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Friday the 13th 1984 (A Screenplay)

Duragizer

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Friday the 13th 1984 is the second chapter of my F13 reboot tetralogy. A mashup of Part III & The Final Chapter, it's currently a work in progress.
 
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FADE IN

On Camp Crystal Lake.

SUPERIMPOSE: "CAMP CRYSTAL LAKE — JUNE 15, 1980"

EXT. CAMP CRYSTAL LAKE — CAMPGROUNDS — DAY

Three ambulances and four police cars are parked around the main cabin area. All concerned are busy retrieving the victims of Jason and Pamela Voorhees.

EXT. CAMP CRYSTAL LAKE — MAIN CABIN AREA — DAY

A fourth ambulance travels down the road into the camp. It's stopped by one of the cops. Inside are two paramedics, VINCENT, and the driver, LAINIE. Vincent rolls down his window to talk to the officer.

VINCENT

What do you need? Where do you need it?

OFFICER

We got five of them. (points) Yours is at the boys' cabin.

VINCENT

What's wrong with them?

OFFICER

He's dead. (beat) Yeah, they're all dead. You can pull it up over there.

VINCENT

(to Lainie) All dead. Some emergency. (beat) Put her over there.​

The ambulance makes it way toward the boys' cabin.

EXT. CAMP CRYSTAL LAKE — BOYS' CABIN — DAY

Vincent and Lainie load the body of SHELLY GREENBLATT, throat slit ear-to-ear, onto a stretcher. Vincent makes conversation with SERGEANT TIERNEY.

VINCENT

You catch the guy who left the wet stuff?​

Tierney shakes his head.

Draping a sheet over Shelly's body and belting it in, the paramedics load it inside the ambulance.

EXT. CAMP CRYSTAL LAKE — CAMPGROUNDS — DAY

The cadavers retrieved, all the vehicles pack it in. They make their way down the driveway out to the main road.

Camp Crystal Lake is now quiet, peaceful, and serene.

EXT. RURAL ROAD — DAY

Tierney lags behind the other vehicles, keeping a respectful distance between himself and them.

INT. POLICE CAR — DAY — TRAVELLING

Tierney sees a man in green-&-tan dash across the road, slipping into the brush on the other side.

EXT. RURAL ROAD — DAY

Breaking, Tierney gets out of the car.

SGT. TIERNEY

Hey! Hey, you!

The sergeant takes off after him.

EXT. FOREST — DAY

Tierney pursues the man through the woods. Out of shape, the cop stumbles and stops, struggling to keep up with his vigorous quarry.

EXT. VOORHEES HOUSE — DAY

Tierney eventually emerges from the trees. He finds himself on the property of Pamela Voorhees. There is no sign of the man he was chasing.

Walking around to the front door of the house, the officer finds it ajar.

INT. VOORHEES HOUSE/ENTRANCE HALL — DAY

Tierney steps through the door. Carefully, he creeps his way inside.

INT. VOORHEES HOUSE/DINING ROOM — DAY

Tierney finds the tell-tale signs of recent violence. Lengths of sliced rope about a chair; a rifle discarded on the floor; pools and trails of blood which've attracted flies. Only the birthday cake atop the dining table, untouched, remains pristine.

He unholsters his revolver.

INT. VOORHEES HOUSE/STAIRWELL — DAY

Tierney climbs the stairs.

INT. VOORHEES HOUSE/LANDING — DAY

Tierney checks each of the rooms, wary of his prey.

INT. VOORHEES HOUSE/PAMELA VOORHEES' BEDROOM — DAY

Entering the bedroom, the sergeant is greeted by a most horrendous sight. A dresser, serving as an impromptu altar, bears the severed head of PAMELA VOORHEES, dried blood caking her mouth and nose. At the foot of the dresser has been deposited the drowned body of ALICE HARDY, tongue protruding from her slack mouth. While decay hasn't quite set in yet, head and body are already starting to attract flies.

Unbeknownst to Tierney, the man he chased here has crept up behind him.

SGT. TIERNEY

Oh, my God….​

Raising a claw hammer, JASON VOORHEES drives it into the back of Tierney's skull.

FADE OUT

TITLE: FRIDAY THE 13TH 1984

FADE IN

On a group of ethnic children playing stickball in the street, weather-worn two-&-three-family houses on either side of them.

SUPERIMPOSE: "THURSDAY, APRIL 12 — FOUR YEARS LATER"

EXT. WORKING CLASS NEIGHBORHOOD — DAY

A beat-up station wagon turns around the corner and heads down the block, slowing as it advances on the oblivious children. The driver sounds the horn, warning of the car's approach. The children scatter as it passes.

INT. STATION WAGON — DAY — TRAVELLING

Inside are four kids. The driver, ANDY, nineteen years old, is slim, athletic, and ruggedly handsome. Beside him, his girlfriend Debbie, also nineteen. She is brunette, vivacious, healthy, the all-American cheerleader type, and six months pregnant. In the back, JIMMY and TED. Jimmy is a sandy-haired, nebbish beanpole of a man. Ted is Jimmy's antithesis, dark-haired, brimming with bravado.

JIMMY

(to Ted) I think when we get to the house, I should give Betty a call.​

Ted is wearing a Walkman and can't hear him.

JIMMY

Ted? Ted?

Ted faces him.

JIMMY

(cont'd) I think, I think when we get to the house, I should call Betty.

TED

(takes headphones off) You broke up with B.J. Betty.

JIMMY

So to speak. And would you lighten up on her? She's alright.

TED

(chortles) Yeah, I'll say she's alright. (beat) You should've treated her right. I mean, that girl wanted to be treated right.

JIMMY

(earnest) I did. I did. I treated her right. That's what's driving me so crazy. I mean, first, I would call her and she would take my calls, but she would have something that she would have to do. And then she wouldn't even take my calls. I mean, can you figure that? What the fuck happened‽

TED

Let me put it in the old computer.

JIMMY

No, I'm serious about this.

TED

Yeah, the computer don't lie. Now, let's see.​

Ted pretends to have a computer in front of him. He starts to tap out keys on a case of beer. Pretending to read the screen, he gets an "oh shit" look and stares at Jimmy.

TED

It says ... it says you're a dead fuck.

JIMMY

What‽ A dead fuck?

TED

A lousy lay. (laughs) Y'know, dead pecker.

JIMMY

(sarcastic) Oh, I see! Don't hold it back from me, doc! I can take it. Give it to me straight.

TED

I did not say it. The computer did.

JIMMY

Yeah, well, there is no computer!

TED

Aha! And there's no Betty, either!

JIMMY

(crestfallen) Then I'm a dead fuck.

TED

Like I said, the computer don't lie.​

EXT. WORKING CLASS NEIGHBORHOOD — DAY

The station wagon continues for a few yards, then parallel parks in the first available space. The four jump out.

DEBBIE

(points) It's the white house on the left.

They cross the street abreast.

TED

Jimbo, calling Betty is definitely a dead fuck thing to do. First rule of love: Never get rejected by the same girl twice. I mean, that's useless. You wanna make a fool of yourself, do it with someone new. Now, I set this date up for you, didn't I? Didn't I? So don't embarrass me.​

Debbie and Ted lead the way for Andy and Jimmy up the porch steps to the front door of a shabby, two-family house. Debbie rings the bell. Jimmy takes a few steps back, brushing back his unruly hair. He's ready.

The door opens. A middle-aged Hispanic woman stands behind the outer screen door.

VERA'S MOTHER

Yes?

DEBBIE

(friendly) Hi, Mrs. Sanchez. I'm Debbie. We've come to pick up Vera.

VERA'S MOTHER

(brisk) She is not going!​

She shuts the door in Debbie's face. The group stands there not knowing what to do next. From inside the house they can hear Vera and her mother arguing in Spanish.

ANDY

What are they saying?

DEBBIE

I don't know. I flunked Spanish.​

Suddenly the front door swings open. This time VERA, ready to go, comes out onto the porch. She's a knockout, a twenty-year-old, exotic, raven-haired beauty in tight jeans. Jimmy, intimidated by Vera's sexy good looks, steps behind Andy.

VERA

(forcing a smile) Hi, everybody. What're you looking at?

DEBBIE

Is everything alright?

VERA

Just your basic, old-fashioned mother problems. (changing the subject) So, which one's my date?​

Jimmy comes out from behind Andy.

JIMMY

(sheepish) Hi.

VERA

(disappointed) You're Jimbo?

JIMMY

I'm sorry.​

EXT. HIGHWAY — DAY

Andy's station wagon speeds along the empty rural highway through the lush New England countryside.

INT. STATION WAGON — DAY — TRAVELLING

VERA

How much further to the cottage?

ANDY

We would've been there already (looks at Debbie) if some people didn't have to go to the bathroom every five minutes.

DEBBIE

(frowns) That's what happens when you're pregnant.​

In the backseat, Ted is taking inventory of his numerous joints. Jimmy sits opposite Vera. Daydreaming, she gazes upward at the sky and treetops through the back window.

Jimmy can't stop staring at Vera, admiring her body. Sensing that Jimmy's undressing her with his eyes, she turns her head, catching him looking at her chest. Jimmy averts his eyes in embarrassment, looking at Ted who lights up a joint and inhales.

JIMMY

Is that all you're gonna do this weekend? Smoke dope?

TED

Why not, Jimbo? Is there a law against it? (snickers)

JIMMY

There are better things to do with your life.​

Ted offers the joint to Jimmy; he declines. Ted offers it to Vera.

VERA

Sure, why not?​

Andy sniffs at the air filled with the aroma of good grass.

ANDY

Hey, let's share the wealth with those less fortunate up front here, huh?​

Vera passes the joint to him. Taking a drag, he offers it to Debbie.

DEBBIE

No way. We're pregnant, remember?​

EXT. HIGHWAY — DAY

A HITCHHIKER walks along the highway. A rail-thin old man attired in a beat-up old hat and brown vest, he ambles down the lonely highway like a lone star.

At the sound of the station wagon approaching in the distance, he sticks out his right thumb.

INT. VAN — DAY — TRAVELLING

The sun pouring in through the windshield, Debbie shades her eyes to get a better look at the figure up ahead.

DEBBIE

Would you look at that! I've never seen a senior citizen hitchhiker before.​

The station wagon is now upon the aged hitchhiker. He flashes a smile at them: plaintive, shy, and yet somehow ominous.

ANDY

Let's give the poor old guy a break. He looks just like my grandfather.​

EXT. HIGHWAY — DAY

The station wagon comes to a halt before the hitchhiker. A back door opens, admitting the old man.

The car pulls away.

INT. STATION WAGAON — DAY — TRAVELLING

The hitchhiker settles into the back between Jimmy and Vera. Andy adjusts his rearview mirror to include the old man.

The hitchhiker nods "hello" to one and all. They nod back.

HITCHHIKER

You are, all of you, very kind and generous young people to lend a helping hand to a tired old man. Thank you very much. Perhaps I can repay the kindness.

JIMMY

Where are you going?

HITCHHIKER

Going? How do you mean?

JIMMY

I mean, is there any place in particular where we can drop you off?

HITCHHIKER

Drop me off? How do you mean?​

Jimmy's suspicions flare up and he glances from Vera to Ted. Ted shrugs.

The hitchhiker reaches into his dusty vest and pulls out a very small bundle wrapped in a scrap of cloth. Andy watches via the rearview mirror, his expression wary.

The hitchhiker unwraps the object and places it before Jimmy's eyes.

HITCHHIKER

Look what His Grace has brought me.​

Jimmy looks at a the small, slimy, white oblong thing.

JIMMY

(winces) What is that?

HITCHHIKER

I found this today. There were other pieces of the body lying there, but I believe He wanted me to have this….

JIMMY

(gasps) That's an eyeball!

HITCHHIKER

He wanted me to warn you. (livid) Look at this, all of you!​

He holds the eyeball out for each to view. They shrink back away from him, cringing at the sight. The eyeball is reflected in the rearview mirror.

HITCHHIKER

(cont'd) See with your own eyes what I have seen. Run away! Go back to where you came from! Now!

EXT. HIGHWAY — DAY

The car comes to an abrupt stop. The back door opens and the old man is practically tossed out.

On the ground, the hitchhiker yells after the station wagon as it speeds away.

HITCHHIKER

I warned you!

 
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EXT. TRAIL — DAY

Two women jog along a trail which borders Crystal Lake, TRACY JARVIS and her daughter, TRISH. 54 years old, Tracy is an attractive trim woman with straight blond hair. Sixteen, Trish takes after her mother, though her blond hair is decidedly wavier.

TRISH

I talked to Dad.

TRACY

How is he?

TRISH

He said he was lonely. Asked me to come out and see him.

TRACY

Did he tell you to take a number?

TRISH

No, (smiles) but he asked about you.

TRACY

(grins) Did he? (beat) Actually, you really should go out there and see him.

TRISH

Yeah, I know.

TRACY

I bet he could stand a visit. (beat) What do you think?

TRISH

I think you're getting horny.​

Tracy laughs.

EXT. JARVIS CABIN & HIGGINS HAVEN — DAY

An overgrown driveway meanders among oak trees towards a pair of properties. The oak trees have been there long before the homes were built — their heavy branches hang low, like tired arms, almost blocking the driveway.

The farthest is Higgens Haven. The two-storey cottage has an elevated porch and curtained windows. It is in relatively decent condition, though weather-beaten, and creates from the start an impression of family history. Diagonally across from the house, there is a tall red barn with a hayloft equipped with a block and tackle.

The nearest is the Jarvis house. It is a charming two-storey log cabin of much more recent vintage, having been erected only five years before.

There is ample parking space before both houses. The whole area is surrounded by a lush landscape.

INT. JARVIS CABIN/LIVING ROOM — DAY

TOMMY JARVIS, twelve, sits at a desk playing Zaxxon on a TRS-80 Color Computer, a life-life alien rubber mask worn over his head. The volume on the TV set is turned up to full volume.

Tracy and Trish come into the house from their jog.

TRACY

Tommy, turn that down!

TOMMY

(faces Tracy) Mom, I got 98,000!

TRACY

How many robots is that?

TOMMY

Thirty-five.​

While Tommy's head is turned, the robots destroy his ship.

TRACY

Now, why don't you try killing a few more up in your room?

INT. JARVIS CABIN/KITCHEN — DAY

Tracy heads for the kitchen while Trish heads upstairs to change. Tommy follows his mom.

TOMMY

I can't. I need a bypass patch cord.

TRACY

Maybe you can get one in town. Trish'll drive you.​

Tommy sets a baseball cap atop his masked head.

TRACY

Oh, honey, get a haircut, hmmm?

TOMMY

Awww, Ma!

TRACY

(nods appreciately) That's a nice mask.​

Tommy takes off the mask. He's a cute kid, with a cherubic face and shaggy brown hair.

TOMMY

Do I have to get a haircut?​

Slipping on a pair of glasses, he walks over to the kitchen table. Retrieving a dishtowel, Tracy mops the sweat from her face.

TRACY

You're getting pretty terrific at making those things.

TOMMY

Thanks. I just customized it.

TRACY

Where's Gordon?

TOMMY

He went out.

TRACY

Oh, someone left the front door open.

TOMMY

We're in the country.

TRACY

What happens if a psycho wanders in?​

Trish enters the kitchen and goes to the fridge, fetching a pitcher of lemonade.

TRISH

He'd probably challenge him to a game of Zaxxon. (to Tracy) Did you hear any more about the place next door?

TRACY

Umm-hmm. It's been rented by some kids.

TRISH

Great!

TOMMY

How many?

TRACY

Five.

TRISH

Well, y'know, it'll be nice to have some company.​

EXT. ROAD — CEMETERY — TWILIGHT

The station wagon pulls over to the side of the road beside Eternal Peace Cemetery.

INT. STATION WAGON — TWILIGHT

Andy looks over to Debbie, who's reading the map. Vera leans forward to talk to Andy.

VERA

Where are we now?

ANDY

(sardonic) Lost.

DEBBIE

We are lost.​

Vera notices they are parked near the cemetery. She looks through the iron fence at the gravestones.

JIMMY

Pretty creepy, huh?

VERA

(disconcerted) Yeah….

DEBBIE

(to Andy) Alright, I think I got it. You go straight ahead two miles and hang a right.​

EXT. ROAD — CEMETERY — TWILIGHT

Paul pulls onto the road. The tombstone that Vera and Jimmy were staring at reads: "RALPH NEELEY 1912-1980 AT REST".

INT. JARVIS CABIN/KITCHEN — NIGHT

The Jarvis family prepares dinner.

TRISH

(disappointed) Oh, Mom, I thought we were having pizza.

TRACY

I thought so, too, honey, but we've got a refrigerator full of leftovers. (beat) You're not smiling. You're not in the mood for my tuna salad?

TRISH

Well….

TRACY

I'm not, either. (looks at Tommy) I'm in the mood for ...

TOMMY

No.

TRACY

(creeping towards Tommy) Oh, yes. I feel like ...​

Tommy backs away from his mom. Trish comes up from behind to trap him.

TRACY

I feel like ...

TOMMY

No!

TRACY

A Jarvis sandwich!

Trish and Tracy snare Tommy in a hug.

EXT. COTTAGE/FRONT YARD — NIGHT

The station wagon pulls up to the house next door.

INT. JARVIS CABIN/KITCHEN — NIGHT

While a "Jarvis sandwich" is made, a scratching begins at the front door.

TOMMY

Hey, somebody's at the door.​

Tommy tries to wiggle free.

TRACY

Oh, no, you don't!

TRISH

No, Mom, I heard that, too.

TOMMY

I'll go!​

Tommy breaks free and heads for the door.

EXT. JARVIS CABIN/DOOR — NIGHT

Tommy opens the front door and their Golden Retriever, Gordon, is there.

TOMMY

Gordon! Hey, Gordon! Where've you been, huh, Gordon? Have you been sneaking around? Have you got a girlfriend or somethin'?

TRACY

(O.C.) Tommy, close the door.

TOMMY

Listen, Gordon, we'll talk later.​

Tommy goes to close the door once Gordon is inside. Then he notices the new arrivals next door.

EXT. COTTAGE/FRONT YARD — NIGHT

At the rented cottage, the kids begin unpacking their things.

EXT. JARVIS CABIN/WINDOW — NIGHT

Tracy stares out the window.

EXT. COTTAGE/FRONT YARD — NIGHT

Gordon runs up to the kids unpacking the car. Trish and Tommy follow behind.

DEBBIE

Hi! What a handsome mutt you are.

TRISH

His name's Gordon. I'm Trish.

DEBBIE

Hi, Trish.​

EXT. JARVIS CABIN/WINDOW — NIGHT

After a moment, Tracy leaves the window.

INT. COTTAGE/LIVING ROOM/STAIRCASE — NIGHT

Laden with his and Debbie's baggage, Andy enters the front door, trudges to the base of the spiral staircase and looks up.

ANDY

Whatever happened to equal rights for men?​

Debbie, unburdened by luggage, reaches the second floor landing.

DEBBIE

Stop bitching. You can't expect me to carry heavy things in my condition.​

Andy grumbles and starts up the stairs.

INT. JARVIS CABIN/LIVING ROOM — NIGHT

Trish and her mom sit on the couch reading.

TRISH

(closes book) I'm gonna go to bed now, Mom. Good night.

TRACY

(smiles) Don't forget, 6:00 AM ...

TRISH & TRACY

Once around the lake.​

They share a laugh. Trish gives her mom a hug.

TRISH

Good night.

TRACY

Sleep well, honey.

TRISH

You, too.​

Trish goes to her room. Tracy continues reading her newspaper.

INT. COTTAGE/BATHROOM — NIGHT

Debbie and Vera are cleaning up for the evening, sharing girl talk.

VERA

(cont'd) I don't know how you can do it.

DEBBIE

I don't know how you won't. (beat) Isn't that what you're all about?​

Vera gives Debbie a dirty look.

DEBBIE

(cont'd) I mean, you're Catholic, right? You're supposed to be all about the family.

VERA

(doubtful) Yeah. (beat) Well, what does Andy think?

DEBBIE

Andy thinks I'm great in bed, so that's where I keep him.

VERA

What are the sleeping arrangements here, anyway?

DEBBIE

Andy and I are taking the bedroom at the end of the hall, so you and Jimmy can sleep next door.

VERA

(worried) Really?

DEBBIE

Yeah. It's okay, they're bunk beds. Don't worry about him.​

INT. JARVIS CABIN/TOMMY'S BEDROOM — NIGHT

Tommy's in bed, half asleep. He opens his eyes and looks out the window. Dimly perceiving a figure in the cottage window across from him, he slips his glasses on. He sees Debbie starting to take off her clothes in preparation for bed. At the sight of her breasts, large with pregnancy, Tommy gets excited.

As he hears the doorknob turn, he quickly pretends he is sleeping.

Tracy enters. As she tucks Tommy in, she notices him in his glasses. Glancing up, she spies the voluptuous girl next door. Giving Tommy a wry smile, she walks over and pulls the shade down. Taking Tommy's glasses off and kissing his forehead, she exits the room.

His mother gone, Tommy opens his eyes. He stares at his closed shade in vexation.
 
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EXT. TRAIL — DAY

Bright and early the next morning, the kids make their way down a trail to Crystal Point, a swimming area of Crystal Lake. Ted and Jimmy walk together, behind Vera. Jimmy keeps his arms tightly crossed, trying to keep his gaze to the ground, but keeps glancing up at the girl longingly.

TED

(to Jimmy; cont'd) You told me you were horny.

JIMMY

See, I've come to realize that a guy can have a good time without having to have girls all about.

TED

That's a sin, ya dead fuck!

JIMMY

(irate) I really, really don't want you to call me that anymore.

TED

Awww!​

TWIN TEENAGE SISTERS on bikes appear in front of the group. They're coming down the hill pretty fast and have to hit the breaks hard to avoid running into them.

TINA & TERRI

Sorry!​

Ted and Andy are immediately smitten with the identical brunettes in matching pink off-shoulder sweaters and blue Dolfin shorts.

ANDY

Don't worry about it.

TED

Hi.

TERRI

Hi.

ANDY

You girls live around here? How far is it to Crystal Point?

TINA

Well, that's where we're going.

TERRI

Yeah. It's a long walk.

TED

We can take it.

DEBBIE

I'm going to go get the car.​

She starts walking down the path. She stops after a moment, turning back to the others.

DEBBIE

Andy? Some company?

ANDY

(mind on Tina/Terri) Thanks. I'll just meet you there.​

Fuming, Debbie continues while the twins lead the group down another path towards Crystal Point.

Tina

(to Terri, about Ted & Andy) They're cute.​

CUT TO

Debbie walking alone.

Though enervated by anger towards Andy, she soon realizes the woods are scary by yourself and begins to get nervous. She hears little noises and constantly checks her surroundings. She thinks she hears something behind her and starts to walk backwards. Debbie runs into a tree branch and laughs at herself.

Through the brush, she perceives a new path. It's quite narrow, as if made by-and-for one. Curious, she decides to follow it.

EXT. VOORHEES HOUSE/BACK YARD — DAY

Debbie follows the path to its end, reaching the Voorhees house. The house is dark, a "FOR SALE" sign out front.

Debbie tries both the front and back doors; both locked. Stepping back, she gazes up to the second storey. Sun gleaming against it, it's hard to make out, but it appears there's someone standing at an upstairs window.

PROWLER'S P.O.V. — DEBBIE

From the other side of the dusty glass, Jason watches Debbie turn and leave the way she came.

EXT. CRYSTAL POINT — DAY

The kids are at Crystal Point. There's a rope-swing, beach, and a dock.

Tina leaps on the rope-swing and cannonballs into the water. Ted and Jimmy are standing by the water's edge.

TINA

(to Ted & Jimmy) Come on in!

JIMMY

(embarrassed) Oh, no. No, we-we have no suits!​

Ted glares disdainfully at Jimmy. He finds him pitiful.

Andy uses the swing next, cannonballing into the water.

TED

Alright! Alright!

ANDY

Skinny dip! C'mon!​

Andy takes off his shorts and throws them on the shore. Vera slips out of her clothes and dives in. Debbie, embarrassed, leaves for the dock.

The twin sisters look at each other, laugh, and dive under water. When they come up, they throw their swimsuits toward Jimmy and Ted.

CUT TO

Trish, Tommy, and Gordon pulling up beside the station wagon in the parking space.

Gordon jumps out the car window, heading towards the skinny-dipping kids.

TOMMY

Gordon, wait up!

TRISH

Gordon!

TOMMY

(gets out of car; cont'd) Gordon, wait up! Wait a minute! Gordon!​

CUT TO

Ted taking off his clothes and jumping in.

VERA

C'mon, Jimmy!​

Jimmy slowly, clumsily begins taking off his clothes.

Tommy follows Gordon to the kids. He gets an eyeful of naked female flesh.

TOMMY

Whoa!

Trish reaches him.

TRISH

Tommy! Turn around!

TOMMY

Oh, c'mon, can't I just —

TRISH

Turn around!

The kids in the water notice them.

ANDY

Trish, c'mon in!

TRISH

(grins) No, thanks. I think I'm overdressed!

TED

Hey, Trish!

TRISH

Bye-bye!

TED

Party tonight!​

Trish gives her silent acknowledgement.

TOMMY

(irate) C'mon, Gordon, we're too young for this.​

INT. CAR — DAY — TRAVELLING

Trish, Tommy, and Gordon are driving back home.

TOMMY

Some pack of patootsies, huh?

TRISH

(stern) Tommy.​

The car begins making sputtering noises.

TRISH

Oh, no! What next?​

EXT. RURAL ROAD — DAY

Trish pulls over to the side of the road.

PROWLER'S P.O.V. — TOMMY

From the trees, someone watches Tommy get out to have a look at the engine.

EXT. ROADSIDE — DAY

TRISH

Can you fix it?

TOMMY

I need a screwdriver.

TRISH

Maybe there's one in the trunk.​

Tommy trots to the trunk, then to Trish's window.

TOMMY

I need the keys.​

Trish hands Tommy the keys.

TOMMY

Thanks.​

Several seconds pass. Somewhere, a twig snaps.

TRISH

Tommy, c'mon!​

EXT. CRYSTAL POINT — DAY

Stepping off the dock onto the beach, Debbie addresses the others.

DEBBIE

I gotta get outta here. I'm going to the store. You guys okay to walk back?

VERA

I'll come along.​

Vera comes forward out of the water, reaching out for her clothes. As she does, she inadvertently thrusts her shapely rear almost into Jimmy's face. Jimmy makes no attempt to retreat from it. Actually, he rather enjoys it.

As Vera gets dressed, Ted prods Jimmy, encouraging him to go along. Hesitant, he gathers his courage and climbs onto the shore.

JIMMY

Hey! Hey, hey, hey! Hey, let me go with you! I gotta get outta here, too!​

EXT. ROADSIDE — DAY

Tommy is fixing the car. He has the hood up and is fooling with the engine.

Someone emerges from the woods. We can only see their feet.

TOMMY

Turn it on, Trish.​

Trish tries to start the car.

TOMMY

Turn it on!​

A hand appears and grabs Tommy's wrist. The boy recoils in terror. The hand belongs to ROB HARDY. A strapping young man with black hair, he carries a large backpack and friendly smile.

ROB

Hi, Rob Hardy. Sorry about that.​

As Rob takes off his backpack, Trish steps out of the car to see what's going on.

TRISH

(surprised) Oh, hello.

ROB

Hi. What's your problem?

TRISH

(coy) No problem.

ROB

I mean, with the car.

TRISH

Oh, the car. It won't start.

ROB

Well, get in. Give it a crank.

TOMMY

Lookit, I've tried everything already. The only thing it could be is the solenoid. If you had a screwdriver….​

Reaching into an ankle sheath, Rob whips out a knife and puts it at the solenoid.

ROB

(to Trish) Okay, give it a crank.​

The car starts. Trish leans out the window.

TRISH

(grins) You need a lift?​

INT. CAR — DAY — TRAVELLING

Trish, Rob, Tommy, and Gordon are in the car going back to the Jarvis residence.

ROB

I didn't think anyone lived this deep in the woods.

TRISH

We do. (beat) What are you hunting for up here?

ROB

(quickly) Bear. Anybody up at the Lake today?

TOMMY

(skeptical) You can't be hunting for bear.

ROB

How about kids? Are there any kids, vacationers, people like that?

TRISH

Yeah. A bunch of kids moved in yesterday. Right next door to us.​

EXT. JARVIS CABIN/FRONT YARD — DAY

The car pulls into the Jarvis driveway.

TRISH

This is it.

ROB

Thanks for the lift.​

They climb out of the vehicle.

TRISH

Would you like to come in for a minute?

ROB

Uh ... I don't think I can.

TOMMY

Well, you gotta come in. C'mon, I got something real neat to show you up in my bedroom.​

INT. JARVIS CABIN/LIVING ROOM — DAY

Inside, Tracy is knitting. Tommy, Rob, and Trish burst in.

TOMMY

Hi, Mom!

TRACY

Tommy, who's your friend?

TRISH

Mom, this is Rob. Rob, this is my mother.

ROB

Hello, Mrs. ...

TRACY

Jarvis.​

Tommy drags Rob upstairs to his room.

INT. JARVIS CABIN/TOMMY'S BEDROOM — DAY

Tommy is a horror movie buff. He makes masks and props and collects memorabilia. Rob looks around his room. He walks over to a hanging mask and touches it, feeling the texture.

ROB

Amazing.​

Tommy fools around with an insect leg prop and leads Rob over to his bed.

TOMMY

Come here, I want to show you something.​

Tommy brings out his latest creation: a monster puppet with moving eyes and mouth.

TOMMY

(makes monster noises)​

INT. LIQUOR STORE — DAY

A cashier rings up the total as a co-worker bags several six-packs of beer, bottles of cheap champagne, and assorted munchies. Vera stands at the cash register.

CASHIER

That'll be $23.50.​

Vera searches her pockets.

CASHIER

(cont'd) And we don't accept no food stamps.​

Vera sneers at the woman. She looks down the aisles for Jimmy; she finds him leafing through the magazine rack.

VERA

Jimmy! I need some money.​

Jimmy digs into his pocket, comes up with the wallet and tosses it over to Vera. She reaches up to catch it, but it hits the side of her hand and drops to the floor.

Vera bends down to pick it up, but someone beats her to it. A brown hand with rings on each finger scoops the wallet up first. FOX, a black woman outfitted in skin-tight black leather, holds the wallet. Flanking Fox, on either side, is ALI, a strapping bald black man with a full set of pearly teeth, and LOCO, sporting greased hair and leather vest.

Fox and Vera stare at each other; Vera and she have an immediate and mutual dislike for each other. Jimmy approaches them.

JIMMY

Excuse me, but I believe that's my wallet.​

Ali and Loco leer at Jimmy and surround him. They each grab an arm, lifting him off the ground.

ALI

(to Loco) Make a wish.

JIMMY

(afraid) Umm ... can I buy you two guys a beer or something?​

Fox leafs through the wallet.

VERA

I'll take that now.​

Fox continues rummaging through the wallet. She pulls out a sealed condom.

FOX

(reading the foil cover) "A True Trojan ... thin as a shadow, strong as a horse."​

Vera grabs for the wallet. Fox is quick to react, pulling it beyond Vera's reach.

FOX

Didn't your mama teach you manners? If you want something, you ask. Nice.​

Vera's jaw tightens with restraint.

JIMMY

(to Vera) Please, be cool.

VERA

(to Fox) May I please have the wallet?

FOX

You mean, "May I please have the wallet, ma'am."

VERA

(teeth clenched) May I please have the wallet ... ma'am.

FOX

That's good. That's real nice.​

She slaps the wallet down in Vera's hand. Vera pays for the booze, grabs one of their packages and exits the store, steaming. Ali and Loco laugh and drop Shelly. He quickly grabs the remaining package and follows Vera.

EXT. LIQUOR STORE — DAY

Vera and Jimmy head for the station wagon.

JIMMY

Are they following us?

VERA

(looks over shoulder) No.

JIMMY

Good.

VERA

Here, you drive. (hands keys to Jimmy) The way I feel right now, I'd probably get us into an accident.​

Vera and jimmy quickly stuff the back seat of the station wagon with their packages.

JIMMY

Next time, I'll know how to handle a situation like that. Let's just hope "next time" isn't too soon.​

The fact that three motorcycles are parked directly behind their car is lost on the both of them.

Jimmy and Vera jump in. Outside, Ali comes out of the store, opening a can of Coors. Noticing them, he throws them a dirty look.

INT. STATION WAGON — DAY

VERA

Uh-oh.​

EXT. LIQUOR STORE — DAY

Starting the ignition, Jimmy throws the car into gear and hits the gas pedal. The car lurches in reverse, and we hear the sound of metal crashing. Jimmy has accidentally backed up into one of the cycles, starting a chain reaction. The first one collides with the second; the second collides with the third. The three motorcycles lie in a heap.

Enraged, Ali throws down his beer.

INT. STATION WAGON — DAY

DEBBIE

(looks out back window) Oh, shit!

VERA

"Oh, shit" is right! Let's get out of here!​

EXT. LIQUOR STORE — DAY

Jimmy quickly shifts gears. The station wagon chugs forward. Whipping out a heavy metal chain, Ali dashes in front.

INT. STATION WAGON — DAY — TRAVELLING

JIMMY

Hold on!

EXT. LIQUOR STORE — DAY

Jimmy slams on the brakes. The car skids to a stop.

INT. STATION WAGON — DAY

Ali smiles at Jimmy through the windshield; the sun glints off his white teeth. Jimmy smiles back.

Still smiling, Ali cracks the chain, shattering the windshield. Wrapping the chain around his fist, he then punches through Jimmy's window.

EXT. LIQUOR STORE — DAY

Jimmy takes off. The station wagon rips past Ali, zooming out of the parking lot. Ali dashes over to his cycle to give chase.

Jimmy pulls a tight U-turn.

INT. STATION WAGON — DAY

DEBBIE

What are you doing‽

JIMMY

He went too far this time.​

EXT. LIQUOR STORE — DAY

As Ali tries to kick his cycle into gear, Jimmy barrels towards him.

ALI

Oh, shit!

Ali leaps out of the way. The station wagon rolls over the front wheel of Ali's motorcycle, busting it.

INT. STATION WAGON — DAY — TRAVELLING

JIMMY

(ecstatic) I did it. I did it. I did it! Did I do it‽

VERA

(laughs) Yes, you did it! You were great!

JIMMY

I was great!​

EXT. LIQUOR STORE — DAY

Ali stands shouting after the fleeing station wagon.

ALI

You sonuvabitch! You ought to come back here, you bastard! You ain't gettin' away wit' this, goddammit! I'm gonna get you!

 
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EXT. COTTAGE/PORCH — DAY

The sun casts an orange glow over the landscape as it slowly lowers in the west.

Andy is at one end of the porch working out — strenuous calisthenics. Opposite Andy, Tina, Ted, and Terri sit together on the porch swing, sharing a joint. They watch Andy's awe-inspiring performance as they rock back-and-forth.

TINA

(admiring Andy) Maybe we should do some exercise.

TED

This is all the exercise I need. (raises joint to mouth)​

In the background, the war-torn station wagon winds its way down the dirt road. Tina, Terri, Ted and Andy see the car coming. The damage is evident even from a distance.

They leave the porch as the car comes to a halt just in front of the barn.

EXT. BARN — DAY

Terri, Tina, Andy, and Ted surround the car. Andy puts his hand through the frame of the windshield.

ANDY

(dumbfounded) My poor car! What'd you do to it‽​

Jimmy and Vera grab the bags and get out of the car. They hand the packages to Ted and Terri.

DEBBIE

It really wasn't their fault.

JIMMY

We had a slight misunderstanding with a motorcycle gang.

VERA

(smiles) Yeah, but Jimmy made them see the error of their ways. Didn't you, Jimbo?

JIMMY

(heroic) It was nothing. (to Andy) A few minor repairs, it'll be good as new. (hands him the keys)​

Together, Jimmy and Vera head for the house. Ted and the twins follow behind, carrying the packages in. Andy and Debbie linger by the car.

From around the corner of the barn, a tall silhouette stealthily peeks out. It's Jason. He watches the couple.

ANDY

(to Debbie) That's it. I've had it. I mean, I thought it would be a good idea for us to spend some time together, but this' a little more than I bargained for.

DEBBIE

Why don't we go for a drive, watch the sunset. It'll mellow you out.

ANDY

(dismissive) Forget it. Let's go inside.​

EXT. BARN — SUNSET

A pair of dark booted feet appear behind the station wagon. Approaching furtively, they sneak around the back of the car and edge their way forward.

Camera tilts up from the boots to reveal Loco, the biker. He's carrying an empty gas can and a siphon.

He scans the area; there's no one in sight. He signals and out from the bushes come Ali and Fox. They scurry over to the station wagon, ducking down next to Loco. Ali unscrews the car's gas cap.

FOX

Maybe we shouldn't do this, Ali.

LOCO

Hey, we gotta even the score, don't we?

ALI

(to Fox) Nobody's gonna get hurt, okay, baby? Trust me.

LOCO

(sardonic) Right.​

Ali sticks the siphon down into the fuel tank and lays the gas can on the ground below it. Loco tries to grab the siphon from Ali.

LOCO

(anxious) Let me do it.

ALI

(authoritative) I know what I'm doing.​

Fox's attention is drawn to the barn as her cohorts continue with the task at hand. Climbing a fence, she walks towards it.

Fox cautiously pulls open one of the two doors. It creaks loudly. She stops and looks around to see if anyone has heard; the coast is clear. She slips inside and pulls the door closed behind her.

INT. BARN — SUNSET

Spears of fading sunlight, thick with dust, cut across the musty interior. This is your typical barn with a variety of heavy duty tools; saw horses; wooden benches and ladders; a horse stall; haybins, haystacks and a second floor hayloft; and several storage rooms.

Fox scans the premises. With the fascination of a street kid who has probably never seen the inside of a barn, her face lights up with the smile of a child in a toy store trying to decide which area to explore first.

Fox wanders through the rustic interior. In her high-heeled boots, she has trouble maneuvering around on the hay-covered floor. As she approaches the toolshed, she falls forward off-balance, her face landing inches away from a pitchfork's prongs.

FOX

Oh, shit!

Her eyes focus on the sharp teeth of the pitchfork. Alarmed by the close call, Fox gets up and dusts herself off.

Looking skyward to the loft area, Fox moves over to its ladder. The ladder quivers, dislodging hay at the top and sending it raining onto her.

FOX

Who's up there?​

She starts up the ladder and disappears through the loft flooring.

EXT. BARN — SUNSET

Ali and Loco have just completed filling up one gas can.

ALI

Here, take this in the barn and start pourin'. And find Fox.​

Can in hand, Loco hunches over, keeping his body low to the ground as he high-tails it to the barn.

FOX

(O.C.) Whoaaa...!

Loco looks up. Fox comes swinging out, Tarzan-like, from the hayloft on the rope attached to the block and tackle. She's having a hell of a good time.

LOCO

(loud whisper) What the hell you doin'‽ Get off that thing!​

Fox disappears from view through the square opening in the loft. A second later, she reappears, swinging out on the rope again.

FOX

Whoaaa...! This feels good!

She swings back and disappears from view once more.

LOCO

Ali is gonna be pissed he sees you screwin' around. Now c'mon, we got shit to do.​

This time the rope swings out from the loft ... without Fox attached. There's a dead silence. The rope dangles.

LOCO

What the hell...?​

Loco slips inside.

INT. BARN — SUNSET

Loco advances into the barn, looking everywhere.

LOCO

Fox? (beat) Where are ya?​

No response.

LOCO

(cont'd; agitated) Stop screwin' around. You're messin' everything up!​

Setting the gas can down, he glances at the loft above him. He starts up the ladder.

LOCO

You're dead now, woman!​

INT. BARN/LOFT — SUNSET

LOCO

Fox!​

Loco comes through the opening and steps onto the floorboard. The deep shadows hide the corners of the loft and Loco has to squint to see.

He turns around. In front of him is Fox's body, raised off the ground, impaled with a pitchfork to a rafter beam. Her eyes are open wide with a deathly stare. Blood oozes from the penetrations in her throat.

Loco's face registers shock and horror as he runs smack into Jason. This is the first clear view of Jason we get. In four years, Jason hasn't changed his clothes. His green shirt and tan pants are dark with grime, frayed at the cuffs. Old dried blood cakes the axe mark on his goalie mask; most of the red decals have peeled away.

Jason seizes Loco by the throat, ashen fingers tightening as he pulls him to the loft opening. Loco grasps at Jason's wrist with both hands, gagging.

At the block and tackle, Jason grabs the rope in his other hand. He forces Loco's head through the noose-like loop at the end.

EXT. BARN — SUNSET

Carrying two jugs of gasoline, one in each hand, Ali is just outside the barn doors. To gain entrance, he kicks on the doors and looks around to see if anyone has heard him. He waits for one of the two to let him in.

ALI

(loud whisper) Fox! Loco! Open the damn door!​

INT. BARN/LOFT — SUNSET

Jason throws Loco out.

EXT. BARN — SUNSET

Loco plummets. With a horrid wet wrenching sound, his head separates from his body as the rope is drawn tight.

Horrified as Loco's blood splashes him, Ali drops the cans. Prying open the barn doors, he dashes inside.

INT. BARN — SUNSET

ALI

Fox!

Hearing his desperate bellow, Jason leaps down from the loft, landing before Ali.

ALI

You bastard! You're a dead man!​

Fetching a large monkey wrench, Ali takes a swipe at Jason. Jason dodges the blow, flooring Ali with a backhand punch. Stealing the wrench, Jason brings it repeatedly down on Ali's face.
 
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INT. COTTAGE/LIVING ROOM — NIGHT

Night time. Party at Higgins Haven. Ted has paired off with Terri, sitting together on the couch. Andy and Tina are together on the staircase, deep in conversation. Debbie sits under a window nursing a Coke, eyes on her beau and new competition.

Jimmy walks over to the stereo, AC/DC's Back in Black LP in hand. Putting it on, the title track starts up.

JIMMY

(to Vera) Would you care to dance?

VERA

Alright.

JIMMY

(grins) Well, good.​

They start to dance. Jimmy's dead fuck moves make him look like he's having a seizure. The others laugh at his expense.

Andy walks over to the stereo and changes the record.

JIMMY

Hey, how come you turned that off?

ANDY

Relax, Jimbo. You're gonna love this.​

A slow, big band number, "Tangerine" sung by Bob Eberly & Helen O'Connell, begins to play. Andy takes Tina into his arms and they start to dance.

TED

(points to Terri's teddy bear) Wanna give Teddy Bear a kiss?​

Ted moves too fast, too desperate for a kiss.

TERRI

Teddy, Teddy. (beat) I've got to get another drink.​

Terri pushes Ted's roving hands away and gets off the couch. He shrugs, bewildered.

ANDY

(to Tina) You like this stuff?

TINA

You like slow dancing?

ANDY

I could learn to.

JIMMY

(to Vera) Uh, maybe we can dance to this one.

VERA

Sure.

TED

(walks up to Terri) C'mon, let Teddy Bear show you how it's done.​

The kids dance to "Tangerine". All except Debbie. She sits alone as Andy and Tina lose themselves in each other's arms.

EXT. JARVIS CABIN/FRONT YARD — NIGHT

Trish and Rob come out of the house. They walk down the path a little ways, making small talk.

TRISH

Stay near the trail. It goes all the way around the lake.

ROB

Yeah, I will. (beat) It's only three of you up here?

TRISH

Umm-hmm. My parents've separated. Y'know, middle-aged crazies. (longful) I kind of hope they get back together again.

ROB

Yeah, I hope so, too.​

Though a moonlit night, a bank of heavy cloud is rolling in.

TRISH

Looks like another rainy one, huh?

ROB

Yeah.

TRISH

Listen, if it gets too bad out there, or if you want to take a shower, or whatever, we're always home. And if we're not, Tommy usually leaves the door open.

ROB

(kisses Trish on cheek) Good night.

TRISH

Take care.​

INT. COTTAGE/LIVING ROOM — NIGHT

All the kids gather to watch the twins shotgun beer. Andy uses a fancy corkscrew to puncture the bottom of a can and hands it to Tina.

ANDY

Okay, you ready, Tina? Alright, on three.

GROUP

One! Two! Three!​

The sisters shotgun the beer. Tina guzzles her down first as Terri falls into a chair.

ANDY

And the winner is ... Tina!

Tina jumps into Andy's arms, much to Debbie's chagrin.

TINA

(to Andy) What do I win?

ANDY

What do you want?​

Tina points at the stereo.

ANDY

Jimbo, put on another record.

JIMMY

(goes to put on record) Jimbo….

TINA

(to Debbie) You don't mind, do you?

DEBBIE

(irate) Actually, I was thinking about taking a little swim. (to Andy) It seems to be getting a bit close in here for me.​

Debbie storms out of the room. Tina and Andy start to dance, a pleased smile on her face.

EXT. LAKE — SHORE — NIGHT

Debbie goes down the path to the shore. She starts undressing when she hears something behind her.

DEBBIE

(turns around) Andy? (beat) I know you're out there, Andy.​

Smiling hopefully, she takes off the rest of her clothes. She stands there, waiting for Andy to show.

DEBBIE

(cont'd) Andy? (disappointed) Okay, screw you, Andy.​

Debbie strides into the lake, entering a brisk stroke once out in the open water.

PROWLER'S P.O.V. — DEBBIE

Debbie turns over, doing a backstroke.

EXT. LAKE — NIGHT

Debbie swims out to a buoy floating on the lake. Grabbing it, she looks towards shore. It's shrouded in mist.

DEBBIE

C'mon, Andy. (shouting) I know you're out there! (beat) Andy?

No response.

DEBBIE

(crying) Screw you, Andy.​

Emerging beneath Debbie, Jason shoves a speargun deep into her crotch, lifting her into the air.

DEBBIE

AAAHHH!!!

She howls in excruciating agony as Jason pulls the trigger, releasing the spear.

EXT. TRAIL — ROB'S TENT — NIGHT

Rob is at his tent, tending a fire when he hears Debbie's scream in the distance. Unsheathing his machete, he leaves the site for a check around the perimeter.

While he is gone, he hears noises from his site. Turning around, he sees a figure by his tent turn and disappear into the trees.

ROB

Shit!​

He quickly makes his way back. Inside his tent, he finds his hunting rifle broken and his maps torn/crumpled. Rob stares at the mess.

ROB

Oh, shit.​

INT. COTTAGE/LIVING ROOM — NIGHT

From the couch, Ted lights a match and stares at it. He looks first at Terri, who sits apart from him, ignoring him, then to Andy and Tina, who're looking at records together, then Jimmy and Vera, who're still dancing.

VERA

(to Jimmy) I'm going upstairs.

JIMMY

You tired?

VERA

No. (beat) Do you mind sleeping in the bottom bunk tonight?

JIMMY

Why? You want to sleep in the top?

VERA

No. (kisses Jimmy)​

Jimmy chuckles nervously. He and Vera make their way upstairs. Ted can't believe this. He stares at Terri, who, feeling embarrassed, casts her gaze upon the floor.

INT. COTTAGE/JIMMY & VERA'S BEDROOM — NIGHT

Inside the bedroom, Jimmy and Vera get ready to do the wild thing. Jimmy sits on the bottom bunk while Vera stands before him, starting to undress.

JIMMY

(looks about) This is a neat room.

VERA

This is our room.

JIMMY

Naw, actually it's, it's, uh, the Higginses room.

VERA

(grins) You're neat.​

Opening her blouse for Jimmy, Vera climbs on top of him. They roll about the bed, kissing.

INT. JARVIS CABIN/LIVING ROOM — NIGHT

Tracy comes in from jogging. The lights are off, the house quiet. Tommy left the door unlocked again.

TRACY

Tommy? I'm gonna towel off and then I'm gonna strangle you.​

Tracy walks through the house, trying the lights.

INT. JARVIS CABIN/KITCHEN — NIGHT

Tracy goes to the sink and towels off.

TRACY

Tommy? Trish?​

No answer. Pouring herself a glass of water, Tracy leaves the kitchen and tries the staircase lights. Rain spatters against the windows.

TRACY

Anybody home?​

Still no answer. She heads back into the kitchen, pours out her water.

TRACY

Gordon? Where's Tommy? Gordon?​

She heads for the back porch door.

TRACY

(cont'd) Where's Trish? (beat) As a matter of fact, where the hell are you?​

EXT. JARVIS CABIN/BACK YARD — NIGHT

Tracy goes outside.

TRACY

Gordon? Gordon?​

She goes down the porch steps, onto the lawn.

TRACY

(cont'd) Gordon? (beat) Gordon?​

She turns, looks up, and recoils in terror.
 
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INT. COTTAGE/LIVING ROOM — NIGHT

Ted has found an old film reel and a projector in a cabinet. He looks at the film and laughs.

TED

Hey, you guys! Look what I found.​

CUT TO

The projector set up in the living room.

Terri sits beside Ted and on a couch behind them, Andy and Tina. The movie turns out to be a stag film from the silent era. Most everybody, some combination of stoned/drunk, laughs at the women on the film. Except Terri, who couldn't be more disinterested.

Terri gets up and goes over to her sister.

TERRI

Tina? We gotta go.​

Tina and Andy are cuddling.

TINA

(annoyed) You go.

TERRI

Tina, I'm gonna leave without you.

TINA

Take an umbrella.​

Andy smiles at Terri.

EXT. COTTAGE/FRONT YARD — NIGHT

It's raining outside as Terri leaves. She wears a transparent rain slicker and matching hood. Terri goes down the steps, turning to the house.

TERRI

You slut!​

Terri walks to her and her sister's bicycles parked underneath a tree. She brings the kickstand of hers up as Jason comes from behind, running her through on a harpoon.

INT. COTTAGE/LIVING ROOM — NIGHT

Ted laughs at the woman on the screen, utterly stoned.

EXT. COTTAGE — NIGHT

Jason pegs Terri's dead body up against the house.

INT. COTTAGE/LIVING ROOM — NIGHT

Andy and Tina's attention has shifted completely from the movie to each other.

TINA

I thought you wanted to be with Debbie.

ANDY

Well, I did. But now I wanna be with you.

TINA

(conflicted) That makes me feel like a rat.

ANDY

Well, you wanna join your sister?​

She thinks it over a second.

TINA

Andy ... why don't we just go upstairs?​

Tina gets off the couch and walks over to Ted.

TINA

(rubs Ted's head) Good night, Teddy Bear.

TED

(stoned) Good night.​

Tina goes upstairs, followed quickly by Andy.

INT. CAR — NIGHT — TRAVELLING

Tommy and Trish are in the car driving home. Trish is driving a little too fast through this rainy weather.

TOMMY

(pulls two lollipops out of mouth) Watch it! (beat) Can we slow down a little? The party's gonna go on all night. (puts lollipops back in) I think I'm gonna lose my lollipops.​

INT. JARVIS CABIN/LIVING ROOM — NIGHT

Trish and Tommy enter.

TRISH

Mom, we're home!​

Trish tries the lights. Nothing.

TRISH

Mom? (to Tommy) Where is she?

TOMMY

I don't know.

TRISH

Mom?​

Trish and Tommy go upstairs.

TRISH

(cont'd) Mom?​

INT. JARVIS CABIN/TRACY'S BEDROOM — NIGHT

They enter.

TRISH

She's not here.

TOMMY

Maybe she's still jogging.​

Trish goes over to an open window.

TRISH

(closes window) She's never gone this long. And in the rain? (beat) I'm going out on the path.

TOMMY

Me, too.

TRISH

No, you stay here in case she comes back.

TOMMY

I'll go!

TRISH

(adamant) Stay here and fix the lights!​

PROWLER'S P.O.V. — ROB'S TENT

Someone's hidden in the brush, watching Rob's tent.

EXT. TRAIL — ROB'S TENT — NIGHT

Trish comes down the path in the rain and finds Rob's tent. He isn't home. She climbs inside to wait for Rob.

PROWLER'S P.O.V. — ROB'S TENT

The observer emerges from their hiding place. Cautiously, they approach the tent.

INT. ROB'S TENT — NIGHT

A man's shadow appears on the tent wall behind Trish. He raises his arm, machete in hand. The blade comes down, slashing through the tent, barely missing Trish's head.

EXT. TRAIL — ROB'S TENT — NIGHT

Trish scurries out. She finds Rob standing there, machete raised, ready to strike again.

ROB

(edgy) What the hell are you doing here‽

TRISH

(angry) What are you trying to do, kill me‽​

Rob glances at his machete. He lowers it, still on edge.

INT. COTTAGE/JIMMY & VERA'S BEDROOM — NIGHT

Jimmy and Vera are together atop the sheets, basking in their shared afterglow.

JIMMY

Vera?

VERA

Hmmm….

JIMMY

Awww ... nevermind, nevermind.

VERA

Tell me.

JIMMY

Umm ... did I ... was ... was, uh ... was I…. (resigned) Was I a dead fuck?

VERA

(laughs) What?

JIMMY

A dead fuck.

VERA

(smiles) No. (beat) You know what I think? You know what I really think? (kisses his chest) I think you were incredible.​

Jimmy chuckles. They kiss again, initimately.

VERA

I want to do it again.

JIMMY

Yeah?

VERA

Don't you move. I'll be right back.​

Vera gets up to go to the bathroom.

INT. COTTAGE/LIVING ROOM — NIGHT

Jimmy comes down the stairs, buttoning his shirt. He sees Ted still watching the stag film and sits down beside him.

TED

(points at screen; laughs) Hey, check it out.

JIMMY

Why don't you run this through your computer, Teddy Bear?​

Jimmy hands him Vera's panties. Ted stares at them, laughing.

TED

Hey, congratulations, Jimbo!

JIMMY

Where's that bottle of wine? Why don't we celebrate?

TED

I think, maybe, I drank it. (laughs)

JIMMY

(elated; laughs) I was great!​

INT. COTTAGE/KITCHEN — NIGHT

Jimmy goes to the refrigerator, fetching a new wine bottle.

JIMMY

I was great. I was great. (beat) Love, Teddy Bear. L-O-V-E.​

He starts rummaging through the drawers.

JIMMY

Hey, Ted, where is ... where is that corkscrew? That fancy corkscrew for the wine bottle? (beat) Ted?​

INT. COTTAGE/LIVING ROOM — NIGHT

Ted, baked and blitzed, has quickly forgotten about Jimmy.

INT. COTTAGE/LIVING ROOM — NIGHT

JIMMY

Hey! Ted! (irate) Ted! Hey, Ted! Where the hell's the corkscrew‽​

Jason appears out of the shadows. Slamming the corkscrew down on Jimmy's hand, he nails it to the counter. Jimmy grimaces, struggling to pull free. As he turns around, Jason slams a cleaver into his face. Blood streaming from his ruined features, Jimmy goes into convulsions.

INT. COTTAGE/LIVING ROOM — NIGHT

Ted watches the stag film, smoking a joint.

INT. COTTAGE/KITCHEN — NIGHT

Jason retrieves a butcher knife from a drawer.

INT. COTTAGE/LIVING ROOM — NIGHT

TED

(finds Terri's teddy bear; laughs) Teddy. (looks at screen) Ooh, man!​

Ted sees a particulary good looking woman taking a bath in the film. He gets up and staggers to the screen.

TED

So, ya wanna give the ol' Teddy Bear a kiss?​

The film in the projector breaks. Ted turns, looking at the bright light. The reel continues turning, the broken film flapping.

TED

Jimbo? Jimbo? (laughs)​

Hiding behind the movie screen, Jason stabs Ted in the back of the head. Gasping, Ted sinks to the floor, tearing the screen, leaving a trail of blood on the white material.

INT. ROB'S TENT — NIGHT

Rob and Trish are inside. He is relating his story to her.

ROB

(cont'd; sad) My sister Alice was just a really great kid.

TRISH

But the woman that killed your sister is dead.

ROB

No, Pamela Voorhees had an accomplice. Look.​

Rob takes out a scrapbook. Opening it, he shows her newspaper clippings and Xeroxes pertaining to the 1980 Camp Crystal Lake massacre.

ROB

(cont'd) Fingerprints found not belonging to Mrs. Voorhees, right? The cop found murdered at the Voorhees house after the massacre, right? (beat) They never tracked him down. He's still here.

TRISH

(afraid) Oh, my God. Tommy's at the house.​

INT. JARVIS CABIN/BASEMENT — NIGHT

Tommy enters the basement. He uses a flashlight to search for the circuit box.

INT. COTTAGE/BATHROOM — NIGHT

Andy and Tina are in the shower together, having sex.

INT. COTTAGE/JIMMY & VERA'S BEDROOM — NIGHT

Vera comes back.

VERA

Jimmy?​

Jimmy is gone. She goes over to the window to check on the weather. Blowing on the glass, she wipes away the condensation then peeks out.

Jason shatters the glass, grabbing Vera's head. He brings her toward him, breaking her neck.

EXT. COTTAGE — NIGHT

Jason flings Vera high into the air. She lands on top of the station wagon with a loud crash, flipping over onto the muddy ground.

INT. COTTAGE/BATHROOM — NIGHT

Andy and Tina finish fucking in the shower. Opening the shower door, Tina grabs a towel and steps out, wrapping herself in the towel.

ANDY

(from inside shower) Tina! I think I'm in Heaven!

TINA

I'll meet you in your room.​

INT. COTTAGE/LANDING — NIGHT

As Tina leaves the bathroom. Andy starts singing "Tangerine". She smiles.

INT. COTTAGE/DEBBIE & ANDY'S BEDROOM — NIGHT

Tina starts drying her hair. She can't hear Andy over the blow dryer.

INT. COTTAGE/BATHROOM — NIGHT

ANDY

(singing) Tangerine, she is —​

The lights go off.

ANDY

Tina? Change your mind?​

PROWLER'S P.O.V. — SHOWER

They creep towards the stall.

INT. COTTAGE/BATHROOM — NIGHT

ANDY

C'mon, get in here. There's plenty of room. We can sing a duet.​

PROWLER'S P.O.V. — SHOWER

They creep closer.

INT. COTTAGE/BATHROOM — NIGHT

Andy can see a shape through the milky shower door.

ANDY

Who is it, Ted? Ted? (beat) Hey, Ted, is that you? (beat) Hey, Ted. (drops soap) Whoops! Dropped my bar of soap, old buddy. Lucky you ain't in here with me, old pal! Hohohoho—!​

Jason shoves a hand through the glass, grabbing Andy's face. He crushes Andy's nose, drawing blood and agony. Then he caves Andy's face in.

INT. COTTAGE/DEBBIE & ANDY'S BEDROOM — NIGHT

Tina finishes drying her hair.

INT. COTTAGE/LANDING — NIGHT

Tina knocks on the bathroom door.

TINA

(smiles) I came to hear you sing.​

INT. COTTAGE/BATHROOM — NIGHT

Tina opens the door.

TINA

(cont'd) So sing.​

Through the steam, Tina sees Andy's dead body slumped over the broken shower door. She screams and runs downstairs.

INT. COTTAGE/ENTRANCE HALL — NIGHT

Tina tries to get out through the front door; it's locked.

From the other side, Jason strikes with an axe. It breaks through the door, lodging in Tina's chest. She falls to the floor, quivering.
 
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EXT. TRAIL — NIGHT

Rob and Trish walk along the trial leading back to the house. Rob holds a flashlight.

Their footsteps add to the cacophony of the storm. Trish's eyes dart about; she's become quite uneasy.

TRISH

Could we move a little faster?

ROB

Sure, just watch where you're going.​

They start to jog. The beam from their flashlight is diffused through the rain as they run.

Suddenly, without warning, the aged hitchhiker the kids encountered the day before materializes from the mist. Rob almost strides into him.

TRISH

What're you doing out here‽

ROB

You know him?

TRISH

No.

HITCHHIKER

I'm one of the flock, as are you, my brother and sister.

ROB

(askance) Yeah ... sure…. (to Trish) I think we should be going.​

They start to leave. The hitchhiker blocks their path.

HITCHHIKER

I can't let you go.

ROB

Look old man, we don't want any trouble.

HITCHHIKER

Then turn around and walk away from trouble.

ROB

Come on, Trish….​

Rob steps past the hitchhiker. Trish follows a moment later. The hitchhiker looks after them as they go. At this moment, we're afforded a clear view of his neck. It is raw and bloody, as if lacerated by a crude garrote.

HITCHHIKER

(sad) I have done my best. I can do no more.​

Trish looks back at the hitchhiker as she and Rob continue along the trial. He has vanished.

INT. JARVIS CABIN/LANDING — NIGHT

Tommy has fixed the lights and is upstairs. He can hear somebody trying to get in through the front door.

INT. JARVIS CABIN/LIVING ROOM — NIGHT

He slowly descends the steps. Someone breaks the glass in the window at the front door. Rob and Trish enter the cabin.

TRISH

(hugs Tommy) Oh, Tommy! Thank God you're okay! Tommy!

TOMMY

What happened?

TRISH

Where's Mom? Is she back yet?

TOMMY

No, not yet.

TRISH

I'm gonna call for help.​

PROWLER'S P.O.V. — TRISH, TOMMY, & ROB

Looking through the window, Jason watches Trish run to the telephone.

INT. JARVIS CABIN/LIVING ROOM — NIGHT

TOMMY

Rob, what's going on?​

EXT. JARVIS CABIN — NIGHT

As Trish tries to phone out, Jason pulls the connecter box from the side of the house.

INT. JARVIS CABIN/LIVING ROOM — NIGHT

TRISH

(taps phone) I'm not getting anything.​

Rob retrieves his machete from his backpack.

ROB

I'm gonna go next door.

TRISH

I'm going with you.

ROB

No.

TRISH

(adamant) I'm going with you. (turns to Tommy) Tommy, you stay here, okay? And lock the door.

ROB

(touches Tommy's shoulder) Tommy, hold the fort.​

EXT. JARVIS CABIN & HIGGINS HAVEN — NIGHT

Rob, Trish, and Gordon walk over to the cottage.

EXT. HIGGENS HAVE/PORCH — NIGHT

As they climb onto the porch, they see the hole in the front door.

ROB

He's been here.

TRISH

Wait a minute. What if he still is here?

ROB

(hands Trish machete) Here, take this. Take it!​

Trish takes the machete and they enter the house.

INT. COTTAGE/LIVING ROOM — NIGHT

It's dark and quiet inside save for the projector still running. There's no sign of Ted's body.

As they head toward the basement door, the power goes off. The projector goes dead.

ROB

(whispering) I'm going downstairs. You stay right here with Gordon.

TRISH

(whispering) No!

ROB

(whispering) Stay right here with Gordon!​

INT. COTTAGE/BASEMENT — NIGHT

Turning on his flashlight, knife in hand, Rob goes down the basement steps.

INT. COTTAGE/LIVING ROOM — NIGHT

Whimpering in fear, Gordon runs away.

TRISH

(whispering) Gordon. Gordon.

The dog dashes out the open door, into the rain.

Trish decides to check out upstairs. Machete in hand, she climbs the stairs.

INT. JARVIS CABIN/LIVING ROOM — NIGHT

Seated on the stairs, Tommy goes through Rob's bag. Finding the scrapbook, he begins going through it. He comes across a Xerox of an article from 1959. The headline reads: "Boy-Beast Sightings Continue". Underneath is an artist's conception of Jason as a child, post-resurrection. It shows a bald thirteen-year-old Jason, face shrouded in shadow, what few features shown hinting at disfigurement.

INT. COTTAGE/LANDING — NIGHT

Trish can hear water running from the bathroom.

INT. COTTAGE/BATHROOM — NIGHT

The door is open and she peeks inside. She sees the broken glass and the blood on the floor. With her eyes, she follows the bloody trail over to the corner. Doug has been spiked face-first to the wall. Trish screams and runs downstairs.

TRISH

Rob! Rob, he's here! He's here! Rob! Rob! Rob! Rob!

INT. COTTAGE/BASEMENT — NIGHT

Trish runs into the basement.

TRISH

Rob! Rob! Rob! Rob, he's here! He's here! He's killed all of them, I know it!

ROB

Alright, c'mon.​

As they go upstairs, Jason's hand bursts through one of the steps, grabbing Rob's ankle from underneath.

ROB

Shit! Give me a hand!​

Trish hacks away at Jason's wrist with the machete, forcing him to let go. Unfortunately for Rob, he topples backward, tumbling down the steps to the bottom.

TRISH

No! No! No! No!

Jason attacks Rob. Grabbing him by the shirt, he hefts him up, slamming him against the wall. Rob screams.

ROB

Run! Run! Oh, God! Run, Trish! Run! Run!

Trish stares in disbelief. Then she bolts up the stairs.

Taking Rob's head in his hands, Jason squeezes, crushing Rob's skull. His left eye popping out, Rob's screams instantly trail off.

INT. COTTAGE/ENTRANCE HALL — NIGHT

Trish runs for the front door. As she opens it, she finds Vera's body lying there.

INT. COTTAGE/KITCHEN — NIGHT

Tricia runs into the kitchen. Opening the back door, she finds Jimmy's body crucified across the frame.

Lifting a chair, she shatters a window. Tossing the machete through, she crawls outside.

EXT. COTTAGE/FRONT YARD — NIGHT

Trish runs for home, screaming.

INT. JARVIS CABIN/LIVING ROOM — NIGHT

Hearing his sister's screams, Tommy runs for the door. Unlocking it, he allows Trish inside.

TRISH

Are the doors locked‽

TOMMY

Yes.

TRISH

Go get me a hammer and nails right now!

TOMMY

Is he here?

TRISH

Yes!​

Tommy goes to fetch the tools. Trish locks the windows.

TRISH

Tommy! Hurry!​

Tommy returns with a hammer and nails. Trish begins nailing the door shut.

INT. COTTAGE/KITCHEN — NIGHT

Pulling Jimmy's body down out of the way, Jason strides outside.

INT. JARVIS CABIN/LIVING ROOM — NIGHT

Finished with the door, Trish goes to complete securing the windows. She looks out to see if Jason is coming, but it's too dark.

After a few moments of quiet, Tina's corpse comes crashing through the picture window.

TRISH & TOMMY

AAAHHH!!!

Trish goes to examine the body. The axe remains lodged in its sternum.

Jason crashes through another window, grabbing Tommy.

TOMMY

Help me! Help me! Help!

Screaming incoherently, Trish attacks Jason with the hammer, beating the killer on the head.

TOMMY

Help me! Help me! Let me go! Help me! Put me down!

The goalie mask offering Jason too much protection, Trish changes tactics. Flipping the hammer around, she buries the claw side in the back of his neck. He lets go of Tommy, falling back.

As Trish and Tommy run for upstairs, Jason crashes through the front door. He throws the hammer at Trish; it misses, lodging in the wall.

INT. JARVIS CABIN/TOMMY'S BEDROOM — NIGHT

Tommy and Trish dash inside, locking the door behind them. Trish goes to a large bookcase.

TRISH

Tommy! Tommy, help me push this.​

They push the bookcase against the door. Then they huddle together at the back of the room.

TRISH

Where is he?​

Jason jiggles the door knob. Then he bangs on the door. Then silence.

TRISH

What's he doing? What's he doing?​

Having retrieved the axe, Jason chops an opening through the door. Pushing the bookcase away, he tries to enter the room. Grabbing Tommy's computer monitor, Trish smashes it on Jason's head. There is the zap and crackle of electricity as it courses through his body. He falls backward, motionless on the floor.

Tommy and Trish look at Jason through the hole in the door. He stirs, stunned but alive.

TRISH

(whispering) Listen, Tommy, I'm gonna get him outta the house. And when I do, I want you to run like hell, do you hear me? Run, like, hell. Okay?​

Trish opens the door and lightly steps past Jason. Grabbing the axe, he swings it at Trish, burying it in the wall instead. She tries to jump over him, but he trips her, sending her sprawling.

TOMMY

Trish!

Jason looks at Tommy, then Trish, indecisive whom to pursue.

TRISH

Tommy, no!

Jason picks Trish. She runs down the stairs, screaming.

TOMMY

Trish!

EXT. JARVIS CABIN/FRONT YARD — NIGHT

Trish runs for the cottage with Jason close behind.

INT. COTTAGE/LIVING ROOM — NIGHT

She runs inside the house, Jason on her heels. She dashes up the stairs. Jason follows.

INT. COTTAGE/LANDING — NIGHT

At the top, she finds herself trapped with nowhere to go. She spins 'round. Jason stands there, eyes burning with cold rage. He runs toward her. Turning, Trish leaps through the landing window.

EXT. COTTAGE/FRONT YARD — NIGHT

With the crash of breaking glass, Trish tumbles through the air. She lands on her back in the mud, debris cascading all over her.

Jason looks out the window. Trish is lying motionless. Then she stirs, still alive. He ducks back inside.

Wracked with pain, Trish gets up, heading back for the cabin.

INT. JARVIS CABIN/BATHROOM — NIGHT

Sink full of water, Tommy wets his hair. Consulting Rob's scrapbook, open to the article with young Jason's picture, he takes a pair of scissors and begins cutting his hair.

INT. JARVIS CABIN/LIVING ROOM — NIGHT

Trish steps through the shattered door. Tommy hears her from upstairs.

TOMMY

(O.S.) Trish?

TRISH

(hysterical) Tommy‽ Tommy, you were supposed to leave!

Jason appears in the door behind Trish. Hearing him approach, she stealthily retrieves the machete. As Jason takes a step towards her, Trish swings the machete. It narrowly misses his face, hitting the door frame instead. Jason lunges, trying to snatch the machete. She dodges back.

INT. JARVIS CABIN/BATHROOM — NIGHT

Tommy continues cutting his hair.

INT. JARVIS CABIN/DINING ROOM — NIGHT

Jason keeps coming. Trish swings the machete, trying to hit him, but he keeps evading her swipes. Then as he tries to make another grab for her, she embeds the blade in his left hand, cleaving it in half. Pulling the blade free, she dashes away as Jason examines the wound, unnatural black blood jetting from it.

INT. JARVIS CABIN/BATHROOM — NIGHT

Razor in hand, Tommy has begun shaving his head.

INT. JARVIS CABIN/LIVING ROOM — NIGHT

TRISH

Tommy! Tommy, get the hell out of here!

Jason continues advancing.

TRISH

(enraged) You son of a bitch! I'm gonna give you something to remember us by.​

Trish hits Jason's chest. The strikes angers more than harms Jason. Pulling the machete out of Trish's hand, he casts it aside, knocking out a lamp in the process. Grabbing her throat, he drives her to the floor. With his ruined hand, Jason begins tearing at Trish's shirt. His plans for her extend beyond mere murder.

TRISH

AAAHHH!!!

Tommy comes running down the stairs.

TOMMY

Jason! Jason!

Hearing Tommy's call, Jason turns to him. Tommy is now nearly completely bald, dark makeup applied to his cheeks and under his eyes to give him a death-like pallor. Sensing something familiar about the boy, Jason slowly approaches him.

TOMMY

Remember me, Jason? Jason, don't you remember? Remember, Jason? Jason, remember? Remember?​

Hypnotized, Jason raises his hands and steps closer.

While Jason is preoccupied with Tommy, Trish picks up the machete. She sneaks up behind him, lifting back the blade. As she takes a swing at Jason's head, he turns to face her. The blade cuts through the goalie mask's strap, knocking it off. For the very first time, we see the face of Jason Voorhees. The left side appears almost normal, but the right is a mass of twisted flesh, complete with snaggleteeth and a drooping, lazy eye. On his forehead is a deep, diagonal scar from the axe wound he received four years ago, punctuating his profound ugliness.

Horrified, Trish drops the machete to the floor. Keyed up, Jason forgets his social anxiety and advances on her. Leaping from the steps, Tommy takes up the machete. Hearing Tommy, Jason spins 'round. With both hands, Tommy buries the machete in the left side of Jason's head, piercing his eyeball.

JASON

AAAHHH!!!

Blood spurting from the deep wound, Jason falls to his knees and then forward, landing on the machete and sliding down the blade.

TRISH

AAAHHH!!!

Jason's jaw moves and his lazy eye rolls as blood gushes, soaking the rug beneath him, staining it black as pitch.

Crying, Trish stares at Jason as life finally ebbs from his preternatural body. Inspecting his handiwork, Tommy retrieves the gory machete.

TRISH

Tommy.​

Tommy and Trish hug in the middle of the room. They weep with both relief and sorrow.

As they are hugging, Tommy looks at the body of Jason Voorhees. The fingers are moving slightly. Pushing Trish away, Tommy attacks the body with the machete.

TRISH

Tommy! (beat) Tommy! Tommy!

TOMMY

Die! Die!

TRISH

(cont'd) Tommy!

TOMMY

(cont'd) Die!

TRISH

(cont'd) Tommy!

TOMMY

(cont'd) Die!

Tommy continues hacking away. He won't stop until there's nothing left of Jason to regenerate.

INT. JARVIS CABIN/LIVING ROOM — DAY

It's a bright, sunny morning. Trish and Tommy are curled up together on the couch, asleep.

From the distance, police sirens can be heard. Roused by the sirens, Trish wakes up. Careful not to disturb Tommy, she rises from the couch, walking to the demolished picture window. The sirens grow louder.

TRISH

(cups mouth; shouting) Over here! (beat) Over here!

Tommy wakes up.

TOMMY

Trish ... is it over?

TRISH

Yes, Tommy, the police are next door. (beat) Tell them to come over, we need help.​

As Tommy goes to fetch the police, Trish returns to the couch. She hears the sound of dripping water. Looking up, she sees water trickling down from upstairs.

Rising, she climbs the stairs.

INT. JARVIS CABIN/BATHROOM — DAY

Opening the door, Trish enters. She discovers the water is coming from the overflowing bathtub. The shower curtains are drawn. With trepidation, Trish walks toward the tub. She pulls a curtain open.

TRISH

(horrified) No, Mom!​

Lying in the tub, submerged, is Tracy. The woman is quite dead.

Drawing her mother out of the water, Trish hugs her close.

TRISH

(crying) Mom ... oh, Mom...! Oh, Mommy...!

Trish cradles Tracy's head in her hand. Suddenly, her eyes open. Solid white, they gaze at something behind Trish. Looking behind her, Trish sees Tommy standing there, the machete encrusted with Jason's black blood held aloft.

TRISH

AAAHHH!!!

Skin ashen, eyes burning with cold rage, he cuts her down.

INT. HOSPITAL/TRISH'S ROOM — DAY

Trish wakes up from her nightmare. Wearing a white gown, she's reclining beneath the covers of a hospital bed.

Tommy stands in the open doorway. The room dimly lit, he's cast in shadow.

TRISH

Tommy?​

Tommy runs to his sister for a hug. They embrace, grieving. Abruptly, the grimace falls from Tommy's face. His features become strangely expressionless. A cold rage appears in Tommy Jarvis' eyes.

FADE OUT

END CREDITS
 
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