FADE IN
On Wessex County Medical Center during a thunderstorm.
INT. WESSEX COUNTY MEDICAL CENTER/TOMMY'S ROOM — NIGHT
A flash of lightning illuminates the cozy room. Under the sheets of the sole occupied bed sleeps twelve-year-old TOMMY JARVIS. It is the night after his fateful encounter with the serial killer Jason Voorhees.
Tommy tosses and turns unquietly.
TOMMY
(V.O.) Die! Die!
TRISH
(V.O.) Tommy!
TOMMY
(V.O.; cont'd) Die!
TRISH
(V.O.; cont'd) Tommy!
TOMMY
(V.O.; cont'd) Die!
Tommy bolts upright in bed, releasing a bloodcurdling scream.
Drawn by the scream, a DOCTOR enters. Turning on the light, he goes to Tommy.
DOCTOR
(comforting) Calm down, calm down, Tommy. It's alright.
TOMMY
(hysterical) Trish! Where's my sister‽
TOMMY
She's here. Her shoulder will need some surgery, but we can wait until she's a better candidate. She's safe.
Relaxing, Tommy slumps down in bed. Then a grave expression passes over his face.
TOMMY
Jason.
DOCTOR
The killer is in the morgue.
TOMMY
He's here‽
DOCTOR
All you need to know is he's dead. (beat) Now, you just get a good rest, son.
TOMMY
(cold) Jason belongs in Hell. I'm gonna see he gets there.
Tommy tries to climb out of bed; the doctor restrains him.
TOMMY
(angry) Get the fuck off me!
Tommy begins thrashing wildy. The doctor struggles to hold him down.
DOCTOR
(through door) I need help in here!
A NURSE and ORDERLY enter. The orderly assists the doctor in restraining Tommy while the nurse takes out a syringe.
Snarling animalistically, Tommy clamps his teeth down on the orderly's wrist and twists his head sharply, tearing a large strip of flesh out of the man's arm.
ORDERLY
AAAHHH!!!
As the orderly falls back, blood gushing from his wound, the nurse goes for Tommy with the syringe. With a kick to the face, he sends her sprawling. She drops the syringe on the bed.
DOCTOR
Tommy!
Snatching the syringe, Tommy plunges it deep into the doctor's eye.
INT. WESSEX COUNTY MEDICAL CENTER/CORRIDOR — NIGHT
Tommy emerges from his room. Gripped tightly in one hand is the syringe, red with the doctor's blood. His eyes burn with cold fury.
TWO NEW ORDERLIES go for Tommy. The first gets violently stabbed in the throat with the syringe; the second gets his eyes gouged out.
INT. WESSEX COUNTY MEDICAL CENTER — NIGHT — MONTAGE
Tommy leaves a trial of carnage behind him on his way to the morgue. A countless number of doctors, nurses, orderlies, patients, and visitors lie strewn throughout the corridors like broken, bloodstained dolls.
INT. WESSEX COUNTY MEDICAL CENTER/MORGUE — NIGHT
Opening the door, Tommy steps inside the dark room. Off to the side, a small television set broadcasts snow, casting dim light onto the mass atop the autopsy table. Tommy flips the light switch. Atop the table, concealed beneath a white sheet stained with black gore, is a human body.
Retrieving a bone saw, Tommy slowly approaches the autopsy table. As he does, the cadaver beneath the sheet stirs. Tommy stops dead in his tracks.
Slowly, the body sits erect. The sheet falls away to reveal JASON VOORHEES. His right arm, hacked off above the elbow, falls onto the floor, the gray fingers with their long, black nails curling inward. Deep lacerations mark his shoulders. His head, partially decapitated, hangs limply on his shoulders. Black blood seeping from the ruptured eye socket and grisy machete wound on the left side of his head, his face is mercifully hidden behind his iconic goalie mask.
Climbing off the table, Jason reaches under the crumpled sheet with his remaining hand, drawing out the machete Tommy used to kill him.
Horrified, Tommy drops the bone saw, recoiling in a corner as Jason comes for him.
TOMMY
No. No, no!
Standing over the whimpering Tommy, Jason raises his machete. Remaining eye glaring at the boy, he swings the blade.
TOMMY
No!
INT. VAN — DAY — TRAVELLING
Tommy awakes with a start. The handsome seventeen-year-old finds himself in the back seat of a van. Breathing heavily, he looks through the wire barricade dividing the front/back of the van; through it he spies the DRIVER and patient transporter BILLY. Both men are oblivious to Tommy, with Billy flipping through the pages of a porno magazine.
EXT. ROAD — DAY
Stencilled on the side of the van is the logo for the Unger Institute of Mental Health.
FADE OUT
TITLE: FRIDAY THE 13TH 1989
FADE IN
On the entrance to the Pinehurst Youth Development Center.
SUPERIMPOSE: "OCTOBER 1989"
INT. VAN — DAY — TRAVELLING
As the van pulls through the entrance, Tommy observes his surroundings. Past animal pens and a carport rise the trees of an orchard. Three teenagers younger than Tommy are busy harvesting Red Delicious apples; they watch the vehicle pass by.
EXT. FARMHOUSE/FRONT YARD — DAY
The van pulls up to a two-storey farmhouse. The farmhouse consists of two distinct sections — the original house and a smaller addition adjacent to it. White with gray shingles, with many large windows, it has a warm, inviting atmosphere.
Stepping out, Billy opens the side door.
BILLY
Last stop. Everybody out.
Tommy remains seated, staring straight ahead.
BILLY
Tommy? Hey!
Billy claps then whistles to get Tommy's attention. Tommy doesn't stir.
BILLY
(annoyed) No? Beautiful. Sit there. I don't give a shit.
The front door opening, someone emerges from the farmhouse. Dressed in business casual clothing, a clipboard under her arm, PAM ROBERTS is a dignified young woman with long blond hair and penetrating blue eyes.
BILLY
Hey! How ya doin'?
Ignoring Billy, Pam strides right up to the Van. She flashes Tommy a warm smile.
PAM
Tommy Jarvis? Hi, my name is Pam Roberts. I'm the assistant director. I'm glad you're here.
Tommy takes a sidewise glance at Pam. Otherwise, he doesn't respond.
PAM
(cont'd) Well, if you'd like to grab your things, I'll take you in to meet the doctor, okay?
It takes a moment. Finally, Tommy turns and rises, grabbing his bag.
PAM
(grins) Great. (to Billy) Thank you.
BILLY
Anytime, doll.
As Pam and Tommy head towards the house, Billy salaciously darts his tongue after her, closing the side door.
INT. FARMHOUSE/ENTRANCE HALL — DAY
PAM
How was the ride?
Tommy doesn't say a word.
PAM
C'mon, Tommy.
Pam guides Tommy through the hall into the den.
PAM
You okay?
Tommy still has nothing to say. Guiding him to a set of double doors, Pam knocks.
MATT
(O.S.) Come in.
INT. FARMHOUSE/MATT'S OFFICE — DAY
Opening the doors, Pam enters the office.
PAM
Hi.
MATT LETTER rises from his desk. A tall, handsome man with brown hair, he possesses an assertive but mild-mannered vibe.
MATT
Hi, Tommy. I'm Matthew Letter. Welcome to Pinehurst. Have a seat.
Matt returns to his chair. Tommy remains standing in the doorway.
MATT
Sit down, son.
At Pam's urging, Tommy finally takes a seat in the other chair.
MATT
What I'm gonna do is tell you a little bit about Pinehurst, and then we'll let you get settled in your room. How does that sound?
Tommy plays with the zipper on his bag.
MATT
(cont'd) Tommy? How does that sound?
Tommy glances up at him.
TOMMY
Sure.
MATT
Alright. (beat) About Pinehearst, you'll find we're very different from the state institution. We don't have any guards here. Nobody's gonna tell you what you can do or can't do. Basically, you're your own boss.
PAM
It's an honour system, Tommy.
MATT
What you're really doing here, Tommy, is preparing yourself to re-enter society and start a new life. (beat) So, Pam, you wanna point Tommy toward his room and get him started?
PAM
Sure. (to Tommy) Okay?
Tommy rises. Pam opens the doors.
PAM
Alright, you go through the kitchen, up the stairs, and it's the first door on your left, okay? I'll see you in a bit.
Tommy leaves. Closing the doors behind him, Pam turns back to Matt. He opens Tommy's file.
PAM
So what do you think?
MATT
He's a real talker. (smiles)
PAM
(grins) I noticed. How'd they diagnose it?
MATT
"Severe trauma at age 12. Brutal self-defense murder of a psychopathic killer." (beat) Boy, they've given him every treatment, every therapy they can think of. It's a wonder his mind isn't fried with all the drugs they've given him.
INT. FARMHOUSE/TOMMY'S ROOM — DAY
Seated on his bed, Tommy looks at a framed photograph in his hand. It's a photo of his mom, Tracy, sister, Trish, and dog, Gordon, taken in happier times, shortly before the Crystal Lake massacre of '84.
Setting the photo down, he takes a pocket knife out of his bag. Unfolding the blade, he examines the keen edge. Refolding it, he conceals it beneath his mattress.
Picking up his clothing, he heads for the closet. As he opens the door, an enormous black spider drops down. Tommy leaps back with a start.
Laughter issues from the deep corner of the closet. A black thirteen-year-old boy, REGGIE, emerges, revealing the spider to be a rubber toy on strings.
REGGIE
You scared of spiders? You scared of rubber spiders? (beat) You scared of rubber spiders on strings? Man, you are one scared cat.
Unamused, Tommy heads back to the bed. Placing his clothes down, he begins rummaging through his bag.
REGGIE
(cont'd) Where I come from, you learn to be scared of nothin'. They call me Reggie the Reckless. No spider will scare me.
Tommy whirls around. Transformed into a black-eyed alien monstrosity, he growls at Reggie.
REGGIE
(startled) Joke, man!
Tommy removes the rubber mask. The hint of a smile tugs at the corner of his lips. Turning his back to Reggie, placing the mask on his bed, he unpacks two more hideous masks. Reggie sits down across from Tommy. When he picks one of the masks up to examine the craftsmanship, Tommy, alarmed, snatches it away from him.
TOMMY
Don't.
REGGIE
(frowns) You don't have'ta get all twisted outta shape about it. I mean, you act like you made these things, or somethin'.
TOMMY
I did.
REGGIE
(impressed) Solid. (beat) So you're the new nut, huh?
TOMMY
Is that what they call us?
REGGIE
"Us"? I ain't one of you, man. I'm just visitin'. My granddaddy works here.
A police siren is heard through the window. Reggie turns to the sound.
REGGIE
(excited) Oh, gotta split. Catch ya later. There's action.
EXT. FARMHOUSE/FRONT YARD — DAY
As a police car pulls up to the house, the staff and patients of Pinehurst amass to see what's happening. There're four kids, all aged 13-16. The first to arrive is ROBIN, a slender, pretty redhead. The second is JOEY, an overweight boy with a bland face and curly, greasy black hair. The third is VIC, the youngest, a wiry, stern boy with close-cropped, dirty blond hair. Finally there's VIOLET, a cute goth chick with crimped platinum blond hair dyed black at the ends.
Two police officers emerge from the vehicle: SHERIFF TUCKER and DEPUTY DODD. Tucker approaches Matt.
SHERIFF TUCKER
Hey, Matt. How's it going?
MATT
Alright, Sheriff. What's up?
SHERIFF TUCKER
Well, Matt, you know, it's like we talked about. You got some neighbours who aren't too happy about your place here. Now, I certainly know what it is you're trying to do, and I respect it, Matt, I do. But, well, you see, we found a couple of your kids on the Hubbard place again. (to Dodd) Deputy!
DEPUTY DODD
Yes, sir.
SHERIFF TUCKER
(cont'd) Bring 'em out.
DEPUTY DODD
Yes, sir.
Dodd opens the back door. TINA and her boyfriend, EDDIE, clamber out. A dark-haired, attractive, vivacious pair, they're the same age as Tommy.
DEPUTY DODD
Everybody out. Cut out the foolin' around. Fall in by —
EDDIE
(salutes) Yes, sir!
DEPUTY DODD
(pushes Eddie) Just get movin', wise guy.
The lovers join their peers, Eddie's arms wrapped around Tina's stomach.
SHERIFF TUCKER
We found 'em in the Hubbards' woods. They were screwin' their heads off, Matt. (beat) Now, I think we're all pretty lucky this time, because Ethel didn't see them.
MATT
I'll take care of it, Sheriff.
PAM
(to kids) Okay, people, c'mon, let's go. Party's over.
They disperse, leaving Matt with the police.
SHERIFF TUCKER
Listen, by the way, I understand you got the Jarvis kid today.
MATT
Yeah, he arrived a little while ago.
SHERIFF TUCKER
And?
MATT
And what?
SHERIFF TUCKER
Well, what's he like?
MATT
He's like any other kid. He's just ... he's been through a lot, that's all.
SHERIFF TUCKER
Yeah. Well, good luck with him, pal.
MATT
Thanks a lot, Sheriff.
Patting Matt on the arm, the sheriff turns to leave.
EXT. FARMHOUSE/TOMMY'S WINDOW — DAY
Tommy observes them from his window.