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Friday the 13th 1980 (A Screenplay)

Duragizer

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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.
 

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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. 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
 
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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.

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 — 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.

EXT. RURAL ROAD — DAY

A brown van drives along the same rural road.

INT. VAN — DAY — TRAVELLING

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, 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 — TRAVELLING

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.
 
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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 — TRAVELLING

Sandra looks out the van windows, awed by their surroundings.

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

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.
 
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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.
 
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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.

DISPATCHER #1

(V.O.) 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.

DISPATCHER #1

(V.O.) 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.

PROWLER'S P.O.V. — ALICE

Someone observes Alice through her window. Alice is oblivious to the presence.

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

Standing against a tree, Ralph 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 ashen hands.
 
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INT. ALICE'S CABIN — DAY

It is now Friday.

Alice lies asleep atop the covers. An arm hangs over the side, the framed photograph still in her hand.

PROWLER'S P.O.V. — ALICE

Opening the door, someone enters the cabin. Approaching the bed, their shadow passes over Alice's face. With the creak of a floorboard, she awakes with a start.

INT. ALICE'S CABIN — DAY

It's only Bill.

ALICE

(groggy) I didn't know I was asleep. (beat) What time is it?

BILL

Almost eleven.​

Alice gets up, dropping the frame.

ALICE

I'm only six hours behind schedule. Steve's going to have a small cow.​

Bending low, Bill picks up the picture.

BILL

Cute kid.​

Alice swipes the picture back.

ALICE

Annie. My sister.​

She buries the photo beneath her pillow.

EXT. CAMP CRYSTAL LAKE — MAIN CABIN AREA — DAY

Steve is at the wheel of his Jeep. The counsellors are standing within earshot, huddled around the Jeep.

JEFF

(cont'd) Do you want it listed separately?

STEVE

That's right. And Alice, get started in the kitchen. Do your best. I'll be back sometime after lunch. (beat) It's supposed to rain like hell, so get as much done as possible. I don't want to get too far behind. Tomorrow we have a preliminary inspection by the state safety people. I'd like to look good.​

He wheels the vehicle around and out the driveway. The others get back to work.

EXT. FOREST — DAY

A machete rips through some vines, hacking at the brush.

We pull back to reveal Bill clearing away the years of vine growth which've choked off a path. He wipes the perspiration from his eyes and continues along.

INT. MAIN CABIN/KITCHEN — DAY

Alice is hard at work scrubbing down the stove when Bill enters. He stands in the doorway, watching her.

BILL

How you doin'?

ALICE

Okay.

BILL

Can I help?

ALICE

There's a lot of dishes if you just want something to do.

BILL

(smiles & nods) The way I feel, that's perfect.​

Bill goes to the sink and begins working his way through the dirty dish pan.

ALICE

The next bus out of town — that's Monday?

BILL

You thinking of leaving?

ALICE

Uh-huh.

BILL

You okay?​

She nods.

BILL

(cont'd) How come you're leaving?

ALICE

It's long and personal. It has nothing to do with you or the other kids.

BILL

Maybe I can help?​

Alice looks at Bill and smiles.

ALICE

(cont'd) And it's this place. It makes no sense, but it spooks me.

BILL

(smiles) You're right. It makes no sense.​

EXT. CAMP CRYSTAL LAKE — DAY

Looking across the lake, we can see the camp, nestled in among the late afternoon rays of the sun. We can hear the sounds of the nocturnal animals beginning to rise and hunt.

INT. MAIN CABIN/MEETING ROOM — DAY

Brenda and Sandra are curled up on the couch, watching Shelly and Jeff juggle apples and oranges. Judging by the disinterest on the girls' faces, the boys've been at this a while.

SHELLY

(chuckles) You give up?

JEFF

You out of your mind?​

The juggling continues.

JEFF

(cont'd) You give up?

SHELLY

(laughs) Never!

SANDRA

(to Brenda) I know how to stop this.​

Rising, Sandra saunters over to Jeff, resting her hands on his shoulder lovingly.

SANDRA

(smiles) Jeff, I can think of much better things for you to be doing with your hands.​

Concentration broken, he drops the oranges.

JEFF

(to Shelly) You win.​

Sandra puts an arm through Jeff's arm and they exit. Shrugging, Shelly continues.

Brenda goes to the hearth. Crouching over, she stokes the hot coals. Shelly takes a break to check out her butt through her jeans. As she turns to him, he quickly averts his gaze and resumes juggling.

SHELLY

I guess that leaves you and me. Sort of.

BRENDA

Yep. (beat) You are very good at that.

SHELLY

(shakes head) Nah.​

Setting the apples down, he faces her.

SHELLY

Brenda, you and I have gotten to know each other a little these past three days, y'know, and ... I like you. I like you a lot. I-I was thinking that maybe, y'know, we could —​

She places a hand over his mouth, cutting him off.

BRENDA

(shakes head) I don't think so. (beat) Look, I'm gonna go outside for a few minutes, and then when I get back in we'll talk. Okay?

SHELLY

(crestfallen) Sure, we'll talk.​

She leaves.

SHELLY

(cont'd) Bitch.​

EXT. CAMP CRYSTAL LAKE — DOCK — DAY

Brenda walks onto the dock. Jeff and Sandra are on the shore nearby, holding each other close. Watching them a moment, she goes to the end of the dock. Taking a seat on the edge, she dangles her feet over the water. She gazes out over the lake, where the sun's dipped lower into the sky.

A black arm suddenly breaks out of the water, grabbing one of Brenda's feet. She cries out, drawing Jeff and Sandra's attention. She thrashes about, but can't dislodge the grip around her heel. Finally the slipper she's wearing slips off and the arm disappears back under the water. She scampers up, backing away, wary, fearful. Before Jeff and Sandra can reach her, her assailant lunges out of the water. Body black, face white, armed with a machete, they release a guttural cry. She screams.

It's only Shelly in a wetsuit and Detroit Red Wings goalie mask.

SHELLY

(takes off mask; laughs) That'll teach you a valuable lesson: a beautiful girl like you should never go out on the water alone.

BRENDA

(pushes Shelly; angry) Dammit, Shelly! (beat) Why do you do these stupid things‽

SHELLY

(serious) I have to.

BRENDA

(shakes head) No, you don't have to.

SHELLY

I just want you to like me.

BRENDA

I do like you, but not when you act like a jerk!

SHELLY

(miserable) Being a jerk? It's better than being a nothing.​

He starts to leave. Brenda turns to him.

BRENDA

I never said you were nothing.

SHELLY

You don't have to say it. I can tell.​

And he's gone.

BRENDA

You're wrong. (beat) Shelly!​

EXT. CAMP CRYSTAL LAKE — MAIN CAMP AREA — DAY

Shelly comes away from the dock and walks moodily towards his cabin.

The troubled boy stops. With his machete he skips a pebble off into the brush; it cuts through. He looks off. At one of the cabins he spies a shape — a human shape — standing on the front porch.

SHELLY

Hello?​

The figure disappears inside. Shelly follows.

SHELLY

Can I help you? (beat) Hello? Hello?
 
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EXT. CAMP CRYSTAL LAKE — SHORE — DAY

Jeff and Sandra walk along the shore. The sun has become victim to dark cloud, smothering most of the daylight. There's the low rumble of thunder preceeded by a faint glow on the horizon.

JEFF

Wind's come up. Shifted a good 180°.

SANDRA

(wraps arms around Jeff) Makes me want to hold onto you.​

They kiss. Sandra pulls back.

SANDRA

What about Shelly?

JEFF

I don't love Shelly.

SANDRA

He keeps acting like such an asshole.

JEFF

(shouting) Shelly!

SANDRA

Stop. Don't call him.

JEFF

I thought you wanted to give him one of your motherly lectures. (beat) Look, Shelly's gonna do whatever Shelly wants to do, y'know?​

A loud bolt of lightning slices the sky.

JEFF

(grins) It's gonna storm. (beat) It can tear down that valley like a sonuvagun.​

Sandra takes a seat on a log, looking up at the oncoming storm.

SANDRA

I've been afraid of storms ever since I was a little kid.

JEFF

You? The brick?

SANDRA

Yeah. I've had this dream about five or six times when I'm in a thunderstorm. (beat) And it's raining really hard. It sounds like pebbles when it hits the ground. I can hear it. I try to block out the sound with my hands, only it doesn't work; it just keeps getting louder and louder. And then the rain turns to blood ... and the blood washes away in little rivers. And then the sound ... stops. (chuckles)

JEFF

It's just a dream.

SANDRA

Yeah, I know. I call it my shower dream.​

Raindrops begin falling on their faces and the lake behind them.

JEFF

Hey, hey, this is no dream. C'mon, we're gonna get soaked.​

They leave the log.

INT. JEFF'S CABIN — TWILIGHT

The door bursts open, a flashlight pierces the shadows, and Jeff and Sandra rush in. Setting the flashlight down, he goes to light a candle while she plops down on his bed, wriggling out of her damp pants.

Sandra turns to Jeff as he comes to her. They enter into a long passionate kiss.

INT. MAIN CABIN/MEETING ROOM — TWILIGHT

Going to the hearth, Alice picks up a couple of pieces of dry wood and puts them on to burn. Brenda is curled up back on the couch in front of the fire, Bill sitting next to her, playing a guitar. Alice returns to her chair, crossing her legs. As Bill strums the guitar, Alice studies his face; his features are as gentle as the tune he plays.

All too soon, Bill's finished.

ALICE

(dreamily) That's nice.

BRENDA

Umm-hmm. (rises) Hey, I know what we can do. We're going to play Monopoly.

ALICE

(frowns) I hate Monopoly!

BRENDA

Not the way I play it, you don't.​

Getting the Monopoly set off the shelf, she brings it to the table.

BILL

Like what?

BRENDA

We're going to play strip Monopoly. I'll be the shoe.

ALICE

(intrigued) You have got to be kidding.

BILL

What about if Steve walks in?

BRENDA

We'll give him a handicap: he can keep his boots on. Everything else goes. (beat) It's easy. Instead of paying rent, you pay clothes. Bill can be banker. (smirks) Unless, of course, he's chicken.

BILL

Well, Heaven help you if you land in one of my hotels.

BRENDA

(to Alice) Why don't you see if Sandra left any of that grass.​

Brenda and Bill set up the gameboard.

BILL

What happened to my $500's?

BRENDA

They're there. Where's my shoe?

INT. JEFF'S CABIN — TWILIGHT

Jeff and Sandra make love under a camp blanket, him atop, her beneath. Their breathing and moans are heard just above the sounds of the rain outside.

Behind the couple, the cabin door opens. A slight gust of air snuffs out the candle and most of the light. A newcomer enters, their shape just a large silhouette against the gloom. In the throes of rapture, neither Jeff nor Sandra notice.

INT. MAIN CABIN/MEETING ROOM — TWILIGHT

Alice returns to the table, two bottles of beer and a lit joint in hand. Bill and Brenda have already started playing.

ALICE

(hands beer to Brenda & Bill) I'm not gonna pass "Go" without a glow.

BRENDA

We already rolled for you. You're going last, okay? Oh, and Community Chest cannot give you your clothes back.​

Brenda rolls the dice.

BRENDA

(gleeful) Double sixes. I get to roll again.

BILL

I think we're being hustled.

ALICE

I think you're right.​

INT. JEFF'S CABIN — TWILIGHT

The person draws near the bed. Jeff grinding against her, Sandra grasps the small of his back, her moans climbing in pitch.

Lightning illuminates the cabin momentarily, revealing the intruder. A man, he is attired in an olive green work shirt, tan work pants, and black work boots. Quite tall, brawny, his skin is ashen. His face is hidden behind Shelly's goalie mask, but this isn't Shelly. This is the PROWLER.

INT. MAIN CABIN/MEETING ROOM — TWILIGHT

Alice rolls. She moves five spaces.

ALICE

Baltic Avenue. I'll buy it.

BILL

No one ever lands on Baltic Avenue.

ALICE

(shrugs) I think it's a pretty colour.​

Bill takes the dice and rolls them in his hand, blowing on them.

ALICE

(impatient) C'mon.​

He tosses them.

ALICE

Ha! Eight!​

Alice moves Bill's piece.

ALICE

(crosses arms) Baltic Avenue. You owe me one boot.

BILL

(sighs) Coming.

BRENDA

Alice draws first blood.

BILL

(hands boot to Alice) That's a terrible way to talk about my feet.

ALICE

(takes boot) Thank you. (beat) Who's next?​

Brenda rolls.

ALICE

Y'know, (snickers) I think I'm beginning to like this game.

BRENDA

Just wait until he lands on my old Kentucky home.

BILL

(nonplussed) More beer? More beer.​

INT. JEFF'S CABIN — TWILIGHT

With a crash of thunder, Sandra opens her eyes. She sees the Prowler looming over them, hefting up the machete he stole from Shelly. She gasps. The Prowler skewers the pair on his blade. Sandra screams, her blood spurting with Jeff's.
 
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INT. MAIN CABIN/MEETING ROOM — NIGHT

The games continues. Bill has lost his shirt, putting him at a disadvantage against the girls, but not for long; Brenda makes her next move.

BILL

Hello.

BRENDA

Shit. (takes shirt off) Worst run of bad luck since Richard Nixon.

BILL

Well, you can always call it quits if you want to.

BRENDA

Fat chance! You're two steps from Pacific Avenue and Skin City.

BILL

Ooh.​

It's Alice's turn. She rolls the dice. Tentative, she moves her piece. Her first bad move of the evening.

ALICE

(grimaces) Whoops.

BILL

(smirks) Well, what can I say? It's not much, but I call it home.​

Alice begins unbuttoning her blouse. At that very moment, the storm blows the cabin door open, bringing the wind and rain inside.

BILL

I'll get it, I'll get it.​

As Alice and Brenda scramble to shield the gameboard from the storm, Bill hurries to close the door.

BILL

It's blowing like crazy out there.

BRENDA

(crestfallen) Oh, I think I left the windows of my cabin open. Shoot.

Rising, she takes her slicker off the wall.

BRENDA

Well, we're gonna have to finish this game some other night. (smiles at Alice) Just when it was getting interesting. (beat) See you guys in the morning.

BILL

See you.

ALICE

Good night.

BRENDA

Good night.​

EXT. CAMP CRYSTAL LAKE — MAIN CABIN — NIGHT

Brenda, clothes gathered in her arms, slicker thrown over her head like a portable tent, races off into the night.

INT. MAIN CABIN/MEETING ROOM — NIGHT

Alice and Bill are left the task of packing up the game and their empties.

ALICE

Look at this mess. (hands bottle to Bill) Here.

BILL

(takes bottle) Hey, tell me, were you really gonna go ahead with it?

ALICE

(coy) Actually, I hadn't made up my mind.

BILL

Well, in that case, we'll have to finish the game another night.

ALICE

Oh yeah‽ (kicks Bill playfully).​

EXT. DINER — NIGHT

Through the rain-pelted windows, we can see a waitress and some customers seated on stools at the counter.

INT. DINER — NIGHT

The WAITRESS is different from the morning woman from two days before, slightly older, plump and bespectacled. She says good night to a customer, picks up his empty pie plate and tosses it in a pan of other dirty dishes, and crosses down the counter. Seated there is Steve Christy, finishing his cup of coffee.

SANDY

Steve, is there anything else you want?

STEVE

No, no. No thanks, Sandy. I'm fine.

SANDY

You can't go back out there in that rain. 'Less you wanna get drowned.

STEVE

(drinking quickly) No, I've got to. I've got six new counsellors up at camp. They are all babes in the woods, in every sense of the word.

SANDY

(shrugs) Well, they'll be okay if they know enough to come out of the rain.

STEVE

Mmm-hmm. (beat) Well, what do I owe you?

SANDY

(grins) Just a night on the town, Steve.

STEVE

(laughs) C'mon, Sandy, you know what I mean.

SANDY

That's okay. $2 and a quarter. Plus 15% tip to make up for me spending the night alone.​

Steve pays up and she rings up the money. Gives him the change. He hands her a tip.

SANDY

That's 30%.

STEVE

For two lonely nights.

SANDY

(smiles) Drive careful. Don't drown your dumb self.​

Steve smiles and leaves.

EXT. DINER — NIGHT

The rain continues as Steve exits the diner, gets in his Jeep and starts it up. He roars off through a big puddle, splashing water, pulling a small equipment trailer behind him.

EXT. HIGHWAY — NIGHT

The Jeep plows through the rain, leaving the town lights behind. A sign off to the side reads: "CRYSTAL LAKE 12 Mi."

INT. CAMP BATHROOM — NIGHT

The door opens and Brenda comes in in her slicker and with toiletries. Humming softly to herself, she turns on the overhead light.

Her actions are direct and business-like. She goes first to the row of sinks and looks at herself in the mirror. She takes out a toothbrush and some other articles. She flips on both facets; nothing comes out. Bending low, she turns on the water valves. As she stands up, laying toothpaste on her brush, she hears a sound. She looks off at the shower stalls. Nothing. She begins brushing her teeth.

Finishing, she turns off the faucets and gathers up her items. Turning back to the stalls, she gives it a final glance. Shrugging, she turns to make her exit. She finds the Prowler standing in the open door. Body invisible against the night outside, his goalie mask appears suspended against the darkness.

BRENDA

(gasps; annoyed) Shelly.​

Turning, the Prowler strides off.

EXT. RURAL ROAD — NIGHT

Steve's Jeep has stalled. He's tries to restart his dead engine; it only sputters and coughs.

INT. STEVE'S JEEP — NIGHT

Steve angrily steps on the gas again and hits the starter. Nothing.

He looks up to see headlights coming at him in his rear view mirror.

EXT. RURAL ROAD — NIGHT

Wearing a yellow slicker, Steve gets out of the Jeep to flag down the oncoming car. He smiles to see that the oncoming car belongs to the local police, driven by a middle-aged cop, SERGEANT TIERNEY. Tierney has the window down already.

STEVE

Hi.

SGT. TIERNEY

Hi, Steve. (gestures to Jeep) I thought that thing would go through anything.

STEVE

Not dragging a trailer. (beat) Can you give me a lift? I'll have one of my counsellors bring me back in the morning.​

Steve is around the car and inside before Tierney can answer.

SGT. TIERNEY

Why not?​

The officer puts the car in gear and drives into the night.

EXT. CAMP CRYSTAL LAKE — PATHWAY — NIGHT

Brenda walks through the rain. She's lost sight of the man she believes is Shelly.

BRENDA

Shelly? Cut the screwing around. Shelly! (beat) This isn't even half-funny.​

Bare feet slipping in the mud, she heads for a small rise that leads to the archery range.

EXT. CAMP CRYSTAL LAKE — ARCHERY RANGE — NIGHT

Brenda walks across the range, hugging herself against the cold, struggling to see in the rainy darkness.

CUT TO

A hand opening an electrical junction box, reaching in and slamming on a circuit breaker.

CUT TO

A series of floodlights lighting up.

The archery range is now lit. Brenda looks around about her, confused.

BRENDA

Alright! Come on out, it's not funny anymore! (beat) It's not funny at all.​

Lunging out, the Prowler grabs Brenda by her hair. She releases a terrified scream. That scream is quickly cut off as he stabs her through the back of the throat with an arrow.
 
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INT. MAIN CABIN/MEETING ROOM — NIGHT

Alice and Bill are together on the couch. She rises.

ALICE

I thought I heard a scream.

BILL

How can you hear anything through that wind?

ALICE

It sounded like Brenda.

BILL

I'd better take a look.​

Alice is at one of the windows.

ALICE

Yeah, and somebody turned on the lights at the archery range.

BILL

What‽​

The distant glimmer out the window suddenly goes dark. Bills joins Alice, looking out.

BILL

I can't see anything.

ALICE

They're off now.

BILL

I'm gonna check it out.​

Bill heads for the door.

ALICE

Bill? Can I come?

BILL

Come on, then.​

Bill takes Alice's hand.

EXT. RURAL ROAD — NIGHT

The rain has lessened a bit as the police car drives along.

INT. POLICE CAR — NIGHT — TRAVELLING

SGT. TIERNEY

It's not bad enough to have Friday the 13th, we've got a full moon too. We keep statistics. We have more accidents, more rapes, more robberies, more homicides, more of everything when there's a full moon. It upsets people; makes them nuts.

STEVE

(dismissive) Ah, you make a science out of coincidence.

SGT. TIERNEY

I hear old Ralph was out your way yesterday. His wife called in, a nervous wreck. He never came home.

STEVE

Oh, boy. That's all I need, Crazy Ralph running around.

SGT. TIERNEY

Well, the rain's stopping. It was a pisser while it lasted.​

The police radio comes on.

DISPATCHER #2

(V.O.) Sgt. Tierney, come in. Sgt. Tierney, Car Niner.​

Tierney takes the mike.

SGT. TIERNEY

This is Tierney.

DISPATCHER #2

(V.O.) Rescue squad with jaws of life. Near mile marker 17. Possible fatals. Three, maybe more, trapped. Head on.

SGT. TIERNEY

Roger. Acknowledge receipt. Estimate arrival, fifteen minutes.​

EXT. RURAL ROAD — NIGHT

Turning on his lights, Tierney swings the car around, braking.

SGT. TIERNEY

I have to let you off here, Steve.

STEVE

Sure.​

Steve gets out.

STEVE

(cont'd) Thanks. Good luck.

SGT. TIERNEY

Another coincidence.

STEVE

Yeah.​

Tierney turns on his siren, peeling out on the wet road. Steve turns and jogs the other way.

EXT. CAMP CRYSTAL LAKE — ENTRANCE — NIGHT

Steve reaches the camp sign. Just as he's about to make the turn into the driveway, a figure standing beside the sign catches him in the beam of a flashlight.

STEVE

Hello? Who is that?​

Shielding his eyes from the light, Steve approaches.

STEVE

(smiles) Oh, hi. What are you doing out in this mess?​

INT. BRENDA'S CABIN — NIGHT

Bill and Alice've made their way to Brenda's cabin, carrying lanterns.

ALICE

Brenda? Brenda?

Alice looks about the empty cabin.

ALICE

Where is she? (beat) She must be with Jeff and Sandra.​

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

Bill and Alice make their way toward Jeff's cabin. They go to the door. Bill knocks.

ALICE

Jeff!

BILL

Jeff!

ALICE

Jeff, open the door!​

Bill opens the door to the cabin.

INT. JEFF'S CABIN — NIGHT

The door opens. We see the silhouetted figures of Bill and Alice. Bill flips on the light switch.

Though the cabin is empty, Jeff's bed is in disarray, sheets and cot drenched in blood.

BILL

What is this, a joke?

ALICE

They wouldn't do anything like this.

BILL

(turns to leave) Alice, c'mon.

ALICE

Wait for me.​

INT. CAMP BATHROOM — NIGHT

Bill and Alice make their way inside.

ALICE

Brenda? Sandra? Jeff? Shelly?​

Bill walks slowly towards the row of toilets and showers.

ALICE

(unsettled) Bill, I think we should call someone.​

Bill, who was just about to open one of the toilet stalls, nods and turns back to Alice.

BILL

Okay.​

They exit.

EXT. CAMP CRYSTAL LAKE — OFFICE CABIN — NIGHT

Alice and Bill are on the porch of one of the cabins. To the left of the door is a small sign that reads: "Office." Alice opens the door and enters. Bill follows.

The camera continues to watch them from outside the cabin. They turn on a light and cross to a phone on Steve's desk. Bill picks up the receiver, listens, clicks the switch on the desk set several times.

ALICE

What's wrong?

BILL

It's dead. Try the pay phone.

ALICE

Do you have a dime or a quarter?

BILL

No. I'll check the desk.​

They fumble through the desk to find some change. The camera moves to the cornice of the building where the phone line exists. It follows the link up the side of the cabin to the junction where the power and phone lines come in from the pole. Here we see a dangling phone cable which has been recently cut.

We hear the sound of a quarter dropping in the dead pay phone.

ALICE

(O.C.) Hello? Hello? (beat) Oh, this damn thing's dead too.​

INT. OFFICE CABIN — NIGHT

The bulb overhead winks out.

BILL

The lines in town are supposed to be real lousy.​

Alice looks about the cabin. It is spacious, and in the dark harbours many areas of concealment.

ALICE

(afraid) Bill, there's someone in this room.​

In the far corner, the shadows shift. Crouched down, the Prowler rises to full height.

ALICE

Bill, there's someone in this fucking room!

Machete in hand, the Prowler pounces. Bill dodges just in time to avoid the blade; it becomes embedded in the wall. Grabbing Bill by the shoulders, the Prowler slams him hard against the wall; Bill grimaces in great pain. The Prowler pins Bill to the floor, hammering away at him with his fists. Bill flails, but he can't fend off his bestial attacker.

Alice is riveted with horror, unable to move or turn or run. Once Bill falls still, the Prowler springs up, dark eyes burning into her, and she finally gives voice to her terror. She turns and runs back toward the main cabin.
 
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INT. MAIN CABIN/MEETING ROOM — NIGHT

Alice bursts through the front door. Wracked with sobs, she fights to keep enough cool to secure the cabin. Finding a coil of strong rope, she loops it around a ceiling beam then around the door lever, tying a knot and pulling it tight. She then barracades the door with whatever she can find. Turning her lantern low, she draws the window shades shut.

INT. MAIN CABIN/KITCHEN — NIGHT

Alice goes in, looking for a weapon. Securing a carving knife, she looks out the windows, wary for the Prowler.

As she's drawing the shades, she hears a sound outside. Tensing, she grips the knife tightly. There then is the flutter of wings, followed by the cry of a loon. She slumps against the refrigerator.

ALICE

What am I gonna do?​

The window beside Alice shatters as a figure is thrown through the pane. Alice shrieks. It is Brenda, dripping wet and pale white, arrow protruding through her neck.

Alice sinks to the floor, on the brink of a complete breakdown. Sobbing, she crawls across the floor, away from her slain friend. She looks from side-to-side for a place to hide. She spots the closed door to the larder. Scampering up, she opens the door. Ralph's body — rigid, eyes protruding in death — collapses atop her. Screaming, she pushes it aside and hides inside.

INT. MAIN CABIN/LARDER — NIGHT

A little lantern light comes through the door's cracks and crevices. On all sides are the cans of food and cooking implements. There is a large skillet, some bags of flour, etc. Alice's hands fasten onto the inside lock — the dead bolt type which requires a key to unlock it from the other side. She relaxes a little bit now that she is locked inside.

As soon as she relaxes, we hear the remaining glass in the window cleared away. Then we hear a heavy thump which can only be the Prowler slipping through. Then we hear some shuffling around outside.

Then there is silence. Alice relaxes again. She slides down the door frame to the floor.

The doorknob above her head turns very slowly. We see it, but she does not. The Prowler finishes turning and now starts to push gently. There is almost no give, but we see that the door is being tested. Alice jerks back and stands up on the far side of the small room. Fists bang in a rage against the door.

The banging gives way to a short silence. The silence is interrupted by a new sound: the Prowler has begun using his machete to chop away at the outside of the larder door.

At first we see nothing on our side. Then, gradually, we see little slivers of light admitted by the blade's chops. Alice remembers the knife in her hand.

A hole has appeared near the lock. The Prowler stops just long enough to take a peek inside. It is big enough for him to reach inside and turn the twist knob. As the lock is turned, Alice raises her weapon and lunges, stabbing the man's hand.

INT. MAIN CABIN/KITCHEN — NIGHT

The pantry door is thrown back. Alice springs out, slashing through the air. The Prowler staggers back, avoiding Alice's desperate attacks. She then stabs him in the knee, driving the blade deep in his leg. He cries in pain, collapsing to the floor.

As the Prowler pulls the carving knife free, Alice turns to the shattered window. She leaps through just as he throws the knife, narrowly avoiding the wicked blade.

EXT. CAMP CRYSTAL LAKE — PARKING LOT — NIGHT

Alice sprints to Shelly's van.

INT. VAN — NIGHT

Alice slides behind the wheel. The keys are in the ignition. She turns over the engine; it grinds away but doesn't catch.

ALICE

(frantic) C'mon, car! C'mon, car! Please start, please start, please start. Start!

The engine fails to catch. And it's too late. The Prowler reaches through the open driver's window, seizing her throat in both hands.

As the Prowler tightens his grip, Alice grabs the window crank. Fiercely, she rolls the window up, freeing her and pinning the Prowler's arms in place. Opening the passenger door, she leaps out of the vehicle.

The Prowler shatters the window with a head-butt.

EXT. CAMP CRYSTAL LAKE — CAMPGROUNDS — NIGHT

The rain has stopped. The moon comes out from behind a cloud.

Alice runs to the corner of one of the cabins. She stops to look back. Though hindered by his bum knee, the Prowler is gaining on her.

EXT. CAMP CRYSTAL LAKE — EQUIPMENT SHED — NIGHT

Alice runs to the equipment shed.

INT. EQUIPMENT SHED — NIGHT

Alice enters. She looks for a weapon. Considering the hunting knives and chainsaw, she chooses an axe.

EXT. CAMP CRYSTAL LAKE — EQUIPMENT SHED — NIGHT

Closing the shed door, Alice ducks around the corner, concealing herself. The Prowler arrives. Throwing the door open, he lurches inside. We hear him rummaging around inside, searching for her. Alice grips the axe so tightly, her knuckles turn white.

The Prowler emerges from the shed. That is when Alice strikes. Springing out from around the corner, she's able to swing the axe downward and hit the Prowler with a solid blow to his forehead. Grunting, he throws his arms out, staggering towards her.

ALICE

No!

He takes a few steps forward, then falters. Eyes glazing over, he collapses in a heap on the grass.

Alice crosses carefully to the Prowler and nudges him with her foot. He lies totally inert. There is a small puddle of blood pooling beneath his mask. It appears quite black, though that's probably a trick of the moonlight.
 
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EXT. CAMP CRYSTAL LAKE — PARKING LOT — NIGHT

Alice opens the hood of another vehicle. She shines a flashlight on the engine. More sabotage.

A vehicle pulls into the parking lot. Alice is caught in the bright headlights of the Jeep.

ALICE

(hysterical) Steve! Oh, Steve!​

Alice runs toward the Jeep. The driver emerges; it isn't Steve. Alice halts. When she focuses, she sees who it is standing before her.

ALICE

Mrs. Voorhees!​

Alice takes Pamela in a strong embrace, sobbing incoherently.

PAMELA

(comforting) No, no. There, there. Now look, I can't help you if you don't calm down.

ALICE

But she's dead and he's dead. And ... Oh my God, pool Bill! Oh God...!

PAMELA

Alright, alright, alright. Come on, dear, then show me.

ALICE

No! No!

PAMELA

No, but it's alright. I'll take care of you. I used to work for the Christys.

ALICE

Oh God! What's going on here‽ Please help me get out of here!

PAMELA

It's just this place — and the storm. That's why you're upset.

ALICE

No, no, no! They're all dead! They're all dead!

PAMELA

Alright, alright. I'll go look.

ALICE

No, no, please don't leave me!

PAMELA

(grins) I'm not afraid.​

INT. MAIN CABIN/MEETING ROOM — NIGHT

There's enough slack on the rope tied to the door for Pamela to open it a crack. Unsheathing a hunting knife, she wiggles her arm through, sawing through the rope with some difficulty. The door open, the strong woman pushes aside the clutter piled in front of it, allowing her and Alice inside.

INT. MAIN CABIN/KITCHEN — NIGHT

Pamela reaches the kitchen and looks inside. The bodies of Brenda and Ralph lie were they fell.

PAMELA

(shocked) Oh, my Lord….​

Pamela steps into the kitchen. Alice waits at the entrance.

PAMELA

(looking at Brenda) So young. So pretty. (shakes head) Oh, what monster could have done this?

ALICE

He's out there!​

EXT. CAMP CRYSTAL LAKE — EQUIPMENT SHED — NIGHT

Alice leads Pamela to the Prowler's body. It remains prone on the ground, axe lodged in its skull.

PAMELA

(grimaces) Oh God, this place! Steve should never have opened this place again! There's been too much trouble here.​

Pamela goes to the young woman, stroking her soft hair.

PAMELA

We can go now, dear.​

EXT. CAMP CRYSTAL LAKE — ENTRANCE — NIGHT

Pamela's Jeep pulls out of the entrance. Roaring off into the distance, it leaves the camp far behind.

INT. JEEP — NIGHT — TRAVELLING

In the passenger seat, Alice looks out her window. In the dark, after the storm, there's nothing to be made out but nothing.

PAMELA

Did you know that a young boy drowned the year before those two others were killed? The counsellors weren't paying any attention; they were making love when that poor boy drowned. (beat) His name was Jason.​

Alices faces Pamela. The older woman has gone through some subtle changes. While her voice remains warm and comforting, her face has started to slip into her other manifestation.

PAMELA

(cont'd) I was working the day that it happened. Preparing meals. Here. I was the cook. (angry) Jason should've been watched! Every minute! He wasn't ... (relaxes) he wasn't a very good swimmer.

ALICE

I think we should go back and wait for Mr. Christy.

PAMELA

(chuckles) That's not necessary.

ALICE

I don't understand.

PAMELA

(distant) Oh, I couldn't let them open this place again. Could I? Not after what happened.

ALICE

(afraid) I think we better stop.​

Pamela hits the accelerator. The Jeep's speed increases.

ALICE

Please! Please, stop!​

Alice grabs for the ignition key, but Pamela slaps her hand away.

Panicked, without any other recourse, Alice opens her door then leaps from the moving Jeep.

EXT. ROADSIDE — NIGHT

Alice lands, rolls, is upended, scratched by brambles, and flips. She scrambles to her feet and starts running.

INT. JEEP — NIGHT — TRAVELLING

Pamela hits the brakes. Looking behind her, she begins backing up.

EXT. ROADSIDE — NIGHT

Alice's feet pound the hard-packed dirt. She looks over her shoulder to see the Jeep approaching her in reverse. In a final desperate move, she ducks into the underbrush to escape.

The Jeep stops.

EXT. FOREST — NIGHT

Alice runs into the thicket, branches and briars snapping back at her. She stumbles, falls, then scrambles back up, continuing.

EXT. CLEARING — NIGHT

Alice emerges from the woods. At the far end of the clearing stands a two-storey house. The lights are on.

ALICE

My God….​

She runs toward the house. As she draws nearer to it, we can plainly see this is the exact same home as the Mother's house from the beginning of the movie.

ALICE

(shouting) Please, help me!

EXT. MOTHER'S HOUSE/FRONT YARD — NIGHT

As Alice closes in on the front door, it opens wide and the occupant steps out.

Pamela Voorhees slams the butt of a .22 calibre rifle in Alice's face. Everything goes black.

INT. VOORHEES HOUSE/KITCHEN — NIGHT

Inside the kitchen, Pamela stands over a green birthday cake with the words "HAPPY 34TH BIRTHDAY" stencilled on top in dark blue icing. Taking a match to each of the cake's thirty-four candles, she lights them, a cheerful expression illuminating her handsome features.

INT. VOORHEES HOUSE/DINING ROOM — NIGHT

Inside the dining room, Alice sits at the table, bound by ropes to the chair and still unconscious. Seated in the chair across from her is the limp form of the Prowler himself.

Alice regains consciousness. Groaning, she opens her eyes. Seeing the Prowler before her, she jolts backward.

With cake in hand, Pamela enters the dining room, singing "Happy Birthday" in a high chipper tone as she crosses over to the dining table.

PAMELA

(eyes Alice) You're awake, dear? That's good — that's very good. We were afraid you'd miss out on the cake.​

Alice can only stare at the Prowler.

PAMELA

(frowns) What's wrong?

ALICE

Who — who is he?

PAMELA

(smiles) Why, don't you realize?​

Alice doesn't say another word.

PAMELA

(places hand on Prowler's shoulder) This is Jason. Jason is my son, and today is his birthday.​

Pamela begins caressing JASON'S bald head. It tips forward; black blood oozes through the axe mark and mask holes, onto the tablecloth. Alice's frightened eyes are wide as saucers.

PAMELA

Why do you keep staring at him like that? (angry) Answer me!​

Alice can't respond. Pamela's frown deepens.

PAMELA

It's the mask? Why does he wear a mask? (beat) Why do you think, you little whore? Why do you think?

As the older woman's rage grows palpable, Alice begins struggling against her bonds; she can't loosen them the slightest.

PAMELA

You let him drown! You never paid any attention!​

Grabbing Jason's mask, she wrenches it off, revealing his face to Alice. Though we can't see it from this angle, judging by Alice's horrified expression, his face is one only a mother could love.

PAMELA

Look what you did to him! Look what you did to him!

Face a mask of rage, Pamela tosses the goalie mask aside. She crosses to Alice and begins violently slapping her hard across the face.

Pamela ends the vicious beating. Alice's cries of pain transition to horrid weeping. Turning from the poor frightened girl, she returns to her dead son. Looking upon Jason with love in her eyes, she smiles.

PAMELA

Twenty-two years ago, I prayed to whatever gods there were to return my Jason to me. They answered my prayer. (beat) But he came back different. The year in the lake, below the waters ... hurt him, changed him. Even after he healed, he wasn't the same anymore. (beat) The folks in town wouldn't have understood, so I kept him hidden away — for his own protection. (beat) But he became so lonely, so very lonely. I did my best to keep him company, but a boy needs friends — especially a boy Jason's age. (looks at Alice) Jason is glad you could make it to his party, you know. This'll be the first time since his eleventh birthday he's been able to have a friend over. It means the world to him.​

Pamela retrieves her rifle. As she loads the chamber, Alice explodes into a full panic. Rocking violently against her restraints, she begins screaming with all the force she can muster.

PAMELA

Come now, dear. It'll be easier for you than it was for Jason.​

As Pamela lines the rifle up, Bill suddenly bursts into the room — injured, bloody, but still alive.

BILL

Alice!​

Bill tackles Pamela before she can pull the trigger on Alice. Enraged, Pamela resists with animalistic fury. They thrash about the floor, wrestling for control of the gun. Alice continues struggling against her bonds.

Though young and fit, Bill can barely hold his own against Pamela, driven as she is by enraged madness. With a final desperate cry, he twists the rifle out of her hands and brings the stock up into her chin, knocking her head back with a nasty crunch. He then jams the barrel into her gut and pulls the trigger; shot at point-blank range, she is tossed back, blood spraying through the exit wound. Hearing the gunshot, Alice cries out, reacting as if she's the one hit.

Using the rifle to help himself up, Bill goes to help Alice. As he cuts the rope with a pocket knife, he notices Jason for the first time. Jason's face remains hidden to us, but not to Bill.

BILL

(grimaces) Jesus.​

Free of her restraints, Alice stands. Bracing Bill against her, they leave. Pamela lies sprawled out on the floor, Jason propped up in the chair, both motionless.
 
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EXT. SHORE — DAY

Away from the house, Alice and Bill have walked to the shore. Kneeling in the sand beside an aluminum canoe, they gaze upon the lake together. The night air silent save for the chirping of crickets, they enjoy the distorted moonlight shimmering against the black water.

Pamela Voorhees encroaches on the couple. Bleeding profusely, the woman is nevertheless still alive and fighting mad. Alice sees her reflection in the water, but not in time to warn Bill. Pamela buries her machete in his left clavicle; twisting the blade, she pulls it free; blood spurts like a geyser from severed arteries and veins and Bill goes down.

Grabbing the canoe's oar, Alice uses it to block Pamela's machete; it chops right through the wood. The motion staggers the already weakened Pamela and Alice knocks the machete out of her hand with a broken half of the oar. Pamela grapples with Alice, wresting the oar away from Alice and knocking the girl to the sand. She then tries to stab Alice with the broken end; Alice rolls out of the way in time.

The two women wrestle in the sand. Straddling Alice, Pamela begins throttling her. Alice manages to push Pamela off. When she tries to run away, Pamela grabs her leg and pulls her back to her, climbing atop her.

ALICE

Get off me!​

Grabbing her hair, Pamela begins beating Alice's face against the sand. Biting Pamela's wrist, Alice wriggles free. Climbing to her feet, she goes for the fallen machete.

Seizing the machete, Alice turns and charges. Pamela gasps. Her time is up. With a fierce scream, Alice swings the machete. Pamela's head is struck from her body. Red blood gushing from the severed neck, Pamela's body drops.

Letting the machete drop from her fingers, Alice pushes the canoe out onto the water. Climbing inside, she paddles with her hand, as briskly as her tired body will permit, out on the lake to safety.

EXT. HARDY HOUSE/FRONT YARD — DAY

A yellow taxi pulls into the driveway of Alice's parents' home. It is a prodigious, beautiful home, the front yard immaculate and green.

INT. TAXI — DAY

Alice faces Bill. Shoulder bandaged, arm in a sling, he is healing from his trauma. He gives Alice a smile and squeezes her hand for reassurance. Kissing him on the lips, she steps out of the car.

EXT. HARDY HOUSE/FRONT YARD — DAY

Alice faces her former home. Smoothing out the front of her brown paisley dress, she takes a deep breath, anxious.

The front door opens. Mr. & Mrs. Hardy emerge. With them comes Annie, holding her grandparents' hands. Annie looks to Alice; her face brightens with a broad smile.

Alices breaks out into a run. Beaming, tears streaming down her face, she opens her arms wide. She'll scoop her daughter up in her arms, hug her close, and never let her go again.

EXT. LAKE — DAY

Jason Voorhees lunges from the waters of Crystal Lake, overtaking sleeping Alice in her canoe.

As Alice is dragged into the depths, capsizing the canoe, she gives a final bloodcurdling shriek. As girl and goalie masked assailant slip beneath the surface, the shriek fades to oblivion. Silence and stillness return to the waters. Crystal Lake has swallowed its secret.

FADE OUT

END CREDITS
 
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