Friday The 13th XI - Rotten Flesh
By scoob
Wed, 16 Feb 2005
- 628 reads
Script created with
href="http://www.finaldraft.com">Final Draft by Final Draft,
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FRIDAY THE 13TH : ROTTEN FLESH
____________________________________________
FADE IN
DARKNESS
A beat of drums , frantic and with a high tempo.
Whistling and laughing, hollering and screaming, chanting
and singing, sounding very much African.
Images of drums and African men and women performing
various acts of what seem to be a ritual of some kind are
shown between the main titles and credits.
The final credit ends with the chanting merging into the
famous "cha cha cha" Jason theme.
FADE IN:
EXT. TOWN - DAY
SUPERIMPOSE ON
SCREEN:
HAITI MONDAY THE 9TH
EXT. CAFE
It is a beautiful sunny day, the cafe is busy with
tourists and people hustling and bustling.
Outside the cafe are seats and tables lined alongside
with a view to the seafront and beach, which are in
perfect view.
Slowly we begin to move in to the scene around us and
particularly on two men sitting at one of the tables.
One of the men is black, dressed in white trousers and a
colorful shirt, he is bearded slightly and in his early
forties.
He is AVALA ABOUA , a local resident of this town.
Sitting opposite him is HENRY MATTERSON, American , and
dressed in an expensive and stylish looking white suit.
Henry is in is fifties, and portrays a look of a rich and
much enjoyed lifestyle.
HENRY
(talking somewhat
cautiously)
You are a difficult man to contact
Mr. ABOUA, I feel some what
privileged to be in your presence.
ABOUA leans back into his chair in a relaxed pose and
lights a cigar. He smiles, acknowledging HENRY's
compliment.
HENRY (CONT'D)
(smiling towards
ABOUA)
I hope we can do business together
Mr Aboua, I have come a long way
and it would be a horrid shame to
ruin the pleasure that I have been
enjoying on your island all this
time.
ABOUA takes a deep puff of smoke and exhales it towards
HENRY. The smoke makes HENRY wince and ABOUA smiles.
ABOUA
(speaking in a
Haitian accent)
Pleasure and pain are the same, my
friend, the same game. Are you
sure you wish to play it?
HENRY
I am aware of the price to pay.
I'm sure I have made that aware to
you. If not, perhaps here is
another reminder of how much I
want to "play".
HENRY takes an envelope from inside his suit pocket and
slides it across the table to ABOUA. ABOUA gently lifts
the unclosed tip to reveal a bundle of cash inside.
ABOUA
It looks as though we have a deal,
Mr Matterson, it looks as though
we have a deal.
HENRY seems more relaxed now, he sits back and seems to
take in admiration the view of the beachfront.
ABOUA (CONT'D)
Killer sharks roam them sea's Mr
Matterson.
ABOUA takes another huge puff of smoke, before looking at
HENRY with a more vicious look in his eyes.
HENRY is still looking out to sea.
ABOUA (CONT'D)
Killer sharks.
CUT TO:
EXT. FOREST CLEARING - DAY
SUPERIMPOSE
O.S. :
AMERICA, NEW JERSEY
THE CONNOLLEY &; CO. NEW HOUSING PROJECT SITE
THURSDAY THE 12TH
We are at a clearing in some woods, a building site has
been set up with billboards of the construction company's
name and logos well as portacabins and the usual building
site machinery. There are a handful of workers, scattered
around in typical lumberjack clothing wearing helmets.
Two men are walking together towards one of the
portacabins seemingly in a heated discussion.
TIM CONNOLLEY,56, is a large, fat and arrogant man. He
has balding white hair and constant frown on his face.
He is the owner of "The Connolly &; Co. Construction" company.
The other man is RICHARD ERIKSON,late 30s to early 40s, a
thin man in a dated brown suit with a moustache and
glasses.
We follow the men going into:
INT. PORTACABIN - CONT.
This is an average sized room with a desk and plenty of
windows, which bring in plenty of light.
TIM walks straight to his desk where he gets a bottle of
whiskey from the drawer and begins pouring a generous
amount into a mug on top of his desk.
ERIKSON (V.O)
( sounding uptight )
He wont back down on this Tim, you
know what that son of a bitch is
like.
TIM takes a seat and drinks the whiskey.
TIM
Fuck him. This is my land now,
Richard, and there's absolutely
nothing he can do about it now.
ERIKSON
I used to work for Henry
Matterson, Tim. I know him a lot
more then you ever will and I
don't like to see my part of this
investment being screwed over.
( Realizing what Tim
just said)
And it is "our" land in case you
forgot I'M the Co. in this
company...
TIM
( cutting in )
Now hold on there, "Dick". This
shithole was brought with my
knowhow it had nothing to do with
money. I invited you in on this to
keep that Matterson bastard out of
making any more cash off me
missing chances like this. You do
what you're good at and just stay
out of the hard work and you keep
setting you're prick boss up.
ERIKSON
He's becoming suspicious of me,
Tim. I cant keep giving away his
jobs and contacts to you. Not for
this type of bullshit. He is
desperate to still buy this land,
Tim, he wont give up.
TIM
Then you do you're job and you GET
HIM to GIVE UP.
TIM pours himself another drink of whiskey as ERIKSON is
left to stand in a moment of tense peace.
ERIKSON
(now more calm)
You know its not just another
property developer that you need
to worry about, Tim.
TIM doesn't even look up but leans back in his chair and
takes a gulp of his drink.
ERIKSON (CONT'D)
There's a bunch of protestors that
are down the road camped out,
pissed at us for knocking down
these trees and leaving Gentle Ben
homeless. You know what kids are
like, they could come up here and
sabotage everything or get us even
worse press then we had in
Haddonfield -
TIM
Look, just relax. I already know
about the kids. They are not
protestors they're just campers.
The cabins are still down there.
We just haven't demolished them
yet.
ERIKSON
You know they are private owned?
We cant just knock them down and
the authorities of this bumpkin
place wont even let me know who
owns them.
TIM
(looking up sternly)
Find out. Do you're fuckin job or
I'll get someone who can.
CUT TO:
EXT:CAMP SITE - DAY
SUPERIMPOSE
(O.S.):
CAMP FOREST GREEN
We scan through a variety of shots of log cabins, a lake
and a large group of people busy laughing and mucking
around.
We close in onto the main camp area where a big group of
people are boarding a coach. They are smiling and happy,
saying mixed good-byes.
The coach drives off down a small dirt track road leaving
a small group behind.
We are left with the following members sitting together.
PAUL GRAY, 19, handsome good looking all round nice guy.
LOUISE WILLIAMS, 18, the sexy young blonde, KARA MARLOW,
18, short red head with attitude (!), EDDIE RAWLINSON,
19, the butch and muscular guy of the group. There are
also two "counsellors" of the camp, DENNIS SHAPTON, 23,
and his colleague ALICIA SHEPHERD, 22.
They are all in good spirits, sitting at a large wooden
table drinking and laughing.
ALICIA
Aww its such a shame they've all
gone and left, they were all a
great laugh!
DENNIS
Yeah, then there was six left eh?
PAUL
It sure is gonna be a lot more
quiet round here without those
guys.
LOUISE and EDDIE are sitting together holding and kissing
each other in an embrace, giggling.
KARA
(smoking a cigarette)
I wouldn't bet on it with those
two still around.
DENNIS
Heh, well I think it has been a
great summer so far all round.
Alicia and me are just well
pleased you four volunteered to
stay on another week to help us
out, no way we could clean up by
ourselves!
ALICIA
No you would have made me do it
all while you sat on your backside
drinking beer!
PAUL
Dennis, its been a great fortnight
that we've been here, we know how
much you've put into reopening
this place and I think its
fantastic, The least we can do is
stay on another week and help out.
EDDIE takes a break from kissing LOUISE.
EDDIE
Yeah man, we're gonna help you
polish off you're booze too!
(laughing)
KARA
You've given us a free holiday as
far as I'm concerned, I'm in no
rush to go back home! My folks
ain't too bothered either I think
they want me to stay out here!
DENNIS
Well just as long as you are
prepared to actually work as well.
It has been a long couple of
months me and Alicia have spent on
this place but I'll miss it when
we are back in the city.
ALICIA
We might still get the permit
renewed Den. We've put this place
back on the map considering how
long its been shut down.
EDDIE
How about grabbing some more beer
before I shut down, man? All this
talking of work is making me
seriously thirsty.
LOUISE moves herself more onto EDDIE so she is now
astride his lap.
EDDIE looks down at LOUISE's clear to see cleavage.
EDDIE (CONT'D)
And horny!
CUT TO:
EXT. PUB INN BAR - THE CROOKED CANDLE - NIGHT
Lights are shining out from this small pub on the corner
of a small village. This would be the village from the
original Friday The 13th film.
CUT TO:
INT. PUB
Inside it is very small with only the BARMAN at the
counter. He is wiping glasses with a towel.
Music is playing very low in the background, some kind of
instrumental jazz.
The only other person in the pub is HENRY MATTERSON. He
is looking very tanned and he has a long dark jacket on
and a tilby hat. He is sitting at the bar with a pint of
beer. He nods in the BARMAN's direction.
HENRY
Party time huh?
The BARMAN is a small, thin old man balding and looks not
completely all there. He nods in response but says
nothing.
HENRY (CONT'D)
Guess you get all the women round
these parts too.
( Henry mutters to
himself jokingly )
The BARMAN seems not to notice and continues to wipe the
empty pint glass with the cloff.
All of a sudden, a man enters the pub through the door
and walks over to HENRY. The man appears to be limping.
He is unshaven and wearing what appear to be old and
wrinkled clothes. The man is RICK WALKER, 65, and he
takes a seat next to HENRY.
BARMAN
What'll it be Rick, usual?
RICK nods yes and the BARMAN serves up a glass of
whiskey.
Looking at RICK's face as if examining him without being
noticed, HENRY seems confident this is the man he is
meant to be meeting with.
HENRY takes a look at his watch.
We can see on HENRY's expensive looking watch that the
time is 9:44. (PM obviously).
HENRY
Rick huh? Nice to meet you, my
names' . . .
HENRY outstretches his hand in greeting but he is cut off
by RICK, who looks at HENRY coldly.
RICK
. . Henry Matterson.
RICK's voice is raspy and holds a quiet anger.
RICK (CONT'D)
Folk ain't likely to forget your
face round here, certainly not me.
HENRY smiles.
HENRY
It's nice to be remembered old
boy. I don't recall meeting you
before but I'm glad you could meet
me here. Presuming of course you
have come along here to discuss
...
RICK
(interrupting again
and looking at HENRY
with a scolding
look)
...Business? Is that what you rich
knuckleheads would call this?
HENRY
As a matter of fact, yes. You give
me the information I need and you
receive a load of cash. That is
business, old friend. We don't
need to be best friends and we
don't even need to like each
other. Understand?
The BARMAN looks up at the raise in HENRY's voice.
HENRY (CONT'D)
(pointing to RICK's
empty glass)
I want one of them and give him a
double too.
The BARMAN pours another whisky for RICK and then to
HENRY.
RICK
I don't want no trouble, mister,
you got that? I'm gonna take you
there, just like I told you I
would on the telephone. An' you
gonna pay me like you said you
were gonna. Then I don't want to
ever see you again.
HENRY
That is all I want.
A slightly more relaxed atmosphere comes across between
the two.
HENRY (CONT'D)
Would you like to know how I found
you?
RICK
(abruptly)
No.
HENRY continues in any case and pulls out an envelope
that seems packed and shakes it in his hand near to
RICK's face.
HENRY
Money makes the world go round old
boy. Just think, you could open
your own bar here in town with
this cash. Right opposite here!
You could rival this place. You
and this guy. . .
HENRY clearly refers to the BARMAN.
HENRY ( CONTINUING) (CONT'D)
..,could drop in each others place
every night! You would do a
roaring trade!
HENRY gives out a full hearted laugh, clearly mocking the
two locals.
As HENRY is laughing out loud, the door of the pub is
opened and shut with a loud bang.
HENRY, the BARMAN and RICK instantly look round to see
who it is.
It is SHERIFF JOHN EVERETT. He is a tall man in full
county sheriff's uniform. He has a large muscular frame.
He is carrying a small carrier bag that seems to have an
object inside.
RICK
(nodding to the SHERIFF in
acknowledgment of his
presence)
Sheriff.
BARMAN
Evenin' Sheriff, what can I get ya?
SHERIFF
Single scotch.
SHERIFF EVERETT walks slowly up to the bar and takes a seat
alongside RICK. He peers across over at HENRY.
HENRY
(mockingly)
Nice to see you again, Sheriff
Everett. Nice to see you are
moving up in the world.
SHERIFF
(sternly)
Henry Matterson. Millionaire
property developer. How could I
possibly have known you were back
in town.
HENRY
The smell of success can be quite
potent, Sheriff.
SHERIFF
No, I think it is more down to
fact you have a mercedes out
front. We don't see too many of
them flash ol' things down here.
HENRY smans in a satisfied way. He seems to be enjoying
the jealousy.
SHERIFF (CONT'D)
Not to say people don't have 'em.
Just not many people leave
thousand dollar cars outside.
HENRY
Oh, and why is that? Forgive me
but this town is not exactly
swarming with juveniles or car
jackers. In fact, this town is
hardly swarming with anything.
(beat)
Tell me , Sheriff, what is the
population of this dear little
town?
SHERIFF
We don't have juveniles and we
don't have car jackers. And before
I let you in on a little secret,
you wanna start telling me what
you are doin' back down here?
HENRY
Well,as I'm sure you know, the
last time I came here was to buy
this lovely land you all seem so
proud of and give it some life. I
would have extended this little
town, I would have built homes
nearby so you might actually get
some custom on an everyday basis
instead of the odd hitchhiker
dropping in for directions once a
month.
RICK
(sternly)
We like the way things are now.
Don't want change, don't need it.
SHERIFF
He's right, Matterson. We ain't
like you city boys with your flash
cars and your crime ridden
streets. This is a quiet town and
that's how we wanna keep it.
A slight pause.
HENRY
You do know another constructor
has brought this land, don't you?
SHERIFF EVERETT drinks his scotch in one go and slams his
empty glass on the bar.
SHERIFF
That is down to the authorities,
Matterson. The other constructor
...
HENRY ( INTERRUPTING)
(in a spiteful tone)
Tim Connelly.
SHERIFF (CONT)
...is not building a city down
here. He is leaving our town alone
and just adding some additional
houses. They are what, twenty
miles away, down near Camp Forest
Green. I don't give a damn what is
built down there as long as that
camp is shut down once and for
all. That goes for all of us.
HENRY
Don't you mean Camp Crystal Lake,
Sheriff?
The SHERIFF stands up towards HENRY.
SHERIFF
We don't call it that no more. It
is Forest Green, you got that?
HENRY nods in acceptance, not wanting to make this much
bigger man angry.
SHERIFF (CONT'D)
Now if I was you, I'd drive back
to where you came from Matterson
and keep your damn business out of
here. You got no place here. Oh,
and by the way, that little secret
I was about to tell ya?
HENRY
(slight sarcasm)
Please do tell, I'm all ears,
sheriff.
SHERIFF
This is bear country right here,
and sometimes they come down from
the forest and wander into town,
pretty much like tonight. They
tend to scratch anything they come
across, and money don't mean jack
to these critters.
HENRY
And what you are saying is?
SHERIFF
You might need a new wing-mirror
or two for that beautiful motor
you got parked outside,
Mr.Matterson. I think father bear
wanted to take something back for
his missus.
HENRY rushes to his feet, losing all relaxed composure
and runs outside the pub door to check his car.
The BARMAN, RICK and the SHERIFF all smile and laugh
slightly.
BARMAN
I ain't seen no bear down here in
all of forty years, Sheriff!
SHERIFF EVERETT comes closer to the bar and huddles round
RICK and the BARMAN. He produces a wingmirror from the
carrier bag he came in with.
All three men start laughing.
SHERIFF
Neither have I, my old friend,
neither have I!
DISSOLVE TO:
EXT. CAMP FOREST GREEN - NIGHT
The campgrounds are quiet. A slight mist is in the air as
we view various shots of the cabins and the bewildering
looking woods that seem to go on to endless darkness.
MAIN CAMP
A bonfire throws off illuminating light around the six
campers that are sitting around it, drinking and eating.
These are the campers we saw earlier. In the middle,
looking like the father figure of the camp by his
position amongst the others, is DENNIS. Sitting at the
side of him is KARA, PAUL, ALICIA, EDDIE and LOUISE. They
are roasting marshmellows.
EDDIE
Man, I ain't lying when I say I
miss the TV out here. Playboy
channel and porn freeviews.
LOUISE
Why do you want something fake
when you can have the real thing
right here!
LOUISE and EDDIE are cuddling up together.
KARA
(mumbling to self)
Thought you said something "real".
KARA is referring to LOUISE's revealing dress sense which
is showing off her admirable body.
PAUL
Well its nice to get an all round
break from the city. I'm not
missing the box for a minute.
EDDIE looks round to PAUL with a surprised expression.
EDDIE
Dude, you seriously have had too
much fresh air out here.
They all laugh.
ALICIA
Hey Den, what's the plan for
tomorrow
DENNIS
Well I need to put the archery
targets away and go to town.
EDDIE
( sipping on a bottle
of beer)
You need to get some more beer?
I'm kinda running low on funds if
you know what I mean. If you
really wanna show your
appreciation for us staying out
here with you, you could always
buy me a crate.
LOUISE gives EDDIE a playful nudge.
LOUISE
You are so rude!!
KARA, without breaking a smile, lights a cigarette.
KARA
I will personally buy you a
brewery if I can get some sleep
tonight without hearing how big
you're penis is.
LOUISE looks across at KARA light heartedly shocked and
open mouthed.
EDDIE
(jokingly cocky)
Whoa there K. I cant help it if I
make the ladies scream in
pleasure.
LOUISE looks back at EDDIE.
LOUISE
You thought I was in pleasure last
night?
PAUL opens a beer and him and LOUISE and KARA begin
chatting in the background.
PAUL
Hey, Den, you mind if I hitch a
ride with you to town tomorrow,
I'm going to need to call my
flatmate.
DENNIS
No problem Paul.
PAUL
Cool. I guess that's the only
problem being so far out here. No
phone connection and I cant get a
reception on my mobile until we
reach the town.
ALICIA smiles and lights a cigarette herself.
ALICIA
Good news is no one can contact
you either! Nice to have some real
peace.
DENNIS
Yeah, when I got the permit to
reopen this place earlier this
year I assumed the phone lines
would be put back up. I've been to
the authorities so many times
about it but they're not
interested. Maybe next year.
PAUL
Are you both coming back next year
to do the same?
ALICIA
Well we are both counsellors and
its been great as a summer job. I
really still don't know what I
will be doing next year.
DENNIS
I really want to own my own camp
ground and this place has been
perfect all summer. If I can get
the permit extended, then I'll
defiantly be back here.
You going back to college with
these guys?
PAUL
(quietly)
Nah, I'm gonna get a job with my
flat mate. He's offered me a great
chance earning some good money
with him at this garage he owns. I
know a little about vehicles and
repairing them, so why not.
EDDIE overhears.
EDDIE
(half-drunk and eyes
half closed, raising
a beer)
I know fuck all about jack shit
but I'm staying at college until
they throw my ass out. Why the
fuck would I wanna work?
LOUISE looks genuinely disappointed in him.
LOUISE
(sincerely)
So you can become rich and buy me
all the things I want when we are
married.
KARA laughs for the first time at LOUISE's naivety and
EDDIE looks away mockingly.
LOUISE (CONT'D)
(smiling)
Well you can shut up Kara, I
didn't see many guys chasing
you're ginger ass this summer.
KARA
(coldly)
That's because they're werent men
and I don't go for little boys
that still live with their
parents...
KARA calmly looks EDDIE in the eye. EDDIE is half asleep
on LOUISE's shoulder.
KARA (CONT) (CONT'D)
And besides, I'm red haired not
ginger. There is a difference.
LOUISE
Yeah well, I know the type you go
for, Kara. The big fat
schoolteacher with the so called
connections at universities across
the country.
KARA smiles knowingly and flicks her middle finger at
LOUISE.
LOUISE smiles back in kind before they both genuinely
laugh about the ridiculous argument they just had.
EDDIE is nestling quite comfortably on LOUISE's shoulder
as he sips on his beer.
EDDIE
Ain't this the time someone tells
us a ghost story. I missed that
one the other night that DENNIS
was rattling on about.
The others agree that they all never heard it except
ALICIA.
ALICIA
The other guys that were here,
well, I don't think they will be
coming back.
KARA
What they thought it was too
scary?
ALICIA
No way, they thought Den was off
his head!
They all laugh.
EDDIE
(eyes half closed
still)
So do we get to hear this
"terrifying tale" or do we need a
members card?
They all encourage DENNIS to tell them the ghost story.
DENNIS agrees, jokingly gesturing the mocking of begging
to cease, and begins his tale.
DENNIS
(straight faced)
I wouldn't want to alarm anyone...
but the story I'm about to tell
you is a true one. It also
coincides with tomorrows
date...Friday the thirteenth,
EDDIE
(interrupting)
This some bull shit about breaking
mirrors and getting bad luck? I
didn't know Kara was in this
story, man?
They all shush Eddie down, and KARA gives EDDIE a
sneering look.
DENNIS (CONTINUING)
Friday the thirteenth, about fifty
years ago, at this exact location.
Only it was called camp crystal
lake. A boy, drowned in the lake
we were swimming in just the other
day. His mother blamed the
counsellors who should have been
looking after him.
One by one, she murdered them
until, as legend has it, she had
her head CHOPPED OFF by one of the
survivors...
The campers begin to look uneasy as the fire flickers,
illuminating DENNIS' almost possessed like posture.
DENNIS (CONTINUING) (CONT'D)
... and legend has it the boy that
drowned, came back for revenge,
vowing to kill anything and anyone
that entered his territory...
EDDIE looks behind his shoulder, gulping deep, visibly
spooked.
DENNIS (CONTINUING) (CONT'D)
Years past, and every now and
then, the murders would
just...START UP. These are his
woods, this is his land.. .
LOUISE
(visibly scared)
W-what was the boys name?
DENNIS
Jason Voorhees...never caught by
police...out living in the
wilderness, living off the
land...watching us...planning his
next..violent..kill...
SUDDENLY,
A LOUD SNAPPING sound disturbs the camp. They all look in
the same direction the noise came from.
We see from their POV, just woods and darkness, slight
mist twirling within.
DENNIS, noticing the uncomfort that has bred in, lightens
the mood. He stands up, ready to clear up and head to
sleep.
The rest follow suit, background noise ensues.
DENNIS (CONT'D)
(loudly)
OK, OK, lets get a good night's
sleep ahead of tomorrow.
LOUISA still looks concerned.
LOUISE
What happened to the Jason guy in
the end? Like..really?
DENNIS
(smiling)
He got chopped into bits and was
buried...
DENNIS gives LOUISE a friendly hug.
DENNIS (CONT'D)
It's just a story, Louise. Jason
drowned as a boy, his body is
buried and his mother is dead.
This all happened in the 50s. All
the other incidents that happened
here are easily explainable, its
typical country legends. Ghost
stories are not real. Nor is Jason
Voorhees..
DISSOLVE TO:
EXT. DEEP IN FOREST - NIGHT
We are deep in the forest. Mist is swirling around the
night sky. There is a dirt road covered in fallen leaves
and dust.
Two bright beaming lights come into vision. As they come
closer we can see it is the headlights of a car.
It is a mercedes minus two wing-mirrors. Driving the car
is HENRY MATTERSON. In the passenger seat is RICK WALKER,
the man from the pub.
HENRY (V.O.)
Hope you are not leading us out on
a wild goose chase, Mr. Walker.
The mercedes takes a swerving turn on the road.
HENRY (V.O.) (CONT'D)
I only pay good money for good
information. Correct information.
RICK
Keep following this road for
another mile or so and we will be
there. I may not agree with what
you are looking for, but I will
fulfill my part of the bargain.
HENRY
Well make sure you do. People know
where I am and I have an assistant
staying up here with me just in
case you are getting some kind of
twisted thought in that country
bumpkin brain of yours.
RICK looks across at HENRY with daggers for eyes.
RICK
I can assure you it would not be a
fresh thought.
The mercedes slows as it approaches a dead-end, a
security fence at least ten foot high covered in emblems
and danger signs warning of prosecution risks if
trespassers are caught. The fence stretches across as far
as can be possibly seen.
RICK (CONT'D)
We get out here, Mr Matterson.
RICK and HENRY step out of the mercedes. The cars
headlights remain on, illuminating the fence and its
"keep out" signs.
HENRY
I'm going to take an educated
guess and say that what I'm
looking for is beyond this fence.
RICK
Correct, Mr Matterson. I will take
you to the spot and that's it. I
will walk back and never see you
again. Understand?
HENRY chuckles.
HENRY
Its ten miles back into town, but
I couldn't care less what you do.
Get me to the crypt.
RICK nods his head as if an obideint slave.
HENRY walks to the boot of his car, and returns to hand
RICK a flashlight. They have one each.
HENRY (CONT'D)
Showtime old man. Lets see what
you got.
CUT TO:
EXT. FOREST OTHER SIDE OF FENCE - NIGHT
We see HENRY shaking himself off from leaves and dirt. We
are on the opposite side of the fence. RICK is standing
looking at HENRY, his flashlight is pointing at HENRY.
RICK seems to have made the intrusion across the fence
with no problem or hassle compared to HENRY , who is
making indescribable remarks about dirt on his suit.
HENRY composes himself and pulls a small flask from
inside his jacket pocket. He takes a big drink. Judging
by his facial reaction, it is an alcoholic spirit of some
kind.
RICK
(smirking)
You got damn big pockets in that
jacket, mister.
HENRY looks up at RICK and looks around his surroundings.
HENRYS POV:
From left to right we see tall trees, (as you would in a
forest) surrounded in darkness and slight fog. Visibility
is poor.
Noises are heard, Woodland noises. An owl. A snap in the
background.
PAN LEFT TO RIGHT QUICKLY.
The same view is seen. It is as if we are viewing the
same spot of the forest over and over, it all seems the
same.
Apart from the fence, the scenery looks exactly the same.
A sense of dread over comes over us. The scenery is all
the same. No one would know where they were if lost,
apart from HENRY's car that still has its headlights on.
The bright beam is flickering a little and becoming dim
in the background.
HENRY walks up a slump close to RICK. HENRY is sweating,
and his face is looking much more anxious.
HENRY
(angry and nervous)
OK you son of a bitch, this is not
proving a thing. I used to do this
sort of shit when I was a
teenager. You wont get paid until
you show me the real fucking
thing, you understand me?
RICK remains calm.
RICK
(calm )
I know these woodlands in and out
like no one else. That's why you
got your "people" to find me and
hire me, Mr Matterson. I'm the
last that knows.
HENRY grabs RICK's loose shirt collar in a fist.
HENRY
(aggressive)
I know everything about this shit
hole. I know everything about you.
Don't fool with me. All I need
from you is to get me to the EXACT
place. Now move.
DISSOLVE TO:
EXT. FOREST GROUND - NIGHT
We see HENRY and RICK standing over clear ground. The
surroundings are covered with trees, bushes. There is
very little path, the two are standing on the only clear
path possible. It is pitch black dark apart from the
light appearing from both HENRY's and RICK's torches.
Owls hoot, and woodland noises are made in the
background.
There is a mud hill which both sit down on, both
releasing gasps of exhaustion.
HENRY (CONT'D)
You know, I'm beginning to think
this is not going to look too good
at my funeral.
RICK
We are there.
HENRY grabs his flask from his pocket and necks it down.
HENRY
What are you talking about you old
fool? You have had me running
around these damn woods all night.
You have said "we are almost
there" for the last hour.
RICK is seated, looking distant as ever, staring in to
only he knows what.
RICK
We WERE almost there. Now we ARE
here.
RICK walks up a small mound of mud. He beckons HENRY to
follow.
CUT TO:
EXT. FOREST - SMALL CLEARING
There is a very small, room size , clearing amongst the
trees and bushes. Mist descends, fog like but passes
through the area. Beyond the clearing we can see endless
trees and darkness.
Upon the clearing, the flashlights that HENRY and RICK
are using point unintentionally to a solid cold slab that
is the middle of the ground.
HENRY
(excited)
That's it!! That is it, isn't it!?
RICK
That is it.
The two move closer to the slab. It is no larger then a
garden patio stone. Etched in dirt and mud.
RICK (CONT'D)
This is where I bid you farewell ,
Mr Matterson.
RICK turns to leave, but he is stopped in his tracks.
HENRY flicks his flashlight onto RICK.
HENRY
No, old boy. You are not going
anywhere.
RICK turns, his face looking haunted in the glow of
HENRY's flashlight.
RICK
I have completed my part of the
deal, Mr Matterson. This is as far
as I am willing to go. Business is
business, is that not what you
said?
HENRY smiles.
HENRY pulls a gun from his deep outside pocket.
HENRY points the small handgun at RICK.
HENRY
I tend to like my business like I
enjoy my sex, Rick. Dirty, No, I'm
not talking about making your day
and fucking your country bumpkin
ass, Rick.
RICK is stunned, and is looking at HENRY somewhat
astonished.
HENRY (CONT'D)
You stupid old peasant. I'm not
going to pay you a cent. But you
are going to help me remove this
slab of stone.
RICK still appears staggered.
RICK
What if I don't?
HENRY pulls the cock of the trigger back.
CLEARING
HENRY
Then I shoot you and I go home and
find someone else to help me out.
RICK falls on his knees, a sudden lapse of held up
courage leaving him.
RICK
Don't make me open that Crypt up,
Mr Matterson. You don't know what
you are doing.
HENRY looks possessed. He walks up to RICK and kneels
down to him.
HENRY
(whispering in Rick's
ear)
You're brother died in connection
with this guy.
RICK, eyes closed, apparently preying to be elsewhere,
suddenly seems shocked and opens his eyes wide.
RICK
How do you know about my brother,
Ralph??
HENRY stands up and puts the gun to RICK's temple.
HENRY
Money buys everything old boy...
HENRY taps the gun tip to RICK's open mouth.
HENRY (CONT) (CONT'D)
Including useless fuckers that
help open crypts.
CUT TO:
INT. CRYPT
DARKNESS
It is completely dark. Until a small ray of light opens
in the top right hand corner.
The light extends larger until it is in the form of a
square shape.
It is the slab of concrete being removed from up above,
the seal to the crypt.
CUT TO:
EXT. FOREST SMALL CLEARING - CRYPT ENTRANCE
We can see that RICK and HENRY have removed the slab that
was in place on the ground, revealing a dark hole.
Small trails of smoke vapor upwards from the hole and
disappear into the mist, leaving a completely dark
unwelcoming hole.
RICK has his shirt sleeves rolled upwards, he is
sweating as if he has worked in a furnace.
HENRY also has now ridden himself of his suit jacket and
has his shirt sleeves rolled up. He too is sweating.
It is obvious the two have somehow managed to remove this
slab.
RICK
(exhausted and
afraid)
You...you... don't know what you
are doing
HENRY's eyes are wide open in excitement, in fear and
adrenaline.
RICK (CONT'D)
Why would you do this?? Why bring
him back??
HENRY laughs.
HENRY
If I cant own this land, then I'm
sure people wont want to live in a
place where a mass murderer lives.
I'm going to bring this son of a
bitch back to get bad press to my
opposition!
HENRY begins to laugh insanely.
RICK is astonished.
RICK
You want to bring him back so you
can get your own back on failing
to buy this land??
HENRY looks delighted beyond belief.
HENRY
Yes!!
RICK is on his knees, attempting to crawl off.
HENRY (CONT'D)
Hold it hillbilly.
HENRY points his gun at RICK.
HENRY (CONT'D)
Money buys everything. This land
is some sort of ancient burial
ground that I wanted to buy.
Plus, it includes a psychopathic
killer that was buried alive. Sort
of a buy one get one free kind of
deal. I want both.
RICK is beginning to crack.
RICK
(terrified)
There are kids here camping, he
will kill them all!!!!
HENRY laughs again.
HENRY
I am in control, I always am. I
will get this guy to do so much
damage no one will want to buy
into TIM CONNOLLY's project. This
place will be a no-go zone.
RICK is stumbling on the floor, afraid of the gun pointed
directly at him.
RICK
You are crazy??
HENRY fires the gun twice.
It blows RICK's head to pieces. Blood and skull fragments
splatter the ground as RICK's headless body spasms on the
floor.
HENRY
Yes. Perhaps you are right. I
don't get beaten , old boy. If I
do, I get someone else to beat
them for me. In this case, I'm
looking for a guy named ....
CUT TO:
INT. CRYPT
DARKNESS
HENRY (V.O) CONT.
...Jason Voorhees.
As out eyes adjust to the darkness around us, we see
there are steps leading down from the entrance.
A beam of light , HENRY's flashlight, leads him down the
steps in a slow and unhurried manner.
HENRY'S P.O.V.
The steps are leading downwards, the flashlight making
visible cobwebs and there are drops of residue dropping
on the floor.
A noise of water dripping echoes in to the darkness.
DRIP DRIP
HENRY makes it to the bottom of the crypt and circles the
flashlight around. The crypt is a small room with nothing
inside it except for a large rectangular shaped casket.
The casket is encased in dust and cobwebs.
DRIP DRIP (CONT'D)
HENRY looks around to see where the dripping sound is
coming from. He scans the flashlight over the steps to
the entrance of the crypt. A small trail of blood is
dripping down.
HENRY (CONT'D)
(cursing to himself)
That damn country bumpkin cant
even die right. Why the hell does
his blood have to run down in to
here.
CUT TO:
EXT. CRYPT ENTRANCE
CRANE SHOT.
We see RICK's headless body slumped near the entrance to
the crypt, a large puddle of blood has formed and it is
beginning to spread down the Crypt steps.
CUT TO:
INT. CRYPT
HENRY approaches the casket and attempts to wipe clear as
much dust as he can from the lid.
The lid is bland, dust-free, it reveals nothing.
HENRY puts his hand inside his jacket pocket and emerges
with a small miniature bottle that consists of a white
powder.
HENRY then undoes the bottle top and proceeds to shake
the powder over the casket, the whole length of it,
muttering what sounds like repeated African babbletalk,
oddly hypnotizing in rhythm.
Suddenly, a muffled sound can be heard from inside the
casket.
HENRY pauses momentarily, continuing with the ritual at
hand.
Again, this time louder, like a shuffling from inside the
box.
HENRY continues to chant, a more concerned expression on
his face, chanting louder, more determined. The powder is
now all on the casket.
All of a sudden, a line of flames engulfs the powdered
line from seemingly out of nowhere.
HENRY is taken aback and he drops the empty bottle onto
the crypt floor and it smashes into little pieces.
The flames settle down into a straight line before
flickering out, sending smoke drifting into the crypt and
out of the entrance.
BANG!
The casket lid rattles from something hitting it from
inside.
HENRY scarper's to his feet, looking slightly bewildered.
Sweat caused by fear and anticipation is evident on his
face.
BANG! BANG ! BANG !
Repeated hammering at the lid from inside causes the lid
to crack in the middle and with one final "BANG!", the
lid shatters into the air and fragments fall to the
floor.
For a moment , there is nothing. Dust emerges from the
casket so we cant see what lies inside.
HENRY stands , a fair distance away, looking on, gun
drawn and holding it in his hand pointed at the direction
of the casket.
Nothing.
A few moments pass, the dust seems to have cleared, but
nothing has risen from the grave.
HENRY walks towards the casket slowly and carefully.
As HENRY approaches, a RAT runs past HENRY on the floor,
sending HENRY screeching in surprise!
HENRY
God-damned rodent!!
As a sense of slight relief passes HENRY's expression, a
dark shadow rising engulfs HENRY's light.
HENRY looks up in terror, open mouthed in shock horror.
FADE OUT.
FADE IN.
EXT. CAMP FOREST GREEN - MAIN CAMP SITE
DAYLIGHT
SUPERIMPOSE
FRIDAY THE 13TH
We see various shots of the camp, quiet and still.
Peaceful, birds singing and the lake twinkling beneath
the bright sun.
DENNIS and PAUL are walking up to a modest white car.
PAUL
Hey, thanks a lot for giving me a
lift into town, really appreciate
it.
DENNIS
No problem. I'm sure the rest can
survive a few hours while we go
shopping for supplies.
PAUL
And a few beers perhaps....
DENNIS smiles and nods agreeing.
PAUL and DENNIS get inside the car and we see them drive
off down the dirttrack road and into the distance.
CUT TO:
INT. CAR
Dennis is driving, PAUL is in the passenger seat. They
are driving through a woodland road taking various turns.
PAUL
(jokingly)
You think Alicia will be OK left
alone with them guys?
DENNIS
(smiling)
Sure, sure. She can kick ass when
need be!
PAUL
You guys are kind of serious ain't
ya
DENNIS
Oh we have our moments, Paul. But
we've been through a lot together.
She's a good girl. How about you
and Kara?
PAUL breaks out a smile.
PAUL
No, no, no, She's a nice enough
girl, but I'm fine single, free
and happy.
DENNIS
Well I'm not talking about getting
married and raising kids together,
Paul! Have some fun the last few
nights here.
PAUL
Me and Kara?
DENNIS
Yes!!
PAUL looks outside his side window with a sardonic grin.
PAUL
I hope the beer up here is strong.
CUT TO:
EXT. LAKE
DAYLIGHT
EDDIE and LOUISE are mucking around in the lake,
frolicking (there's a word ) around naked. They are
laughing and joking, playing around with each other.
ALICIA and KARA are on the LAKE bank, sun bathing,
watching the other two mess about.
POV - BEHIND KARA AND ALICIA
Something is watching them from a small distance, moving
further slowly, breathing heavily.
EXT. - LAKE BANK
ALICIA and KARA are laughing at a previous unheard of
joke.
ALICIA
Knowing Dennis, they wont be back
until late.
KARA
(smoking)
Shame Paul went with him.
ALICIA
(eyes lightening up)
Really? You got a thing for him,
huh?
KARA
He has a cute ass.
POV - BEHIND KARA AND ALICIA
Moving closer, breathing heavier, within a few feet,
footsteps snapping the twigs below.
EXT - LAKE
EDDIE stops mucking around in the water and is looking
towards the lake bank. He begins shouting for ALICIA and
KARA to look behind them but they cant hear him properly.
LOUISE has failed to see what EDDIE has noticed and is
still mucking around , trying to pull EDDIE under the
water, making his attention cries harder to hear.
EXT - LAKE BANK
ALICIA and KARA wave to EDDIE, believing he is simply
messing around.
KARA (CONT'D)
(turning wave into
one fingered
gesture)
God that guy is such a jerk-off.
ALICIA begins laughing.
Suddenly, KARA SHRIEKS IN SURPRISE as A HAND falls down
in between her and ALICIA.
A MAN COLLAPSES on the floor in front of them. The man is
wearing a white suit, but it is torn and badly covered in
mud stains and dust.
It is HENRY MATTERSON.
ALICIA and KARA both jump and stand up away from the
collapsed man. EDDIE and LOUISE are now rushing in from
the lake and join them on the bank.
KARA (CONT'D)
Who the heck is that guy??
EDDIE grabs a towel and wraps himself. He gives a
scalding look at LOUISE.
EDDIE
I was trying to tell you guys
someone was behind you but this
bitch wouldn't let me.
LOUISE
(hurt)
I didn't see him you...you...
ALICIA interrupts abruptly.
ALICIA
Look, that doesn't matter now. He
looks hurt, lets get him inside
one of the cabins.
LOUISE
I'm not touching him he might have
diseases, he looks gross.
KARA
He looks dead...
HENRY opens his eyes, and begins moaning.
KARA (CONT'D)
Maybe that's just his age..
EDDIE kneels down to help HENRY up.
EDDIE
Come on man, he must have got lost
or some shit.
ALICIA also begins to help EDDIE help HENRY up to his
feet. They support him one arm each round their shoulder
and begin to slowly walk him to one of the cabins.
LOUISE
What are you guys doing? He's
probably a perv or something!!
KARA
Must be a rich perv, you see that
watch he's got on?
CUT TO.
INT. CABIN
ALICIA and EDDIE manage to get HENRY onto a bed and lie
him down. HENRY wheezes but his eyes remain shut.
LOUISE and KARA join them inside.
KARA
We got to get help, he looks in
serious bad health.
EDDIE
Well we ain't got phones and we
don't have a car because Dennis is
out getting wasted with Paul.
LOUISE
(worried)
That's the only car??
EDDIE
(mockingly to LOUISE)
Remember Bint, we came here by
coach.
ALICIA
We got to wait until they get
back. Town is too far to walk. We
will do our best for him here, we
have medical kits, lets try and
just give him some rest.
EDDIE
This guy has passed out on us.
Check his wallet.
LOUISE
You are the lowest of the low.
EDDIE
For I.D. dumb-ass.
ALICIA checks inside HENRY's suit pockets for a wallet
but there is nothing.
ALICIA
Give him some rest, we'll keep
check. Best bet is he had a road
accident near here.
EDDIE rises his arms up in the air, making a mocking
facial expression.
EDDIE
Genius. You came up with that all
by yourself?
ALICIA
Look Eddie, we don't need you're
smart mouth right now.
EDDIE
Well my smart mouth needs a beer.
I knew I should have gone with the
other two motherfuckers.
CUT TO:
EXT. FOREST ROAD
DAYLIGHT
A car speeds down the road leaving a gust of dust behind.
Inside driving the car is RICHARD ERIKSON, talking
aggressively on his mobile phone.
ERIKSON
(failing to get a
signal on his phone)
Fuckin' cheap shit country bumpkin
craphole...
ERIKSON takes a glance at his watch as he slams his phone
shut.
ERIKSON (CONT'D)
(to himself)
Should be there by now...running
late, Richard...doing two jobs for
two people at once...
ERIKSON has sweaty skin on his face, he is dressed in a
suit but is panicking at being late obviously driving
dangerously fast.
ERIKSON (CONT'D)
(muttering to
himself)
Tim Connolly...fat son of a
bitch... then I've got that Henry
Matterson to contend with...yes
sir, no sir....the end of this
deal I'll be my own goddamn
boss....
ERIKSON notices a hitchhiker in the distance standing at
the side of the road.
ERIKSON , instead of slowing down, speeds up and being on
such a narrow road, nearly RUNS OVER the hitchhiker!
The hitchhiker jumps into bushes to avoid being hit.
ERIKSON looks in his rear view mirrors to see the
hitchhiker going mad in the background and ERIKSON cracks
up laughing.
ERIKSON (CONT'D)
(laughing)
Fuck you asshole!!
CUT TO.
EXT. FOREST ROAD
DAYLIGHT
The HITCHHIKER, rather large male in his late teens, is
cursing and throwing his hands in the air going pretty
mental at ERIKSON's crazed stunt.
The HITCHHIKER eventually calms down and takes his seat
on the side of the road on a suitcase he has with him.
HITCHHIKER
(to himself)
Fuck was that about? Damn country
loony.
POV - BEHIND HITCHHIKER - WOODS
Heavy breathing, walking movement towards the HITCHHIKER.
EXT. FOREST ROAD
The HITCHHIKER is sat looking aimlessly into the road.
Behind him is a SHAPE MOVING slowly into focus.
SUDDENLY, we see TWO LARGE HANDS, dark mouldy rotten
flesh and roughly two inch long black nails, GRAB the
HITCHHIKER's FACE completely covering it.
In a split second the LARGE HANDS TWIST the HITCHHIKER's
head ALL THE WAY AROUND.
BLOOD leaks like water from the mess that is left for us
to see as the headless body and blood-ladled head drop to
the forest floor.
FADE OUT.
FADE IN.
EXT. CROOKED CANDLE PUB
DUSK
The evening sky can be seen beginning to come in. The car
DENNIS and PAUL drove is parked outside the pub. It is
the only one.
INT. CROOKED CANDLE PUB
DENNIS and PAUL are sat at the bar, numerous empty
glasses scattered around them. Country music plays in the
background.
There are surprisingly a few other people sat at some
tables enjoying their drinks.
PAUL
Think we should head back soon?
DENNIS
(looking wide-eyed
from the drink)
Soon, the music is killing me
Both laugh slightly light headed.
PAUL
I'm glad we came here, this beer
is just what I needed.
Cheap and damn strong!
DENNIS motions the BARMAN for another round.
DENNIS
Bit like Kara?
Both laugh again.
PAUL
Really though, we should get back
after this drink.
DENNIS nods in agreement.
DENNIS
(sarcastic)
It is Friday the 13th after all.
You never know what's gone wrong.
PAUL
(laughing)
Yeah that guy Jackson might be out
there!
DENNIS
Jackson??
The SHERIFF walks into the pub but no one pays much
attention.
PAUL
Jackson, yeah you know. The guy
you was joking about last night
over the camp fire
DENNIS swigs back some of his bottled beer.
DENNIS
You mean Jason? Not Jackson, its
Jason Voorhees!
The pub goes completely quiet at the mention of Jason's
name. Everyone looks at DENNIS and PAUL and the music is
even turned to a low volume.
The SHERIFF walks over to the two.
SHERIFF
(to everyone else)
Go on about your business people.
The music is turned back to normal and everyone gets back
to what they were doing.
The SHERIFF stares at DENNIS and PAUL.
SHERIFF (CONT'D)
You drinking and driving, son?
DENNIS
Who me , Sheriff?
SHERIFF
Yes, you boy.
PAUL almost interrupts, trying to help, but DENNIS
motions him back to keep quiet.
DENNIS
OK Sheriff, I've had a couple.
The SHERIFF moves in close to DENNIS with a dead look in
his face.
SHERIFF
Now look, boy. I've seen you a few
times down here getting completely
off you're billy goats gruff...
PAUL tries to hide himself from laughing.
SHERIFF (CONT'D)
..and then driving down them
forest roads back to that camp you
are SUPPOSED to be looking after.
That ain't responsible, boy. I let
you off because you don't cause
trouble and you go about your
business...
DENNIS
(interrupting)
Thank you, Sheriff, I really
appreciate it...
SHERIFF(CONT'D
..but I don't want you're business
in here, talking loads of shit
about dead killers getting people
riled up, we understand each
other, boy?
DENNIS
Perfectly, sir, it was just a bit
of a joke you see I ..
The SHERIFF forcefully grabs DENNIS by his shirt collar.
SHERIFF
(angrily)
I asked you if we understand each
other...
DENNIS nods in agreement.
The SHERIFF releases DENNIS.
Just at that moment, RICHARD ERIKSON enters into the pub
and looks around. He walks to the bar near to where
DENNIS, PAUL and the SHERIFF are.
ERIKSON motions the BARMAN over to him.
ERIKSON
Excuse me , where is Mr.Matterson?
The SHERIFF looks over at ERIKSON, and begins to take
note. DENNIS and PAUL are sat there also watching, unsure
of what is going on and confused by the SHERIFF's sudden
outburst.
BARMAN
I don't know a Mr Matterson, sir.
ERIKSON looks irritated.
ERIKSON
What are you talking about? I'm
due to meet him in here tonight.
He is never late now stop beating
the bush and tell me where he is.
The SHERIFF intervenes.
SHERIFF
Henry Matterson?
ERIKSON
Yes, you know where he is?
The SHERIFF takes a long drink of DENNIS' beer and downs
it all in one go, much to DENNIS' puzzled expression.
SHERIFF
I want to know where he is, more
then you do.
DENNIS picks up his empty bottle of beer that the SHERIFF
just downed.
DENNIS
You gonna buy me another, Sheriff?
The SHERIFF looks over at DENNIS with daggers for eyes.
SHERIFF
I tell you what I'm gonna do, boy.
I'm gonna give you a lesson. I'm
gonna drive you and you're pissed
up friend back to Camp Forest
Green. Tomorrow, you can WALK back
here and collect you're vehicle.
DENNIS
Sheriff, that's a twenty mile walk
you are talking about.
SHERIFF
Well how about this. I'll drive
you're friend back to camp. Now as
a favour to you...
The SHERIFF points directly into DENNIS' chest.
SHERIFF(CONT'D)
You can sleep off the drink right
here. You can drive back tomorrow.
DENNIS
Sheriff, its not even that late,
the roads are deserted. Cant you
let me off this one time?
SHERIFF
I'm not asking boy. I'm TELLING
you. YOU are gonna stay here until
I get back then you are gonna
spend the night sleeping off that
booze in my cell. I'm doing you a
favour, boy.
DENNIS and PAUL are left open-mouthed and speechless.
Just as RICHARD ERIKSON is about to interrupt, the
SHERIFF turns to him.
SHERIFF (CONT'D)
You are gonna come with me, in the
back of my squad car.
ERIKSON looks completely astonished.
ERIKSON
And can I ask why?? Are you
arresting me for ordering a beer??
SHERIFF
I want to know why you and Henry
Matterson are down here causing
nothing but trouble. You are that
slippery real estate agent that
works for Tim Connolly, and you
ain't leaving my site until I get
some answers. I leave you here,
tell you wait until I get back,
you would be long gone. You are
going in the back, taking a ride
with me and then we will sort this
mess out when we get back here.
CUT TO:
EXT. - FOREST
NIGHT
Various animal sounds and a swirling light mist surround
the woodland. A LARGE FIGURE is walking through the
woods.
We see the BACK of this HULKING FIGURE, as HE brushes
branches aside , walking in what seems a determined
stride.
His clothing is torn, old and faded, dark rags that cover
much of his torso and legs, but reveal massive tears that
reveal EXPOSED ROTTEN FLESH and EXPOSED BONE. His back is
of battered skin and the amount that is revealed under
his shredded clothing is a SPINE and EXPOSED RIB CAGE.
We see a huge sign in what would appear to be a clearing
from the forest.
The sign reads " TIM CONNOLLY &; CO. CONSTRUCTION
SITE "
"Building A Better Future, Right Now"
The FIGURE walks solemnly to the sign and looks up,
reading what is says.
The FIGURE's front is covered in darkness.
CUT TO:
EXT. FOREST CLEARING - TIM CONNOLLY &;CO CONSTRUCTION SITE
NIGHT
A portacabin window provides the sole light in the whole
site. Every thing is closed and the machinery of cranes
and bulldozers stand dormant.
CUT TO.
INT. PORTACABIN
TIM CONNOLLY is busy sorting out some paperwork and
getting his jacket on at the same time, ready to leave
and go home for the evening.
CUT TO.
EXT. OUTSIDE PORTACABIN
POV - JASON VOORHEES
Moving slowly towards the portacabin, heavy breathing and
footsteps, looking to the left where some logs have been
collected and rolled up. SHINING like a magnet, there
lies a MACHETE imbedded in one of the logs.
CUT TO.
INT. PORTACABIN
TIM CONNOLLY is using a telephone in the office, standing
and sipping on what appears to be straight whiskey.
TIM
(uninterested,
rolling eyes)
Yeah...uh huh.. sure hun...oh yes
CUT TO.
EXT. PORTACABIN
We see for the first time JASON VOORHEES full frontal,
hockey mask and machete in hand directly outside the
portacabin. JASON's torso is visible beneath the rags he
has on for clothes, ROTTEN DARK FLESH and EXPOSED RIB
CAGE. His mask, however, looks brand new, visible barely
in the darkness is his BALD HEAD, a DARK GLOBE that looks
also ROTTEN.
JASON walks slowly around to the other side of the
portacabin, slow and purposeful strides, machete gleaming
from the moonlight.
CUT TO.
INT. PORTACABIN
TIM is still on the telephone, but he has pulled out a
bottle of wine from his desk drawer, unopened it looks
gift wrapped ready for him to give to someone. He places
the bottle on the desk.
TIM
(on the phone,bored,
insincre, lying)
Yes honey, ...yes its going to be
an all night meeting...no don't
wait up...ill have dinner
tomorrow...OK...yes...sure...grea
...love you too.
TIM hangs up and rolls his eyes before grabbing the wine
bottle.
TIM (CONT'D)
(to
himself,mockingly)
Yes honey, I wont be coming home
tonight as I am about to spend the
night with a much younger, more
sexy woman that doesnt' go on
about decorating and other
needless rubbish
In the background, through the portacabin window, JASON
looks in, TIM's back facing the hockey masked psycho.
TIM pours himself a small whiskey from his bottle in the
drawer and gulps it down, before heading out the
portacabin door.
CUT TO.
EXT. PORTACABIN
TIM walks out of the door and heads to his car which is
parked nearby. He is giggling to himself, clearly quite
drunk.
A loud " CRACK " makes TIM pause in his footsteps and he
slowly turns around to see...
Absolutely nothing there. Mist and animal noises in the
distance echoing through the night.
TIM carries on to his car, opens the door and slides into
the drivers seat.
CUT TO.
INT. CAR
He turns the engine on, is about to drive off when he
sits back in his seat bemused.
TIM
(slightly slurring)
Fucking believe it. Left the wine
in the office.
CUT TO.
EXT. PORTACABIN
TIM stumbles out of the car, leaving the engine on, and
walks dizzily back to the portacabin.
CUT TO.
INT. PORTACABIN
TIM walks inside, face red flushed and he stumbles over
the his desk where the bottle of wine had been.
TIM looks around left and right, but no trace.
TIM turns around and standing right where the door is, is
a giant hulk of a man standing there with a hockey mask,
a machete in one hand and the bottle of wine in the
other.
TIM's expression is open mouthed and wide eyed as JASON
SMASHES the BOTTLE directly over TIM's FOREHEAD.
TIM drops to his knees as the BOTTLE SHATTERS into pieces
and red wine mingles with TIM's darker red colored BLOOD
on his head and face as it drips to the floor.
TIM looks up, face shredded with glass, begging for his
life.
POV - TIM LOOKING UP AT JASON
JASON towers above, watching for a few seconds before
HAMMERING the MACHETE down REPEATEDLY. BLOOD COVERS THE
SCENE.
CUT TO.
EXT. CAMP FOREST GREEN
NIGHT
We see various shots of the camp site, the lake in the
night sky, a slight mist in the woodland. Most of the
cabins are lifeless, but we see the MAIN cabin has all
its lights on.
CUT TO:
INT. MAIN CABIN
The cabin is large and has a very cosy interior with a
small kitchen. There is a large table and an old
fashioned fireplace which is burning away. ALICIA , KARA
, LOUISE and EDDIE are inside.
ALICIA
They'll be back soon.
LOUISE
(hugging EDDIE)
You've been saying that all day,
Alicia.
ALICIA
I know but they must have had car
trouble. Dennis is never out this
long on his own.
EDDIE is sipping a bottle of beer and smoking a joint.
EDDIE
He's a grown man and besides, he
ain't on his own. Paul is with him
and I get the feeling they got
some action down in that fucked up
town.
KARA is sloped near the fireplace, smoking a cigarette
looking increasingly fed up.
KARA
Yeah right, like the whole week
its a one man and his dog town
and suddenly because it is a
Friday, the place turns into Ayia
Nappa? I don't think so , Eddie.
EDDIE shrugs off LOUISE to go and sit by the table. He
begins rolling another joint.
KARA (CONT'D)
And can you stop smoking that shit
in here? It stinks.
EDDIE
Man chill the hell out Kara. You
want me to go smoke it with that
old guy in the other cabin? He's
probably got more life in him then
any of you fuckers.
ALICIA
I checked on him a while back, he
was still out cold. I don't know
what the hell happened to him but
we need Dennis to get that car
back here as soon as possible so
we can get help.
EDDIE
(sarcastic)
No shit.
LOUISE
I just have got like a really bad
feeling about all this.
EDDIE
There's only one thing you need to
be feeling, baby. And it ain't
bad.
KARA and ALICIA moan in mock disgust and LOUISE moves
next to EDDIE, hugging up to him again.
ALICIA
The best thing we can do is just
get on with things. We've done all
we can. Just keep checking up on
him to make sure he's OK.
LOUISE
You know, it is Friday the 13th. I
guess that explains why all this
weirdness is happening.
EDDIE
(mockingly again)
Yeah, that explains everything.
Besides, its just a guy taking a
kip, give him a while I bet he
will be up and in here asking for
a beer. Everyone chill out. It's
not like the guy is dead.
CUT TO.
EXT. CABIN
We see a smaller cabin, with no lights on inside.
INT. CABIN
HENRY MATTERSON is lying on a bed in darkness,
perspiration on his forehead, his white suit crumpled.
HENRY OPENS his eyes WIDE in a sudden movement, and
immediately SITS UP, looking around as if in perilous
danger.
HENRY puts a hand to his forehead to wipe the sweat away,
and breathes a sigh of relief.
HENRY
(whispering to
himself)
It worked. I'm still alive and it
worked. Thank you God.
CUT TO:
EXT. FOREST
NIGHT
JASON continues to walk relentlessly through the darkness
of the woodland, swiping branches and bushes out of his
path.
He moves moodily, aggressively, using his machete that is
now covered in BLOOD to swipe the woodland. The moonlight
illuminates JASON's hockey mask, only darkness where his
eyes should be.
CUT TO:
EXT. FOREST ROAD
NIGHT
The peace of the darkness is shattered as a POLICE car
speeds into view right in front of us.
Inside the car is SHERIFF JOHN EVERETT driving, PAUL is
sat in the passenger seat. In the back behind the mesh
barrier sits a glum RICHARD ERIKSON.
INT. POLICE CAR
SHERIFF
You make sure you get some sleep
when you get back to camp you
understand me, boy?
PAUL nods his head.
PAUL
My name is Paul, Sheriff, and I'm
not even that drunk.
The SHERIFF takes a look at PAUL, then turns his
attention back to the road.
SHERIFF
Maybe not. But you're friend back
there was no way near fit to drive
these roads in pitch black. I
don't care how long he's been
here, you never get used to these
roads.
ERIKSON leans forward to the mesh wire from the backseat.
ERIKSON
That's sure very colorful and I'll
know who to appoint as a tourist
advisor next time I come down
here, Sheriff, but as a visitor
and possible investor to this
backwards town I don't appreciate
being treated like a criminal for
a reason you still haven't told
me.
The SHERIFF takes a look back at ERIKSON, his stone cold
look intimidating ERIKSON to sit back down.
SHERIFF
We keep things quiet round here. I
don't like city boys coming down
here thinking they know everything
when they don't know jack shit.
This is for your own protection
more then anything else.
ERIKSON
(sighing)
I've helped construct buildings in
New York City, Los Angeles,
Europe. But I cant even get the
authorities here to tell me who I
need to contact to buy out a piece
of woodland. Why is this place so
afraid of change?
EXT. FOREST ROAD
The POLICE car makes a SUDDEN SLIDING BREAK, causing dust
to fly into the night sky.
INT. POLICE CAR
The SHERIFF jumps out his door and goes to the back of
the car, opening the back door, he GRABS ERIKSON and
PULLS him out of the car.
PAUL looks back in astonishment and confusion.
EXT. POLICE CAR
The SHERIFF firmly GRABS ERIKSON by his collar and SLAMS
him onto the boot of the car.
SHERIFF
Look here you piece of shit. You
type of people think you can come
in here with a bunch of money,
knock down people's livelihoods
and then you will go and in a few
years time, this will be another
slum for junkies and scum. You
don't know what you are dealing
with unless you want to be left
out here to walk back to wherever,
I STRONGLY suggest you SHUT THE
FUCK UP.
EXT. FOREST ROAD
POV - JASON VOORHEES
A fair distance away in the woodland, hidden amongst the
bushes, JASON is closing in slowly on the POLICE car.
EXT. POLICE CAR
The SHERIFF still has ERIKSON locked beneath him on the
boot of the car. ERIKSON is pleading with the SHERIFF.
ERIKSON
Look...OK...I wont say a thing OK,
don't leave me out here!!
The SHERIFF released his grip on ERIKSON.
SHERIFF
Be sure you don't. Another word
and you are on foot, you got that?
ERIKSON
(cowardly)
Yes... yes...you are in charge..
EXT. FOREST ROAD
JASON is closing in on the POLICE car, slowly moving,
machete GRIPPED TIGHT in his giant rotten hand.
INT. POLICE CAR
The SHERIFF sits back into the drivers seat, looks at
PAUL, who is pretty shocked at what he just witnessed.
SHERIFF
I don't want to offer you the same
choice, Paul. You keep as quiet as
you been so far we have no
problems, good with you?
PAUL, intimidated as he is, looks at the SHERIFF eye to
eye.
PAUL
You got it, Sheriff.
Behind in the back seat, ERIKSON clambers in, looking
humiliated.
SHERIFF
OK, then lets get you back to this
camp. Three peas in a pod. Happily
cruising down the road.
EXT, FOREST ROAD
The POLICE car drives off with speed, leaving another
trail of dust in its path.
As the dust settles, we see JASON stood directly where
the police car just left off, a second away, now unseen
for now.
CUT TO.
INT. CROOKED CANDLE PUB
The pub still has a few people inside, country music
playing in the background with mixed laughter.
DENNIS is sat at the bar still, hands in his head.
The BARMAN comes over to DENNIS with a bottle of beer.
BARMAN
On the house. Drink it up before
the Sheriff gets back.
DENNIS accepts the beer surprised.
DENNIS
Thanks.
The BARMAN nods in acknowledgment.
DENNIS (CONT'D)
Tell me, why is he got such a chip
on his shoulder?
The BARMAN smiles and leans on the bar towards DENNIS.
BARMAN
Oh Johns alright when you get to
know him. Don't let him fool ya
with his talk. He's got nothing
against you lot, feels protective
more then anything else.
DENNIS swigs his free beer, possibly feeling this is
owing him back for the one the SHERIFF downed earlier.
DENNIS
You know, I've been at Forest
Green all year nearly. Not once
has anything gone wrong down
there.
You think the Sheriff might be
appreciative of what we've done.
BARMAN
(agreeing)
You probably boosted tourism
somewhat, made the camp a safe
place to go again.
DENNIS
The way some people react to that
is as if its a bad thing to do.
The BARMAN smiles wryly.
BARMAN
Maybe it is.
CUT TO.
EXT. CAMP FOREST GREEN
NIGHT
More views of the camp site, the lake moonlight lit, mist
becoming more heavy and foggier.
INT. MAIN CABIN
ALICIA and KARA are sat around near the fireplace. No
sign of the others.
ALICIA
Lets appreciate the peace while we
got it.
KARA
Eddie's not that bad but I know
what you mean. God, Louise can
really be a bit too clever for her
own good.
ALICIA
(smiling)
I know shes not as stupid as she
likes to make people believe.
They both look at each other for a moment, then laugh.
ALICIA (CONT'D)
OK, maybe she can be a bit stupid
sometimes.
KARA
A bit like Dennis perhaps in the
fact he is supposed to be the
responsible one here?
ALICIA
Well I would never say a thing
against Dennis.
KARA looks at ALICIA with raised eyebrows.
ALICIA (CONT'D)
(laughing)
OK, he has messed up big time
tonight.
KARA
I guess he wont be getting any of
what Louise and Eddie are tasting
right now later, right?
ALICIA
Who said he was getting "any"
anyway??
KARA
Oh come on Alicia!!
ALICIA
No I am surprised at how basically
immature he's been tonight. And
I'm pretty surprised at Paul too,
to be honest. I know we aren't
starving but it is the fact he has
taken the only car and not
bothered about us. I haven't seen
that side of him.
KARA
Well don't over react too much,
like you said, I'm sure they've
got a reasonable excuse.
ALICIA
Yeah, you're right.
KARA
(laughing)
Maybe Jason got them.
ALICIA
Oh, they will be wishing he did
after I get finished with them.
They both crack up in laughter in front of the warmth of
the fireplace.
CUT TO.
INT. CABIN
HENRY MATTERSON is lying upright on the bed, he is
sweating, lights still turned out. He looks crazed
amongst the illumination of the moonlight beaming through
the windows.
HENRY is holding tight to a NECK CHAIN he has,
unsurpisingly, around his neck.
HENRY begins to grin, laughing to himself as he clutches
tightly to the chain.
HENRY
(to himself)
Aboua, God bless you.
CUT TO.
INT. SMALLER CABIN (LOL)
DARK
Lights are off, here we have EDDIE and LOUISE lying in a
bed, cuddling close together, EDDIE smoking a joint.
LOUISE
(love struck)
Mmmm, I just wish we could stay
and do this all day all night,
every day.
EDDIE takes a smoke of his joint, looks unimpressed at
what his girlfriend has to say.
EDDIE
Fuck that. I cant wait to get home
and watch some TV.
LOUISE
(becoming finally
frustrated)
God's sake Eddie. Cant you for
once say something romantic or
even something that's fucking
nice to me??
EDDIE
Babe, I love you, you know that.
LOUISE
(smiling again)
See, was that so hard to say?
EDDIE
Nah, I'm high.
LOUISE playfully slaps EDDIE on his chest.
EDDIE (CONT'D)
Think I'm joking? If you wasn't
busy sucking my pimpstick I might
actually be able to watch the
films I wanna see when we are
home. You know that is kinda
distracting.
LOUISE
(jokingly)
And what is more distracting then
me Mr Wannabegangsta?
EDDIE.
They are doing a three film
slasher marathon on sci-fi channel
next month so I don't want your
skank ass bothering me when they
are on. The "Gruff" trilogy is on
too. You know I love them films.
LOUISE
(trying to rise
Eddie's interest)
Oh fine, well I'll stay on my own
and watch porn all day with
nothing but my pink dildo and
some...
EDDIE cuts her off, putting his finger to her lips.
EDDIE
I'm thinking of other things,
babe. Some other time.
CUT TO.
EXT. FOREST
JASON is walking, stalking the forest, walking knowing
exactly where he is going, letting nothing apart from
trees get in his way from his destination.
CUT TO.
INT. MAIN CABIN
ALICIA and KARA are still by the fireside until a
gravelling sound from outside and a flashing light
shines through the cabin, grabbing both their attention.
EXT. CAMP SITE
The POLICE car parks right near the MAIN CABIN,
headlights beaming.
SHERIFF EVERETT steps outside the car.
CUT TO.
MAIN CABIN.
ALICIA and KARA stand up, KARA runs to the window.
KARA
(delighted smile)
I sure hope Eddie has stashed his
dope away because our prayers have
been answered baby!
ALICIA runs up, ecstatic, to the window to join KARA.
Both girls celebrate in ecstatic (man I love that word)
style, before heading to the door of the cabin to greet
the police.
EXT. CAMP SITE
SHERIFF EVERETT greets ALICIA and KARA, who are both
running towards him, with a calm down hands down sign.
PAUL steps out of the passenger side.
INT. POLICE CAR
RICHARD ERIKSON is trying to open the police car door but
to no success. He resigns, and sits back with a sigh,
ERIKSON
(muttering to
himself)
Oh we have a big lawsuit facing
you Mr Sheriff of the woods, I'm
going to cook you and this shit
hole town like bacon...
CUT TO.
EXT. CAMP SITE
The SHERIFF places his hands on ALICIA's shoulders and
looks her straight in her eyes. KARA looks over to where
PAUL can be seen walking towards them.
SHERIFF
OK, now slow down. What seems to
be the problem here?
ALICIA
(calm)
There's a guy who collapsed in the
camp earlier today, he's been out
cold all day.
ALICIA tells the SHERIFF what has been happening in the
BACKGROUND. KARA greets PAUL.
KARA
(confused)
So where's Dennis, Paul? What's
with the cavalry?
PAUL
(looking disgruntled)
Its a long story.
KARA looks beyond PAUL and glimpses ERIKSON in the back
of the police car, quietly moaning to himself.
KARA
Yeah...it looks like it.
CUT TO:
INT. MAIN CABIN
KARA, PAUL and ALICIA are in the cabin sitting at the
table. The SHERIFF is standing looking at them.
SHERIFF
You kids the only lot here?
ALICIA
No, Eddie and Louise are...
(hesitant)
...around.
The sheriff rises his eyebrow in a disapproving way,
before breaking a rare wry smile.
SHERIFF
Well, take me to where this guy
is, lets sort this out.
CUT TO:
EXT. FOREST - NIGHT
We see the camp and its cabins from behind a group of
trees from the distance.
Suddenly, JASON walks into sight and he pauses. JASON
stands still, looking onwards at the place he once called
his home.
JASON slowly slants his head , dog like, to his left.
CUT TO:
EXT MAIN CABIN - NIGHT
ALICIA and the SHERIFF walk outside the cabin door.
ALICIA is leading the SHERIFF to another cabin.
ALICIA
So DENNIS wont be coming back
tonight then, Sheriff?
SHERIFF
(bluntly)
You got it in one.
We follow them walking up to the cabin.
INT CABIN
As the SHERIFF and ALICIA walk in the door, HENRY
MATTERSON, sitting up on the bed, looks up astonished.
The SHERIFF stands in the doorway, his expression one of
expectancy. He folds his arms as ALICIA stands back.
ALICIA
(surprised)
Oh hey, you're up, how you
feeling?
HENRY remains quiet, gobsmacked and without a thing to
say.
SHERIFF
(sternly, looking
directly at Henry)
Oh he's feeling fine now. But He's
going to be feeling a lot worse
later I can tell you that.
ALICIA senses something is not quite right between the
two and keeps her distance.
ALICIA
(unsure)
You want me to leave, sheriff?.
You need a statement I'll be happy
to - -
The Sheriff looks around to ALICIA and gives off another
of his stern looks.
Alicia expresses her slight understanding and slips out
of the door.
EXT CABIN - NIGHT
ALICIA leaves the door, and walks back, looking once over
he shoulder, before jogging back to the main cabin.
INT CABIN
The SHERIFF closes the door with one shove, without even
looking behind him.
HENRY sits on the bed, looking nervous, sweating,
gulping.
The Sheriff walks slowly towards HENRY, not taking his
eyes off him for a second, a fierce anger in his face.
SHERIFF
(quiet anger)
Well looky at what we got here.
CUT TO:
EXT SMALL CABIN - NIGHT
A window illuminates a light that has just been switched
on, forming the image of JASON VOORHEES, standing right
outside it.
JASON is motionless, his machete gripped cement-like in
hand.
INT SMALL CABIN
The light in the cabin makes us see it a small but tidy,
cozy little place.
EDDIE is finishing putting his shirt on, LOUISE is lying
flat out on the bed, curling her hair in her finger.
EDDIE
Well, lets go see what all the
fuss is about.
Louise seems uninterested, preferring to role over on the
bed and let off a groan of displeasure.
LOUISE
Why don't you go. It's only going
to be Dennis and Paul.
Eddie lights a joint and smiles beaming at his so called
loved one.
EDDIE
(under the influence)
That's why I'm going to see what
the fuss is about, dearest.
Hopefully one of the lame-asses
brought back some beer, I have a
serious dry throat.
Eddie then turns his back and walks out the door, leaving
Louise to lie back on the bed, hand on head.
EXT SMALL CABIN - NIGHT
We see EDDIE stumbling out of the door, smoking his
reefer, barely looking where he is going.
He pulls his hands out to hold on to the cabin to guide
himself walking until he opens his eyes, and we follow
him walking up to the main cabin.
INT SMALL CABIN
Louise sits up in her bed that is side by side with a
large patioed window, naked, of course, and begins to
comb her hair.
Louise is concentrating on her hair, eyes closed, and she
turns her back to the window, lying back a little.
Louise seems completely relaxed, as she combs her hair
through and through, eyes closed, dreaming of some
distant place of paradise.
Behind Louise is a shape moving beyond the window.
We look up to see it is JASON VOORHEES, staring into the
cabin window, looking DIRECTLY at LOUISE.
CUT TO:
INT MAIN CABIN
Eddie lunges through the door, high as a kite, smoking
his joint and with a massive smile on his face, muttering
stoned language.
Suddenly, Eddie pauses still as we see the cabin is
filled with KARA, ALICIA, PAUL, HENRY MATTERSON and the
SHERIFF, most noticeable.
HENRY is sat on the furthest chair from the door, nearest
the fireplace, where as the others are scattered around.
HENRY also is handcuffed, hands behind his back.
Everyone looks up at EDDIE as he remains paused by the
door.
EDDIE lets his joint slip from his mouth, releasing a
large amount of smoke.
The Sheriff looks bemused, Kara is quietly giggling, Paul
has his hand on his mouth and Alicia has her eyes closed
in embarrassment for Eddie.
SHERIFF
(bewildered)
If you tell me this is another guy
you don't know that has just
walked in here I am going to shut
this place down.
SUDDENLY,
A LOUD AND TERRIFYING SCREAM FROM NOWHERE
Everyone looks around, startled.
ALICIA
(startled)
Oh my God, where is Louise?
Eddie stands at the door, bewildered.
Everyone else looks towards Eddie.
EDDIE
(shocked)
She...she's in the cabin
The sheriff rushes annoyed towards the door.
SHERIFF
God damn you kid if anything has
happened to the girl.
EXT MAIN CABIN
The Sheriff runs out the door, followed by PAUL and
EDDIE.
The screaming has stopped.
We follow the sheriff as he stops midway towards the
small cabin.
The sheriff looks back at Paul and Eddie who are joining
him.
SHERIFF
(Yelling orderly)
GET BACK INSIDE AND SHUT THE DOOR.
EXT CAMP SITE - NIGHT
Paul and Eddie get back inside the main cabin, closing
the door behind them.
The sheriff pauses, looks around him.
There are various cabins on the site.
The mist is in the distance of the camp site, tall trees
hauntingly in the background.
The sheriff puts his hand to his gun in his belt.
He draws it cautiously, his breathing becoming rasp and
heavy.
INT MAIN CABIN
KARA and EDDIE are looking through the large glass
window, trying to get a decent view of what the sheriff
is doing.
PAUL is against the door, ALICIA near him in surprise at
what is going on.
HENRY is still handcuffed, remains seated on a chair
behind the burning old fashioned fireplace.
EDDIE
What the hell is he doing? He's
pulled his gun out and is just
standing there?
KARA
(to EDDIE)
What did you do to her?
EDDIE
(aggressively)
I didn't do shit to her.
ALICIA is calm, walking towards PAUL who is looking
confused.
ALICIA
What is going on Paul?
PAUL
(baffled)
I don't know, I am as confused as
you are right now.
ALICIA
I'm talking about that sheriff. He
handcuffs the guy that collapsed
here earlier and says nothing,
brings him in here, says nothing,
and he hasn't said a word about
why Dennis isn't here. Is Dennis
really drunk? What is going on?
PAUL
(honestly)
Alicia, Dennis is fine OK.
Everything is OK, this sheriff guy
is a bit nuts and I don't have a
clue what this old guy is all
about.
(referring to Henry))
But everything is OK, its cool.
Kara looks towards them with a smile, enjoying the slight
action that seems to have happened.
KARA
(smiling)
No it ain't cool its Friday the
thirteenth!
CUT TO:
EXT FOREST
We see the police car dormant amongst lifelessness.
The forest is the only view from the side of the car,
only from its front view can you see the camp site.
RICHARD ERIKSON's face is just about visible from the
backseat of the car.
INT POLICE CAR - BACKSEAT
ERIKSON is sat in the back looking at the camp site
through the barred fence of the barrier in place as a
security measure in most police vehicles.
ERIKSON'S POV
We see both doors have no handles, no way of escape.
ERIKSON
(to himself)
How did I end up in this shit?
CUT TO:
INT SMALL CABIN
The Sheriff BURSTS through the door.
The lights are out.
The door is wide open, allowing small amounts of light to
penetrate the room.
An eerie blue green colored light penetrates the room.
The sheriff steps into the room, cautiously.
The sheriff looks left to right.
Darkness.
SHERIFF's POV
From right to left, darkness, making out a bed and a
wardrobe.
CUT TO
EXT NIGHT SKY - DARK
The sky clouds are forming above.
The moonlight beams light as ever as clouds pass it.
CUT TO
INT SMALL CABIN - DARK
The sheriff treads slowly into the cabin.
His face is perspired with cold sweat.
His hand holding his gun, a finger ready to pull the
trigger at any given time.
SHERIFF
(anxious, angry,)
OK, it is the police.
Nothing.
No movement.
Suddenly,
A movement of the planks of wood beneath the sheriff
creak, giving off an awful eerie sound within each
footstep he takes.
The light from the window gives off a beam of light to
the bed to which the sheriff is headed.
There lies someone.
Beneath the covers.
The sheriff points his pistol at the bed.
The sheriff is sweating, cold sweat dripping from his
forehead.
SHERIFF (CONT'D)
(boldly)
I am the sheriff of police. You
have ten seconds before I will
fire at you. Please make a very
slight movement or I will spray
your fucking brains on the wall.
Nothing.
The sheriff puts both his hands on his gun to steady
himself, fearing something obviously.
The sheriff moves closer.
He walks to the side of the bed.
The moonlight glow illuminates a body inside the covers.
SHERIFF (CONT'D)
(whispering to
himself)
I wanted you for a long time you
son of a bit- -
JUST as the Sheriff uncovers the cover of the bed, LOUISE
sits up in amazement.
LOUISE
(thinking it is
Eddie)
You kinky mother fuck...
Both the Sheriff and Louise stare at each other for a
second.
The sheriff has his gun pointed directly at Louise's
face.
Louise is looking just like she woke up.
EXT FOREST
A loud SCREAM is heard, the exact same we heard a few
moments before.
INT SMALL CABIN
The sheriff and Louise are holding each other, the
sheriff reluctantly.
SHERIFF
You scream liked that a moment
ago?
Louise sits up.
LOUISE
I caught my hair in my comb, how
would you like it?
The sheriff lays back on the bed in bewildered amazement.
CUT TO:
EXT CAMP SITE - POLICE CAR - NIGHT
The police car is there, alone, stray leaves blowing
against it in the gathering wind.
The perfectly man made road gathering dust from the wind.
The police car looks dead, no lights. Nothing.
Apart from ERIKSON in the back of the vehicle.
INT POLICE CAR
Erikson is sitting there, wandering in his own mind.
Erikson looks from inside outside one of the only two
windows he has to look out of.
ERIKSON's POV
Through the window we see woods, and slight mist.
Endless trees
EXT POLICE CAR - FOREST - NIGHT
A dark figure walks towards the police car, from the
side. Slowly.
JASON.
He walks slowly, looking around.
JASON has his machete gripped in hand.
INT POLICE CAR
The radio is calling out for sheriff Everett.
ERIKSON looks to his nearest window, looking out.
EXT POLICE CAR - FOREST
JASON slowly trudges towards the car.
INT POLICE CAR
SUDDENLY,
The back WINDOW is SMASHED into PIECES from JASON's
MACHETE.
ERIKSON cowers and covers himself with his hands as he
ducks down.
ERIKSON screams as he looks up from his hands to see the
fearsome sight of JASON from behind the car.
JASON walks round to the side of the car and SMASHES the
back door window to pieces with his FIST.
ERIKSON scampers to the other door, but it wont open.
ERIKSON attempts to kick down the mesh fence between the
back and front of the police car, with no success.
ERIKSON looks to the back window, which is now free of
glass.
Just as ERIKSON is about to dive through the gap, the
DOOR is ripped off its hinges, JASON discarding it like
an empty can.
ERIKSON
(begging for life)
No...please...I'll pay you...
EXT. POLICE CAR
JASON grabs ERIKSON and pulls him outside the police car.
JASON grabs ERIKSON's head one handed, forcing him to
kneel down.
ERIKSON continues to wail and yell, attempting without
success to get JASON's vice like grip off him.
JASON brings his MACHETE high into the air, before he
brings it down, SLICING ERIKSON's head off.
As ERIKSON's body slumps to the floor spraying blood,
JASON casually tosses ERIKSON's decapitated head into the
back of the police car.
CUT TO:
EXT CAMP SITE - NIGHT
The SHERIFF and LOUISE (now dressed, but looking
bewildered) walking to the main cabin, are stopped in
their tracks following the wailing sound of ERIKSON's
desperate scream echoing in the darkness.
LOUISE
(startled)
What the hell was that?
The SHERIFF pulls out his gun.
SHERIFF
Lets get to that cabin.
We follow the SHERIFF and LOUISE as they quickly rush to
the main cabin and into the door.
INT MAIN CABIN
As the SHERIFF and LOUISE burst through the door, the
remaining group jump in surprise.
KARA, ALICIA, PAUL and EDDIE all turn round, HENRY
remains handcuffed near the fireplace, looking unfazed.
The SHERIFF walks over to the window where EDDIE is
placed, and looks out of it, LOUISE runs up to hug EDDIE.
ALICIA
You OK, Louise? What happened?
LOUISE
Yeah I'm fine, but did you guys
hear that yelling?
EDDIE hugs LOUISE soothingly.
PAUL
We heard it. It was the guy in the
back of the police car.
The SHERIFF cant see much out of the window.
He turns around and faces PAUL with a serious look on his
face.
SHERIFF
I want you to keep the door locked
(looking firmly at
HENRY)
And keep an eye on that guy.
The SHERIFF turns to walk outside, but is caught in his
tracks by HENRY MATTERSON, giggling to himself.
The rest of the group look confused and worried.
HENRY turns to look at them, smiling knowingly. The
fireplace distorts HENRY's appearance.
HENRY
I wouldn't go out there if I were
you.
KARA
(concerned)
What is he talking about?
The SHERIFF storms over to HENRY.
SHERIFF
I don't know but I'm getting
mighty pissed off.
The SHERIFF grabs HENRY by his shirt and eyeballs him
closely.
HENRY's NECK CHAIN falls to the floor, broken by the
sheriff's grasp.
HENRY suddenly looses his smug look and looks desperately
to the floor to where his CHAIN has fallen.
HENRY
(desperately)
My...my chain...I need it...
The SHERIFF yanks HENRY up and THROWS him down to the
ground.
HENRY nearly falls into the fireplace!
PAUL, looking increasingly unimpressed with the SHERIFF's
way of dealing with people, steps in between him and
HENRY.
PAUL
Hey that's enough SHERIFF.
The SHERIFF pushes PAUL out of the way, and picks up
HENRY's chain from the floor.
He tosses it into the burning FIREPLACE.
HENRY, hands behind his back, CRIES out in outrage.
HENRY
(yelling)
NO!! MY CHAIN!!
HENRY DIVES into the FIREPLACE, head first, attempting to
get the chain out with his TEETH!
The remaining group are stunned and gasp in disbelief.
PAUL and the SHERIFF instinctively rush to DRAG HENRY out
of the fire, his suit is slightly ABLAZE.
Screams from LOUISE and KARA in the background.
ALICIA (V.O.)
Oh my fucking God!
The SHERIFF and PAUL manage to smother HENRY and
extinguish the flames. HENRY's head looks RED and CUT,
BURNT hair and skin. His FACE is only slightly burnt, but
he is moping in pain and agony. The SHERIFF undoes
HENRY's handcuffs.
ALICIA (CONT'D)
My god, get a first aid kit!
SHERIFF
I got one in my trunk, I'll go get
it.
The SHERIFF stands up, looking down on HENRY who is
covering his head with his hands, rocking in a cradled
motion, visibly in pain. PAUL is sat next to him, face in
awe.
SHERIFF (CONT'D)
Crazy son of a bitch.
EDDIE
(looking on in
astonishment)
Man, that chain must be worth some
serious cash.
LOUISE begins crying on EDDIE's shoulder. She cant take
what she just witnessed.
The SHERIFF walks over to the door, looks back before he
leaves.
SHERIFF
(speaking loudly to
all)
Lock the door and don't let no one
in unless you know it's me.
CUT TO:
EXT MAIN CABIN
The SHERIFF closes the door behind him as a forceful gust
of wind blows dry leaves towards him, leaving him to
guard his eyes with his hand.
He grabs for his gun and walks slowly through the camp
grounds on his destination towards the police car.
STALKING POINT OF VIEW
Someone or something is in the forest, hidden in the
trees, looking at SHERIFF. Breathing heavy, we walk
slowly away and look into the main camp.
SHERIFF walks slowly, watching each step he takes with
care, gun firmly in hand.
SHERIFF POV
We see the police car.
The SHERIFF runs up to the police car and pauses once he
nears the vehicle.
The back window is smashed in, the back door is missing
and ERIKSON is no where in site.
SHERIFF POV
We look down and see a large puddle of dark red liquid
seeping into the dust ground.
The SHERIFF is has already stepped into it unwittingly.
He jumps back in disgust.
SUDDENLY
A noise of twigs breaking/snapping from behind...
The SHERIFF spins round aiming his gun in the direction
of the noise, but there is nothing there. Only trees and
miles of forest.
The SHERIFF is not so sure however. He goes to open the
front door drivers side of the police car and he slides
in, keeping his eyes on the site where the sound just
came from.
SHERIFF POV
We look to grab the radio handset when our eyes catch
site of an object on the passenger seat.
It is ERIKSON's decapitated HEAD!
The SHERIFF yells in shock and surprise and quickly darts
out of the police car, turning round and jumping right
into...
JASON VOORHEES!
The SHERIFF looks PETRIFIED as JASON rams his FIST right
THROUGH the SHERIFF's stomach, and bursting out his back,
sending a splurge of blood and gore flying.
CUT TO:
INT MAIN CABIN
The group huddle together.
KARA
You guys hear that or was it just
me?
ALICIA
(worried)
Sounded like the sheriff.
PAUL and EDDIE look at each other concerned.
LOUISE is still holding onto EDDIE tightly.
HENRY is sat by the fireplace, looking into the flames,
still expressing pain from his burns.
EDDIE
(wryly)
Fuck is going on, man.
PAUL looks at HENRY.
PAUL
(calmly)
Hey, you know what is happening
here don't you?
HENRY looks on into the fireplace bemused, no longer
caring, only for his burns.
EDDIE
(to PAUL)
Maybe we should go out there and
actually like find out what is
going on?
PAUL looks to EDDIE unsure.
LOUISE
(looking up from
Eddie's shoulder in
fear)
No no you are not leaving me and
going out there! You will die too!
KARA and ALICIA walk to the window, looking out.
ALICIA over hears LOUISE's whine.
ALICIA
(seriously)
No one is getting killed, LOUISE,
you need to get a grip here.
PAUL
(confidently)
Exactly, we are all overreacting.
(beat)
Well, hopefully.
CUT TO:
EXT CAMP SITE - POLICE CAR
JASON is chopping the SHERIFF's dismembered body to a
BLOODY mess with his MACHETE. REPEATEDLY hacking away,
the SHERIFF is no longer recognizable as even a corpse.
CUT TO:
EXT. CROOKED CANDLE PUB - NIGHT
All looks quiet and peaceful, with just one car outside,
and soft music playing from within.
INT CROOKED CANDLE PUB
DENNIS wakes up at one of the tables,apart from the
BARMAN, he is the only one left inside.
DENNIS looks miserable, eyes widening as he familiarizes
his surroundings.
DENNIS gets up from the table, checking his watch.
We do not see the time.
DENNIS walks over to the bar, no one seems to be there.
DENNIS
(wearily)
Hey, yo, anyone in here?
A voice emerges from beyond the counter.
BARMAN
(calling back)
Ah, sleeping beauty awakens.
DENNIS
How long have I been out?
The barman walks into scene drying a pint glass, looking
tired and haggard.
BARMAN
A while,kid. Don't worry, the
sheriff ain't back here yet.
Dennis double checks his watch.
DENNIS
(surprised)
Still? He does know I meant we
were staying at Camp Forest Green
and not the tropical rain forests
of the amazon?
The barman looks at him clueless and shrugs his
shoulders.
DENNIS (CONT'D)
(slyly)
You know, the sheriff didn't take
my car key with him.
The barman shrugs his shoulders again, walking off to
clean up some of the tables.
BARMAN
You can stay here until Sheriff
Everett gets here. Don't go
getting yourself in any more
trouble.
Dennis flips his car key out his pocket, smiling to
himself.
CUT TO:
MAIN CABIN
ALICIA sits near HENRY, who seems to have gotten over his
pain and is sitting on the floor, opposite the fireplace,
watching the flames flicker.
ALICIA
(sympathetically)
That chain...was important to you
wasn't it?
HENRY looks over at her with a scolding look. HENRY's
hair has been half burnt off and the top half of his face
looks red and sore.
He looks like the monster his character has been.
HENRY
(sarcastic)
You think I enjoy diving head
first into lit fireplaces, girl?
ALICIA stands up.
ALICIA
Look, you don't need to be rude.
We only tried to help you earlier.
LOUISE, sitting down with EDDIE on the main table, over
hears the conversation.
LOUISE
(angrily to HENRY)
Yeah, since you've turned up
things have suddenly got a lot
worse.
PAUL and KARA are standing by the window.
PAUL
I can't see the sheriff out there.
He should be back by now.
KARA
(looking admiringly
at Paul)
Yeah.
PAUL takes a double look at KARA. He notices her staring
at him for the first time.
He smiles appreciatively.
EDDIE, LOUISE and ALICIA are trying to get the truth out
of HENRY.
EDDIE
So, man. You gonna tell us what
you were doing creeping around the
woods?
(beat)
Or you just some kind of perv?
LOUISE smiles and kisses her boyfriend on his cheek,
doing much to boost his ego.
HENRY remains sitting, pining for his chain, looking
dismayed as the fire continues to burn the logs inside
the place.
PAUL
(towards HENRY and
the group)
For what its worth, the sheriff
was an asshole for throwing your
chain in there pal.
HENRY smiles sarcastically.
He looks down to the wooden floor.
HENRY
(downbeat)
The sheriff is dead. We are all
going to die.
The group all look over at HENRY's comment.
EDDIE lets loose of LOUISE and walks over to HENRY,
looking fairly unhappy at HENRY's prediction.
EDDIE
(aggressively)
This old guy is really tickin' me
off. What are you on about we're
all gonna die?
LOUISE
I say we throw the old pervert out
of here. He gives me the creeps.
PAUL walks over.
PAUL
We cant do that.
KARA
Yeah, he hasn't actually done
anything wrong you know.
LOUISE gives off a nasty look to HENRY's direction.
LOUISE
How do we know he hasn't? Why did
the sheriff handcuff him if he's
done nothing?
HENRY smiles to himself.
EDDIE lights a cigarette and goes over to PAUL.
EDDIE
Look man, where is this sheriff?
What kind of clown is he?
HENRY begins to giggle. The group look at him with
concern. Henry is beginning to crack up it seems.
EDDIE (CONT'D)
I'm becoming seriously tempted
with throwing that old guy back in
the fireplace unless he shuts up.
CUT TO:
EXT CAMP SITE
The lumbering and imposing figure of JASON walks slowly
through the site.
JASON looks through the windows of various cabins, until
his attention is taken by the main cabin, with its lights
blaring from its large window.
JASON looks up and pauses still for a moment.
Then grasping his blood soaked machete, begins to walk
slowly towards the cabin.
CUT TO:
INT MAIN CABIN
HENRY has everyone's attention. The old guy stands to his
feet in front of the fireplace and runs his hand through
his remaining hair.
ALICIA
(to HENRY)
Look, we will get you to a
hospital as soon as the sheriff
gets back here.
HENRY laughs out loud as he walks to the window and gazes
out.
His suit is burnt and ruined, his appearance reflecting
from the window in front of him.
HENRY
We aren't getting out of here.
PAUL comes across to the window.
PAUL
(seriously)
Can you tell us why?
KARA moves over to join PAUL.
EDDIE, LOUISE and ALICIA are near the fireplace, but all
eyes are on HENRY.
EDDIE
Yeah man, spill this shit. Lets
hear something from you. You ain't
said jack and shit all night.
(beat)
Apart from being a tramp, being
arrested and diving into people's
fireplace's you seem real normal.
HENRY walks over to EDDIE and stares him straight in the
eyes.
HENRY
Got a cigarette there, boy?
EDDIE backs off, his expression suggesting HENRY is far
from smelling nicely.
EDDIE
(handing HENRY a
cigarette and
lighter)
Here.
(behind HENRY's back)
You could probably light it off
your head.
HENRY sparks his cigarette and sneaks the lighter into
his pocket without EDDIE noticing.
HENRY
(smoking)
I don't know if any of you kids
are superstitious. But I sure hope
you know the date, boys and girls.
HENRY, sensing he is in charge, takes a seat on the
window ledge.
HENRY (CONT'D)
Friday the 13th. The birth date of
the most evil creation that has
ever lived on this planet.
EDDIE
(shaking his head)
Oh come on for fuck sake. What is
this a wind up show?
PAUL intervenes.
PAUL
Shut up Eddie, let him speak.
EDDIE sits down near the table shaking his head. He is
not interested in hearing ghost stories.
HENRY
(a gaze in his eyes,
he is losing it
surely)
You could blame the ancient Norse
culture. The mischievous God,
Loki, gate crashed a party a
twelve, murdering a hero named
Balder...
The group look staring at HENRY, in confusion and utter
ridicule.
HENRY continues, his blank gaze drifting somewhere only
he would know where.
HENRY (CONT'D)
The last supper, yes, you can say
that is where it all began. The
thirteenth member of the meal,
Judas, the apostle who betrayed
Jesus. The thirteenth member to
arrive. Jesus' crucifixion was on
a Friday.
(a more distant look
in henry's face)
A coven of witches is twelve, plus
the Devil himself. A ceremony of
blood to be held on a Friday. To
resurrect an ancient power.
(a sly look to the
remaining group)
The origins of the Christian
church itself.
ALICIA becomes increasingly agitated.
ALICIA
I'm a Christian, what are you
talking about? What has this got
to do with anything?
PAUL
(protectively)
Nothing. This is all babble talk,
don't listen to him.
HENRY chuckles to himself, stubbing his cigarette out on
his wrist.
HENRY looks at the group, an expression of satisfaction
from his own pain.
HENRY
What we have here is an historic
event I have been pursuing for
years. A reason to bring him back.
On a Friday the 13th in 1306, King
Philip of France arrested the
revered Knights Templar and began
torturing them, marking the
occasion as a day of evil. A
Templar escaped, fleeing where no
one would find him. He died here,
and he died with a terrible curse
that has haunted these woods ever
since. The curse of Crystal lake.
A curse that has been dormant. But
I have brought back that evil...
HENRY's voice trails off, leaving the group dumbfounded
and stunned.
HENRY (CONT'D)
That chain was my protection.
(babbling insanely)
I spent a lot of money on a
Haitian witch doctor, who gave me
it...
Money buys everything see...it
worked...He rose from the
grave...and he didn't kill
me...now he will...
(angry and
aggressive)
BECAUSE I DON'T HAVE MY FUCKING
CHAIN!!
SUDDENLY,
The large window SHATTERS into the cabin as JASON GRABS
HENRY from outside, DRAGGING him out of the cabin!
ALICIA and KARA instantly run from the cabin screaming.
LOUISE screams in terror, and PAUL and EDDIE duck from
the flying glass.
HENRY yells out in horror.
CUT TO:
EXT MAIN CABIN
Right outside the broken window, JASON has HENRY's neck
in between his massive arms.
HENRY is powerless, his arms flailing to no avail as
JASON squeezes his arms together, crushing HENRY's neck.
JASON releases HENRY's lifeless body to the ground and
picks up his MACHETE that is imbedded into the ground.
A slight gurgle from HENRY is soon turned to silence as
JASON THRUSTS the machete DIRECTLY downwards with so much
strength, only the handle of the weapon is visible from
HENRY's BACK. He is pinned to the ground, very much dead.
CUT TO:
INT CROOKED CANDLE PUB
Dennis is getting ready to leave the pub. The barman is
sitting at one of the tables, drinking a short.
DENNIS
(dryly)
If the sheriff gets back, tell him
I had a stomach ache and my mom
picked me up.
(smiling)
I'll be sure to bring in a letter
tomorrow.
The barman shakes his head in disapproval as Dennis walks
out of the pub.
EXT CROOKED CANDLE PUB
Dennis walks to his car, opens the door, climbs in.
INT CAR
Dennis takes a look at the pub, giving one last thought
to staying and waiting for the sheriff.
He turns, smiles to himself, and drives off down the
road.
CUT TO:
EXT. LAKE BANK
The lake is glittering under a bright full moonlit sky
and there is a long ramp that leads out into the lake
nearby the bank.
Kara and Alicia are standing at the lake bank, catching
their breath. Both look terrified.
KARA
(catching breath)
Oh my god what the fuck are we
gonna do?
ALICIA
(looking back)
I don't know, we've lost the
others.
Both look back at the camp site. It seems deserted and
quiet again. The main cabin is out of sight. Nothing
stirs.
KARA
(almost in tears)
Who was that guy with the hockey
mask?
ALICIA
(putting on a strong
face)
We've got to stick together.
Find a way out of here somehow. We
cant stay here, we are siting
ducks.
KARA holds back her tears, gritting her teeth. Alicia
looks equally shocked and scared.
KARA
Did Paul and Eddie get away?
Louise...my God...what happened to
her?
CUT TO:
INT SMALL CABIN
Darkness. The lights are out, Louise locks the door
behind her as she runs inside, crying and in shock.
The moonlight provides an eerie glow through the window
near to the bed in the room.
Louise crumples to her knees just beside the door,
collapsing in a fit of tears and terror.
She is alone and to terrified to go out and look for the
others, who are now separated.
A creak in the floorboards.
Louise looks up into the darkness.
From the moonlight, we can make out a large closet that
is shut tightly.
Another creak, followed by a SLIDING sound from inside
the CLOSET.
Louise looks petrified as she looks up wide-eyed at the
closet.
CUT TO:
EXT. FOREST
Hiding behind the tall trees and crouching on their
knees, Eddie and Paul survey the camp site, catching
their breath, both looking on in shock.
EDDIE
(quietly)
Fuck man, we got to find the
girls, they are all alone in there
somewhere.
Paul nods his head in agreement.
PAUL
I just hope you have got some kind
of plan on how we go about
actually doing that without
getting ourselves killed in the
process.
Eddie looks behind him, anxious.
EDDIE
Maybe the sheriff got away? Maybe
he's getting help right now.
PAUL
No. I can see the car from here.
Eddie looks frustrated.
EDDIE
(worried)
I didn't even see what direction
the girls ran off in. Fuck man, I
was just running...following you.
PAUL looks over at EDDIE frowning.
PAUL
I ran out after Kara and Alicia
but I couldn't see them.
(concerned)
We got to do something.
SUDDENLY,
A LOUD CRACKING sound from behind the guys.
EDDIE and PAUL swing round, falling flat on the ground
looking up to see...
A squirrel. It stares at the two for a moment, before
running along deep into the forest.
Both sigh in relief.
PAUL (CONT'D)
Maybe we can call out so they know
where we are. At least try and get
all of us together so we can get
the hell out of here.
EDDIE looks at PAUL as if he is crazy.
EDDIE
I thought I was the dope head
here.
(beat)
Did you see that fuckin' guy? He
could kick our ass two at a time,
man.
PAUL
(serious)
We can't hide out here and
let...whoever that was...get to
them. There is two of us. We need
some weapons.
EDDIE closes his eyes in dread.
PAUL (CONT'D)
The kitchen, we can get some
knives. It's better then nothing.
EDDIE
Which is in the main cabin, man.
The same place we just legged it
out of. You want to go back IN?
PAUL
(impatiently)
Look...Eddie, grab a stick, a log.
Something to do us until we can
get in there. At least we got
something to hit that big fucker
with if he shows up.
EDDIE
A STICK??
PAUL
Do it, man. We don't have time to
argue.
CUT TO:
EXT CAMP SITE
The camp site looks deserted. The only light can be seen
from the main cabin, the destroyed window creating
flickering silhouettes against the other cabins.
There is no trace of Henry's dead body, but a pool of
blood that is slowly sinking into the ground.
INT SMALL CABIN
Louise remains slumped against the cabin door, her eyes
widely looking towards the window, then towards the
closet that continues to make a sliding sound from
inside.
Louise looks down to the cabin floor.
A dark liquid is soaking into her knees.
Louise grimaces, holding back a scream.
She strains her eyes to look at the liquid and we can see
the trail has come from seeping through the closet.
LOUISE
(whisper)
Oh...my...god...
Something is straining the closet door, the door
clicks...
All of a sudden, the closet door BURSTS open, a HEADLESS
BODY dropping to the cabin floor.
Louise SCREAMS.
Just at that moment, from the window we see JASON walking
outside, stopping, and looking inside quickly.
Louise puts a hand to her mouth to silence herself just
as the cabin DOOR HANDLE begins to RATTLE.
Someone is obviously trying to get inside.
Louise instantly puts all her weight behind the locked
door.
Louise SCREAMS for help.
Then...
The door handle stops rattling.
Louise is crying, motionless, scared stiff behind the
door.
A moment passes.
Relieved, Louise slumps against the door.
LOUISE'S POV
As our eyes have adapted to the dark, we can make out via
clothing that the headless body lying in a pool of blood
is that of RICHARD ERIKSON.
INT SMALL CABIN
SUDDENLY,
The peace inside the cabin is destroyed as a BLADE comes
THUNDEROUSLY through the cabin door and RIGHT THROUGH
LOUISE.
A small fountain of blood flies from Louise's mouth, her
expression stunned.
The blade impaling Louise then is REMOVED viciously.
Louise, a massive gory slit through her stomach and chest
from the cut, remains stuck against the door, but her
head limps to the side and her eyes drift into the land
of the dead.
EXT SMALL CABIN
JASON stands outside the cabin door, YANKING his blood
soaked machete from the door.
He stands there for a moment, looking down at the ground.
Blood masses around the bottom gap of the cabin door and
Jason is satisfied.
Jason looks up, and walks away from the cabin, another
life successfully claimed.
CUT TO:
EXT FOREST
Eddie and Paul, armed with large chunks of wood, decide
to finally make a dash for the camp.
PAUL
(a fierce whisper)
Come on man hurry it up.
Eddie rushes behind as the two dart for one of the unused
cabins and crouch below.
The main cabin is now within distance, the lake, however
is further afield.
The two look around, no sign of the hockey masked
assailant in sight.
EDDIE
(muttering, ashamed)
That sounded like Louise, man. A
moment ago, I shouldn't have left
her...
Paul looks at Eddie and tugs his arm, pulling him back
into the current situation.
PAUL
I'm gonna run to the cabin and get
us a couple of knives. You keep
watch in case that "thing" gets
close and you either give me a
shout or you hit that fucker with
everything you got, you got it?
EDDIE
(understanding)
Yeah, yeah, I got it, man.
Paul leaves his block of wood behind and darts into the
camp site.
Eddie, heavily breathing, looks on. He takes a cigarette
out of his pocket, but the packet is crushed. One
cigarette left.
Eddie goes to light it, before releasing he no longer has
a lighter.
EDDIE (CONT'D)
(to himself)
This really has not been a good
day.
Paul rushes through the camp site and makes it into the
main cabin, via the unorthodox way of clambering through
the gape in the wall where the window once stood.
INT MAIN CABIN
Paul takes a quick look to make sure the coast is clear.
The fireplace is still burning fiercely, everything else
seems in order, apart from a few strewn leaves that have
been blown inside.
Paul rushes to the kitchen, and rummages hurriedly
through the drawers looking for a suitable weapon.
EXT CABIN
Eddie looks on, anxiously gripping onto useless pieces of
wood that he hopes will protect him.
Eddie takes a look behind him, it is all clear, nothing
there but the forest.
A look back again at the camp, it is all clear, the
bright light of the main cabin the only source of clear
light.
EDDIE
Come on Paul for Christ sake get a
move on!
SUDDENLY...
A loud SNAP from behind.
Eddie spins around in horror, but there remains nothing
there.
He makes sure, staring in all directions of the forboding
forest.
He looks back and instead of seeing the camp and the
bright light of the main cabin, he sees the feet and legs
of JASON.
Eddie looks up slowly...Jason's rotten bone exposed torso
right to the iconic hockey mask on Jason's face.
Jason tilts his head to the side in a dog like way, his
breathing rapid, strong and highly aggressive.
Jason SLICES his machete across Eddie's face, but Eddie
falls to the ground to avoid contact.
Eddie yells out for help, his face nicked by the blade.
Jason steps on Eddie's CHEST to prevent him from moving,
such is his vice like grip.
Eddie repeatedly smashes his wooden weapon against
Jason's leg in order to get free, but Jason is too
strong, he doesn't even flinch.
Eddie is screaming insanities, Jason pushes down harder
with his FOOT on Eddie's CHEST.
Gut wrenching sounds of Eddie's RIBS being CRACKED and
BROKEN, his chest plate deflating like a balloon as
Jason's foot stomps inside Eddie's torso like it was
marshmallow.
INT MAIN CABIN
Paul, hearing the commotion from outside, rushes from the
kitchen to the gap in the wall.
A single butcher knife in hand, Paul is frozen in his
tracks as he can see Jason killing his friend.
PAUL
(yelling)
EDDIE!!!!....
EXT CABIN
PAUL (V.O.)
(yelling in anger to
Jason)
YOU MOTHER FUCKER!!!
As Jason raises his machete and SLICES Eddie's FACE clean
off his skull.
Jason's attention is now on Paul.
He looks over to where Paul is, and removes his foot
gruesomely out of Eddie's lifeless corpse.
Jason begins to stomp over to Paul's destination.
INT MAIN CABIN
Paul looks at his knife and then quickly up again at the
monstrous psychopath holding a machete walking towards
him.
Quickly losing his courage for good reasons, Paul is
about to make a run for it when...
A FLASHING light from the road blinds him.
Jason pauses, also looking over to the near distance to
where the lights came from.
HEADLIGHTS from an incoming car, travelling into the camp
grounds!
INT. CAR
We see it is Dennis, driving his car down the mud track
returning from the village.
EXT CAMP SITE
All of a sudden, we see KARA RUNNING TOWARDS THE CAR from
the lake bank.
It is a fair distance to get there.
Kara screams in desperation to Dennis, but he can't see
her as he continues to drive into the site.
Alicia can be heard screaming for her to get back.
Paul looks baffled, but then he sets his sights back on
Jason...he's gone.
Paul looks towards the beaming headlights.
Jason is already on his way to cut Kara off as she runs
towards the incoming car.
PAUL
(yelling desperately)
KARA!...NO!...DON'T GO OUT THERE!
It is too late.
Jason has somehow got to Kara.
In front of Dennis' car, Kara is one step away, but Jason
is there first.
Jason slashes his machete across and DISEMBOWELS Kara
with his machete.
Kara's torso drops to the floor in a rain of blood.
Jason looks for a moment at his work, making sure his
victim is dead.
Jason seems satisfied, looks up and continues towards
Dennis from within the car.
INT CAR
Dennis is left open mouthed at the sight of seeing Kara's
violent death.
DENNIS
HOLY SHIT!
EXT CAR
Jason has got to the side of the car, but just as he is
about to strike the driver's side window, Dennis reverses
with speed to avoid him.
At the same time, Alicia has ran over from her hiding
place at the lake bank and is running towards Paul, who
she must have spotted via the headlights.
Paul calls out to Alicia to make sure, and the two join
up just as Jason looks behind to see them.
Alicia calls out for Dennis.
Just as Jason begins to walk towards Alicia and Paul,
Dennis revs the car engine.
Dennis drives at speed right towards Jason.
Jason turns around just as Dennis SMASHES right into him.
Jason's body is thrown right over the car bonnet,
SMASHING the windshield.
Dennis slams the breaks, and Jason's body flies from the
car onto the ground some distance away.
Paul and Alicia run out to the car.
Dennis jumps out, leaving the door open and headlights
on.
DENNIS
(bewildered)
What the hell is going on?
Alicia hugs Dennis relieved, and begins to babble.
Dennis calms her down, a puzzled expression on his face.
The three look at the body of Jason lying on the ground,
illuminated by the glow of the car headlights.
PAUL
(exhausted)
That guy...he's killed
everyone...we are the last left.
The body of Jason remains still on the ground.
Dennis looks over at the police car, and then at Kara's
torn up body.
DENNIS
(shocked, to Paul and
Alicia)
Get in the car.
Alicia gets into the back of the car, Paul quickly rushes
to the passenger side and once inside, clears the cracked
windshield.
Dennis gets into the driver's seat, looking like he is
about to throw up.
INT CAR
DENNIS
(looking beyond at
Jason)
OK who the hell is that guy?
Alicia is crying in the back, trying to control herself.
Paul still has the knife in his hand, shock beginning to
hit home.
PAUL
Just drive, get us out of this
place.
Dennis doesn't need to be told twice.
Just as Dennis is about to put his foot on the pedal, he
looks up stunned.
PAUL (CONT'D)
(looking at Dennis)
What?
Paul looks out, Jason is standing, looking right at them.
PAUL (CONT'D)
(urgently)
DRIVE!!
Jason THROWS his machete as if it were a dart.
The machete STRIKES Dennis in his chest, imbedding him to
the driver's seat.
Alicia screams as the machete blade rips through the
chair, blood oozing.
PAUL (CONT'D)
(to Alicia)
Out, out, get out of the car!
Paul rushes out the passenger side, Alicia races out the
back of the car.
Dennis is sat up right, eyes wide open, but he is already
dead, the machete deep in his chest up to the hilt such
was the velocity of the throw.
EXT CAR
Jason is walking fiercely towards Paul and Alicia, even
without his machete, he still looks menacing.
Paul has his knife, but makes the right choice in
avoiding a fight with this guy.
PAUL
(to Alicia)
Come on!
Paul and Alicia run down the mud track road, into the
darkness, pursued by Jason.
EXT FOREST ROAD
The road is narrow, and surrounded by forest. It is dark
and a completely unwelcome place to be.
The road itself seems to go on forever, with twisting
turns.
Alicia and Paul stop from running for a moment to regain
their breath.
They look back.
From what they can see, Jason is not in sight.
ALICIA
(scared anger)
That bastard...he got
Dennis...what are we going to do?
Paul looks at his knife. The weapon seems almost
pointless to hold.
PAUL
We got to get to town, call help.
ALICIA
(bewildered)
Town is twenty miles away! We will
never make it that far on foot in
darkness. If we take the wrong
road or turn off, we will be stuck
in these damn woods for ever.
They continue to walk down the road, looking back every
so often.
PAUL
(agreeing)
I know. But what other choice do
we have?
(suddenly
remembering)
Fuck it, if only we could have got
to the sheriff's car, could have
used his radio to get help.
ALICIA
(looking behind)
That guy...the old guy who was
talking about all that nonsense.
Maybe he was right. Did he say
anything that might help us right
now?
PAUL
(thinking)
He was on about a curse...Templar
knights...Friday the 13th. A whole
load of crap. Even if he was right
about that neck chain being able
to help stop this guy, it's long
gone now.
The two come across a path that leads into the forest, or
the option of continuing down the road.
Alicia seems to recognize it.
ALICIA
(hopeful)
Wait Paul...this path, it leads to
that construction site they have
got up a mile or so away from the
camp. It's our best chance at
getting some help.
Paul seems unsure.
PAUL
You mean walk through the forest?
Shouldn't we stick to the road?
Suddenly,
JASON GRABS PAUL FROM NO WHERE!
Jason has his HANDS tightly round Paul's neck, throwing
him to the ground and SQUEEZING.
Paul is trying to fight Jason off him, but he DROPS his
knife.
Paul tries to PUNCH Jason with all his might, but his
strength is being drained.
Alicia looks for something, anything to try and help
Paul.
Alicia suddenly notices the knife that Paul dropped.
Within an instance, she grabs the knife and REPEATEDLY
HACKS at Jason, striking him in his BACK.
The knife draws no blood, and Jason continues to strangle
Paul on the floor, oblivious to what Alicia is doing.
In a frenzied attack, Alicia STABS the knife into the
back of Jason's NECK with ALL HER STRENGTH.
The blade goes through Jason's neck to the hilt and out
his THROAT, a dark liquid oozing from the cut.
This works. Jason stands, his hands releasing from Paul,
grasping to his neck in obvious pain.
Paul rushes to his feet, holding his neck, BRUISED from
his attack.
ALICIA
(screaming
deliriously)
PAUL RUN! COME ON!
Alicia and Paul run up the path way leading to the
construction site.
Jason, grabbing the knife from behind his neck, PULLS the
blade out slowly.
A dark liquid gushes in thick gooey amounts from both
sides of his neck wound.
Jason holds his hand at his throat for a moment, dazed by
the wound that would have killed any natural being.
He looks up at the path, Alicia and Paul are running in
the distance down the forest.
Jason grabs the knife, and follows after them in an even
more determined fashion.
EXT. FOREST
Alicia and Paul run through the forest, following the old
path up the hill, Jason although only walking, remains in
hot pursuit.
Suddenly, they find themselves at the top of a clearing.
A large construction site.
EXT CONSTRUCTION SITE
Alicia and Paul find themselves looking around the site
for help, but it is desolate.
There are a few portacabins, machinery, pits, and a few
structures that are in the beginning stages of being
built.
A large boarding sign reads : " TIM CONNOLLY &; CO.
CONSTRUCTION".
Alicia and Paul both yell for help, hoping someone will
hear them and rush to their aid.
There is no one.
A look back at the path, Jason has not emerged yet.
ALICIA
Paul...can you use any of this
stuff here?
Paul is looking around.
PAUL
(confused)
What can I drive a bulldozer?
Where did you get that idea?
Alicia and Paul walk round to one of the portacabins and
rush up to the door, constantly looking around for signs
of help or signs of Jason.
ALICIA
You said you were going to work
with machinery when you left here
right?
Paul tries the door of the portacabin. It is locked.
PAUL
I said I might get a job working
in a garage. There is a big
difference.
(beat)
Plus, that was when I was pretty
sure I was getting out of here.
They try different portacabins, all are locked but one.
They go inside.
INT PORTACABIN
They walk inside, closing the door behind them.
Alicia lets out a short scream as they are welcomed into
the cabin with the sight of Tim Connolly's dead body
lying on the floor, cut to pieces.
The sight and smell is over whelming.
Alicia and Paul hold back being sick.
ALICIA
(gagging)
I'd say he's been here too.
PAUL
(searching the
office)
There's got to be something here.
Paul opens the drawers, finds a GUN, looks up and smiles
at Alicia.
There are also multiple keys hanging on a board on the
wall.
Paul grabs ones he can recognize.
PAUL (CONT'D)
(referring to the
keys)
It's worth trying one of these
things to see if we can drive out
of here.
Alicia is looking out of the window for any sign of
Jason.
Still nothing.
ALICIA
(determined)
Well lets hurry up and get going.
I'm not hiding any longer.
Paul gives the gun to Alicia.
Alicia is reluctant at first.
ALICIA (CONT'D)
I don't know how you work this
thing, is it even loaded?
PAUL
Lets hope so. I'm no gun expert
myself.
(beat)
I've got an idea.
EXT. CONSTRUCTION SITE
We see the site apparently empty, no sign of life.
The mist is swirling, the forest in the distance dark and
forboding as ever.
But something seems to be different.
Somehow the atmosphere over looking the scenery has gone
to much darker levels.
EXT. SKY
The clouds are covering all of the sky but the bright
full moon that has been allowed to shine all evening.
There are stars that seem to shine more then most amongst
it, a pattern of some kind has formed that is
unrecognizable, yet it can not leave the eye.
It's formation is there right above, almost like a
display of some kind.
EXT CONSTRUCTION SITE
Jason walks from the path onto the construction site,
knife in hand.
He is alone, so it seems.
Jason stands still at the hill, silent, looking over the
construction site he visited a mere few hours ago.
He over looks the whole scene, almost as if something was
telling him, some instinct in him to tell him where to go
and attack.
There is nothing.
All is silent.
Jason walks on to the grounds.
Beneath his feet, pebbles are crushed and cracked, turned
to dust.
Jason hulks onto the site, looking around him.
He stops.
Jason looks at a portacabin, it's door wide open, light
flowing.
Jason makes his move towards the portacabin.
Suddenly,
ALICIA runs out of the portacabin, pointing the GUN at
Jason.
Jason walks straight towards her, caring nothing for the
weapon pointed at him.
ALICIA
(quiet anger)
Die...die you son of a ...
Alicia pulls the trigger of the GUN and to her surprise,
a shot FIRES DIRECTLY at JASON.
The impact has no effect on Jason, a mere GRAZE on his
torso, not even pulling back his forceful stride towards
Alicia.
Alicia, however, falls back from the vibration of the gun
and in the process, drops the gun on the ground.
She quickly grabs it back, and from the ground, fires the
whole clip repeatedly until the gun is empty.
Incredibly, four of the remaining five bullets STRIKE
Jason, the only effect is of driving him back for a
second or so.
The bullets have no effect on Jason, he continues to walk
towards Alicia, knife in hand.
Alicia, completely out of energy, slumps to the ground in
defeat, dropping the empty gun.
ALICIA (CONT'D)
(barely whispering,
looking up)
P...Paul...
Jason closes in on Alicia.
All of a sudden, a MASSIVE BALL OF STEEL FLIES THROUGH
THE AIR RIGHT AT JASON.
The 2-ton "headache" ball HAMMERS JASON right in his
midriff, sending him FLYING into the scaffolding that
lies on the site.
We see from Alicia's view, PAUL was in the cabin of a
CRANE controlling the giant ball, normally used for the
demolition of buildings.
At the same time, Jason is sent literally flying into
scraps of work, wood and metal COLLAPSING down on him,
burying him in a grave of scrap.
Clouds of dust and smoke spread through the camp, a
MASSIVE noise of disruption and chaos, as if a building
had been demolished.
Jason is buried under too many tons to even count. He is
dead surely.
Alicia is on the ground, crying and laughing
hysterically, she has lost it.
INT CRANE
Paul, high up, is punching his fist in delight.
He is at least (X) amount feet up on the crane,
controlling the giant Ball that crushed Jason to his
fate.
PAUL
(to himself in
triumph)
Yes!! Got you, you motherfucker!
Paul climbs down from the CRANE carefully, on to the
ground, smoke from his destruction now forming around the
site.
EXT. CONSTRUCTION SITE
Paul scrambles on the ground, looking for Alicia.
He calls out, Alicia calls out, they unite and hug each
other.
The smoke clears into the night sky.
Paul and Alicia are on their knees, embracing each other,
looking at the devastation.
Dust is still uprising from the scaffolding, a collapsed
half built building in ruins, lying on top of the
infamous Jason Voorhees.
The smoke and dust clears into the midnight gust, the
site again is peaceful amongst all the chaos that has
just erupted.
EXT SCAFFOLDING
There are remains of smoke, dust, amongst the rubble of
metal, wood and all kinds of material.
No sign of Jason.
EXT CONSTRUCTION SITE
Paul and Alicia, still embracing each other, holding each
other as if they had just won the world war on their own.
PAUL
(relieved)
We got him. We got him, Alicia.
Alicia is too far in grief for her boyfriend, Dennis.
Not to mention the simple fact all her and Paul's friends
have been murdered.
They both sit there, in the dust.
Holding each other, crying together and looking at
nothing but the long lasting memories that will haunt
them for ever.
PAUL (CONT'D)
(quietly, weakly)
Help will come soon. We got him.
He's dead.
More peace.
Alicia is crying, mourning her boyfriend's gruesome and
untimely death.
Peace.
EXT SKY
The moonlight is now being covered under clouds, the mist
seems to be disappearing from the forest.
The constellations, however, still bright as ever through
the clouded sky.
EXT CONSTRUCTION SITE
Alicia and Paul both stand, looking more composed.
ALICIA
Lets head back to the camp. People
will look for us and - -
Alicia is cut off by a BLOW to the HEAD from BEHIND.
Alicia falls to the floor, completely knocked out.
Paul looks up in shock.
Standing there, is JASON VOORHEES, wielding a metal PIPE
in the size of a machete.
Paul falls to the floor on his knees in disbelief, Alicia
out stone cold from the blow.
Jason, half covered in dust, hockey mask still perfectly
in place, looks at Paul, almost mocking him with his
gaze.
Paul is scrambling on the floor, not believing what he is
seeing.
Alicia lies half awake on the ground, dazed, and confused
from the blow.
Jason HAMMERS the metal pipe into Alicia's stomach, blood
for a moment pours out the end of the pipe like a
fountain.
Paul looks at the monster in front of him, defenseless,
with nothing to help him.
All of a sudden Paul rises up from the ground, and runs,
some kind of instinct inside him rising keeping him from
admitting defeat to this monster.
Jason looks down at Alicia.
The pipe has become a fountain of blood, Alicia's blood
spraying from out of it in a disgusting manner.
Jason looks up at Paul, face to face.
Paul is on a point the human brain can only relate to as
attack, run or die.
Paul has no time to pity the death of his friend, only to
defend himself against this "thing" dressed in human
guise.
The two circle each other about Alicia's dead body, the
pipe firmly struck, pinning her now lifeless body to the
ground.
Jason looks at Paul as if a cobra ready to strike.
It is his game. He is in charge.
Paul is ragged, he is out of breath, shocked, completely
in another mind frame.
Jason is standing there, looking at him, circling him
like an animal. This is his game.
Both walk slowly in a circle, some kind of crazy
understanding of death between the two.
A gladiator match this has become, only Jason has the
advantage. In a one on one fight, there would be only one
winner.
Jason, undead creature that he is, seems to acknowledge
this and is looking at Paul to make a move.
Paul looks quickly at his surroundings. He is too weak to
run, knows he would last a few minutes, collapse and be
killed by this "thing".
Portacabins, toilets, scaffolding, ...
Bulldozer.
Only chance.
Prey God there is a key in this thing.
Paul makes a run for the vehicle, his energy deserting
him.
Jason looks, knows his plan, and heads straight for him.
No more play. Jason wants to wipe out everyone.
Paul runs , trips.
Jason is gaining on him, his lack of speed costing him.
Paul gets to his feet, and jumps into the Bulldozer.
He looks at the controls. Highly complex to someone who
knows nothing about them, even worse in the middle of the
night.
But there is a key.
Paul turns the key, and to his god blessed wishes, the
machine kicks into action.
Jason, startled, staggers back at the noise of the
machine.
PAUL
(complete insanity)
DIE GOD DAMNIT, DIE!
Paul has control of the bulldozer, and brings the
machine's claw up the height he wants.
The CLAW is very JAGGED and obviously VERY SHARP.
Paul and Jason look at each other, eye to eye hole.
Jason stands there, unfazed.
He makes no attempt to even move, or attack Paul.
Paul throws the vehicle into full gear.
The bulldozer RAMS Jason right in his midriff, throwing
him a few feet away like he was a rag doll.
Paul stops the vehicle.
Jason is down, still, lifeless.
PAUL (CONT'D)
(looking at Jason)
You ain't dead.
Paul, using the mechanics within the bulldozer, digs up a
load of earth from the ground, tossing it to the side.
He does this repeatedly, keeping an eye on the "dead"
Jason.
Just as Paul is digging the third amount of earth, he
looks over and notices Jason has vanished.
Paul pauses.
The ditch he has built is about 12 foot deep at least.
Paul looks behind him from the bulldozer.
PAUL (CONT'D)
(to himself quietly)
Hell is he now?
Paul jumps out the bulldozer, looking around carefully.
No sight of the hockey masked psycho.
Paul looks around the site, a cement mixer is within
distance. But Paul has no idea on how to use it.
Paul looks around desperately for a weapon of some kind.
He makes out a few tools are lying scattered on the
ground, a saw, screwdrivers, various objects.
Paul picks up the saw, just as Jason LURCHES for him from
behind.
Instinctively, Paul turns and SLASHES the SAW into
Jason's side.
The SAW cuts in deep, and Jason is taken aback, but he
remains standing.
Paul runs to the bulldozer, jumps in heads straight for
Jason again.
The bulldozer SLAMS into Jason AGAIN, and he is knocked
down once more.
Paul uses the bulldozer to SCOOP up Jason, and using the
claw, he DUMPS him into the pit he has just dug up.
Jason remains out cold in the pit.
Paul, as quick as he can, uses the bulldozer to COVER the
pit with MUD, burying Jason.
Once the pit is full, Paul jumps out the bulldozer,
looking at the grave.
There is no way Jason will come back from that.
Buried alive.
Paul drops to his knees, energy deserting him.
Quite a night.
FADE TO BLACK
THE END
Friday The 13th : Rotten Flesh
By
Scoob
?2005 - Scoob
(CONT'D)
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