Freddy’s dead – Final Nightmare

script used with courtesey of Daily Script


FADE IN:


INT. DC-10 AIRLINER – NIGHT


JACOB JOHNSON is sleeping. It doesn’t look like a pleasant
experience. He is sixteen, dirty blonde, his eyes visibly
moving under closed lids as he sits huddle under a blanket in
his window seat. The lights are dim — the shade on the

window closed — a bead of sweat dribbles down his forehead.
The HUMMING of the jet’s engines vibrates through the cabin.


The boy’s eyes snap open.


Jacob glances around nervously. He looks like an escaped
convict who just accidentally walked into the Policemen’s

Ball. A GREYHAIRED MAN two seats away from him gives the
teenager a cursory glance, then goes back to his book. Jacob
lays his head back and tries to relax. The engines continue
to drone.


Until a new noise starts. A WHOOSHING NOISE.


The sound is very faint. But distinct from everything else.
Jacob frowns.


The noise gets LOUDER. Jacob’s sure he’s hearing it now. He
looks at the Greyhaired Man. The man catches his eye and the
two of them stare at each other for a heartbeat – then Jacob
turns away. The Man returns to his book. And Jacob

immediately turns back to him.


JACOB
Do you hear that?


The man gives him an annoyed look as the WHOOSHING gets
louder.


GREYHAIRED MAN
Hear what?


JACOB
That noise.


GREYHAIRED MAN

I don’t hear anything.


The man turns back to the book as the sound gets even LOUDER –
– like it’s coming closer. Jacob squirms in his seat —
sneaks a look at the man again. How can he not hear that? A
STEWARDESS walks by and Jacob catches her attention.


JACOB
Excuse me.


STEWARDESS
Yes?


The WHOOSHING is completely obvious now. The greyhaired man

tries to ignore the two people talking over him.


JACOB
What is that sound?


STEWARDESS
That’s just the engines, sir.


JACOB
No, it’s different. It’s not the
engines. It’s getting louder.


The man sighs — the stewardess smiles patronizingly.


STEWARDESS

We’re just gaining altitude to get above
some rough weather. That’s the sound of
the engines speeding up a bit.
Everything’s fine.


JACOB
Um…okay.


The stewardess walks away as Jacob sits back and starts to
bite his nails. The whooshing is really starting to BLARE
now. He looks between the seats in front of him — twists
around to look behind. He snaps back to the greyhaired man.


JACOB (cont’d)

Can’t you hear that?


GREYHAIRED MAN
(losing patience)
Look, kid. Will you relax? It’s just
the damn engines, okay?


The man glares at him, and Jacob backs off. The sound has
grown DEAFENING. Jacob grinds his seat like he’s going mad.
He looks at the closed window. He reaches out his hand,
grabs the handle then rips up the shade for all to see:


A 747 coming RIGHT AT US.


Jacob SCREAMS. The planes CRASH.


Impact – decompression – explosion. The hull of the cabin
buckles violently – moaning like a dying elephant – peeling
inward revealing RED AND GREEN STRIPING on the outside.


A huge wing section RIPS through the structure – barely

missing Jacob – taking the greyhaired man’s head clean off –
nailing the stewardess in the gut and shoving her body across
and out the other side of the cabin.


And Jacob’s seat drops down – sending him and us into:


EXT. SKY – NIGHT


Like an intricate ballet, Jacob, his body strapped to his
chair, tumbles away from the DC-10 and 747 as they seem to
merge and bend into some kind of mutant DC-47 – wings and
tails wrapping around each other as debris blooms out like a
flower and together they EXPLODE – a fiery ball lighting the
nighttime clouds and Jacob’s shrieking face.


And Jacob falls and falls and falls, his hair sticking
straight up from the blasting wind.


That’s when CORPSES start falling past him. The captain of
the plane – the stewardess, her body bent in half – the
greyhaired man, his head gone but his book still in his hand.

More men, women, crew people – and CHILDREN.


But these children aren’t dead bodies. Two LITTLE GIRLS and
one LITTLE BOY, all dressed in white, plummet down next to
Jacob, head first, like high divers. And they’re singing:


THE CHILDREN

One two, Freddy’s coming for you…


The children turn around in the sky so that they are
travelling feet first. The Little Boy’s pants puff up and
the Girls’ skirts poof out and RIP UPWARD – the wind taking
away their clothes and their skin and their bodies and their
hair…


THE CHILDREN (cont’d)
Three four, better lock your door…


Leaving three tiny SKELETONS – taunting and laughing as Jacob
screams and covers his eyes.


THE CHILDREN (cont’d)

Five six, grab your crucifix…


And the Skeletons sprout wings – leathery and veiny – the
wind catching them and sending them up and away as their
voices echo in the sky.


THE CHILDREN (cont’d)

Seven eight, gonna stay up late…


Jacob takes his hands away from his face and starts to
frantically pull on his seat belt. SNAP – it flies off his
back and miraculously turns into a PARACHUTE. Rope swirls
into the air – the wind grabs the canvas – and Jacob’s body
slows with a violent jerk.


But at least he’s not falling anymore. Jacob catches his
breath as he starts gently floating through the sky. He
smiles. This isn’t so bad. This is actually kind of fun.
Not for long, though, because his new upward momentum carries
him back up to:


The winged children’s Skeletons. Jacob’s eyes bug out as he
rises into them and they start to circle. They move closer
and we can see something in their hands:


SCISSORS


Jacob twists his body, trying to steer his parachute away

from the demons. One of the Skeletons swoops up to his face
and pokes its scissors inches away from Jacob’s eyes. It
sings alone:


CHILD
Nine ten, never sleep again!


The Skeleton cranks its arm back – ready to plunge the
scissor’s blades into Jacob’s sockets. The arms swings
toward him – then suddenly diverts up past his head, heading
for:


THE CHUTE’S STRINGS


The Skeleton flaps its wings and poises its scissors at one
of the ropes. The other two Skeletons join it over Jacob’s
head. The three of them look down at Jacob, their boney jaws
in a perpetual smile.


JACOB
No!


The Skeletons nod “yes”. SNIP – SNIP – SNIP – they cut away
at Jacob’s parachute as he swings underneath them, trying to
pull away – SNIP – SNIP.


The parachute flutters away – the Skeletons cackle – and
Jacob plummets.


ON JACOB


We stay with him as he screams and shrieks and yells and the
clouds part and the ground rises quickly up to meet him. The
ground becomes a town, the town becomes a block, the block
becomes a house, the house becomes a roof, and…


INT. JACOB’S BEDROOM – NIGHT


KA-BLAM! The ceiling explodes as Jacob’s body plows through,
slams down, shatters the bed, and we immediately:


CUT TO:


INT. JACOB’S BEDROOM – MORNING


Jacob’s eyes blast open as he sits up from bed in a cold
sweat. A dream. The worst fucking dream from hell anyone
would ever want to have — but still just a dream. He takes
a few deep breaths as a soft KNOCK is heard at the door.


JACOB

Yeah..


ALICE JOHNSON opens the door and sticks her head in. She’s
thirty-two, blonde, with a caring smile.


ALICE
You okay, honey?


JACOB
Yeah, Mom. I’m fine.


ALICE
Alright. Better get cooking or you’ll be
late for school.


JACOB
On my way.


Alice closes the door as Jacob gets out of bed and stretches.
Sunlight is leaking through the bedroom window shade and
Jacob walks over to it. He reaches out and pulls up the

shade.


And there’s nothing buy sky. Jacob frowns and pokes his head
out the window.


JACOB’S POV – THE GROUND


is once again racing up towards us at seven-thousand miles an

hour. The entire house is falling.


BACK IN THE BEDROOM


Jacob leaps away from the window. The WINGED SKELETONS
reappear outside — dancing in the air — cackling with glee.


The bedroom starts to SHAKE violently as Jacob stumbles into

the center. The roof starts caving in and the walls begins
to crumble.


ANGLE STRAIGHT DOWN ON JACOB.


Jacob grabs his head, looks up at us, and SCREAMS. We
suddenly stay where we are as the house drops down and we

punch out through the roof and our shot becomes an:


ANGLE STRAIGHT DOWN ON THE HOUSE


as it falls away towards the ground. We watch as it becomes
a small dot – and finally impacts on the surface. A mushroom
cloud of smoke silently puffs out in the distance below


EXT. TOWN – NIGHT – AT THE CRATER


Smoke and dust whirl around a huge hole in the earth.
Splintered shreds of lumber stick up in the air like giant
toothpicks. Some of the toothpicks start to move.


Jacob rises out of the destruction, charred, scraped,

battered and, unfortunately, alive. He climbs up to the edge
of the crater. He looks back a the remnants of his home.


Then something starts to happen.


Something his growing from the crater – spreading out. It’s
not a cloud, it’s not smoke – it’s a DARKNESS. Even though

it’s night, this darkness is darker. It creeps out from the
hole – fingers of blackness reaching out. What it covers
doesn’t disappear. It becomes GLOOMY. The shroud is getting
bigger.


And it’s getting faster. Jacob runs.


WITH JACOB – RUNNING


He bolts down the streets of the small town in a blind panic.
He looks behind him and sees the darkness getting bigger, its
gloominess covering houses. Then whole blocks.


Everything it touches seems to fall deeper into SHADOW.


AT THE STREET CORNER


Jacob comes across a WOMAN walking her dog. He stops and
yells at her.


JACOB
Get the hell out of here! It’s coming!


WOMAN
What’s coming?


Jacob points down the street. The shroud is swooping down
the road – browning out street lights in its wake. And the
woman doesn’t find anything threatening about this. Jacob

screams at her.


JACOB
Don’t you see it?


WOMAN
See what?


And it’s obvious now: she doesn’t see anything. The Woman is
totally oblivious to the danger. Jacob shakes his head —
stumbles away.


The woman watches him go as the darkness PASSES OVER HER.
She sighs.


And begins to MUTATE. Her hair gets scraggly, her skin
bursts out in sores, her back grows a hump — all of which
she DOESN’T seem to notice.


She just shrugs her twisted shoulders.


WOMAN (cont’d)

Kids…watcha gonna do?


She hobbles away with her dog – which now has six legs and
two heads.


BACK WITH JACOB – RUNNING


Like a bat running from hell, he tears through the streets

passing buildings that turn creepy and people that become
passively accepting monsters.


A VOICE booms out from nowhere.


FREDDY (O.S.)
Jacob! You’re too old to run away from

home!


Jacob covers his ears and races out of town.


EXT. HIGHWAY – NIGHT


Jacob falls onto the deserted road just outside of town. He
rolls on the asphalt and looks behind him. most of the town

is covered in an opaque gloom.


Suddenly a CACKLING sound is heard and Jacob turns to its
source:


HIS POV: THE SPRINGWOOD SIGN


The town can still be seen behind it — the darkness over

almost all of it now. The sign reads: WELCOME TO SPRINGWOOD.
POPULATION…


And the numbers after the word “population” are changing.
They’re counting BACKWARDS, clattering away like an old-time
gas pump in reverse – faster and faster – blurring as the
“thousands” digit disappears, then the “hundreds”, then

“tens”, then…


CLINK – the count stops at “1”. Springwood is entirely
engulfed in the shroud. There is a pause.


CRASH – the sign is violently YANKED into the ground. It
vanishes into the earth and a CRACK APPEARS at the edge of

the road. The crack grows – moving out to the center of the
highway.


BACK ON THE STREET


Jacob watches the crack as it splits wider in the middle of
the street and a GURGLING sound starts to build. The tar in

front of Jacob becomes molten. It bubbles and pops.


Jacob scrambles backwards as something begins to rise from
boiling asphalt.


It’s a hat.


The hat, a fedora to be precise, pushes itself up. A left

hand – burned and scarred – pokes out next to it. Four sharp
blades jut out of the muck on the other side. A head is up
now – a curtain of tar dripping from the rim of the hat –
hiding the face. The body beneath the head ascends. The
veil of asphalt parts:


It’s FREDDY KRUEGER. Jacob SCREAMS.


Freddy LAUGHS. He shakes off his layer of tar and looks
towards the clouded town of Springwood. A look of pure
hatred appears on his ragged face.


FREDDY
Payback time…


Freddy opens his mouth – lets out a large breath – and then
INHALES an even larger one.


A WINDSTORM starts, the source being Krueger’s own lungs.
The gale force begins to yank at the shroud surrounding
Springwood. Fingers of darkness pull up from the town and

towards Freddy’s mouth — and houses begin to DISSOLVE.
Freddy continues to inhale like he’s never going to stop.


Krueger is sucking the black gloom into his body – and the
entire town of Springwood is going with it. Trees,
buildings, cars, picket fences. It’s all crumbling and
fusing, becoming a part of t cloud that itself is caught in

the nightmarish wind tunnel, all piling into Freddy’s mouth.


The vortex swirls into Krueger. Then it’s gone. Nothing but
a vacant lot the size of a town remains. Freddy turns to
Jacob and BURPS, it sounds like a THUNDERCLAP.


JACOB

No!


FREDDY
Don’t worry, I have a strong stomach.


Freddy reaches down and yanks up his red and green sweater.
He pulls apart his putrid abdomen to reveal his guts – and a

transparent stomach.


Inside the stomach: a black swirling mass. Flashes of
houses, people, homes, couples, all trapped in horrible
anguish. Freddy drops down his sweater.


FREDDY (cont’d)

Springwood is mine, boy!


JACOB
I dreamed you away before I was born!
Mom said you couldn’t come back!


FREDDY

Is that true? Then she told you all
about me, huh? Let’s see what else she
has to say.


Freddy reaches his left hand into the bubbling tar at his
feet, digs around a bit, then pulls out:


ALICE. Jacob’s mother. Tar dripping down her body. Krueger
has her by the neck, waves his blades in front of her. Jacob
gets up and runs toward him.


Freddy pulls a foot up from the asphalt pit and KICKS Jacob
back a good fifteen feet.


ALICE
Run, Jacob!


The boy rolls painful on the hard road. He sits up and
screams:


JACOB

Leave her alone!


FREDDY
You’re such a momma’s boy!


Freddy swings his knives out, pauses for a terrifying beat,
then swoops the daggers towards Alice.


CLOSE ON JACOB


as OFF SCREEN we hear a horrible multiple GLITCH! Jacob
shrieks in gut-wrenching anguish.


WIDE ON SCENE


We’re far enough away so that we don’t barf at the sight but

close enough to see that Freddy has impaled Alice’s body on
his blades. He lifts her up effortlessly and raises her limp
figure RIGHT OVER HIS HEAD.


Krueger swings his arm out, shaking off Alice, sending her
flying over Jacob’s head. The body lands behind him.


ON JACOB


as he runs to his mother. She VANISHES just as he reaches
out to touch her bloody body. He turns to Krueger and raises
his fists. A look of sheer rage is growing in him, blind,
insane anger. He bellows:


JACOB
You fucker!


FREDDY
Springwood is only the beginning. All I
need from you is a ride!


Suddenly, between Jacob and Freddy, three SHAFTS OF LIGHT
burst up from the road. Three FIGURES appear as the light
dissipates.


They’re dressed in metallic black, heavy boots, helmets with
dark visors covering their faces. One is large and muscular.
The one in the center has an obviously feminine figure under

her skin-tight outfit. The third is a little smaller than
the other two with a slightly different face that allows us
to see his mouth.


They’re the DREAM POLICE. Jacob doesn’t know this yet, but
Freddy seems to. The bastard son of a hundred maniacs frowns
at the sight of these new apparitions.


Then he looks past them and smiles at Jacob.


FREDDY (cont’d)
See ya later!


Freddy violently DROPS down into the bubbling asphalt pit.
Two of the black figures start after him. The third one

turns to Jacob as his partners leap into the hole after
Freddy. The sound from his exposed mouth is DEAFENING!


SOUND COP
WAKE UP!


Jacob grabs his ears in pain as we suddenly:


CUT TO:


EXT. HIGHWAY – DAY


Jacob’s eyes snap open so fast his sockets suffer whiplash.
He’s lying smack in the middle of the road tucked in a fetal
position. Jacob slowly uncurls his body and sits up. He

shivers and wipes his sweaty forehead – and that’s when he
notices something in his hand.


INSERT: JACOB’S HAND


it’s a bracelet, a simple band of gold with a larger plate in
the middle, like an ID band. Jacob’s fingers turn the plate

over. Printed on the other side is the name of the bracelet’s
former owner: ALICE. Jacob has a souvenir.


BACK TO JACOB


He raises his face and looks at the road in front of him. It
goes off into the distance surrounded on both sides by empty

fields.


This is where Springwood used to be. A look of anguish
crosses Jacob’s face as he stares at the desolation.


JACOB
Mom…


HONK! SCREECH!


Jacob whips his head around in time to see a huge moving van
blasting right at him. He rolls off to the side of the road.
The truck barely misses him, kicking up a cloud of dust in
its wake.


Jacob chokes on the dust. He slowly recovers and looks back
down at the bracelet in his hand. He clenches his fist around
it as a wild-eyed angry look starts to grow on him. He takes
a few deep breaths, then stands up and walks OUT OF FRAME.


ANGLE DOWN THE HIGHWAY


We can see a pickup truck in the distance. Jacob’s HAND
ENTERS FRAME, thumb sticking out, his mother’s bracelet
dangling from his wrist.


The pickup truck starts to slow down.


EXT. ROSEDALE – DAY


A sprawling little community with pleasant streets and
cheerful houses. It looks a lot like Springwood, the only
real difference being that it actually exists. It also has a
sign: WELCOME TO ROSEDALE. POPULATION: 8,786


A Volkswagon bus drives past the sign and stops a couple of

blocks down the road from us. Jacob steps out of the
passenger side and wearily waves his ride goodbye. He
shuffles into town.


CLOSE ON YET ANOTHER SIGN


It reads: DRUG ADDICTS NOT WELCOME TO ROSEDALE!


The sign pulls away to reveal a middle-aged man with an angry
expression: MR. HOPKINS


MR. HOPKINS

Clean up your act somewhere else!


He walks along as we PULL BACK TO SEE


EXT. ROSEDALE FOSTER HOME – DAY


It’s a nice-looking two-story house in the middle of a
usually quiet neighborhood. Today the home is surrounded by
about a dozen townsfolk carrying picket signs: NO HALFWAY
HOUSES IN OUR NEIGHBORHOOD!, DON’T LOWER OUR PROPERTY

VALUES!, and GO BACK TO JUVENILE HALL! The crowd mumbles
amongst itself, occasionally bursting out with a chant in
protest.


ON JACOB


We catch him walking down the sidewalk. He tramps along with

his hands stuffed in his pockets and his eyes on the
pavement. He looks like he hasn’t slept in days. The sound
of the crowd ahead of him finally grabs his attention.


Jacob approaches the disturbance and comes across a young
girl standing behind a bush holding a BAG OF GROCERIES. She
is KAREN MILLER, dark hair, sixteen, very pretty, but with a

faraway look in her eyes.


Jacob stands next to her and stares at the crowd like a
zombie. She doesn’t turn to look at him as he speaks:


JACOB
What’s going on?


KAREN
Free speech. The right of assembly.


JACOB
What is this place?


KAREN

It’s a home. A foster home. For
teenagers. It’s where you go when things
get bad. It’s the place to figure out
what to do next. It’s a home for kids
that no one else wants.
(beat)

It’s MY home.


Karen hasn’t looked at Jacob once. She suddenly seems to
steel herself and walks away from the bush, towards the
house. Jacob is befuddled.


JACOB

Oh…


He stands there and watches.


IN FRONT OF THE HOUSE


Karen quickly makes her way into the crowd of people, head
up, eyes staring forward. The crowd parts ever so slightly

as the irked townsfolk start to heat up. They have an actual
human to vent their anger on now. Mr. Hopkins lays in on her
as she passes him.


MR. HOPKINS
Why can’t you find somewhere else to
shack up?


Karen turns to him, still walking, flustered and hurt.


KAREN
What have we ever done to you?


MR. HOPKINS
Nothing…YET.


Karen turns quickly away from him and trips over a sprinkler
head. Her groceries tumble onto the grass. A hand reaches
down to help her. It’s Jacob’s.


He quietly helps her re-bag her groceries as Mr. Hopkins
looms above them. Both angry and embarrassed now.


MR. HOPKINS (cont’d)
Look, we’ve been here for years. This is
a quiet street. We’d just like to keep
it that way.


Jacob can’t take this guy anymore. He stands up and faces

the older man with a scowl.


JACOB
Lighten up, mister.


MR. HOPKINS
(smirks)

And what gutter did you crawl out from,
kid?
(frowns)
We don’t want your kind here.


JACOB
My kind? What kind is that?


MR. HOPKINS
Drug addicts. Dope pushers. We have
stand up and take charge.


JACOB
Swell. I’ve just got a couple of

questions for you…Do you love your
parents?


MR. HOPKINS
Of course I do…


JACOB

Are they alive?


MR. HOPKINS
My mother is.


JACOB
What’s it like?


Jacob stares at Hopkins. He doesn’t answer. He just huffs
and puffs as Karen grabs Jacob and pulls him up to the front
porch of the home, then into the floor.


INT. FOSTER HOME – FRONT HALLWAY – DAY


Karen slams the door and takes a deep breath.


KAREN
Assholes.


JACOB
I can think of a stronger word. Are you
okay?


KAREN
Yeah. Thanks. I’m Karen.


JACOB
Jacob.


Jacob suddenly gets a little light-headed and has to use a

wall to hold himself up. Karen looks concerned.


KAREN
Are YOU okay?


JACOB
Yeah. I just haven’t had much to eat

lately.


KAREN
Then come help me unpack.


She smiles and leads him further into the house.


INT. FOSTER HOME – KITCHEN – DAY


Jacob is feverishly eating a sandwich at the table while
Karen finishes putting the rest of the food away.


KAREN
I guess the sandwich is alright, huh?


JACOB

It’s incredible. Best I’ve ever had.


KAREN
You’re not from around here, are you?


JACOB
No. I’ve been on the road for a couple

of days.


KAREN
Do you need a place to stay?


FOOTSTEPS are heard from below and a couple in their mid-
thirties enter from the basement door. They’re DAVID and

MARY ROSS, both greasy and frustrated.


MARY
So, we have to get it fixed.


DAVID
We don’t have the money to get it fixed.


They both start washing up at the sink, not really noticing
the teenagers in the room. Karen speaks up.


KAREN
What’s wrong?


DAVID

Our plumbing has a bad case of hardening
of the arteries. Who’s your friend?


David gives Jacob a wary glance as the boy stands shakily.


KAREN
This is Jacob.


JACOB
Jacob Johnson.


DAVID
David Ross. My wife, Mary.


KAREN

They run this house. They’re helping me
and three other ids get a footing in
reality before they kick us out of the
nest to make room for the next batch.


David is looking out the window at the now dissipating crowd.
He lets out a weary sigh.


DAVID
If there is a next batch. I see the
welcome wagon is back. Was there any
trouble?


KAREN

A little. Jacob came to my rescue.


MARY
(pleasant)
Where you from, Jacob?


JACOB

Springwood.


MARY
Springwood? Where’s that?


JACOB
Upstate about a hundred miles.


DAVID
(suspicious)
I know this state like the back of my
hand. I’ve never heard of Springwood.


There is an uncomfortable pause. Then Karen suddenly breaks

in.


KAREN
Jacob’s a little down on his luck. I
told him he could stay here a few days.


Jacob gives here a surprised look.


MARY
Are your parents in Springwood?


JACOB
My father died before I was born. My
mother, she’s dead, too.


DAVID
You have a legal guardian?


JACOB
No.


DAVID

Been in any state or federal program?


JACOB
No.


KAREN
Just for a little while. So he can get

his bearings.


DAVID
Got any ID?


Jacob reaches for his back pocket – it’s empty. He shakes
his head “no”.


MARY
(to David)
I think we can help him out, honey. The
budget’s tight, but we can’t turn down
someone in need.


David doesn’t acknowledge his wife, he just stares at Jacob
sternly. Karen bites her nails. Then David sits down and
starts to lecture.


DAVID
Okay. You got three, maybe four days to
rest up while we try and find a more

permanent arrangement for you. But his
isn’t going to be a free ride. We’re
part of a community summer work project
and eighty percent of the money you make
goes to the house. Everybody works – and
that includes you. Are you on drugs?


JACOB
No.


DAVID
Good. If I catch anything stronger then
an aspirin on you, you’re outta here. No

arguments. You got that straight?


JACOB
Yes, sir.


DAVID
Okay. Dinner in two hours. Why don’t

you go meet the rest of the gang.


KAREN
Thanks, David.


MARY
I’ll go fix up the spare bed in Wesley’s

room.


David gets up. He gives Jacob a final once-over.


DAVID
And take a shower, for chrissakes.


David leaves the room. Karen gives Jacob a huge grin.


INT. FOSTER HOME – THE TV ROOM – DAY


Karen leads Jacob into the room. There are two teenagers on
the couch: WESLEY is a fifteen-year old, curly hair, kind of
small. GINA is also fifteen, brunette hair, seems pretty
happy.


KAREN
Hey, guys, I got someone for you to meet.
This is Jacob. Jacob, this is Wesley and
Gina.


JACOB

Hi.


WESLEY
Welcome to fun central.


KAREN
He’s going to be staying with us for a

while.


GINA
Oh yeah? How’d you get through the
blockade?


Another kid, SCOTT, pops into the room. He’s sixteen, dark

hair, with a tough-guy I could give a shit attitude. He
doesn’t seem to care about anybody in the room, except for
Karen.


SCOTT
Hey, beautiful. How’s it going?


KAREN
Hi, Scott.


Scott notices Jacob and frowns. Karen is a little annoyed.


SCOTT
Who’s Barney Rubble?


KAREN
This is Jacob Johnson. He’s a new
resident. At least temporarily.


SCOTT
He better not be rooming with me. I

value my privacy.


KAREN
No, I believe that honor goes to Wesley.


WESLEY
Good. I could use the company.


SCOTT
So what’s your story? Divorce? Custody
battle? Your parents just plain
assholes?


JACOB

They’re dead.


KAREN
Mellow out, Scott. Give him a chance to
settle in.


SCOTT

Just curious.


Scott reaches into his shirt pocket and pulls out a pack of
cigarettes. As he lights one up, Wesley’s cheerful attitude
suddenly turns grim. He gets up from the couch and quickly
leaves the room. Karen gives Scott an angry look.


JACOB
Is he alright?


SCOTT
He’ll be fine. He just has a problem
with cigarettes.


GINA
His parents used to use them as a sick
kind of discipline. That’s why he’s
here.


JACOB
If you know that, then why do you smoke

in front of him?


SCOTT
It’s not my problem.


This really pisses Jacob off. These two are not going to get
along very well.


JACOB
Just what is YOUR problem, then?


SCOTT
I took care of my problem. That’s why
I’M here.


Scott lets out an aloof puff of smoke and leaves. Jacob
gives Karen a confused glance.


KAREN
His dad used to beat him. One day he
couldn’t take it any more.


JACOB
What happened?


KAREN
He killed him with his father’s gun.
Self-defense.


Jacob sits down on the couch and lets that sink in. Gina
scootches away from him on the couch, then gives him a glum
look.


GINA
Everyone here has a fun tale to tell.

Isn’t that right, Karen?


Karen is staring out the window. She has that spaced-out
expression we saw before when she was hiding behind the bush.


KAREN
Yeah. Right.


No one has anything left to say. Gina turns the sound on the
TV back up as the three sad kids start to watch cartoons.


INT. FOSTER HOME – THE TV ROOM – NIGHT


Jacob is alone in the dark watching some kind of NICK AT
NIGHT b&w sit-com re-run. A cheerful family lovingly banters

away on the flickering tube. Jacob just stares blankly.


Karen sleepily shows up at the doorway in a long tee-shirt
with a glass of milk.


KAREN
Why don’t you go to bed?


JACOB
I can’t sleep.


KAREN
You need to talk?


JACOB

No. I’m fine. Thanks.


Karen gives him a worried look and heads off to bed. Jacob
continues watching TV with a creepy glean in his tired eyes.


INT. OLD WAREHOUSE – DAY


The kids are here cleaning up the building. The guys throw

rotted lumber into trash bins while the girls sweep up. We
catch Jacob and Scott tossing some debris into a wheelbarrow.
Jacob looks pretty ragged.


SCOTT
Come on. Let’s hop to it. Gotta make


way for those new indoor tennis courts.
The fate of the world lies in the
balance. Okay, this load’s full.


Jacob grabs the handles of the wheelbarrow and shakily picks
it up. Scott sneers.


SCOTT (cont’d)
You got that?


JACOB
Yeah, no problem.


SCOTT

I don’t know. Maybe you should think
about switching to de-caf or something.


Jacob ignores him and pushes the wheelbarrow along. Scott
takes some time off to smoke a cigarette. He spots Karen
across the room bending over with a dustbin. Scott lingers
on this view for a long time.


AT A DUMPSTER


Jacob pulls up with the wheelbarrow and starts to unload the
junk. Gina is next to the dumpster sweeping. She tries to
push a large crate aside by herself, but slips and falls.


Jacob jumps over to her, reaches out, and grabs her arm to

help her up.


JACOB
You okay?


Gina SCREAMS.


GINA

No! Yes! Let go of me!


She shakes off his grip and he jumps back. She runs away
with a wild look in her eyes as Karen steps up to a confused
Jacob.


KAREN

She doesn’t like to be touched.


JACOB
No shit!


KAREN
Don’t take it personally. It’s not her

fault.


JACOB
What happened to her?


KAREN
Her mother was a hooker. She forced Gina

to carry on the tradition. When she was
thirteen…


JACOB
Jesus.


Jacob looks off at Gina with genuine concern. Karen gives

him the same expression.


KAREN
You look terrible.


JACOB
(smiling)

Thanks.


KAREN
I’m sorry…I just wish you’d tell me
what happened to you, that’s all.


JACOB

I can’t talk about it right now. I’ll
tell you later. I promise.


KAREN
Okay. Why don’t you sit and rest for a
bit. The supervisor’s not around. You
look like you could use it.


JACOB
I think I will.


He gives her a gentle squeeze on the forearm, and Karen likes
it. Jacob spots a pile of wood next to a wall and heads off
for it.


ON SCOTT


He’s watched the entire interchange between Jacob and Karen,
and he DOESN’T like it.


WITH JACOB


as he goes around the stack of lumber and sits down facing

the brick wall. He lets out a heavy sigh and stares at the
inside of the building.


JACOB’S POV – THE BRICK WALL


sits there quietly for a few beats until:


IT EXPLODES


Bricks fly out at us as a gaping hole blows into the wall
revealing nothing but BLACKNESS and our shot MOVES through:

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