A Nightmare on Elm Street 2: Freddys Return By A.

Jaye

Based on Characters Created By Wes Craven & A Nightmare on Elm Street 2: Freddys Revenge Written By David Chaskin

Thrill Fiction

thrillfiction@gmail.com

FADE IN: EXT. STREET - DAY In an affluent New York suburb an elderly couple stand on the sidewalk. Behind them is a four bedroom house with a For Sale sign on the front lawn. The couple wave off a Range Rover as it pulls out onto the street. The SUV has a roof box and a bicycle fastened to the back door rack. Hands wave back out of the car windows as it drives off up the street. The Range Rover slows. Further ahead a group of teenagers stand in front of another grand house. TWO BOYS sit astride their bicycles. A third bike lies on the ground between them. Standing in front of that bike is MARK, 15. Hes deep in a kiss with a GIRL his age. The Range Rover pulls up. DAD, 45, is behind the wheel. MOM, 35, is in the passenger seat. ANGELA, 8, sits in the back. Dad taps the horn. Mark comes out of the kiss. He notices the car. So does the girl. They hug. Shes crying. Mark disengages and jogs to the Range Rover. He turns and faces the teens. He raises both arms in a double fist Roman style salute. The two boys do likewise. The girl weeps as she mounts her bike. Mark gets in the car. Dad drives off. The teenagers chase the Range Rover on their bikes. INT. CAR (MOVING) - DAY Angela unclips her belt and kneels on the seat. She looks through the back window at the receding teens and waves. ANGELA Arent you going to wave goodbye Mark? MARK Ill burst out crying. He puts a finger to his eye and traces an invisible tear down his cheek. Angela laughs. She sits down and belts up. Mom smiles at Mark.

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MOM Youll make lots of new friends in Springwood. MARK But will I forget my old friends in New York mom? MOM Of course not. Youve got Facebook, Twitter-MARK MySpace, the US Postal Service. DAD Youll make lots of new girlfriends too. Ive been to your school. MOM (to Dad) Ken. ANGELA Youre only supposed to have one girlfriend at a time daddy. MARK Ken? DAD Careful. Mark chuckles. MOM (to Angela) Youre going to love the new house honey. ANGELA Which house is better? The one in Ohio or the one in New York? MARK Do you love your new job Dad? Dad adjusts the rear view mirror to look at Mark. Mom watches Dad. DAD I love my family Mark.

3. Mark puts a hand on Dads shoulder. Dad pats Marks hand. Mom beams with joy. Angela too is watching the men and she sees her mothers reaction. Mark sits back and belts up. Angela smiles her approval at him. He laughs. He puts in a set of earphones and fiddles with his ipod. MARK Someone wake me up when you see a cornfed blonde. He touches a button on the ipod. Music plays and Mark closes his eyes. LATER Mark opens his eyes. Music continues to play from his ipod. Angela is asleep. Mom is talking to Dad but Mark cant hear her. He looks out of the window. MARKS POV It is Midwestern suburbia. There are no people in sight except for FOUR GIRLS aged between 5 and 6. They are all dressed in white frocks and play jump rope on a front lawn. BACK TO SCENE Mark looks at Mom. Shes still talking to Dad. MARK Are we nearly there yet? Mom looks back at him. Her face bears a mothers anguish. Marks eyes droop. He falls back to sleep. The music from his ipod fades. INT. CAR - DAY Marks eyes snap open. Hes alone in the car. MARK Huh? He pulls off his earphones and gets out.

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EXT. HOUSE - DAY Mark comes out of the Range Rover. The roof box has gone and his bicycle has been removed. Hes standing in the driveway and looks at the house before him. Its a colonial with an adjacent garage. The front door frame wears the numbers 1428 in single stacked figures. It is Nancy Thompsons old house. Mark looks up and down the street. There are trimmed lawns and proud houses with parked cars but no people. He walks to the red front door. He tries it. It opens. He steps in. INT. HOUSE - HALL - NIGHT As he closes the door behind him daylight fades into night. MARK What? He turns round to look through the frosted glass panels on the side of the door. It is night outside. He pulls the door open and as hes about to march out he stops mid step. MARKS POV A man stands across the deserted street. The streetlight behind makes his figure a silhouette but it is a distinctive figure. It is made more so by a fedora. The man is silent. He is as unmoving as a statue but his stance is that of a predator about to pounce. Though his face is in darkness he is staring straight at Mark. BACK TO SCENE Mark closes the door. He gropes for the light and turns it on. He locks the door. MARK Dad! He looks into the living room. Its full of cardboard boxes.

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LIVING ROOM He strides in and ignores the light switch. The windows are curtained and Mark pushes one aside to peer through. MARKS POV The man has not moved. Hes still staring at Mark. BACK TO SCENE Mark stares back like a bewitched fawn. He gathers himself. He checks the locks on all windows. The man watches him. Mark flicks the curtains back. As he hurries away from the windows he stumbles over a stack of boxes. The boxes tumble. Mark falls. MARK Dad! He gets up and limps to the living room door. PASSAGE Mark tries to ignore his limp and strides past the staircase and the door beneath it. He pushes open the door facing him. KITCHEN Mark turns on the light. He checks the back door. Its locked. The windows are blinded. He lifts one of the blinds and peers into the night. He checks the lock. He checks all the window locks. He turns off the light and closes the door. PASSAGE Hes no longer limping as he strides up the passage. He flicks a wall switch. The staircase light turns on.

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STAIRCASE Mark jogs up. He opens the first door at the top of the stairs. MARKS BEDROOM There are posters, a computer and desk and an electric guitar on wall hangers. The bed is empty. Mark ignores the light switch and strides into the room. He heads straight for the curtains and parts them. The window is shut. MARKS POV The street is empty. The man is gone. BACK TO SCENE Mark checks the window lock. He checks the others. He turns and walks out of the room. UPSTAIRS PASSAGE Its an L-shaped corridor from his bedroom. He walks to and opens the door opposite his. ANGELAS BEDROOM Angela is in bed asleep. Mark walks in. The door closes behind him. He checks her windows. Theyre locked. Angela stirs. She opens her eyes and sees her brother. ANGELA What time is it? Mark is relieved to find his sister in such a normal setting. He tucks her in.

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MARK Its late. Go to sleep. She closes her eyes and goes back to sleep. Mark opens the bedroom door. The fedora man stands statue still in the doorway. With the only light emanating from the staircase the passage is dim and the man remains a silhouette. He is ready to pounce. Mark slams the door but before it can shut four metal talons wedge in the way. Mark leans against the door and pushes all his weight against it. The talons claw at the door frame. MARK (contd) Dad! The door bursts open knocking Mark back. He falls onto the foot of his sisters bed. She sleeps. Dad and Mom come rushing in. INT. MARKS BEDROOM - NIGHT Dad and Mom rush to the bed. Mark lies in bed screaming. The covers are on the floor. His body is as taut as if hes being electrocuted. His skin shines with a sheen of sweat. His eyes are closed. Dad reaches him and grabs him by the shoulders. DAD Mark! Marks eyes open. Mom grabs him by the waist. DAD (contd) Mark! It was a dream. You were just dreaming son. MARK Just a dream? MOM Oh baby. Mom edges Dad out of the way. She sits on the bed and cradles Marks head to her bosom.

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MARK Im okay mom. His arms wrap around Moms waist. Hes shivering. MOM Ken close the window. The curtains are billowing. Mark gawks at the open window. Dad closes it. EXT. HOUSE - NIGHT/DAY Night fades into daylight. The streetlights turn off. A car drives past. INT. HOUSE - KITCHEN - DAY