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Friday the 13th 1980 (A Screenplay)
#1
I was a big fan of the Friday the 13th series when I was a kid. As an adult, my opinion's not so hot. There's plenty of style, some atmosphere, but not much character and next to no story. I've decided to go ahead and try my hand at an F13 reboot, separating the wheat from the chaff to create a strong storyline with a beginning, middle, and end.

Friday the 13th 1980 is basically a mashup of Part I & II with a few choice elements from III. It's meant to be the first chapter of a tetralogy, but only time will tell if I get around to writing any sequels.

I started serializing this screenplay months before, but ennui drove me to abandon the project and delete the thread. But my enthusiasm's returned, and this time the thread will stay up, I promise.
"Never was there a time when I did not exist, nor you, nor all these kings; nor in the future shall any of us cease to be."

Bhagavad Gita 2:12
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#2

FADE IN

On a two-storey house bordering the woods.

INT. MOTHER'S HOUSE/KITCHEN — NIGHT

Inside the kitchen, the MOTHER — a thirty-something woman with long red hair — stands over a pink birthday cake with the words "HAPPY 12TH BIRTHDAY" stencilled on top in bright red icing. Taking a match to each of the twelve candles, she lights them, a morose expression marring her pretty features.

EXT. CRYSTAL LAKE — NIGHT

PAN DOWN

From a bright moon in the night sky to the black waters of Crystal Lake, beyond which rise a dock and summer camp.

SUPERIMPOSE: "CAMP CRYSTAL LAKE — JUNE 13, 1958"

EXT. CAMP CRYSTAL LAKE — CAMPFIRE — NIGHT

The camp counsellors sit around a campfire, singing "Michael, Row the Boat Ashore". CLAUDETTE, the pretty young blonde playing the guitar, smiles lovingly at BARRY, who sits across from her. Meeting her gaze, he smiles back.

INT. MOTHER'S HOUSE/DINING ROOM — NIGHT

With cake in hand, the Mother enters the dining room. Singing "Happy Birthday" in a low, melancholy tone, she crosses over to the dining table.

EXT. CAMP CRYSTAL LAKE — CAMPFIRE — NIGHT

As the song comes to a close, Claudette hands her guitar to another counsellor. She and Barry leave as the others start singing another tune.

PROWLER'S P.O.V. — UNDERWATER

Deep beneath the waters of Crystal Lake, the PROWLER'S eyes open, affording us a view of moonlight distorted through murky black water.

INT. LOFT — NIGHT

Barry and Claudette scurry inside the derelict loft, closing the door behind them. As Barry reaches out to her, kissing her, she lays a single finger on his lips, stilling him.
 
CLAUDETTE

(grins) Does Chloe kiss as good as I do?

BARRY

(smiles) I wouldn't know.

CLAUDETTE

No, of course you don't.

Laughing, Claudette breaks away from him. As she climbs the steps to the top of the loft, he eagrely follows, grinning broadly.

INT. MOTHER'S HOUSE/DINING ROOM — NIGHT

Taking a pie cutter, the Mother cuts a slice from the cake and transfers it to an empty plate. The chair behind the plate remains unoccupied.

PROWLER'S P.O.V. — CRYSTAL LAKE

Emerging from the depths, the Prowler moves towards shore.

INT. LOFT — NIGHT

Lying together on the wooden floorboards, Claudette and Barry suck face, clawing at one another.

PROWLER'S P.O.V. — SHORE

Leaving the water, the Prowler makes their way to the campgrounds. They spot the counsellors singing around the fire. Turning from them, they zero in on the loft.

INT. LOFT — NIGHT

Shirts unbuttoned. Billy and Claudette continue making out on the floor.

PROWLER'S P.O.V. — LOFT

Opening the loft door, the Prowler sneaks inside. Hearing Claudette and Barry, they approach the stairs. As they pass a machete hanging on the wall, they reach out with a slimy hand and lift the blade from its resting place.

INT. LOFT — NIGHT

Hearing a sound, Claudette stops. Sitting up, she hurriedly begins buttoning her shirt.
 
BARRY

(annoyed) What are you stopping for?

CLAUDETTE

(alarmed) Someone's there, Barry.

BARRY

(sighs) C'mon, Claudette! I'm not made of stone!

CLAUDETTE

Let's go back, Barry.

PROWLER'S P.O.V. — LOFT

Climbing the steps, the Prowler comes to the top. Seeing Claudette and Barry there, they slowly walk towards them. Noticing someone has arrived, Barry stops pressuring Claudette to carry on and they both hurry to stand.
 
BARRY

(approaches Prowler) We weren't doing anything. We were just —

As Barry sees the Prowler clearly, he stops in mid-sentence. The Prowler lunges forward, burying the machete deep in Barry's gut. Claudette screams. Barry collapses to his knees, grasping at his heavily bleeding wound, and the Prowler turns on Claudette. Screaming, she runs to the back of the loft, hurling objects at the Prowler as they draw near, but she can do nothing as they bring the machete to bear.

INT. MOTHER'S HOUSE/DINING ROOM — NIGHT

The twelve candles on the cake have burned low, covering it in a spider's web of white-&-green wax.

INT. MOTHER'S HOUSE/LIVING ROOM — NIGHT

Sitting in an armchair, the Mother looks out a window at the moon outside. Silently she weeps, tears running down her cheeks.

PROWLER'S P.O.V. — FOREST

The Prowler makes their way through the woods.

INT. MOTHER'S HOUSE/LIVING ROOM — NIGHT

Rising from her chair, the Mother goes to the window. Looking up at the moon, she clasps her hands together and closes her eyes tightly.

PROWLER'S P.O.V. — MOTHER'S HOUSE

Emerging from the deep forest, the Prowler finds the Mother's house. Wasting no time, they walk to the house, right up to the front door.

INT. MOTHER'S HOUSE/LIVING ROOM — NIGHT

The Mother's prayer is interrupted at the sound of the front door slamming open.

INT. MOTHER'S HOUSE/DINING ROOM — NIGHT

A strong breeze blows through the open door into the living room, blowing the candles on the cake out.

INT. MOTHER'S HOUSE/ENTRANCE HALL — NIGHT

The Mother cautiously makes her way to the open front door. She finds a five-foot-tall silhouette standing in the threshold. Freezing in terror, she watches as the Prowler enters, bringing forth their arms. In their slimy hands, held by the hair, are the severed heads of Barry and Claudette.

PROWLER

MAAHHHHEEEE….

The Mother releases a bloodcurdling shriek.

FADE OUT

TITLE: FRIDAY THE 13TH 1980
"Never was there a time when I did not exist, nor you, nor all these kings; nor in the future shall any of us cease to be."

Bhagavad Gita 2:12
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#3

FADE IN

On the town of Crystal Lake, bright under the afternoon sun.

SUPERIMPOSE: "WEDNESDAY, JUNE 11, 1980"

EXT. CRYSTAL LAKE — MAIN STREET — DAY

Nineteen-year-old ALICE HARDY walks down the street, a large backpack slung over her shoulders. Though quite an attractive young woman — with short red hair, a peaches-&-cream complexion, and bright blue eyes which would leave many a woman envious — a morose expression mars her pretty features.

INT. DINER — DAY

Alice enters a diner. At the counter sit SIX CUSTOMERS — four men and two women — one of whom has struck up a conversation with the waitress, TRUDY. Behind Trudy, the cook, PAMELA, is finishing her shift.
 
ALICE

Excuse me.

The diner residents take notice of the girl.
 
ALICE

(cont'd) How far is Camp Crystal Lake?

CUSTOMER #1

Camp Blood?

CUSTOMER #2

They're opening up that place again?

CUSTOMER #3

Lots o' luck.

TRUDY

What is it, Pam? 'Bout 20 miles?

PAMELA

About that.

ALICE

Can I get a bus or something?

PAMELA

(sympathetic) Not likely.

TRUDY

Pam, you goin' home?

Pamela nods.

TRUDY

Give her a lift to the crossroads? That's halfway.

Pam thinks it over, appearing to have some reservations.
 
PAMELA

Alright.

Emerging from behind the counter, Pamela heads for the door. Alice lags behind.
 
PAMELA

Coming, dear?

Alice leaves with this good Samaritan.
 
TRUDY

I wouldn't send my kids to that camp for all the tea in China.

CUSTOMER #3

I thought you hated your kids.

EXT. CRYSTAL LAKE — DINER — PARKING LOT — DAY

As the two women cross the parking lot, Alice gives her benefactor a once-over. In her fifties, she is a stocky, handsome woman. Like Alice she has red hair, only curlier and worn much shorter.
 
ALICE

Name's Alice.

PAMELA

(grins) I'm Pamela Voorhees.

As the two women approach Pamela's blue Jeep, CRAZY RALPH leaps out from around front.
 
CRAZY RALPH

Goin' to Camp Blood, ain't ya?

PAMELA

(startled) Land sakes, Ralph!

Ralph, a rail-thin old man attired in a beat-up old hat and brown vest, stares at Alice with wild eyes, ignoring Pamela completely.
 
CRAZY RALPH

You'll never come back again!

PAMELA

(nonplussed) Get out of here, Ralph. Leave people alone.

Pamela and Alice climb inside the Jeep. As they pull out, Ralph follows them a little ways.
 
CRAZY RALPH

It's got a death curse!

INT. JEEP/CAB — DAY — TRAVELLING
 
PAMELA

Did your boss tell you anything?

ALICE

I'll be cooking for fifty kids and ten staff. The campers will be mostly inner city children.

PAMELA

I mean about what happened.

ALICE

(frowns) No.

Pamela shakes her head.
 
ALICE

C'mon, there's something you're not telling me.

PAMELA

Quit. Quit now.

ALICE

Quit? Why would I want to quit?

PAMELA

Camp Crystal Lake is an accursed place.

ALICE

(rolls eyes) Not you too. You sound like your crazy friend back there, Ralph.

PAMELA

Did Steve tell you about the boy who drowned in '57? The two counsellors murdered in '58? The fires? Nobody knows who was behind any of them. In 1962, they were going to reopen; the water went bad. (beat) Steve has been up there a year now, getting the camp in order. He must've invested $25,000 into the place, and for what? He'll end up just like his parents: without a dime to his name. (shakes head) Ask anyone. Quit.

ALICE

(sighs) I can't.

Pamela gets ready to deliver a retort, but finds Alice now staring ahead, lost in her own thoughts, morose look back on her face. Pamela instead shakes her head a third time.

EXT. GAS STATION — DAY

The Jeep comes to an old gas station on the side of a rural road. The vehicle comes to a stop and Alice hops out, not forgetting to take her backpack with her.
 
PAMELA

Take care of yourself, Alice.

ALICE

No sweat. Thanks a lot for the lift.

Alice closes the passenger side door and Pamela pulls away, leaving Alice all alone.

Turning around, Alice takes in the gas station before her. The station is closed, a sign hanging on the front door reading "No gas till Sat", completely deserted save for a mutt which sits on the front stoop. Approaching the dog, she gives it a friendly pat and scratch behind the ears before continuing up the road on-foot.

CUT TO

A brown van driving along the same rural road.

INT. VAN — DAY

Inside the van sit three individuals: SHELLY, JEFF, and SANDRA. Shelly, the one behind the wheel, is twenty-two years old, overweight, the dark-haired dweeb of the bunch. Jeff, a couple years younger than Ted, is Ted's antithesis — blond, with broad shoulders and modest muscle to go with them. Sandra, with her long, frizzy sandy hair, looks like she could be Jeff's sister; judging by the way she lovingly massages his shoulders, however, that's unlikely to be the case.
 
SANDRA

How about our last jay?

JEFF

Good call.

Opening the glove compartment, Jeff reaches in and fishes out a joint.
 
SHELLY

What about the dope paragraph in Mr. Christy's letter?

JEFF

(lights joint) "Controlled substances are expressly forbidden. Possession or use of drugs or alcohol on campgrounds will mean instant dismissal."

SANDRA

We got two weeks before the kids even arrive; then I'll act responsibly. 'Til then, hit me.

Jeff takes a puff then hands the joint to his girlfriend.
 
SHELLY

Sandra, you think there'll be other gorgeous women at Camp Crystal Lake besides yourself?

SANDRA

Is sex all you think about?

SHELLY

There you are dead wrong.

JEFF

Ha!

SHELLY

(cont'd) Sometimes I just think about kissing women.

EXT. RURAL ROAD — DAY

Alice is still out on the road when the brown van comes barrelling down towards her. Spotting the van, she turns to face it, sticking her thumb out.

INT. VAN — DAY
 
SANDRA

(notices Alice) Guys, let's pick her up.

EXT. RURAL ROAD — DAY

The van pulls to a stop beside Alice.

INT. VAN — DAY

Sandra opens the side door. All three passengers look upon the redhead burdened with the oversized backpack.
 
ALICE

Hi. I'm going to Camp Crystal Lake.

SHELLY

Well climb aboard, sister. We're headed that way ourselves.

Grinning, Alice takes off her backpack, tosses it in back, then climbs inside. As Sandra closes the door and they resume rolling, the four exchange introductions. Jeff turns to Alice, offering her the joint. Shrugging, Alice accepts.
"Never was there a time when I did not exist, nor you, nor all these kings; nor in the future shall any of us cease to be."

Bhagavad Gita 2:12
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#4

EXT. CAMP CRYSTAL LAKE — ENTRANCE — DAY

The van passes through the entrance into Camp Crystal Lake. To the side of the archway stands a sign which reads "CAMP CRYSTAL LAKE — Established 1935".

INT. VAN — DAY

Sandra looks out the van windows, examining their surroundings with awe.
 
SANDRA

It's beautiful….

SHELLY

Yeah, and it also looks like it hasn't seen a coat of paint in sixteen years.

EXT. CAMP CRYSTAL LAKE — CAMPGROUNDS — DAY

As the van pulls into the camp, we can see the buildings — all the cabins along with the loft where Barry and Claudette met their unfortunate ends. As Shelly's comment implies, the buildings are rundown, weathered and aged from the long years of disuse.

As Shelly parks the van in the small parking area right beside a blue Jeep, STEVE CHRISTY waves to them. Steve — a handsome, bespectacled, mustached thirty-year-old with curly blond hair — stands shirtless over a tree stump embedded in the ground, the skin of his face, arms, and chest glistening with sweat.
 
STEVE

Wanna give me a hand here?

As the four new counsellors climb out of the van, Shelly and Jeff hurry over to lend Steve their hands. Together, the three men struggle to uproot the stump.
 
STEVE

(calling to someone offscreen) Brenda? (to Jeff & Shelly) We wanna get this tree stump out. (points to different sides of stump) Get on this side; he pulls on that side; and I'm flack. On three, okay? (beat) Brenda‽

Working together, the three men manage to uproot the stump.
 
STEVE

That's great, that's great! (irate) Brenda!

BRENDA

(O.C.) Coming!

BRENDA wanders into frame. A tall, skinny brunette, she carries a shovel in one hand and a pail in the other.
 
STEVE

(offers hand to newcomers) I'm Steve Christy.

They exchange introductions.
 
STEVE

Welcome to Camp Crystal Lake. (nods to Brenda) This is Brenda.

BRENDA

Hi. (to Steve) Cabin B's all ready.

STEVE

Where's Bill? Has he finished clearing out the boathouse?

BRENDA

(shrugs) I haven't seen him in the past half hour.

STEVE

Well, I want him to start painting right away. (to newcomers) You got some grubby clothes? Climb into 'em. (beat) Well, c'mon! Let's go!

Steve runs off to start on another chore, leaving the quartet alone with Brenda.
 
SHELLY

He neglected to mention that downtown they call this place Camp Blood.

SANDRA

Next you're going to tell us there're poisonous snakes in the outhouse. And crocodiles.

JEFF

No, the crocodiles are in the cabinets!

BRENDA

C'mon, I'll show you where you can get changed.

EXT. CAMP CRYSTAL LAKE — SHORE — DAY

Finished at the boathouse, broad-shouldered, curly-haired BILL is taking a light break, standing on the shore with his hands in his pockets, watching the placid lake waters sparkle under the sun.

PROWLER'S P.O.V. — BILL

Sneaking through the woods, the Prowler spies Bill standing on the shore. Taking care not to be heard or seen, they begin closing the distance between themself and him.

As Brenda comes traipsing through the trees, the Prowler stops and hurriedly ducks behind a tree.

EXT. CAMP CRYSTAL LAKE — SHORE — DAY

Bills turns around as Brenda makes her presence known.
 
BRENDA

Steve said for you to start on the boats.

BILL

Alright. (beat) Brenda, the others show up?

BRENDA

Yeah, everyone.

BILL

You think they're gonna last all summer?

BRENDA

(laughs) I don't know if they're gonna last all week!

PROWLER'S P.O.V. — BILL & BRENDA

As Bill and Brenda leave, the Prowler watches them go, still hiding behind their tree.

INT. EQUIPMENT SHED — DAY

The door to the pitch black shed opens, revealing a dark silhouetted figure standing there. As the figure steps inside and turns on the light, we see that it's Jeff.

As Jeff begins looking around, in search of something amongst all the lanterns and cans of fuel and hibachis, he comes across a half-dozen hunting knives, all sheathed, hung up neatly upon one of the walls.

PROWLER'S P.O.V. — EQUIPMENT SHED

The Prowler has wandered deeper into the camp. Concealed in some spot safe from direct observation, they observe the shed with the door standing open and inviting.

INT. EQUIPMENT SHED — DAY

As Jeff continues his search, a new human silhouette fills the door behind him. Slowly, the owner of this silhouette steps inside and walks up to Jeff. Reaching out, it lays a hand on Jeff's shoulder. Startled, Jeff whirls around, chainsaw in hand. It's only Sandra.
 
SANDRA

(nods to knives) What are those for? An Indian raid?

JEFF

Steve's got a wood lore program.

SANDRA

You see any life rings?

Looking behind some piled up equipment, Jeff quickly finds two ring buoys.

PROWLER'S P.O.V. — EQUIPMENT SHED

Sandra and Jeff leave the shed, buoys and chainsaw in tow. The Prowler watches them go, then leaves themself, creeping over to the Arts & Crafts cabin.

INT. ARTS & CRAFTS CABIN — DAY

A one-room cabin, there are a few easels set up, though the interior is dominated by long tables and rough-hewn benches. Alice, hair held up in a bandana, is busy sweeping the dusty floor.

PROWLER'S P.O.V. — ALICE

Peering in through one of the cabin's dirty windows, the Prowler spies on Alice, whose back is turned to them.

INT. ARTS & CRAFTS CABIN — DAY

Alice stops her sweeping. Feeling as if she's been watched, she spins around. The windows behind her are all blank.

As Alice turns back 'round, Bill enters the cabin.
 
ALICE

(startled) AH!

BILL

God! Sorry!

Alice just laughs it off.
 
BILL

I'm Bill. (offers hand) You're Alice, right?

ALICE

(shakes hand) I'm Alice, right. (beat) Need something?

Bill points to one of the tables, atop which is lined several newly arrived, sealed cardboard boxes.
 
BILL

Steve wants me to take inventory.

ALICE

By all means….

Crossing over to the table, Bill takes out a pocketknife and cuts open one of the boxes. Fishing out the invoice, he consults his list of items. Alice resumes sweeping.
 
BILL

Where're you from, Alice?

ALICE

California.

BILL

What inspired a California girl to come to the sticks?

ALICE

Why so curious?

BILL

(smiles) Just am.

ALICE

I wanted a change.

BILL

Just that? A change?

ALICE

(cocks eyebrow) Does a California girl need a better reason?

BILL

(shrugs) I can live with that answer.

The two resume their silent chores.
 
BILL

Alice ...

ALICE

Hmm?

BILL

Aren't you going to ask for my life story?

Alice puts a hand on her hip, nonplussed. Bill just cocks an eyebrow and gives a sly smile.
 
ALICE

(grins) Alright. What's your story?

BILL

Not much to tell. I'm from Tacoma; my dad's an investment banker and I have five brothers and a sister.

Alice finds something in the way Bill relates his nondescript background funny. She laughs.
 
BILL

(grins) What?

EXT. CAMP CRYSTAL LAKE — ARCHERY RANGE — DAY

Brenda, sleeves rolled up, rolls a straw target out from under the lean-to shelter and heads for a tripod in the middle distance.

She lifts the heavy target up, her head close to the face of the target. As she gets it up, leaning back as the tripod take the weight, an arrow streaks into the centre of the gold, missing her head by inches.

Brenda whips around. Standing by the lean-to is a very cocky Shelly, a bow in his hands and a feather in his hair.
 
BRENDA

(startled) Are you crazy‽

SHELLY

(nocks two arrows) Wanna see my trick shot? It's even better.

BRENDA

(incredulous) I don't believe you!

Pulling the arrow out of the target, she storms towards him.
 
BRENDA

Did you come up here to help me or to scare me to death‽

SHELLY

(imitating Bogart) Ya know, you're beautiful when you're angry, sweetheart.

BRENDA

(laughs) Yeah? If you do that again, I'm gonna tack you up on the wall to dry!

SHELLY

God, but I love that sexy talk.

Snatching the bow from him, Brenda places it down next to the collection of arrows.

EXT. CAMP CRYSTAL LAKE — SHORE — DAY

It is now late afternoon — close to the golden hour — yet everyone is still hard at work. Carrying a wooden swim raft, Steve and his six employees carry it across the shore down to the lake. After getting the raft on the lake, they drag it away from the shore, anchor it in place, then return to dry land.
 
STEVE

(looks at sky) Let's call it a day.

Everyone is relieved to hear that.

INT. MAIN CABIN/DINING ROOM — SUNSET

Steve, Bill, Brenda, Jeff, Sandra, and Shelly are arranged around the rectangular dining table, poised over their empty place mats, eagrely anticipating their dinner.

INT. MAIN CABIN/KITCHEN — SUNSET

The kitchen and the dining room are really one in the same room, cut off by a partition. The kitchen has a couple of sinks, a heavy old stove, long shelves, a pantry/larder, and some windows which look out on the rear.

Alice has finished placing tonight's dinner on the seven plates: steak and mashed potatoes for herself, Sandra and the boys, mashed potatoes and a salad for Brenda. With practiced expertise, Alice takes up six of the dishes and balances them on both her arms.

INT. MAIN CABIN/DINING ROOM — SUNSET

Alice saunters up to the table laden with the plates. Without fumbling, she distributes each of the plates to their respective diners.
 
ALICE

Dinner is served.

SANDRA

(impressed) I see cooking's only one of your many talents.

ALICE

(smiles) My father runs a restaurant out of Concord. He's had me waiting tables since I was twelve.

SHELLY

You've got to teach me to do it.

JEFF

Don't you have enough tricks in your little bag?

SHELLY

(points at Sandra) That's what she said.

Taking a forkful of mashed potato, Jeff scores a direct hit in Shelly's eye.
 
STEVE

(raises hand) Okay, okay. There'll be enough opportunity for food fights once the campers arrive, alright?

Alice returns to the kitchen. In under a minute she returns with her own plate and takes a seat between Brenda and Bill.
 
STEVE

Bow your heads. Let's say grace.

Some of the newcomers appear perturbed by Steve's request.
 
STEVE

(half-smiles) Kidding. How about a toast?

JEFF

What should we toast to?

STEVE

Let's make a toast to Camp Crystal Lake's grand reopening. (raises glass) To Camp Crystal Lake.

Everyone takes their glass of water and makes the toast. Alice notices Brenda only half-heartedly makes the toast.

INT. MAIN CABIN/STEVE & BRENDA'S BEDROOM — NIGHT

Steve and Brenda have retired to their shared bedroom for the night. Steve, having already stripped down to his underwear, checks himself out in the dresser mirror while Brenda gets out of her clothes and into a nightgown.
 
STEVE

What do you think of our new hands?

BRENDA

I'm trying not to.

STEVE

(turns to Brenda) You still want to leave.

BRENDA

It would be best for everybody.

STEVE

You may not care a lot about this place, Brenda, but I mean to make it my whole life. It's been my whole life.

BRENDA

Precisely why I'm leaving. This obsession of yours with the Christy family curse nonsense — I've tried living with it, to make peace with it. I'm at my wit's end.

STEVE

Don't be ridiculous. You know perfectly well there isn't any curse.

BRENDA

That's right. I know it perfectly well and you know it perfectly well, so why isn't that enough? Why do you have to prove it to the people in this town? Who cares what they think?

STEVE

It isn't that. You don't understand —

BRENDA

(interrupts) And I never will. (beat) For heaven's sake, Steve, write it off. Put the camp up for sale, cut your losses, and let's do something with our lives.

STEVE

I can't.

BRENDA

Then I'm taking that Monday bus out of town and you'll never see me again.

Brenda turns away from Steve. Approaching her, he rests his hands on her shoulders.
 
STEVE

Gimme another chance. Stay another week. Next Friday, if you're still not happy, I'll put you on the bus myself. I'll be grateful.

Brenda turns to face her lover. She looks into his eyes, searching for a future together, but can make nothing out.
 
BRENDA

I'll think about it. You'll have an answer Sunday.

STEVE

Thanks, Brenda.

Brenda turns off the light and climbs into bed. As Steve goes to removes his briefs, she raises a hand.
 
BRENDA

Leave them on.

Steve complies. With his nether regions still hidden, he climbs under the covers with her. He puts his arm over her; she is unresponsive.

INT. ALICE'S CABIN — NIGHT

Alice is her one-room cabin, nestled under the covers of her slim bed. Asleep, her face is serene, innocent as a child's.
 
CHILD

(O.S.) Help me….

The voice, light, in the distance, almost inaudible, rouses Alice from her rest.
 
CHILD

(O.S.; cont'd) Help me….

Frowning, Alice pushes the covers aside and rises from her mattress.

EXT. CAMP CRYSTAL LAKE — ALICE'S CABIN — NIGHT

Alice steps outside and looks about. Very little can be made out in the darkness.
 
CHILD

(O.S.; cont'd) Help me!

ALICE

Hello?

CHILD

(O.S.; cont'd) Over here! Please, somebody, help me!

The voice appears to be coming from the woods. Leaving her cabin, Alice begins walking towards the trees.
 
ALICE

(worried) Hello? Hello‽

CHILD

(O.S.; cont'd) Come quickly! Please, come quickly! Help me!

ALICE

Where are you‽ Hello‽

EXT. FOREST — NIGHT

Alice is in the woods now, the camp grounds already obscured in the trees behind her. She begins running, heedless of the rough terrain under her bare feet. The child continues crying out for help.
 
ALICE

(frantic) Where are you‽

Eventually Alice stops, exhausted, panting, eyes bulging. The forest surrounds her on all sides, seemingly endless and impenetrable, the cries of the child falling upon her ears from all directions.
 
ALICE

(crying) Annie!

INT. ALICE'S CABIN — NIGHT

Alice bolts upright in bed.

Breathing rapidly, she looks about her. She is back in her cabin and back in her bed. The child crying out to her, her fruitless search through the forest — all just a terrifying nightmare.
"Never was there a time when I did not exist, nor you, nor all these kings; nor in the future shall any of us cease to be."

Bhagavad Gita 2:12
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#5

EXT. CAMP CRYSTAL LAKE — GIRLS' & BOYS' CABINS — DAY

It is now Thursday.

At the Girls' Cabin, Jeff and Shelly are rehanging a door. Across from them at the Boys' Cabin, Brenda and Sandra are scraping off old paint/applying a fresh new coat, respectively.

EXT. CAMP CRYSTAL LAKE — GIRLS' CABIN — DAY
 
JEFF

Shim it up just a scooch.

Shelly levels the door higher at the top.
 
JEFF

Hold it.

Jeff uses a long ratchet screwdriver to secure the door.
 
JEFF

(cont'd) See if it closes right now.

Shelly swings the door on its hinges.
 
SHELLY

Looks good.

Their task complete, the guys take a break. Sitting down on the front steps, they gaze across at the Boys' Cabin; the girls remain preoccupied with their tasks. Jeff looks upon his girlfriend dreamily.
 
SHELLY

It's driving you crazy that she won't sleep with you, and at the same time you say that the fact that she won't have sex with you is one of the things you like about her.

JEFF

(half-smiles) Yeah, I guess it does sound sort of weird, doesn't it? But think about it. If a guy wants to get laid, there are a lot of girls around who wouldn't mind at all. But I don't want to pressure Sandra. If you love somebody, you don't pressure them. Love is about trust, not lust.

SHELLY

Yeah, but it sounds to me as if you're suffering from a bad case of both. Love and lust.

JEFF

(faces Shelly) Look, I love Sandra, alright? And if you love somebody, I mean if you really love them and you're not just bullshitting yourself, you don't try to jump their bones just because you're horny. If that's the bottom line, then you're not making love, man; you're just using someone else to get your rocks off. If you're that cheap and sleazy, you might as well whack off. At least you don't have to buy your right hand dinner. (beat) If you're doing that to someone else, you're lying to them, man. And chances are, if it's that easy, they're probably doing it to you. That's not being in love; that's just being selfish.

SHELLY

Goddamn, Jeff. You're a romantic.

JEFF

So? You think that's funny? What the hell is wrong with being romantic? (beat) Maybe if more people were romantic, they'd stay together longer.

SHELLY

Well, that's what you say, but is it what you really believe? (beat) This is going to be your last summer together, man. It's gotta be now or never.

JEFF

(flustered) I know, I know. You don't have to tell me.

EXT. CAMP CRYSTAL LAKE — ARTS & CRAFTS CABIN — DAY

Bill comes upon Alice, who is having trouble renailing the gutter on the cabin.

 
BILL

Hey, lemme give you a hand with that.

ALICE

Thank you.

BILL

(holds gutter in place) Here, I got it.

Once Alice has secured the gutter, Bill steps aside. Noticing Alice's sketch pad resting on the porch, he picks it up and begins thumbing through it.
 
BILL

You draw very well.

ALICE

Thanks. I wish I had more time to do it.

BILL

(studies sketch of himself) When did you do this?

ALICE

Last night.

BILL

(frowns) Do I really look like this?

ALICE

(smiles) You did last night.

BILL

You're very talented. And very pretty.

She turns to him, expression unreadable.
 
BILL

(turns aside) I sound like an asshole.

ALICE

(shakes head) An asshole, no. A cornball….

Bill smiles sheepishly. Alice misses a nail and hits her thumb. She reacts good-naturedly.
 
BILL

This really isn't your cup of tea, is it?

She shrugs.
"Never was there a time when I did not exist, nor you, nor all these kings; nor in the future shall any of us cease to be."

Bhagavad Gita 2:12
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#6

EXT. CAMP CRYSTAL LAKE — MAIN CABIN — DAY

Steve and Sandra are about when OFFICER DORF rides into the campgrounds on his police motorcycle. He hits the breaks, stopping before the pair.
 
STEVE

Officer?

OFFICER DORF

Sorry to have to disturb you, Steve. I got word that Ralph was peddling out this way, spouting his gospel.

STEVE

We haven't seen Ralph here, Officer.

SANDRA

Hey, this guy, Ralph, is he dangerous?

OFFICER DORF

Town crazy. Everytime that looney gets drunk, he gets his calling. I end up spending the morning in court, and he gets a week in jail.

The CB on the motorcycle beeps.
 
VOICE

(over radio) Cycle 2, where are you? Come in, Cycle 2. Cycle 2?

OFFICER DORF

(picks up mic) This is Dorf. I'm out over here at Crystal Lake. Over.

VOICE

Haul it back in, Dorf. Chief wants you back in town on the double.

DORF

Roger that. 10-4. On my way. Out. (beat) Never keep the chief waiting.

Officer Dorf turns about and rides off.

INT. MAIN CABIN/KITCHEN — DAY

Alice is in the kitchen, fixing dinner with Brenda, Bill, and Jeff assisting. Brenda fixes a salad; Bill guacamole; Jeff hamburgers.

Shelly comes flying through the door, dressed in various bits and pieces of old Indian costumery. He performs a bad dance.
 
BILL

Where'd you get that stuff?

BRENDA

Shelly!

JEFF

It's gonna be a long summer….

SHELLY

Wait, wait! When I was finding these goodies in the shed, I also found this letter which a camper never sent home. Listen.

He takes a folded sheet of paper out of his loincloth. He pretends to read the blank paper.
 
SHELLY

Dear Mom and Dad, Camp Blood is real fine except for the strange man who flies at night and sucks our counsellor's body….

Alice chuckles.
 
SHELLY

(cont'd) And Mommy, we really love our counsellor. He says that whenever I'm scared, I can sleep in his bunk with him.

Jeff and Bill laugh.
 
SHELLY

(takes off headdress) No wonder they lost America. How could they sneak around in the bushes wearing that? (beat) What's to eat?

BRENDA

(frowns; smiles) Whatever you make yourself.

ALICE

(to Bill) There are apples. You know how to make apple pie?

BILL

Sure. No sweat.

Picking up a basket, Alice goes to the pantry door. As she swings it open, she finds Ralph waiting inside. She leaps back with a scream of fright, dropping the basket.
 
CRAZY RALPH

(steps out) I'm the messenger of God. You're doomed if you stay here. This place is cursed, cursed. It's got a death curse.

SHELLY

(edgy) Get out of here, man.

CRAZY RALPH

I've gotta warn ya. You're doomed if you stay. Go. Go!

EXT. CAMP CRYSTAL LAKE — MAIN CABIN — DAY

Ralph steps outside, passing Steve and Sandra as he heads for the trees. The others appear in the door to watch him off.
 
CRAZY RALPH

(faces them) You're doomed! You're all doomed!

Reclaiming his bicycle from the trees, Ralph rides away.
 
SANDRA

I think we just met Ralph.

ALICE

God, what's next?

EXT. CAMP CRYSTAL LAKE — CAMPFIRE — NIGHT

The camp counsellors sit around a campfire, toasting marshmallows over the orange flame.
 
STEVE

I don't wanna scare anyone, but I'm gonna give it to you straight about Jason. (beat) He was a boy who drowned in Crystal Lake over twenty years ago. (beat) None of the counsellors heard his cries for help. (beat) A year went by and everyone forgot about it. And that's when the murders happened. (beat) Legend has it that Jason blamed the counsellors and came back to avenge his death. (beat) Blood was everywhere. No one knows what happened to their heads. (beat) He took his revenge, a revenge that he'll continue to seek if anyone ever enters his wilderness again.

The others have become immersed in the story. Jeff takes a quick, antsy glance into the darkness surrounding them.
 
STEVE

(cont'd) And by now I guess you all know we're the first to return here. (beat) Twenty years, twenty long years he's been dormant. And he's hungry. (beat) Jason's out there ... watching ... always on the prowl for intruders ... waiting to kill ... ready to devour ... thirsty for young blood.

A figure emerges from the shadows, leaping into the counsellors' circle. Gray hair wild, face a ghoulish skull, brandishing a fearsome spear, it releases a bloodcurdling howl. Crying out in stark terror, Alice, Brenda, Jeff, and Sandra scatter, leaving Steve to face this deranged subhuman alone.

With nonchalance, Steve rises from his seat and takes the creature by the hair; pulling the fright mask off, Shelly's obnoxiously giggling face is revealed.

Returning to the fire, the others breathe sighs and laughter of relief.

INT. ALICE'S CABIN — NIGHT

Seated on her bed, Alice fishes through her backpack. Finding the item she seeks, she brings it out.

Nestled in Alice's hands is a framed photograph. The photo is of three smiling individuals: Alice's MOTHER and FATHER, both in early middle age, and ANNIE, a beautiful three-year-old with dark, curly hair.

As Alice looks upon the picture, her eyes grow moist. As the tears roll down her cheeks, she places a hand over her face.

EXT. CAMP CRYSTAL LAKE — ALICE'S CABIN — NIGHT

Alice is oblivious to the presence at her window. It is Ralph. Standing against a tree, he observes the counsellor with keen interest.

Ralph hears a twig snap. As he turns to the sound, the Prowler — standing behind the tree — whips out a length of barbed wire, drawing it tight against the old man's throat. Metal barbs digging into his flesh, drawing blood, Ralph's eyes bug out. He chokes. Then his eyes close, body falling lifeless under the garrote held in those large, pale hands.
"Never was there a time when I did not exist, nor you, nor all these kings; nor in the future shall any of us cease to be."

Bhagavad Gita 2:12
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