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