Disqus for Friday The 13th: The Film Franchise

Ticker

News

Titulo

Friday The 13th Part 8: Jason Takes Manhattan Script



(aka "Burial At Sea")

  Written by Rob Hedden

  (c) 1989 Paramount Pictures


  FADE IN:

  EXT. CRYSTAL LAKE - NIGHT

  A dark, rumbling sky. Haze clings to the lake as we float
  across it, clearing to bring the opposite shoreline into
  view. A few scattered streetlights. Dilapidated cabins.
  An abandoned campsite. CAMP CRYSTAL LAKE.

  We continue to drift towards it, hearing the faint sound
  of seductive music and an occasional _giggle_. A small
  HOUSEBOAT floats into our foreground, its interior light
  flickering as TWO BODIES move around inside.

  INT. HOUSEBOAT - NIGHT

  A teenage boy and girl, JIM and SUZY, are slow-dancing.
  Jim's lips softly touch her lissome shoulders.

                    JIM
          Well...how do you feel?

                    SUZY
          Ask me in about five minutes.

  She bites his ear, giggles, then kisses him fully..

                    JIM
          I'm talking about graduation. Being
          totally free to do whatever we want
          now.

  Her hands slip inside his Pendleton shirt. He sighs.

                    SUZY
          It feels excellent.

  Her mouth finds his again. After a long kiss, he gently
  pulls away from her with a teasing smile.

                    JIM
          Gotta throw the anchor over.

  He leaves the cabin. She slips under the bed sheets.

  EXT. HOUSEBOAT DECK - NIGHT

  as Jim tosses a small anchor overboard.

  TIGHT ON WATER SURFACE

  as the weighty object splashes, sinking into black
  oblivion, pulling its cable down with it.

  JIM

  glances at the lake, at their eerie surroundings. He
  feels a chill, heading back inside.

  EXT. UNDERWATER - NIGHT (TANK)

  as the anchor drifts to the lake bottom, dropping a few
  feet from a THICK POWER CABLE which rests in the lake
  silt.

  INT. HOUSEBOAT - NIGHT

  as Jim returns with an uneasy expression. He crawls on
  top of the bed, kissing her again, but not with the same
  enthusiasm as before.

                    SUZY
          What's wrong?

                    JIM
          Nothing.

  He starts to pull off his shirt and join her. She senses
  his anxiety.

                    SUZY
          C'mon, Jimmy. Something's bothering
          you.

  Jim pauses, turning off the mood music.

                    JIM
          It's just that we're right around that
          old summer camp where all those
          murders took place.

  The boat creaks. She's instantly nervous.

                    SUZY
          What murders?

                    JIM
          Never mind, you don't want to know
          about it.

                    SUZY
          _Tell_ me.

                    JIM
          There's nothing to worry about, Suzy.
          The guy's dead now, somewhere at the
          bottom of this lake...if you believe
          the stories.
              (beat)
          Let's drop it, okay?

  He starts to kiss her again. She stops him.

                    SUZY
          What stories?

  He doesn't want to go into it but Suzy's face insists.

                    JIM
          There was this boy named Jason
          Voorhees who drowned in Crystal
          Lake...

  FLASHBACK

  Eight year old JASON is desperately trying to tread
  water, flailing his arms like a marionette to get
  attention as he gulps down gallons of mossy lake water.

                    YOUNG JASON
          Hhhhelp....me....I'm drowning...

                    JIM (V.O.)
          None of the counselors heard him.

                    YOUNG JASON
          Mmmmmmommy....

  ...And Jason finally slips under the surface for good.

  INT. HOUSEBOAT - CONTINUOUS

                    JIM
          A bunch of years went by and everybody
          forgot about it.
              (beat)
          That's when the murders started.

  FLASHBACK MONTAGE (STOCK)

  as our senses are bombarded with QUICK CUTS of assorted
  teenagers just about to die, their screams echoing over
  each other. We _do not_ see the attacker. As the
  cacophony reaches a screeching crescendo, CUT BACK TO:

  INT. HOUSEBOAT - NIGHT

  as the silence hits us hard again.

                    SUZY
          Jason did it...?

                    JIM'
          That's what some people thought. But
          they were wrong.

  FLASHBACK (STOCK)

  as MRS. VOORHEES comes directly at camera wielding a huge
  knife and a primal scream.

  INT. HOUSEBOAT - NIGHT

                    JIM
          His mother blamed the counselors for
          his death and tried to kill them all.
              (dramatic pause)
          She got her head chopped off by one of
          them.

  We don't need to see this clip...Suzy's reaction is quite
  sufficient.

                    SUZY
          So the murders stopped?

  He gives her a long, penetrating look.

                    JIM
          No.

  FLASHBACK MONTAGE (STOCK)

  We're bombarded with QUICK FLASHES of a hockey masked
  JASON wreaking havoc on assorted teenagers...brandishing
  everything from hatchets to knives to chainsaws. Just as
  Jason is about to stab us, CUT BACK TO:

  INT. HOUSEBOAT - NIGHT

  Suzy flinches as if she were getting the knife.

                    JIM
          Legend has it that Jason came back to
          avenge his mother's death, vowing to
          kill every teenager from the area.
              (beat)
          And every now and then, the murders
          start up again.

  The boat lurches slightly, tugging at the anchor cable.
  She's scared: he's frightened himself a little, too.

                    JIM
          Forget about it, Suzy. They're just
          stories.

  He brushes her hair back, kissing her cheek gently,
  finding the nape of her neck again. She closes her eyes,
  trying to dismiss what he's dredged up. But she can't.
  Suzy begins to rationalize.

                    SUZY
          We're the last graduating class,
          right?

  Jim's kissing her body, putting Jason behind him.

                    JIM
          Right.

                    SUZY
          I mean, Lakeview High just closed its
          doors for good, right?

                    JIM
          Right.

                    SUZY
          So there's no reason for him to come
          back because there won't be any of us
          around...right?

  Jim stops, looking her squarely in the eyes.

                    JIM
          Right. Except that Jason _isn't real_
          so none of it matters anyway.

  She starts to relax, returning his kisses.

  EXT. UNDERWATER - NIGHT (TANK)

  as the anchor drifts along the lake floor, _tugging hard
  on the power cable_. Camera TRACKS along the cable,
  coming to a RUSTY SET OF CHAINS TANGLED AROUND IT.

  INT. HOUSEBOAT - CONTINUOUS

  as Jim slides on top of Suzy. Thoughts of Jason are
  starting to slip away along with their clothes.

  EXT. UNDERWATER - NIGHT (TANK)

  as the chains emit a dull tinkle due to movement from the
  tugging anchor. Camera continues to TRACK again...and we
  find to our horror that the waterlogged, fish-eaten body
  of JASON IS SECURED BY THESE SAME CHAINS. (NOTE: Jason's
  face is obscured.)

  INT. HOUSEBOAT - CONTINUOUS

  Teenagers in love, lost in not-so-innocent passion. At
  the same moment:

  EXT. UNDERWATER - NIGHT (TANK)

  The anchor tugs one last time and RIPS THROUGH THE CABLE.
  SPARKS INSTANTLY FLY, chasing along the cable, finding
  the chain which secures Jason and ENGULFING HIM IN
  ELECTRICITY.

  EXT. HOUSEBOAT - ON LAKE SURFACE (EFX)

  as BRIGHT FLASHES OF BLUE LIGHT strobe-under the surface.
  ARCING CURRENT chases up the anchor cable, sparking
  across the hoist.

  EXT. CAMP CRYSTAL LAKE - WIDE SHOT FROM WATER

  as the electricity feeding the streetlights is _abruptly
  extinguished_, plunging the campsite into darkness.

  INT. HOUSEBOAT - CONTINUOUS

  as Suzy's eyes flash open.

                    SUZY
          Did you hear that?

                    JIM
          Hear what?

  He pulls her back down.

                    SUZY
          C'mon, I'm serious.

  He knows the mood is broken.

                    JIM
          All right, I'll check it out.

  He slips on his jeans, exiting the cabin. She pulls the
  sheet up around her fearfully.

  EXT. UNDERWATER - NIGHT (TANK)

  as the cable smolders, void of electricity now. TRACK to
  find the chains again..._but they're dangling loosely_.
  JASON IS GONE.

  INT. HOUSEBOAT - CONTINUOUS

  Suzy is tensely kneeling on the bed now. The black void
  of night is all she sees out the cabin door, which Jim
  has left open. An uncomfortable amount of time passes.

                    SUZY
          Jimmy...?

  No answer. Her heart starts to pound.

                    SUZY
          Jim...?

  Again, nothing. She wraps herself in the sheet, moving
  towards the open door. The ship creaks again.

  SUZY'S POINT OF VIEW

  as she grows closer to the doorway, nothing but pitch-
  black beyond it.

                    SUZY
          Stop screwing around, Jim. I mean
          it...

  ...And just as she reaches the door:

  A HOCKEY MASKED MONSTER

  _leaps out, clutching a HUGE KNIFE_. Suzy barely has time
  to scream before JASON PLUNGES THE KNIFE INTO HER CHEST.

  SUZY

  stands there in speechless shock, looking down at her
  mortal wound. _But there's no blood_.

  THE MONSTER

  pulls the knife back out, pushing the blade in and out
  with his hand. _It's a retractable rubber knife_. JIM
  pulls off the hockey mask with a huge grin, tossing it
  aside.

                    JIM
          Gotcha good, baby cakes.

  She doesn't know whether to hug him with relief or kick
  him in the balls. He pulls her back onto the bed,
  laughing.

  EXT. HOUSEBOAT - CLOSE ON HOCKEY MASK

  sitting dormant on the deck, where Jim tossed it. A
  SHADOW FALLS ACROSS IT...followed by a SLIMY, DECOMPOSING
  HAND. The hand grabs it like it's an old friend, pulling
  it away.

  INT. HOUSEBOAT - CONTINUOUS

  as Jim holds his angry girlfriend down on the bed, trying
  unsuccessfully to kiss her.

                    JIM
          All right, all right -- I'm a major
          ass.

                    SUZY
          And you'll never do it again.

                    JIM
          And I'll never do it again. Forgive
          me?

                    SUZY
          No.

  She's resisting only for effect. Her legs curl around
  him, finally giving in.

  EXT. HOUSEBOAT - NIGHT

  A deadly-sharp SPEAR GUN rests in its rack outside the
  cabin. JASON'S HAND REMOVES IT.

  INT. HOUSEBOAT - CONTINUOUS

  The sheets begin to roll like waves as they work each
  other. Thoughts of Jason are nonexistent now.

  ANGLE - CABIN DOOR

  Nothing there for a moment...then a pair of moss-covered
  BARE FEET SLOSH INTO FRAME.

  SUZY

  closes her eyes with pleasure...

  ANGLE - CABIN DOOR

  ...and camera RISES from the mossy feet, up the bloodless
  legs and torso to ultimately reveal the hockey-masked
  face of our anti-hero: JASON VOORHEES.

  SUZY

  lets out a broad smile, her eyelids fluttering. They stay
  open long enough to regard the visitor in the doorway.
  She tries to choke out a warning to Jim, who's just
  collapsed himself.

                    SUZY
          JJJJJJJJason...

  He doesn't follow her glance, smiling instead.

                    JIM
          Uh-huh. You must _really_ think I'm an
          ass.

  But she continues to stare in horror as:

  JASON

  raises the spear, taking aim.

  ANGLE - SUZY AND JIM

  Hs starts to kiss her but she bolts up with a blood-
  curdling SCREAM. A second later, JASON FIRES THE SPEAR,
  PIERCING HER NECK, PINNING HER TO THE HEAD BOARD.

  Jim stares point-blank at his dead girlfriend, not able
  to assimilate it quickly enough. He spins around to see
  the monster himself.

                    JIM
          Ohmygod...

  Jim springs off the bed, looking around for anything to
  defend himself with, grabbing the bedside lamp. He
  SMASHES IT OVER JASON'S HEAD which has little effect. Jim
  scrambles to get past him, but Jason LIFTS JIM IN THE
  AIR, SLAMMING HIM DOWN ON ONE OF THE SPIKED BEDPOSTS.

  EXT. CRYSTAL LAKE - NIGHT

  as the HOUSEBOAT silently drifts onward. The lone
  silhouette of Jason emerges from within, taking the helm.
  _He's back_.

                                      FADE OUT/MAIN CREDITS.

  FADE IN:

  EXT. HARBOR - ESTABLISHING - DAY

  Only the faintest sign of daylight can be seen through a
  thick blanket of gray fog. In the distance, speckled
  lights outlining a smaller LUXURY CRUISE SHIP
  intermittently appear.

  EXT. DOCKSIDE - DAY

  Standing at the boarding ramp is CHARLES MCCULLOCH,
  clipboard in hand. He's just finished checking off a pair
  of new-agey SENIOR GIRLS. McCulloch is approaching fifty,
  wearing a tie and unwrinkled clothes, as well as the
  disposition of a stern puritan.

                    MCCULLOCH
          Remember girls, the shuffleboard
          tournament will start at six p.m.
          sharp. A non-attendance will restrict
          your time in port, understood?

  They nod for his benefit, exchanging derogatory whispers
  as they head up the ramp. Camera ADJUSTS to find a small
  parking lot adjacent to the docks, where several cars are
  just now arriving -- parents dropping off their high
  school seniors, hugging them bon voyage.

  CLOSER ANGLE PARKING LOT

  as SEAN ROBERTSON walks toward the ship with pal MILES
  WOLFE. Sean's a tall, nice looking, somewhat serious guy;
  Miles is shorter, athletic and more extroverted.

                    MILES
          You're telling me this boat has a pool
          with a three meter board?

                    SEAN
          It's a ship and that's right. Plus a
          disco, gym, game room and a lot more.

                    MILES
          I think I'm gonna blow off New York
          and just stay on this thing.

                    MCCULLOCH
          You'll do no such thing, Mr. Wolfe...

  Camera ADJUSTS to reveal McCulloch, holding his list,
  checking off their names.

                    MCCULLOCH
          Your itinerary has been carefully
          planned and make no mistake, it will
          be executed accordingly.

                    MILES
              (under his breath)
          Of course...wouldn't want to risk
          enjoying this trip.

  McCulloch gives him a frown. Sean steps up to him
  tentatively.

                    SEAN
          Which cabin is Rennie in, Mr.
          McCulloch?

                    MCCULLOCH
          Rennie's not coming.

  He's devastated.

                    SEAN
          But I thought...

                    MCCULLOCH
          She changed her mind.
              (eyeing list)
          Let's see...Mr. Wolfe is in stateroom
          one-eleven and you, Mr. Robertson, are
          in two-twenty-five.

  A booming VOICE from above interrupts them:

                    ADMIRAL ROBERTSON (O.S.)
          Sean -- where the hell have you been?
          We're already into early departure
          protocol...

  ANOTHER ANGLE

  Standing on the upper deck is a no-nonsense, uniformed
  Navy man, ADMIRAL ROBERTSON. The captain of the ship. And
  Sean's father. Sean's sadness about Rennie's absence is
  immediately replaced with anxiety.

                    SEAN
          Be right up, Dad.

  He and Miles head up the gangway, both boys giving
  McCulloch one last glare.

  INT. '76 BMW 2002 - DAY

  Behind the wheel is MISS COLLEEN VAN DEUSEN, thirties,
  attractive, a progressive attitude. RENNIE WICKHAM sits
  next to her -- she's seventeen, pretty, slightly
  withdrawn. Rennie's dog TOBY, a border collie, rides in
  the back seat.

                    MISS VAN DEUSEN
          I'm glad you decided to come after
          all.

                    RENNIE
          Me too. But I'm not sure Uncle Charles
          will be.

                    MISS VAN DEUSEN
          You let me worry about him, okay?
              (pause)
          Personal experiences are what fuel the
          minds of great writers, Rennie. You
          made the right decision.

                    RENNIE
          What about not-so-great writers?

  Rennie smiles self-deprecatingly, Miss Van Deusen
  grinning back. But Rennie's smiles are few and far
  between, this one disappearing as she glances out the
  window.

  RENNIE'S POINT OF VIEW (SECOND UNIT)

  as the countless gallons of harbor and lake water spread
  out before her, eery in the bog. A small ROWBOAT grazes
  across it occupied by two indistinguishable people.

  RETURN TO SHOT

  Rennie's eyes show a hidden terror. She quickly turns
  away, shivering briefly. Miss Van Deusen notices. She
  turns a corner, heading into the parking lot.

                    MISS VAN DEUSEN
          Everything okay?

                    RENNIE
          Just felt a little chill.

  Rennie rubs her arms, faking coldness.

                    MISS VAN DEUSEN
          Did you know that I'm giving up
          teaching?

                    RENNIE
          Really?

                    MISS VAN DEUSEN
          Since the school is closing anyway,
          I'm going to write that novel I've
          been threatening on everybody.

                    RENNIE
          That's wonderful, Miss Van
          Deusen...what's it about?

  She parks the car, turning off the ignition.

                    MISS VAN DEUSEN
          A senior class cruise to Manhattan,
          laced with romance, adventure and
          murder.
              (beat)
          Or a Gothic cook book. I haven't
          decided which.

  She's coaxed the smile out of Rennie again. Miss Van
  Deusen pulls a small wrapped box from her glove
  compartment, handing it to Rennie, who seems utterly
  surprised.

                    MISS VAN DEUSEN
          Go on, open it.

  Rennie pops off the lid, revealing _an antique ink-dip
  pen_.

                    MISS VAN DEUSEN
          Stephen King supposedly used it when
          he was in high school.

                    RENNIE
          I don't know what to say...

                    MISS VAN DEUSEN
          Rennie, you're the best student I ever
          had...you have a real gift. If anybody
          can make use of that pen, it's you.

  Rennie hugs her teacher. Camera RISES above the car's
  window, finding a Mercedes 560 SL pulling in a short
  distance away.

  CLOSER ANGLE - MERCEDES

  A sexy, money-dressed blonde is behind the wheel. TAMARA
  MASON. She climbs from her leather seats as a trio of
  SENIOR GIRLS walk by, offering enthusiastic hi's and
  hellos. She's obviously Miss Popular. Tamara crosses to a
  cute Japanese girl unloading luggage from a beige Honda,
  EVA WATANABE.

                    . TAMARA
          Are you ready for drugs, sex and rock
          'n roll or what, girl?

  Eva gives her a warning glance, nodding to her left.
  Eva's MOTHER appears by the passenger door, forcing a
  smile at Tamara.

                    MRS. WATANABE
          Hello, Tamara.

                    TAMARA
          Hi, Mrs. Watanabe. Just kidding.

                    MRS. WATANABE
          Yes, I'm sure.

  Embarrassed, Eva hurries to her Mom, rushing a kiss
  goodbye.

                    EVA
          Don't worry about a thing, Mom. I'll
          have a terrific time and I won't do
          anything stupid, okay?

  Before Mrs. Watanabe can squeeze a word in, her daughter
  is gone. She waves a bittersweet goodbye to her graduate.

                    MRS. WATANABE
          I love you...

  TRACKING WITH TAMARA AND EVA

  Once they're out of Mrs. Watanabe's earshot --

                    TAMARA
          I hear the crew members are cute guys
          in their twenties.

                    EVA
          Really?

                    TAMARA
          I'm sure we'll have no problem getting
          them to party with us...especially
          with this.

  Tamara unzips her purse, revealing a baggie filled with
  fine white powder. Eva looks very nervous.

                    TAMARA
          It's my graduation gift from Daddy. It
          cost over a thousand bucks but it's
          the best.

                    EVA
          He bought you that?

                    TAMARA
          More or less. It's part of my college
          fund.

  She grins coquettishly, walking on. Camera HOLDS on the
  calm, foggy harbor...where the faint image of a HOUSEBOAT
  is aimlessly drifting into port.

  CLOSER ANGLE - HOUSEBOAT

  Sure enough, it's the same one we saw JASON on last
  night...but no one is behind the helm. It seems to be a
  ghost ship.

  EXT. DOCKSIDE - DAY

  as Tamara tries to slip past McCulloch, busy with another
  pair of seniors.

                    MCCULLOCH
          You can stop right there, Miss Mason.

  He motions the others onward. Busted. Tamara instantly
  hands Eva her drug-filled purse, paralyzing Eva.

                    MCCULL40CH
          Only graduating seniors are allowed on
          this cruise.

                    TAMARA
          What are you talking about?

                    MCCULLOCB
          You never turned in your final biology
          project, so I've had your diploma
          rescinded.

                    TAMARA
          You can't do that...

                    MCCULLOCH
          It's already been done.
              (turning to Eva)
          Congratulations on the 3.9 average,
          Miss Watanabe. You're in stateroom two-
          fifty-five.

  Eva smiles awkwardly, reaching for her luggage, stalling
  to see what happens with Tamara.

                    TAMARA
          Look, Mr. McCulloch, I got in a car
          accident yesterday and missed our
          appointment. It's okay, no big deal,
          just a bruised arm...
              (squeezes her arm)
          ...so I brought my project along
          today. It's in my suitcase. Really.

  He looks at her suitcase, not buying a word of this.

                    EVA
          She's telling the truth, Mr.
          McCulloch. I saw her pack it.

  He's surprised to hear this...and so is Tamara.

                    MCCULLOCH
          All right. But if it mysteriously
          disappears en route, I'll have you
          sent back home the minute we dock.
          Understood?

                    TAMARA
          Perfectly.

  She grabs her purse back from Eva, quickly moving on
  before he changes his mind. Their voices become whispers.

                    TAMARA
          A major prick.

                    EVA
          What are you going to do?

                    TAMARA
          Improvise, of course.

  EXT. DOCK PILINGS - SAME TIME

  as the HOUSEBOAT haphazardly bumps into barnacle-covered
  dock pilings, still around fifty yards from the cruise
  ship.

  POINT OF VIEW OUT HOUSEBOAT WINDOW

  The window is splattered with blood, but still clear
  enough to make out Tamara and Eva walking up the gangway,
  along with a half dozen other teenagers mingling on
  board.

  TIGHT ON HOUSEBOAT'S ANCHOR CABLE

  --or rather the remnants of it. It's a piece of frayed
  woven metal charred by extreme electricity, severed just
  above water level. Suddenly there's _blurry movement_
  behind it; camera RACK FOCUSES just in time to catch a
  glimpse of JASON SLIPPING OFF THE SIDE, FLOATING TOWARDS
  THE PILINGS.

  EXT. DOCKSIDE - SAME TIME

  as McCulloch impatiently checks his watch and list again.
  Miss Van Deusen walks up to him.

                    MISS VAN DEUSEN
          Hello, Charles. Has everyone checked
          in?

                    MCCULLOCH
          Jim Miller and Suzy Donaldson never
          showed up. I'm a little concerned.

                    MISS VAN DEUSEN
          Don't be. They probably decided to
          explore each other rather than New
          York.

  He gives her a disdainful look, starting up the ramp.

                    MCCULLOCH
          Let's go -- we're running two minutes
          late.

                    MISS VAN DEUSEN
          Charles, there's someone else coming
          along too.

  He stops, following her glance. His face tightens.

  ANOTHER ANGLE

  Rennie is walking toward them with a small suitcase, her
  dog Toby striding next to her. She walks up to him,
  starts to say something, then decides against it. Rennie
  heads up the gangway. HOLD on McCulloch and Miss Van
  Deusen. He's livid.

                    MCCULLOCH
          You have no right...

                    MISS VAN DEUSEN
          And neither do you. It's up to Rennie
          to decide what she wants to do.

                    MCCULLOCH
          She doesn't know what she wants. She's
          never had a stable life.

                    MISS VAN DEUSEN
          And she sure doesn't have one now,
          either. She needs to live.

                    MCCULLOCH
          I'm her legal guardian, not you or
          anybody else, and I alone know what's
          best for her. End of discussion.

                    MISS VAN DEUSEN
          No, I think it's just the beginning.

  She walks past him.

  EXT. RAMP/SHIP - ON RENNIE

  as she reaches the top of the gangway, her heart
  pounding. Rennie pauses, working up the courage to look
  out at the lake again.

  RENNIE'S POINT OF VIEW

  The ROWBOAT she saw earlier is still there, even closer
  now.

  RENNIE'S PUPILS

  contract, her blood pumping faster. Then she hears a
  FAINT VOICE BELOW HER...

                    VOICE (O.S.)
          Hhhhelp me...

  Rennie looks straight down at the water beneath her and
  sees:

  AN EIGHT YEAR OLD BOY

  _floundering in the water_. It takes us only a moment to
  recognize him -- IT'S YOUNG JASON. He's gasping, sucking
  in huge amounts of liquid, exactly like he did in the
  prologue.

                    YOUNG JASON
          Hhhhelp me....I'm drowning...

  RENNIE

  leans back in terror, falling into Miss Van Deusen.

                    MISS VAN DEUSEN
          What's wrong, Rennie??

  Rennie frantically points over the ramp edge, unable to
  speak. Miss Van Deusen quickly looks and sees:

  MISS VAN DEUSEN'S POINT OF VIEW

  The water is calm. No Young Jason.

  RETURN TO SHOT

  as Rennie gets a hold of herself.

                    RENNIE
          I just got a little dizzy. I'm fine.

  She continues up the ramp. HOLD on Miss Van Deusen,
  watching her go, somewhat troubled by it. RACK to
  McCulloch below her, also watching. Extremely concerned.

  RENNIE

  continues along the starboard side, not risking another
  glance overboard. She passes an older, very deranged DECK
  HAND, mopping the deck. HOLD on him, his bloodshot eyes
  following her like a crazed raven.

  INT. BRIDGE - CLOSE ON HARPOON - DAY

  Sharp and rusty, mounted on the wall amidst jagged
  scaling knives, shark jaws and other artifacts. WIDEN to
  reveal they are surrounding a navigational chart on the
  cruise ship's bridge. Admiral Robertson and his CHIEF
  ENGINEER are preparing for departure, checking the OMEGA
  satellite computer as well as the LORAN.

                    ADMIRAL ROBERTSON
              (checking watch)
          Let's take in the brow.

                    CHIEF ENGINEER
          Yes Sir.
              (into intercom phone.)
          Take in the gangway and single up all
          lines.

  SEAN and MILES enter the room; Sean gets a glance from
  his Dad. Miles is very impressed with the bridge.

                    SEAN
          Hello, Dad.

                    MILES
          Hey, Admiral Robertson. Love your
          ship.

                    ADMIRAL ROBERTSON
          She's a beauty, isn't she? I should've
          retired from the Navy ten years ago.

                    MILES
          You've really been generous to give us
          this cruise. I know I speak for
          everybody on board.

  Everybody...with the possible exception of Sean. He
  avoids eye contact with his father.

                    ADMIRAL ROBERTSON
          Hell, there's just twenty or so of you
          -- we only need a skeleton crew and
          it's a pleasure to sail her anyway.
              (beat)
          By the way, congratulations on winning
          the intramural diving championships,
          Miles. I'm sure you made your old man
          proud.

  Admiral Robertson gives his own son a glance; maybe Sean
  should think about doing the same.

                    CHIEF ENGINEER
          Have you decided on your departure
          protocol, Admiral?

                    ADMIRAL ROBERTSON
          Actually, I thought I'd leave the
          honors to my son.

                    SEAN
          Dad, I don't think...

                    ADMIRAL ROBERTSON
              (to Chief Engineer, ignoring
               Sean)
          Relinquishing command of the Princess
          Ruby to Captain Sean Robertson.

  Sean has no say in the matter. Miles can feel his
  friend's nervousness as well.

                    ADMIRAL ROBERTSON
          But before you take the helm, take
          this.

  He tosses Sean a wrapped box. Sean opens it. Inside is a
  _navigational computer_ the size of a calculator, sitting
  next to a rusty old _sextant_.

                    ADMIRAL ROBERTSON
          Something old and something new. I
          used the sextant when I was your age,
          but now they have these goddamn
          computers to do all the work for you.

                    CHIEF ENGINEER
              (to Sean)
          Have you decided on a plan of
          departure, Captain?

  Sean's nervous. He eyes the Omega, quickly glancing at
  the LORAN, briefly referring to the navigational chart.

                    SEAN
          How about if we start up the forward
          engines and come around. 180
          degrees...

                    ADMIRAL ROBERTSON
          Aren't you forgetting something?

  Sean looks flustered. Admiral Robertson storms to a
  large button, pressing it three times, piercing the air
  with _three long blasts of the ship's horn_. It
  underscores his frustration.

                    ADMIRAL ROBERTSON
          We're in foggy weather! Send out the
          international maritime signal that a
          vessel is backing down, followed by a
          security broadcast warning other
          ships!

  He shoves the mike out at Sean, but he doesn't grab it,
  leaving the bridge, humiliated. There's an awkward moment
  for Miles, unable to find any appropriate words. He exits
  as well. Admiral Robertson stares out the bridge window,
  saddened and frustrated. It wasn't supposed to go this
  way.

  EXT. DECK - ON SEAN

  as he continues away, his retreat blocked by the DECK
  HAND. The crazy old man pierces a dead serious stare at
  Sean.

                    DECK HAND
          This voyage is doomed.

                    SEAN
          Yeah, tell me about it.

  Sean sidesteps him, moving on.

  EXT. HARBOR - DAY (CRANE SHOT)

  Parents and relatives wave gleefully from the docks as
  CAMERA RISES AND ROTATES to find eighteen or so teenagers
  1ining the upper deck, happily waving back. The ship
  begins to slice through serene water. The voyage has
  begun.

  CLOSER ON HULL

  The water begins to ripple as the ship's speed increases.
  All seems normal...until JASON'S HANDS APPEAR, CLINGING
  TO A LOOSE MOORING LINE DRAGGING IN THE WATER. He
  slithers up the side towards the deck as dense fog
  breezes past him.

  EXT. DECK - DAY

  as Sean continues along, hands in pockets. He turns a
  corner and collides with RENNIE, walking her dog. His
  eyes instantly brighten, as do hers.

                    SEAN
          Rennie...

                    RENNIE
          Hi, Sean.

                    SEAN
          I heard you weren't coming.

                    RENNIE
              (glances at Toby)
          We changed our minds.

  Sean pats her dog. There's an awkward pause...they are
  obviously in the early stages-of a relationship.
  Sean reaches into his coat pocket, bringing back a small
  necklace-sized box.

                    SEAN
          I got you a present.

                    RENNIE
          But I didn't get you one...

                    SEAN
          Forget it. It's a dumb little thing
          anyway.

  Rennie opens it up, exposing a _petite silver necklace
  with a Statue of Liberty pendant on it_. She's touched.

                    RENNIE
          Sean...it's beautiful.

  Sean takes it from her, snapping it around her neck.

                    SEAN
          I thought maybe we could hike to the
          top of the Statue when we got there,
          if you felt like it. It's supposed to
          be 22 stories tall.

                    RENNIE
          I'd love to.

                    MCCULLOCH (O.S.)
          Your father was looking for you, Mr.
          Robertson.

  McCulloch appears behind them. The mood has been broken.

                    SEAN
          I guess I'll see you later.

  Sean leaves. McCulloch steps up to Rennie, pointing out
  to the foggy sea. Her respiration increases as she
  psyches herself up to look.

                    MCCULLOCH
          There's a storm predicted tonight.

  Rennie looks at the ocean, forcing herself not to turn
  away.

                    MCCULLOCH
          You're making a big mistake, Rennie.
          It's not too late to put you back on
          land.

                    RENNIE
          I'm staying.

                    MCCULLOCH
          If Miss Van Deusen knew how afraid you
          were of...

                    RENNIE
          She didn't push me into coming.

                    MCCULLOCH
          Why are you doing this to yourself?

                    RENNIE
          I don't even know why I'm afraid,
          Uncle Charles. I can't even remember
          when it started. Don't you think it's
          time I found out and got over it?

  He takes a measured pause.

                    MCCULLOCH
          Facing your fear doesn't always
          conquer it.

                    RENNIE
          I'm staying.

  He's not going to change her mind.

  P.O.V. - RENNIE AND MCCULLOCH (B & W/VIEWFINDER MATTE)

  through a porthole window...and through the _viewfinder
  of a video camcorder_. McCulloch shakes his head, turning
  away from Rennie and walking away. A sinister _electric
  guitar solo_ screeches out. PAN with McCulloch as he
  passes the window, coming around 180 degrees into a CLOSE
  UP of J.J. JARRETT, fingering a sleek Gibson "Flying V."

                    J.J.
              (into camera)
          Is this axe awesome or what?

  INT. J.J.'S STATEROOM - DAY

  as J.J., a female rocker in the vein of band "Vixen,"
  continues to wail on her guitar. She's wearing a black
  leather corset, with wildly teased deep red hair. Holding
  the camcorder is WAYNE WEBBER, MTV-acclimated, wearing
  the latest hip prescription glasses.

                    WAYNE
          Too cool, J.J. Your parents came
          through.

  She pops out the guitar cable from her practice amp.

                    J.J.
          No lie. I hear there's a big power
          room down below where I can get
          supreme concert hall echo. Come down
          and shoot a basement tape on me, okay?

                    WAYNE
          Sure...but I gotta shoot some
          shockumentary footage first.

  He avoids eye contact when he says it. She gives him a
  look.

                    J.J.
          Man, don't tell me you're still trying
          to scam on Tamara...

  His non-answer means yes. J.J. walks over to him,
  grabbing his cheeks, shaking them like jello.

                    J.J.
          How long have we known each other?
          Don't be a dweeb, Wayne. She's not
          interested in you, only what you can
          do for her. She's a user.

                    WAYNE
          She's sexy.

                    J.J.
          So's this guitar. So what?

                    WAYNE
          I'll catch you later.

  He exits. She mumbles something under her breath, coiling
  up her amp cord.

  INT. CORRIDOR - TRACKING WITH WAYNE

  as he walks onward. DROP DOWN to find his FEET as he
  passes a DARK ALCOVE...which happens to have SLIMY
  FOOTPRINTS AND SEAWEED leading into it. Camera FOLLOWS
  the footprints, RISING again and with dim recognition,
  our eyes fall on JASON. Lurking in the shadows. But not
  for long.

  INT. POWER ROOM - DAY

  Massive, very dark, backlit steam seeping from a maze of
  pipes overhead. No windows. A wall of circuit breakers
  and voltage meters decorate one wall, quietly humming
  generators on the opposite side. J.J. appears with her
  guitar, amp and ghetto blaster, appreciative of the
  surroundings.

                    J.J.
          This place is aching for a video.
          Wayne, you're an asshole.

  She finds an outlet and plugs in her equipment.

  JASON'S POINT OF VIEW

  We're peering at J.J. predatorially through the steam,
  moving through it, behind the generators.

  J.J.

  pops a cassette into her blaster, jamming the "play"
  button. A loud rock 'n roll rhythm track blasts out.

  JASON'S POINT OF VIEW

  moving around the generators, eyeing her sleek leather
  pants as she bends over to plug in her axe.

  TIGHT ON ELECTRIC GUITAR

  as J.J. snaps the male end of the plug into the female.
  receptacle.

  JASON'S FACE

  appears for an instant through the vapor, then vanishes.
                 
  J.J.

  screams out the opening licks of her solo in sync with
  her playback. The generators are causing a breeze which
  makes her hair dance, steam flowing between her legs.
  She's lost in her music, building to a crescendo, bending
  the high "E" string above the upper octave fret. She
  opens her eyes with the pleasure of it and sees:

  JASON

  _emerging from a cloud of vapor like her worst nightmare_.

  EXT. UPPER DECK - SAME TIME

  as J.J.'s SCREAM echoes from an exhaust duct. WHIP PAN to
  find the crazed DECK HAND standing just below it,
  reacting with dread. He's the only one who has heard it.

  INT. POWER ROOM - SAME TIME

  as Jason tears the guitar off her body, raising it in the
  air like a hatchet. The horrified girl flees down a
  narrow maze of steel steps, forced back against a
  generator with nowhere to go. PUSH IN on her face for one
  last look at her before:

  JASON

  _swings the guitar downward and buries it in J.J.'s skull_.

  EXT. UPPER DECK - SAME TIME

  as the Deck Hand flinches upon the thick, dull sound of
  her demise, followed by discordant feedback from her
  guitar...and eventual silence. He reaches into his breast
  pocket, his hand shaking badly as he sips from a flask of
  Early Times.

  EXT. OCEAN - NIGHT (EFX)

  as LIGHTNING FLASHES over a gray, choppy sea. A storm is
  imminent. The Princess Ruby finally appears, cutting
  through whitecaps, no land in sight.

  CLOSE UP - INK DIP PEN

  as Rennie's hand carefully dips it in India ink, moving
  to a blank page in her journal. She hesitates for several
  beats.

  INT. RENNIE'S STATEROOM - NIGHT

  No inspiration. She puts down the pen, looking at her
  dog, who's curled up on the bed.

                    RENNIE
          What do you think...time for some
          personal experiences to fuel our
          minds?

  The dog's eyes blink, but no more than that.

                    RENNIE
          I agree.

  Rennie moves to her closet, finding a silk blouse and
  some black satin pants.

  EXT. OUTSIDE DECK - SAME TIME

  Wind is picking up, sweeping thick mist past a row of
  decorative flags. One of them flaps back...AND EXPOSES
  JASON.

  THROUGH JASON'S EYES (FLYING WALL EFX)

  as the flag whips our faces. We MOVE through it, down the
  empty passageway, coming to a porthole window. _Rennie's
  window_. We peer through it with unnerving intensity at
  the backside of Rennie as she pulls off her T-shirt,
  slipping on the blouse. _Camera continues through the
  tiny round window, floating across the room, over Toby
  and the bed_...until we're INCHES FROM THE BACK OF
  RENNIE'S HEAD. She suddenly spins around in fright,
  facing us point-blank, and:

  REVERSE ANGLE

  Nobody is there, her porthole window empty. But there's
  something surreal about the window...

  TIGHT ON PORTHOLE WINDOW (EFX)

  Empty grayness...then EIGHT YEAR OLD JASON FLOATS UP FROM
  BELOW, BUBBLES ESCAPING FROM HIS LIPS. _The porthole has
  become a window into the depths of Crystal Lake_.

  RENNIE

  feels her throat catch with terror and an instant later:

  DOG TOBY

  begins to bark vociferously, rushing to her cabin door,
  scratching to get out.

  RENNIE'S EYES

  are distracted to Toby for a second; when she looks back
  at the porthole, she sees:

  AN EMPTY WINDOW

  No water, no drowning boy.

  RENNIE

  snaps out of it, moving to the door, where her dog is
  frantically clawing with his fur up.

                    RENNIE
          Okay Toby, calm down...

  She's talking to herself as much as the dog. Rennie
  closes the curtains on her window, then steps to her
  door. She _swings the door open for Toby_...and exposes
  an empty hall. Toby scrapes his way out of the room,
  dashing off down the hall, snarling.

  INT. SHIP CORRIDOR - NIGHT

  as Toby runs straight toward us. PAN with him as he
  rushes around a corner, leading us into a view of TAMARA
  and EVA, disappearing down a staircase.

  INT. MENS GYM - DAY

  A strong seventeen year-old black kid, JULIUS GAW, is
  going a few rounds with another senior boy who's clearly
  losing the boxing match. Julius dances around him on the
  mat like he's Mike Tyson, several other boys cheering
  them on.

  REVERSE ANGLE - LOCKER ROOM WINDOW

  as Tamara and Eva step into view. Eva glances around,
  feeling out of place in the men's locker room.

                    EVA
          I'm not sure we're supposed to be
          here, Tamara.

  A couple of skinny boys wearing only towels walk by. But
  Tamara doesn't notice them, her face pressed up against
  the glass, watching Julius.

                    TAMARA
          Is that a muscular bod or what?

  Tamara puts on a sexy smile. The other boxer sees her
  instead, instantly distracted. Julius lays him out with a
  left-right-left combination. The onlookers applaud.
  Julius pulls out his mouthpiece, giving Tamara a wicked
  smile.

                    TAMARA
          He's undefeated, you know that?
              (beat)
          Julius is the only senior I'd even
          consider doing it with. If he wasn't
          black, that is.

                    EVA
              (awkward)
          My parents are open minded about that
          sort of thing.

                    TAMARA
          My stepmom couldn't care less, but
          Daddy would have a shit fit.
              (lets it slip out)
          He might even pay some attention to
          me.

  Tamara quickly puts up her veneer again, spotting
  something.

                    TAMARA
          Gorgeous guy at ten o'clock. Look
          sensual.

  Both girls slip into instant sultry as a CREW MEMBER in
  his mid-twenties passes them, wearing a tool belt. Very
  masculine. He gives the girls a pleasant smile. Tamara
  turns around to check out his back side.

                    TAMARA
          I think it's time for some
          recreational activity, girl.

                    EVA
          Sounds good. I hear there's a
          shuffleboard court on deck -- it might
          be kinds cool...

                    TAMARA
          You're joking, right?

  She wasn't, but Eva tries to act like she was. Tamara
  walks on, Eva following.

  INT. STATEROOM HALLWAY - NIGHT

  as McCulloch steps from Rennie's room, looking very
  worried. Wayne Webber passes by, his eye stuck in his
  viewfinder. McCulloch yanks the camcorder away from his
  face.

                    MCCULLOCH
          Have you seen my niece anywhere?

                    WAYNE
          Yeah, motivating downstairs, I think.
          What's the problem, Mr. McCulloch?

                    MCCULLOCH
          Senior predictions started five
          minutes ago and she hasn't shown up.

                    WAYNE
          Some of us don't want our futures
          predicted.

                    MCCULLOCH
          In your case I'm sure that's true.

  He brushes past Wayne angrily.

  INT. SERVICE AREA - NIGHT

  as Tamara drags Eva into a secluded service area, pulling
  out her mirror, straw and baggie.

                    TAMARA
          The night time is the right time.

  Tamara hands the straw to Eva.

                    EVA
              (nervous)
          No thanks.

                    TAMARA
          What? Don't be a lightweight...this is
          top dollar toot.

                    EVA
          It's not that, it's just that...
              (beat)
          It I get caught, I'll lose my science
          scholarship and everything.

                    TAMARA
          You're talking to the _prom queen_,
          Eva. Do you really think I'm going to
          risk getting caught?

                    EVA
              (a pause)
          I guess not.

                    TAMARA
          Do you realize how many people would
          kill to be sitting here right now?
          Come on, it's grad night. You've got
          your whole life to be uptight.

  Eva takes the straw.

  STALKING POINT OF VIEW

  as we move down the corridor, in and out of shadows,
  hearing giggles from Tamara and Eva up ahead. Jason's
  coming...

  ANGLE - TAMARA AND EVA

  as Eva takes a nosefull, sneezing badly.

                    TAMARA
          Is that unbelievable or what?

  Tamara giggles, getting ready to tap out another line.
  But the snickering stops upon the sound of APPROACHING
  FOOTSTEPS. They both look up, every muscle tensing with
  fear as:

  RENNIE

  appears from the shadows, just as startled to see them.
  It's not Jason at all. Rennie can't help noticing the
  cocaine, trying hard to ignore it.

                    TAMARA
          Jesus, you scared the hell out of us.

                    RENNIE
          Have you seen my dog? I think he came
          this way.

                    TAMARA
          No, we haven't.
              (awkwardly)
          Care for a hit?

                    RENNIE
          No thanks.

  Rennie continues on. After she's gone...

                    TAMARA
          A real space cadet. I wonder if she'll
          narc on us...

                    EVA
          I have her in Creative Writing and
          she's fairly nice.

                    TAMARA
          Nobody related to McCulloch can be
          nice.

  Tamara puts the straw to her nose.

  ANGLE - RENNIE

  as she presses on, the corridor getting darker.

                    RENNIE
          Toby?

  No reply. She walks on, turning down the left hallway...
  but _camera turns down the right hallway_. Suddenly JASON
  REVEALS HIMSELF, quietly stepping from the GAME ROOM.
  He's holding a _pool cue_, which he proceeds to _snap in
  half, providing a splintery sharp shaft_.

  INT. SERVICE AREA - SAME TIME

  as Tamara finishes off her line, wiping her nose with a
  sniffle.

                    TAMARA
          Oh yeah. Ready to party and then some.

  She rolls up her baggie, stuffing it into her purse.

  STALKING POINT OF VIEW

  as we come down a corridor, turning into the Service
  Area, _stomping right up to Tamara and Eva_. They both
  GASP; Tamara drops her mirror, which SHATTERS on the
  ground.

  REVERSE ANGLE

  They are facing McCulloch.

                    MCCULLOCH
          What are you doing in here?

                    TAMARA
          Nothing.

  He eyes the broken mirror. He wasn't born yesterday.

                    MCCULLOCH
          Are you girls using drugs?

                    EVA
          Do you think I would use drugs, Mr.
          McCulloch? We were just exploring the
          ship.

  He doesn't want to believe Eva is a druggie. But Tamara
  is a different matter. He levels his eyes on her.

                    MCCULLOCH
          I'11 be coming around your stateroom
          in exactly fifteen minutes, Miss
          Mason. You'd better have your biology
          project ready or I'm phoning your
          parents.

                    TAMARA
          They're out of town.

                    MCCULLOCH
          Then I'll make sure you remain on
          board while your classmates see the
          sights.

  He's gotten to her with that one. McCulloch storms away.

                    EVA
          What are you going to do?

                    TAMARA
          Relax, I've got McCulloch covered...
          but that little narcing bitch niece of
          his is a different matter.
              (calculating)
          Rumor has it she's a teensy bit afraid
          of the water...

  SPLASH!

  as a body pierces the surface of the deck swimming pool.
  It's MILES, having just completed a dive from the high
  board. Miss Van Deusen and several others stand at
  poolside, giving him some applause.

                    MISS VAN DEUSEN
          Poetry in motion, Miles.

                    MILES
          A half-twist short. I'll hone that
          dive yet.

  He swims to the side, leading us to a view of Rennie.
  She's very cautious about getting too close to the pool
  edge as she approaches Miss Van Deusen.

                    MISS VAN DEUSEN
          Rennie -- I was just on my way over to
          your room

                    RENNIE
          Have you seen my dog anywhere?

                    MISS VAN DEUSEN
          No, but I'm sure Toby's fine. The
          ship's only so big and there's
          certainly no way off it, is there?

  She smiles reassuringly, but her words are less than
  comforting.

  INT. SHIP CORRIDOR - TRACKING WITH TOBY - SAME TIME

  as the canine continues to sniff out Jason through the
  maze of corridors. TRACK with the dog as he slows his
  pace, knowing he's getting close to something.

  TOBY'S POINT OF VIEW (STEADICAM)

  Low to the ground, creeping past a steam vent which
  obscures his vision, then turning down a metal staircase,
  weaving into another passageway. Then with absolutely no
  warning, A BODY FALLS FROM ABOVE, THUDDING DIRECTLY IN
  FRONT OF US.

  TOBY

  rears back with teeth bared, but:

  THE BODY

  is quite dead: Toby is snarling at the corpse of the
  TEENAGE BOXER who lost his bout against Julius. He's
  still in his boxing shorts...BUT JASON'S_SPLINTERY POOL
  CUE HAS BEEN STABBED THROUGH HIS CHEST.

  EXT. DECK POOL - ON RENNIE AND MISS VAN DEUSEN

  as they walk along the edge of the pool.

                    MISS VAN DEUSEN
          So, are you having fun yet?

                    RENNIE
              (lying)
          Yeah...a lot.

                    MISS VAN DEUSEN
          I seem to detect a hint of
          ingenuousness in your tone.
              (beat)
          In other words, level with me.

                    RENNIE
              (a pause)
          There's something I haven't told
          you...

  ...But before she can begin the next sentence, _Rennie is
  shoved from behind_.

  WATER ANGLE

  as she SPLASHES INTO THE POOL'S DEEP END.

  MISS VAN DEUSEN

  spins around, seeing Tamara standing there with Eva.

                    TAMARA
          Wow, sorry...

  RENNIE

  flounders at the surface, nobody realizing the terror
  she's experiencing. She's too scared to even cry for
  help.

  MISS VAN DEUSEN

  isn't looking at Rennie, her attention on admonishing
  Tamara.

                    MISS VAN DEUSEN
          Why on earth would you do something
          like that?

                    TAMARA
          It was an accident, I swear...

  Eva avoids eye contact, feeling awful. Sean comes walking
  up, seeing Rennie.

                    SEAN
          What happened?
              (to Rennie)
          Rennie, are you okay?

  RENNIE'S POINT OF VIEW

  She's can't even hear Sean, her vision being splashed by
  the chlorinated water. She sinks under the surface,
  turning around...AND COMING FACE TO FACE WITH YOUNG
  JASON. The eight year-old corpse GRABS HER ANKLE AND
  TRIES TO DRAG HER DOWN.

  SEAN'S POINT OF VIEW

  as Rennie sinks under the surface, all alone, thrashing
  in terror.

  SEAN

  realizes she's in trouble. He immediately dives in after
  her, pulling her to the pool's edge, where Miss Van
  Deusen helps to lift her out.

  TAMARA AND EVA

  quickly move on.

                    TAMARA
          That was truly excellent.

                    EVA
              (feels like shit)
          Yeah.

                    TAMARA
          Time to check out the waiters.

                    EVA
          I think I'll pass. See you later,
          okay?

                    TAMARA
          But...wait a minute!

  Eva walks away. Tamara acts angry, but deep down she's
  hurt.

                    TAMARA
          Some friend you are.

  EXT. POOL SIDE - SAME TIME

  as Sean climbs from the pool to join Miss Van Deusen, who
  is trying to comfort Rennie.

                    MISS VAN DEUSEN
              (to Sean)
          Bring her a towel, okay?

  Sean nods, hurrying off as others start to crowd around.
  Miss Van Deusen looks up at them.

                    MISS VAN DEUSEN
          She's fine -- everybody go back to
          what you were doing.

  They disperse. Rennie slowly starts to cry, holding tight
  to her teacher.

                    MISS VAN DEUSEN
          Care to talk about it?

  After a moment to compose herself...

                    RENNIE
          I can't swim.

                    MISS VAN DEUSEN
          I gathered that.

  Rennie says nothing else. Miss Van Deusen knows she's
  holding out.

                    MISS VAN DEUSEN
          I had a skiing accident in high
          school, broke my left leg. It took
          three winters before I would even look
          at the snow again...but the solution
          kept eluding me.
              (beat)
          I finally took lessons. I've never
          broken a bone since.

                    RENNIE
          It's not that simple.

                    MISS VAN DEUSEN
          Maybe not. But you're not telling me
          everything, are you?

                    RENNIE
              (long pause)
          Whenever I get near the water, I see
          this young boy drowning. He tries to
          pull me down with him.

  The teacher didn't expect this, taking a thoughtful
  pause.

                    MISS VAN DEUSEN
          When did this start?

                    RENNIE
          About four years ago...at Crystal
          Lake. I spent a few summers there with
          Uncle Charles inbetween boarding
          school.

                    MISS VAN DEUSEN
          After your parents passed away?

  Rennie nods somberly.

                    MISS VAN DEUSEN
          Did you have an accident in the lake?

                    RENNIE
          No. It was just a normal summer. I've
          never been able to figure it out.

                    MISS VAN DEUSEN
          Only one young boy ever drowned in
          that lake, and that was before you
          were even born. His name was Jason
          Voorhees.

  The name has triggered some deep memory...but the
  recollection vanishes upon the sound of her uncle's
  voice.

                    MCCULLOCH (O.S.)
          Dear God...

  ANOTHER ANGLE

  as McCulloch rushes over to Rennie, seeing that she's
  soaked. He's livid.

                    MISS VAN DEUSEN
          She's fine, Charles. Take it easy...

                    MCCULLOCH
          Oh, I can see that. You've done a
          wonderful job of supervising the kids,
          Miss Van Deusen.

                    RENNIE
          It wasn't her fault.

  He gets Rennie to her feet just as Sean runs back with a
  towel. McCulloch grabs it from him, wrapping it around
  his niece, facing both Miss Van Deusen and Sean.

                    MCCULLOCH
          Stay away from her...both of you.

  He starts to lead her away. The crazy DECK HAND blocks
  their path, slipping his flask away.

                    DECK HAND
          He's come back and you're all going to
          die.

  Rennie gazes at the Deck Hand, then back at McCulloch.

                    RENNIE
          Just...leave me alone...

  She pulls away from him, hurrying off, confused and
  frightened. McCulloch's retinas pierce the Deck Hand with
  scorn. He checks his watch, then storms off.

  INT. TAMARA'S STATEROOM - NIGHT

  as a loud, firm KNOCK punctuates the silence. Then comes
  a sultry voice...

                    TAMARA (O.S.)
          The door's open.

  McCulloch swings it open.

                    MCCULLOCH
          I'm in no mood for any more stall
          tactics, Miss Mason. Where is your
          final project?

  REVERSE ANGLE

  as Tamara fills a pair of champagne glasses with a bottle
  of Dom Perignon. She's wearing a full body robe.

                    TAMARA
          Wouldn't you like a glass of champagne
          first, Charles?

  He's about to lose his temper. McCulloch steps closer.

                    MCCULLOCH
          Where did you get that alcohol?

                    TAMARA
          I packed it. Just for us.

  EXT. DECK CORRIDOR - STALKING POINT OF VIEW

  as we approach Tamara's porthole window, peering through
  it. We can't hear the words but we can clearly see the
  people.

  INT. TAMARA'S STATEROOM - CONTINUOUS

  as McCulloch takes the bottle from her, setting it down
  on her nightstand.

                    MCCULLOCH
          That's it. You're not setting foot off
          this ship until we return home.

                    TAMARA
          But I haven't even shown you my
          biology project...

  Tamara unties her robe. PAN DOWN to the floor with it as
  it softly piles at her bare feet.

  ANGLE - PORTHOLE WINDOW

  as the SHADOW OUTSIDE quickly blurs past the window.

  RETURN TO SCENE

  McCulloch is flabbergasted, too stunned to fully react.
  Tamara is wearing a layered teddy, which she's beginning
  to unsnap, exposing her lithe body...but that's not all.
  _Tamara has drawn all her major organs on her bare skin_.

                    TAMARA
          Take a closer look, Charles. I want to
          make sure I labeled all my organs
          correctly.

  EXT. TAMARA'S STATEROOM - STALKING POINT OF VIEW

  as we approach her door, still cracked open from
  McCulloch's entrance. We get there just in time to see
  Tamara slip her arms around McCulloch, planting her lips
  on his, pressing her nubile flesh up against his stiffly
  starched shirt.

  INT. TAMARA'S STATEROOM - CONTINUOUS

  as she holds him tight. He finally breaks away in a fit
  of anger.

                    MCCULLOCH
          Oh, you've done it now. Not only are
          you going home, I'll see to it that
          you spend next year back in a high
          school classroom!

  He storms for the door, swinging it open, coming face to
  face with:

  WAYNE

  who casually lowers his camcorder.

                    TAMARA
          I don't think so, Mr. McCulloch.
              (to Wayne)
          Did you get anything good?

  His eyes are unable to leave her nakedness.

                    WAYNE
          Oh yeah.

  She quickly slips on her robe again, all business.
  McCulloch realizes what has just transpired.

                    MCCULLOCH
          You'll never get away with it.
              (eyeing Wayne)
          And _you_ can forget about ever
          attending any film school.
              (serious beat)
          You're both going to be very, very
          sorry.

  He storms off. Wayne looks very, very nervous. Tamara
  steps over to him, cuddling up.

                    TAMARA
          Relax, Wayne. He won't risk doing a
          thing.
              (beat)
          Can I have the tape?

  He pops the eject button, absently handing it over. Wayne
  steps into her room, nervous and excited to be there. He
  lifts the glass of champagne she poured for McCulloch.

                    WAYNE
          This is going to sound supremely
          lame...but I've had the major hots for
          you since our sophomore year, Tamara.

  He gulps down the fizz. She forces a smile, stashing the
  incriminating videotape.

                    TAMARA
          That's sweet, Wayne. Look, I'd love to
          chat but I'm really pressed for time.
              (ushering him to door)
          Let's try to get together later, okey-
          doke?

                    WAYNE
          But I thought...

                    TAMARA
          Thanks for the camerawork.

  And out he goes, the door shut in his face. Wayne stands
  outside her room, realizing he's a major chump.

                    WAYNE
          Wayne, you're an asshole.

  He despondently exits.

  INT. TAMARA'S STATEROOM - SAME TIME (STEADICAM)

  as Tamara heads for the bathroom, slipping off her robe.
  She moves to the shower curtain and we're right behind
  her. Her hand reaches up, grabbing the curtain, _yanking
  it back_...

  Nothing is there.

  INT. LADIES RESTROOM - SAME TIME - NIGHT (EFX)

  as Rennie enters, her eyes reddened. She moves to the
  sink, looking at herself in the mirror. So much for the
  silk blouse and satin pants, not to mention her soaked
  hair. Rennie runs some warm water, rinsing her face.

  When she starts to fill her hands a second time, BLOOD
  POURS OUT THE FAUCET INSTEAD OF WATER. Rennie gasps,
  jerking up and seeing YOUNG JASON REFLECTED ON THE OTHER
  SIDE OF THE MIRROR, SPLASHING IN WATER.

                    RENNIE
          It's not real, it's not real...

  INT. TAMARA'S SHOWER - SAME TIME

  as water from the shower head SPLASHES CAMERA for a beat
  before Tamara turns it off.

  ANOTHER ANGLE

  as Tamara reaches for her robe, slipping it on. Her body
  paint has been washed off.
  She steps from the shower, glancing in her vanity mirror
  AND SEEING THE REAL JASON REFLECTED IN IT. Tamara spins
  around, looking face to face with JASON IN HER BATHROOM.
  Just as she SCREAMS:

  INT. LADIES RESTROOM - SAME TIME (EFX)

  Young Jason reaches out to grab Rennie, HIS FIST CRASHING
  THROUGH THE MIRROR. Right when Rennie SCREAMS:

  INT. TAMARA'S BATHROOM - SAME TIME

  The real Jason SHATTERS TAMARA'S VANITY MIRROR WITH HIS
  FIST. He grabs a sharp chunk of it, advancing on a
  whimpering Tamara.

                    TAMARA
          Please...please don't...

  Jason raises the shard above her and just as she
  SHRIEKS...

  CLOSE UP - STEAM WHISTLE OF SHIP

  as it blasts loudly in the bleak stormy night. It begins
  to rain.

  EXT. LADIES RESTROOM - NIGHT

  as Rennie comes rushing out, right into the arms of.
  Sean. She clings to him, sobbing as the rain falls over
  them.

                    SEAN
          It's okay...you're going to be okay.

                    RENNIE
          I want to go home. I want off this
          ship.

  After a moment...

                    SEAN
          Me too.
              (beat)
          Let's go talk to my Dad.

  He puts his arm around her, leading her toward the
  bridge.

  INT. BRIDGE - NIGHT

  as wind and rain pummel the bridge window.. Admiral
  Robertson turns to his Chief Engineer.

                    ADMIRAL ROBERTSON
          Let's kick in the stablilizers, Mr.
          Carlson, and get the seas off the
          quarter. These kids are in for one
          hell of a storm.

                    CHIEF ENGINEER
          Yes Sir. Activating comfort cruise
          mode.

  The Chief Engineer moves to a bank of toggle switches,
  flipping a row of them.

  TIGHT ON NAVIGATIONAL CHART WALL - SAME TIME

  as a bloodstained HAND _silently removes the rusty
  harpoon hanging above the map_.

  ADMIRAL ROBERTSON

  gets a reflective look in his weary eyes.

                    ADMIRAL-ROBERTSON
          How olds your boy now, Carlson?

                    CHIEF ENGINEER
          Nineteen months.

                    ADMIRAL ROBERTSON
          A tremendous age. Take some advice
          from a salty old man: don't push him
          too hard.

  The Chief Engineer nods with a sympathetic smile as the
  Admiral steps off the bridge, onto the stormy deck,
  contemplating the sea. The Chief Engineer moves to the
  radio/intercom console. He lifts a telephone, punching in
  a three digit number. PUSH IN TIGHT ON HIS FACE.

                    CHIEF ENGINEER
          This is the bridge. Approaching
          weather suggests we secure the main
          deck and...

  _His sentence is sharply cut off, his head jerking from
  excruciating, instant pain_.
  His mouth contorts with words no one will ever hear as he
  stares into the face of:

  JASON

  _holding the opposite end of the harpoon_. He shoves it
  forward with one more staccato jerk and:

  CLOSE UP - CHIEF ENGINEER'S BACK

  -- The harpoon's bloody, corroded tip _pierces through
  his once-white uniform_.

  ADMIRAL ROBERTSON

  returns to the bridge as LIGHTNING flashes outside.

                    ADMIRAL ROBERTSON
          Better have them doublecheck the
          lifeboat stations as well...

  Admiral Robertson stops cold upon the sight of Mr.
  Carlson. He hurries over to him, kneeling down, freezing
  as a pair of MUDDY FEET ENTER FRAME. Admiral Robertson
  bends his neck upwards to face:

  JASON

  hovering over him, _now clutching one of the scaling
  knives_.

  INT. BRIDGE CORRIDOR - NIGHT

  as Sean and Rennie walk up the corridor leading to the
  bridge.

                    RENNIE
          Can he really take us home?

                    SEAN
          Not completing a voyage is against
          everything he stands for. But I think
          I can convince him to call a Coast
          Guard cutter for you.

                    RENNIE
          What about you?

                    SEAN
          If I go with you, he'll never
          speak to me again.
              (beat)
          But I'm never going to live up to his
          expectations anyway...so maybe it's
          the right thing to do.

  He's made a big decision. Sean takes her hand as they
  walk on.

  THEIR POINT OF VIEW

  moving closer and closer to the bridge door, having not
  the slightest inclination of what's in store for them.

  SEAN

  knocks on the bridge door. No answer. He's confused. He
  pushes the door open but _something is blocking it_. Sean
  puts his weight into it, shoving hard.

  INT. BRIDGE

  as the door slides open, Sean stepping inside. His eyes
  roil downwards upon seeing THE DEAD CHIEF ENGINEER, THE
  HARPOON PROTRUDING FROM HIS BLOODY CHEST.

                    SEAN
          Oh Jesus...Dad??

  Sean looks over at the helm...where his father is still
  sitting in the swivel chair, _his back to them_. Silent.
  Sean sidesteps the Chief Engineer's corpse, moving toward
  his father as Rennie remains frozen in shock.

  SEAN'S POINT OF VIEW

  Slowly walking toward Admiral Robertson...at least he
  _thinks_ it's his dad because he's unable to see his
  face. Is it Jason now wearing the uniform?? When he's
  about two feet away from him...

  SEAN

  reaches out and swivels the chair around. It _is_ his
  father BUT HIS THROAT HAS BEEN SLIT. Sean staggers
  backwards, uncomprehending, his senses overloaded. We
  MOVE with him until he's backed into Rennie, clutching
  onto him tightly.

                    SEAN
          He's...he's dead...

  INT. CORRIDOR OUTSIDE RENNIE'S STATEROOM - SAME TIME

  as Miss Van Deusen steps up to Rennie's door, gently
  knocking.

                    MISS VAN DEUSEN
          Ronnie? I just came by to see how you
          were feeling...

  No answer. She knocks harder..._and it creaks open,
  unlocked_.

                    MISS VAN DEUSEN
          Rennie...?

  Suddenly the door is _jerked from her grasp and swung
  open_. MCCULLOCH is standing on the other side of it.

                    MCCULLOCH
          I thought I told you to stay away from
          her.

                    MISS VAN DEUSEN
              (holds her ground)
          Where is she?

                    MCCULLOCB
              (accusing)
          That's a very good question and I'd
          appreciate an answer.

  A LOUD BUZZER blares out of an intercom speaker next to
  their heads, causing the teachers to both jump. Sean's
  unsteady voice immediately follows.

                    SEAN (V.O.)
          Attention everybody, attention. This
          is Sean Robertson...

  EXT. SWIMMING POOL - SAME TIME

  Miles is toweling off under the shelter of a gazebo as
  Sean's voice blares out of a rain-pounded megaphone
  speaker nearby.

                    SEAN (V.O.)
          There's been...
              (swallows)
          What I mean is, this is an
          emergency...

  Miles knows he can't be joking around. Wayne comes
  walking by, covering his camcorder with his jacket.

                    WAYNE
          Miles -- have you seen J.J.? She was
          supposed to be jamming down in the
          power room but...

  Miles gestures for him to be quiet, listening very
  worriedly.

                    SEAN (V.O.)
          Repeat, this is an emergency...

  INT. GYM LOCKERS - SAME TIME

  as JULIUS and two other senior boys finish dressing after
  a shower, hearing Sean's words reverberate around them.

                    SEAN (V.O.)
          I want everybody to meet on the
          bridge...

                    JULIUS
          What the fuck is this?

  The others shrug, concerned.

  EXT. SHUFFLEBOARD COURT - SAME TIME

  The wooden shuffleboard disks are drowning in
  precipitation. Eva stands alone in the rain, staring at
  the court as Sean's voice continues.

                    SEAN (V.O.)
          Stay calm, but get here as quick as
          possible. Walk with a friend if you
          can...

  Eva wipes the rain from her face, then walks away.

  INT. BRIDGE - ON SEAN

  trying his best to keep it together. He glances at his
  dead father, still unable to believe it.

                    SEAN (V.O.)
          God, I wish this was a joke, but it's
          not.

  Sean slowly puts down the phone. He's lost in a daze.
  Suddenly the SHIP LURCHES, a huge swell SPLASHING THE
  BRIDGE WINDOW. Admiral Robertson's body falls from the
  swivel chair.

                    RENNIE
          What is happening???

  Sean regains his balance, moving to the computer console,
  looking at the OMEGA and LORAN like he's never seen them
  before.

                    SEAN
          I don't know...we've gone off course
          or something...

                    RENNIE
          What do you mean???

  Another wave hammers the bow. She's in a state of awful
  panic.

                    SEAN
          I don't know what I mean! All's I know
          is that there's no one guiding this
          ship anymore...

  Sean is starting to lose it. The fear of the ocean
  guiding her, Rennie rushes to him, gripping and shaking
  him.

                    RENNIE
          Can't you call for help??

  Sean tries to get a grip and assess the situation, pacing
  frenetically.

                    SEAN
          I think so. But we have to lower the
          anchors so we don't drift any
          further...

                    RENNIE
          Where are they?

                    SEAN
          The bow...front of the ship. There's a
          hoist on each side that lowers them

  She starts to exit.

                    SEAN
          I didn't mean for you to go!

                    RENNIE
          Just radio for help, okay???

  She hurries out the door, working on terror-induced
  adrenaline. Sean rushes to the radio console, depressing
  the keying button, speaking into the mike.

                    SEAN
          Mayday, mayday, mayday...

  ANOTHER ANGLE

  as JULIUS arrives with the others from the locker room.
  They react to the dead bodies while Sean continues at the
  radio.

                    SEAN
          Please...can anybody out there hear
          me??

  No response. WAYNE and MILES rush in.

                    MILES
          Sean, what's going on?

  Then he sees the corpses. He needs no further answer.

                    WAYNE
          Jesus Christ...

  He's too scared to even videotape it. Sean is bombarded
  with questions as he tries to figure out the radio.

                    JULIUS
          Who did this, man?

                    WAYNE
          Is the radio even working??

                    MILES
          Isn't there some international S.O.S.
          thing you can do???

                    SEAN
              (suddenly remembers)
          Channel 16...the distress frequency...
              (dialing knob)
          Mayday, mayday, mayday...this is the
          Princess Ruby. Please, somebody
          answer...

  EXT. OCEAN - NIGHT (STOCK)

  as a COAST GUARD CUTTER tracks through stormy seas.

                    RADIO OFFICER (V.O.)
          This is Coast Guard cutter Dallas.
          What is the nature of your problem,
          Ruby?

  INT. BRIDGE - ON SEAN AND OTHERS

  as they hear the voice, reacting, relieved and thrilled.

                    SEAN
          The Captain and Chief Engineer...
          they've been...they're dead.

                    RADIO OFFICER (FILTERED V.O.)
              (a grave-pause)
          What is your location?

                    SEAN
          I...I don't know...

                    RADIO OFFICER (FILTERED V.O.)
          Is your ship equipped with Omega
          satellite navigation or LORAN?

                    SEAN
          Yes...

                    RADIO OFFICER (FILTERED V.O.)
          The LORAN has a digital printout of
          your latitude and longitude. Give me
          the coordinates and we'll be there as
          quick as we can.

  Sean hurries to the LORAN, reading the numbers.

  EXT. DECK - RADIO ANTENNA - SAME TIME (EFX)

  as LIGHTNING STRIKES above it in the night sky. Camera
  slowly ADJUSTS to find the RADIO ANTENNA CABLE. A second
  later, JASON'S HAND REACHES FOR IT, GETTING A FIRM GRASP.

  INT. BRIDGE - SAME TIME

  as Sean hurries back to the radio, pressing it against
  his spitless mouth.

                    SEAN
          I've got the numbers.

                    RADIO OFFICER (FILTERED V.O.)
          Give me the degrees first, followed by
          minutes and sec...

  Suddenly his voice is CUT OFF, followed by STATIC.

                    SEAN
          Hello? Are you there??

  No response. A lump sinks into everyone's throat.

  EXT. DECK - RADIO ANTENNA

  as Jason drops the cable he's just torn out, marching
  onward.

  EXT. BRIDGE - NIGHT

  as McCulloch bursts onto the bridge, followed by Miss Van
  Deusen.

                    MCCULLOCH
          I demand to know what is going on...

                    MISS VAN DEUSEN
          Oh dear God...

  She's seen the bodies. McCulloch follows her glance,
  paling. He quickly takes charge, pushing through the
  students.

                    MCCULLOCH
          Where's the radio?

                    SEAN
          It's...dead.

                    DECK HAND (O.S.)
          You're all going to die.

  All heads spin as the deranged DECK HAND treads out from
  a shadowy corridor.

                    DECK HAND
          You're the last ones. He's come back
          for you.

                    MCCULLOCH
          What are you talking about?

  The Deck Hand takes a final swig from his flask, dropping
  it with unsteady hands.

                    DECK HAND
          Jason Voorhees.

  There is a collective, disconcerting silence triggered by
  the infamous name.

                    MCCULLOCH
          You're insane, old man. Jason Voorhees
          has been dead for over thirty years.

                    DECK HAND
          He walks this ship, here and now.

                    MCCULLOCH
          A killer walks this ship indeed. And
          it's certainly none of us...

  The crazed old man gets his drift. Everyone looks at him
  suspiciously. McCulloch grabs a SCALING KNIFE off the
  wall, taking a step towards him.

                    DECK HAND
          _You're_ the one who's insane!!

  The raving man flees back the way he came. McCulloch
  raises the flare gun; Miss Van Deusen grabs McCulloch's
  arm, stopping him.

                    MISS VAN DEUSEN
          What are you doing??

                    MCCULLOCH
          That lunatic has been spouting off
          about Jason since we boarded...
              (eyeing bodies)
          It's no coincidence.

                    MISS VAN DEUSEN
          But that doesn't prove that he's the
          one!

                    MCCULLOCH
          Walking corpses are _not real_!

                    JULIUS
          Yeah, well these dead bodies are sure
          enough real.
              (to the others)
          I say we regroup and find this
          motherfucker before he finds us.

  There's a murmur; it makes sense.

                    MCCULLOCH
          You'll do no.such thing and watch your
          mouth, young man! I'm in charge here!

  They all look at McCulloch defiantly.

                    JULIUS
          School's out, McCulloch.
              (to the others)
          Let's go.

  Julius walks off the bridge; all the seniors follow
  except Sean.

                    MISS VAN DEUSEN
          Please everybody, stay here!!

  They don't listen. McCulloch starts to go after
  them...and then it hits him:

                    MCCULLOCH
          Christ...where's Rennie??

                    SEAN
          She's...she's dropping the anchors. I
          thought the Coast Guard could find us
          easier if...

                    MCCULLOCH
          What?? You sent her out there with a
          murderer running around loose??

  EXT. DECK - NIGHT

  as Rennie moves past wet, empty lounge chairs towards the
  bow. She passes a row of translucent windows. The first
  three are normal...but the fourth has the SILHOUETTE OF
  JASON ON ITS OPPOSITE SIDE. He begins to stride parallel
  to her, then _disappears_ when the windows end and a wall
  takes over.

  INT. BRIDGE CORRIDOR - NIGHT

  as Julius and his followers continue on, passing Eva,
  who's coming up from a staircase. She stops Wayne.

                    EVA
          What's going on? I heard on the P.A.
          system that...

                    WAYNE
              (interrupting)
          The Captain's been murdered. The buzz
          is that Jason might be on board.

                    EVA
          Jason...Voorhees?

  She knows the legend as well as everybody else. Wayne
  nods gravely, moving to catch up with the others. Eva
  rushes up to him again.

                    EVA
          Have you seen Tamara?

                    WAYNE
          No. And I'm not losing any sleep over
          it.

                    EVA
          But she might be in trouble...

                    WAYNE
          So what else is new?
              (beat)
          Look Eva, you're asking the wrong dude
          to feel sorry for Tamara Mason. Wise
          up -- it's not hip to be her friend.

                    EVA
          I don't care about being hip anymore.

  She means it. Wayne nods with understanding.

                    WAYNE
          I'm sorry, but I've gotta find J.J.

  He hurries on.

  EXT. BOW - NIGHT

  as Rennie appears, fighting the wind and rain to get
  closer to the anchor hoists.

  POINT OF VIEW THROUGH DECK WINDOW - SAME TIME

  --spying on Rennie like a wolf watching a lamb. We MOVE a
  few windows down, getting a better view of her.

  REVERSE ANGLE - ON JASON

  deciding that the time is right to strike. His hand moves
  to the bow entrance door knob, slowly turning it, pulling
  it open.

  EXT. BOW - ON RENNIE

  moving closer to the right anchor hoist, her back to us
  as well as Jason. She climbs behind the hoist, looking at
  the consoles. Then suddenly a BARK.

                    RENNIE
          Toby?

  She turns, catching a glimpse of her dog running down the
  side of the deck. Rennie leaves the hoist, going after
  Toby.

  JASON'S POINT OF VIEW

  through the crack in the door, watching Rennie
  unexpectedly take off. He's about to move after her when
  ha hears:

                    EVA (O.S.)
          Tamara? Are you around here anywhere?

  Jason quietly closes the door. Rennie will have to wait.

  INT. CORRIDOR - TRACKING WITH EVA

  as she cautiously walks along, poking her head in every
  alcove.

                    EVA
          Tamara?

  JASON'S POINT OF VIEW

  moving down the same corridor, catching a glimpse of Eva
  before she turns a corner and disappears.

  INT. HALLWAY/TAMARA'S STATEROOM - MOVING WITH EVA
  (STEADICAM)

  Eva steps into the hallway outside Tamara's stateroom.
  She walks up to Tamara's door, knocking on it. It swings
  open, unlocked.

                    EVA
          Tamara?
              (no response)
          I just want to talk with you.

  She steps into Tamara's room and we go in with her. The
  quarters are empty. Eva stands there for a beat, confused
  and scared. She's about to leave when a CREAKING SOUND
  causes her to look back at:

  THE BATHROOM DOOR

  It slowly swings open...splashing Eva's eyes with
  _grotesque multi-images of Tamara_: SHE IS HANGING ON THE
  DOOR HOOK, HER BODY PIN-CUSHIONED WITH A DOZEN MIRROR
  SRARDS.

  EVA

  shrieks, running back out the door...

  INT. STATEROOM HALLWAY

  ...and sliding to a abrupt halt because JASON IS STANDING
  AT THE END OF THE HALLWAY. He moves toward Eva like a
  bulldozer. She turns a rapid 180 and sprints in retreat.

  RUNNING WITH EVA (HAND HELD)

  Gasping for oxygen, Eva has no time to even scream as she
  flees from the monster, erratically turning down a spiral
  staircase and running on.

  JASON'S POINT OF VIEW (STEADICAM)

  chasing after her with the smooth determination of a
  shark, never letting her get too far in the lead.

  INT. BOWELS OF SHIP - ON EVA

  Empty for a second, then Eva appears, weaving her way
  through a maze of corridors and passageways. She races
  past a sign directing passengers to "CLUB RUBY."

  ANGLE - JASON

  --entering the same corridor a beat after Eva exits it in
  the direction of the disco. He tramples onward.

  INT. CORRIDOR/DISCO (STEADICAM)

  The thudding low frequency of a mesmerizing dance tune
  precedes Eva as she tears open a door, entering the
  corridor. MOVE BACKWARDS WITH HER as she rushes forward,
  curving through the shallow passageway and emptying out
  onto a high tech DISCO FLOOR. A flashing Star Wars
  lighting system assaults her all directions along with
  the music. She's all alone in here.

  TIGHT ON EVA

  The lights strobing across her face only accentuate her
  terror. She spots another door on a small stage, rushing
  to it. It's locked.

  CROOKED ANGLE - ENTRANCE DOOR

  as Jason enters the corridor, SLAMMING THE DOOR SHUT
  BEHIND HIM.

  EVA

  decides this is the wrong place to be. She moves for the
  corridor again and:

  JASON

  _appears on the corridor steps for a brief second_. The
  spotlight goes black, then flashes on again. _Now he's
  gone_.

  EVA

  backs away, sliding along the edge of the dance floor
  like she's on a building ledge. Chaser lights and mirror
  balls fondle her body as she moves as far away from the
  point where she last saw him. But:

  JASON

  illuminates only ten feet from her, a crimson strobe
  assaulting his hockey mask. She's on a collision course
  with him.

  EVA

  whirls dizzily to the center of the dance floor upon the
  sight of him. Camera SPINS with her in 360 degree arcs,
  PUSHING IN on her face.

  EVA'S POINT OF VIEW

  spiraling counter-clockwise on the dance floor, flashes
  of Jason materializing where she least expects to see
  him. And getting closer. Finally at the point of
  exhaustion:

  EVA

  stops, looking everywhere.

  EVA'S POINT OF VIEW

  He seems to be gone. She catches her breath...then
  sensing his presence, she revolves a half-turn to face:

  THE HOCKEY MASK

  _exploding under a pin spotlight, standing directly
  before her_. His forearms recoil with lightning speed as
  he grips her throat...

  WIDE SHOT - DISCO

  Thundering music. Frantic lights. And Jason and Eva at
  the center of it all. HER FEET ARE TWENTY-FOUR INCHES OFF
  THE GROUND, KICKING MADLY AS THE LIFE IS BEING CHOKED OUT
  OF HER. Finally Eva's legs go rag doll limp. Jason flings
  her to the ground like a sack of flour. This dance is
  over.

  EXT. DECK - NIGHT

  Rennie appears again, scanning her no-visibility
  surroundings.

                    RENNIE
          Toby? Where'd you go?

  No sign of her dog. She remembers her mission, heading to
  the anchors again.

  EXT. BOW - CONTINUOUS

  as Rennie arrives on the bow, climbing into the left
  hoist box behind the huge anchor cable.

  STALKING POINT OF VIEW

  moving up to the bow door like Jason did before, cracking
  it open, seeing Rennie from behind. _And moving towards
  her_.

  RENNIE

  is oblivious as she reads the directions above the
  controls.

  INSERT - HOIST LEVER (SECOND UNIT)

  as Rennie's hand grabs it, shoving it forward.

  INSERT - GREEN HOIST BUTTON (SECOND UNIT)

  A moment later, her thumb finds it and depresses it.

  INSERT - ANCHOR CHAIN (SECOND UNIT)

  as the massive black chain links thunder to life.

  STALKING POINT OF VIEW

  He's now within ten feet of the unaware girl.

  RENNIE

  remains in the hoist box, making certain it is operating
  correctly. A second later, we see the fleeting outline of
  a HUMAN SHAPE appear behind her.

  STALKING POINT OF VIEW

  Three feet from Rennie. She spins around to climb out of
  the hoist box and GASPS.

  REVERSE ANGLE

  She's facing MCCULLOCH. He immediately reaches past her,
  yanking the lever back to its center position, and:

  THE ANCHOR CHAIN (SECOND UNIT)

  grinds to a halt.

  RETURN TO SHOT

  as McCulloch faces her, angrily grabbing Rennie's arms,
  shouting over the storm.

                    MCCULLOCH
          You had me worried to death!

                    RENNIE
          But Sean said...

                    MCCULLOCH
          _I'm_ the one you should be listening
          to! Do you think dropping an anchor in
          the middle of a storm makes any sense
          whatsoever?

  She tries to find some defense, but McCulloch leads her
  off before any wards come forth.

  CLOSE UP - EXERCISE MAT

  as a pair of SKEET RIFLES, three FIRE AXES, a FLARE GUN
  and several POOL CUES are dumped onto the foam padded
  plastic.

  INT. EXERCISE ROOM - NIGHT

  where Julius has gathered his small group of vigilantes,
  including Miles and Wayne.

                    JULIUS
          I managed to scrounge this shit from
          the game room and hallways. Grab what
          you want.

  Wayne takes one of the rifles; Miles grabs the axe.

                    WAYNE
          What are you taking, Julius?

                    JULIUS
              (flexes fists)
          Nothin'.

                    WAYNE
              (dead serious)
          We're talking the possibility of Jason
          Voorhees here.

  Julius pauses. He's not stupid.

                    JULIUS
          Nothin' but this gun.

  He reaches down, picking up the other rifle. And they
  move.

  INT. STATEROOM HALLWAY/RENNIE'S ROOM - NIGHT

  as McCulloch guides his niece down the hallway, swinging
  her door open.

                    RENNIE
          Can't we at least talk about it?

                    MCCULLOCH
          I refuse to discuss this ridiculous
          notion that a ghoul is terrorizing
          this ship.

                    RENNIE
          But what about the drowning boy I've
          been seeing?

  He avoids eye contact. McCulloch takes her hand, ushering
  her across the threshold. She's standing inside her room
  now; he's in the hallway.

                    MCCULLOCH
          Whatever you've been...imagining...
          has nothing to do with Jason Voorhees.
              (pause)
          I want you to be safe, Rennie. That's
          all I care about.

                    RENNIE
          I'm not staying in my room, Uncle
          Charles.

                    MCCULLOCH
          This isn't a request.

  He closes the door on her face, pulling out a key,
  _locking the dead bolt_. She pounds on it from the other
  side.

                    RENNIE (O.S.)
          Uncle Charles!

  He ignores her, briskly walking away.

  INT. RENNIE'S STATEROOM - SAME TIME

  as she throws her fists against the door a final time,
  realizing it's futile.

  INT. POWER ROOM - NIGHT

  Steam continues to seep from the maze of criss-crossing
  pipes. Wayne appears on one of the catwalks. He's holding
  the skeet rifle under one arm, using the sun gun off his
  video camera to guide him.

                    WAYNE
          J.J. -- you down here?

  CLOSER ANGLE

  as Wayne carefully lets his light guide him down the
  precarious walkway. An unexpected _blast of steam_ scares
  the crap out of him, causing him to stumble.

  INSERT - WAYNE'S GLASSES (SECOND UNIT)

  --They slip off the bridge of his nose, skittering down
  through the catwalk and pipes to God knows where.

  WAYNE

  lies helplessly on the metal grid work, realizing his
  bleak predicament has just been squared. He pulls himself
  to a standing position again.

                    WAYNE
          We got a major problem, Wayne.

  WAYNE'S BLURRY POINT OF VIEW

  His vision now gives him shadows and shapes rather than
  crisp images. He raises the gun and continues unsteadily
  forward.

  POINT OF VIEW THROUGH GRID WORK

  as Wayne inches forward. Camera slowly PANS INTO A
  PROFILE OF JASON, watching him from a catbird seat.

  WAYNE

  takes another step, almost tripping on a set of stairs
  leading down to the next level. And when he arrives
  there...

  WAYNE'S BLURRY POINT OF VIEW

  ...A LARGE FIGURE STEPS OUT, HOLDING WHAT APPEARS TO BE A
  KNIFE.

  WAYNE

  instantly raises the rifle and FIRES...

  WAYNE'S BLURRY POINT OF VIEW

  ..._and the body goes down_. He's hit him!

  WAYNE

  stands there, breathing some relief. He gets an idea,
  looking through his camcorder eyepiece. Wayne begins to
  adjust the eyepiece diaptor.

  WAYNE'S POINT OF VIEW (B & W/VIEWFINDER MATTE)

  as the figure on the ground slips in and out of focus,
  finally becoming crisp. WAYNE HAS SHOT A CREW MEMBER --
  the same good looking one Tamara and Eva ogled earlier.
  He's holding a screwdriver from his waist band tool set,
  not a knife.

  WAYNE

  slowly lowers his camera as his heart rises into his
  throat.

                    WAYNE
          No...

  He raises his camcorder again, hoping a second view will
  reveal a dead Jason rather than this young man.

  WAYNE'S POINT OF VIEW (B & W/VIEWFINDER MATTE)

  He gets half his wish: a HOCKEY MASK NOW FILLS HIS
  FRAME...but Jason is far from dead. Wayne catches a split-
  second glimpse of Jason's fist coming towards him, then
  the camera is KNOCKED FROM HIS EYE AND THE WORLD BECOMES
  DARK AND BLURRY.

  WAYNE

  screams, blindly running as fast as he can. He trips,
  picking himself up, stumbling down the catwalk stairs.
  Wayne makes it about ten feet before he _stumbles over
  something_, bringing with it a harsh strum from an
  ELECTRIC GUITAR.

  ANGLE - WAYNE'S FEET

  Sure enough, his left shoe is resting on the pickups of a
  _blood-streaked Gibson Flying V_.

  TIGHT ON WAYNE

  --sprawled out on the metal floor. He gropes around, his
  hands feeling something. It sends chills from his groin
  up through his scalp.

                    WAYNE
          No no no...

  REVERSE ANGLE

  Wayne's hands are touching J.J.'S BLOODY FACE, A LARGE
  CRACK IN HER SKULL. He doesn't have time to scream or cry
  because

  JASON

  _hoists him off of J.J.'s body and flings him into_:

  THE SHIP CIRCUIT PANEL (EFX)

  which _shorts out_ with a fanfare of ELECTRICAL SPARKS
  AND FIRE, INSTANTLY FRYING WAYNE.

  INT. BRIDGE - SAME TIME

  as the overhead lights briefly _flicker_, then resume
  normal operation. Sean stands opposite the navigational
  chart, ping-ponging between it and the ship's
  computers as Miss Van Deusen paces nervously.

                    MISS VAN DEUSEN
          What was that??

                    SEAN
              (very worried)
          I don't know.

                    MISS VAN DEUSEN
              (trying not to panic)
          What happens if we don't get control
          of the ship, Sean? I want you to tell
          me the truth.

                    SEAN
              (beat)
          We could hit a reef, collide with
          another ship...we could be out here
          for weeks before anybody spotted us.

  They are suddenly jolted with a DOOR SLAM as McCulloch
  storms onto the bridge.

                    MISS VAN DEUSEN
          Did you find Rennie?

                    MCCULLOCH
          She's locked safe in her room, no
          thanks to either of you.
              (like Sean isn't even in the
               room)
          Has he brought it back on course yet?

  Sean doesn't look at him, still trying to assimilate the
  wall of components.

                    MISS VAN DEUSEN
          He's doing the best he can, Charles.

                    MCCULLOCH
          He's the son of the Captain, for
          Chrissakes. You'd think he'd be able
          to operate this thing!

  Sean closes his eyes, trying to keep from losing his mind
  and temper. A fierce WAVE slaps the windows in front of
  Sean's face, motivating him to get his shit together. He
  checks the Omega and LORAN.

                    MCCULLOCH
          Well?

  Sean doesn't answer, moving to the seat behind the helm.
  His father's seat. Sean takes the chair, adjusting the
  wheel, watching the compass. He studies a _series of
  buttons_ on the console.

  CLOSE UP - WALL OF BUTTONS

  We PAN across them, stopping on one labeled "FIRE ALARM -
  DO NOT BREAK EXCEPT IN CASE OF EMERGENCY." Camera
  continues around to find we are in the POWER ROOM, NOT on
  the bridge. Our vision suddenly lands on JASON, staring
  at the alarm button, considering. He glances back over
  his shoulder.

  JASON'S POINT OF VIEW (EFX)

  Wayne's body is NOW ON FIRE...AND THE BLAZE IS SPREADING
  THROUGH THE ROOM.

  INT. BRIDGE - SAME TIME

  as Sean makes up his mind, flipping several toggle
  switches.

  INSERT - AUTO PILOT COMPUTER

  as Sean flips the last toggle and a _green light
  illuminates_, indicating the AUTO PILOT is in effect.

  RETURN TO SHOT

                    SEAN
          It worked...we're back on course!

  Sean feels his confidence instantly rejuvenated. Miss Van
  Deuten immediately embraces him. But a fraction of time
  later:

  TIGHT ON FIRE ALARM BUTTON

  Jason's fist SMASHES the alarm button_...

  INT. BRIDGE - CONTINUOUS

  ...and a LOUD SIREN cries out across the entire vessel.
  The blood drains from Sean's face.

                    MCCULLOCH
          What's that?

                    SEAN
          The fire alarm...

  VARIOUS ANGLES ON BOARD SHIP - NIGHT

  as the shrieking alarm assaults the main deck, hallways
  and corridors, giving _Julius_, _Miles_ and _Wayne_ deep
  pause for thought.

  INT. RENNIE'S STATEROOM - SAME TIME

  as the alarm bombards Rennie's ears like everybody
  else's. She hurries to her curtained porthole window,
  working up the energy to look outside. Rennie gets a grip
  on them, FLINGING THEM OPEN. The DECK HAND'S CRAZED FACE
  IS GAZING BACK AT HER. Rennie screams; a second later he
  hurries off.

  INT. BRIDGE - NIGHT

  as McCulloch tears open a cabinet door labeled EMERGENCY
  FLARE GUN. The siren continues to blast.

                    MCCULLOCH
          Can you shut that damn thing off??

  Sean moves to a bank of switches, his eyes darting around
  for the appropriate switch. Miss Van Deusen sees
  McCulloch remove the FLARE GUN from the cabinet.

                    MISS VAN DEUSEN
          We already thought of that -- nobody
          could possibly see it in this storm...

                    MCCULIACH
          There's only one person who needs to
          see it. And I'm going to find him.

                    MISS VAN DEUSEN
          What about the fire??

                    MCCULLOCH
          I doubt very much that one even
          exists.

                    MISS VAN DEUSEN
          What are you talking about?

                    MCCULLOCH
          Use some common sense! Setting off a
          fire alarm causes _panic_...the same
          kind of panic caused by suggesting
          Jason Voorhees is on board.
              (resolved)
          Enough is enough.

  He marches out the door. Sean finds the alarm kill
  switch, flipping it. The excruciating siren vanishes. He
  grabs a pair of rain jackets, tossing one to Miss Van
  Deusen.

                    SEAN
          We have to get everybody together just
          in case the fire's for real.

  Sean heads for the door, shoving it forward.

  EXT. DECK - ON DOOR

  as it slams open...and JULIUS steps out, not Sean, from a
  different deck door. TRACK with him as he treads along
  the side of the ship, skeet rifle raised.

  JULIUS' POINT OF VIEW

  walking past the lifeboat stations, the wind and
  precipitation battering the small boats. With no warning,
  AN OBSCURE FIGURE LEAPS OUT, GRIPPING AN AXE.

  JULIUS

  shoves the gun stock into his shoulder and takes
  instantaneous aim..._but he doesn't shoot_. He slowly
  lowers the rifle.

  ANOTHER ANGLE

  as MILES lowers the axe. They've just scared the shit out
  of each other.

                    MILES
          I'll take the upper deck.

  Julius nods. They separate. _Neither boy notices the
  smoke which is starting to emerge from a deck vent_...

  INT. POWER ROOM - NIGHT (EFX)

  _Filled with black smoke_. The fire is spreading
  dangerously close to a series of hoses attached to a fuel
  pump, leading to tanks below. A sign over them reads:
  DANGER - FUEL TANKS.

  EXT. DECK POOL - NIGHT

  --steaming and far from calm as the weather blitzes it.
  Miles appears, climbing a ladder to the upper deck level.

  POINT OF VIEW THROUGH LADDER

  Someone is spying on Miles from below, watching his every
  step.

  EXT. UPPER DECK - CONTINUOUS

  as Miles arrives, axe raised. He pauses to regard his
  surroundings, then moves on. RACK FOCUS TO FIND JASON
  RIGHT BEHIND HIM, having followed Miles up the stairs.

  ANOTHER ANGLE

  Only darkness and rain for a beat, then Miles
  materializes, curving around the gargantuan smokestack.
  He passes us and we SWING AROUND, now looking at the back
  of his head. He takes three more steps and JASON STEPS
  INTO THE FOREGROUND. Miles senses his presence and JERKS
  AROUND, RAISING THE AXE, BRINGING IT DOWN ON JASON'S
  HEAD...

  ...but Jason easily grabs the axe handle before it makes
  contact, _flinging it away_.

  EXT. LOWER DECK - ON JULIUS

  He's pacing along when a _clattering noise from above
  makes him stop_. Suddenly MILES' AXE THUDS INTO THE
  MAHOGANY DECK NEXT TO HIS FOOT. Julius gazes at it,
  jerking his head upward.

                    JULIUS
          Miles??

  His answer is a LOUD CRACK OF LIGHTNING. At the same
  time:

  RUNNING WITH MILES

  He's scrambling as fast as he can across the slippery
  deck as the monster relentlessly pursues him.

  JASON'S POINT OF VIEW

  He's having no problem catching up to the defenseless
  teenager.

  EXT. DECK STAIRS - SAME TIME

  as Julius zooms up them to aid his comrade.

  EXT. RADAR MAST - NIGHT

  as Miles slides up to the mast and begins scaling it. He
  glances downward and sees:

  MILES' POINT OF VIEW

  Jason is right at his heels.

  MILES

  slips on a rung, regains control, and continues upward.
  He makes it three more steps, almost at the uppermost
  point when JASON GRABS THE BACK OF HIS COAT, TEARING HIM
  OFF THE MAST.

  STUNT FREEFALL

  Miles cries out as he FREEFALLS BACKWARDS, somersaulting
  and twisting like he's doing one of his better dives...

  CLOSE UP - MILES' FACE

  ...Empty space for a half-second, then MILES' FACE JOLTS
  INTO FRAME with a look of ultimate agony. Something has
  abruptly stopped his fall. Something quite fatal.

  EXT. DECK - ON JULIUS

  coming around a corner, stopping dead in his tracks, his
  stomach wrenching as his eyes fall on:

  MILES (EFX)

  ...who is staring right back at him with dead pupils.
  MILES HAS BEEN HORRIBLY IMPALED OM A SHIP FLAGPOLE.

  JULIUS

  doesn't get the chance to grasp the reality of it because
  JASON'S HAND GRIPS HIS SHOULDER, SPINS HIM AROUND AND
  SLUGS HIM SQUARELY IN THE FACE. The force of it sends the
  boxer REELING BACKWARDS OFF THE RAILING...

  EXT. STORMY OCEAN (TANK)

  ...and Julius SPLASHES INTO THE ROUGH SEA. He's quickly
  swallowed by the torrential waters.

  INT. RENNIE'S STATEROOM - NIGHT

  as Rennie's HAND jiggles her doorknob again, confirming
  that it's locked tight. RISE to find her desperate face;
  she begins furiously pacing and we DOLLY BEHIND HER
  ...but Rennie stops cold upon hearing:

                    YOUNG JASON (O.S.)
          Hhhhelp....me....

  Rennie whirls into a CLOSE UP, staring with disbelief at:

  YOUNG JASON (EFX)

  ...who is standing on the oval rug in her stateroom, his
  hands reaching out to her. But then comes the
  inexplicable: THE OVAL RUG TURNS INTO LAKE WATER AND
  JASON SINKS INTO IT. He's drowning in the middle of her
  room, choking on murky water.

                    YOUNG JASON
          Hhhhelp me....I'm drowning...

  RENNIE

  stands frozen, feeling herself drawn to him like a
  magnet. She crawls to the edge of her rug, which is now a
  deep lake, and extends her arms to him.

  YOUNG JASON

  grabs her hand, pulling hard, then grinning wide.

  RENNIE

  feels the skin on her face crawling off her skull, her
  eyes expanding because she's now looking at:

  HERSELF!

  _Rennie is holding onto herself, about four years younger
  in a bathing suit, drowning in the lake_. YOUNG RENNIE.

                    YOUNG RENNIE
          Hhhhelp....me....

  RENNIE

  screams with guttural fear, letting go of herself,
  watching her younger self drown in the hole in her room.

  YOUNG RENNIE

  disappears under the surface of the water...which seconds
  later CHANGES BACK INTO HER OVAL RUG.

  NEW ANGLE

  as Rennie moves away, tears rolling down her face,
  utterly confused. She backs against the wall next to her
  porthole window and THE REAL JASON'S FIST SMASHES THROUGH
  THE WINDOW, GRABBING HER THROAT. Rennie struggles,
  gasping for air as he attempts to strangle her.

  CLOSE ON RENNIE'S HAND

  groping for a weapon to stop him, her fingers skittering
  across her table like a spider.

  TWO SHOT - RENNIE AND JASON

  Her head is pulled taut against the wall just below the
  porthole, with Jason's hideous mask framed in the
  circular shattered window. She's slowly dying.

  CLOSE ON RENNIE'S HAND

  Her movements slow as the oxygen leaves her system. But
  Rennie's fingers miraculously find a recognizable object:
  _the ink-dip pen given to her by Miss Van Deusen_. She
  seizes it, getting a firm grip.

  CLOSE ON JASON

  as Rennie JABS THE PEN BACKWARDS, SENDING THE SHARP
  INSTRUMENT THROUGH THE EYEHOLE OF HIS MASK. Jason
  instantly releases her, reeling backwards.

  RENNIE

  sinks to the floor, scrambling on all fours to get as far
  away from the porthole as possible. She makes it across
  the room to her stateroom door just as:

  THE DOOR

  is SLAMMED OPEN FROM THE OTHER SIDE. She shrieks in
  terror but it's SEAN who is standing there.

                    SEAN
          Rennie...??

                    RENNIE
              (pointing)
          The window...

  Sean rushes to the shattered porthole, looking out,
  seeing nothing. He steps back to her.

                    RENNIE
          I don't understand what is happening
          to me...

  She breaks down; he holds her.

                    SEAN
          It's gonna be okay...

  INT. POWER ROOM - NIGHT (EFX)

  ...but Sean couldn't be more wrong. The flames are
  lapping at the fuel pump and hoses, furiously burning
  down into the tank. A second later the whole thing
  EXPLODES IN A BALL OF FIRE.

  EXT. SHIP HULL - UNDERWATER (EFX/MODEL?)

  as a huge HOLE is blown through the thick steel hull:

  INT. RENNIE'S STATEROOM - SAME TIME

  The ship noticeably rocks from the explosion. Rennie
  clings to him fearfully.

                    RENNIE
          What is it??

  One second later, _the lights begin to flicker_.

                    SEAN
          The power room...

  INT. POWER ROOM - SAME TIME (EFX)

  _as huge amounts of water rush in from a gaping hole in
  the hull_.

  INT. SHIP KITCHEN - SAME TIME

  as the overhead lights flicker over McCulloch. There's
  some fear mixed with the anger as he grips his flare gun,
  moving onward.

  PONT OF VIEW FROM KITCHEN OVENS

  Someone is crouched behind a massive convection oven,
  spying on McCulloch.

  MCCULLOCH

  almost flinches when the _lights die and he's plunged
  into blackness_. He moves forward, every step tentative.
  He passes the convection ovens and we REMAIN on them,
  spotting the frightened face of the DECK HAND in the
  shadows. The deranged old man is very sober now,
  clutching a LARGE KITCHEN KNIFE for defense.

  INT. RENNIE'S STATEROOM - SAME TIME

  Sean paces feverishly in the blackness of her room,
  trying to think, talking to himself.

                    SEAN
          Rule one, don't panic. Rule two,
          assess the damage and act
          accordingly...

                    RENNIE
          Is the ship going to sink??

  He returns to Rennie, the panic settling back in.

                    SEAN
          I don't know.

  Her ultimate fear is staring her straight in the face.
  Suddenly the _dim blue lights flicker on_.

                    SEAN
          The emergency lights just kicked in...

  Sean makes Rennie look into his eyes. His words are meant
  to convince himself as much as Rennie.

                    SEAN
          _We'll be okay_. I want you to wait by
          the lifeboats, just in case.

                    RENNIE
              (terrified)
          I'm _not_ going near any lifeboat!

                    SEAN
          But Rennie...

                    RENNIE
          I'm _not_!!

  INT. SHIP RESTAURANT ROOM - SAME TIME

  as Miss Van Deusen gathers a handful of students who are
  panicking, sitting them down.

                    MISS VAN DEUSEN
          Everybody wait right here until I come
          back with the others -- understand?

  They nod, frightened to death. She dashes away, carrying
  us into a view of the _dining room windows_. No one
  notices the SILHOUETTE OF JASON passing by on the outside
  desk.

  INT. ENGINE ROOM - SAME TIME (EFX)

  Sea water is pouring into the ship's motors. _Clouds of
  steam and black smoke fill the room_ as the engine
  bearings begin to GRIND.

  INT. SHIP HALLWAY - SAME TIME

  as McCulloch rushes up to Rennie's already open door,
  cautiously entering with flare gun raised.

                    MCCULLOCH
          Rennie??

  MCCULLOCH'S POINT OF VIEW

  The room is empty, shards of the porthole glass scattered
  across her rug. He steps over to it, bringing his head up
  to the gaping hole, peering outside. We wait for his
  attack...but it doesn't come. McCulloch's eyes take us to
  something across the room. _The bathroom door is afar_.

  MCCULLOCH

  cautiously steps up to the door, silently grabbing the
  knob and SWINGING IT OPEN. _It's empty_. He hears
  something, spinning around. Again, nothing is there.
  McCulloch quickly moves to the telephone and dials. A few
  seconds pass.

                    MCCULLOCH
          Come on, answer!!

  INT. BRIDGE - SAME TIME

  TIGHT on the bridge telephone, ringing repeatedly. RISE
  TO FIND JASON, ignoring the phone, scrutinizing the deck
  below through rain-streaked windows.

  JASON'S POINT OF VIEW

  Miss Van Deusen is darting across the deck, gathering up
  a trio of terrified seniors.

  RETURN TO SHOT

  Jason methodically moves to the bank of switches,
  studying them.

  INSERT - CONSOLE

  In large, unmistakable letters over a red button are the
  words "ABANDON SHIP ALARM." He flips back the plastic
  safety cover, exposing the button.

  INT. BOWELS OF SHIP - SAME TIME

  A horrible grinding sound echoes through the narrow
  corridor. Sean and Rennie appear at the opposite end,
  coughing on the black smoke which clouds their
  passageway. Sean looks down, seeing that they are
  standing in a puddle of water.

                    SEAN
          Water has gotten to the engines.
              (coughs)
          We have to get everybody off this
          ship...

  INSERT - ABANDON SHIP BUTTON

  as Jason presses it with firm deliberation, and:

  INT. BOWELS OF SHIP - CONTINUOUS

  A WHOOPING SIREN blasts through the passageway. Sean and
  Rennie have no time to react because:

  ANGLE - CORRIDOR (EFX)

  A sealed compartment door EXPLODES OPEN WITH THE PRESSURE
  OF SEA WATER...

  REVERSE ANGLE (EFX)

  ...and a WALL OF WATER ENGULFS.RENNIE AND SEAN, KNOCKING
  THEM DOWN. Sean fights to pull her up, but not in time
  for her to witness:

  WAYNE'S CHARRED CORPSE (EFX)

  _which bobs up in front of her_. Rennie cries out,
  scrambling to grab onto Sean as what's left of Wayne's
  body washes past them.

  EXT. DECK - NIGHT

  as a door opens and Miss Van Deusen guides a half-dozen
  SENIORS over to the LIFEBOAT STATIONS.

                    MISS VAN DEUSEN
              (shouting over storm)
          Everybody climb in!

  They follow her orders as the Abandon Ship alarm wretches
  on. But little do they know that:

  STALKING POINT OF VIEW

  Someone is briskly moving towards the group and Miss Van
  Deusen. Just as we are within a few feet of her...

  REVERSE ANGLE

  --It's MCCULLOCH who's approached them. He grabs Miss Van
  Deusen, shaking her violently.

                    MCCULLOCH
          What did you do with Rennie??

                    MISS VAN DEUSEN
          Nothing! I went to her cabin and...

  McCulloch rushes off before she can finish. Miss Van
  Deusen turns back to the other kids, helping them into
  the boat.

                    MISS VAN DEUSEN
          Everybody hurry...please...

  EXT. DECK - CLOSE ON MAHOGANY DECKING - SAME TIME

  We slowly DOLLY BACKWARDS until Miles' AXE comes into
  frame, still stuck in the mahogany decking. A beat, then
  JASON'S HALAL DISLODGES IT FROM THE WOOD.

  INT. CORRIDOR - NIGHT

  as Sean climbs up from below, soaked to the bone, pulling
  up a half-conscious Rennie. Sean carries her around a
  corner, where he _collides with McCulloch_. McCulloch
  pulls Rennie away from him.

                    MCCULLOCH
          She never should've set foot on this
          ship. This is your fault!

                    SEAN
          This is _Jason's_ fault!

                    MCCULLOCH
              (shouting)
          Not another _word_, do you hear me??

  EXT. LIFEBOAT STATIONS - NIGHT

  as Miss Van Deusen throws the "down" lever and the
  lifeboat hoist begins to lower the boat. Camera SLOWLY
  CREEPS IN A SEMI-CIRCLE AS A SILHOUETTED FIGURE STEPS
  INTO A POOL OF LIGHT BEHIND HER. _JASON_.

  ANGLE - LIFEBOAT

  One of the students screams, the others clinging together
  upon the sight of this infamous monster. But the boat is
  already over the edge, past the point of return. And
  lowering at a snail's pace.

  MISS VAN DEUSEN

  turns to see JASON APPROACHING THEM WITH AXE RAISED. She
  backs away but Jason ignores her, _heading directly for
  the hoist_. He arches back with his weapon and SLICES
  DOWNWARD.

  INSERT - HOIST CABLE (SECOND UNIT)

  as Jason's axe CHOPS THE CABLE IN TWO, and:

  EXT. SHIP/OCEAN (TANK)

  The bow cable SNAPS, DUMPING THE HALF DOZEN TEENAGERS
  INTO THE TURBULENT SALT WATER. They last about five
  seconds before succumbing to a drowning death.

  MISS VAN DEUSEN

  sees it all, her intestines constricting in agonizing
  knots. She summons all her rationale and sends it down to
  her legs, running away as fast as she can.

  MISS VAN DEUSEN'S POINT OF VIEW

  --knocking down deck tables, chairs and chaise lounges as
  she flees. The creative writing teacher swerves around a
  column, heading for an interior door, sliding to a stop
  as it BANGS OPEN IN FRONT OF HER. McCulloch steps
  outside, carrying Rennie, with Sean right behind her.
  Rennie is conscious now, squirming free of her uncle upon
  the sight of Miss Van Deusen.

  ANGLE TO INCLUDE ALL

  as Rennie rushes into Miss Van Deusen's arms. The teacher
  holds her, beginning to cry herself.

                    MCCULLOCH
          Why aren't you with the others,
          woman??

  Finally the message comes forth:

                    MISS VAN DEUSEN
          Jason...he has an axe...

  His face grows taut with anger.

                    MCCULLOCH
          Jason Voorhees is dead!!

  A PRIMAL SCREAM OF AGONY immediately cries out behind
  them, the words unintelligible. They turn around to
  witness THE DECK HANG STAGGERING TOWARDS THEM, GRIPPING
  THE KITCHEN KNIFE.

  MCCULLOCH

  raises the flare gun with zero hesitation and FIRES IT...

  ANGLE - DECK HAND (EFX)

  ...and the charge EXPLODES INTO HIS CHEST. He stands
  there with his chest smoldering, almost like a gargoyle
  in effigy. A second later the poor old man falls forward,
  and:

  CLOSE ON HIS BACK (EFX)

  They all see that JASON'S AXE HAS BEEN BURIED IN HIS
  BACK.

  RETURN TO MASTER

  McCulloch gazes with utter disbelief.

                    MCCULLOCH
          Dear Christ...

                    SEAN
          We have to get off this ship!!

  They back away from the horrid sight and begin to run,
  the Abandon Ship alarm still attacking their ears.

  EXT. LIFEBOAT STATIONS - NIGHT

  as McCulloch, Miss Van Deusen, Rennie and Sean scramble
  to the closest lifeboat.

                    SEAN
          Everybody in -- I'll get the hoists

  McCulloch has no time for politeness, moving to the
  lifeboat ahead of the women. Rennie stops cold, _gazing
  classy-eyed at the small boat_.

                    MISS VAN DEUSEN
          Come on, sweetheart -- get in...

  But she doesn't budge. McCulloch levels wild eyes on her,
  quickly climbing back down.

                    MCCULLOCH
          Get in the boat, Rennie!

                    RENNIE
          I...I can't...

                    MCCULLOCH
              (shaking her)
          You can and you will!!

  He tries to slap her out of it, dragging her over to the
  boat, ignoring her terror-stricken frenzy.

                    SEAN
          Stop it!!

                    MISS VAN DEUSEN
          Leave her alone, Charles!

  Miss Van Deusen quickly moves to a hysterical Rennie and
  holds her, eyeing McCulloch vehemently.

  EXT. DECK - TIGHT ON DEAD DECK HAND - SAME TIME

  as rain begins to wash the blood from his back. JASON'S
  FOOT_TRUDGES INTO FRAME...then his HAND REACHES DOWN,
  RETRIEVING HIS AXE FROM THE DECK HAND'S SPINE.

  EXT. LIFEBOAT STATIONS - SAME TIME

  as Rennie clings to Miss Van Deusen, crying.

                    MISS VAN DEUSEN
          It's the only way, Rennie. Let's get
          in the boat now, okay? Please...for
          me?

  Rennie finds herself nodding. Miss Van Deusen helps the
  trembling girl up the steps, an angered McCulloch right
  behind.

  INT. LIFEBOAT - CONTINUOUS

  as Rennie climbs over the boat edge, RECOILING AT THE
  SOUND OF A SNARLING DOG. _Toby_ is curled up in the
  corner of the lifeboat, teeth bared.

                    RENNIE
          Toby...

  She climbs in, moving to her equally, relieved dog,
  McCulloch and Miss Van Deusen right behind her.

  INSERT - HOIST BUTTON (SECOND UNIT)

  as Sean jabs it and the hoist motor kicks in.

  EXT. SHIP - WIDE SHOT (EFX)

  just as a huge BOLT OF LIGHTNING cracks over the smoke
  stack and upper deck. JASON steps out from behind it,
  gaping down on them with frightening omnipresence.
  Gripping the bloody axe.

  EXT. LIFEBOAT STATIONS - CONTINUOUS

  Sean climbs in the boat as it continues to lower. He
  takes one look back at the ship and sees:

  JASON

  _rapidly moving down the staircase towards them_. Sean's
  view is CUT OFF as the lifeboat sinks below deck level.

  RETURN TO SHOT

  as Sean's eyes dart around, down to the sea, up at the
  hoist.

                    SEAN
          Come on...faster....

  JASON'S POINT OF VIEW

  trampling towards the hoist, about thirty feet away now.
  The boat has already disappeared over the edge.

  EXT. SHIP/STORMY SEA - NIGHT (TANK)

  as the lifeboat continues to lower, about ten feet from
  making contact with the tumultuous ocean. The ship's hull
  is crooked and sinking.

  TRACKING WITH JASON

  as he relentlessly moves to the hoist cable, raising his
  axe.

  EXT. SHIP/STORMY SEA (TANK)

  as the ship finally touches water, and:

  INSERT - HOIST CABLE (SECOND UNIT

  Jason's axe blade CHOPS THE CABLE...

  EXT. SHIP/STORMY SEA (TANK)

  ...and the hoist cable falls limply over them. Jason's
  too late. Sean looks up and sees:

  JASON

  standing by the hoist, hovering over the edge. Very
  angry.

  SEAN (TANK)

  grabs an oar, turning back to McCulloch.

                    SEAN
          Start rowing!!

  McCulloch takes the oar as Miss Van Deusen holds onto
  Rennie tightly, the girl's eyes squeezed shut. Sean looks
  up at the ship again, and:

  SEAN'S POINT OF VIEW

  Jason is none.

  EXT. SHIP/STORMY SEA (TANK)

  Sean looks around with confusion as huge waves, wind and
  rain pummel them.

                    SEAN
          He's gone...

  POINT OF VIEW FROM WATER (TANK)

  ...or is he? We're _moving towards the lifeboat at water
  level_, almost like a shark preparing for attack.

  INT. LIFEBOAT (TANK)

  Sean breathes with some relief, resuming his rowing with
  McCulloch. They get about three strokes apiece before:

  A DARK FIGURE (TANK)

  _lunges from under the ocean surface, grabbing onto
  Sean_. Everybody SCREAMS...but it's JULIUS, gasping for
  oxygen, spitting up seawater. Sean pulls him over the
  edge.

                    SEAN
          It's Julius!

  Miss Van Deusen moves to help him and we:

                                           SLOW DISSOLVE TO:

  EXT. STORMY OCEAN - WIDE SHOT - DAY (SECOND UNIT)

  The ship is gone now, the lifeboat a speck in the ocean.

  INT. LIFEBOAT - DAY (OCEAN?)

  The water is less rough now, the rain replaced with fog.
  Julius has taken McCulloch's place behind an oar;
  McCulloch is flanking his shivering niece with Miss Van
  Deusen.

                    MCCULLOCH
              (miserable)
          If we don't find the shore soon we're
          all going to die.

  Sean tries to ignore him, keeping his mind on rowing.

                    MISS VAN DEUSEN
              (unable to hide fear)
          Do you know where we are, Sean?

  Sean pauses, utterly exhausted. He thinks for a moment,
  remembering his father's gift. Sean reaches into his coat
  pocket, removing the pocket navigational calculator. He
  stares at it long and hard. Julius looks over at him,
  seeing that Sean is on the verge of tears. He grips his
  shoulder.

                    JULIUS
          Hey man, if I can make it, so can.
          you.

  Sean slowly nods, turning on the calculator.

                                            SLOW DISSOLVE TO:

  EXT. OCEAN - NIGHT (TANK)

  as the lifeboat rows into frame, the water relatively
  calm.

  INT. LIFEBOAT - NIGHT (TANK)

  McCulloch, Rennie and Miss Van Deusen are asleep, Sean
  and Julius rowing on sheer will power. Sean takes one
  more stroke, feels himself passing out, then regains his
  coherence again. Julius glances off the side of the ship
  for no particular reason, then does a doubletake.

  JULIUS' POINT OF VIEW (SECOND UNIT - N.Y.)

  They are rowing right past THE STATUE OF LIBERTY,
  illuminated in all its glory.

  INT. LIFEBOAT (TANK)

  Julius feels his eyes widening and a huge smile taking
  control of his haggard face. He tugs on Sean's sleeve,
  his eyes never leaving the monument.

                    JULIUS
          Hey man, wake up! Check it out!!

  The other stir as well, opening their eyes, not sure if
  it's some kind of vision or if they are genuinely here.

                    JULIUS
          God damn, we're in New York! You did
          it, my man!!

  Julius howls with delight, Miss Van Deusen hugging Rennie
  as Julius gives Sean the high-five. Toby barks.

  WIDE SHOT - NEW YORK HARBOR - NIGHT (SECOND UNIT - N.Y.)

  as the lifeboat rows toward the very famous skyline of
  Manhattan, twinkling in the near distance. We can hear
  the faint sound of Julius singing "New York, New York,"
  relieved to be alive. They're going to make it.

  EXT. EMPTY OCEAN - ANOTHER ANGLE (TANK)

  as the sound of Julius' voice grows fainter. The water
  begins to ripple...then the top half of a HOCKEY MASK
  BREAKS THE SURFACE FOR A BREATH OF AIR, SINKING AGAIN.
  _And swimming onward_.

  EXT. CANNERY HARBOR - NIGHT

  as Julius and Sean row the lifeboat up to a narrow barge
  beneath deserted dock warehouses. They are not in the
  safest part of town by a longshot.

  CLOSER ANGLE

  as they climb onto the barge. Rennie breathes with relief
  as she steps off the boat. She takes a final glance back
  at it and sees:

  YOUNG RENNIE

  _flailing her arms in the water right next to the
  lifeboat, drowning_.

                    YOUNG RENNIE
          Hhhhelp...me....

  Suddenly a DECOMPOSED HAND REACHES UP FROM BELOW,
  GRABBING HER, DRAGGING HER UNDER.

  EXT. BARGE - ON RENNIE

  She gazes in utter shock, screaming:

                    RENNIE
          No!!!

  They all follow her eyeline...but the water is calm,
  nothing there.

                    MISS VAN DEUSEN
              (holding her)
          It's okay...you're safe now...

  McCulloch grits his teeth.

                    MCCULLOCH
          Come on -- everybody up the ladder.

  He's the first one up. Sean looks at Rennie, concerned,
  then hoists Toby up in his arms. They all begin climbing
  the ladder.

  CLOSE ON LADDER - NIGHT

  as the last pair of feet disappear over the top edge of
  the dock. Camera PANS back down the rungs, finding the
  lifeboat and barge again. Suddenly JASON SPRINGS FROM THE
  WATER, CLIMBING ONTO THE BARGE. He gazes up at his new
  surroundings, quite different from all the years he's
  spent at Crystal Lake. But an item at the far end of the
  dock causes him the longest pause...

  JASON'S POINT OF VIEW

  _A tattered billboard_ over one of the warehouses
  advertises the NEW YORK RANGERS HOCKEY TEAM, featuring a
  full shot of the HOCKEY-MASKED GOALIE.

  JASON

  looks at it long and hard. He tears off his life
  preserver wits renewed ambition.

  WIDE SHOT - BARGE AND DOCK WAREHOUSES - NIGHT

  as Jason heads up the ladder. He's about to take
  Manhattan.

  EXT. CANNERY WAREHOUSE DISTRICT - NIGHT

  as our survivors head into an isolated, foreboding group
  of dock warehouses and alleys.

                    MISS VAN DEUSEN
          There must be a phone around here
          somewhere.

                    MCCULLOCH
          A wonderful choice of places to dock a
          boat, Mr. Robertson.

  Sean looks away, trying to keep from losing his temper.

  PREDATOR'S POINT OF VIEW - SAME TIME

  We're spying on them from behind a stack of crates as
  they come in our direction. Waiting for the right moment.

  RETURN TO SHOT

  as they move towards the stack of crates. Without
  warning, a PAIR OF GANG BANGERS JUMP OUT, BOTH HOLDING
  GUNS. Nervous young druggies.

                    GANG RANGER #1
          Hands up!!

                    GANG BANGER #2
          Do it!!

  All hands go up. Gang Banger #2 grabs McCulloch's watch
  and wallet, skimming through a wad of bills and credit
  cards while #1 keeps them covered.

                    GANG BANGER #2
          Got some good shit here, holmes.

                    GANG BANGER #1
              (eyeing Rennie)
          You got that right...

  He steps over to Rennie, brushing her hair back with the
  barrel of his revolver, spotting the Statue of Liberty
  pendant Sean gave her.

                    GANG BANGER #L
          Now ain't that sweet.

  He tears it off her neck, pocketing it. Sean angrily
  moves toward him and Gang Banger #l _shoves the barrel
  against Rennie's temple_.

                    GANG BANGER #1
          Go ahead, superman. Be a hero.

  Sean has no choice but to freeze. Julius flexes his
  fists, but he too has Gang Banger #2's gun leveled on
  him. McCulloch stares at the thugs with obvious contempt.
  It doesn't go unnoticed.

                    GANG BANGER #L
          You got a problem, Dad?

  McCulloch offers some rare silence, shaking a "no" to the
  gun-toting kid. Rennie's dog-begins to _growl_, backing
  away, ready to defend her. _Gang Banger #1 points his
  barrel at Toby with zero conscience, cocking back the
  hammer_.

                    RENNIE
          No!

  She pushes his arm to the side just as the bullet
  FIRES...

  ANGLE - TOBY

  as the bullet tears up asphalt next to the dog's paws.
  Toby sprints off into the darkness.

  RETURN TO SHOT

  Gang Banger #1 grabs Rennie by the hair, brutally jerking
  her head back.

                    MISS VAN DEUSEN
          Please, don't hurt her...

                    GANG BANGER #L
          Hurt this princess?
              (beat)
          Would I do that?

  They cough out laughs. Gang Banger #1 looks into Rennie's
  eyes, his barrel still on her skin.

                    GANG BANGER #1
          You look like a party girl, princess.
          How'd you like to go on a date with me
          and my friend? If you're free, that
          is.

  More phlegm-filled laughs. He drags her away, Gang Banger
  #2 backing away with him with his gun still trained on
  the others.

                    GANG BANGER #2
          You follow and we'll blow her fuckin'
          head off, comprende?

  The others watch helplessly as Rennie is abducted.

                    JULIUS
          We can't let those gang-bangers get
          away, man...

  Julius starts to move after them. McCulloch grabs him.

                    MCCULLOCH
          You heard him! We have to call the
          police

  Julius jerks away from McCulloch's grasp. But he knows
  McCulloch is right.

                    MCCULLOCH
          Everyone split up -- we'll cover more
          ground that way.

                    MISS VAN DEUSEN
          I don't think that's such a safe idea

                    MCCULLOCH
          My niece's life hangs in the balance
          right now!! _Every second counts_.

  No more rebuttal. They hurry off.

  EXT. GANG BANGER'S LAIR - NIGHT

  It's a narrow passageway between warehouses...decrepit
  brownstones with shattered chicken-wire windows, moss
  growing on the bricks. The Gang Bangers appear with
  Rennie, dragging her down some concrete steps.

                    GANG BANGER #L
          Welcome to the casbah, princess.

  PAN AROUND with them as they walk through a thick blanket
  of STEAM which pours out of a factory vent. We MOVE
  through the mist with them, revealing a tattered, rain-
  soaked couch and chair, upholstery shredded. A spool once
  used for telephone wire functions as their coffee table.
  They splash through puddles, throwing her down on the
  couch.

  ANOTHER ANGLE

  --looking back at the steam vent. JASON APPEARS IN THE
  BILLOWING MIST.

  CLOSE UP - SYRINGE

  as a yellowish liquid squirts out the dirty needle. WIDEN
  to find Gang Banger #2 holding it with transfixed eyes,
  his compadre holding a squirming Rennie down on the
  couch, tearing back her jacket to reveal a bare arm.

                    RENNIE
          Please don't...

                    GANG BANGER #1
          Loosen up, baby. It'll feel way
          better if you're stoned.

  CLOSE ON JASON'S FEET - SAME TIME

  Amongst the slime and cigarette butts is a _discarded
  syringe_. Jason picks it up.

  CLOSER ANGLE - COUCH

  just as Gang Banger #2 _jabs Rennie with the needle_.
  Gang Banger #1 wrestles off his torn leather jacket,
  pushing Rennie back on the exposed foam padding as his
  friend watches excitedly.

                    GANG BANGER #1
          Slang us some more 'caine, JoJo. We're
          in for a long night.

  Gang Banger #2 runs out the back way. #1 tears open
  Rennie's blouse, his filthy mouth moving to her neck.
  _Rennie spits in his face_. He hesitates not in SLAPPING
  HER HARD.

                    GANG BANGER #1
          It's your parade, princess. Can be
          smooth or can be rough. Your choice.

  She closes .her eyes, trying to blot out what's about to
  happen.

                    GANG BANGER #1
          I think I'm in love.

  PUSH IN on his face as his neck arches down, bringing his
  lips toward her chest. Just before contact he GRUNTS
  THICKLY, HIS EYES BUGGING OUT.

  WIDER ANGLE

  _Jason is standing right behind him, shoving something
  into his back, out of frame_. He thrusts it again,
  bringing with it one more horrific grunt from the kid.
  Jason goes for number three and:

  CLOSE UP - GANG BANGER #1'S CHEST (EFX)

  _Jason's syringe gets shoved completely through him, the
  needle sticking out his front side_.

  RENNIE

  opens her eyes, looking into the dead boy's face as
  _blood drips from his mouth_. He collapses in front of
  her, giving way to a view of JASON TOWERING OVER HER. At
  the same time:

  GANG BANGER #2

  comes around the corner.

                    GANG BANGER #2
          Forgot my money, holmes...

  Ha stops dead in his tracks at the sight of Jason.

                    GANG BANGER #2
          Who the fuck are you?

  Jason paces toward him. The kid glances at his dead
  friend arched over the couch, quickly whipping out his
  .38.

                    GANG BANGER #2
          You're dead, fuckhead.

  BANG!

  ...but Jason keeps on coming. _Five shots later and
  Jason's still standing_, easily picking up the slime ball
  and SHOVING HIM HEAD FIRST INTO THE MOSSY BRICK WALL. The
  kid falls in a bloody heap.

  RENNIE

  shoves Gang Banger #1 off of her as Jason returns his
  attention to her. She grabs a loose brick and FLINGS IT
  AT HIM, CRACKING HIS HOCKEY MASK, momentarily
  disorienting him. Rennie sprints away.

  EXT. ALLEY #1 - NIGHT (LONG LENS)

  as Julius runs into view, looking down a menacing alley,
  spotting a phone booth. He hurries for it.

  PREDATOR'S POINT OF VIEW

  Like a cat watching a bird, we watch Julius head for the
  booth.

  JULIUS

  slams open the booth door, grabbing the receiver,
  punching the "operator" digit. SLOWLY PUSH IN on him as
  he waits for an answer. Several more rings.

                    JULIUS
          C'mon...

  Finally a click and muffled words from the operator.

                    JULIUS
          Get me the police -- this is an
          emergency...

  SMASH! as JASON'S FIST CRASHES THROUGH THE BOOTH WINDOW,
  GRABBING JULIUS BY THE THROAT. Julius grips Jason's scaly
  arm with all his strength, staring at the _cracked hockey
  mask_ framed in the shattered window. Julius summons all
  his strength, tearing free of Jason's grasp and running
  out the door. The phone is left dangling.

  RUNNING WITH JULIUS (HAND HELD)

  with no apparent direction. Literally running for his
  life.

  TRACKING WITH JASON

  He's just as quick, but smoother and more methodical.

  JULIUS' POINT OF VIEW (HAND HELD)

  heading up the alley, spotting a fire escape, diverting
  his course straight for it.

  ANGLE - FIRE ESCAPE

  as Julius LEAPS ONTO IT, dragging himself up, climbing as
  fast as is humanly possible.

  ANGLE - JASON

  ...but Jason is-far from human, easily negotiating the
  wrought-iron stairs and rapidly catching up.

  EXT. ROOFTOP - CONTINUOUS

  as Julius' head appears, clawing his way onto the tar-
  papered surface, running to the opposite side. A second
  later, JASON HOPS UP RIGHT BEHIND HIM.

  REVERSE ANGLE

  as Julius soon learns the awful truth that the only way
  up is the only way down...with the exception of a head-
  splitting freefall. No way is he gonna jump. Julius turns
  back to Jason, raising his fists, psyching himself up for
  the fight of his life. He whispers to himself:

                    JULIUS
          Use the combos and keep the feet
          light...

  THE FIGHT BEGINS, man against monster, each sizing the
  other up.
  Jason takes the first swing, _Julius deftly dodging him
  and countering with left-right-left combination_. They
  have absolutely no effect. Julius follows up with a round
  of _kidney punches_. Again, nothing. Julius finds himself
  being forced back against the rings, which in this case
  is the edge of the roof. He risks a glance backwards and
  sees:

  JULIUS' POINT OF VIEW

  It's a long, rough way down. It's do or die time.

  RETURN TO SCENE

  as Julius SLAMS PUNCH AFTER PUNCH INTO JASON, forcing him
  back to the center of the rooftop, spending every last
  ounce of his energy in doing so. He throws one more
  feeble punch, knowing it's his last.

                    JULIUS
          Take your best shot, motherfucker...

  Jason gladly obliges, winding up and _recoiling with a
  punch none of us expected_...

  JULIUS' HEAD (EFX)

  _gets literally knocked off his shoulders, cascading off
  the edge of the rooftop_, and:

  ANGLE - SLANTED LOWER ROOF

  --the decapitated head lands on a sloped roof below,
  _rolling down towards street level and falling into a
  garbage-filled dumpster_.

  EXT. ALLEY #2 - NIGHT

  as Rennie dizzily runs down the alley, the effects of the
  drugs kicking in.

  RENNIE'S POINT OF VIEW (POST EFX)

  Blurry, disoriented, erratic. Suddenly A FIGURE JUMPS OUT
  FROM A CORRIDOR IN FRONT OF HER.

  RETURN TO SHOT

  It's SEAN. He rushes to her, sensing her disorientation.

                    SEAN
          Rennie...what'd they do to you??

                    RENNIE
          Drugs...
              (serious pause)
          Then Jason came. He's here, Sean.

  Oh Jesus. He never expected this.

                    SEAN
          We have to find the others.

  Together they run off.

  EXT. ALLEY #3 - NIGHT (OVERHEAD ANGLE)

  as Miss Van Deusen briskly walks below us, far from
  relaxed in this threatening environment.

  TRACKING SHOT

  She moves forward, the only sound being her shoes against
  wet asphalt. Four more steps, then a DARK, OUT OF FOCUS
  FIGURE STEPS OUT BEHIND HER WITH A GUN.

                    VOICE
          Freeze.

  RACK FOCUS to find a uniformed IRISH COP standing there,
  service revolver raised. McCulloch steps out from the
  alcove as well, recognizing Miss Van Deusen.

                    MCCULLOCH
          It's okay -- she's with me.

  She turns around, lowering her hands, utterly relieved.

                    IRISH COP
          My apologies, Miss. My unit's right
          over here.

  They head through an ABANDONED PARKING LOT towards a
  concrete wall with stairs; about six feet above the wall
  is an upper street, where his patrol car is parked. They
  get halfway through the lot when they hear:

                    SEAN (O.S.)
          Hey!

  REVERSE ANGLE

  as Sean and Rennie run to join them from the alley.
  McCulloch rushes to his niece.

                    MCCULLOCH
          Rennie, thank God...

  But Rennie goes to Miss Van Deusen instead. It's a bitter
  pill for McCulloch.

                    SEAN
          Jason's here in New York.

                    MCCULLOCH
          Don't be ridiculous!

                    MISS VAN DEUSEN
          Is it true, Rennie??

  She nods, unable to repress her fear.

                    IRISH COP
          Is this the lass in question?

                    MCCULLOCH
              (stewing)
          Yes.

                    IRISH COP
          Who is...Jason?

                    MCCULLOCH
          He's a walking corpse, a phantasm from
          hell.

  The others stare at McCulloch angrily. Miss Van Deusen
  turns to the confused policeman.

                    MISS VAN DEUSEN
          I'm afraid you'll have some trouble
          believing us.

                    IRISH COP
          So try me.

  EXT. SQUAD CAR - NIGHT

  parked above the abandoned garage, the interior dark. The
  Cop and our heroes appear in the background, coming
  towards it.

                    IRISH COP
          You're right -- I find it a tall tale
          indeed.
          But you seem like honest folks so I'm
          inclined to believe at least some of
          it.

                    MISS VAN DEUSEN
              (relieved)
          Thank you. The first thing we' have to
          do is find Julius.

                    IRISH COP
          I'm sure he'll pop up soon enough. Why
          don't you climb in the back while I
          radio for backup.

  ADJUST INTO A FULL SHOT OF THE BACK DOOR AS HE SWINGS IT
  OPEN...but even in this darkness, we see that _it's
  empty_. They climb in. The Cop opens his drivers door,
  and...

  INSERT - DOME LIGHT (SECOND UNIT)

  The car dome light blinks on, and...

  ANGLE - BACK SEAT

  Our four survivors' faces are brightly illuminated,
  INSTANTLY CHANGING TO GASPS AND SCREAMS because:

  THEIR POINT OF VIEW (EFX)

  _Julius' severed head is resting on the dash board,
  staring back at them!!!_

  ANGLE - COP

  reacting to their terror, seeing Julius' head, quickly
  grabbing the radio mike. But he has no time for a message
  because JASON REACHES UP FROM THE PARKING LOT PIT BELOW,
  GRABBING THE COP'S ANKLE, DRAGGING HIM DOWN. The radio is
  still in his grasp.

  INSERT - DISPATCH RADIO (SECOND UNIT)

  as the radio cord grows taut, finally _snapping_. The
  Irish cop's awful yell echoes over it, silencing after a
  sick THUD.

  INT. SQUAD CAR - CONTINUOUS

  The foursome instantly try to flee the car, but _police
  cars have no door handles in the back_.

                    SEAN
          There aren't any handles!!

  Cocaine flowing through her veins, Rennie acts
  hyperkinetically, scratching her way over the seats just
  as:

  JASON

  appears at the parking lot stairs, STALKING STRAIGHT
  TOWARDS THE CAR.

  INT. SQUAD CAR - CONTINUOUS

  There is no time for escape. Rennie finds the ignition
  and fires it up, jamming it into drive and STOMPING ON
  THE ACCELERATOR. _Julius' head rolls off the dash, onto
  the floorboards_.

  RENNIE'S POINT OF VIEW (POST EFX)

  Her vision is still a stoned one but clear enough to set
  her target. We come straight at the abominable creature
  and:

  WHAM! (EFX)

  _Jason is mowed down_.

  RENNIE

  slams on the brakes, jerks it into reverse and FLOORS IT
  AGAIN.

  CLOSE ON JASON (EFX)

  as the automobile _grinds back over him a second time_.

  RENNIE

  stomps on the brake pedal and the tires SCREECH TO A
  HALT. They all take a moment to catch their breath,
  looking out the front window...

  THEIR POINT OF VIEW

  Jason lies dead on the asphalt. For about two seconds. He
  SLOWLY STANDS.

  RENNIE

  desperately throws it into forward again, gripping the
  wheel and RACING FORWARD.

  POINT OF VIEW FROM FRONT BUMPER (STUNT DRIVE)

  Jason's standing there for one second, but the next
  moment he is LEAPING OUT OF THE WAY...

  EXT. ABANDONED PARKING LOT (STUNT DRIVE)

  ...and the squad car SMASHES THROUGH A CHAIN LINK FENCE,
  FREEFALLING TO THE ABANDONED PARKING LOT BELOW.

  EXT. ALLEY #3 - CONTINUOUS (STUNT DRIVE)

  as the car bottoms out, then swerves into a sharp right
  turn, racing down the alley.

  POINT OF VIEW FROM FRONT BUMPER (STUNT DRIVE)

  as _Jason appears at the end of the alley, blocking their
  retreat_.

  INT. SQUAD CAR - CONTINUOUS

  as Rennie stomps the brake pedal, jerking it into
  reverse...

  EXT. ALLEY #3 - CONTINUOUS (STUNT DRIVE)

  as she backs up, changes gears and races down an
  intersecting alley.

  POINT OF VIEW FROM FRONT BUMPER (STUNT DRIVE)

  speeding towards an escape when JASON POPS OUT AGAIN!
  He's everywhere all at once...

  INT. SQUAD CAR - CONTINUOUS

  slamming on the discs one more time, flooring it into
  reverse.

  CLOSE ON TIRES - CONTINUOUS (SECOND UNIT)

  as the squad car's rear tires smoke and spin, finally
  gripping pavement.

  POINT OF VIEW OUT REAR WINDOW (STUNT DRIVE)

  as we fly backwards...and JASON APPEARS BEHIND THEM!!

  TIGHT ON REAR VIEW MIRROR

  --Rennie's terrified face filling it, seeing that Jason
  is in back of them.

  TIGHT ON REAR TIRES (SECOND UNIT)

  as they screech to a halt one final time, rapidly
  rotating in the opposite direction and speeding out of
  frame.

  INT. SQUAD CAR - CONTINUOUS

  Rennie is almost maniacal now, her knuckles white around
  the vinyl wheel, her foot practically mashed through the
  floorboard.

                    MCCULLOCH
          Rennie, for God's sake slow down!!

  She doesn't hear him, or anything for that matter. Her
  eyes remain straight ahead, never blinking.

  RENNIE'S POINT OF VIEW (POST EFX)

  There's a FIGURE standing in the distance. But it looks
  too small to be Jason. We RUSH TOWARDS IT, CHANGING INTO
  SLOW MOTION JUST BEFORE IMPACT. The figure is a _dripping
  wet boy with a sinister smile_. YOUNG JASON.

  EXT. BRICK WALL - A SPLIT SECOND LATER (EFX)

  as the front of the squad car RAMS THE BRICK WALL HEAD-
  ON, THE HOOD BURSTING INTO FLAMES.

  ANOTHER ANGLE

  as the front passenger door is shoved open by Sean, who
  drags out Rennie. McCulloch follows close behind, helping
  Sean carry her away from the wreckage, over by a row of
  old oil drums filled with slime and rainwater. Then it
  suddenly hits Sean...

                    SEAN
          Miss Van Deusen...

  He takes two steps back to the car when:

  BOOM! (EFX) _

  The squad car interior is ENGULFED IN A BALL OF FLAMES.

  RENNIE

  opens her dazed eyes, seeing Miss Van Deusen's body
  charring inside the wreckage. It's incomprehensible. She
  numbly gets to her feet, stepping towards it. Something
  makes her hesitate: she peers down at the asphalt...

  EXT. ASPHALT - RENNIE'S POINT OF VIEW (POST EFX)

  A pool of gasoline has collected, flames dancing across
  its glassy surface. Suddenly a TINY ROWBOAT DISSOLVES IN,
  _not unlike the lifeboat she was so afraid of_. The
  rowboat glides across the surface of the burning
  gasoline, TWO PEOPLE RIDING IN IT. The flames and asphalt
  SLOWLY FADE OUT AND GIVE WAY TO A SERENE LAKE.

  RENNIE'S FLASHBACK - CRYSTAL LAKE - DAY

  Shimmering water, clouds and pine trees reflected in it.
  The rowboat floats into view. The two occupants are YOUNG
  RENNIE and MCCULLOCH. She's wearing a bathing suit and an
  innocent smile. And not an inkling of fear about the
  water. She stands, letting the sun soak into her.

                    YOUNG RENNIE
          What a beautiful day.

                    MCCULLOCH
          Perfect for a swim, isn't it?

  She frowns at him, looking away.

                    MCCULLOCH
          You've been coming out here every
          summer for the last three years, young
          lady, and you still haven't learned
          how.

                    YOUNG RENNIE
          I'll take some lessons this time. I
          promise.

  She bends over, splashing the water.

                    MCCULLOCH
          That's what you said last year. I
          think the time for your first swimming
          lesson has just come.

  The splashing stops.

                    MCCULLOCH
          You don't want to end up drowning like
          that Voorhees boy, do you?

  She's instantly tense.

                    MCCULLOCH
          He never learned how either and he's
          still at the bottom of this lake.

                    YOUNG RENNIE
          He is not.

                    MCCULLOCH
          Oh, he is indeed. And ready to pull
          down anybody who falls in and can't
          swim.

                    YOUNG RENNIE
          You're telling a lie.

                    MCCULLOCH
          Am I? Let's find out.

  ...And quicker than she's able to react to it, MCCULLOCH
  PUSHES HER OVERBOARD.

  SPLASH!

  _as Rennie's body violently disrupts the calm surface_.
  She immediately begins to flounder. McCulloch calmly
  leans over the edge.

                    MCCULLOCH
          Better swim before Jason drags you
          down, Rennie. Come on, you can do
          it...

  ...but Rennie thrashes in the water, struggling to keep
  from sinking under the surface.

  RENNIE'S POINT OF VIEW

  Her uncle's face blurs and clears as water splashes her
  eyes.

                    YOUNG RENNIE
          I...I can't...

                    MCCULLOCH
          You can and you will! Swim, Rennie!

  RENNIE

  is too panicked to obey.

                    YOUNG RENNIE
          Hhhhelp...me....

  She coughs on some water then disappears...

  UNDERWATER (TANK)

  The world above her ceases to exist, murky lake water
  taking over. Rennie looks-down, and to her horror...

  RENNIE'S POINT OF VIEW (TANK)

  _Young Jason is grabbing her ankle and dragging her
  down_. The whole image BURSTS INTO FLAMES and we:

                                           DISSOLVE BACK TO:

  EXT. ASPHALT - NIGHT

  as the gasoline continues to burn, the rowboat gone.
  ADJUST to find RENNIE'S FACE, the flames of the car
  wreckage flickering over her glassy eyes. She looks up at
  Miss Van Deusen's body one last time before:

  ANGLE - SQUAD CAR (EFX)

  The auto's fuel tank EXPLODES, SHRAPNEL FLYING
  EVERYWHERE.

  EXT. ALLEY #4 - CONTINUOUS

  She looks up at her uncle with knowing eyes. Eyes that
  tell him she's remembered everything.

                    RENNIE
          You pushed me...

                    MCCULLOCH
              (defensively)
          I was only trying to teach you. But I
          pulled you out, Rennie. I saved your
          life.

  Rennie just stares, incredulous.

                    SEAN
          You son of a bitch...

  She lets it build until she's ready to explode...then:

                    RENNIE
          He _was_ down there!!!

  And Rennie runs off. McCulloch starts to follow but _Sean
  grabs him, shoving him down_.

                    SEAN
          You keep away from her!

  Sean chases after Rennie. Camera methodically PANS BACK
  TO MCCULLOCH, crumpled on the ground. A very bitter man.
  He wipes his hands, getting ready to stand when THE
  SHADOW FALLS OVER HIM. His skin fades to porcelain white.

                    MCCULLOCH
          You...are..._NOT POSSIBLE_.

  But possible, and actual, he is. A PAIR OF ROTTED ARMS
  EXTEND DOWN, RIPPING HIM OUT OF FRAME.

  TRACKING WITH JASON

  as the walking corpse lifts a screaming McCulloch over
  his head, carrying him over to one of the scum-filled OIL
  DRUMS, SHOVING HIM HEAD-FIRST INTO IT. Jason grips
  McCulloch's thrashing legs as bubbles rise to the surface
  of the slime, a pathetic gurgling reverberating out the
  drum. At last McCulloch's appendages go limp. Jason
  releases him, moving on.

  EXT. ALLEY #5 - NIGHT

  as Sean runs into view, glancing around, spotting Rennie,
  crouched against a crumbled brick wall. No tears...only
  hate. Sean sits down next to her. After several
  moments...

                    RENNIE
          I was at school when they told me.
          'Rennie, we have some very bad news...
          your parents have been killed in an
          auto accident.'

  Sean gently takes her hand, sharing her internal agony.

                    RENNIE
          It seems like everybody I care about
          ends up...

  She can't finish. PUSH IN as Sean kisses her on the
  forehead, then makes her look into his eyes.

                    SEAN
          Not this time.

  He caresses her face; it develops into a tender kiss.
  Finally she holds him back, letting it out. At the same
  time:

  STALKING POINT OF VIEW

  _Somebody is creeping at a low angle towards them_.

  SEAN AND RENNIE

  are lost in their shared quiet moment...until the
  GROWLING SOUND becomes audible. They look up, seeing:

  TOBY

  cautiously approaching them. Rennie stands, absolutely
  relieved.

                    RENNIE
          Toby...

  She starts to move towards him and her dog SNARLS
  VICIOUSLY, CROUCHING BACK IN FEAR.

                    RENNIE
          What's wrong, boy?

  Another protective growl, then:

  CRASH!

  _as Jason stampedes through a stack of crates and garbage
  cans behind them_.

  SEAN, RENNIE AND TOBY

  abruptly flee down the alley, Jason in mad pursuit.

  EXT. ALLEY/SUBWAY ENTRANCE - NIGHT

  as Rennie, Sean and the dog run straight towards us,
  Jason swiftly catching up. FAST TRACK WITH THEM over to a
  deserted, rain-slicked SUBWAY ENTRANCE.

  INT. SUBWAY ENTRANCE - CONTINUOUS (EFX)

  as they bang through the glass doors, sailing past us.
  Three beats later, JASON APPEARS, not bothering to open
  the door, STAMPEDING RIGHT THROUGH THE GLASS.

  INT. SUBWAY STATION - ESCALATORS (N.Y.)

  Sean, Rennie and Toby sail down the escalators past a few
  scattered COMMUTERS. Again, Jason appears, looming tall
  at the top. He starts down the "up" escalator.

  JASON'S POINT OF VIEW (ICY.)

  as an ELDERLY COUPLE rises toward us. Their reactions
  grow more bleak the closer we get, finally registering
  terror as we plow right through them.

  ANGLE - SUBWAY TURNSTILES (ICY.)

  Sean and Rennie hop over a metal turnstile, Toby crawling
  under it. A TICKET TAKER leans out his window, shouting
  at them.

                    TICKET TAKER
          Hey!

  The teenagers are soon forgotten as JASON SMASHES THROUGH
  THE TURNSTILE LIKE THE TERMINATOR, TEARING THE ALUMINUM
  WHEEL RIGHT OFF ITS BASE. The Ticket Taker reacts
  speechlessly, deciding not to press his luck.

  INT. SUBWAY PLATFORM - CONTINUOUS (N.Y.)

  as Sean and Rennie slide up to the edge of the track pit,
  SEEING THE LIGHTS OF AN APPROACHING TRAIN which is taking
  too long to get there.

                    SEAN
          Come on...

  ...but _Jason arrives before the train_. Toby barks and
  snarls, trying to protect them. Jason is unfazed. He
  treads toward them and:

  DOG TOBY

  _leaps onto Jason, sinking his teeth into the monster's
  throat_. Jason wrestles the animal into submission just
  as:

  THE SUBWAY TRAIN

  streaks into the station. A fraction of time later:

  JASON

  _heaves the dog in front of the train_.

  RENNIE

  shrieks in horror as _Toby disappears inside the pit just
  as the train roars by_.

  ANGLE - ONLOOKERS

  They're New Yorkers, but not callous enough to stomach
  this, quickly scattering. Even a group of severe
  SKINHEADS decide they can wait for the next train,
  quickly heading up the escalators after seeing Jason in
  action.

  SEAN

  makes Rennie look away, dragging her with him along the
  platform edge in retreat as Jason returns his attention
  to them. They reach the end of the platform, having no
  choice but to board the front car_.

  INT. SUBWAY TRAIN (N.Y.)

  as the doors whoosh shut...but Jason PRIES THEM OPEN. The
  TRAIN ENGINEER glances back from his booth, seeing Jason
  making the improper entry.

                    TRAIN ENGINEER
          Hey pal, you can't do that...

  A second later he's gotten a good look at Jason. It's too
  late for a retraction as JASON SAVAGELY JAMS HIS HEAD
  INTO THE TRAIN CONSOLE.

  INSERT - TRAIN CONSOLE

  as the Engineer's arm KNOCKS THE THROTTLE FORWARD...

  EXT. SUBWAY STATION - CONTINUOUS (N.Y.)

  ...and the train begins to move, racing into the black
  tunnel.

  INT. SUBWAY TRAIN - NIGHT (N.Y.)

  as Rennie and Sean run for their lives, arriving at the
  end of a car, jamming the separating doors open and
  entering the next car. Jason follows right behind.

  INT. SUBWAY STATION - NIGHT (N.Y.)

  as the train thunders through the station without
  stopping, baffling several waiting COMMUTERS.

  INT. SUBWAY TRAIN - JASON'S POINT OF VIEW (N.Y.)

  --seeing Sean and Rennie disappear through another
  connecting door. We storm our way through it into the
  next car right after them. A handful of TRAVELERS cower
  away from us.

  INT. SUBWAY TUNNEL - NIGHT (N.Y.)

  as the train rapidly speeds past us, showing no signs of
  slowing down.

  INT. SUBWAY TRAIN - FINAL CAR (N.Y.)

  as Sean and Rennie come through another set of separating
  doors, rushing through... _finding they're in the last
  car_. They look back, _seeing Jason enter at the opposite
  end_. The monster stalks forward. Sean's eyes dart
  around. He spots the EMERGENCY STOP CORD. HE LEAPS FOR
  IT.

  EXT. SUBWAY TUNNEL - NIGHT (N.Y.)

  ...and the train SCREECHES TO A HALT.

  INT. SUBWAY TRAIN - CONTINUOUS (N.Y.)

  The sudden stop throws Jason on his back. Sean throws the
  rear door open, jumping out with Rennie.

  INT. SUBWAY TUNNEL - NIGHT (N.Y.)

  as Sean and Rennie sprint down the center of the tracks
  toward the light of the next station, running out of
  strength.

  INT. TIMES SQUARE STATION - NIGHT (N.Y.)

  as they emerge from the darkness, up to the edge of the
  pit. Sean boosts Rennie up, starting to climb up himself
  when:

  JASON

  _fires out from the tunnel, grabbing onto Sean's ankle_.
  Rennie screams as Sean is dragged down...but he manages
  to _latch onto a chain securing a garbage receptacle_.
  Jason pulls harder, stretching Sean to his limit as
  Rennie watches helplessly.

                    RENNIE
          NO!!!

  RENNIE

  runs straight towards the track pit like a football
  punter, RECOILING WITH HER RIGHT LEG, KICKING JASON
  SQUARELY IN THE FACE.

  JASON (EFX)

  trips backwards and LANDS ON THE THIRD, ELECTRIFIED RAIL,
  RECEIVING TEN THOUSAND VOLTS. His body smokes and
  convulses, finally sizzling out. _He appears to be
  terminated_!!!

  ANGLE - SEAN AND RENNIE

  as they get to their feet, holding each other tight,
  looking down on the now-dead undead creature.

  EXT. TIMES SQUARE - NIGHT (N.Y.) (CRANE SHOT)

  as our heroes arise into the neon-filled big city
  wonderland, relieved to be alive, gazing around at the
  awesome spectacle known as Times Square. A huge DIGITAL
  CLOCK tells us it's a quarter to midnight. Sean wraps his
  arm around her.

                    SEAN
          It's over, Rennie. It's finally over.

  Camera RISES ABOVE THEM, RACKING BACK TO THE SUBWAY EXIT.
  Guess who has just made an encore..._with more energy
  than ever_!!!

  SEAN AND RENNIE

  look all around them, having never been to a city as big
  as this. They finally turn far enough around to spot
  JASON in a _series of three quick cuts, each one closer
  than the last_.

                    SEAN
          God...please no...

  But Jason keeps on coming.

                    RENNIE
          Somebody help us!! He's going to kill
          us!!!

  But the heavy Times Square foot traffic ignores her,
  bustling onward. Rennie and Sean have no choice but to
  flee again.

  JASON

  shoves his way through the preoccupied pedestrians;
  they've certainly seen weirder characters than him here.
  He moves past a group of STREET URCHINS listening to some
  rap from their ghetto blaster. _His foot obliterates
  their stereo system with one stride_. They instantly pull
  out switchblades and chains.

                    STREET URCHIN
          You're dead meat, slime bag.

  Jason stops, turning around, towering over the kids. He
  has blood and gore caked everywhere, his skin charred
  from the electrocution. _Jason starts to remove his mask,
  facing them squarely_.

  TIGHT ON STREET URCHINS

  as Jason's mask comes off out-of-frame. Their tough faces
  turn to putty, scared completely shitless.

                    STREET URCHIN
          Hey man, it's cool, it's cool...

  They turn tail and race like the wind. Jason steps
  forward so that we're looking at _the back of his head_,
  never seeing his naked face. He slips his hockey mask on
  again, turns into a CLOSE UP, then exits.

  INT. TIMES SQUARE DINER - NIGHT

  filled with noise, smoke and derelicts. A tough,
  redheaded WAITRESS with a thick Brooklyn accent stands
  behind the countertop, a wall of mirrors behind her. The
  front door bangs open with the entrance of Sean and
  Rennie, rushing up to the waitress.

                    SEAN
              (out of breath)
          You have to call the police...

                    RENNIE
          Please, hurry...

  A telephone sits right next to her, but this is New York.

                    WAITRESS
          There's a pay phone in back.

  They start to run.

                    WAITRESS
          ...but it's broken.

                    RENNIE
          You don't understand -- there's a
          maniac trying to kill us!!!

                    WAITRESS
              (blase)
          Welcome to New York.

  There's no time for further response as JASON CRASHES
  THROUGH THE DINER DOOR, MOWING A PATH STRAIGHT TOWARDS
  THEM. Sean and Rennie run out the back as the Waitress
  eyes Jason with complete disbelief.

  ANOTHER ANGLE

  as the BURLY CHEF comes out to confront him. Jason FLINGS
  HIM HEAD FIRST INTO THE JUKEBOX.

  THE WAITRESS

  picks up the telephone, really pissed off.

  A BIKER

  climbs off his counter stool, revealing a HUGE BOWIE
  KNIFE. Jason plows straight for him and the Biker STABS
  JASON IN THE HEART. Jason has little reaction, pulling it
  out, tossing it aside. The Biker's face goes wan, backing
  away.

  THE WAITRESS

  stops in mid-dial. Fear is starting to register now.

  JASON

  lifts the very large man and EFFORTLESSLY HEAVES HIM INTO
  THE MIRROR OVER THE COUNTER.

  THE WAITRESS

  feels the phone receiver slipping from her grasp, her
  mouth trembling. She backs away from the beast as far as
  she can. Jason has no time to waste on her, trampling out
  the back after Rennie and Sean as the other patrons
  shrink from him.

  INT. REAR OF DINER - SAME TIME

  as Sean fumbles to unlock three deadbolts and two chains,
  finally getting the back door open and springing into:

  EXT. DEAD END ALLEY - NIGHT

  They run about ten yards before realizing the alley is a
  _dead end_. Sean and Rennie start to head back the other
  way when JASON MOWS OUT FROM THE DINER DOOR. Their vision
  scatters everywhere in search of a retreat...

                    RENNIE
          Look!

  She's spotted a MANHOLE COVER, slightly ajar. They
  haven't the luxury of thinking about it, Sean sliding the
  cover back as Jason comes forth.

  INT. SEWER - ENTRANCE CHAMBER - NIGHT

  as they descend into hell...a massive chamber consisting
  of tall columns, slimy catacombs and three feet of
  stagnant water. Their alternatives are nil; Sean and
  Rennie join hands, wading through the swill, splashing
  deeper into the labyrinth.

  ANGLE UP STAIRS

  as the dim streetlight glowing in the above world is
  eclipsed by JASON, making his way down after them.

  INT. TUNNEL #1 - NIGHT

  --An oval tunnel slanted downward into pitch blackness.
  Dim overhead lights illuminate salt deposits and eery
  rust formations. Rennie and Sean appear at the far end,
  wading from the sewage as the tunnel rises toward us.

  TRACKING SHOT

  as they come forward at a brisk but cautious pace,
  strangers in a very strange land.

  ANGLE - THEIR FEET

  sloshing through the slime. All is silent until Sean's
  foot TRIPS OVER A BARREL labeled HUGHES CHEMICAL PLANT.
  _A vaporous green substance oozes out the rusty end of
  the container, sizzling on the around_.

  SEAN AND RENNIE

  carefully sidestep it, continuing on. They make it
  another ten yards when A FIGURE LEAPS OUT FROM AN ALCOVE,
  GRIPPING A HUGE WRENCH. Rennie's scream echoes through
  the tunnel.

  REVERSE ANGLE

  ...but it's a middle-aged SANITATION ENGINEER who lowers
  the wrench, as frightened as they are.

                    SANITATION ENGINEER
          What the hell are you kids doing down
          here?

                    SEAN
          Can you help us get out??

                    SANITATION ENGINEER
          I sure can and we don't have a minute
          to waste.

  He begins quickly packing up his tools.

                    SEAN
          What do you mean?

                    SANITATION ENGINEER
          Toxic waste, son. This sewer floods
          out with the stuff on the 13th of
          every month, right at midnight.
              (checks watch)
          And that's less than ten minutes from
          now.

  Rennie looks down the dark tunnels in all directions,
  swallowing hard.

                    SANITATION ENGINEER
          Follow me.

  He clicks on his high powered flashlight and quickly
  leads them down:

  INT. TUNNEL #2

  ...no less threatening than the one they just left. When
  they pass a lightless intersecting corridor, JASON EJECTS
  HIMSELF FROM IT, TACKLING THE SANITATION ENGINEER AND
  SEAN.

  THE FLASHLIGHT

  rolls through the muck, its beam splashing erratically
  across the polluted walls.

  THE SANITATION ENGINEER

  begins BASHING JASON'S HEAD IN WITH HIS WRENCH but the
  monster _drags the kicking and screaming man into TUNNEL
  #3_.

  RENNIE

  tries to help up Sean but he's been knocked into the
  opposite wall, barely conscious.

                    SEAN
          Run, Rennie...

  She's struck with indecisive shock, looking into Tunnel
  #3, seeing:

  A GRUESOME SHADOW ON THE WALL

  Jason arches his back with wrench in hand, _hammering it
  over and over into the Sanitation Engineer's skull_.

  RENNIE

  backs away but does not run. The time has come to face
  her fears.

  ANGLE - SHADOW ON TUNNEL #3 WALL

  as Jason takes one more vengeful stroke, finishing him
  off. He steps from Tunnel #3 with the scarlet-coated
  tool, his shadow becoming flesh. He moves straight for
  Sean, who has no hope for escape. _Jason cocks the wrench
  over Sean's skull_...and suddenly his hockey mask is
  SPLASHED WITH A BRIGHT LIGHT. Jason stops, turning
  directly into it.

  JASON'S POINT OF VIEW

  Rennie is blinding us with the sanitation Engineer's
  flashlight, giving us only brief glimpses of herself in
  the reflective wet surroundings.

                    RENNIE
          You never got me in the lake, Jason.
          And you're not going to get me now
          either.

  Her voice is defiant. She carefully backstops, the
  irritating light never leaving us.

  JASON

  has been sufficiently taunted. He moves after her.

  JASON'S POINT OF VIEW

  as the bright beam leaves our eyes, Rennie dashing down
  the intersecting tunnel (#1).

  TIGHT ON JASON'S FEET

  stomping through the sludge, picking up speed. He's
  wanted to kill Rennie most of all.

  INT. TUNNEL #L

  as Rennie dashes up to the HUGHES CHEMICAL DRUM Sean
  tripped over, using the back end of the flashlight to
  crush in the can's rusted lid. The metal is flimsy but
  still resists her blows. She frantically hammers harder.

  INT. TUNNEL #2 - TRACKING WITH JASON

  He's moving like a freight train now, an addict rolling
  after his fix.

  INSERT - CHEMICAL DRUM

  as the butt of the flashlight dents the metal, ultimately
  causing it to cave in.

  INT. TUNNEL INTERSECTION - JASON'S POINT OF VIEW

  --Looking through his unblinking eyes, whipping into
  Tunnel #1..._where we catch a fleeting glimpse of Rennie
  flinging the contents of the oil drum_. A half second
  later a WAVE OF GRAY-GREEN LIQUID FLIES AT US...

  TIGHT ON JASON (SLOW MOTION)

  --and his hockey mask is SPLASHED WITH TOXIC WASTE,
  SEEPING INTO HIS MASK'S EYE SLITS. He careens back as if
  her were a rabid dog receiving a load of point-blank
  buckshot.

  RENNIE

  drops the can, fumbling for the flashlight again.

  CLOSE UP - JASON (EFX)

  as the radiant flashlight beam finds his mask, _the
  plastic beginning to bubble and melt_. RUSH INTO A TIGHT
  CLOSE UP AS JASON TEARS OFF HIS MASK, EXPOSING HIS
  HIDEOUS FACE: rotted flesh, some of it sizzling from the
  chemical. Worms slithering out his nostrils. And his
  eyes...or lack thereof. They're like two raw quail eggs
  frying in liquid green pollutant...and the yolks just
  broke, running down his face.

  CLOSE ON FLASHLIGHT

  as the beam begins to waver in her quivering grasp. RISE
  TO FIND RENNIE'S FACE, reacting to the stomach-turning
  sight of Jason's visage. She grabs hold of her senses and
  RUNS.

  ANOTHER ANGLE

  as Rennie skirts past the blinded creature: WHIP PAN WITH
  HER as she turns down Tunnel #2, heading back toward
  Sean. CONTINUE TO QUICKLY PAN AROUND until we've come
  around _360 degrees_ and are back on JASON, in no way
  ready to give up. _He staggers after Rennie_.

  INT. TUNNEL #2

  as Rennie skids up to Sean, still dazed. She grabs him,
  shaking hard.

                    RENNIE
          Get up, Sean!!!

  His eyes blink, only half coherent. Then an inconceivable
  terror registers in her ears...A LOW, DEEP RUMBLING
  SOUND, COMING FROM UP AHEAD. Her head jerks in the
  direction of her planned retreat:

  RENNIE'S POINT OF VIEW

  An ominously empty tunnel, soon to be filled with the
  unthinkable. The sound of RUSHING LIQUID is growing at
  leaps and bounds.

  TIGHT ON RENNIE

  as her trembling chin rises, looking at:

  ANGLE - TUNNEL #3 CEILING (EFX)

  _The dim overhead lights are beginning to vibrate from
  the approaching flood_.

  RENNIE

  rotates her head and sees:

  JASON

  vision or no vision, _he is lurching towards her
  relentlessly_. She is literally sandwiched between hell
  and high water.

  RENNIE

  _drags Sean to his feet with the strength of a possessed
  woman_, pulling him over to a SERVICE LADDER attached to
  the intersecting alcove wall.

                    RENNIE
              (screaming)
          Climb!!!

  She shoves him up it from below, Sean summoning
  everything he's got to obey her. Rennie shoots a stare
  back down the tunnel...

  RENNIE'S POINT OF VIEW (EFX)

  The overhead lights are banging around like an earthquake
  has just hit; the liquid will be arriving any second. Her
  vision WHIP PANS 180 DEGREES TO FIND JASON APPROACHING
  FROM THE OPPOSITE END, groping around with his scaly arms
  like the claws of a roto-tiller.

  ANGLE - LADDER

  as Rennie starts up after Sean, looking down and seeing:

  JASON

  within ten feet of them, shifting directly for the ladder
  like he's working on some kind of radar.

  RENNIE

  slips on the rusty ladder, regaining her footing. and
  rushing higher. She takes her final glance into the
  tunnel, the ultimate horror registering in her corneas as
  she sees:

  INT. TUNNEL #3 (MODEL EFX)

  _A million gallons of green-brown toxic waste splash into
  the far intersection_, FILLING THE TUNNEL, FLOODING
  STRAIGHT FOR CAMERA.

  JASON

  has just started to climb the ladder when the wind and
  smell of the rushing toxic waste bombards him. His
  decomposed head swivels to face:

  INT. TUNNEL #3 (MODEL EFX)

  --Tons of lethal sewage, stopping for no one. Arriving in
  seconds.

  JASON'S FINAL CLOSE UP (EFX/FIBER OPTIC LENS)

  He doesn't need vision to confirm what his other senses
  already know. Jason's mouth begins to quaver...AND THE
  FIRST WORDS HE HAS EVER SPOKEN COME OUT, IN THE VOICE OF
  AN EIGHT YEAR OLD BOY:

                    JASON
          Mmmmmmmmmommy...DON'T LET ME DROWN,
          MOMMY...

  Camera speeds toward his gaping mouth and DOWN HIS THROAT
  as _lightning arcs off his mucous covered insides_. We
  sink deeper into his guts, _fire and smoke flaring into
  our eves_, eventually coming to a WELL IN THE PIT OF HIS
  STOMACH, FILLED WITH BLOOD...and EIGHT YEAR OLD JASON IS
  DROWNING IN IT.

                    YOUNG JASON
          Hhhhelp me....

  A split second later:

  EXT. TUNNEL #3 (EFX) (SLOW MOTION)

  _The wall of deadly toxic liquid ENGULFS JASON_.

  INT. TUNNEL #3 - ON RENNIE AND SEAN (EFX)

  The powerful flood thrashes the ladder about two inches
  below Rennie's feet, the force of it fiercely shaking
  their rusty support. They are clinging to the ladder with
  their eyes squeezed shut. Praying for survival.

  INT. TUNNEL #3 (MODEL EFX)

  We are drowning in a chunky cloud of sewage, rushing over
  and under us.

  EXT. TIMES SQUARE - NIGHT (EFX)

  The digital clock we saw earlier abruptly CHIMES
  MIDNIGHT, HUGE BOLTS OF LIGHTNING CRACKING OVER
  MANHATTAN.

  ANGLE - SEAN AND RENNIE (EFX)

  as the sewage level begins to drop. Rennie opens her
  eyes, glancing straight down and seeing.

  RENNIE'S POINT OF VIEW (EFX)

  The ladder beneath them reappears...which gives way to a
  PAIR OF HANDS GRIPPING THE BOTTOM RUNG. The liquid drops
  further, _unshrouding the now-dead corpse of EIGHT YEAR
  OLD JASON_. He's a relatively normal looking boy,
  probably the way he looked back in 1957...right when he
  drowned in Crystal Lake.

  Jason Voorhees has finally been put to rest.

  EXT. TIMES SQUARE - NIGHT (N.Y.)

  Rennie and Sean stagger out from a side street, holding
  each other up...relief etched in their matured faces.

                    SEAN
          I hear there's a statue here that's 22
          stories tall.

  Rennie would smile if she could. She kisses his cheek.
  They amble on.

  STALKING POINT OF VIEW

  ...coming out from another alley, creeping up behind them
  through a crowd of pedestrians. _About the height of a
  small child_.

  RENNIE AND SEAN

  walk arm in arm, exhausted and oblivious to their
  pursuer. But something, some innate perception causes
  Rennie to slow...and stop. Her eyes register a horrid
  fear and she WHIPS AROUND TO FACE...

  TOBY!

  Limping on all fours, filthy with grease-matted fur. The
  whimpering dog crawls up to her, Rennie bending down,
  hugging her animal like she'll never let go.

                    RENNIE
          Oh Toby...

  HIGH ANGLE CRANE SHOT (N.Y.)

  as Sean bends down too, ruffling the dog's fur, standing
  again with Rennie. The three survivors enter the collage
  of pedestrians, bright lights and skyscrapers.

  It _is_ finally over.

                                                   FADE OUT.

                         _THE END_
               

(Courtesy horrorlair.com)
Powered by Blogger.