INT. ALICE'S CABIN — DAY
It is now Friday.
Alice lies asleep atop the covers. An arm hangs over the side, the framed photograph still in her hand.
PROWLER'S P.O.V. — ALICE
Opening the door, someone enters the cabin. Approaching the bed, their shadow passes over Alice's face. With the creak of a floorboard, she awakes with a start.
INT. ALICE'S CABIN — DAY
It's only Bill.
ALICE
(groggy) I didn't know I was asleep. (beat) What time is it?
BILL
Almost eleven.
Alice gets up, dropping the frame.
ALICE
I'm only six hours behind schedule. Steve's going to have a small cow.
Bending low, Bill picks up the picture.
BILL
Cute kid.
Alice swipes the picture back.
ALICE
Annie. My sister.
She buries the photo beneath her pillow.
EXT. CAMP CRYSTAL LAKE — MAIN CABIN AREA — DAY
Steve is at the wheel of his Jeep. The counsellors are standing within earshot, huddled around the Jeep.
JEFF
(cont'd) Do you want it listed separately?
STEVE
That's right. And Alice, get started in the kitchen. Do your best. I'll be back sometime after lunch. (beat) It's supposed to rain like hell, so get as much done as possible. I don't want to get too far behind. Tomorrow we have a preliminary inspection by the state safety people. I'd like to look good.
He wheels the vehicle around and out the driveway. The others get back to work.
EXT. FOREST — DAY
A machete rips through some vines, hacking at the brush.
We pull back to reveal Bill clearing away the years of vine growth which've choked off a path. He wipes the perspiration from his eyes and continues along.
INT. MAIN CABIN/KITCHEN — DAY
Alice is hard at work scrubbing down the stove when Bill enters. He stands in the doorway, watching her.
BILL
How you doin'?
ALICE
Okay.
BILL
Can I help?
ALICE
There's a lot of dishes if you just want something to do.
BILL
(smiles & nods) The way I feel, that's perfect.
Bill goes to the sink and begins working his way through the dirty dish pan.
ALICE
The next bus out of town — that's Monday?
BILL
You thinking of leaving?
ALICE
Uh-huh.
BILL
You okay?
She nods.
BILL
(cont'd) How come you're leaving?
ALICE
It's long and personal. It has nothing to do with you or the other kids.
BILL
Maybe I can help?
Alice looks at Bill and smiles.
ALICE
(cont'd) And it's this place. It makes no sense, but it spooks me.
BILL
(smiles) You're right. It makes no sense.
EXT. CAMP CRYSTAL LAKE — DAY
Looking across the lake, 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.
INT. MAIN CABIN/MEETING ROOM — DAY
Brenda and Sandra are curled up on the couch, watching Shelly and Jeff juggle apples and oranges. Judging by the disinterest on the girls' faces, the boys've been at this a while.
SHELLY
(chuckles) You give up?
JEFF
You out of your mind?
The juggling continues.
JEFF
(cont'd) You give up?
SHELLY
(laughs) Never!
SANDRA
(to Brenda) I know how to stop this.
Rising, Sandra saunters over to Jeff, resting her hands on his shoulder lovingly.
SANDRA
(smiles) Jeff, I can think of much better things for you to be doing with your hands.
Concentration broken, he drops the oranges.
JEFF
(to Shelly) You win.
Sandra puts an arm through Jeff's arm and they exit. Shrugging, Shelly continues.
Brenda goes to the hearth. Crouching over, she stokes the hot coals. Shelly takes a break to check out her butt through her jeans. As she turns to him, he quickly averts his gaze and resumes juggling.
SHELLY
I guess that leaves you and me. Sort of.
BRENDA
Yep. (beat) You are very good at that.
SHELLY
(shakes head) Nah.
Setting the apples down, he faces her.
SHELLY
Brenda, you and I have gotten to know each other a little these past three days, y'know, and ... I like you. I like you a lot. I-I was thinking that maybe, y'know, we could —
She places a hand over his mouth, cutting him off.
BRENDA
(shakes head) I don't think so. (beat) Look, I'm gonna go outside for a few minutes, and then when I get back in we'll talk. Okay?
SHELLY
(crestfallen) Sure, we'll talk.
She leaves.
SHELLY
(cont'd) Bitch.
EXT. CAMP CRYSTAL LAKE — DOCK — DAY
Brenda walks onto the dock. Jeff and Sandra are on the shore nearby, holding each other close. Watching them a moment, she goes to the end of the dock. Taking a seat on the edge, she dangles her feet over the water. She gazes out over the lake, where the sun's dipped lower into the sky.
A black arm suddenly breaks out of the water, grabbing one of Brenda's feet. She cries out, drawing Jeff and Sandra's attention. She thrashes about, but can't dislodge the grip around her heel. Finally the slipper she's wearing slips off and the arm disappears back under the water. She scampers up, backing away, wary, fearful. Before Jeff and Sandra can reach her, her assailant lunges out of the water. Body black, face white, armed with a machete, they release a guttural cry. She screams.
It's only Shelly in a wetsuit and Detroit Red Wings goalie mask.
SHELLY
(takes off mask; laughs) That'll teach you a valuable lesson: a beautiful girl like you should never go out on the water alone.
BRENDA
(pushes Shelly; angry) Dammit, Shelly! (beat) Why do you do these stupid things‽
SHELLY
(serious) I have to.
BRENDA
(shakes head) No, you don't have to.
SHELLY
I just want you to like me.
BRENDA
I do like you, but not when you act like a jerk!
SHELLY
(miserable) Being a jerk? It's better than being a nothing.
He starts to leave. Brenda turns to him.
BRENDA
I never said you were nothing.
SHELLY
You don't have to say it. I can tell.
And he's gone.
BRENDA
You're wrong. (beat) Shelly!
EXT. CAMP CRYSTAL LAKE — MAIN CAMP AREA — DAY
Shelly comes away from the dock and walks moodily towards his cabin.
The troubled boy stops. With his machete he skips a pebble off into the brush; it cuts through. He looks off. At one of the cabins he spies a shape — a human shape — standing on the front porch.
SHELLY
Hello?
The figure disappears inside. Shelly follows.
SHELLY
Can I help you? (beat) Hello? Hello?
EXT. CAMP CRYSTAL LAKE — SHORE — DAY
Jeff and Sandra walk along the shore. The sun has become victim to dark cloud, smothering most of the daylight. There's the low rumble of thunder preceeded by a faint glow on the horizon.
JEFF
Wind's come up. Shifted a good 180°.
SANDRA
(wraps arms around Jeff) Makes me want to hold onto you.
They kiss. Sandra pulls back.
SANDRA
What about Shelly?
JEFF
I don't love Shelly.
SANDRA
He keeps acting like such an asshole.
JEFF
(shouting) Shelly!
SANDRA
Stop. Don't call him.
JEFF
I thought you wanted to give him one of your motherly lectures. (beat) Look, Shelly's gonna do whatever Shelly wants to do, y'know?
A loud bolt of lightning slices the sky.
JEFF
(grins) It's gonna storm. (beat) It can tear down that valley like a sonuvagun.
Sandra takes a seat on a log, looking up at the oncoming storm.
SANDRA
I've been afraid of storms ever since I was a little kid.
JEFF
You? The brick?
SANDRA
Yeah. I've had this dream about five or six times when I'm in a thunderstorm. (beat) And it's raining really hard. It sounds like pebbles when it hits the ground. I can hear it. I try to block out the sound with my hands, only it doesn't work; it just keeps getting louder and louder. And then the rain turns to blood ... and the blood washes away in little rivers. And then the sound ... stops. (chuckles)
JEFF
It's just a dream.
SANDRA
Yeah, I know. I call it my shower dream.
Raindrops begin falling on their faces and the lake behind them.
JEFF
Hey, hey, this is no dream. C'mon, we're gonna get soaked.
They leave the log.
INT. JEFF'S CABIN — TWILIGHT
The door bursts open, a flashlight pierces the shadows, and Jeff and Sandra rush in. Setting the flashlight down, he goes to light a candle while she plops down on his bed, wriggling out of her damp pants.
Sandra turns to Jeff as he comes to her. They enter into a long passionate kiss.
INT. MAIN CABIN/MEETING ROOM — TWILIGHT
Going to the hearth, Alice picks up a couple of pieces of dry wood and puts them on to burn. Brenda is curled up back on the couch in front of the fire, Bill sitting next to her, playing a guitar. Alice returns to her chair, crossing her legs. As Bill strums the guitar, Alice studies his face; his features are as gentle as the tune he plays.
All too soon, Bill's finished.
ALICE
(dreamily) That's nice.
BRENDA
Umm-hmm. (rises) Hey, I know what we can do. We're going to play Monopoly.
ALICE
(frowns) I hate Monopoly!
BRENDA
Not the way I play it, you don't.
Getting the Monopoly set off the shelf, she brings it to the table.
BILL
Like what?
BRENDA
We're going to play strip Monopoly. I'll be the shoe.
ALICE
(intrigued) You have got to be kidding.
BILL
What about if Steve walks in?
BRENDA
We'll give him a handicap: he can keep his boots on. Everything else goes. (beat) It's easy. Instead of paying rent, you pay clothes. Bill can be banker. (smirks) Unless, of course, he's chicken.
BILL
Well, Heaven help you if you land in one of my hotels.
BRENDA
(to Alice) Why don't you see if Sandra left any of that grass.
Brenda and Bill set up the gameboard.
BILL
What happened to my $500's?
BRENDA
They're there. Where's my shoe?
INT. JEFF'S CABIN — TWILIGHT
Jeff and Sandra make love under a camp blanket, him atop, her beneath. Their breathing and moans are heard just above the sounds of the rain outside.
Behind the couple, the cabin door opens. A slight gust of air snuffs out the candle and most of the light. A newcomer enters, their shape just a large silhouette against the gloom. In the throes of rapture, neither Jeff nor Sandra notice.
INT. MAIN CABIN/MEETING ROOM — TWILIGHT
Alice returns to the table, two bottles of beer and a lit joint in hand. Bill and Brenda have already started playing.
ALICE
(hands beer to Brenda & Bill) I'm not gonna pass "Go" without a glow.
BRENDA
We already rolled for you. You're going last, okay? Oh, and Community Chest cannot give you your clothes back.
Brenda rolls the dice.
BRENDA
(gleeful) Double sixes. I get to roll again.
BILL
I think we're being hustled.
ALICE
I think you're right.
INT. JEFF'S CABIN — TWILIGHT
The person draws near the bed. Jeff grinding against her, Sandra grasps the small of his back, her moans climbing in pitch.
Lightning illuminates the cabin momentarily, revealing the intruder. A man, he is attired in an olive green work shirt, tan work pants, and black work boots. Quite tall, brawny, his skin is ashen. His face is hidden behind Shelly's goalie mask, but this isn't Shelly. This is the PROWLER.
INT. MAIN CABIN/MEETING ROOM — TWILIGHT
Alice rolls. She moves five spaces.
ALICE
Baltic Avenue. I'll buy it.
BILL
No one ever lands on Baltic Avenue.
ALICE
(shrugs) I think it's a pretty colour.
Bill takes the dice and rolls them in his hand, blowing on them.
ALICE
(impatient) C'mon.
He tosses them.
ALICE
Ha! Eight!
Alice moves Bill's piece.
ALICE
(crosses arms) Baltic Avenue. You owe me one boot.
BILL
(sighs) Coming.
BRENDA
Alice draws first blood.
BILL
(hands boot to Alice) That's a terrible way to talk about my feet.
ALICE
(takes boot) Thank you. (beat) Who's next?
Brenda rolls.
ALICE
Y'know, (snickers) I think I'm beginning to like this game.
BRENDA
Just wait until he lands on my old Kentucky home.
BILL
(nonplussed) More beer? More beer.
INT. JEFF'S CABIN — TWILIGHT
With a crash of thunder, Sandra opens her eyes. She sees the Prowler looming over them, hefting up the machete he stole from Shelly. She gasps. The Prowler skewers the pair on his blade. Sandra screams, her blood spurting with Jeff's.
INT. MAIN CABIN/MEETING ROOM — NIGHT
The games continues. Bill has lost his shirt, putting him at a disadvantage against the girls, but not for long; Brenda makes her next move.
BILL
Hello.
BRENDA
Shit. (takes shirt off) Worst run of bad luck since Richard Nixon.
BILL
Well, you can always call it quits if you want to.
BRENDA
Fat chance! You're two steps from Pacific Avenue and Skin City.
BILL
Ooh.
It's Alice's turn. She rolls the dice. Tentative, she moves her piece. Her first bad move of the evening.
ALICE
(grimaces) Whoops.
BILL
(smirks) Well, what can I say? It's not much, but I call it home.
Alice begins unbuttoning her blouse. At that very moment, the storm blows the cabin door open, bringing the wind and rain inside.
BILL
I'll get it, I'll get it.
As Alice and Brenda scramble to shield the gameboard from the storm, Bill hurries to close the door.
BILL
It's blowing like crazy out there.
BRENDA
(crestfallen) Oh, I think I left the windows of my cabin open. Shoot.
Rising, she takes her slicker off the wall.
BRENDA
Well, we're gonna have to finish this game some other night. (smiles at Alice) Just when it was getting interesting. (beat) See you guys in the morning.
BILL
See you.
ALICE
Good night.
BRENDA
Good night.
EXT. CAMP CRYSTAL LAKE — MAIN CABIN — NIGHT
Brenda, clothes gathered in her arms, slicker thrown over her head like a portable tent, races off into the night.
INT. MAIN CABIN/MEETING ROOM — NIGHT
Alice and Bill are left the task of packing up the game and their empties.
ALICE
Look at this mess. (hands bottle to Bill) Here.
BILL
(takes bottle) Hey, tell me, were you really gonna go ahead with it?
ALICE
(coy) Actually, I hadn't made up my mind.
BILL
Well, in that case, we'll have to finish the game another night.
ALICE
Oh yeah‽ (kicks Bill playfully).
EXT. DINER — NIGHT
Through the rain-pelted windows, we can see a waitress and some customers seated on stools at the counter.
INT. DINER — NIGHT
The WAITRESS is different from the morning woman from two days before, slightly older, plump and bespectacled. She says good night to a customer, picks up his empty pie plate and tosses it in a pan of other dirty dishes, and crosses down the counter. Seated there is Steve Christy, finishing his cup of coffee.
SANDY
Steve, is there anything else you want?
STEVE
No, no. No thanks, Sandy. I'm fine.
SANDY
You can't go back out there in that rain. 'Less you wanna get drowned.
STEVE
(drinking quickly) No, I've got to. I've got six new counsellors up at camp. They are all babes in the woods, in every sense of the word.
SANDY
(shrugs) Well, they'll be okay if they know enough to come out of the rain.
STEVE
Mmm-hmm. (beat) Well, what do I owe you?
SANDY
(grins) Just a night on the town, Steve.
STEVE
(laughs) C'mon, Sandy, you know what I mean.
SANDY
That's okay. $2 and a quarter. Plus 15% tip to make up for me spending the night alone.
Steve pays up and she rings up the money. Gives him the change. He hands her a tip.
SANDY
That's 30%.
STEVE
For two lonely nights.
SANDY
(smiles) Drive careful. Don't drown your dumb self.
Steve smiles and leaves.
EXT. DINER — NIGHT
The rain continues as Steve exits the diner, gets in his Jeep and starts it up. He roars off through a big puddle, splashing water, pulling a small equipment trailer behind him.
EXT. HIGHWAY — NIGHT
The Jeep plows through the rain, leaving the town lights behind. A sign off to the side reads: "CRYSTAL LAKE 12 Mi."
INT. CAMP BATHROOM — NIGHT
The door opens and Brenda comes in in her slicker and with toiletries. Humming softly to herself, she turns on the overhead light.
Her actions are direct and business-like. She goes first to the row of sinks and looks at herself in the mirror. She takes out a toothbrush and some other articles. She flips on both facets; nothing comes out. Bending low, she turns on the water valves. As she stands up, laying toothpaste on her brush, she hears a sound. She looks off at the shower stalls. Nothing. She begins brushing her teeth.
Finishing, she turns off the faucets and gathers up her items. Turning back to the stalls, she gives it a final glance. Shrugging, she turns to make her exit. She finds the Prowler standing in the open door. Body invisible against the night outside, his goalie mask appears suspended against the darkness.
BRENDA
(gasps; annoyed) Shelly.
Turning, the Prowler strides off.
EXT. RURAL ROAD — NIGHT
Steve's Jeep has stalled. He's tries to restart his dead engine; it only sputters and coughs.
INT. STEVE'S JEEP — NIGHT
Steve angrily steps on the gas again and hits the starter. Nothing.
He looks up to see headlights coming at him in his rear view mirror.
EXT. RURAL ROAD — NIGHT
Wearing a yellow slicker, Steve gets out of the Jeep to flag down the oncoming car. He smiles to see that the oncoming car belongs to the local police, driven by a middle-aged cop, SERGEANT TIERNEY. Tierney has the window down already.
STEVE
Hi.
SGT. TIERNEY
Hi, Steve. (gestures to Jeep) I thought that thing would go through anything.
STEVE
Not dragging a trailer. (beat) Can you give me a lift? I'll have one of my counsellors bring me back in the morning.
Steve is around the car and inside before Tierney can answer.
SGT. TIERNEY
Why not?
The officer puts the car in gear and drives into the night.
EXT. CAMP CRYSTAL LAKE — PATHWAY — NIGHT
Brenda walks through the rain. She's lost sight of the man she believes is Shelly.
BRENDA
Shelly? Cut the screwing around. Shelly! (beat) This isn't even half-funny.
Bare feet slipping in the mud, she heads for a small rise that leads to the archery range.
EXT. CAMP CRYSTAL LAKE — ARCHERY RANGE — NIGHT
Brenda walks across the range, hugging herself against the cold, struggling to see in the rainy darkness.
CUT TO
A hand opening an electrical junction box, reaching in and slamming on a circuit breaker.
CUT TO
A series of floodlights lighting up.
The archery range is now lit. Brenda looks around about her, confused.
BRENDA
Alright! Come on out, it's not funny anymore! (beat) It's not funny at all.
Lunging out, the Prowler grabs Brenda by her hair. She releases a terrified scream. That scream is quickly cut off as he stabs her through the back of the throat with an arrow.
INT. MAIN CABIN/MEETING ROOM — NIGHT
Alice and Bill are together on the couch. She rises.
ALICE
I thought I heard a scream.
BILL
How can you hear anything through that wind?
ALICE
It sounded like Brenda.
BILL
I'd better take a look.
Alice is at one of the windows.
ALICE
Yeah, and somebody turned on the lights at the archery range.
BILL
What‽
The distant glimmer out the window suddenly goes dark. Bills joins Alice, looking out.
BILL
I can't see anything.
ALICE
They're off now.
BILL
I'm gonna check it out.
Bill heads for the door.
ALICE
Bill? Can I come?
BILL
Come on, then.
Bill takes Alice's hand.
EXT. RURAL ROAD — NIGHT
The rain has lessened a bit as the police car drives along.
INT. POLICE CAR — NIGHT — TRAVELLING
SGT. TIERNEY
It's not bad enough to have Friday the 13th, we've got a full moon too. We keep statistics. We have more accidents, more rapes, more robberies, more homicides, more of everything when there's a full moon. It upsets people; makes them nuts.
STEVE
(dismissive) Ah, you make a science out of coincidence.
SGT. TIERNEY
I hear old Ralph was out your way yesterday. His wife called in, a nervous wreck. He never came home.
STEVE
Oh, boy. That's all I need, Crazy Ralph running around.
SGT. TIERNEY
Well, the rain's stopping. It was a pisser while it lasted.
The police radio comes on.
DISPATCHER #2
(V.O.) Sgt. Tierney, come in. Sgt. Tierney, Car Niner.
Tierney takes the mike.
SGT. TIERNEY
This is Tierney.
DISPATCHER #2
(V.O.) Rescue squad with jaws of life. Near mile marker 17. Possible fatals. Three, maybe more, trapped. Head on.
SGT. TIERNEY
Roger. Acknowledge receipt. Estimate arrival, fifteen minutes.
EXT. RURAL ROAD — NIGHT
Turning on his lights, Tierney swings the car around, braking.
SGT. TIERNEY
I have to let you off here, Steve.
STEVE
Sure.
Steve gets out.
STEVE
(cont'd) Thanks. Good luck.
SGT. TIERNEY
Another coincidence.
STEVE
Yeah.
Tierney turns on his siren, peeling out on the wet road. Steve turns and jogs the other way.
EXT. CAMP CRYSTAL LAKE — ENTRANCE — NIGHT
Steve reaches the camp sign. Just as he's about to make the turn into the driveway, a figure standing beside the sign catches him in the beam of a flashlight.
STEVE
Hello? Who is that?
Shielding his eyes from the light, Steve approaches.
STEVE
(smiles) Oh, hi. What are you doing out in this mess?
INT. BRENDA'S CABIN — NIGHT
Bill and Alice've made their way to Brenda's cabin, carrying lanterns.
ALICE
Brenda? Brenda?
Alice looks about the empty cabin.
ALICE
Where is she? (beat) She must be with Jeff and Sandra.
EXT. CAMP CRYSTAL LAKE — JEFF'S CABIN — NIGHT
Bill and Alice make their way toward Jeff's cabin. They go to the door. Bill knocks.
ALICE
Jeff!
BILL
Jeff!
ALICE
Jeff, open the door!
Bill opens the door to the cabin.
INT. JEFF'S CABIN — NIGHT
The door opens. We see the silhouetted figures of Bill and Alice. Bill flips on the light switch.
Though the cabin is empty, Jeff's bed is in disarray, sheets and cot drenched in blood.
BILL
What is this, a joke?
ALICE
They wouldn't do anything like this.
BILL
(turns to leave) Alice, c'mon.
ALICE
Wait for me.
INT. CAMP BATHROOM — NIGHT
Bill and Alice make their way inside.
ALICE
Brenda? Sandra? Jeff? Shelly?
Bill walks slowly towards the row of toilets and showers.
ALICE
(unsettled) Bill, I think we should call someone.
Bill, who was just about to open one of the toilet stalls, nods and turns back to Alice.
BILL
Okay.
They exit.
EXT. CAMP CRYSTAL LAKE — OFFICE CABIN — NIGHT
Alice and Bill are on the porch of one of the cabins. To the left of the door is a small sign that reads: "Office." Alice opens the door and enters. Bill follows.
The camera continues to watch them from outside the cabin. They turn on a light and cross to a phone on Steve's desk. Bill picks up the receiver, listens, clicks the switch on the desk set several times.
ALICE
What's wrong?
BILL
It's dead. Try the pay phone.
ALICE
Do you have a dime or a quarter?
BILL
No. I'll check the desk.
They fumble through the desk to find some change. The camera moves to the cornice of the building where the phone line exists. It follows the link up the side of the cabin to the junction where the power and phone lines come in from the pole. Here we see a dangling phone cable which has been recently cut.
We hear the sound of a quarter dropping in the dead pay phone.
ALICE
(O.C.) Hello? Hello? (beat) Oh, this damn thing's dead too.
INT. OFFICE CABIN — NIGHT
The bulb overhead winks out.
BILL
The lines in town are supposed to be real lousy.
Alice looks about the cabin. It is spacious, and in the dark harbours many areas of concealment.
ALICE
(afraid) Bill, there's someone in this room.
In the far corner, the shadows shift. Crouched down, the Prowler rises to full height.
ALICE
Bill, there's someone in this fucking room!
Machete in hand, the Prowler pounces. Bill dodges just in time to avoid the blade; it becomes embedded in the wall. Grabbing Bill by the shoulders, the Prowler slams him hard against the wall; Bill grimaces in great pain. The Prowler pins Bill to the floor, hammering away at him with his fists. Bill flails, but he can't fend off his bestial attacker.
Alice is riveted with horror, unable to move or turn or run. Once Bill falls still, the Prowler springs up, dark eyes burning into her, and she finally gives voice to her terror. She turns and runs back toward the main cabin.
INT. MAIN CABIN/MEETING ROOM — NIGHT
Alice bursts through the front door. Wracked with sobs, she fights to keep enough cool to secure the cabin. Finding a coil of strong rope, she loops it around a ceiling beam then around the door lever, tying a knot and pulling it tight. She then barracades the door with whatever she can find. Turning her lantern low, she draws the window shades shut.
INT. MAIN CABIN/KITCHEN — NIGHT
Alice goes in, looking for a weapon. Securing a carving knife, she looks out the windows, wary for the Prowler.
As she's drawing the shades, she hears a sound outside. Tensing, she grips the knife tightly. There then is the flutter of wings, followed by the cry of a loon. She slumps against the refrigerator.
ALICE
What am I gonna do?
The window beside Alice shatters as a figure is thrown through the pane. Alice shrieks. It is Brenda, dripping wet and pale white, arrow protruding through her neck.
Alice sinks to the floor, on the brink of a complete breakdown. Sobbing, she crawls across the floor, away from her slain friend. She looks from side-to-side for a place to hide. She spots the closed door to the larder. Scampering up, she opens the door. Ralph's body — rigid, eyes protruding in death — collapses atop her. Screaming, she pushes it aside and hides inside.
INT. MAIN CABIN/LARDER — NIGHT
A little lantern light comes through the door's cracks and crevices. On all sides are the cans of food and cooking implements. There is a large skillet, some bags of flour, etc. Alice's hands fasten onto the inside lock — the dead bolt type which requires a key to unlock it from the other side. She relaxes a little bit now that she is locked inside.
As soon as she relaxes, we hear the remaining glass in the window cleared away. Then we hear a heavy thump which can only be the Prowler slipping through. Then we hear some shuffling around outside.
Then there is silence. Alice relaxes again. She slides down the door frame to the floor.
The doorknob above her head turns very slowly. We see it, but she does not. The Prowler finishes turning and now starts to push gently. There is almost no give, but we see that the door is being tested. Alice jerks back and stands up on the far side of the small room. Fists bang in a rage against the door.
The banging gives way to a short silence. The silence is interrupted by a new sound: the Prowler has begun using his machete to chop away at the outside of the larder door.
At first we see nothing on our side. Then, gradually, we see little slivers of light admitted by the blade's chops. Alice remembers the knife in her hand.
A hole has appeared near the lock. The Prowler stops just long enough to take a peek inside. It is big enough for him to reach inside and turn the twist knob. As the lock is turned, Alice raises her weapon and lunges, stabbing the man's hand.
INT. MAIN CABIN/KITCHEN — NIGHT
The pantry door is thrown back. Alice springs out, slashing through the air. The Prowler staggers back, avoiding Alice's desperate attacks. She then stabs him in the knee, driving the blade deep in his leg. He cries in pain, collapsing to the floor.
As the Prowler pulls the carving knife free, Alice turns to the shattered window. She leaps through just as he throws the knife, narrowly avoiding the wicked blade.
EXT. CAMP CRYSTAL LAKE — PARKING LOT — NIGHT
Alice sprints to Shelly's van.
INT. VAN — NIGHT
Alice slides behind the wheel. The keys are in the ignition. She turns over the engine; it grinds away but doesn't catch.
ALICE
(frantic) C'mon, car! C'mon, car! Please start, please start, please start. Start!
The engine fails to catch. And it's too late. The Prowler reaches through the open driver's window, seizing her throat in both hands.
As the Prowler tightens his grip, Alice grabs the window crank. Fiercely, she rolls the window up, freeing her and pinning the Prowler's arms in place. Opening the passenger door, she leaps out of the vehicle.
The Prowler shatters the window with a head-butt.
EXT. CAMP CRYSTAL LAKE — CAMPGROUNDS — NIGHT
The rain has stopped. The moon comes out from behind a cloud.
Alice runs to the corner of one of the cabins. She stops to look back. Though hindered by his bum knee, the Prowler is gaining on her.
EXT. CAMP CRYSTAL LAKE — EQUIPMENT SHED — NIGHT
Alice runs to the equipment shed.
INT. EQUIPMENT SHED — NIGHT
Alice enters. She looks for a weapon. Considering the hunting knives and chainsaw, she chooses an axe.
EXT. CAMP CRYSTAL LAKE — EQUIPMENT SHED — NIGHT
Closing the shed door, Alice ducks around the corner, concealing herself. The Prowler arrives. Throwing the door open, he lurches inside. We hear him rummaging around inside, searching for her. Alice grips the axe so tightly, her knuckles turn white.
The Prowler emerges from the shed. That is when Alice strikes. Springing out from around the corner, she's able to swing the axe downward and hit the Prowler with a solid blow to his forehead. Grunting, he throws his arms out, staggering towards her.
ALICE
No!
He takes a few steps forward, then falters. Eyes glazing over, he collapses in a heap on the grass.
Alice crosses carefully to the Prowler and nudges him with her foot. He lies totally inert. There is a small puddle of blood pooling beneath his mask. It appears quite black, though that's probably a trick of the moonlight.
EXT. CAMP CRYSTAL LAKE — PARKING LOT — NIGHT
Alice opens the hood of another vehicle. She shines a flashlight on the engine. More sabotage.
A vehicle pulls into the parking lot. Alice is caught in the bright headlights of the Jeep.
ALICE
(hysterical) Steve! Oh, Steve!
Alice runs toward the Jeep. The driver emerges; it isn't Steve. Alice halts. When she focuses, she sees who it is standing before her.
ALICE
Mrs. Voorhees!
Alice takes Pamela in a strong embrace, sobbing incoherently.
PAMELA
(comforting) No, no. There, there. Now look, I can't help you if you don't calm down.
ALICE
But she's dead and he's dead. And ... Oh my God, pool Bill! Oh God...!
PAMELA
Alright, alright, alright. Come on, dear, then show me.
ALICE
No! No!
PAMELA
No, but it's alright. I'll take care of you. I used to work for the Christys.
ALICE
Oh God! What's going on here‽ Please help me get out of here!
PAMELA
It's just this place — and the storm. That's why you're upset.
ALICE
No, no, no! They're all dead! They're all dead!
PAMELA
Alright, alright. I'll go look.
ALICE
No, no, please don't leave me!
PAMELA
(grins) I'm not afraid.
INT. MAIN CABIN/MEETING ROOM — NIGHT
There's enough slack on the rope tied to the door for Pamela to open it a crack. Unsheathing a hunting knife, she wiggles her arm through, sawing through the rope with some difficulty. The door open, the strong woman pushes aside the clutter piled in front of it, allowing her and Alice inside.
INT. MAIN CABIN/KITCHEN — NIGHT
Pamela reaches the kitchen and looks inside. The bodies of Brenda and Ralph lie were they fell.
PAMELA
(shocked) Oh, my Lord….
Pamela steps into the kitchen. Alice waits at the entrance.
PAMELA
(looking at Brenda) So young. So pretty. (shakes head) Oh, what monster could have done this?
ALICE
He's out there!
EXT. CAMP CRYSTAL LAKE — EQUIPMENT SHED — NIGHT
Alice leads Pamela to the Prowler's body. It remains prone on the ground, axe lodged in its skull.
PAMELA
(grimaces) Oh God, this place! Steve should never have opened this place again! There's been too much trouble here.
Pamela goes to the young woman, stroking her soft hair.
PAMELA
We can go now, dear.
EXT. CAMP CRYSTAL LAKE — ENTRANCE — NIGHT
Pamela's Jeep pulls out of the entrance. Roaring off into the distance, it leaves the camp far behind.
INT. JEEP — NIGHT — TRAVELLING
In the passenger seat, Alice looks out her window. In the dark, after the storm, there's nothing to be made out but nothing.
PAMELA
Did you know that a young boy drowned the year before those two others were killed? The counsellors weren't paying any attention; they were making love when that poor boy drowned. (beat) His name was Jason.
Alices faces Pamela. The older woman has gone through some subtle changes. While her voice remains warm and comforting, her face has started to slip into her other manifestation.
PAMELA
(cont'd) I was working the day that it happened. Preparing meals. Here. I was the cook. (angry) Jason should've been watched! Every minute! He wasn't ... (relaxes) he wasn't a very good swimmer.
ALICE
I think we should go back and wait for Mr. Christy.
PAMELA
(chuckles) That's not necessary.
ALICE
I don't understand.
PAMELA
(distant) Oh, I couldn't let them open this place again. Could I? Not after what happened.
ALICE
(afraid) I think we better stop.
Pamela hits the accelerator. The Jeep's speed increases.
ALICE
Please! Please, stop!
Alice grabs for the ignition key, but Pamela slaps her hand away.
Panicked, without any other recourse, Alice opens her door then leaps from the moving Jeep.
EXT. ROADSIDE — NIGHT
Alice lands, rolls, is upended, scratched by brambles, and flips. She scrambles to her feet and starts running.
INT. JEEP — NIGHT — TRAVELLING
Pamela hits the brakes. Looking behind her, she begins backing up.
EXT. ROADSIDE — NIGHT
Alice's feet pound the hard-packed dirt. She looks over her shoulder to see the Jeep approaching her in reverse. In a final desperate move, she ducks into the underbrush to escape.
The Jeep stops.
EXT. FOREST — NIGHT
Alice runs into the thicket, branches and briars snapping back at her. She stumbles, falls, then scrambles back up, continuing.
EXT. CLEARING — NIGHT
Alice emerges from the woods. At the far end of the clearing stands a two-storey house. The lights are on.
ALICE
My God….
She runs toward the house. As she draws nearer to it, we can plainly see this is the exact same home as the Mother's house from the beginning of the movie.
ALICE
(shouting) Please, help me!
EXT. MOTHER'S HOUSE/FRONT YARD — NIGHT
As Alice closes in on the front door, it opens wide and the occupant steps out.
Pamela Voorhees slams the butt of a .22 calibre rifle in Alice's face. Everything goes black.
INT. VOORHEES HOUSE/KITCHEN — NIGHT
Inside the kitchen, Pamela stands over a green birthday cake with the words "HAPPY 34TH BIRTHDAY" stencilled on top in dark blue icing. Taking a match to each of the cake's thirty-four candles, she lights them, a cheerful expression illuminating her handsome features.
INT. VOORHEES HOUSE/DINING ROOM — NIGHT
Inside the dining room, Alice sits at the table, bound by ropes to the chair and still unconscious. Seated in the chair across from her is the limp form of the Prowler himself.
Alice regains consciousness. Groaning, she opens her eyes. Seeing the Prowler before her, she jolts backward.
With cake in hand, Pamela enters the dining room, singing "Happy Birthday" in a high chipper tone as she crosses over to the dining table.
PAMELA
(eyes Alice) You're awake, dear? That's good — that's very good. We were afraid you'd miss out on the cake.
Alice can only stare at the Prowler.
PAMELA
(frowns) What's wrong?
ALICE
Who — who is he?
PAMELA
(smiles) Why, don't you realize?
Alice doesn't say another word.
PAMELA
(places hand on Prowler's shoulder) This is Jason. Jason is my son, and today is his birthday.
Pamela begins caressing JASON'S bald head. It tips forward; black blood oozes through the axe mark and mask holes, onto the tablecloth. Alice's frightened eyes are wide as saucers.
PAMELA
Why do you keep staring at him like that? (angry) Answer me!
Alice can't respond. Pamela's frown deepens.
PAMELA
It's the mask? Why does he wear a mask? (beat) Why do you think, you little whore? Why do you think?
As the older woman's rage grows palpable, Alice begins struggling against her bonds; she can't loosen them the slightest.
PAMELA
You let him drown! You never paid any attention!
Grabbing Jason's mask, she wrenches it off, revealing his face to Alice. Though we can't see it from this angle, judging by Alice's horrified expression, his face is one only a mother could love.
PAMELA
Look what you did to him! Look what you did to him!
Face a mask of rage, Pamela tosses the goalie mask aside. She crosses to Alice and begins violently slapping her hard across the face.
Pamela ends the vicious beating. Alice's cries of pain transition to horrid weeping. Turning from the poor frightened girl, she returns to her dead son. Looking upon Jason with love in her eyes, she smiles.
PAMELA
Twenty-two years ago, I prayed to whatever gods there were to return my Jason to me. They answered my prayer. (beat) But he came back different. The year in the lake, below the waters ... hurt him, changed him. Even after he healed, he wasn't the same anymore. (beat) The folks in town wouldn't have understood, so I kept him hidden away — for his own protection. (beat) But he became so lonely, so very lonely. I did my best to keep him company, but a boy needs friends — especially a boy Jason's age. (looks at Alice) Jason is glad you could make it to his party, you know. This'll be the first time since his eleventh birthday he's been able to have a friend over. It means the world to him.
Pamela retrieves her rifle. As she loads the chamber, Alice explodes into a full panic. Rocking violently against her restraints, she begins screaming with all the force she can muster.
PAMELA
Come now, dear. It'll be easier for you than it was for Jason.
As Pamela lines the rifle up, Bill suddenly bursts into the room — injured, bloody, but still alive.
BILL
Alice!
Bill tackles Pamela before she can pull the trigger on Alice. Enraged, Pamela resists with animalistic fury. They thrash about the floor, wrestling for control of the gun. Alice continues struggling against her bonds.
Though young and fit, Bill can barely hold his own against Pamela, driven as she is by enraged madness. With a final desperate cry, he twists the rifle out of her hands and brings the stock up into her chin, knocking her head back with a nasty crunch. He then jams the barrel into her gut and pulls the trigger; shot at point-blank range, she is tossed back, blood spraying through the exit wound. Hearing the gunshot, Alice cries out, reacting as if she's the one hit.
Using the rifle to help himself up, Bill goes to help Alice. As he cuts the rope with a pocket knife, he notices Jason for the first time. Jason's face remains hidden to us, but not to Bill.
BILL
(grimaces) Jesus.
Free of her restraints, Alice stands. Bracing Bill against her, they leave. Pamela lies sprawled out on the floor, Jason propped up in the chair, both motionless.
EXT. SHORE — DAY
Away from the house, Alice and Bill have walked to the shore. Kneeling in the sand beside an aluminum canoe, they gaze upon the lake together. The night air silent save for the chirping of crickets, they enjoy the distorted moonlight shimmering against the black water.
Pamela Voorhees encroaches on the couple. Bleeding profusely, the woman is nevertheless still alive and fighting mad. Alice sees her reflection in the water, but not in time to warn Bill. Pamela buries her machete in his left clavicle; twisting the blade, she pulls it free; blood spurts like a geyser from severed arteries and veins and Bill goes down.
Grabbing the canoe's oar, Alice uses it to block Pamela's machete; it chops right through the wood. The motion staggers the already weakened Pamela and Alice knocks the machete out of her hand with a broken half of the oar. Pamela grapples with Alice, wresting the oar away from Alice and knocking the girl to the sand. She then tries to stab Alice with the broken end; Alice rolls out of the way in time.
The two women wrestle in the sand. Straddling Alice, Pamela begins throttling her. Alice manages to push Pamela off. When she tries to run away, Pamela grabs her leg and pulls her back to her, climbing atop her.
ALICE
Get off me!
Grabbing her hair, Pamela begins beating Alice's face against the sand. Biting Pamela's wrist, Alice wriggles free. Climbing to her feet, she goes for the fallen machete.
Seizing the machete, Alice turns and charges. Pamela gasps. Her time is up. With a fierce scream, Alice swings the machete. Pamela's head is struck from her body. Red blood gushing from the severed neck, Pamela's body drops.
Letting the machete drop from her fingers, Alice pushes the canoe out onto the water. Climbing inside, she paddles with her hand, as briskly as her tired body will permit, out on the lake to safety.
EXT. HARDY HOUSE/FRONT YARD — DAY
A yellow taxi pulls into the driveway of Alice's parents' home. It is a prodigious, beautiful home, the front yard immaculate and green.
INT. TAXI — DAY
Alice faces Bill. Shoulder bandaged, arm in a sling, he is healing from his trauma. He gives Alice a smile and squeezes her hand for reassurance. Kissing him on the lips, she steps out of the car.
EXT. HARDY HOUSE/FRONT YARD — DAY
Alice faces her former home. Smoothing out the front of her brown paisley dress, she takes a deep breath, anxious.
The front door opens. Mr. & Mrs. Hardy emerge. With them comes Annie, holding her grandparents' hands. Annie looks to Alice; her face brightens with a broad smile.
Alices breaks out into a run. Beaming, tears streaming down her face, she opens her arms wide. She'll scoop her daughter up in her arms, hug her close, and never let her go again.
EXT. LAKE — DAY
Jason Voorhees lunges from the waters of Crystal Lake, overtaking sleeping Alice in her canoe.
As Alice is dragged into the depths, capsizing the canoe, she gives a final bloodcurdling shriek. As girl and goalie masked assailant slip beneath the surface, the shriek fades to oblivion. Silence and stillness return to the waters. Crystal Lake has swallowed its secret.
FADE OUT
END CREDITS