All language subtitles for Behind.track_5

(hooves clopplng)

(light bell music)

(dramatic instrumental music)

(tense instrumental music)

(thunder rumbling)

(gasping)

- Welcome to Olen Echo, a
picture-postcard community

that is itself representative

of a thousand small towns
found all across America.

But is there a brand of unspeakable evil

set to shatter the serenity
of this rural haven?

The same brand of evil
that has plagued a host

of similar communities for
the better part of 30 years?

The stories are well-known.

At crystal Lake, a madman
named Jason Voorhees

has killed dozens over
the past three decades,

leaving a devastated, deserted community

fearful of his next appearance.

Here on Elm Street, in the
suburban community of Springwood,

a murderer's repeated attacks

have left a psychological scar so deep,

some insist that simply dreaming about him

can kill you in your sleep.

Excuse me, sir.

Hi.

I was wondering if I could
ask you some questions

about your former neighbor Frederick...

And in Haddonfield,

a prodigal son named Michael Myers

has struck in a similar fashion

on or near Halloween

on at least four different occasions.

For these residents,

Halloween will never be the same.

Who are these men?

How do they do what they do?

What is the connection between those towns

and Olen Echo?

It will be here, our contact clalms,

where the next incarnation of
unrelenting evil will emerge.

It was 20 years ago at
this now abandoned farm

where a boy supposedly possessed by evil

was taken from his home by a frenzied mob

and thrown over this waterfall,

where he perished.

That boy is about to seek
revenge over the town

that murdered him.

He knows this, he says,

because he himself is the heir apparent

to that throne of terror so long held

by the likes of Voorhees,

Myers and Krueger.

This man's name

is Leslie Vernon.

(mysterious acoustic music)

- [cameraman] All right, we got it.

Good job, Taylor.

- Did that sound forced,

too much like Diane Sawyer?

I'm trying to find my own voice in thls.

- No, it's tight.

- Ugh, you're kidding me.

- [Cameraman) Taylor,
this guy's not even home.

- No, wait.

There, by the shed.

Mr. Vernon, hi.

Dougie, did you see that?

- [Doug] What's going on here, Taylor?

(thudding)

- [Taylor] Wait, second
floor, in the window.

Did you see that?

- [Doug] No, I didn't see it.

Would I have asked?

- Hey, hello.

Mr. Vernon,

it's me, Taylor Oentry.

We spoke on the phone...

Mr. Vernon.

- Hey!

(gasping)

(laughing)

I'm just messing wlth you.

I'm sorry.

I'm Leslie Vernon, hi.

- Mr. Vernon, could we throw a mic on you?

- Yeah, sure.

This is the living room.

There's Church and Zoey.

They are my little sweetles.

Actually, he's not.

Don't put your finger anywhere near him.

- Okay.

- But you can pet him.

He's a sweetie.

I'm so terrible wlth these guys.

I go away for days, forget to feed 'em.

Little bastards just won't die.

- Turtles are good that
way, very feng shui.

- Yeah yeah, plants and turtles.

Plants and turtles.

I only keep pets I can eat.

This is my pride and )oy.

(laughing)

- The number of books is amazing.

- Yeah, I haven't been able
to keep up lately, though.

I've kind of fallen behind.

- I notice a lot of these

are manuals, textbooks.

- Yeah, kind of boring.

- Would you say that most of these are--

- Work related?

Well, I wouldn't suggest reading
Oray's Anatomy for kicks.

This is the fun stuff.

Copperfield, Houdini,

sleight of hand, escape tactlcs.

You wanna see a magic trlck?

- [Taylor] Sure.

- You got a deck of cards on you?

- Um, no.

- No.

Yo, Doug, you got a deck of cards on you?

- [Doug] Dude, why would
I have a deck of cards?

- Check your left front pocket.

- [Doug] What the...

- [Todd] Holy fucking sweet!

- [Taylor] Todd!

- [Todd] What, that was fucking sweet.

How'd you do that?

- Tricks of the trade, man.

Tricks of the trade.

Plenty more where that came from.

- [Todd] Doug, you're in the frame.

- Sorry, dude.

- In reality, aren't you talking about

terrorizing innocent people?

- No!

(laughing)

- Why is that funny?

- Look look, you came to me

to find out how guys like Mike and Chucky

and Freddy do what they do, not why.

I can't just sit here

on the first night I ever met
you and explain it to you.

It's gotta come from

your own understanding of the process.

Or not.

It's up to you.

- All right, tell us then.

How do you do it?

- Let's go.

- What?

Go where?

- [Leslie] Where else?

My old house.

You know the story of how I was rounded up

and drowned in Nellis Falls?

Well, on the anniversary of my death,

the local kids, they dare each other

to spend the night here
at our old farmhouse.

This year,

I'm going to reappear.

Home sweet home.

- [Taylor] Now, do you own this?

- It's in a trust.

Technically, if I came
forward, I could clalm it.

It used to get rented out in the summers.

Now a local cop looks after it

every now and then.

Mostly it's empty.

- [Taylor] Now why don't
you live here then,

instead of so far out of town?

- (laughing) Because I can't.

Because...

Because as far as the town
of Olen Echo's concerned,

I'm dead, remember?

If this is where I'm gonna reappear,

- I can't exactly be seen mowing the lawn.

- Yeah, gotcha.

So then what function does it serve you?

- I am glad you asked.

Step number one...

I need an anchor for my legend.

- Let's take a look at the apple orchard.

- Great.

- Creepy as hell, huh?

Labyrinthine, cavernous.

It's taken years to get like this.

The story goes

that if you go out into the field

on the night of a harvest moon

and till the soil,

the dirt will come up wet with blood.

- [Todd] Cool.

- [Leslie] Impossible to walk through.

- [Taylor] Todd...

- But it's even better.

If you're brave enough

to go out into the orchard

on the night of a harvest moon

and the night is still as death,

you can still hear my mother's body

swinging in the trees.

I'm just kidding.

(laughing)

Not tonlght.

We've got about a month to go.

- A month.

(thudding)

- You have no idea how
much cardio I have to do.

It's ridiculous.

- Why so much?

- Well, you oughta be able

to run like a freaking gazelle

without getting winded.

And plus, there's that whole thing

of making it look like you're walking

when everybody else is
running their asses off.

- [Taylor] Oh, rlght.

- And I gotta stay with 'em.

- [Taylor] Yeah.

- It's tough, man.

It's tough.

Let's get to work.

Come on.

Okay, once you have a location lined up,

then it's time to move on to step two,

find a target group.

- [Taylor] A target group.

You mean victims?

- (sighs) Potato, potah-to.

Whatever.

Anyway, it's not as easy as you think.

Everybody thinks we
just wake up one morning

and start obsessing about a
girl and start stalking her,

killing everybody that gets in the way.

- That does seem to happen
a lot with you guys.

- No, it's that--

No, no.

The girl's the key, yes,

but she's gotta have a supporting cast.

Like that bunch right there,

there's your bread and butter...

the good-looklng, athletic kids

with healthy libidos.

Look.

And those guys over there,

they don't move quite as fast
when you get 'em on the run.

So they're good to pad your
numbers with late in the game.

(laughing)

Look at that guy.

You gotta find a group who
will all hang together,

a little from column A,
a little from column B,

and one survlvor girl who
will tie 'em all together.

- [Taylor] What is a survivor glrl?

- Oh, I'm sorry.

It's an industry term.

It's what you call a girl...

Like her, who just might be
able to walk away from me

at the end of the day.

- [Taylor) Okay, what
is it about this girl?

- [Leslie] She's a virgin.

- [Taylor] A virgin.

How do you know that?

- [ Leslie] How do the
swallows find capistrano?

I don't know.

Look at her.

She's a virgin.

I mean, you're not gettlng that?

Oh my God, did you get that7

Did you get that?

- [Doug) Yeah.

- Tell me you got that.

- [Doug] I got it, I got it.

- Did you see that, how
we sensed each other?

- [Taylor] So you've been
tracking her already.

- Her?

No, not her.

No, I'm eyeing her for the first time.

No, I got a girl picked out in Olen Echo.

I just brought you out
here so you'd have a sense

of what I've done so far.

If I didn't have a girl
picked out already,

we'd be way too far behind schedule.

- [ Doug] Ooh, it's like one
of those cooking shows, right,

where they have the pie
already baking in the oven,

sort of ready to go, you know?

You ever watch those shows?

Sorry.

- Doug.

- [Doug] Never mind.

- Okay, so from this point on

we're dealing directly with the speciflcs

of my gig at the farmhouse.

This is the real deal now,

and everything's gotta go down just right.

- [Taylor] Uh, what are we here for?

- For her.

Right there.

Meet Kelly Curtis, my hopes and
dreams standing right there.

- [Taylor] Is Kelly a virgin?

- [Leslie] Yep.

- [Taylor] Can we talk to her?

- No, no way.

I'm sorry, but there is
no wiggle room on this.

She is off-limlts.

- [Taylor] Okay.

- Okay?
- Mmm-hmm.

- And here we go.

Hope you got film in those cameras, boys.

School's in.

This is step three.

It's called a fly-by.

Every night Kelly comes out this door,

over to this dumpster,
drops off the garbage, okay?

When she does that,

she uses thls brick to
prop open this door.

You can see that I've rigged it

with some clear fishing line.

Watch this.

Very strong.
- Right.

- Usually I do this myself,

but since you're here,
you're gonna help me.

I'm gonna be sitting rlght
over there in the darkness.

Kelly's gonna come out,

take the garbage over
to the dumpster there.

- Uh-huh.
- Right?

- I'm gonna pop out of the shadows there.

She's gonna think she sees something.

She's gonna take a
couple steps towards me.

That's when you give this a yank.

- Okay.

- Brick slides out, door slams shut.

Boom!

She turns!

I slip back into the shadows.

She turns back around.

- And you've...
- I'm gone.

- You've disappeared.
- Right.

- All right?

- Sounds good.

- All right.

Here we go.

(laughing)

(intense instrumental music)

- [Taylor] That was amazing.

- [Todd] Leslie, how did you do that, man?

- Todd, keep up.

- Don't be an uber-bitch, I'm right here.

- All right, that is it.

Gimme a pound.

Gimme a little bow.

- [Todd] Who's bowing7

- [Doug] Todd needs a pound.

Pound it, bow it.

All right, and you...

You get hugs.

- Oh, okay.

- Huggy.

All right, let's get in.

Woo-hoo!

She thinks she saw me.

Maybe not, she's not sure.

Just wanna get her a
little paranoid, you know?

Just plant the seed

that there might be some trouble coming.

You know what I mean?

Get in, come on.

- [Doug] Yo, yo, yo, who's
that guy over there, man?

- [Leslie] Who knows?

- [Taylor] So where are we headed now?

- To visit my two best friends,

Eugene and his wife, Jamie.
They live just down the road.

Eugene is an old pro in the biz.

He's retired now, though,

but he taught me a lot.

Gener!

I figured lt'd be good
for you to meet with him,

you know, give you some perspective,

kind of a bridge between the past

and the future.

Plus, Jamie's fucking hot.

Hey!

How are you doing, Jamie?
- Hi, sweetie. How are you?

- Good, what's all this?

- It's just some grad-school
kids following me around.

- Taylor Gentry.
- Oh, yeah, hi.

- This is the thing you
were telling me about.

Come on in, everyone.

Is that on?

- Yeah, don't worry about it.

You look great.

- I'm embarrassed.
- Don't be.

- Is Gene around7

- Yeah, he's out back in the tank.

And you should probably go get him,

'cause I keep forgetting.

I'm busy, and he's been
out there a while, so...

- Okay.

- What are you doing?

- Eugene is in a tank,

a sensory-deprivation chamber,

you know, like those big tubes.

Just start over there.

- [Doug] So why do you do this?

- It helps you control
your bodily functlons,

you know, like those yoga guys
who can slow their breathing,

slow their heart rate down to, like,

four beats a minute or whatever.

It's good to be able to do that

in case you need to look...

You know, dead.

- [Taylor] You mentioned
your friend is retired.

- [Leslie] Yep.

- Why does he still need to do this?

- I have no idea.

- Oh my God.

- [Leslie] How are you doing, old timer?

- What time is it?

- [Leslie] It's about 6:00.

6:30, quarter to 7:00?

- [Taylor] Yeah.

- Tuesday.
- Tuesday?

- [Leslie] Tuesday?

Hell, no, man, it's Thursday!

Jamie, Jamie, you didn't say

he was down here for three days.

- Come on, up up.

Get your feet under you, good.

- Easy does it.

Easy does it. Easy does it.

You been down for a while.

- Careful get your legs on.

- (laughing) Oh my Ood.

Do you see what I mean?

He's the best.

- That is so great, Les.

It sounds like Kelly's
really coming around for you.

- I am very optimistic about it.

- Everything comes
together when it's right.

- So, Jamie, you support Leslle

in what he's trying to do?

- Of course.

You see how hard he's worked for it.

And do I wish he'd chosen
something a little safer

to do with his life?

Sure.

But he knows what's best for him.

- Hey there, old timer.

How are you doing?

- Nothing like a cold shower
to get the blood pumping again.

- Oh, yeah.

- How's your beer?

- Very good, thank you.

Highly recommend it.

- You want one?

- I'm gonna go with no.

Thank you.

- Well, when are we gonna eat?

- As soon as you chop up these veggies

and get the grill ready.

- [Gene) Okay.

- So, Eugene, Leslie
tells us you're retired.

- Is it all right to talk about this?

- Oh, yeah.

I told her that you
could give her a history

of what it was like in the old days.

- Oh, shoot.

It was a whole different world
back when I was in the game.

- How so?

- Well, I had a good portion

of my success in the late '60s, '70s.

Back then it was about quantity of work.

How many jobs can you fit in a year?

How many places can you hit?

You know, we didn't have

all this preparation these guys use today.

- [Jaime] But the good ones do anyway.

- That's true.

There's always been hacks out there,

people mucking it up,

one-hit wonders who make a bloody mess

of some sorority somewhere,

get killed

or arrested.

You can never put it together again.

Makes it bad for all of us...

(knife whirring)

Just cheapens it.

(knife thudding)
(gasping)

- That's great, honey.

Why don't you go start the grill?

- I will.
- Okay.

- So you mentioned most of the guys

in your line of work today are...

Uh, hacks.

- I'm not talking about the
guys that really worked hard,

like Jay and Fred and Mike.

There weren't nobody like
them in the early years.

We )ust hit hard, wiped everybody out

and disappeared as soon as we could

without ever giving a
thought to coming back.

Those boys lifted it
to a whole other level.

They made an art form of it,

turned themselves into legends

by returning like a curse
over and over again.

That was a radical change in philosophy,

changed the whole business.

- The business of
supernatural killing sprees?

- She's not exactly on board yet

with the whole why we do what we do thing.

- Know, young lady,

about the business of fear.

Every culture, every civilization

from the dawn of man has had its monsters.

For good to be pitted against evil,

you have to have evil, don't you?

- Here's your doggy bag.
- Thank you so much.

- Thank you, Jamie.

- Now I feel like we didn't
even have a chance to talk.

How's that thing, the
one you're working on?

- Really good, really good.

I was telling Jamie earlier that I think

this girl's really coming alone.

- [Oene] You got your red
herring all worked out?

- I think so, I think so.

She spends a lot of time at the library.

So I was gonna do it there.

- She knows the )anitor or somebody?

- Do you wanna walk us out?

- Sure.

- Thank you, sir.

- I was gonna knock
off one of her friends.

- Oh, I don't know about that, son.

I wouldn't burn that one too quick.

It turns the heat up too much.

- Right.

- Is there anybody else available?

Does she talk to anybody,

a homeless person on the way or anything?

- Well, hey, how about a librarian?

If she spends a lot of time there,

I'm sure she knows a few of them.

- Now that's a good idea right there, Les.

- There's a lady there

who lets her stay late sometimes.

- (laughing) Jackpot.

You got a winner.

- Yeah, yeah.

Yeah, I'm gonna look into that.

- You do that.

- All right, now.

- [Both] You keep us posted.

Jinx, you owe me a soda.

- Oh, Eugene!

Got me again.

- I will.

- [Taylor] Leslie, what's a red herring?

- It's a...

Preliminary strike

involving Kelly indirectly.

- Strike, meaning the first
person you are gonna kill?

- Mmm-hmm.

Next step is...

I gotta get this...

Into Kelly's hands.

- [Taylor] What is that?

- This is an article

about the suspect

who was questioned in the rape of my mom.

- Mark Daniel curtis.
- Mm-hmm.

- Is he related to Kelly?

- [Leslie] That's her great-uncle.

Well, supposedly.

- Wow, he looks just like her.

- It is her.

It's a computer-generated image.

Pretty good, huh?

She doesn't have a great-uncle,
at least not that I know of.

- So what, you made that up?

- A lot of what we use is cGI.

- [Leslie] Hey, Doug,
can you step out front?

- [Doug] You bet.

- Thank you.

All right, kids, we are
at the point of no return.

You can either bag it and go
home with a clear conscience

or you can come inside.

What's it gonna be, stay or go?

- [Taylor] So how will this play out?

How will this work?

- I don't know that it will.

I just put it in front of her

and hope she takes it

and connects the dots.

It's another test

to see if we're on the same page.

In fact, a lot of what
happens from here on out,

the success or failure
of it, depends on her,

on what she does.

Stay put.

I'll be right back.

- [Taylor) Go go go!

Don't you see him?

- [Todd] I lost him, I'm sorry.

- [Both] There he is.

- [Todd] Look at him.

He's like a little monkey.

- [Taylor] Just stay focused.

Go!

(gasping)

- Keep it down, Todd.

- [Todd] Don't sneak up like that.

- Like the freaking town crier over here.

- Whoa whoa whoa.

What's this?

Oh, all the newspaper articles

are kept on microfiche.

I swapped the real one out

for the fake one that had the story

about Kelly's great-uncle.

If everything goes right,

and it never does, but if it does,

she's gonna read the newspaper clipping

and wanna read the rest of the article.

She's gonna go to the librarian for help.

Then they're gonna go to the microfiche.

They're gonna read about the
Curtis family connection.

Then Kelly is going to freak.

Then the librarian's
gonna say something like,

"It's okay, dear.

"It's just an old story."

And then...

I make my appearance.

It is going to get wet in here tonight.

Lace your boots up, kiddies.

Paradise Lost...

Found it.

All right, keep the cameras rolling.

After I've offed the librarian,

I'm gonna chase Kelly
around for a little bit.

Then I'm gonna let her go.
You wait for my signal.

When you get it, just
haul ass back to the van.

- Got it?
- Oot it.

- Wish me luck.

- Good luck.

- Thank you.

- [Doug] Todd, Todd, come in.

We got company.

Who the fuck is this guy?

- [Todd] She is hot.

- [Taylor) Todd, would you
keep the camera on her face?

She's getting up.

- [Todd] So am I.

- [Taylor] Ugh, seriously.

- [Todd] She strides like a gazelle.

- [Taylor] Todd.

- [Todd] Really, he's got good taste.

Look how hot she is.

- [Taylor] I can't believe
that actually worked.

Make sure you're getting this.

(tense instrumental music)

- Mrs. Collinwood, would you help me

find the rest of this article?

- Oh, my goodness.

This must be 30 years old.

Someone must have brought it in

and left it by mistake.

- It's not the library's?

- Oh heavens, no.

We don't keep papers this old.

We scan them into the computer now.

But something like this
might still be on microfiche.

"Mark Daniel Curtis, described
as a vagabond drifter,

"was questioned by Glen
Echo police Tuesday mornlng

"for the brutal rape of Molly Vernon."

- Curtis.

Are you related to this man?

- Do you know the story of the boy

in the Vernon farmhouse, Mrs. collinwood?

- Oh, goodness, everybody knows about...

Never you mind.

It's )ust a story.

- No, I want to know what happened.

- Here we are.

- It's a wedding photo.

"Mr. and Mrs. Vernon
on their wedding day."

- That's the first and last photograph

you'll ever see of them.

They were a strange couple.

They kept entirely to themselves.

After that night...

Nine months after that night, in fact,

Molly Vernon gave birth to a bastard son.

- Oh my God.

- He was horribly abused.

He was forced to live in the cider house

and driven like a slave

to till the fields

with only a hand scythe.

One day, legend has it,

the boy revolted.

Beneath a blood-red harvest moon,

he murdered Silas with a hand scythe,

buried his body in the fields

and dragged Molly from the house,

hanging her in the farm's apple orchard.

When the crimes were discovered,

the incensed townspeople
marched upon the farmhouse,

dragged the boy from the house,

bound his hands, and
marched him over the falls

to the banks of the Nellis river,

where he vanished into the icy waters.

- Did they ever find the boy's body?

- Water that cold, bodies
don't come back up.

Turtles picked his bones clean.

- If this is my great-uncle who raped her,

that would make the boy my...

- Now you listen here.

The boy drowned.

You have nothing to worry about.

(screaming)

(intense instrumental music)

- Leslie!

No more. It ends here.

(gun banging)

Come to me, child.

It's all right.

(screaming)

- [Leslie] Woo!

Did you get that?

You got it? You got it?

- We totally got it.
- You got the guy coming out?

- You got the guy, right?

You got the guy?
- We got the whole thing.

(cheering)

- We got an Ahab!

- Whoa, we got an Ahab!

What's an Ahab?

- It's a guy.

It's a guy like the guy back there.

Get in, we gotta tell Eugene.

(gun banging)

- Oh! He shot you?

- Right in the shoulder.
- That's your first one.

- Does it hurt?

- Oh, no, it feels all right.

I was wearing a vest, it's fine.

There he is.

- I'll be damned.

Doc Halloran.

Right when you need him.

- It's unbelievable.

- It looks like you got your Ahab.

- Leslie, who is Doc Halloran?

- He's a psychiatrist.

He visited me when I was little.

- And after Leslie took off,

Doc Halloran always
predicted he would come back.

- So you're gonna go after him now?

- No, hell no, I need him!

- [Taylor] Why? Why do you need him?

- Because he is an Ahab,

and that is a remarkable thing.

- You're gonna have to define an Ahab.

- Okay okay, an Ahab in this context

is a reflection of everything
that is good in humanity,

someone who is willing to
defend others against evil

even at a great personal cost.

He knows what I am.

He knows what I'll be doing.

He will stop at nothing
to try and stop me.

- This is such great news.

- Let's not get ahead of ourselves.

The boy needs to focus.

- Oh, Gene, he's got an Ahab!

You can't get a little excited?

We are so proud of him.

We're very proud of him.

- [Todd] I would just like
to state for the record

what an enormously bad idea this is.

- Todd, I )ust need to know, okay?

- Hi, everyone, how are you?

Coffee?

- [Taylor] Yes, thank you.

- I'll be back for your order.

- [Todd] What are you waitlng for?

- Look, Todd, when she
comes back, I'll ask her.

Just be cool, all right?

- [Todd) Uh-oh.

- Oh God.

Oh Ood, oh God, oh God.

What do I say?

- [Todd] Just act normal.

It's the opposite of what
you're doing right now.

- Why are you following this girl?

Who are you people?

- [Todd] We're just sittlng here, man.

- Oh, really?

Why are you filming thls?

- Uh, who are you?

Okay, why do you need to know that?

You know where he is, don't you?

He's not who you think he is.

What's he calling himself
now, Leslie Vernon?

How perfect.

I...

I don't know.

I don't know who that is.

- His name is Leslie Mancuso

from Reno, Nevada.

You have no idea who you're deallng with.

- What's going on?

- Miss, I believe these
people wish to speak with you.

- Actually, no.

We need to go, but thank you anyway.

And it was nice to meet you, Mister--

- Doctor.

Dr. Halloran.

Expect to see more of me.

- Excuse us.

Todd, let's go.

Oh, shit.

- You wanna just pretend

that we've already had the conversation

we're about to have?

- Leslie...

- Okay, that's your
portion of it rlght there.

Now here's mine.

You asked if you could
talk to her, I told you,

"No, you'll fuck it up."

God damn it.

I've shown you pearls,

shit no one's ever seen.

If you wanna pack it up
and go home, that is fine.

It's not gonna affect what I have to do.

And frankly, I'll be glad

not dragging you fuckers along anymore.

But don't ruin...

My life's work.

Don't do it.

Trust.

Taylor, where's the trust?

- Trust?
- Yes!

- Oh, yeah, right.

Where is it?

Coming from you?

Who is that guy?

Who is Doc Halloran, Leslie?

And who are you really,
come to think of it?

- Get in the van.

- We're not gonna have this
conversation in the street.

- You think he might come
out and shoot you again?

- Get in the van!

- Ever live in Reno, Leslie?

(yells)

(whimpering)

- That's enough.

You win.

I'll tell you everything you need to know.

Okay?

- Yeah.

- Now please,

get in the van.

- You've never lived in Olen Echo.

You're not Molly Vernon's son.

Then who is Doc Halloran?

- Doc Halloran

is a shrink who treated me in Reno.

And I left there to come
here, so I could do this.

- And why doesn't he turn you in

if he knows the truth?

- Because I...

I set him up.

I filed a restraining order against him.

And if he tries to turn me in,

he'll be arrested.

- You used me!

- How can you even think
this is about you, though?

This is...

This is my life.

Taylor, this is my life.

So the backstories are fake.

So what?

If you can't stay,

I understand.

Turn lt off.

- [Todd] So what's next?

Either stay or go, what are we gonna do?

- [Doug] Todd, just stop pushing, man.

- [Todd] Shut up, Doug.

- [Doug] Just let her think.

(light country music)

(birds chirping)

- You know what?

This is what I've chosen to do, so...

Let's see it through.

- [Todd] Yes! Sweet.

We're staying.

- [Leslie] Welcome to my
allegedly ancestral home.

You wanna limit your time
inside as much as possible.

- [Taylor] Why is that?

- [Leslie] Restricts your mobility.

You wanna keep your eye on
everything at the same time.

The worst thing ls if you get
in a game of hlde and seek.

That really slows you down.

- [Taylor] Now if they
hide in the closet...

- [ Leslie] Why not )ust
reach in and grab 'em?

- [Taylor] Yeah.

- We have a code of ethics, Tay.

The closet...

Is a sacred place.

It's symbolic of the womb.

It's the safest place to be,

because in the womb we're innocent.

- So does that mean
you're pro-life, Leslie?

- Anyway, you don't want
to spend too much time

on just one person.

Gives everybody else too
much time to get away,

and that's rule number one.

Nobody gets away.

You mess that one up,

and not only is it a complete breakdown,

it's really embarrassing.

The bedroom is where it's all gonna start.

If it all goes as I expect,

one guy's gonna bring his girl up here

to knock boots,

and of course I'll be waiting nearby.

This is my staging area.

I'll wait here for them

to start doing their thing,

and then it's decislon time.

- What's a go situation?

- If I have a good sense of
the way things are going,

if I know where everyone's at.

Once I off the two of
them, I'll stage the area

and make it look like they're sleeplng.

- Why is that?

- Well, if someone comes in

and sees two horrifically mangled bodies,

they'll run screaming from the house.

I'll lose containment way too early.

As soon as possible I
gotta whittle it down

to just me and Kelly.

I have...

The main fuse rigged up to cut the power.

(clicking)

So I can sneak down the stairs

and take advantage of the
first moments of chaos.

Of course, one of the first reactions

will be to go for the
flashlights in the kitchen.

I put dead batterles in all them.

So that'll mean they have
to go down to the basement

to check the fuse box.

Remember, nobody knows
about the bodies upstairs,

so they won't be panicked.

Here's how it'll go down next...

(light rock music)

Everybody will be partying.

Kelly won't be having
any of it, hopefully.

Her jock boyfriend's gonna get frustrated,

take it out on the stoners.

The stoners are gonna be stoned.

And then the lights will go out.

One of the guys will
offer to go to the cellar,

and being a raging sack of hormones,

he'll bring his glrl to try to score.

(tense instrumental music)

- [Taylor] Oh, Leslie.

Don't you think that's
a little gratuitous?

- [ Leslie) Now, Taylor,
who's telling the story?

That's my cue to split 'em up.

He'll tell her to stay put
while he checks it out.

He'll say, "Everything's all right."

- Honey?
- And then...

(screaming)

- [Taylor] You let her go?

- [Leslie] She's the starting gun.

She'll run screaming back into the house

and start the panic.

That gives me time to make my next move.

There's no lock on that old toolshed

so I'll use the corpse

to scare the poop out of the
kid who goes ln there next.

The shed's a safe haven.
I can't let anyone in.

- [Taylor] The closet imagery.

- [Leslie] Right.

Only Kelly's allowed in there.

If someone else tries to enter that shed,

he gets it with a posthole digger.

- It's so sadistic, and yet...

Genius.

- Thank you.

- [Doug] But, uh, you do
want Kelly to go in there?

- Yes.

- You're kidding. What for?

- [Todd] Wait, Taylor, we
should get you asking that.

- Good call.

Leslie, I feel as though

you want Kelly to enter the toolshed.

- That's correct, Taylor.

It's the first sign of empowerment

I'll be looking for in her.

At some point she's gonna turn a corner.

It's a pivotal moment when
she makes the transition

from victim to heroine.

This is visually manlfested

when she reaches for a
big, long, hard weapon.

You know what I'm talklng about.

That's okay, Tay.

It's deeply symbolic.

She's empowering herself with cock.

- Come on.

- Look, you go back and
research all of those women

who survived thelr ordeals
and I guarantee you

none of 'em did it with
a dinky little gun.

- So you're saying she'll reach

for something phallic on purpose.

- She reaches for my weapon.

That's the ultimate, because she'll be

taking my manhood

and empowering herself with it.

- So you're pro-life
and you're a chauvinlst.

It's convention, Tay.

You have to respect it.

- Let's go to the toolshed.

So let me get this straight,

you want her to arm
herself with one of these?

- Well, sort of.

I mean, if you look right here,

I've precut the handle, so it'll snap

with the first swing, and...

I've loosened the head

on the sledgehammer.

I've filed down the
head pin on the pickax.

All the obvious weapons right up front

I've sabotaged.

I just have to hope she doesn't get lucky

with the first swlng.

Yeah.

There are 11 exits from the first floor

and another eight or nine
that might be manageable

from the second floor.

You wanna eliminate as many as you can

from being practical,

so I've discreetly

nailed them all shut.

- Don't they just smash them out?

- You'd think so,

but you'd be surprised.

No.

And when they do smash it out,

it's on the second floor or higher.

And then they're out on the
roof and they're screwed.

I've cut down the larger
branches from the trees

to prevent anyone from climbing down.

And the smaller ones I've precut,

just like at the shed,

so any weight will bring the
whole works crashing down.

- Sort of seems like cheating.

- It's preparation.

Logistically speaking, I'm at
a severe disadvantage here.

- [Taylor] So what's next?

- [Leslie] While they
regroup, I have a short window

to prepare for when it all gets outside,

then I work my way back
to the front of the house.

And here's where the
timing becomes critical.

They'll wanna wake up
the two kids upstairs.

- [Taylor] And they find
them dead and freak out.

- [Leslie] (laughing) Very good!

- Go!

Shane, Lauren!

Hurry!

Shoot!

(screaming)

(tense instrumental music)

- Fucking start.

Fucking start, man.

(engine sputtering)

Oh, fuck.

Oh, shit.

Oh, fuck.

Oh, start!

(screaming)

- [Leslie] We're gettlng
down to the end now.

I think you know where this goes.

- [Taylor] I think so.

- Why don't you...

Why don't you take a shot at it?

Well...

Assuming they all run down here...

- [Leslie] Not assumlng.

They will run down here.

- [Taylor] They'll try to
hide and they'll see...

(screaming)

- [Leslie] Very good.

What next?

- [Taylor] Well, they'll go
the only place left in here.

- [Leslie] Yes.

No, wait.

Okay, stop.

Aren't you forgetting something?

- [Taylor] Oh!

Ahab, right?

- [Leslie] Exactly.

Doc Halloran will have
figured everythlng out by now,

so I'm expecting him any minute.

All I have to do is keep Kelly busy

by throwing a few bodies here and there.

And then we can have our whole, you know,

cathartic good-versus-evil showdown.

And then we can move on.

(intense instrumental music)

- Okay, but she's loose.

So where to now?

- The piece de resistance.

If the closet represents the womb,

what's thls?

- [Taylor] The blrth canal?

- [Leslie] Well done, Taylor.

Yonic imagery is extremely
important in our work.

- [Taylor] Yonic?

- [Leslie] Yonic.

Opposite of phallic.

It's girl parts.

- [Taylor] So she has to go through

some kind of psychological passage

as well as this physical one.

- [ Leslie) It it works, if
she's the one, she'll emerge...

- [Taylor] Her innocence lost,

born again as a woman
hell-bent on revenge.

- If she does that...

I'm the happiest man alive.

This is the crown jewel, baby.

- [Taylor] A cider press?

- Yeah.

Need I explain the imagery

of apple crushing?

- You needn't.

What's going to happen with this?

Well...

Gonna crush some apples

and then juice is gonna come pouring out.

(laughing)

- [Taylor] All right, Todd, easy.

I meant tonight, funny guy.

- Tonight?
- Yeah.

- I was gonna hurt somebody.

(thunder rumbling)

- [Gene] Break some legs tonight, kid.

- [Leslie] I will.

- [Gene] I know you're gonna be great.

- Hey, before we go,

how about some advlce from the experts?

How does one survive an encounter

with someone like you or Leslie?

(chuckling)

- I like her, Les.

She's a little Spitfire.

- So how about it?

- I'll tell you.

Never hang out with a virgin.

You got a virgin in your crew,

either get somebody ln her pants

or get the hell away from her.

- Aside from that,

the simple answer is...

Run like a motherfucker

and don't stop 'til the sun comes up.

Pardon the French, but there it ls.

And don't try to hlde.

We'll find you.

Don't try to be a hero and fight us.

You'll lose.

Pick out a clear spot ahead
of you as far away as possible

and run straight

and don't ever, ever look back,

because you won't like what you see.

I promise you that.

- [Taylor] How about sticking together?

- Well, sure, sure.

You can do that.

Just make sure there's
one poor son of a bitch

slower than you when it comes tlme to run.

(laughing)

- I was fast, wasn't I, Eugene?

- You sure were.

But you caught me, didn't you?

- I did, I did.

- Okay.

So nice to meet you.

- All right, all right.

Give the old lady a hug.

- Bye.

- Bye, Jamie.

This stuff here,

it's sort of a preparation H formula,

what boxers use.

- What does it do?

- Constricts blood vessels
near the surface of the skin.

Helps stop bleeding from lacerations,

keeps your eyes from
bulging if you get hit.

Plus, it makes you look pale.

Cider man.

And I mixed in my own special
concoction of fire retardants.

It's pretty sweet.

- Are you concerned about Doc Halloran?

- No.

It's not about him.

I need to stay focused.

- On Kelly7

- My fate, my...

Longevity...

Depends on what she does.

- Yet you're trying to kill her.

- [Leslie] That's the
paradox of what I do.

- You love her, don't you?

- I love the idea of her...

Of what I hope she'll find withln herself.

- What doesn't kill
you makes you stronger?

- This is like my Christmas.

If you don't stop and appreclate it,

goes by so quick.

I'm so happy.

(sobbing)

I'm so happy.

We got a few hours left.

I'm gonna...

Take one last look around.

(muffled rock music)

Okay, there are eight kids

in the house.

They're downstalrs getting
uiced on vodka and beer.

Kelly's here.

She's not drinking, which is good.

Spark plugs.

Somehow I just don't feel like

getting run over tonight.

You know what I mean?

Okay, the Jocko kid and his
hot little cheerleader number

should be coming up here any minute.

Um, I usually give 'em
a little bit of time

to get their business going.

It's not a bad way to go out, is it?

- [Todd] Awesome. Yes.

- [Taylor] Todd!

(laughing)

- All right, here we go.

Right on time.

(moaning)

Time to dance with the devil.

(moaning)

(grunting)

- [Doug] Holy shit.

This is really happening.

- [Todd] Should I be
getting any of this, Taylor?

- I don't know.

- All right, all right.

All right, all right.

It's begun, it's begun.

Taylor, hey.

- Taylor, what's wrong?

- No, get that thing out of my face.

Just get it out of my face.

- [Todd] Where am I supposed to point it?

- I don't give a fuck!

- Hey hey, Jesus Christ!

Shh.

Okay, outside. Everybody outside.

Go, go now.

- [Taylor] Why are you doing this?

- Because you have a look.
- What look?

- The "We can't )ust stand
here and let this happen" look.

Now go.

Go, go.

I'm sorry, I'm sorry.

It's )ust I told you thls is my night.

Okay?

And the fact is, this
can still go either way.

After tonight I'll either be in hiding,

locked up or dead.

So the point is...

We're not gonna see each
other after tonight anyway.

We might as well )ust
say our goodbyes now.

So...

Fellas, it's been a pleasure.

Thanks.

Thank you.

Best of luck the rest of the way.

- [Doug] Yeah, man.

You too.

- Les, you...

You've chosen to live up

to a fabricated ghost story.

You've elected to fulfill a destiny

you don't have to fulfill.

- No no no, shh.
- What?

- Taylor, thls has nothing to do

with where I came from
or what happened to me.

I would have ended up here no matter what.

I made a choice.

I made a choice to
provide a counterbalance

to all those things that
we hold good and pure.

You chose journalism, okay?

(laughing)

This is what we are born to do.

- Goodbye, Leslie.

(owl hooting)

- [Todd] So that's it?

Just like that?

I can't believe this.

- Pack it up.

- [Todd] I'm just gonna get
one last shot of the house

for the closing credits or something.

- [Doug] That's the
power, )ust like he said.

He's gotta be in the cellar by now.

- [Todd] Right on schedule.

Taylor, what the fuck?

- I said turn it off.

We cannot stand here and let this happen.

Isn't that exactly what he
said you were gonna say?

God !

It's over.

The documentary's done.

Now he's done.

- [Todd] What are you talking about, Tay?

- We know what he's gonna do, okay?

We know how he's gonna do it.

We can stop him.

- Whoa whoa whoa.

Hang on a second.

What are you doing?

- He got what he wanted from us, Doug.

We built up his story for him.

Now I'm edltlng it.

- Can we consider this for one second?

You saw what he's got set up in there.

You really think that Kelly's
gonna be able to stop him?

- Well, then that would mean she's...

- Mean, oh, she's not the survivor girl?

She's fucking 17, Todd.

- We did agree to do
this and not interfere.

- Yeah, well, guess what.

- Okay, look, we go in there,

we tell Kelly what's happening,
we get the fuck out, okay?

- But what if he comes at us?

- Okay, cool, fine.

You guys stand here holding your balls.

- She had to make the
fucking balls reference.

Balls.

(tense instrumental music)

This is a bad ldea.

I don't like that I just said
that, given the circumstances.

- Hey, fellas.

- You scared the fuck out of me.

- Where's Kelly?

- Um...

I think she went upstairs
with that Shane dude.

- [Todd) Leslie cannot
know that we are here.

- [Doug] Can't be in the master bedroom.

They'd have found bodies by now.

- [Taylor] This one wasn't
closed when we left.

Oh my God.

(moaning)

- Come on, come on, Kelly!

- [Todd] That's like no
virgin I've ever seen.

(screaming)

- Who the fuck are you?

Get the fuck out!

- She's no virgin.

- That was definitely
not her first time, no.

- Leslie's gonna flip his shit, man.

- He's about to kill
the jock in the cellar.

- Kelly, wait wait.

- Who the fuck are you?

Why are you following me?

- Shh.

Kelly, you have to come with
us. There's no time to explain.

Come on.

- It's okay, everybody.

Everybody, let's go.

We're taking you all
out of here right now.

- Taylor.

- Todd!

There is a man named Leslie
Mancuso here tonight.

He's in the cellar right now.

He's planned this entire evening.

He's gonna stalk and kill
each and every one of you.

No way, that Leslie Vernon dude?

- No, it's not Leslie
Vernon. It's Leslie Man--

- Where's Lauren?

- She went down to the cellar

with that one other dude.

- With Pete?

- No no no, you can't go down there.

- Why not?

- Because...

Because it's too late.

(screaming)

- Oh my God. Oh my Ood.

- What's going on?

- There is a man with a
mask and he killed Pete.

He killed Pete.

- Oh my God!

- We were just making out
and then )ust came up...

- This isn't happening.

- I'm sorry, I'm sorry, but it really is,

and it's about to get a lot worse.

That night, you remember,
a couple weeks ago,

you were closing down the coffee shop

and you took out the trash,
the door slammed shut?

- You were there?

- You thought you saw a guy standing

in the shadows watching you, didn't you?

- No.

No, I did, but it wasn't him.

Yes, it was.

It was him.

And that night in the library.

- No...

- You saw him, Kelly.

You saw him, and he's here now.

Just look at him.

(screaming)

- Oh God.

This is not cool, guys.

- [Doug] Help me get
her in the other room.

- Get her on the couch.

- Well, this isn't working.

- No, it's working perfectly for him.

- We have to mess up his plan somehow.

- The klds...

The kids upstalrs.

They're not supposed to
find them until much later.

- Right, to scare them out of the house.

- We gotta make that happen now.

- Wait, you guys, come here.

We gotta show you something.

Come with us.

- [Taylor] Sorry to show you thls.

- What the fuck?

- No no no, but we saw it, right?

- We're off the plan.

- Let's go find them then.

Dude, come on.

- Kel, relax, okay?

It's )ust Pete and Mike playlng
a joke on us, all right?

Julie's probably in on it too, all right?

I'll call him right now.

There's no service.

- Why would he change the plan like this?

- He's adjusting it.

- Why? What for7

- To accommodate for the
extra people in the house.

- Tell me he didn't see
you before at the window.

- Fuck me!

- God!

(mumbling)

- Let's )ust think this thing through.

He's got these two clowns
going to look in the toolshed.

He's only expecting one kid.

- Oh, God, he's gonna
kill them both there.

(mumbling)

- Fuck it, dude.

Cover me.

I'm going in.

- Cover you with what, dude?

- Holy shit.

Dude, check out this scarecrow, man.

- Just come on back out here, man.

- I wanna put this in my room.

(tense instrumental music)

- Come on, man, let's go.

- No!

- We are so fucked!

- Back to Kelly.

- Come on.

- Our fucking tires are
slashed on all our cars.

- He's making lt all happen

exactly as planned, despite the changes.

- He's really good.

In a really bad way I
mean, but he's really good.

- I'm a little more freaked about her.

What kind of a survivor girl

passes out in a pinch?

- Passes out?

What kind of survivor girl
hops on the nerdy kid's Johnson

like it's a pogo stick?

- Okay, all right, look.

The solution's in the plan.

That's how we're gonna beat him.

What comes next?

- [Todd] I didn't wanna
come back to the house.

You're the one who wanted
to go back to the house.

- [Doug] Dude, it's not her fault.

We're all in thls together.

- [Todd] What, like she doesn't know?

G5ele of all whores know
that they're whores.

- [Doug] You made that up.

- Come on, help me out here.

What's next? Come on.

- The kids, they go upstairs
and find the dead bodies

and then they head out to their cars.

- Which are sabotaged.

- Yeah, but our van lsn't.

Hey, guys, let's go.

- Come here, hey hey.

Come with us.

(screaming)

- Holy fuck!

Fuck!

- Quiet! Shh!

(engine sputtering)

- Todd, it's not gonna start.

- God damn it!

- He's way ahead of us.

- Back to the house.

He didn't plan on that.

- [Todd] What now?

- Okay, he said he hated being inside,

so we stay in a group.

We protect Kelly.

We walt him out.

Protect me?

Why not protect all of us?

- Kelly, you gotta dig
deep, I mean, real deep.

We're all counting on
you from here on out.

- Me?

Why me?

- Because he thinks
you're his survivor girl.

- His what?

A survivor girl.

He think you're the one

who's going to fight him and beat him.

- Well, why the hell would he think that?

- Because he's been studying
you, all of you, for months.

He thinks you're showing the signs.

He thinks you're a virgin...

(laughing)

- Fuck you, bitch.

- Yeah, you would.

- (laughs) Wowie wow.

- Which you clearly are not,

and if Leslie's figured that out...

- What?

What?

He'll do what?

- He'll kill all of us
and leave no witnesses.

- Oh, great.

Way to go, Kel.

- This is my fault?

Because I'm sexually active?

I am sorry I'm not a virgin!

(screaming)

- Kelly, no!
- No!

(screaming)

(thudding)

- Cat's out of the bag now.

- Taylor, they're headed for the barn,

exactly where he wants them to go.

- Fuck this.

- Todd, what are you doing?

- Don't you get it?

We're in this now.

We're part of his equation.

I'll see you around.

Have a nice summer.

Leslie, no one gets away, rule number one.

- Selfish...

- No no no, wait.

- Les, I'm doing it!

- He's gonna lead him.

- Doug, let's go. Run!

- Come on, Les.

Come on, buddy.

Come on, you physical specimen.

Chase the Doughboy.

You gotta chase me.

Your rules, not mine, baby.

I'm getting tired.

What the fuck?

Come on, Les.

Come on, Les man.

Look at me.

Look at me, Les.

Look at me.

Let me see you.

Look at me, man.

It's fucking Todd.

It's Todd.

In it together.

We're fucking doing this
thing together, man.

It's Todd.

Come on, come on.

Come on!

God !

Wait!

- Lauren, no!

Don't go up there!

- Maybe it worked.

Maybe Todd got away.

We should go check.

Maybe his plan's all fubar
now and he bailed out.

- We're right where he wants us,

all of us.

- Well, you got us into this, Taylor.

We could have )ust gotten
in the van and driven away.

- You were just gonna leave us here7

- How long have you been following us?

- It doesn't matter.

You don't matter.

- Why are you saying that?

- He knew.

He knew before...

We started, before...

Before we even met.

That's why he agreed to do this.

He...

He found me before we ever shot a frame.

- Taylor, you're not making any sense.

- It's perfect.

Oh my God.

It's genius.

- Taylor, knock it off.

His plan, his plan, it's fucked.

Okay, he's got no virgin,

and Todd made him run
in the wrong direction.

Now think.

- It's her.

- Get up.

- Lauren's rlght.

It's you.

You're the virgin.

(sobbing)

- This whole time it was you.

- Please, please,

you have to tell me...

What happens to me?

(thudding)

Oh my God!

(crunching)

- Doug, don't.

Lauren, no!

(screaming)

- Get off me.

Get the fuck off me!

- Come on, we gotta go.

Oh, shit, the hole's blocked.

- He's thought of this already.

- We gotta find another way.

Doug.

Doug, it's no good.

- Help me then.

Quit explaining.

- He's planned for...

- [Doug] Oh my Ood.

- That.

- Leslie!

- Hi, Doc.

- No, boy.

- Leslie, I love her.

You gotta go through me.

- I'm sorry, Todd.

It's )ust you and me now, Leslie!

It's )ust you and me.

Come get some.

(tense instrumental music)

(intense instrumental music)

(panting)

- Taylor.

I knew you were the one.

(screaming)

(dramatic piano music)

(sobbing)

(screaming)

- Is he...

- I don't know.

I don't know what he is.

- Just a man.

He's just a man.

(dramatic instrumental music)

("Psycho Killer" by Talking Heads)

♪ I can't seem to face up to the facts ♪

♪ I'm tense and nervous
and I can't relax ♪

♪ I can't sleep 'cause my bed's on fire ♪

♪ Don't touch me I'm a real live wire ♪

♪ Psycho killer, qu'est-ce que c'est ♪

♪ Fa-fa-fa-fa-fa-fa-fa-fa-fa-far better ♪

♪ Run run run run run run run away ♪

♪ Oh oh ♪

♪ Psycho killer, qu'est-ce que c'est ♪

♪ Fa-fa-fa-fa-fa-fa-fa-fa-fa-far better ♪

♪ Run, run, run, run,
run, run, run, away ♪

♪ Oh oh oh ♪

♪ Yeah yeah yeah yeah ♪

♪ You start a conversation
you can't even finish it ♪

♪ You're talking a lot, but
you're not saylng anything ♪

♪ When I have nothing to
say, my lips are sealed ♪

♪ Say something once, why say it again ♪

♪ Psycho killer, qu'est-ce que c'est ♪

♪ Fa-fa-fa-fa-fa-fa-fa-fa-fa-far better ♪

♪ Run run run run run run run away ♪

♪ Oh oh oh ♪

♪ Psycho killer, qu'est-ce que c'est ♪

♪ Fa-fa-fa-fa-fa-fa-fa-fa-fa-far better ♪

♪ Run, run, run, run,
run, run, run, away ♪

♪ Oh oh oh oh ♪

♪ Yeah yeah yeah yeah ♪

♪ Ce que j'ai fais, ce soir la ♪

♪ Ce qu'elle a dit, ce soir la ♪

♪ Realisant mon espoir ♪

♪ Je me lance, vers la gloire, okay ♪

♪ Yeah yeah yeah yeah yeah
yeah yeah yeah yeah yeah ♪

♪ We are vain and we are blind ♪

♪ I hate people when they're not polite ♪

♪ Psycho killer, qu'est-ce que c'est ♪

♪ Fa-fa-fa-fa-fa-fa-fa-fa-fa-far better ♪

♪ Run run run run run run run away ♪

♪ Oh oh oh ♪

♪ Psycho killer, qu'est-ce que c'est ♪

♪ Fa-fa-fa-fa-fa-fa-fa-fa-fa-far better ♪

♪ Run, run, run, run,
run, run, run, away ♪

♪ Oh oh oh ♪

♪ Yeah yeah yeah yeah ♪