a right hook into her stomach. Yolanda falls to the ground with a gasp and pain etched all over her face. Angela just stands, watching. Yolanda gets back to her feet. Angela throws to hit Yolanda in the side of the head with her fist, but misses. Yolanda takes the opportunity to grab Angela and bury a series of right hooks into her stomach. Angela screams in pain, and pulls herself away from Yolanda. Yolanda charges again, throwing a missing left and right hook. Angela ducks them all and comes back up between punches to face Yolanda. ANGELA: Bring it, Yolanda! Yolanda again tries to hit Angela with a series of swats, but Angela is just too fast and ducks them all. ANGELA: You think you know horror? You don't know jack! YOLANDA: Yeah? Show me. Angela lets loose with her own barrage of left and right hooks, all of which find their mark on Yolanda's face. Angela then sidesteps and clips Yolanda across the chin. Yolanda throws a missing left hook. Angela pours it on with a three rights to Yolanda's face. She then follows that up with a left, a right, then a left hook. Yolanda counters with a left uppercut, then a right hook that causes Angela to stumble away. Yolanda hits Angela with a right hook in slow motion. The noise of her fist hitting Angela's skull sounds like bones cracking and it causes Angela to momentarily flash back to being kicked in the side of the head by Marcia in "Sleepaway 3." Yolanda hits Angela with another right hook in slow motion. This time as Angela is hit, she flashes back to when she was hit in the side of the head with a log by a police officer. Yolanda hits Angela with a left hook in slow motion, causing her to spit out a gob of blood. This time, Angela flashes back to being hit in the forehead by the counselor. Yolanda hits Angela with a right again, in normal speed, but Angela pushes Yolanda away with her left hand and hits her with a right. Yolanda grabs Angela's left arm and the two women lose balance and fall to the ground. Both women withdraw their knives they've brought along. Angela is obviously the quicker of the two and stabs Yolanda in the left leg with her hunting knife. Yolanda screams, then slaps Angela, causing her to yell and fall to the ground. Yolanda gets on top of the aging woman and tries to drive the knife into Angela's head, but Angela's hands hold Yolanda's arms just barely far enough away. The knife softly scrapes Angela's left cheek, but does not cut it. Thinking quickly, Angela suddenly rises up and bites Yolanda on the hand. Yolanda screams out, and Angela hits her with a right hook, knocking the killer off her and causing her to throw her knife through the air. Angela rises to her feet and Yolanda charges at her enemy, grabs Angela around the legs, then throws her through the air. Angela hits the ground with a thud and a groan and is kicked in the side of the head just as she tries to get up. Yolanda races to find her knife. Angela looks up at the woman, realizing what Yolanda is doing. She runs at Yolanda and tackles her. The two women scream and yell as Angela climbs onto Yolanda and begins beating the murderess with a series of devastating right hooks to the side of the head. ANGELA: How do you like it?! Huh?! You wanna not remember anything for longer than five minutes?! Angela grabs a hold of Yolanda's neck and refuses to let go. Yolanda gasps for air, but Angela doesn't budge. Yolanda hits Angela on her forehead with several devastating blows, but Angela refuses to release her grip. Yolanda begins writhing to get out from under Angela, but fails. Angela just clinches her fingers tighter around Yolanda's soft neck. Angela's eyes show that the Angel of Death is once more in her. She clamps her teeth together, and blood runs out of her mouth. Yolanda gasps one more time, then stops twitching, dead. Angela takes note of this and stands back up straight. She bends down and pulls Yolanda's limp body to her feet by her shirt. Angela stands studying Yolanda's face and its features. ANGELA: You want to be me? Now, you are me. Angela drops Yolanda back onto the forest's floor, then turns and walks off. She walks back over to where Another Lammert was crying. The baby has now stopped crying. Angela sees Another Lammert lying nearby, awake and watching her. Angela bends down, picks up the baby and studies it, similarly to how Yolanda did earlier. The baby smiles at Angela and coos, forcing Angela to smile and laugh as well. However, several drops of blood stain Another Lammert's clothes. Angela takes note of this and wipes her nose to see it is bleeding again. She bends down and slowly sets Another Lammert onto the ground. In slow motion, Angela slowly starts to stumble away, keeping herself on her feet by leaning on nearby trees. Blood drips out of her nose and mouth. Angela pulls back her head and blood suddenly begins running out her nose, mouth, eyes, and ears. She puts her hands on the sides of her bloody face and begins to scream out in pain. The blood from her brain hemorrhage begins staining Angela's clothes and collecting on the forest ground. Tears stream down Angela's face, casuing her face to look even worse than it already does. Angela's eyes roll into the back of her head and she begins to fall onto the ground in slow motion. ANGELA (v.o.): I could have been better than this. It didn't have to be this way. I could have had a boyfriend like everybody else... CUT TO: Shot from the movie "Dixie Lanes" with the character of JUDY. CUT TO: Forest. Int. Night. Angela continues her decent. ANGELA (v.o.): I could've gone to college... CUT TO: Shot from the movie "Fast Food" with the character of MARY BETH BENSEN. CUT TO: Forest. Int. Night. More blood drops onto the ground. ANGELA (v.o.): I could have done something with my life, and even if I didn't, I still could have done good things... CUT TO: Flash shots from the movies "Scenes from the Goldmine", "Reckless", and "The Gumshoe Kid" with the characters of STEPHANIE, KAREN SYBERN, and MONA. CUT TO: Forest. Int. Night. Angela's eyes are now closed as she falls to the ground. ANGELA (v.o.): Hell, I might have even been a cheeleader... CUT TO: Shot from the movie "Fast Times at Ridgemont High" showing the character of DINA PHILLIPS. CUT TO: Forest. Int. Night. Angela's head finally hits the forest's floor. Blood continues to flow from her eyes, nose, mouth, and ears, causing the ground around her head to become red in color. Angela's blank eyes stare at the camera for a moment. ANGELA (v.o.): Yes, God must love crazy people... but he must hate me. Angela's eyes slowly close and she breathes her last. The Angel of Death is finally gone forever. CUT TO: Lammert house. Ext. Day. Several police cars are lined up around the home. CUT TO: Forest. Int. Day. Several POLICEMEN walk through the woods. Some of them are standing around Angela's corpse, looking at her. POLICEMAN 1: Do we know who she is? POLICEMAN 2: Not yet... Just some woman that bled to death. It probably doesn't matter much anyway. POLICEMAN 3 (off screen): Hey, guys! Over here! Look at this! The other policeman run over to the third one. POLICEMAN 3: Somebody left this baby here. Sharp hissing can barely be heard. The policemen finally take note of it. POLICEMAN 4: What's that noise? POLICEMAN 5: Sounds like the baby? POLICEMAN 6: What the hell's it's problem? The camera slowly zooms in on Another Lammert. The baby's face is locked in a frightening expression and is exhaling a frighening sounding hiss. After a few moments of this, the audience should realize that this is the same hiss and expression Angela gave at the end of the original "Sleepaway Camp" and that Another Lammert has now become Another Baker. The camera slowly zooms in on the baby and closes in on one of its eyes. Fade to black. www.sleepawaycampfilms.com