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Friday the 13th 1989 (A Screenplay)

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Friday the 13th 1989 is the third chapter of my F13 reboot tetralogy. A remake of A New Beginning, it's currently a work in progress.
 

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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.
 

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EXT. FARMHOUSE/FRONT YARD — DAY

Some days later. Vic is in the foreground; in a foul mood, he is busy chopping wood. Robin and Violet are in the background; they are hanging wet laundry on a line to dry.

The front door to the farmhouse opens and out walks Joey. Chocolate bar in hand, smile on his face, he drinks in the sunshine of this bright, cloudless day, content with the world and his place in it.

Joey looks over to Vic. Vic stops a moment to spit before resuming his stride, still as miserable as ever. Joey then looks over to the girls. Nodding with satisfaction, he waddles over to them.

JOEY

Hi, girls.

ROBIN

Hi, Joey.

JOEY

Hi, Violet.​

Violet can't hear him over her Walkman.

VIOLET

(shifts headphones) Huh?

JOEY

(waves) Hi!​

Violet rudely resumes her chores without acknowledging Joey's greeting.

JOEY

What're you doin'?

ROBIN

(stammering) Doing l-laundry, Joey.

JOEY

Can I help? I'm really very good at doing laundry. Matt never assigns it to me; I don't know why.

ROBIN

Look, Joey, we really have t-to get this thing finished, okay?

JOEY

So I'm here to help ya. You can count on me, Rob. You too, Vi. (beat) Want a chocolate bar?​

Joey offers his half-eaten chocolate bar to them.

JOEY

(cont'd) Here, you want it? I'll give ya half, but I need half for later.

VIOLET

Piss off!

JOEY

Oh, please let me help ya. It's really no problem….​

Reaching into the laundry basket, Joey grabs a clean white sheet with his chocolate-soiled fingers. Robin gasps.

ROBIN & VIOLET

Joey!

Robin snatches the sheet from Joey, looking it over. Too late; it's stained with chocolate.

ROBIN

Will you j-just get ou-ou-outta here‽

VIOLET

Fuck!

JOEY

I'm sorry, you two, really, I can do laundry great, but, well ... (indignant) if that's how you feel, forget it. I'll just go help somebody else instead. I'll see ya later.​

Joey starts off.

JOEY

(faces girls) Listen, if you change your mind, I'll be right around, okay‽

ROBIN

Joey!

VIOLET

Joey!​

Shrugging, he turns and heads toward Vic.

VIOLET

Jesus, what a loser.​

Snacking on his bar, Joey observes Vic. The thirteen-year-old continues propping piece after piece of wood on the chopping block, replacing one just as soon as he's through splitting its predecessor. Bare arms and face slick with persperation, he's definitely harbouring anger for some untold reason.

JOEY

Hi, Vic!

VIC

Get lost.

JOEY

C'mon! Don't be like that. Let me help you with the wood today.​

Reaching inside his sweater, Joey fishes out an unopened chocolate bar.

JOEY

And anyway, I got two chocolate bars, see? (whispering) Don't tell the girls.​

Robin and Violet are watching this discourse unfold.

VIOLET

(grins) Geez, what an asshole.​

Vic continues chopping wood, trying to ignore Joey.

JOEY

Y'know, Vic, before I came here, I never had anything to do, me bein' an orphan and all. People always teased me about sittin' around like some kind of pig or somethin'. But here, it's different. I can help others and do a lot of things. Y'know something? I really love it here.

VIC

(grits teeth) I hate it!

JOEY

Y'know, to be perfectly honest with you, I never really chopped wood before, but it certainly looks like fun.

VIC

Leave me alone!​

Breathing heavily, Joey brandishes the axe menacingly. To make peace, Joey offers him his unopened chocolate bar.

JOEY

Here, Vic. Want a bite? Here, I'll just put it over here, (places chocolate bar on chopping block) and later on, when you're hungry, you can have it.​

With a bellow of rage, Vic chops the bar in half.

JOEY

(angry) Well, if that's the way you feel, forget it, Vic! Just forget it! But I think you're really outta line.​

Joey turns his back on Vic. Apoplectic, Vic buries his axe in the bigger boy's back. As Joey screams, Vic pulls the blade free, knocking him to the ground. Then Vic chops into Joey again, and again, and again. As Joey continues screaming, Robin releases her own bloodcurdling shriek.

CUT TO

An ambulance pulling into the front yard, joining two police cars already present.

As the paramedics get the stretcher out of the back of the ambulance, we find Vic seated in one of the police cars. On the grass, hidden beneath a white sheet, is Joey's body. Vic stares at his handiwork, expression unreadable.

Sheriff Tucker is with Matt on the lawn, questioning him. At the house, Pam consoles Robin, while Reggie, Reggie's grandfather GEORGE, Violet, Eddie, and Tina are at the front steps with Deputy Dodd. Tommy stands on the porch, a silent observer apart from the rest.

SHERIFF TUCKER

Is there someone we should notify?

MATT

As far as I know, there's no immediate family. His mother died while giving birth. I don't know what the hell happened to the father. Took off somewhere, I guess. (beat) The kid got shuffled around from home-to-home until he came here. (morose) He was a good kid.

SHERIFF TUCKER

I know, Matt.​

EXT. DINER — NIGHT

At the wheel of a Shabby gray 1968 Dodge Charger, honking his horn, Billy recklessly swerves into the parking lot.

BILLY

(shouting) Lana! Hey, Lana!

Opening the front door, LANA steps out. A hot blonde, she's dressed in a pink waitress' uniform.

LANA

(grins) Sorry, buster. We're closed. (giggles)

BILLY

That's alright, I just want a takeout order.

LANA

You do, huh?

BILLY

Yeah.

LANA

Well, what would you like?

BILLY

I would like Lana to go with nothin' on her. (smiles)

LANA

Oh? And who wants her?

BILLY

The pride of the Unger Institute of Mental Health, who's just dumped his last bedpan and would like very much to party. (impatient) Will you get your ass out here?

LANA

Lana ... hmm. I don't know about that. I'll have to ask her. (over shoulder) Hey, Lana. You want Billy? (beat) You sure? (to Billy) She says she wants you, too. But you have to wait a few minutes 'til she's done inside.​

Lana ducks back inside.

BILLY

Yahoo-hoo!

INT. DINER — NIGHT

Lana finishes whipping the counter.

LANA

There. (giddy) I'm going to party.​

Picking up her bag, she skips over to the washroom.

INT. CAR — NIGHT

Radio playing, Billy drums on the steering wheel to the beat. Reaching into the overhead sun visor, he pulls out a mirror and sets it beside him.

BILLY

That's it.​

Reaching into the other visor, he gets out his coke kit.

BILLY

(cont'd) That's it. That's the whole fucking thing right there. (takes out bag of coke) There it is. You just stay right there, doll.​

Setting the bag aside, he takes out a small vial of coke and taps the contents out onto the mirror.

BILLY

(cont'd) That's just what the doctor ordered. Nothing like a little preventive medicine.​

Securing the vial away, he takes out a small metal straw.

BILLY

And the forecast is cloudy in the mountains, sunny in the valleys, and snow flurries up your nose.​

He snorts the coke, chuckling as the high hits him.

INT. DINER/WASHROOM — NIGHT

Changed out of her uniform, Lana applies breath spray to her mouth, and cleavage, before touching up her lipstick.

LANA

(singing) I don't know if he loves me, but I think he does….​

Glass shatters somewhere in the diner outside. Lana turns around.

LANA

Billy?​

INT. CAR — NIGHT

Riding the white horse, Billy grows evermore impatient. He honks the horn.

BILLY

(shouting) Hey, Lana! (beat) What the fuck is she doing? (shouting) Hey!

Honking once more, Billy opens his door and leans out.

BILLY

Jesus Christ! (shouting) Come on, will ya‽ Lana! Hey! Hey!

From behind Billy, an unseen assailant swings an axe, burying it in the crown of his head. Eyes popping from their sockets, his arm reflexively jerks, spilling his coke.

EXT. DINER — NIGHT

Shutting off the lights, Lana exits the diner, a cat nestled in her arms.

LANA

(sets cat down) Go on, kitty.​

The cat scurries off and Lana locks up for the night.

LANA

(to car) Sorry.​

She skips over to the car and looks inside. His door is open, but Billy is nowhere to be seen.

LANA

Billy?​

Shivering in the autumn evening chill, Lana hurries into the Charger.

LANA

Billy, what are you doing? It's cold.

Billy doesn't show. Bringing down the sun visor, Lana checks her hair in the mirror, impatient.

LANA

(irate) This is cute. I like this — a whole lot.​

Lana notices the coke on the floor of the car. Grinning, she leans over to retrieve it.

LANA

You're gonna lose a lot of money this way, smarty. Oh, well, that just means more for me.​

Tasting the coke, she glances out the driver's door. She sees a pair of feet there. Beside them hangs an axe, blood dripping onto the pavement.

LANA

(afraid) Oh, my God. Oh, my God. Billy! Billy! Billy‽

As Lana goes to open her door, the killer walks 'round to her side of the car. As she steps out, they swing the axe. Face contorting with agony, she sinks to the ground.

The killer departs, leaving Lana lifeless on the asphalt, axe protruding from her torso.
 

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INT. FARMHOUSE/TOMMY'S ROOM — DAY

Tommy lies awake in bed. Sweating profusely, breath and heartbeat rapid, he is having another one of his episodes. He grimaces, tries to shut out the voices, but can't.

Getting out of bed, he staggers to his dresser. Gazing at his reflection in the mirror, he winces. Opening the top drawer, he haphazardly goes through his medication, spilling pills and capsules everywhere. As he swallows a pair, the voices in his head subside.

As Tommy looks back into the mirror, he sees standing behind him, upper body and goalie mask stained black, machete in his remaining hand, the ghoulish figure of Jason Voorhees.

Tommy spins around; there's no one in the room with him. He turns back to the mirror; the evil reflection is gone. Banging his fists and forehead on the dresser with frustration, Tommy sobs.

INT. FARMHOUSE/DINING ROOM — DAY

Violet, Tina, and Reggie set the table for breakfast. Violet lays out the plates and utensils, Tina the napkins, while Reggie sets the platters of food prepared by George.

REGGIE

Gramps?

GEORGE

What is it, son?

REGGIE

Can I go see my brother? He'll be in town Friday.

GEORGE

(frowns) We'll see. You know how I feel about that.

REGGIE

But, Gramps —

GEORGE

I said we'll see, Reggie.​

Upset, Reggie takes his seat at the table, fuming. George shakes his head, chuckling.

GEORGE

Hey, c'mere, Reggie the Reckless.​

Rising, Reggie walks over to George. Overcome by love for his grandson, George hugs Reggie, kissing him on the forehead.

REGGIE

(embarrassed) Do me a favour — don't kiss me when there's people around, okay?

GEORGE

Hey, it's cool. (beat) Go and let everyone else know breakfast is ready.​

Reggie goes to the open door, his grandfather beaming.

REGGIE

(shouting) Y'all! Breakfast! Come 'n' get it!

GEORGE

(nonplussed) I could'a done that.​

Robin and Pam file inside, joining the other kids at the table.

ROBIN

(sad) I-I m-miss Joey already.

TINA

So do I.

ROBIN

(cont'd) W-well, I-I hope Victor gets what's coming to him.

PAM

Morning, everybody.​

As everyone returns Pam's "morning", Tina gives the table one last inspection.

TINA

Violet, you set too many places.​

Listening to her Walkman, Violet can't hear her.

VIOLET

Huh?

TINA

(removes Tina's headphones) I said, you set too many places.

VIOLET

No, I didn't.

TINA

(irate) Yes, you did.

GEORGE

I don't think Victor and Joey'll be joining us this morning, Violet.

REGGIE

(flippant) Or any other morning.

GEORGE

Reggie!

VIOLET

(embarrassed) Oh, God. I'm sorry.​

Rising from her seat, Violet collects the surplus plates.

ROBIN

Y-you don't s-s-set a place for a dead person.

VIOLET

(angry) I said I was sorry!

MATT

What's going on here?​

As Violet puts the plates away, Matt takes his place at the table.

MATT

Look, I know how you all feel. This thing is not easy ... for any of us. (beat) So let's just have breakfast.

TINA

I'm sorry, Vi, I was out of line.​

As everyone starts eating, Tommy enters. He stands in the corner, reluctant to join the table.

MATT

Where's Eddie?

TINA

He's upstairs.

MATT

Tommy, would you mind telling Eddie to come downstairs?​

Tommy fidgets, uncomfortable with the request.

MATT

(cont'd) Tommy? Would you mind?

TOMMY

(resigned) Yeah, alright.​

As Tommy heads out, Eddie jumps in, wearing one of Tommy's masks.

EDDIE

BWAHAHAHA!!!

Tommy recoils, startled. Eddie peels off the mask, laughing. Tina and Reggie laugh with him, while the others are less amused.

VIOLET

What an asshole.​

Tommy's face darkens. Eddie tosses the mask at him.

EDDIE

(smiling) Relax, Chief.​

Eddie begins punching Tommy playfully in the shoulder.

EDDIE

(cont'd) What's wrong, no sense of humour? Can't you take a joke?​

Face twisting with rage, Tommy knocks Eddie's arm away. Scooping him up, he suplexes him through a table. With Eddie sprawled out beneath him, Tommy begins pummelling him, teeth beared.

Bolting from the table, Matt intercepts Tommy, pulling him apart from Eddie, pinning him to the wall.

MATT

It's alright, Tommy! It's alright. Just relax. It's alright. It's alright. It's gonna be alright. (beat) Just relax. Yeah, it's gonna be just fine.​

Matt restraining him, the fury fades from Tommy, though the coldness in his eyes remains.

INT. HUBBARD HOUSE/KITCHEN — DAY

Inside a rustic kitchen we finally meet ETHEL HUBBARD and her son, JUNIOR. Ethel is a short, middle-aged woman with a mop of short, tight curls; she is currently standing over a chopping block, a cleaver in both hands. Junior is a grimy, heavyset man, many years older than his handle would imply; he is currently hunched over a bowl of foul-looking stew.

Ethel brings the cleaver down on a plucked chicken, nearly severing its head. Setting the cleaver down, she picks the chicken up, turning it's head towards her.

ETHEL

(to chicken) I'm gonna chop you into itty-bitty little pieces, my friend. just like they done to that piggo over there at that fuckin' crazy farm.​

Snickering, she sets the chicken back down and chops into it.

ETHEL

Eeee-yah!

At the table, Junior mimicks her chop with his wooden spoon.

JUNIOR

Eeee-yah! (giggles)

ETHEL

(unamused) You big dildo. Eat your fuckin' slop. (smiles) Ain't I make the best goddamn stew in the whole wide world?

JUNIOR

(mouth full) Best goddamn stew in the whole wide world, Mama.​

INT. FARMHOUSE/TOMMY'S ROOM — DAY

Seated in his chair, Tommy gazes into the photo of his mom and sister. There's a knock at the door.

PAM

(O.S.) Tommy?​

Setting the photo on his nightstand, Tommy goes to open the door. Pam comes bearing a breakfast platter.

PAM

I thought you might be hungry.​

Tommy accepts the tray.

PAM

May I come in?​

Tommy steps aside to admit her. Closing the door behind her, Pam takes a seat on the foot of his bed as he crosses over to his chair. As Tommy sits down, Pam notices the photograph on the nightstand.

PAM

Your family?​

Glancing at the photo, he nods.

PAM

They're both quite beautiful.​

Tommy takes a dispassionate bite.

PAM

We could arrange a visit with your sister, if you'd like.​

His face darkens.

TOMMY

She doesn't wanna see me.

PAM

I'm sure that's not true.

TOMMY

She's afraid of me.​

Tommy stares at Pam; she stares back at him. There is a deep, abiding sadness in his eyes. And behind the sadness, anger.

PAM

I'll leave you alone.​

She rises, turning to leave.

TOMMY

Pam….​

His gaze has softened.

TOMMY

(gestures to food) Thanks.

PAM

(smiles) You're welcome, Tommy.​

EXT. DINER — DAY

Tucker and his men surround the crime scene. The bodies of Billy and Lana away in body bags, the paramedics haul them into a waiting ambulance.

SHERIFF TUCKER

(pointing at pair of officers) I want every inch of this area combed thoroughly. Bring back anything you find. Anything. Get goin'.

OFFICER #1

Yes, sir.​

As the officers head off, Dodd sidles up to Tucker.

SHERIFF TUCKER

What the hell's goin' on here?

DEPUTY DODD

Looks like we got us a maniac on the loose, Sheriff.​

INT. SHERIFF'S OFFICE — DAY

Called out to investigate the diner murder or otherwise preoccupied, all the cops on-duty are absent, leaving the station unsupervised.

The door opens and an officer walks in, carrying a box of donuts. He approaches Vic's cell.

OFFICER #2

Diner's closed, kid, so none of Mulholland's freshest this morning. Hope you don't mind —​

As the cop sees Vic through the steel bars, he falls silent. Using his own belt, Vic has hanged himself. The boy is dead.
 

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EXT. FARMHOUSE/FRONT YARD — DAY

Friday morning. Tina is out by herself, tasked with taking the laundry off the line.

As she is folding a sheet, a man comes up behind her. He grabs her, clapping a hand over her mouth as she releases a stiffled scream. He whips her around; it's Eddie.

TINA

(laughs; slaps Eddie) You fuck! You scared me.

EDDIE

You loved it.​

He begins running his fingers through her luscious dark hair, tugging at her tight black blouse.

EDDIE

You want more?

TINA

Eddie, we can't. Matt'll kill us.

EDDIE

Fuck him.

TINA

(grins) Fuck you.

EDDIE

(grins) Exactly. Fuck me.​

Slowly stepping backward, Eddie beckons Tina to follow him into the brush.

EDDIE

C'mon, baby. C'mon. C'mon!​

Giggling, bunching the sheet up under her arm, Tina runs to Eddie.

INT. FARMHOUSE/TOMMY'S ROOM — DAY

At his window, Tommy watches Tina and Eddie as they run laughing past the grazing chickens.

Down with the chickens, looking back at him, is Jason.

Grimacing, Tommy presses the heels of his palms into his eyes. A moment passes. He lowers his hands. The phantasm is gone.

EXT. WOODS — DAY

Tina chases Eddie through the trees.

EDDIE

C'mon! You're so slow. God!​

Tina catches up to him. Grabbing her, he spins her around. Letting go, he dashes away. Scooping up handfuls of dust, he tosses them playfully at Tina. She giggles all the while.

EDDIE

Watch the dirt! Watch the dirt!​

EXT. WOODS — CLEARING — DAY

The lovers soon enter a small clearing. Together, they spread the sheet out on the ground. Entering each other's arms, they kiss deeply, lowering themselves onto the sheet.

EDDIE

(holds up finger) Wait. Wait a minute.​

Reaching into a front pocket on his shirt, Eddie fishes out a joint.

EDDIE

Especially for the occasion.

PROWLER'S P.O.V. — TINA & EDDIE

From behind the cover of branches, someone watches the lovers as they toke up, breathing heavily.

EXT. WOODS — CLEARING — DAY

Tina and Eddie begin undressing one another. Casting her shirt aside, Eddie fondles Tina's voluminous breasts.

PROWLER'S P.O.V. — TINA & EDDIE

Reaching out, the observer pushes aside the branches to get a better look.

EXT. WOODS — CLEARING — DAY

As Eddie enters Tina, we see who the voyeur is. It's Junior Hubbard. As the lovemaking commences, he gets excited. Licking his lips, Junior opens his fly.

Before long, Eddie and Tina reach their climax. So does Junior.

EDDIE

I should go wash up.

TINA

Okay, sugar.​

As Eddie gets up, Tina kisses the nape of his neck, laughing breathlessly.

TINA

(cont'd) Hurry back.

EDDIE

I'm hurrying.​

As he disappears buck naked into the trees, she lies back on the sheet. She looks up at the blue sky through the overhanging branches of the ancient trees, relaxing to the cheerful birdsong in her afterglow. She begins to doze off.

Lazily opening her eyes, Tina releases a bloodcurdling scream. Hedge shears in hand, the killer plunges them into her. With a sickening wet sound, he closes the blades. Still observing from his hiding spot, Junior stares in horrified silence as the killer removes the shears.

CUT TO

Eddie, drawn by Tina's scream, running back from the water hole.

Reaching Tina, Eddie finds her lying on her side. Crouching down, he turns her over. Blood oozes from her gouged out eyes.

Gasping, Eddie recoils, backing into a tree. From behind the tree, the killer whips a leather strap out over Eddie's eyes, lashing him to the trunk. Eddie tries to pull away, but the killer runs a stick through the metal strap loops and begins twisting, tightening the strap over Eddie's eyes. Eddie cries out in pain, blood running from his sockets as his eyeballs cave in. As the strap is twisted as tight as possible, Eddie's cries trial off. The strap snaps.

Frozen in inaction the whole while, Junior finally turns and runs.

EXT. HUBBARD HOUSE/BACK YARD — DAY

On his motorcycle, Junior emerges from the brush. He circles the yard, yelling at the top of his lungs.

JUNIOR

Ma! Ma!

INT. HUBBARD HOUSE/KITCHEN — DAY

At the kitchen window, Ethel is preparing another tub of her gourmet stew.

ETHEL

(shouting) I'm makin' your dinner, Junior! Ya hearin' me, fella‽

EXT. HUBBARD HOUSE/BACK YARD — DAY

JUNIOR

He hurt 'em, Ma! D'you hear me‽ He hurt them!

Circling around, he drives over the porch.

INT. HUBBARD HOUSE/KITCHEN — DAY

ETHEL

I am making your dinner!

As he continues cutting ruts through the yard, she spits in the stew.

EXT. HUBBARD HOUSE/BACK YARD — DAY

Junior finally hits the breaks, turning to face the kitchen window.

JUNIOR

He hurt 'em, Ma! He murdered all of them! Chopped 'em and killed 'em! D'you hear me‽

INT. HUBBARD HOUSE/KITCHEN — DAY

ETHEL

Are you hearin' me, boy‽ Get off that fuckin' bike and come here and eat my stew!

EXT. HUBBARD HOUSE/BACK YARD — DAY

As Junior goes for another round 'round the yard, screaming, a large meat cleaver flashes out from behind a tree, striking off his head.

INT. HUBBARD HOUSE/KITCHEN — DAY

The bike crashes outside. Finally, silence.

ETHEL

Heh. 'Bout time, ya fuckwad. (beat) Knew you couldn't pass up on muh stew.​

Ethel continues adding ingredients and seasoning to her stew.

ETHEL

You hearin' me, Junior? You talk. Ya dumb‽

To Ethel's utmost surprise and shock, the killer's hand comes crashing through the window, burying the cleaver in her head. Blood spurts as the cleaver is pulled free, adding the final ingredient, her face, to Ethel's stew.

INT. SHERIFF'S STATION — NIGHT

In the station, we find MAYOR COBB with Tucker, Dodd, and one other officer, rant already in progress.

MAYOR COBB

(cont'd) I don't care if you have to put your fucking mother behind bars! Get me the goddamn psycho who's responsible for this mess. (beat) I mean, shit, Tucker, what the hell's going on here‽ I mean, Pinehurst's a small town, man. And small towns are supposed to be safe.

OFFICER #3

I know who it is.​

Cobb turns to the cop.

MAYOR COBB

(cups ear) What‽

OFFICER #3

I said, I know who it is.

MAYOR COBB

Who?

OFFICER #3

It's Jason Voorhees.

MAYOR COBB

(incredulous) Jason Voorhees‽ You're out of your fucking mind! You've been out in the sun too long! Jason Voorhees is dead! His body was cremated. He's nothing but a handful of ash.

OFFICER #3

Y'know that for sure, Mayor? Were you there? Did you see him cremated?

MAYOR COBB

Jason Voorhees.

OFFICER #3

Yeah.

MAYOR COBB

I can't believe this!​

Cobb snatches up a glass ashtray.

MAYOR COBB

Here, this is your Jason Voorhees, here. This.

Pouring the ashes out on the officer's foot, Cobb slams it down in the cop's hand.

As the mayor heads for the door, he looks back at Tucker, pointing directly at him.

MAYOR COBB

Your ass is on the line here, Tucker. Are you getting that? You get me a goddamn live suspect.​
 

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EXT. FARMHOUSE/FRONT YARD — NIGHT

Reggie is seated in Pam's hunter green '65 Ford F-100. George keeps him company outside while Pam and Matt talk by the white picket fence.

REGGIE

(impatient) Let's get this show on the road!

PAM

Wait a minute, Reggie, I'm coming.

MATT

I just don't understand it.

GEORGE

Now, Reggie, I want you to be a good kid with Pam. She's doing us both a great favour.

REGGIE

Yeah, if she ever gets here.

GEORGE

And don't go gettin' in any trouble with Demon, y'hear?

REGGIE

Alright, alright. (beat) Yo, Pam! C'mon!

PAM

(to Matt) Tina and Eddie are gonna show up the minute they get hungry, so stop worrying.

MATT

(scoffs) Oh, I'm not worried anymore. I'm just pissed.

PAM

Stop it.​

As Matt and Pam approach the truck, he notices Tommy standing by a tree, staring at the ground, nudging the trunk with his foot.

MATT

Look, why don't you take Tommy with ya? It'll probably do him good to get him outta here for a while.

PAM

Yeah, that's a good idea.

MATT

Tommy! Pam's taking Reggie to see his brother tonight. Why don't you ride along with 'em?

REGGIE

(feigns excitement) Yeah! Great idea. (frowns) Now let's go.

MATT

(places hand on Pam's back) Why don't you go see what you can do, huh?

PAM

Okay.​

Pam joins Tommy by the tree.

PAM

Tommy. Tommy.​

She tugs on his shirt. He turns to face her, apprehensive as always.

PAM

(cont'd) C'mon. It'll be fun.​

Tommy considers it.

PAM

(cont'd) Okay?​

He heads for the truck.

PAM

(grins) Good.​

As George opens the passenger door for Tommy, a police car pulls into the property. Tucker and Dodd climb out.

MATT

Evening, Sheriff.

SHERIFF TUCKER

Evening.

MATT

(frowns) Is there a problem?

SHERIFF TUCKER

There've been another two murders. Ethel Hubbard and her son; they were found dead on their property this afternoon. (beat) Matt, it looks like someone did them in using Jason Voorhees' old M.O.. And I don't believe in ghosts, so there it is. (beat) I'd like to bring Tommy in for questioning.​

Tommy's face darkens.

SHERIFF TUCKER

(to Tommy) Come along, son. It'll only be for a short while.​

As the sheriff lays a hand on Tommy's arm, the boy explodes. Delivering a flurry of punches to Tucker's gut, he trips the officer, knocking him flat on his back. Releasing an animalistic cry, he runs away before Dodd can intercept him, disappearing into the night.

PAM

Tommy!

EXT. TRAILER PARK — NIGHT

Coming to the blue neon signs which simply reads "TRAILER PARK", Pam guides the truck through the entrance, parking near a brown van.

Running up to the van, Reggie begins impatiently banging on the side doors.

REGGIE

Yo, Demon!

DEMON

(O.S.) Is that the big bad wolf rappin' at my door?

REGGIE

Yeah, bro. It's me. It's me. Open up!

DEMON

(O.S.) That you, Reckless‽

REGGIE

Open up the door!​

The doors fling open. In the threshold is Reggie's older brother, DEMON. Clad head-to-toe in black leather, decked out in chains and rings, hair styled in a Jheri curl, he greets his younger brother with a wide grin and open arms.

DEMON

(excited) Oh, my God! Well, get your ass in here, boy!​

Reggie leaps into the van. Demon draws him in a tight hug.

INT. DEMON'S VAN — NIGHT

DEMON

God, it's good to see you, dude! Damn, you look good! (shakes head)

REGGIE

(grins) I know, I know.

DEMON

Oh, God. Look at this. God! (beat) Hey, you had any dinner? Here. Have an enchilada. Man.​

Demon hands Reggie an enchilada. Reggie notices his brother's rings.

REGGIE

Wow, man! Where'd you get those bad rings from?

DEMON

If you've been around the world as long as your big brother have, you get things.​

Reggie checks out the interior of Demon's van. With its macabre posters and decorations, it just screams "metal". His gaze falls on an item of particular appeal.

DEMON

Freakin' A! Where'd you get that?

Reclining in a corner is a SEXY BLACK WOMAN. In a flattering blue dress, hair worn up, she smokes a joint.

DEMON

Hey, calm down, dude. Hey, say hello to Anita. She's my girlfriend.

REGGIE

(grins) Hello, beautiful.

ANITA

(laughs) Hey, little brother, what's happenin'?

REGGIE

Listen, I want you all to meet somebody. (faces Pam) Hey, Pam! Yo, Pam. Come here, baby, come here.​

Pam arrives.

REGGIE

This is my friend, Pam.

PAM

Hi.

REGGIE

(cont'd) She's my girlfriend.​

Pam gives a coy grin.

DEMON

What's up, Pam? (nods appreciately)​

EXT. TRAILER PARK/ENTRANCE — NIGHT

Tommy comes to the trailer park. Noticing Pam's Ford, he gazes up at the neon sign. It flickers, buzzing with power. Entranced, His breathing and heart rate increase. Sweat appears on his brow.

INT. DEMON'S VAN — NIGHT

DEMON

Pam, you hungry?

PAM

(shakes head) Oh, no, thanks.

DEMON

(cont'd) You want a taco? Egg roll? What about a slice of pizza? Cheese and sausage.​

Pam politely refuses the proffered, unrefrigerated food.

DEMON

What about you, Brother. I know what you want. (offers Reggie can) Want a beer?

REGGIE

Yeah, I'll take —

DEMON

(withdraws beer) Get outta here. (beat) I'll tell you what, why don't you take this?​

Removing one of his rings, he hands it to Reggie.

REGGIE

Wow! Hey, man, this is bad!

DEMON

Nothin' is too good for my little brother.

REGGIE

(inspects another of Demon's rings) You gonna give me this, too?​

The four of them chuckle heartily. Glancing out, Pam notices Tommy standing under the sign.

EXT. TRAILER PARK/ENTRANCE — NIGHT

Pam slowly walks up to Tommy.

PAM

Tommy?​

Jolted from his trance, Tommy bolts away like a frightened rabbit.

PAM

(concerned) Reggie, we've got to go now.​

INT. DEMON'S VAN — NIGHT

DEMON

It's okay, Bro. C'mon. (hugs Reggie) Take care, aight?

REGGIE

Thanks for the dinner.

DEMON

Anytime.

ANITA

Stay cool, baby.​

Reggie leaves the van.

DEMON

Hey, stay safe, Reckless!

REGGIE

I will!​

EXT. TRAILER PARK — NIGHT

Engine running, Pam waits for Reggie to climb in. Once he's aboard, she pulls out of the trailer park.

INT. DEMON'S VAN — NIGHT

DEMON

Y'know, I miss him already.

ANITA

Yeah, he's a cutie pie. (offers him joint) You wanna hit this?

DEMON

Yeah.​

As Demon accepts the joint, his stomach clenches. He winces.

ANITA

(frowns) What's wrong?​

Demon takes a puff.

DEMON

(grimaces) Oh!

ANITA

Hey, you okay?

DEMON

It's them damn enchiladas.​

Demon hops out of the van.

ANITA

You gonna be alright?​

EXT. TRAILER PARK — OUTHOUSE — NIGHT

Clenching his buttchecks, Demon hurries to the tin-plated outhouse.

INT. OUTHOUSE — NIGHT

Pants down, seated on the pot, Demon exorcises his demons.

DEMON

Ahhhhhh….​

The walls of the outhouse begin shaking.

DEMON

(frowns) Who's that?​

The shaking intensifies.

DEMON

(afraid) Stop it!​

The outhouse begins rocking violently.

DEMON

(cont'd) Stop it!​

Demon braces his arms against the outhouse walls. The tremors cease.

EXT. TRAILER PARK — OUTHOUSE — NIGHT

Anita begins rocking the outhouse again, laughing.

INT. OUTHOUSE — NIGHT

DEMON

(angry) You're gonna get it, bitch!​

EXT. TRAILER PARK — OUTHOUSE — NIGHT

ANITA

Oh, lighten up, Demon. You'll feel a lot better after you shit.​

INT. OUTHOUSE — NIGHT

DEMON

(uneasy) I'll feel a lot better when I'm outta here. This shit box is gross!

EXT. TRAILER PARK — OUTHOUSE — NIGHT

ANITA

Well, you better watch out for the snake that's gonna crawl up that crapper and bite yo ass.​

INT. OUTHOUSE — NIGHT

Demon glances down worriedly.

EXT. TRAILER PARK — OUTHOUSE — NIGHT

ANITA

(singing) Ooh, baby, hey, baby. Hey, baby.​

INT. OUTHOUSE — NIGHT

DEMON

(singing) Ooh, baby, ooh, baby, ooh, baby, ooh, baby, ooh, baby.​

EXT. TRAILER PARK — OUTHOUSE — NIGHT

ANITA

(singing) Hey, baby, hey, baby.​

INT. OUTHOUSE — NIGHT

DEMON

(singing) Ooh, baby, ooh, baby, ooh, baby, ooh, baby, ooh, baby….​

EXT. FARMHOUSE/FRONT YARD — NIGHT

Pam pulls in. As she and Reggie hop out of the Ford, Robin and Violet run out of the house.

ROBIN

M-Matt's gone. G-George, too.

PAM

Are you sure?

ROBIN

I-I l-looked everywhere.

VIOLET

And Tina and Eddie haven't come back, either.

ROBIN

W-w-where are they?

PAM

Look, it's okay. Calm down, Robin. Let's try to take this slowly. Where did Matt say he was going?

ROBIN

He didn't.

VIOLET

Yes, he did. He said he was gonna go look for Tina and Eddie.

REGGIE

And where's Gramps?

PAM

I don't know, Reggie. (beat) Look, why don't you all go inside. I'm gonna go find everyone. Robin, I'm putting you in charge.

ROBIN

(nods) Yes.

PAM

(cont'd) And you, little Reckless, I want you in bed asleep by the time I get back, right?

REGGIE

No problem.

PAM

Okay….​

Pam heads back to the truck. Firing the engine up, she waves goodbye to the others before pulling out. The three teenagers stand close together, anxious as the older woman leaves them alone.
 

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EXT. RURAL ROAD — NIGHT

Pam drives slowly along the road, keeping an eye out.

Suddenly the engine stalls. The Ford coasts to a halt.

INT. TRUCK — NIGHT

Pam hits the accelerator and turns the key, trying to get the engine to turn over. No dice. She hits the wheel with frustration.

EXT. RURAL ROAD — NIGHT

Pam climbs out of the vehicle. The wind has picked up. Walking into the strong breeze, Pam begins heading back.

INT. FARMHOUSE/DEN — NIGHT

Violet and Robin sit together on the couch, sharing a bowl of popcorn as they watch A Place in the Sun on TV. Robin glances at Violet furtively.

ROBIN

Vi, (clears throat) w-we've b-been here n-nea-nearly eight months now, right?

VIOLET

(watching TV) Uh-huh.

ROBIN

Th-th-that's a long time to get to know somebody, don't ya think?

VIOLET

Shhh. Rob, please.

ROBIN

(nods) Sure, sure, sure.​

They continue watching the movie.

ROBIN

I l-like you, Violet. A lot.

VIOLET

And I like you, too, Rob.

ROBIN

(grins) Y'do? A-a lot?

VIOLET

What're you talking about, Rob?

ROBIN

(nervous) I-I-I-I want to be with you. I-I-I r-r-r-really do wanna be with you. (beat) I-I wanna m-m-m-m-make love with you.​

Violet faces Robin. She begins to laugh.

ROBIN

(crestfallen) I-I-I didn't mean it.​

Violet continues chuckling.

ROBIN

(cont'd) I-I-I didn't mean it.​

Violet can't stop.

ROBIN

(cont'd) I-I said I ... (angry) I didn't mean it!​

Robin storms out of the room. Violet's laughter abruptly ends, her expression falling dead serious.

INT. FARMHOUSE/LANDING — NIGHT

Robin climbs the stairs. Leaning against the wall, she glances down the steps, wiping tears from her eyes.

As she turns to go to her room, she finds the killer standing before her, machete raised. She gasps. The blade comes down, splitting her face.

INT. FARMHOUSE/DEN — NIGHT

The movie is over. Getting up, Violet shuts the TV off. She crosses over to the other side of the room, where Reggie is asleep on the sofa by the window.

VIOLET

Reggie. Reggie? C'mon. Reggie, wake up.​

Violet nudges Reggie. He groans.

VIOLET

(cont'd) C'mon. It's time to go to bed. Reggie, wake up. Reggie!​

Frowning, Reggie turns over.

VIOLET

(sighs) Okay, your way.​

Covering Reggie with a blanket, Violet turns off the light and leaves the room, climbing the stairs.

INT. FARMHOUSE/ROBIN & VIOLET'S BEDROOM — NIGHT

Violet quietly enters the room. Crossing over to the vanity, she begins removing her makeup. Gazing in the mirror, she sees Robin lying in the bottom of their bunk bed, back to her.

VIOLET

Robin, I'm sorry. (to reflection) Y'know, sometimes, Vi, you are just so stupid.

Wind howling outside their window, Violet crosses over to her half of the room, to her stereo.

VIOLET

(to Robin) Is it okay if I play my music? I'll keep it low.​

Robin gives no response. Going through her cassette collection, Violet picks Pseudo-Echo's debut album. Sticking the tape in, she presses "PLAY". As "His Eyes" comes on, Violet takes a moment to get into the rhythm. Once she has a feel for the music, she begins dancing the robot to it.

Behind Violet, the closet door opens. A bloody hand emerges. As Tina dances, the killer steps out.

Hearing the closet door close, Violet spins around. There's nobody there. Turning back to the stereo, she resumes her moves.

Stepping out from the hidden corner of the room, the killer creeps up on Violet, light gleaming off the bloody machete. As Violet turns around, the killer grabs her by the throat and pushes her up against the wall. Holding her there, they slit her belly open, disembowelling her.

VIOLET

AAAHHH!!!

INT. FARMHOUSE/DEN — NIGHT

Reggie wakes up. The wind is really pummelling the house now. Sitting up, he rubs his eyes. Looking around, he finds himself in the room alone.

REGGIE

What are them nuts up to now?​

INT. FARMHOUSE/LANDING — NIGHT

Exhausted, Reggie climbs the stairs. At the top, he sees the door to Tommy's room ajar.

REGGIE

(knocks) Yo, Tommy. You back? Tommy, you in here?​

Reggie opens the door wider. It's pitch black inside.

INT. FARMHOUSE/TOMMY'S ROOM — NIGHT

REGGIE

(cont'd) Yo, Tommy.​

Reggie flips the light switch. He finds Violet and Robin's bloody corpses unceremoniously deposited on Tommy's bed.

INT. FARMHOUSE/LANDING — NIGHT

Quivering, Reggie backs out of Tommy's room. As a hand falls on his shoulder, he screams.

PAM

What is it, Reggie? It's Pam. What's the matter? What's the matter? It's me! What is it‽ What is it‽

REGGIE

(afraid) I-in Tommy's room!

PAM

Okay. Alright. You stay here. Relax. I'll be right back, okay?​

Pam enters the room. Reggie winces at her scream. Hyperventilating, she backs out. She faces Reggie in terror. Grabbing his arm, she bounds down the stairs with him in tow.

INT. FARMHOUSE/ENTRANCE HALL — NIGHT

PAM

Move!​

Reggie trips on the carpet and falls, twisting his ankle.

PAM

Get up! Get up!

As Pam struggles to pull Reggie upright, the killer kicks the front door down. He steps through, revealing himself to be, by all appearances, a resurrected and fully reconstituted Jason Voorhees. He has an attached right arm, and there aren't even scars on his head to mark where Tommy fatally injured him. He's traded in his olive green workshirt and tan workpants for a set of spruce green coveralls, and his old cracked goalie mask for a new one with two blue chevrons.

Screaming, Pam finally pulls Reggie to his feet. They run away from the machete-wielding psychopath.

INT. FARMHOUSE/DEN — NIGHT

They run to the back door.

PAM

Shit!

Pam gets the door open and they bolt out.

EXT. FARMHOUSE/BACK YARD — NIGHT

PAM

Run! C'mon! Let's go!

Gale-force winds buffeting them, they run across the yard into the woods.
 

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EXT. WOODS — NIGHT

Pam and Reggie run, dauntless of the windblown leaves pelting them and the branches slapping them.

EXT. RURAL ROOM — NIGHT

Coming out of the woods, they spy a police car on the roadside, emergency light silently flashing. They sprint for it.

PAM

Help us!

Reaching the driver's side, Pam pulls the door open. Deputy Dodd's severed head tumbles out.

PAM

AAAHHH!!!

Jason pops up from the other side of the vehicle, glaring at the pair. Screaming, Reggie runs back into the woods. Pam runs after him.

Jason walks after them.

EXT. WOODS — NIGHT

Pam and Reggie have gotten separated.

PAM

Reggie! Reggie!

REGGIE

Pam, where are you‽

Pam and Reggie continue calling each other's names, but they can't find their way back together in the windy darkness.

A large, old tree snaps beneath the assault of the fierce wind. The bulk falls in Pam's path, narrowly missing her.

EXT. FARMHOUSE/BACK YARD — NIGHT

Pam runs screaming back inside the house.

INT. FARMHOUSE/DEN — NIGHT

Pam locks the door.

PAM

Reggie! Reggie!

Pam goes to the safest spot of the room. She looks about her, frantic.

PAM

(cont'd) Reggie!​

Pam passes the large picture window. The glass shatters as a body is thrown through. Though the eyes have been gouged out, it's unmistakably George's.

EXT. FARMHOUSE/FRONT YARD — NIGHT

Pam comes out screaming. Stopping, she looks to her left. Frightened, she takes off in the opposite direction. Jason is here.

EXT. BARN — NIGHT

Pam runs for the barn. The goalie-masked killer stalks her with slow, steady confidence.

Before she can reach the barn doors, she stumbles and falls. She scurries forward, but it's too late; Jason is upon her.

PAM

No! No! No! No! No! (screams) No!

As Jason prepares to strike, the wall of the barn explodes as Reggie come barrelling through, at the wheel of an earthmover. Bewildered by the bright headlights, too near the metal beast to get away in time, Jason is tossed through the air as the scoop slams into him. Landing on his back, he writhes in pain before falling limp.

Climbing off the earthmover, Reggie goes to Pam, helping her up. She hugs and kisses him.

PAM

It's okay, Reggie. It's okay. It's okay.​

They look towards Jason; he lies where he fell. Wary, they creep towards him.

PAM

God.​

Clinging close together, they inspect the killer. He doesn't stir, doesn't breathe. He appears to be dead.

Springing to life, Jason grabs Reggie's leg in both hands, tugging the boy to him. Pam delivers two kicks to the face, knocking him loose.

PAM

Run! Run!

As they dash inside the barn, Jason retrieves his machete. Holding his head, he rises. There is a tear in the front of his suit, and with it blood. Touching the wound, he looks at his red-stained hand.

He stifly walks into the barn.

INT. BARN — NIGHT

The goalie-masked murderer looks about; there's no sign of the woman or boy. He moves in for a closer look. As he passes by a toolshed, he hears noise from inside.

In the loft above, Reggie watches Jason approach the toolshed. As the killer opens the shed door, Pam lunges out, buzzing chainsaw in hand.

REGGIE

(cheering) Yeah! Alright! Pam!

The psychopath immediately goes on the defensive as Pam comes at him with the chainsaw. Deadly though it is, his machete is no match for the gas-powered saw. Jason can barely hold his own against the woman now.

Rearing back the chainsaw, Pam brings it down on Jason's upper arm.

REGGIE

Yeah! Pam!

Jason falls back onto hay bales, pressing against the nasty gash to staunch the flow of blood. Revving the saw, Pam moves in for the kill.

The chainsaw sputters and dies, out of gas.

Pam pulls the cord, desperate to get the chainsaw running again. Rising, Jason comes for her. She heaves the dead power tool at him, knocking him off-kilter long enough to get to the loft ladder and up to safety.

As Pam joins Reggie at the top, a familiar soul appears in the barn threshold.

REGGIE

Tommy! Tommy!

Hearing that name, Jason whirls around. Yes, it's Tommy. Making eye contact, Jason approaches his archnemesis.

PAM

Run, Tommy, run! Run! He'll kill you!

TOMMY

Jason?

PAM

(cont'd) Run! Go! Tommy, get out!

As the masked killer walks toward him, the voices in Tommy's head speak up, urging him to "Remember, remember, remember."

As Jason raises his machete, Tommy lunges at him, seizing the killer's throat in one hand, sending him sprawling. As Tommy fishes out his pocket knife, the killer springs back up. Before Tommy can unfold the blade, Jason swings the machete, slashing Tommy's chest open. Collapsing, Tommy drops the knife.

Groaning, Tommy looks down at the blood seeping out of his chest, then up at the psychopathic killer. Tommy retrieves the pocket knife as Jason raises his machete, unfolding the blade and burying it deep in the killer's thigh before he can skewer him. As Jason collapses, squirming in silent agony, Tommy picks himself up.

PAM

Up here, Tommy! C'mon! Up here! C'mon! C'mon! Tommy, please!

REGGIE

C'mon, Tommy, up here!

Encouraged by his friends, Tommy staggers to the ladder. As he painstakingly climbs the rungs, the killer pulls the knife out of his leg. Discarding it, he collects his machete and gets back on his feet.

PAM

(reaches out) Take my hand. Take my hand!​

As Tommy takes her hand, Pam assists him up.

Reaching the ladder, Jason begins making his ascent.

INT. BARN/LOFT — NIGHT

At the top, the murderer finds Tommy lying face-down, a growing pool of blood beneath him. He turns the boy over with his foot; Tommy's eyes are closed and he doesn't move. Stepping over Tommy, Jason looks about. Pam and Reggie have secreted themselves away out of sight.

Eyes narrowing, Jason observes his surroundings carefully. There, crouched behind two bales of hay, is Reggie. The boy ducks down, but the killer's already spotted him. Jason approaches. Realizing his cover's blown, Reggie rises. Jason stares silently at him. Reggie gives him a half-smile, banking on the hope the killer doesn't target children. Jason swings his machete, chopping into the wooden beam which is all that divides them. So much for that prospect.

As Jason goes for Reggie, Pam springs from her hiding place, striking the psychopath with an axe handle. He turns to face her. She swings the handle wildly, trying to bat him away. Grabbing the handle, he pulls it from her grasp and throws it down.

Pam glances out the loft door. Down below is a tractor harrow, spikes sticking up. Turning back to the killer, she begins dancing to her left and her right, getting him to mirror her movements, trying to encourage him to make a hasty lunge which'll send him flying onto the bed of spikes below. It's no good; he's wise to her.

As Jason prepares to cut Pam down, Reggie leaps from a bale onto the killer. Knocked off his feet, the psychopath sails out the door.

Hugging, Pam and Reggie creep towards the opening, hoping to see Jason embedded on the harrow. As they look out, Jason, having managed to grab hold of the edge, springs up. Grabbing Reggie's leg, he pulls him down.

REGGIE

(panicking) No! Please, don't kill me! No! Pam, help me! Pam! C'mon, Pam!​

Taking Reggie's hand, Pam struggles to pull him to safety. Jason is just as resolute to take Reggie with him to the grave.

Regaining consciousness, Tommy witnesses this lethal game of tug of war. Rolling over, he takes up the killer's fallen machete, painstakingly crawling towards them.

Pam loses her grip on Reggie's arm. As Jason slips down, pulling Reggie with him, Tommy rises, hacking the murderer's wrist with the machete. Bright red blood spurting from the half-severed hand, the killer lets go.

EXT. BARN — NIGHT

The psychopath plummets directly onto the harrow, impaling on the spikes with a sickening thud.

Reggie and Pam standing together, Tommy sinking onto his stomach, the trio look down at the corpse below. His mask having slipped off in the fall, we finally see the killer's uncovered face. It was never Jason Voorhees. Wearing a rubber head-mask to conceal his true identity, it was Matthew Letter the entire time.
 

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EXT. TRAILER PARK — DAY

Pam and Reggie are with Demon and Anita. The brothers are together inside the brown van, grieving the loss of their grandfather. The women stand outside, making small talk.

Sheriff Tucker pulls into the trailer park. Parking beside Pam's F-100, he gets out of his car. Pam goes over to him.

SHERIFF TUCKER

How are you doin'?​

Pam gives him a silent nod, eyes haunted. Taking off his cap, he places a comforting hand on her shoulder.

SHERIFF TUCKER

(nods to Reggie) Quite a kid. (beat) We found this in Matt's office.​

Reaching inside the car, Tucker brings out a large, heavy scrapbook.

SHERIFF TUCKER

Matt's been abusing kids in his care for years. (disgusted) There're journal entries in here ... pictures. (beat) Vic Faden was one of them. (beat) God only knows how he kept it hidden all these years, but he did.​

Pam covers her mouth. It's all she can do to quell the sickness she feels rising.

Taking care to avoid the Polaroids of sexually exploited minors, Tucker opens the scrapbook to a section bearing newspaper clippings.

SHERIFF TUCKER

Matt was a real sicko. He had a fixation with mass murderers and serial killers. David Berkowitz ... Norman Bates ... BTK ... Fred Krueger….​

Tucker turns to the pages featuring clippings about Jason.

SHERIFF TUCKER

I guess he used the Jason thing to pin the blame on Tommy.​

A tear runs down Pam's cheek. From the dark clouds overhead comes a crack of thunder.

INT. WESSEX COUNTY MEDICAL CENTER/CORRIDOR — DAY

Pam walks down the corridor to Tommy's room.

INT. WESSEX COUNTY MEDICAL CENTER/TOMMY'S ROOM — DAY

Pam steps inside. A kindly old nurse sits in a chair beside Tommy's bed, reading a book. The nurse smiles at Pam; she returns the smile.

Pam crosses over to Tommy's bed. The boy is reclining under the sheets, eyes closed, recovering from his ordeal.

PAM

Tommy.​

Tommy's eyes crack open. They share a smile.

PAM

Hi.​

Tommy's smile twists into a frown. He throws back the covers; in his hand is a gleaming machete.

TOMMY

RAAAHHH!!!

He stabs her in the gut. Crying out, bewildered, she sinks to the floor. Tommy falls back on his bed, laughing maniacally.

CUT TO

Tommy bolting upright in bed.

Perspiring, hyperventilating, Tommy looks about his surroundings. There is no nurse and no Pam. It was just a nightmare. Lightning/thunder crash outside his window, rain pelting the pane.

Getting his breathing under control, Tommy rests back down. Relaxing, he closes his eyes.

As Tommy reopens his eyes, he gasps. Standing at the foot of the bed, as ghastly in death as ever, is the spectre of Jason Voorhees. And this time, Jason isn't alone. With him, surrounding Tommy's bed, are about a DOZEN SPECTRES, four of whom are of particular interest. The first is a NATIVE AMERICAN MAN. Dressed in winter skins, he holds a bloody tomahawk in one hand and his own severed head in the other; half his face has been torn away, the exposed tissue and bone dripping viscous black fluid. The second is a MATTOCK-WIELDING MAN in a blue plaid shirt, denim overalls, with a burlap sack over his head; a machete wound to his left clavicle and gaping shotgun blast through the right eye ooze the same black substance. The third is ALICE HARDY, dripping wet, red hair plastered to her pale head. The fourth is DEBBIE KLINE, naked and waterlogged; face hidden behind her wet hair, black blood flowing from her crotch, her belly pulsates with the unborn androgynous soul trapped within her womb. The SPIRITS OF CRYSTAL LAKE gaze upon Tommy with their lustreless white eyes.

Tommy has tried, but he can no longer resist them. Tommy stares into Jason and Jason stares back. The ghosts fade as Tommy's expression of fear melts away, replaced with a granite mask of cold determination. It is finished.

Pulling the IV out of his arm, Tommy gets out of bed. No longer hindered by his chest wound, he crosses over to the dresser. He opens the bottom drawer. Nestled beside his folded clothes and wallet is the goalie mask requisitioned from Matthew Letter.

INT. WESSEX COUNTY MEDICAL CENTER/CORRIDOR — DAY

Pam walks down the corridor to Tommy's room.

At the door, Pam rests her hand on the handle but doesn't turn it. She's hesitant for a reason she can't put her finger on.

From the other side of the door comes the sound of breaking glass, making her mind up for her.

INT. WESSEX COUNTY MEDICAL CENTER/TOMMY'S ROOM — DAY

Pam strides inside. Wind and rain come in through the shattered window. Tommy is nowhere in sight.

PAM

Oh, my God.​

The door closes behind Pam. Raising a shard of broken glass, Tommy closes in on Pam, his eyes behind the goalie mask aflame with black fury.

FADE OUT

END CREDITS
 
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