"FRIDAY THE 13TH" (1980)

FRIDAY THE 13TH

by Victor Miller & RonKurz

FOR EDUCATIONAL PURPOSES ONLY

FADE IN:

The TRACK is SILENT.

The CAMERA looks ata sign. It reads:

CAMP CRYSTAL LAKE

Established 1935

Gradually we can begin to hear, in theBG, the SOUNDS of CHILDREN playing.

In the BG a few dozenCHILDREN, in camp uniforms, are enjoying a game ofsoftball.

In the FG CLAUDETTEis looking for someone. CLAUDETTE is 17 years old. She ispretty. She wears a T-shirt with “Assistant Counselor” writtenon it. She fills out the shirt very well.

Failing to find whomever she is looking for, CLAUDETTE walks quickly in the opposite direction.

The CAMERA holds onthe game for a few seconds and we SUPERIMPOSE:

JULY 4, 1958

The CHILDREN’S VOICES FADE slowly.

ECU as a COUNSELORsqueezes off a shot.

The paper target isripped in the black.

The COUNSELOR handsthe weapon to a CAMPER who snaps in at the line.

CLAUDETTE shouts upto the COUNSELOR from the BG.

The COUNSELOR smiles. Shrugs.

CLAUDETTE leaves.The COUNSELOR smiles.

Two CHILDREN run bycarrying Indian headdresses. CLAUDETTE passes them impatiently as she sees BARRY and CHLOE.

BARRY is leaning against the front rail of the porch, his arms behind his head--thebetter to show off his physique to CHLOE, and AssistantCounselor, who is currently looking at him with cow eyes.In the BG we can hear a portable radio blaring out an EverlyBrothers hit.

BARRY is 17, handsome and out for all he can get. He is not ashamed for beingcaught with this other good-looking girl.

BARRY looks at CHLOE, then eases off the rail. Nods.

5 BARRY puts an armaround CLAUDETTE, looks over his shoulder5 at CHLOE, and saunters off with the former.

The Everly Brotherscontinue as we:

From over the topsof a rack of canoes we see BARRY and CLAUDETTE walkingalong the shore.

In the BG, CHILDRENleap into the water.

The TRACK goes SILENT.

BARRY & CLAUDETTEwalk along a path. This is not an aimless walk, for BARRY knows exactly where he wants to go. He leaves the path and goesto sit on a log in a small clearing. CLAUDETTE hesitates,then goes to sit next to him.

He puts an arm around her draws her close. They kiss. They separate.

BARRY decides to bepolitic.

She kisses him andthey are locked.

A bird cals, wheelsacross the patch of sky above.

The CAMERA shiftsto ANOTHER ANGLE: Just beyond the thicket of lacy vines. Itis a slow tracking shot which gives the impression that weare watching the action from the POV of another person, anunseen visitor...watching the two teen- aged Assistant Counselors making their first sexual encounters.

This unseen observerwill be called the PROWLER.

BARRY reaches up outside CLAUDETTE’S T-shirt to hold her breast. She reachesp to take his hand away.

He ends the argumentby snaking his hand inside her T-shirt so that part of herbra is exposed. He seals her protesting lips by kissing her.

From the PROWLER’SPOV, the CAMERA MOVES to get a better angle. A hand movesinto FRAME and pulls back some branches to clear the fieldof vision. A branch pops.

BARRY leans in andunhooks her bra. They kiss again, passionately.

The PROWLER pauses,then moves, never seen -- except for a bit of foot or hand-- from the POV of the CAMERA, closer and closer as the twoTEENAGERS become more and more obvious.

Closer. The THEMEhas snuck in. It becomes discordant. It swells. Closer.

QUICK CUT to BARRY& CLAUDETTE’S faces, their eyes closed, the perspiration streaking their flushed skin.

Suddenly CLAUDETTElooks up into the CAMERA with terror.

A hatchet flashesinto FRAME and CLAUDETTE goes down under the blow.

The CAMERA TURNS TOBARRY. The PROWLER’S powerful hand has him by the throat.He backpeddles, trying to get away.

ANOTHER ANGLE: asBARRY is stopped against a tree.

A hunting knife soars against the leafy sky.

BARRY grabs the knife-hand at the wrist. The knife falls to the mossy floor ofthe clearing.

Two hands go for thefree blade. BARRY’S hand has it.

There is a confusedjumble of struggle.

Onto the bed of mossfalls the little finger of the PROWLER.

REACTION SHOT: BARRY, horrified by the sight.

The PROWLER’S handhas the knife. It moves quickly forward. We can hear the blade strike.

BARRY stares up atthe sky in a soundless shriek.

MCU the moss wherethe finger fell. The PROWLER reaches into FRAME, picks up thefinger, and exits FRAME.

QUICK CUT TO: CHLOE,out searching for the missing Counselors. She stands at the edge of the clearing, her hands pressed on her temples, her throat filled with a scream of terror. The MUSIChas stopped abruptly.

THE SCREEN BLEEDSTO WHITE.

It is completely SILENT.

8 TITLE SEQUENCE 8

The screen is completely black. A small white shape starts to ZOOM toward the FG.The shape becomes a three-dimensional rendering of FRIDAYTHE 13TH. Just as it gets to its final position, the FRIDAY13 logo shatters a previously unseen pane of glass. Thereis a loud crash. The logo shifts to the upper left cornerof the FRAME as we ROLL TITLES, white on black.

The THEME MUSIC isa reprise of the THEME we heard duringthe Forest sequence, nowdone in a childlike arrangement.

TITLES END and theMUSIC fades out.

The TRACK is SILENT.

In a LONG SHOT wesee the one main street. A newspaper delivery truck drives away from the CAMERA. A GIRL walks down the street.

Superimposed title:

THE PRESENT

A MEDIUM SHOT in front of the bank reveals a day/date/time/tempsign which blinks:

FRIDAY, 13

7:01

60 Degrees

FRIDAY, 13

7:01

60 Degrees

We can begin to heara small-town DJ OVER as a pick-up truck moves down the street past the GIRL in her late teens. She has a knapsack, afreshly scrubbed face, jeans, and a plaid shirt. She wears herhair in a long braid. She wears Nike jogging shoes. Thisis ANNIE.

In CU a hand movesto turn down an old brown plastic radio from which Big Daveis doing his morning-man routine.

The radio is turnedway down. We see that the hand belongs to TRUDY, a hefty waitress who wears her golden hair in a bun with a pencil stuckin it. BUDDY, the boss, is seen in theBG working the grill.

The regulars are there: five MEN and two WOMEN who always come in for breakfast. They are the retailers, the oil delivery man, theswitchboard operators, and the cop.

ANNIE walks in thefront door, crosses the past the cash register and walksdown the counter.

They gonna open thatplace Camp Blood? again?

COP TRUDY

I heard they weregonna try What is it, Eddie? Forty it. miles?

OIL MAN EDDIE

Lotsa luck. ‘Bout that.

The OIL MAN nods.

ANNIE steps asideas the OIL MAN heads for the front door. He is smirking. He’sfifty, strong, and balding. He makes no attempts to hide hisappreciation for ANNIE’S figure.

They exit.

TRUDY looks around,does a take, then laughs.

ANNIE walks a halfstep behind the OIL MAN, heading for his truck which is parked there on the street.

ANNIE wonders if sheshould accept the ride with this guy. Suddenly, from between two parked cars pops RALPH, a crazy hobo who has two dead rats in his mouth, their tails in his teeth; they swingfrom him like a strange beard.

He giggles and skulks away.

The OIL MAN givesher a boost up and then climbs aboard the rig.

As the truck pullsaway, we see RALPH through the windshield, standing at the edgeof the road. He is angry and upset now. He pats his rats.

The OIL MAN shifts,looks over and smiles. His two front teeth are missingon top.

He nods.

He turns on the radio in the cab and we hear the DJ again.

The oil truck thunders along the road.

The oil truck hasstopped. ANNIE stands alongside the driver’s side.

ANNIE smiles.

He nods and shakeshis head with the sense of what might have been if he were thirty years younger. He puts it in gear and roars off.

ANNIE looks aroundand sees an old gas station. It is closed. There’s a sign whichreads: “No Gas ‘Til Sat.” A mangeydog sits on the stoopwatching ANNIE.

ANNIE kneels downand calls the dog. The dog comes. ANNIE pets him and thenheads off up the road.

The dog watches hergo.

ANNIE is beginningto get worried about the time. It’s hot and she’s late.

She looks up.

From her POV a Jeepbarrels along the road toward us.

ANNIE puts out herthumb.

From the DRIVER”SPOV, we see ANNIE waiting for a lift. The DRIVER, unseen, shifts down until ANNIE is alongside. The Jeep, an uncoveredmodel, stop. ANNIE smiles a big delicious smile at us as wesit in the DRIVER’S seat.

Apparently the DRIVER nods, because ANNIE beams at us. She tosses her pack inthe back and hops aboard. The DRIVER accelerates.

The Jeep roars alongthe road. The sun and shadows keep us from seeing the DRIVER.

Still in the DRIVER’S POV, the CAMERA watches as ANNIE looks around, admires thewoods, the Jeep, the day. Things are going her way.

The forest outsidethe speeding Jeep is deeper and signs of civilization haveall but disappeared. ANNIE still turns and looks at the CAMERAwhen she speaks to the DRIVER.

A look of surprisepasses ANNIE’S young face.

In the FG the signfor Camp Crystal Lake. In the BG, the Jeep roars off into thedistance.

The Jeep’s speed increases.

ANNIE grabs for theignition key, but the DRIVER’S hand darts out and slaps ANNIEaway. We see that this hand is missing its little finger!

Panicked, withoutany other recourse, ANNIE looks about her and then leap fromthe moving Jeep, aiming for the relatively soft underbrush alongside the road.

ANNIE lands, rolls,is upended, scratched by brambles, and flips. She scramblesto her feet and starts running toward the camp.

The Jeep stops, turns quickly, heads back for her.

From the DRIVER’SPOV we see ANNIE run, looking back in fear.

ANNIE’S feet poundthe hard-packed dirt. She looks over her shoulder to see theJeep. The sun flares on the Jeep’s windshield, keepingus from being able to see any details of the DRIVER.

In a final desperatemove, ANNIE drives into the underbrush to escape.

The Jeep skids toa stop.

The CAMERA becomesthe DRIVER and chases into the thicket. Branches and briarssnap back at us. Just ahead, the terror- struck ANNIE stumbles and falls. She screams as a knife flashes past her ina blur.

When the knife haspased, all we can see is a look of surprise on ANNIE’Sface.

The CAMERA PULLS BACK. Her throat has been cut. She collapses out of FRAME.

A bird soars acrossthe sky above.

The TRACK is SILENT.

A gaily decoratedcamper-van travels along the highway. We hear rock’n roll OVERcoming from a car radio as this much-in- need-of-repair vehicle passes a slower car.

In the camper vanare three young people. They are full of fun, fresh and expectant as they head toward Crystal Lake. They are instantlylikeable.

At the wheel is NED,a short 22-year-old whose well-developed upper body is a tribute to his weight-lifting. He is nice- looking, a joker whois always trying to get some attention.

He is funny and alert.

Next to him is JACK,an athlete whose clean-cut look is as American as popcorn.He is quieter, two years younger and not as smart as NED. Hehas to think things through.

MARCIE is JACK’S girlfriend. She is leaning over the front passenger seat soshe can messenger JACK’S shoulders.

She is a funny girl,pretty, and always looking for fun. She enjoys every minuteof every day. She hasn’t been touched by tragedy.

MARCIE finds a soresport on JACK’S back.

MARCIE hits NED onthe arms, playfully.

Jack reaches intothe glove compartment and comes out with a joint.

She takes the lighted joint and tokes.

The van turns pastthe sign that reads:

CAMP CRYSTAL LAKE -- Established 1935

MARCIE is wide-eyed,looking at the lush surroundings.

The CAMERA SEES whatNED saw. The buildings are run down at the heels. It is thesame camp we saw in the early scenes, but time has tornthe place badly.

The van passes theCAMERA and we see the three new ARRIVALS looking out the window.

This is the main building. It is the building where Barry and Claudette met. Outside is a flagpole, a small parking area, a large overhangingtree.

In the BG we can seepart of the lake.

In the FG there isa Jeep.

An axe flashes through the FRAME and hacks apart the halves of a huge tree stump.

The CAMERA PULLS BACK to reveal a middle-aged man incut- offs, a bare chest,hiking boots and beat-up cowboy hat. This is STEVE CHRISTY.He is strong, charming, and engaging. He is animated, always inmotion, impatient with how long it takes to do things.

In the BG the vancomes to a stop. No sooner has JACK hopped down, than STEVE isbeckoning him over.

JACK smiles and comes quickly.

NED steps down fromthe van and now we can see that he has had polio when hewas a kid. His upper body is strong, but his legs are slightly deformed. He and MARCIE hustle over to the big stump.

ALICE comes into theMS. She is carrying a shovel and a bucket and has obviously been working for a couple of hours.

They exchange “hellos” as they bend to the work.

STEVE sets off.

As soon as he’s gone, NED turns to ALICE.

ALICE shrugs.

The CAMERA looks down a long line of canoes, each with its hull up. A brush slaps into view. BILL is sweating while finishing a coat ofpaint on the last canoe.

BILL is a thin, ascetic-looking college sophomore. He rubs his long thin nosewith the back of his wrist as he hears someone call his name OS. He turns to see ALICE at the bottom of the trail.

ALICE nods slowly.

She turns away.

BILL puts his brushin a coffee can of turps.

ALICE looks at him,then turns again.

STEVE and NED are rehanginga door. Next to them is BRENDA, a dark Eurasian girlwho is trying to do a good job of painting the wall. On the other side MARCIE is scraping some flaking paint.

NED levers the doorhigher at the top.

STEVE uses a longratchet screwdriver.

NED swings the dooron its hinges.

BRENDA turns and nods.

They exit with thetool box. MARCIE stops and turns to BRENDA, who looksupward and blows the hair from her forehead.

STEVE, ALICE, BRENDA, MARCIE, NED, JACK and BILL are lugging a swimming float down to the water’s edge. STEVE supervises as he carries thething, which is quite heavy. They ad-lib as appropriate. (”Theregoes my hernia.” “Are you sure you’re lifting?” “Not sofast.” “I’m walking backward.”)

They drop the thingscarefully.

They get behind itand shove it into the water. NED hops aboard for the ride,flipping into a handstand.

The screen has gonecompletely black. The door to the shed is whipped open quickly, letting in the full brightness of the sun. There is a shape.

The CAMERA IRISESDOWN so that we can see that JACK has come in on an errand.

As JACk looks around,we can take the time to see that there are a half-dozen lanterns, a few cans of lantern fuel, a couple of hibachis,some entrenching tool packs, portable ice chests, etc. Up onthe long side wall are a half-dozen hunting knives insheathes, also hanging neatly.

Suddenly a hand comes into FRAME and touches JACK on the shoulder as he ispreoccupied with his task. JACK turns with a start. He looksinto the CAMERA.

REVERSE POV to seeMARCIE standing in the doorway.

She points to therow of hatches and knives.

MARCIE looks behindsome piled up equipment. She pulls out two rings.

She kisses him onthe cheek and gives him a playful goose.

They exit together.

STEVE CHRISTY comesupon ALICE, who is renailing floorboards on the porch of theArts & Crafts cabin. On the railing is a sketch pad which Steve thumbs through.

INSERT: ALICE’S SKETCH. It is a moody pierce, a sense of foreboding dominatesit. Otherwise, it is the camp’s central compound, featuringthe tree that forms the central focus.

ALICE misses a nailand hits her thumb. She reacts good- naturedly and keepson working.

STEVE bends down next to ALICE.

She shakes her head.

He puts out a handruns the back of it across her cheek.

She looks up. Shenods.

He stands up.

She watches him cross out of FRAME.

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

He wheels the cararound and out the driveway. The others stand looking beforeNED breaks the silence.

They are all gettingback to work.

As they laugh, theCAMERA HOLDS on ALICE.

BRENDA has her sleeves rolled up and is doing her job. She enjoys having theresponsibility for the whole safe operation of this area. Shelikes to think of herself as more sophisticated thanshe is -- or have others think her more sophisticated.

BRENDA rolls a strawtarget out from under the lean-to shelter and headsfor a tripod in the middle distance. There are already two suchtargets out, a product of her efforts so far. The targets areheavy. This isn’t an easy one-person job.

The CAMERA CLOSESIN tighter and tighter on her as she gets closer to settingup the target.

IN MCU, she liftsa target up. Her head is very close to the face of the target.She gets it up, lets the tripod take the weight, and then,just as she lifts her weight back, an arrow streaks into the center of the gold, missing her head by eighteen inches.

BRENDA whips around.

WE SEE WHAT SHE SEES: a very cocky NED, standing by the lean- to with a bow in hishands and three more arrows knocked simultaneously. Hehas a feather stuck in his hair.

She grabs the arrowand storms at him.

She snaps the arrowin half.

BRENDA still thinkshe’s a jerk, but he’s so outrageous there’s little shecan do. She laughs.

BRENDA snatches thebow from him, shakes her head and puts the bow down nextto a collection of wicked-looking arrows.

This is a fairly large single room. The walls are bare and uninsulated. Thereare a few easels, but for the most part, the room is dominated by long tables and rough-hewn benches.

The light seeps through the streaked windows, making the grey wood interior appearsilver-coated. ALICE, her hair in a bandana, has justfinished sweeping up.

The CAMERA picks upon ALICE’S sketch of the central camp area on one easel.On a second easel she has done the preliminary sketchof the lake itself. It is also a moody picture.

ALICE cocks her headto look at the sketches, shivers just a little, then goeson to her next task. There is a row of newly-arrived cardboard boxes. She opens the first inCUwith a matte knife. Shetakes out the invoice and checks it against the firstitems: gimp, the plastic string from which all the campers willmake lanyards.

We watch through oneof the dusty panes, seeing the charcoal sketch in the FG,ALICE in the BG checking her materials against her invoice.

ALICE snaps around,sensing that she is being watched. InCU her frightened facelooks at the sun-drenched dusty pane.

Her face relaxes until BANG! The sound of a door slamming echoes through theroom.

The CAMERA ZOOMS BACK from her face to see someone standing in the doorway.

It is BILL.

ALICE smiles, thenturns back to her job of taking inventory. BILL watches her.

She starts to takea box down from a high shelf. She doesn’t realize that thereis something on top of the box.

ALICE lugs down thebox and suddenly a bunch of leather- working tools clatter down, shattering the silence. ALICE fends off the flyingimplements and BILL rushes to her side.

She nods.

They stoop down topick up the fallen tools from the floor.

BILL looks at herwhile they work.

ALICE looks at BILLand smiles. This really is a very nice, if naive, young man.

As ALICE nods, sheis interrupted by a shrill scream outside.

MARCIE is the sourceof the scream. She runs toward the CAMERA, dressed incut-offs and a floral halter. Her feetare bare. When she getscloser, we see that she is being chased by JACK and NED whohave found two giant green bullfrogs. The screams were not serious and MARCIE is doing some of it for effect. BRENDA brings up the rear. They are all dressed more or less for a frolicin the lake.

BILL and ALICE standin front of the Arts & Crafts cabin. BILL is smiling, ALICE is a little amused.

A LONG WIDE SHOT reveals the cool, clear lake during the lull of a hot afternoon.

At the edge of thelake, in the shallows, are the members of the group: MARCIE,JACK, NED, BRENDA, BILL and ALICE.

They are sitting orpaddling or diving off the float. There is no real attemptto exert too much energy.

Gradually we becomeaware that this LONG WIDE SHOT is someone’s POV. TheCAMERA moves from its stable position, now hand-held, on a trajectory around the side of the lake, out of sight.

Branches, brush, andtwigs are butted through. Occasionally, we can see part ofthe PROWLER’S arm fending off the underbrush.

The group sits orlies in the cool water, more or less focused on NED, whois acting as moderator.

NED goes to JACK.

They laugh.

The PROWLER looksin LONG SHOT down at the lake and we can just make out theCOUNSELORS.

The CAMERA PANS andwe move toward the cabins.

ALICE is treadingwater, talking with BRENDA, as NED comes up out of nowhere.

NED surfaces betweenthem. He looks with googly eyes at ALICE.

ALICE laughs.

NED does a porpoisedive and disappears.

BRENDA is not laughing. She is looking off toward the cabin area.

ALICE sees her andlooks where she looks.

She smiles.

The CAMERA, shootingfrom the PROWLER’S POV, moves to a place alongside Alice’scabin. There is underbrush about two feet tall and all aroundthat area. The PROWLER stops, leans down and reaches into FRAME with a gloved hand.

The gloved hand reaches into the underbrush for the tip of a burlap bag which hasbeen secreted there. The hand lifts the bag, which has something in it that moves.

The CAMERA MOVES around to the side of the cabin right below the window. The window is open, making entry quite simple.

The PROWLER’S glovedhands untie the neck of the bag, reach in and haul out quickly a medium-sized snake. One hand has the animal firmlybehind the jaws. The hand takes the snake and puts it throughthe open window, leaving it on the clean white coverlet. Itslithers across the bed.

The PROWLER’S handcloses the window.

The CAMERA MOVES toward one of the sheds.

BILL and ALICE arelying on the shore on their towels, watching the OTHERSin the water and grabbing some afternoon sun. ALICE is on herstomach, tracing angular designs in the sand. BILL is on hisback, listening.

BILL turns over sohe can look at her better.

Various feet enterthe FRAME. BILL and ALICE look up to see JACK with his armaround MARCIE, NED toweling his head, and BRENDA putting onher blue workshirt.

BILL gets up.

ALICE smiles at thereference.

They head off. ALICEturns over to tan her front.

A machete rips through some vines. Again it hacks at the brush.

PULLS BACK to revealBILL clearing away the years of vine growth which havechoked off a path. He wipes the perspiration fromhis eyes and continues along.

Set up behind thecabin is a make-shift exercise area. There are chinning bars-- pipeslashed between two trees -- and there’s an aging setof parallel bars. There is even a set of weights made fromtin cans, pipes and assorted amount of cement.

ECU of NED’S facein a distorted, twisted expression. He explodes his breath.

We PULL BACK to seeBRENDA watching TED work out on the uneven parallel bars. He is really very good and there is no doubt about his strength.

As NED moves off theapparatus, BRENDA comes in and does a neat little turn which is dazzling. NED does a take.

The sun has droppedlower on the horizon.

The CAMERA looks down on ALICE as she sleeps peacefully in the late sun. A shadow passes across her face, and she awakes with a start.

CUT BACK to see BILLstanding over her with a machete.

ALICE gets up.

They walk away fromthe shore.

ALICE is walking quicker than BILL. We realize we have seen this cabin before-- when the snake was placed in it.

BILL laughs at herimitation.

She turns to go upthe steps to her front door.

She stops and looksdown at him. He is serious and he cares.

ALICE appreciateswhat’s she’s just heard. She knows that it wasn’t easy for BILLto say.

They share a shortsilent moment.

BILL smiles and turns and jogs off, still carrying his long blade.

ALICE watches himgo. She shrugs. This might be a good place to stay. She turnsand goes into her cabin.

In the FG is the campbed with its white coverlet. The snake is nowhere in sight-- which means it could be anywhere.

ALICE is humming toherself and is happier now than she has been since we mether.

The room is small.There is the metal-frame cot, an old wooden dresser witha cloudy mirror on top. The walls are a light blue, freshlypainted. The wall on the inside does not go all the way tothe ceiling so that she can monitor what’s going on in the campers’ section of the cabin on the other side.

ALICE looks at herself in the old cloudy mirror and likes what she sees. Shepushes her hair so that she looks a little sexier. She smilesat herself.

She reaches out inCU. Opens a drawer. Takes out a towel.

ALICE turns and goesto her footlocker. Bends down and opens it up. Takes out aterrycloth robe.

She closes the footlocker, stands up and heads out the door.

ALICE heads from hercabin to the showers.

ALICE walks into herroom wearing her bathrobe, her hair in a towel-turban. Sheflicks off her shower clogs, and looks for her hairbrush. Shetakes her towel off and lets her tangled hair fall down.

She hums. Opens hertop drawer. Nothing there.

Opens the next drawer. Nothing there.

Opens the next drawer. Nothing there.

ALICE opens the forth drawer and the snake strikes! It flails at her right wrist,a wrist which we have established earlier as having a Navajobracelet on it. The snake strikes the bracelet, hangs onas ALICE tries to shake it free. The snake falls to the floorand recoils for another attack.

There is no way thatALICE can get past the snake to run away. Her scream isloud.

BILL, returning fromhis last half hour of trail-blazing, hears ALICE.

BILL doesn’t hesitate. Carrying his machete, he runs to ALICE’S cabin.

MARCIE and JACK follow in theBG.

ALICE is backed against the wall. The snake could strike and get her.

BILL runs into theroom, still carrying his machete. He looks at ALICE.

BILL sees it. He freezes, then takes a step forward. Carefully, he windsup and smashes down with the edge of the machete, cutting thesnake into two pieces. Blood spurts onto the floor.

MARCIE and JACK enter. JACK carries a shovel as a weapon. MARCIE stops whenshe sees the embrace, but then looks further to see theblood and guts.

JACK nods and exits.

JACK returns and tosses a roll to MARCIE.

ALICE nods.

BILL gives her anextra hug. Then steps back awkwardly, stepping on MARCIE’Sbig toe.

JACK nods. He picksup his shovel and we see in CU as he gets underneath the wide-fanged snake.

MARCIE begins to clean the blood off the floor with the paper toweling.

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

The kitchen and themain meeting room are really one in the same room, cut offby a partition. The kitchen has a couple of sinks, a heavyold stove, long shelves, a pantry/larder, and some windows which look out on the rear.

BRENDA is making asalad for herself. She is a vegetarian. MARCIE is making aguacamole dip.

In the big room there is a fireplace and a ping-pong table. JACK and BILL areplaying.

BRENDA JACK

She all right? Get ready for the schneider.

MARCIE BILL

Yeah. Scared the hell out of No chance. her.

BRENDA JACK

How’d it get in thedrawer? Four zip.

ALICE walks into thekitchen. She has washed her face after getting her act together. She stands in the doorway to the kitchen.

ALICE smiles. Nods.

ALICe goes to thesink and begins to work her way through the dirty dish pan.

NED comes flying through the door dressed in various bits and pieces of old Indiancostumery. He does a bad dance.

JACK and BILL quittheir game and come to the doorway.

JACK BILL

What the hell? Where’d you get that stuff?

MARCIE BRENDA

Oh, Lord! Neddy!

He takes a letterout of his breechclout. He pretends to read, when reallywe can see that the paper is blank.

ALICE leans againstthe sink and laughs. She is a very pretty girl, younger thanshe first appeared.

JACK and BILL laugh.

NED takes off hisheaddress.

ALICE looks up fromher dishes and cocks her head to the side. Does she seesomething?

The CAMERA PANS SLOWLY to look over her shoulder.

The window pane isdirty and it’s a bit difficult to see, but there is somethingstanding there out by a cabin. But it stands, doesn’t move... Is it a building?

CUT AWAY to see ALICE using her dishcloth to clear the glass. When we CUT BACK,the shape is gone.

REACTION SHOT: ALICE. Curious. A cold chill...

ALICE looks aroundat the others who are still adlibbing about food.

BRENDA JACK

How can you eat thatstuff? You like them rare? Looks like dead animals.

NED BILL

Cannibals. It’s old Too bad that Annie never counselor. showed. She was supposed to

be a good cook.

BRENDA MARCIE

You can get all theprotein No way I am gonna play chef you need if you mixthem to all of you guys. It’s right. women’s lib from here on out.

ALICE looks up. Pulls the light cord in the middle of the room.

The bulb does notlight.

ALICE pulls it again.

JACK turns to BILL.

JACK steps in and,in CU, we see there is a puddle where he is standing. The puddle is somehow significant.

BILL leans over JACK’S shoulder to see what he’s doing.

The CAMERA watchesJACK’S actions tightly. In a REVERSE POV we see JACK’S tonguecome out the side of his mouth as he concentrates. He bites down on it.

ANOTHER ANGLE: asJACK pulls the starter cord. The engine roars into action.

CU as JACK’S handreaches in and touches a heavy-duty metal switch. A spark arcsand we PULL BACK to see JACK with a perfect connectionrunning through his body. There is a sparking sound, thelittle light in the shed blinks, JACK screams, the generator chugs roughly. Hundreds of volts are streaking throughJACK’S body and ground through his wet shoes.

BILL reacts quickly:knowing better than to touch him and continue the connection, he takes a half-step backwards, aims at an oblique angleand executes a perfect Bruce Lee-type drop-kick on his friend, severing the contact.

JACK stumbles outof the shack and the light goes dead. The machine stops.

JACK lands, almostunconscious. BILL kneels into FRAME and checks JACK’S vitalsign: his eyes, his carotid pulse, his breathing.

JACK shakes his head.

JACK lies back down.Covers his eyes with his arm.

JACK looks up andsmiles. BILL gives him a hand and the groggy athlete getsto his feet.

Satisfied that JACKwon’t fall down, BILL goes to the shed and looks in.

We can look in overBILL’S shoulder and see a smoke-scarred switch and a now-silent generator.

JACK looks in, too.

BILL leans down andsee a smokey-colored wire that touches another wire.

He starts to windit round a set-screw in CU.

JACK walks away.

The door opens atus, letting in the limited light. JACK comes in and goesto pick up a fluorescent lamp. He flicks it on.

As he bends down topick up two Coleman lanterns, the CAMERA slowly moves towardthe wall where once we saw all the hatches and knives.They are all missing.

JACK takes his bootyand exits.

The light is goneand we are alone in the dark.

ECU of the lightbulbover the kitchen area. It flickers on as we hear in the BGthe sound of the generator start up. The bulb glows, goes down, glows cheerily.

JACK comes in withhis lanterns followed by BILL.

ALICE listens as shewashes the dishes. It looks as if things will be okay.

MARCIE is finishingup making her green California dip.

Suddenly ALICE criesout. Everybody whips around to see. ALICE holds up a piece of broken glass -- the bottom half of a bottle. She hascut her finger. It is not a serious cut, but the blood is visible.

BILL reaches intoa cupboard and pulls out a BandAid.

MARCIE NED

You okay? Those things can be nasty.

BILL comes up to ALICE.

That said, the OTHERS go back to what they were doing.

BILL and ALICE arefeatured even though we can hear the others. BILL takesgreat care and puts the BandAid on ALICE’S finger.

They share this moment with soft smiles as the trivia contest continues.

I don’t want you getting Melvin Belli. hurt.

ALICE NED

I was careless. Aaaargh! That was my

guaranteed winner!

BILL MARCIE

How’d it get in there? Melvin Belli?

NEDDY is hoveringover a bowl of California dip which MARCIE has just made. Hedips a chip as soon as she steps back.

Suddenly NED’S facegoes red. His eyes bulge out. He grabs his throat and gags.Coughs, can’t clear it.

NED points to thedip and slumps down on the floor where he writhes about.

MARCIE ALICE

Help him! Oh, my God!

BILL JACK

Roll him over! Get behind him more.

As BILL and JACK flip him over to try to give him the Heimlich, NED stopshis act and grins from ear to ear. It’s a big finish:

REACTION SHOTS: asit sinks in that NED has been putting them on.

BILL stands up, angry, but willing to keep his mouth shut.

NED tries to laughit off. They shake their heads. MARCIE walks away. JACK looks at BILL.

NED turns and headsfor the door. ALICE comes up next to him. The OTHERS are outof earshot now. BILL and JACK play a little ping-pong.NED is a little embarrassed by his play- acting stunt.

NED relaxes. Nods.He knows what she means. He turns to look at the others.

ALICE nods.

The CAMERA stays onALICE’S face as NED exits. In theBG, MARCIE speaks.

We watch NED comeaway from the main cabin and walk moodily toward his cabin.

The CAMERA stays with the troubled child as he stops, leans down, picks up a pebble and skips it off into the brush. It cuts through. He flips a few stones in his hand.

NED looks off. Seessomething.

WE SEE WHAT HE SEES:a shape -- a human shape -- standing by a cabin.

NED walks toward it.

ALICE is just dryingher hands. She stands next to a giant stack of clean dishes and pots.

BRENDA is readinga magazine while picking at some cauliflower and cucumber slices.

BILL and JACK saunter in.

They laugh.

The OTHERS all go“Ooooooooh.”

MARCIE puts an armthrough JACK’S arm and they exit.

The OTHERS laugh.

JACK and MARCIE walkacross the pint needles toward the lake. There is the low rumble of thunderpreceeded by a faint glow on the horizon.

JACK and MARCIE walkalong the shore to the lake. They have turned on the flashlights which they carry with them.

They kiss. MARCIEpulls back.

The moon is victimof a black cloud which cuts off the light.

JACK shines the flashlight so that we can see her face in eerie shadows. Sheflashes hers at him.

A loud crack of heatlightning slices the sky apart. MARCIE is startled and reaches out for her lover.

They look at one another in the two lights. They grin. Rain drops begin to fallon their faces and on the lake behind them.

JACK turns and jogstoward the nearest cabin. MARCIE is only a half step behind,laughing.

FROM A DISTANT ANGLEwe watch them run. There is no theme, just the rumble ofthunder...

The door bursts open, a flashlight pierces the shadows, and JACK and MARCIE rushin and plop on the bottom bunk of the nearest bed.

He reaches down andputs his flashlight on its end so it points straight upand gives them some light to see by.

They go into a longpassionate kiss which is broken by MARCIE’S hand comingup from behind JACK and tugging his T- shirt up toward hishead. He leans back and takes it off, and tosses it at the CAMERA.

The rain has gathered in intensity. ALICE comes up to the front door and looksout. BILL comes up behind her.

ALICE laughs.

She turns back intothe cabin.

TIGHT on JACK andMARCIE as they make love under a camp blanket. Their breathing and noises are heard just above the sounds of the rainoutside.

The CAMERA becomesinterested in a droplet which appears to have leaked from theceiling, hit the vertical member of the bed and dribbled down. As the bed shakes with its love- making, the CAMERAPANS up the bunk’s strut to trace the droplet’s course.

As the CAMERA PANUPWARD, it pulls back slightly and we see NED lying in the upper bunk. In a flash of lightning we realize he is dead:his throat has been slashed.

ANOTHER ANGLE: JACKand MARCIE lie completely still beneath their blanket. TheCAMERA PANS along their quiet bodies. MARCIE’S face is contented. JACK is ready to doze off.

She rolls over andgrabs her underpants and T-shirt. While still on the bottombunk, she puts herself into her limited clothing. JACK givesher room.

She grabs a flashlight, scoots to the door and is gone.

JACK lies back andputs his hands under his head.

MARCIE runs acrossthe now-wet central area toward the bathroom facility.She tries to skip between the raindrops, but she knows she’llget a drenching.

JACK rolls to hisside, picks up a small hand-rolled cigarette and lightsit. He inhales deeply, rolls on his back. Something overhead catches his eye.

Across the way fromthe row of toilet stalls is a row of shower stalls, andfurther down is a row of several sinks and mirrors. We hear thetoilet flush.

We CUT INSIDE thetoilet booth as MARCIE stands reading the graffiti to herself.We can only see her from the chest up.

There is a noise outside the stall.

She hears no response and assumes that her imagination is playing tricks withher. MARCIE picks up the flashlight and exits the stall.

MARCIE cross to therow of sinks, stops, puts the flashlight down and turns onthe water faucet. There is no water.

74 PROWLER’S POV: OFMARCIE 74

From the end of therow of showers we watch MARCIE bend under the sink and turnon one of the spigots. Water rushes into the sink.

MCU MARCIE: She rinses her hands, shakes them dry and turns off the water. Againshe hears a noise. She looks to the row of showers and smiles.

The screen door tothe shower room is swinging open and shut.

MARCIE looks over,smiles. She thinks someone is trying to scare her.

There is a drippingsound. MARCIE stops at the first shower, hesitates.

Throws back the first curtain. There is no one there. She reaches in and makessure the spigot is really off.

She goes to the second shower, looks over her shoulder to the empty toilet. Thenreaches in to the shower curtain.

She throws back thecurtain. Again no one is there.

She breathes a sighof disappointment.

In CU she turns backtoward the sink area when suddenly the TRACK explodes witha MUSICAL STINGER. It happens in a flash.

A shape lunges fromthe toilet booth across from the first shower. A hatchetglints. MARCIE screams. The hatchet strikes. The flashlight clatters to the floor.

The sound of a cashregister ringing up a sale hangs over an establishing shotof the diner. Through the window, which are being pelted withrain, we can see a WAITRESS and some CUSTOMERS seated onstools at the counter.

The WAITRESS is different from the morning woman, slightly older, but still attractive. She say good night to her CUSTOMER, who finishes paying his bill and crosses down the counter. Seated there is STEVE CHRISTY, finishing his cup of coffee. The waitress, SANDY, picks up his empty pie plate and tosses it in a panof other dirty dishes.

SANDY likes STEVEand enjoys flirting with him.

STEVE pays up andwalks to the cash register.

She rings up the money. Gives him the change. He hands her a tip.

She smiles and isreally kind of pretty underneath all that extra make-up.

STEVE smiles and leaves. She watches, then counts her change and sticks it herpocket with the rest of her tips for the day.

The rain continuesas STEVE exits the diner, gets in his Jeep and starts it up.He roars off through a big puddle, splashing water toward the CAMERA. The Jeep pulls a small equipment trailer.

The Jeep plows through the rain, leaving the town lights behind. A sign offto the side reads:

CRYSTAL LAKE 45 Mi.

PROWLER’S POV: Fromoutside the cabin, we can see some activity in the bigmeeting room. The CAMERA moves slightly from left to rightas the shot is established. Then an unseen hand releases a branch which partially blocks the shot.

ALICE enters fromthe kitchen, carrying two cups of coffee. She hands one to BRENDA, who is curled up on the couch in front of the fire.BILL stands to the left of the hearth, picks up a coupleof pieces of dry wood and puts them on to burn.

BILL smiles.

They laugh.

The rain is very heavy. Steve’s Jeep drives past the CAMERA. The tires squish inthe muddy roadway.

Lighted by dash panel, STEVE tries to concentrate on seeing the road. He leansforward, rubs a cloth on the windshield to get rid of the condensation.

From his POV we watch the windshield wipers struggle to stay ahead of the rain.Beyond them the headlights make a slight dent in the night.

In the BG we heara country station on the radio, but it is bringing in more static than music, owing to the electrical storm.

STEVE’S hand reachesin and shuts off the radio.

ALICE has finishedher coffee. BILL enters, shakes the rain off his poncho andstamps his feet.

BRENDA gets up.

BRENDA takes her lantern, and, throwing the slicker over her head like a portabletent, she races off into the night.

ALICE watches hergo. A glimmer of lightning outlines her as she heads off.

BILL walks back intothe big room, followed by ALICE.

She walks with himas he carries the tray of empty coffee cups into the kitchen.

The door opens andBRENDA comes in with her lantern and slicker. Her actionsare direct and business-like.

BRENDA goes firstto the row of sinks and looks at herself in the mirror, holdingup a propane Coleman lantern like an examination lamp.She takes out a toothbrush and some other toilet articles.

She flips on bothfacets and nothing comes out. She puts her lantern down on thefloor and turns on the water valves. She stands up, and washes her hands and face.

She turns off thefaucets and now we hear the dripping sound that Marcie had heard. BRENDA looks off at the shower stalls, shrugs, picks up herlantern and makes her exit.

STEVE’S Jeep coughs,sputters, stalls. OVER we can hear him trying to re-starthis dead engine. R-r-r-r...

STEVE angrily stepson the gas again and hits the starter.R- r-r-r-rrr... nothing...

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

STEVE, wearing a yellow slicker, gets out of the Jeep to try to flag down the oncoming car.

STEVE smiles to seethat the oncoming car is the local police car, driven by a middle-aged cop named TIERNEY. TIERNEY has the window down already.

STEVE is around thecar and hopping in almost before TIERNEY can answer.

TIERNEY

“To serve and protect” don’t mean to chauffeur.

He puts the car ingear and roars into the night.

Under a single hanginglightbulb, BRENDA finishes writing at a small table.

The weather howlsoutside. There’s a tapping sound. BRENDA looks up. Listens,yawns, then gets up and starts to take off her clothes.

Through her windowwe can see BRENDA changing into her soft yellow pajamas.

The tapping returns.

The SOUND is apparently coming from the front of the cabin; perhaps she can fixit without getting too wet.

BRENDA grabs her slicker and heads out.

The CAMERA FOLLOWSBRENDA through the darkened cabin to the front door.

There is a small roof overhang like a porch, affording some protection from thewind and wet.

ANOTHER ANGLE, CLOSER: as BRENDA hears the tapping sound closer by. She looksand sees.

WE SEE WHAT SHE SEES: somebody has tied a kitchen knife to a string and left itdangling from the eaves. The wind blow, making the knife tapagainst the building.

She grabs the knife,breaking the string.

Angry, BRENDA turnsand goes back inside the cabin.

BRENDA comes in shaking off her slicker, carrying the knife.

The single bulb goesout.

BRENDA crosses tothe table, puts down her knife and strikes a match. She firesup the propane lantern.

She moves the lampand gets ready to climb into her bed. She reaches down and takes the coverlet and tugs it clear, revealing somethingthat has been left there.

REACTION SHOT: Fearspreads across her face.

REVERSE POV: WE SEEWHAT SHE SEES: A camp hatchet lies across her pillow. The shiny blade is marked with blood.

BRENDA turns and runs from her room.

BRENDA runs throughthe rain, her flimsy pajamas drenched. Her bare feet slipin the mud. She heads for a small rise that leads to thesoftball field.

WIDE SHOT of BRENDArunning across the softball diamond.

CLOSE UP: a hand reaches in and slams on a circuit breaker.

CLOSE UP: Two largespot lights on a telephone pole light up.

The softball fieldis now lit. BRENDA is confused. She looks off behind the backstop. Then to center field. Confused, she runs out of the light into the darkness and underbrush behind third base. The CAMERA slowly zooms in on the darkness where BRENDA exited. Wehold on that spot for several seconds. Finally the silenceis broken by a terrified scream. Then another.

ALICE is at one ofthe windows.

We are looking overher shoulder. The distant glimmer suddenly goes dark.BILL joins her and looks.

BILL heads for thedoor.

ALICE turns. BILLis halfway out the door.

BILL shrugs.

The rain continuesas they drive along.

The police radio,which has been on “squelch,” comes on.

DISPATCHER #1 (V.O.) (filtered) Sgt. Tierney, Report.

DISPATCHER #2 (V.O.) (filtered) Need a clear frequency...

DISPATCHER #3 (V.O.) (filtered) Sgt. Tierney, car niner.

TIERNEY takes themike.

DISPATCHER #2 (V.O.) (filtered) Rescue squad with jaws of life... near mile marker 17... possible fatals... three, maybe more... head on... at least one trapped.

DISPATCHER #1 (V.O.) (filtered) Sgt. Tierney, there’s a bad accident. One fatality known, several possiblesnear mile marker 17 on the Interstate. Bus, tractor trailer. Over.

TIERNEY has jammedon his brakes and swung the car around.

DISPATCHER #1 (V.O.) (filtered) 100%. I’ll them ‘em you’ll be there in fifteen minutes. Out.

TIERNEY bangs themike down on the holder. He stops the car.

STEVE gets out quickly.

STEVE turns as thecop’s car door slams. TIERNEY peels out on the wet road.

CU as STEVE watchesthe lights grow dim in the distance.

ANOTHER ANGLE: asSTEVE turns and jogs the other way. Low thunder rolls in thedistance.

BILL and ALICE havemade their way to BRENDA’S cabin. From the outside they cansee the Coleman lantern burning on the table within.

There is no response. The CAMERA stays in aMCU of ALICE as she and BILL crossup the stairs and into the cabin.

The SHOT continueson ALICE as she looks about the empty cabin. Finally shestops, looking down. The CAMERA continues to hold on her face.

BILL crosses overto ALICE. They are both looking down, past the CAMERA LENS.

ANOTHER ANGLE: WESEE WHAT THEY SEE: the bloody hatchet left on Brenda’s pillow.

ANGLE on BILL andALICE: (as before). Their faces are serious.

The rain slants downas BILL and ALICE make their way toward Jack’s cabin. Theygo to the door. BILL knocks.

BILL opens the doorto the cabin.

The door opens atus. We see the silhouetted figures of BILL and ALICE. BILL flips on the light switch.

The cabin is empty.Jack’s backpack lies on the bed, the contents neatly laidout.

It is dark inside.The door slams open at us as BILL and ALICE make their wayinside.

BILL walks slowlytowards the row of toilets and showers.

BILL, who was justabout to open one of the toilet stalls, nods and turns backto ALICE.

They exit. There isa beat... and then a slickered shape passes between usand the night sky light which comes through the windows. The shape is dragging something.

ALICE and BILL areon the porch of one of the cabins. To the left of the door isa small sign that reads: “Office.” BILL tries the door, butcannot open it.

ALICE ignores thequestion, bends down beside the cabin and comes up with a short2x4. She crosses to the door and smashes through oneof the window panes.

She puts her arm through the broken glass, unlocks the door and enters. BILL follows.

The CAMERA continuesto watch them from outside the cabin. They turn on a lightand cross to a phone on Steve Christy’s desk. BILL picks upthe receiver, listens, clicks the switch on the desk set several times.

They fumble throughthe desk to find some change. BILL finds some in the postagedrawer. He then crosses over to a pay phone mounted on thewall. The CAMERA moves to the cornice of the building wherethe phone line exists. It follows the link up the side of thecabin to the junction where the power and phone lines come infrom the pole. Here we see a dangling phone cable whichhas been recently cut.

OVER, we hear thesound of a quarter dropping in the dead telephone.

BILL and ALICE comeout into the rain, heading for the camper van. They hop in.

BILL slides behindthe wheel. The keys are in the ignition. ALICE hops in on thepassenger side.

BILL turns over theengine. It grinds away but does not catch.

From an ANGLE behindthe outside mirror, we hear the engine fail to catch. Welook in the mirror and see someone standing in the distance, watching.

BILL gets out of thedriver’s side. Slams the door. The CAMERA TRUCKS withhim as he opens the door to the engine. ALICE joins him ashe shines his light on the engine.

He tries a few moretimes.

He goes to her andcradles her face in his hands.

ALICE nods.

In the FG we see acamp sign. In the BG we see a figure running toward us.

The figure reachesour vantage point and is revealed as STEVE CHRISTY. Just as he’s about to make the turn into the driveway, he looksup and smiles. He stops and catches his breath as the otherperson catches him in the light of a flashlight.

He shields his eyesfrom the light.

From across the lake, the lights from the camp twinkle through the rain drops.

The CAMERA as PROWLER moves to the shed. The noise of the generator grows louder as the door is opened.

BILL sits on the chair, a rifle across his lap. In theBG, ALICE sits on thecouch, dozing. On the coffee table in front of her is a largemachete.

BILL’S eyes are closing. He jerks himself awake, then starts to doze again.

The bulb overheadgrows yellow, orange, and then goes out.

BILL snaps awake.He grabs a flashlight by his feet and flicks it on.

He goes to the ping-pong table where he has placed some lanterns. He firesup a Coleman and places it on the pong table.

BILL checks on ALICE, makes sure she’s asleep, then exits, carrying his rifleand a battery-operated fluorescent lamp.

HOLD on ALICE’S peaceful face as she slumbers.

The rain has lessened a bit. BILL approaches the shed with his fluorescent lampand rifle. He has the rifle at the ready.

CU on his hand onthe door handle. He pulls it open.

The generator standsthere quietly. BILL comes into view, spraying the interior withlamplight.

In the FG a brokensparkplug which BILL does not see immediately. It hasbeen smashed by the blow of a hammer.

BILL goes to the gastank and unscrews the top. He looks in -- there is enough gas.He puts the cap back on.

Then his eye catchessomething. He looks at the broken plug. He shakes his headand looks around for a wrench to fix it. He puts the rifledown on the floor of the shed.

ALICE sits up intothe CAMERA, startled and afraid.

She gets her bearings and looks around. Stands up. She looks at the bulb overhead. Pulls its string. No light.

She sees the lanterns which have been placed around.

Now that she has figured out where Bill must be, she relaxes a little. Smiles.She goes to the mantelpiece, takes the lantern, and walksinto the kitchen.

ALICE puts down thelamp and goes about filling a big old tea kettle with water.She puts it on the stove and pops on a burner and preparestwo cups of instant coffee.

Impatient and curious, she walks to the front door of the cabin and looks out.

The calm which shehad grasped a few moments before is beginning to deserther.

117 INSERT: Whistlingtea kettle on the kitchen stove. 117

ALICE takes the kettle off the flame.

The whistling stopsabruptly. ALICE pours water into the two cups. She stirs thecoffee.

Unable to containher impatience any longer, ALICE picks up her lantern, grabsa slicker, and heads out the door.

ALICE walks very quickly around the side of the cabin, headed for the generatorshed.

The door to the shedis closed. ALICE looks around and then puts a hand on thehand. In CU we see the hand pull. The door doesn’t budge.

REACTION SHOT: ALICEdecides to pull harder.

She puts down herlamp and uses both hands and tugs. She pulls until she finally wrenches the door open. The lamp casts long shadowsupwards.

The generator sitssilent.

ALICE leans into theshed to look.

The CAMERA TRACKSvery slowly around behind her so that we can see behind theright-hand corner of the building. As we clear the edge, wesee something hanging from a rope which runs down from a branch above.

The something turnsslowly in the wind. It is BILL -- dead -- in a travesty of themartyrdom of St. Sebastian, shot with arrows.

ALICE comes out ofthe shed, distraught.

She closes the door,and turns in the direction of the body.

REACTION SHOT: ALICE. She is riveted with horror, unable to move or turn or run.The SOUNDTRACK screams with the THEME, the insistent STINGER, a shriek and a thunderclap.

ALICE finally givesvoice to her terror -- again and again. She turns, leavingthe lantern, and runs back toward the main cabin.

ALICE bursts throughthe front door into CAMERA.

ALICE races to thecoffee table, looking for BILL’S machete. It is not there.

She gets down on herhands and knees to look for it.

LOW ANGLE: as shescrabbles on all fours. Nothing under the couch.

ALICE gets back upand rushes to the ping-pong table to get the lamp.

Just as she reachesthe table -- which is more or less against a window --a figure swings, pendulum-like, into the glass, shatteringthe pane in the window opposite ALICE.

It is BRENDA, long-since dead, dripping wet, white-faced.

ALICE sees her, turns and runs as fast as she can for the front door.

ALICE flings openthe wooden door and runs into a rain-suited figure.

ALICE screams. Thefigure holds ALICE in a strong grasp.

When ALICE focuses,she sees a kindly woman in her early forties. She is strong, fairly tall, and very nice-looking. This is MRS. VOORHEES. She wants ALICE to stop shrieking long enough to tell herwhat the matter is. ALICE sobs incoherently, pointing back to the rear window.

ALICE allows the woman to lead her back into the room.

MRS. VOORHEES leadsALICE to the couch. In the BG we can see the broken window,but BRENDA is not visible.

MRS. VOORHEES comforts her with a strong arm.

ALICE points overher shoulder toward the ping-pong table without looking.

MRS. VOORHEES looks,shrugs.

ALICE’S face registers the new terror.

MRS. VOORHEES smileswarmly.

ALICE waits by thecouch as MRS. VOORHEES crosses the room to the back window.

ALICE stands closeto the fireplace.

MRS. VOORHEES reaches the window and looks out. BRENDA’S body sways just out ofreach. MRS. VOORHEES is shocked.

MRS. VOORHEES turnsback and, as she passes the ping-pong table, she picks upthe lantern.

ALICE waits at thefireplace.

She lets MRS. VOORHEES take her in her arms.

ALICE backs up.

MRS. VOORHEES looksaround the room.

The fire glimmersslightly in the fireplace. A log burns through and rollsoff, throwing up a small shower of sparks.

MRS. VOORHEES hasalmost completely calmed the girl down. Strokes her soft hair.

ALICE looks up asMRS. VOORHEES strokes her hair.

ANOTHER ANGLE: MCUas MRS. VOORHEES hand strokes ALICE’S hair. The hand ismissing its little finger!

The THEME enters upon the TRACK in a lyrical, child-like version, echoing back to another era, pretty and light.

MRS. VOORHEES shakesher head gently.

As she speaks, MRS.VOORHEES reaches into her slicker in a surreptitious mannerand very slowly slips out a long hunting knife.

MIXED on the TRACK,filtered, echoed and distant, is the SOUND of a ten yearold boy, JASON, crying for help in a fantasy version ofwhat might have happened when he drowned in 1957.

MRS. VOORHEES hasgone through some subtle changes. While her voice remains warmand comforting, her face has started to slip into her othermanifestation. All of this is in concert with the visibilityof her weapon.

ALICE starts to become increasingly anxious. She can’t see the knife rise behind her.

MRS. VOORHEES shakesher head from side to side.

The shock of recognition hits ALICE. InCU her eyes look up and see the knifewhich MRS. VOORHEES now has poised and ready to strike.

ALICE bolts off thecouch and stumbles backwards into the fireplace, scattering ashes and sparks.

MRS. VOORHEES standsand steps forward.

ALICE, in panic, looks for an escape. She grabs the fireplace poker.

ALICE swings the poker back and forth

MRS. VOORHEES raisesthe arm to slash downward with the knife. ALICE swingsthe poker hard to MRS. VOORHEES’ other arm and rib cage.

MRS. VOORHEES is inpain, her face a mask of rage.

ALICE drops the poker to run for the door.

MRS. VOORHEES hesistatesfor a moment, then follows ALICE deliberately.

Lightning goes offfollowed quickly by thunder.

ALICE gets to thedoor and stops. She fiddles with the side of the screen... somebody has latched it.

CLOSER ON ALICE, taking one look over her shoulder, kicks at the door, snappingthe latch.

ANOTHER ANGLE: asALICE runs out into the rain, the mud, the thunder and the lightning. The THEME is going full-tilt as ALICE makes a quickturn to run toward the road.

TWO-SHOT: as ALICEbumps into an object which swings from above. A slice oflightning reveals it to be the dead body of STEVE CHRISTY hanging from the tree. A rope is looped under his arms, his headis down on his chest, and a long blade protrudes from hisheart.

REACTION SHOT: ALICEin terror.

ANOTHER ANGLE: ALICEruns and suddenly bumps into another pair of legs whichswing from the same big tree.

STROBE SHOT: of JACK, dead.

ANOTHER ANGLE: ALICEruns for the Arts & Crafts. In theBG we can see the yellow-slickeredMRS. VOORHEES closing the distance between herself and ALICE.

ALICE runs for thedoor, slams through it.

The CAMERA waits forMRS. VOORHEES, but she does not appear.

MRS. VOORHEES runsto the door and opens it quickly.

ALICE is hiding inthe shadows behind a table. We hear the SOUNDS of the generator starting outside and suddenly three bright overhead lights come on.

ALICE looks acrossthe room to the light switch, afraid to reveal her hidingplace.

She looks for an escape. There’s a window. She starts for it, then stops and turnsand dives under an arts & crafts table.

ANOTHER ANGLE: MRS.VOORHEES opens the door and walks in a few feet.

She carries a machete in her hand. We see this instrument in CU as we hear OVERthe sound of her son, JASON, calling to her.

The CAMERA PANS UPto her face and we see that the voice of JASON is coming fromwithin her in LIP SYNC. She is both characters -- thoughthe child’s voice is authentically dubbed.

ALICE can just makeout what is happening and can hear the VOICE OF JASON.

ALICE is very still.Her eyes widen as she listens to MRS. VOORHEES rave.

MRS. VOORHEES is having trouble catching her own breath. She strokes her throatwith her free hand and the voice of the child stops.

She wades throughtable after table, pushing them out of her way with the strength she has demonstrated throughout as the PROWLER.

When MRS. VOORHEESis too quick for her, shoving a table across her path likea barred door. Before ALICE can think twice, MRS. VOORHEEShas shoved a second table in behind her so that now ALICEis sandwiched between them.

She can duck downor climb over or come out the only open end -- the end where MRS. VOORHEES is standing.

ALICE looks behindher and sees a shelf. On the shelf is a box.

MRS. VOORHEES is coming down the aisle between two tables. Her machete is coming up in an attack.

ALICE reaches intothe box in CU and pulls out a handful of leather-working tools. She hurls them at MRS. VOORHEES as hard as she can.

MRS. VOORHEES hasto put her arms up to ward off the spinning knives. One cuts herunder the eye and she lets out a low animal bellow.

ALICE leaps up, climbs over the table and runs for the door.

MRS. VOORHEES shovesthe tables over and hurries after her.

ALICE gets to thedoor, shuts off the light switch and runs out.

We can hear JASON’SVOICE.

The central area isbathed in light. The rain has stopped. MRS. VOORHEES hasturned on all the flood-lights.

ALICE runs to thecorner of one of the cabins. She stops to look back. MRS. VOORHEES is gaining on her.

ALICE runs to theequipment shed.

ANOTHER ANGLE: Thedoor is thrown back. ALICE goes in. Looks for a weapon. Nothing is available. ALICE sobs with fear. She runs.

MRS. VOORHEES passesthe equipment shed.

A single bulb outside the building shows ALICE as she bursts through the door.

It is a small cabin.On the walls are five .22 calibre rifles.

ALICE runs into thedimly lit cabin and takes one of the rifles from the wall.

She rummages in adrawer. It’s empty. She tries another. Empty.

The next drawer hasa lock and hasp on it.

ALICE looks around.

MRS. VOORHEES is onher way, charging through the night.

ANGLE ON ALICE: Shewhacks the hasp with the butt of the rifle. The hasp doesn’t give. She gives it another butt stroke. It won’t give. A shadow covers ALICE’S back. She turns.

ANOTHER ANGLE: MRS.VOORHEES is standing in the doorway, blocking the light.Still carrying the machete, MRS. VOORHEES steps slowly towardALICE.

ALICE, with an almost useless .22 in her hands, does the only thing she can. Shetakes the weapon by the barrel and, swinging it like abaseball bat, whack MRS. VOORHEES on the arm/shoulder, knocking the killer off balance and into the wall.

MRS. VOORHEES slamsthrough a flimsy table, crushing it, and drops to the floor.

ALICE runs out thedoor.

ALICE huffs past thedead camper van, through the mud to the front door of themain cabin. She runs in quickly. There is no sign of MRS. VOORHEES. She turns off the lights and runs into the kitchen.

ALICE looks from side to side, hoping to find a place to hide. She spots thehalf-open door to the larder, looks inside and then hides there, closing the door behind her.

There is some lightthat comes through the cracks and crevices. ALICE’Shands fasten onto the inside lock -- the dead bolt type whichrequires a key to unlock it from the other side.

ALICE relaxes a little bit now that she is locked inside.

As soon as she relaxes, we hear the front screen door slam. Then we hear someshuffling around outside. The lights are turned on.

There is the soundof pots being rustled through. Then the sound of another door being slammed.

ALICE relaxes again.

Then there is a silence. ALICE thinks about unlocking the door now. She reaches out for the lock. Then thinks better of the idea.

She cases down thedoor frame to the floor. On all sides are the cans of food andcooking implements. There is a large skillet, some bagsof flour, etc.

ALICE covers her head with her arms.

The doorknob aboveher head (a few inches away) turns very slowly. We see it,but she does not. MRS. VOORHEES’ hand finishes turning andnow starts to push gently. There is almost no give, butwe see that the door is being tested.

The voice on the other side is very young, very sing-song.

ALICE jerks back andstands up on the far side of the small room.

Fists bang in a rageon the door.

ALICE folds her hands at the side of her face.

The fist-banging gives way to a short silence.

The silence is interrupted by a new sound: MRS. VOORHEES has begun to use her machete to chop away at the outside of the door to the larder.

REACTION SHOT: ALICE... oh, my God...

At first we see nothing on our side. Then, gradually, we see little slivers oflights admitted by the blade’s chops. ALICE’S eyes racearound the larder to try to find a weapon, a defense, anything...

Larger holes are nowmade. MRS. VOORHEES stops just long enough to take a peek inside. We can see her eye at the largest hole. Shegoes back to whacking away at the door. The hole is near the lock. It is soon big enough for MRS. VOORHEES to reachinside with her hand and turn the rachet.

ALICE realizes shemust defend herself. She reaches down and picks up a heavy skillet and, as the door opens, ALICE raises her weapon and, screaming, charges the woman who is trying to come through the entrance.

MRS. VOORHEES chopsdown with the machete. ALICE fends off the blow with theskillet that she holds with both hands above her head. Asthe machete blade bounces off the skillet, ALICE is able to swing the skillet downward and hit MRS. VOORHEES with a solid blow on top of her head. MRS. VOORHEES sprawls sideways across the table and then collapses in a heap on the floor.

ALICE raises the skillet again to strike. She crosses carefully to MRS.VOORHEES and pushes her gently with her foot, the way shemight poke a dead animal in the roadway.

ANOTHER ANGLE: MRS.VOORHEES lies totally inert. There is a small puddle of blood under her head.

ANGLE ON ALICE: Sherelaxes, puts down her weapon and crosses slowly out of theroom.

The moon comes outfrom behind a cloud. ALICE pushes a canoe into the water andpaddles, as rapidly as her tired body will permit, out in thelake to safety.

Exhausted, ALICE puts her paddle across her lap and falls forward, slumped across a thwart.

The first rays ofsunlight streak the sky from beyond the horizon, promisinga hot and sunny summer’s day. The birds are up, foraging forfood.

As the CAMERA scansthe peaceful scene, we see the sky reflected in the calm waters of Crystal Lake.

The canoe holdingALICE is drifting in big slow circles across the surfaceof the lake.

ALICE lies, in MCU,in the canoe, sleeping. She has not changed her positionsince collapsing a few hours before. The water laps gentlyagainst the side of the canoe. Very slowly, she wakes. She opensher eyes.

The canoe has drifted into the shade of some enormous tree boughs that overhangthe edge of the lake.

They shade ALICE from the bright rays of the sun. The canoe rocks gently. ALICEis still, listening to the sound of the lapping water.

Suddenly there isa blood-curling scream, a MUSICAL STINGER, and the screen isfilled with the flying, whirling form of MRS. VOORHEES, wholeaps from the overhanging boughs into the canoe, barely missing ALICE’S slumped form!

The canoe immediately overturns and both MRS. VOORHEES and ALICE try to findtheir footing in the shallow water. MRS. VOORHEES is coveredin mud and blood. She sees ALICE struggling to getup and move toward her, brandishing her blood-spattered machete. ALICE turns, sees MRS. VOORHEES coming. ALICE grabsa paddle floating near her.

MRS. VOORHEES pushesthe canoe to one side, wading through the waist-high wateras fast as she can. She screams with rage. Her face goesthrough a horrifying transformation. From her mouth comes theVOICE OF JASON.

ALICE can’t move fast enough to get away from MRS. VOORHEES, who is slashing theair with her big knife trying to hit ALICE. ALICE slips,falls in the water, gets her footing back and has to turn andblock the blow of the machete with the paddle, using it like a staff to ward off the blow. The machete cuts the paddle nearly in half. MRS. VOORHEES raises the knife for another blow and ALICE lunges for her knees and succeeds in throwingMRS. VOORHEES into the water. The machete flies outof her hand and lands in the water. The two women roll in thewater. MRS. VOORHEES is trying to strangle ALICE, her hands stretching to reach around her throat. They rolls over and underthe water. We cannot see who is winning.

Suddenly MRS. VOORHEES finds her footing and stands up, looking for ALICE.She is screeching madly.

ALICE shoots up outof the water holding the machete, and in one, wild swing, decapitates MRS. VOORHEES, whose head flies off into the water.

The body stands fora minute, then falls heavily into the lake.

ALICE drops the machete into the water and starts to wade to shore.

ALICE walks slowlydown the road away from the camp. We hear the sound of a carapproaching. Now it comes into view. It is a state vehicle, black and white, with an emblem on the door that states “StateDepartment of Health and Safety”. There are two middle-agedbureaucrats inside.

ALICE waves down thecar, which pulls up beside her.

1ST INSPECTOR Good morning, miss.

2ND INSPECTOR (leaning across the front seat) Are you all right, ma’am?

The CAMERA PANS BACKwhile the two men get out of their vehicle and come around to help ALICE.

LONG SHOT of the camp with the sun sparkling on the waters of Crystal Lake. Thecanoe lies half sunken in the shallows. One paddle drifts in thecurrent. The lake has swallowed its secret.

ROLL CREDITS.