The Texas Chainsaw Massacre Page #2

Synopsis: Driving through the backwoods of Texas, five youths pick up a traumatized hitchhiker, who shoots herself in their van. Shaken by the suicide, the group seeks help from the locals, but their situation becomes even more surreal when they knock on the door of a remote homestead. It's quickly apparent the residents are a family of inbred psychopaths, and the unlucky youths suddenly find themselves running for their lives. In hot pursuit is a disfigured, chainsaw-wielding cannibal known as Leatherface.
Genre: Horror
Director(s): Marcus Nispel
Production: New Line Cinema
  4 wins & 16 nominations.
 
IMDB:
6.2
Metacritic:
38
Rotten Tomatoes:
37%
R
Year:
2003
98 min
$80,148,261
Website
3,165 Views


KEMPER:

Listen... keep your goddamn voice down.

ANDY:

Easy, easy, easy.

KEMPER:

Goddamn it.

ANDY:

Well, you're not gonna listen to him.

What the f*** are you doing?

KEMPER:

Uh!

It's over, man.

ANDY:

Kemp, you just can't throw the sh*t out.

KEMPER:

You OK?

Baby...

I'm sorry, OK? I... I did it for us.

I did it so we could start a life, you know.

I'm sorry. OK?

PEPPER:

Well, I'll tell you this much... there's no possible way

i'm ever getting back in that van.

ANDY:

I guess that's what brains look like, huh?

Sort of like, uh... lasagna... Kind of.

All right, I'll shut up now.

KEMPER:

I'll tell you this much... the next hitchhiker is sh*t out of luck. I swear to God.

ANDY:

Dude, gas station.

PEPPER:

Come on, Erin. Let's find the bathroom.

LUDA MAE:

Well, I'll be damned.

KEMPER:

Ma'am, we need to report a suicide.

LUDA MAE:

Something like this comes along, it makes folks realize

how crazy the world is out there.

KEMPER:

Right. Would you mind calling the Sheriff, ma'am?

LUDA MAE:

It's gonna cost you

MORGAN:

You want some pig?

ERIN:

Big brothers.

PEPPER:

I just feel so disgusting.

LUDA MAE:

Oh, there's about 6 about them counting the dead one. Poor thing. It's awful.

Well, why don't you ask them yourself? Right.

Where did you say you found her again?

KEMPER:

Ma'am, I already told you. About 10 minutes west of here.

LUDA MAE:

About 5 miles west.

KEMPER:

Ma'am, excuse me. When is the Sheriff gonna be here?

LUDA MAE:

Sheriff said he's headed over to the old Crawford Mill.

KEMPER:

I'm sorry. The what?

LUDA MAE:

The old Crawford Mill. He wants to know if you wouldn't mind driving over there to make your report.

KEMPER:

Yes. Yes, we goddamn mind.

MORGAN:

I'm sorry, but how often do girls just blow their heads off in this sh*t-hole town?

KEMPER:

All right, just calm down, OK?

Let me... I'm sorry. I apologize.

But, ma'am, I don't understand.

Why the hell won't the Sheriff just come out here?

LUDA MAE:

Didn't say. He said it would be about 2 hours before he could get here.

KEMPER:

We're not gonna drive around this town with a dead girl in the back of our van!

LUDA MAE:

Young man... what you do is your own business.

KEMPER:

Come on. Get in.

ERIN:

I just want to go home, OK?

KEMPER:

That's fine.

PEPPER:

It's starting to stink back here.

MORGAN:

No worse than the inside of that f***ing store.

Did you smell that nasty beef sh*t?

ANDY:

Oh, my God.

PEPPER:

Ohh!

KEMPER:

Guys.

Hello!

Hello?

Ain't no Sheriff here.

MORGAN:

I think we should drop off the body and get the hell out of her.

KEMPER:

Maybe we should vote on it.

ERIN:

Kemper, no.

MORGAN:

Why not, Erin? It is a democracy.

ERIN:

Well, how would you like it if we just dumped your body out here?

MORGAN:

I'm sorry. Nobody asked her to blow her head off in our van.

KEMPER:

My van.

ANDY:

I say we dump her.

PEPPER:

Pig.

MORGAN:

Cool. All right. Fine. Now we just need one more. Kemper?

One more and we're out of here.

Kemper, please?

KEMPER:

Baby, she's dead. I just... I really don't think it matters

where we leave her.

ERIN:

Well, it matters to me... if that means anything.

KEMPER:

Erin, look...

ERIN:

That girl has got parents out there somewhere who's gonna want her back, not just dumped on the side of the road like a piece of trash.

MORGAN:

You see our Lone Ranger anywhere?

PEPPER:

Maybe this isn't the Crawford Mill.

KEMPER:

It's unbelievable. This is a joke. There's nobody here.

MORGAN:

There's no Sheriff here.

KEMPER:

What?

MORGAN:

I just saw something move in there.

PEPPER:

I just saw something.

MORGAN:

I swear to God, i just saw something move in there.

ERIN:

You're just trying to scare me into leaving.

KEMPER:

Erin, come on.

ERIN:

Go to hell.

KEMPER:

Erin, come on. Quit screwing around.

ERIN:

Aah! Kemper!

KEMPER:

Erin! Erin! Erin, where are you?

All right.

ERIN:

Go.

KEMPER:

I got it.

ERIN:

OK.

MULTIPLE CHARACTERS

AHHH!

KEMPER:

Damn it!

Give me... Give me something to hold this.

MORGAN:

It's a possum, indigenous to the...

KEMPER:

I didn't do that.

All right. All right, that's it! If somebody's out there, just stop f***ing around, all right?

I mean it! Just come on out!

Who are you?

JEDIDIAH:

What did you do to her?

KEMPER:

Huh?

JEDIDIAH:

The girl out there, in the van.

KEMPER:

We didn't do anything to her.

MORGAN:

She did that to herself.

ERIN:

Oh, my God.

JEDIDIAH:

Promise you won't hurt me?

MORGAN:

Hey, you make these?

KEMPER:

Hey, bud. Hey. This is the old Crawford Mill, right?

ERIN:

My name is Erin.

JEDIDIAH:

Jedidiah.

ANDY:

Hey, junior. So, we're waiting here for the Sheriff. Do you know where he is?

OK. Well... where?

JEDIDIAH:

Home... getting drunk.

MORGAN:

So, cool.

Um, let's split.

If the Sheriff doesn't give a sh*t, then why should we?

ERIN:

Does he live around here?

MORGAN:

You know, front-row tickets to a big concert.

KEMPER:

Can we drive there from here?

DEDIDIAH:

Road don't go there. Short walk, though.

MORGAN:

I think we should go, like now, like right now.

KEMPER:

How do I get to the Sheriff's?

ANDY:

Whoa! Hey, you sick little mutant. Whoa, whoa, whoa. Come on now. Let go.

Get out of here. That's police evidence.

ERIN:

Is anybody home?

KEMPER:

Hello!

MONTY HEWITT:

What do you want?

ERIN:

Um... are you the Sheriff?

MONTY HEWITT:

Do I look like a Sheriff?

ERIN:

I don't know. I can't see you.

MONTY HEWITT:

Stand back from the door.

Sheriff don't live here.

You can call him if you want to.

ERIN:

Thanks. We'd really appreciate it.

MONTY HEWITT:

Wipe your feet. I like to keep a clean house.

I said she could call him.

You wait outside.

KEMPER:

OK, chief.

MONTY HEWITT:

I ain't looking for trouble.

KEMPER:

Don't shoot.

MONTY HEWITT:

There. I'll dial him for you.

UNKNOWN PERSON:

Hello?

ERIN:

Hi. Is... is this the Sheriff's office? Can I speak to him, please?

PEPPER:

Oh, thank God.

SHERIF HOYT:

Now, it's just an educated guess, but my money says your dead body is right there in that van.

ERIN:

Thirty minutes? Belive me, will be there.

Thanks. I'm all set.

MONTY HEWITT:

Wait. Wait.

Can you help me out back here?

ERIN:

Are you OK?

MONTY HEWITT:

Could you just...

ERIN:

OK.

KEMPER:

Excuse me. Erin?

Excuse me.

Erin?

SHERIF HOYT:

Excuse me. Do you mind getting the f*** out of my way, son?

ANDY:

We picked her up on the side of the road, like...

SHERIF HOYT:

Wow. Look at that mess.

Who's this belong to?

ANDY:

She had that on her, sir.

SHERIF HOYT:

You don't say.

Had it on her?

ANDY:

Yes, sir.

ERIN:

OK, if you could just relax, because you're not helping.

MONTY HEWITT:

Good girl, good girl.

KEMPER:

Pig sty.

Oh, Jesus.

ERIN:

What the hell was that?

Kemper?

Kemp?

SHERIF HOYT:

Ha. Well, let's get her wrapped up.

Oh, pretty little thing.

How about giving me a hand here, a**hole?

You don't expect me to do this by myself?

I need some help.

Rate this script:5.0 / 1 vote

Scott Kosar

Scott Kosar is an American screenwriter whose films include The Machinist, the 2003 remake of the classic horror film The Texas Chain Saw Massacre, and the 2005 remake of The Amityville Horror. In June 2006, Kosar was presented with the Distinguished Achievement in Screenwriting Award by the UCLA School of Theater, Film and Television. Kosar was appointed the Hunter/Zakin screenwriting chair at UCLA for 2009-2010. more…

All Scott Kosar scripts | Scott Kosar Scripts

1 fan

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "The Texas Chainsaw Massacre" Scripts.com. STANDS4 LLC, 2024. Web. 22 Dec. 2024. <https://www.scripts.com/script/the_texas_chainsaw_massacre_19572>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    The Texas Chainsaw Massacre

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is the main function of a screenplay treatment?
    A To give a scene-by-scene breakdown
    B To list all dialogue in the film
    C To provide a summary of the screenplay
    D To detail the character backstories