ANGELA'S SLEEPAWAYS By Teddy Johnson Episode #002: "20 Years of Angela Baker" CUT TO: Hotel bedroom. Int. Day. The year is 2006. The camera pans across the floor of the bedroom revealing the clothes of two people, a man and a woman, strewn about the carpet. Eventually, the camera makes its way over to bed revealing RAY CLEMENT and LYNN SHAVER. Ray is a short blonde haired man around 38, but looks much younger. Lynn is a tall brunette around the same age as Ray and also looks younger. The two are lying in bed, probably having just finished having sex. RAY: Come on. Aren't you glad you came back to the reunion? I never thought our paths would cross again after we graduated, let alone crash like they did just now. You are definitely not the same Lynn Shaver I knew in high school. LYNN: You mean I'm not a carpenter's dream any more? Isn't that what you used to call me? RAY (as though backpeddling): I, uh, never said anything like that about you. That was, uh... (thinks) Kelly Pouncil. LYNN: Right. Forget it, Ray. A knock is heard and Lynn looks up. LYNN: Breakfast is served. Ray starts to get up. LYNN: No, don't worry about it. I've got it. CUT TO: Lynn's room. Int. Day. The room is the usual hotel room. There are chairs and couches and tables around, even a wet bar. On one of the tables sits a typewriter. Lynn walks into the room wearing a white robe. She goes over to the door and opens it. Standing there is BENJI, the bell boy with a room service breakfast tray. Benji is a short man around the age of 21 with styled blond hair. BENJI: Room service. LYNN: Thank you very much. Lynn signs a sheet of paper given to her by Benji for the food. LYNN: You know when the guests are supposed to arrive? BENJI: No, I'm not sure. Sorry. Enjoy your meal. LYNN: Thanks. Benji turns and leaves and Lynn closes the door behind him. Ray opens up the door that leads to the bedroom and stands there, wearing a black robe. Lynn slowly rolls the table over to Ray, then lifts up the metal lid, revealing a severed hand as the main course. Ray's eyes open in shock and he begins screaming. CUT TO: Bedroom. Int. Night. Ray jolts awake from a nightmare. His sudden jerking also causes Lynn to awaken. LYNN (drowsily): You alright Ray? RAY: Ugh. I just dreamed you ordered a severed hand as breakfast. LYNN (sits up): It wasn't me. I never order body parts from hotels. They're always either overcooked or undercooked. You can never get them right. RAY: This isn't funny, Lynn. LYNN: Look, it was only a nightmare. You're probably just a little nervous about seeing all your old buddies again. Ray is still a little unnerved. Lynn sees this, then starts to climb on top of Ray. LYNN: In a few minutes, I'm gonna make you forget about that little ole' dream. CUT TO: Rolling Hills' cabin. Int. Day. Angela is there, initially with her back to us, dressing for some formal occasion. She's in the broken down bathroom of one of the cabins at the Rolling Hills campgrounds. A mortarboard sits nearby on a table. Angela is dressed in a low-cut prom dress the same color as her powder blue sweater. She looks at herself in a mirror that only remains in fragmented pieces, apparently having put the finishing touches on herself. ANGELA (to reflection); So, we meet again. (pause) Are you ready to admit that you're nothing more than a duplicate staring at me from an alternate universe? Of course, the reflection is silent. Angela happens to notice the other Angela reflections in the fragmented glass. ANGELA (to reflection): Oh, so you've brought friends, eh? Well, you win this round, but one of these days, you're gonna slip up. Angela starts to turn, then quickly spins around to face the mirror again, but as always, the mirror copies exactly what Angela does. Finally, Angela turns around, taking the mortarboard in her left hand. ANGELA: Well, let's hear it for ole Schenectady High! Angela places the mortarboard on her head. ANGELA: Sure has changed since I strolled down those hallowed halls. (chuckles) Back in my day the kids just dropped out, now they're... Angela spins the mortarboard on top of her head like it was a propeller hat. Eventually, the hat falls from her head and into her hands. ANGELA: Dropping in. Angela chuckles sinisterly. CUT TO: Lynn's room. Int. Day. Lynn is on the phone talking with movie producer ARTHUR GRIFFITH. At first, the camera is zoomed in on a newspaper whose headline reads, "JOHN ROCKER SENT TO MINORS AGAIN; MINORS SEND HIM BACK," then past a room service tray, then past a table with a typewriter sitting on top of it, then finally to a chair where Lynn is engaged in an argument with her boss. Lynn wears the same white robe we saw in Ray's dream. LYNN (into phone): Look, I told you I left to go to my high school reunion. ARTHUR (over phone): Yeah, but you said you'd have the script in my hands before you left. LYNN (into phone): I lied. ARTHUR (over phone): You lied? What the-- Lynn bangs the phone on the end of a table. LYNN (into phone): Arthur, relax. That was a joke. I'm writing the script right as we speak. Listen. Lynn takes the phone and puts it next to the typewriter so Arthur can hear the striking keys as she pushes a few buttons. ARTHUR (over phone): But is it good? LYNN (into phone): Is it good?! It's a masterpiece. Lynn starts to hang up the phone, then stops to talk again. LYNN (into phone): Arthur, are the Marx Brothers still haunting you? ARTHUR (over phone): Yeah, very funny. Very funny. LYNN (into phone): Arthur, I love ya, man. I'll call you when I'm done with the script. Bye-bye. Lynn turns and hangs up the phone before Arthur can say another word. Ray opens up the doors of the bedroom and steps out, dressed in the black robe we saw earlier. LYNN: Good morning, Ray. Sleep well? RAY: After that ride? Oh yeah. Lynn smiles. Ray walks over and picks up a cup of coffee Lynn has apparently already made for him. RAY (sips coffee): What are you working on? LYNN: The screenplay for my next movie, or trying to anyway. RAY (sees room service tray): Breakfast is already here? Lynn eyeballs Ray as he moves over closer to the tray. Ray suddenly pulls forth the lid and beneath is a plastic severed hand. Ray is surprised at first but it wears off. Lynn can do nothing more than burst out laughing. RAY: You think that's funny? LYNN (laughing): I couldn't help it. I saw it and bought it for my sister's Halloween decorations. I don't see her all that often and I wanted to have a gift for her next time. RAY: That's sick. Ray turns and heads back to the bedroom. LYNN: Come on, sweetie, it was a joke. I'm sorry. Ray shuts the doors of the bedroom behind him. Lynn shakes it off, then places the phony hand on her shoulder. LYNN (to hand): Got any ideas for a script? Lynn begins typing on her new script. CUT TO: Dance hall. Int. Day. Decorations are being prepared for the coming reunion later. ALEXIS and BARRY THOMPSON walk past, carrying a banner reading "WELCOME BACK SCHENECTADY HIGH CLASS OF 1986!". ARNOLD SHANK stands nearby, digging in a box of decorations. Arnold is an aging man around 38, with graying hair and a spare tire around his waste. It's obvious this guy has seen better days. Suddenly, BOB HILTZIK walks into the room. Bob is around the same age as Arnold, but looks much better. He is a thinner man, with color still in his hair and he wears a pair of somewhat large glasses. He sees Arnold bent over, digging through the decoration box and walks over towards him. BOB: Arnold? ARNOLD (stands up and turns around): Yes? Can I help you? BOB: I'm Bob. Bob Hiltzik, I wrote that I'd be coming in early to help set up the decorations. ARNOLD: Oh, yes, Bob. (finally realizes who this is) You haven't changed a bit. BOB (holds out hands to the width he remembered Arnold at): You neither! Bob then holds his hands out to the width Arnold is now. BOB: How can I help? ARNOLD (thinks): Uh... er... you know, Bob, I haven't checked to see if there are any last minute RSVPs that come in. Do you know where the front desk is? BOB: No, but I can find out effortlessly. ARNOLD: Well, why don't you check those? BOB: Okay, be back. Bob turns and walks out. Just as Bob is leaving Ray walks in. Bob studies Ray as he's leaving, causing Ray to turn and watch Bob walk off in confusion. Ray sees Arnold working, then walks over to him and uses his hand like a gun to poke in his side. RAY: Give me all your money, fool! Arnold turns around and sees that it's Ray. ARNOLD: Ray Clement! Arnold and Ray shake hands. ARNOLD: How have you been? You look great... like you were still a football player! RAY: Well, you know, I get around. It's good to see you again. ARNOLD: Oh! Let me introduce you. Arnold and Ray walks over to the Thompsons who are still working on hanging the banner up. ARNOLD: Ray, this is Alexis and Barry. Remember them? RAY: Oh, yeah. Hey, how ya doin'? BARRY: Pretty good. ALEXIS: Doin' good. Yourself? RAY: Can't complain. (thinks) Alexis Boatman, right? ALEXIS: Thompson. Barry and I have been married for 19 wonderful years. Ray smiles and nods. RAY: Say, Arnold, how many people are coming to this thing tonight? ARNOLD: At last count, 25. 26, if the Thompsons bring that kid of theirs. RAY: 25 out of a class of 250? Why was the turnout so low? ARNOLD: Because most of the people we graduated with are dead. RAY: Good God, man. What happened? Was there a big plane crash they were on or some kind of disaster here in Schenectady? Something in the water? ARNOLD: Nope. Just a lot of people have died over the years. Bob walks into the room and clumsily trips over a table, falling onto the floor. Everyone turns around and sees what has happened. RAY: Hey, who is that guy? Did he graduate with us? ARNOLD: Don't you remember Bob? (imitates Bob) Bobby Hiltzik. RAY: Huh-uh. ARNOLD: Oh, he was such a geek, you probably never payed any attention to him. RAY: Wait a minute, he used to chill with Angela Baker, didn't he? ARNOLD (warily): Uh-huh... Bob walks over to Ray and Arnold. BOB: There is only one here. ARNOLD: Well, let's see who sent it. Bob gives the envelope to Arnold. BOB: Hello, Ray. You're looking well. RAY (apprehensively): As do you, Bob. Arnold is reading the RSVP and is somewhat unnerved. ARNOLD: Is this some kind of joke?! BOB: What do you mean? ARNOLD (reading): "Angela Baker will attend the Schenectady High 20 Year Reunion"? Arnold crushes the RSVP in his hand and throws it to the ground. RAY: Hey, whatever happened to Angela Baker anyway? ARNOLD: If you want to hear about Angela Baker... then, you'd better sit down for a while. Bob gets Ray a chair to sit down in. Fade out. FADE IN: Lynn's room. Int. Day. Lynn is still sitting at her typewriter trying to come up with something. She types a few words, then decides she doesn't like it and pulls the sheet of paper from the typewriter and throws it into a nearby trash can. Ray walks in and is a little disturbed about things. He immediately walks over to the wet bar and begins to pour himself a drink. He downs the entire drink in one fell swoop, then pours himself another. LYNN: You wanna save some of that for me? Ray downs the next drink with one gulp as well. LYNN: Are you alright, Ray? RAY: No, I am not alright. Lynn gets up and walks over to Ray. LYNN: What's wrong? RAY: Do you remember a girl named Angela Baker? LYNN (thinks): I vaguely remember the name... Quiet wasn't she? Always kept to herself.... She was the one who always sang those camp songs all the time. Yeah, now I remember her. What of her? RAY: Angela Baker used to be a boy named Peter Baker. Peter Baker was a transvestite who slaughtered at least 10, maybe more, kids at Camp Arawak in 1983. She was institutionalized and during that time was transformed into a woman then later released. Afterwards, she became a camp counselor at Camp Rolling Hills and slaughtered around 20 campers there. The subsequent year, Angela returned to the camp and slaughtered at least 15 kids. But that time, one of them got her and everyone thought that she bled to death. Arnold Shank just told me about her and what happened after we all graduated. LYNN: Wow. When I thought she was weird, I didn't know she was THAT weird. RAY: But murders keep happening and some people feel that Angela is still alive, hiding out at the camp and occasionally venturing forth to kill people. I know, I know it sounds silly... LYNN: Damn right it's silly... RAY: But everyone who ever knew Angela Baker is either dead or has left Schenectady forever. LYNN: Well, let's assume this fairy tale has some truth to it, which I hardly think it does, I don't know why you're so bothered by this. I don't remember you having anything to do with Angela Baker. RAY: Wrong. Ray walks over and sits down on the couch. RAY: She asked me to go to the senior prom with her. I couldn't believe it, she'd never said anything to me before that. The next day, I let Arnold talk me into it. We just wanted to see the look on her face when she rang the doorbell and no one answered. Me and Arnold were watching from my bedroom window. Geez, was that cruel. Lynn sits down beside Ray. LYNN: Well, look, if Angela Baker wants to get to you, she's gonna have to get through me first. RAY: Oh, yes, Xena, Warrior Princess. Save me. Ray gets up and walks into the bedroom, closing the door behind him. LYNN: Get some rest, we've got some serious partying to do tonight! Suddenly, a knock is heard at the door. Lynn stands up, walks over to the door and opens it. Standing there is Bob. BOB: Hello, Lynn. LYNN: Why, Bob. How have you been? BOB: Okay, I guess. LYNN: You guess? Well, come in. Come in. Bob steps into the room and Lynn closes the door behind him. LYNN: Wow, I haven't seen you since college. You look great! BOB: ` Oh, you look even better than when I last saw you. LYNN: Well, thank you. What have you been up to? BOB: Well, I heard you were in town and I just wanted to drop by and say hello. I am such a big fan of yours. Lynn laughs. BOB: I sat through ten consecutive screenings of "The Dead Spit on the Living." Lynn smiles. LYNN: You ARE a fan. BOB: But my all time favorite of your films has to be "Mirror, Mirror on the Wall." I cannot believe you didn't receive an Oscar nomination for that. LYNN: Story of my life. No credit at all. BOB (nervously): I spend a lot of time writing. LYNN (knowing where this is going): Uh-huh? BOB (pulls script from underneath shirt): Yes, I just finished a script and I would be honored if you took a look at it. Lynn desperately looks for a way out of this, but finally realizes it's best to look at the script. LYNN (takes script): Yeah, alright. Hell, if it's any good, I'll steal it. Bob laughs nervously. CUT TO: Bedroom. Int. Day. Ray is preparing for the big night tonight. He's standing at a mirror in the bedroom and is prepping and preening his hair and making himself look halfway presentable. ANGELA: You look absolutely gorgeous... Ray spins around. Lying seductively on the bed is Angela, dressed in the same prom dress seen earlier. Connected to the dress at hip level is a knife sheath. Angela holds her hunting knife in her right hand at head level, as though admiring it. ANGELA: And that cummerbund... my favorite color... blood red. It should go well with what I've got planned. RAY: Who are you? How the hell'd you get in here? You one of Lynn's friends? ANGELA: I'll give you a hint: (stands up from the bed) you said that you'd take me to the prom with you. RAY (realizes who this is): My God... Angela? ANGELA: Accept no imitations. Angela chuckles. ANGELA (menacingly): Your sweet little angel. Ray turns and tries to escape, but he runs smack into Angela, who has suddenly appeared on the other side of him. Angela grabs Ray in a tight embrace. ANGELA: Save that last dance for me! Angela bites down on Ray's neck to give him a hickey, causing him to yell out in pain. CUT TO: Lynn's room. Int. Day. Lynn and Bob look up from the script upon hearing Ray's scream. BOB: What the hell was that? Lynn sets the script down and marches off to the bedroom, followed by Bob. CUT TO: Bedroom. Int. Day. Lynn opens up the door to the bedroom and walks in, followed by Bob. LYNN: Ray? Bob sees Ray and is obviously upset that his former girlfriend is with another guy. Ray, meanwhile, is sitting up on the bed in a robe, breathing heavily. LYNN: Ray, are you alright? RAY: I just had a nightmare about Angela Baker... CUT TO: Lynn's room. Int. Day. Lynn and Bob step out of the bedroom and Lynn closes the door behind her. BOB: I hope he's okay. LYNN: Bob, you've lived your entire life in Schenectady, haven't you? BOB: Yeah. LYNN: Do you believe any of this Angela Baker rigmarole? BOB: You mean that she comes back every so often to kill those who wronged her? LYNN: Yeah. BOB: No, the gravestone is out there in the cemetery... There was a big controversy back in '89 whether or not to give her a decent burial or cremate her. I, of course, stepped forward to advocate giving her a burial. There have been an unusually high number of deaths in this area since 1989... but hell, you can't blame them all on Angie. (pause) She wasn't such a bad gal, once you got to know her. CUT TO: Bedroom. Int. Day. Ray is again trying to make himself look presentable for the night's pending reunion. He is dressed only in a pair of faded blue jeans at the moment. RAY: Damned hair. One of these days I'm gonna find a hairspray that works. Suddenly, a noise is heard at the nearby window like a stone being thrown at it. Ray turns over and looks at the window, seeing nothing out of the ordinary. He continues trying to comb his hair when the noise is made again. Ray looks to the window again, and again sees nothing. He then turns and opens up a drawer to pull out his toothbrush. The noise is heard again. Ray finally walks over to the window and looks out. CUT TO: Fire escape. Ext. Day. Angela, dressed in her usual garb of sweater and jeans, is standing out on the hotel's fire escape, holding a sledgehammer. She suddenly draws back and slams it into the window, hitting Ray directly in the face. ANGELA: Who's laughing now, pretty boy? CUT TO: Bedroom. Int. Day. Lynn opens up the door and she and Bob rush into the room. LYNN: My God! They see Ray's corpse knocked on its back near the window. Ray's face is demolished, smashed to a bloody pulp. BOB: Look at the window. Lynn rushes over to the window and looks out. CUT TO: Lynn's P.O.V. There is no one in sight or anyone around to give a clue as to who might have killed Ray. CUT TO: Bedroom. Int. Day. Lynn pulls her head back into the room and looks over at Bob. Fade out. FADE IN: Lynn's room. Int. Day. Several PARAMEDICS are there as well as a DETECTIVE. The paramedics have Ray's body on a stretcher and are carrying him out of the room. DETECTIVE: And how long had you known Mr. Clement? LYNN: I hadn't seen him since high school. DETECTIVE: Then, what was he doing in your bedroom? LYNN: Well, we'd met last night and got together. Anything wrong with that? The Detective remains silent, eyeballing Lynn. LYNN: You can't serious think that I killed her! I was out here with Bob talking to him. (walks over to Bob) Tell 'em, Bob. DETECTIVE (holds up hand): That won't be necessary. When are you leaving? LYNN: Tomorrow. If that's alright with you. DETECTIVE: Just want to know where I can find you if I have any more questions. The Detective turns to leave the room. DETECTIVE: Don't let this bother you. Have a fun time at your reunion. The Detective exits the room and closes the door behind him. Lynn immediately goes over to her typewriter and starts typing. BOB: Why didn't you tell them about Angela Baker? LYNN: What? And have somebody steal the story. No way. It's mine! A transsexual psychopath travels to camp and goes on a demented rampage of death and destruction. The story basically writes itself. A guaranteed powerhouse. We'll scare the beejeezus out of the fans! The camera slowly zooms in on Lynn's concentrative face as she types her new screenplay. CUT TO: Dance Hall. Int. Night. The camera is closed in on the banner welcoming the returning classmates, then pans down to the festivities itself. The reunion is in full swing with a total of 25 people there (the Thompson's child is present). Arnold, Lynn, Alexis, Barry, and Bob are standing side by side next to the punch bowl and look like a real bunch of sad sacks. Elsewhere, slow music is playing in the background and other people are actually slow dancing. ARNOLD: I can't believe that Ray's really dead. LYNN: I know. Especially when he was just talking to you moments ago. Everyone takes a sip of punch at exactly the same time. BARRY: Well, that's 225 members of our class that's gone. ALEXIS: Hallmark doesn't make enough sympathy cards. LYNN: Anyone else see a formula developing here? BOB: I guess the only question now is who's next? ARNOLD: Guys, come on, this is supposed to be a party, enough of this horrible talk. Arnold grabs Lynn and tries to pull her out on the dance floor. ARNOLD: Come dance with me. LYNN: No, I'm not really in the mood. ARNOLD: Oh, bull, come on. Arnold finally gets Lynn to start dancing with him. After a few moments, Lynn starts to get into it when suddenly Arnold breaks the silence. ARNOLD: Lynn? LYNN: Mm-hmm? ARNOLD: Did Ray mention anything to you about Angela Baker? LYNN: You know, actually he did just a few minutes before he died. Arnold's eyes look around conspicuously. LYNN: What's wrong Arnold? ARNOLD: So did my brother earlier today. That must mean he's next. We gotta do something. LYNN: Whoa, whoa, whoa, whoa, whoa. Come on, Arnold. Let's stay calm here and not jump to any conclusions, alright? ANGELA (o.s.): How come? Angela slides into view, beside the two dancers. She is wearing her powder blue sweater and faded jeans and is carrying in her hand a fileting knife. She looks totally out of place compared to all the others in nice dresses and suits. ANGELA: Can I cut in? Angela uses her knife to slice clean through Lynn's arm. Arnold pulls back and yells, then drops Lynn's dismembered hand to the floor. Angela watches Lynn's arm squirt out blood in mock concern. She then grabs her from behind and tosses her out of the way. Lynn is thrown over a table and onto the floor, causing the nearby people to get out of the way. ANGELA (hides knife behind her back): Let's dance, baby. I lead. Angela and Arnold begins to dance across the floor and look halfway decent doing it too. The watching guests don't know how to react to this. ANGELA: Get ready. Set. Dip! Angela dips Arnold, and uses the fileting knife to stab him through the back. Arnold gasps, then slides out of Angela's arms and onto the floor, dead. The others around all see this and begins to run for the exits. ANGELA (looks around, confused): Well, hell. Where's everybody goin'? The door suddenly close in on everyone, trapping them within the dance hall. The guests try to push the doors open, but something is holding them shut. ANGELA: We're gonna have a gusher of a party! Angela laughs. Suddenly, out of nowhere, spinning circular saws begin shooting through the air. The saws have no problem finding their targets as they cut through the people at the reunion, dismembering limbs and causing blood to squirt through the air. Angela is standing in the middle of the dance hall, loving every minute of this as the disks fly around her. The disco ball above Angela's head reflects the colors of the hall and causes a sickening blood red color to permeate the room. One of the saws flies by Angela and she catches it in her hand, then turns and tosses it like a frisbee into someone's forehead. Lynn is lying on the floor, still barely alive, and sees Angela standing just a few inches away from her. Lynn drops her head onto the floor and dies. FADE TO: Lynn's room. Int. Night. Lynn is lying in the same position she was in the previous scene, obviously a nightmare. Lynn is draped over her typewriter and a glass and bottle of whiskey can be seen nearby. The telephone is ringing and this wakes Lynn up. Lynn slowly turns and answers the phone. LYNN (drowsily): Yeah? BOB (over phone): This is Bob. Bob Hiltzik. I'm at the reunion. Why aren't you here? CUT TO: Dance hall. Int. Night. Bob is standing next to a pay phone talking. Behind him, the real reunion is going on, somewhat more mundane than Lynn imagined it would be. BOB (into phone): This party could use some new blood. CUT TO: Lynn's room. Int. Night. Lynn rubs her right wrist where she dreamed Angela cut it. LYNN (into phone): Sorry. I just had to take care of something. BOB (over phone): Lynn, are you alright? LYNN: Yeah. Never better. Lynn hangs up the phone, then goes back to typing. CUT TO: Dance hall. Int. Night. Bob slowly turns and hangs up the phone worriedly. CUT TO: Lynn's room. Int. Night. Lynn is finishing up her latest script. She pushes the final buttons on her typewriter, then pulls the page from her typewriter and puts it with the other pages of the script. She flips through the script, amazed at what she has created. Suddenly, the phone rings again and Lynn picks it up, not even looking away from her script. As Lynn begins talking, she finally sets the script onto a nearby table. LYNN (into phone): Arthur? (pause) Glad you got my message. (pause) No, I haven't finished the script yet. To be frank, I trashed it and don't want to do it any more. (pause) Arthur, will you just listen a moment? I've got a script here that's gonna kick your ass. Suddenly, a swoosh is heard and the phone cord retracts over to the receiver, still in Lynn's hand. LYNN (into phone): Arthur? Suddenly, Angela rushes in from the bedroom, with her right arm hidden behind her back. Lynn tries to get up, but Angela pushes her back into her chair with her free hand. ANGELA: Not so fast, chick pea! You don't just write my life story without permission from me! You've got to pay big for those rights and this time, it will cost you BIG. I mean, you've gotta have guts to write "The Angela Baker Story", and darling, that's something you just don't have. Suddenly, Angela reveals what's in her right hand, a machete, which she uses to slice Lynn open across the stomach with. Lynn screams blood murder, then falls out of her chair and onto the floor. Angela watches with a maniacal expression on her face as the blood pours out of Lynn and stains the carpet. CUT TO: Lynn's room. Int. Day. It is the next morning. The door is unlocked from the outside and in step bell boy Benji and Bob, carrying a briefcase. BENJI: You know, this is a huge risk, me letting you into another person's room. Benji holds out his hand as though wanting a bribe. Bob reaches into his pocket and fishes out 50 cents to give to him. BOB: Thank you very much. I appreciate you doing this for me. Bob and Benji step further into the room. BENJI: What are ya lookin' for anyway? The two spot Lynn's corpse on the floor. BOB (points to Lynn): Her. The two walk over to Lynn's corpse. Benji squints and turns away from her, seeing all the blood spilled around her. BENJI: Is she? BOB: I'm afraid so. She's been dead for some time. You'd better call the police. Benji reaches over and grabs the phone, then puts it back when he realizes the cord has been cut. BENJI: I'll get the front desk, then I am outta this town. (looks around) Too much bad stuff's goin' on here. Benji gets up and walks out of the room. Bob is obviously distraught at Lynn's death, then stands up and prepares to leave himself. Suddenly, he spots Lynn's finished script on a nearby table. Bob begins rifling through it and obviously likes what he reads. He then opens up his briefcase and sticks the script inside, locking the case afterwards. Bob pats Lynn's corpse on the top of the head, then slowly rises to his feet, and walks out of the room, carrying the briefcase with him. CUT TO: Camp Rolling Hills. Ext. Night. The camera is closed in on a script for a film entitled "Sleepaway Camp," held in the hand of a woman. The camera pulls away revealing the owner to be Angela, who is proudly holding the "Sleepaway Camp" script against her chest. ANGELA: Later that day, my good buddy Bobby booked a flight to Hollywood, sold HIS screenplay, and the rest, as they say in the movies, the rest is history. For him, fame and fortune, and my life story on the silver screen! Whoo-ah! If my friends could see me now... But of course, they're all dead. Angela chuckles and winks to the camera, then turns and walks away into the darkness of the nearby forest, holding the script in her right hand as she walks away from the camera. Fade to black. www.sleepawaycampfilms.com