1 EXT. ROAD - DAY
The TRACK is SILENT.
The CAMERA looks at a sign. It reads:
CAMP CRYSTAL LAKE
Gradually we can begin to hear, in the BG, the SOUNDS of
2 EXT. SOFTBALL FIELD - DAY
In the BG a few dozen CHILDREN, in camp uniforms, are enjoying
a game of softball.
In the FG CLAUDETTE is looking for someone. CLAUDETTE is 17
years old. She is pretty. She wears a t-shirt with "Assistant
Counsellor" written on it. She fills out the shirt very well.
Failing to find whomever she is looking for, CLAUDETTE walks
quickly in the opposite direction.
The CAMERA holds on the game for a few seconds and we
JULY 4, 1958
The CHILDREN'S VOICES FADE slowly.
3 EXT. RIFLE RANGE - DAY
ECU as a COUNSELLOR squeezes off a shot.
The paper target is ripped in the black.
The COUNSELLOR hands the weapon to a CAMPER who snaps in at the
CLAUDETTE shouts up to the COUNSELLOR from the BG.
Have you seen Barry?
The COUNSELLOR smiles. Shrugs.
He and Chloe were at the Lodge last time
I saw him.
CLAUDETTE leaves. The COUNSELLOR smiles.
4 EXT. MAIN LODGE - DAY
Two CHILDREN run by carrying Indian headdresses. CLAUDETTE
passes them impatiently as she sees BARRY and CHLOE.
BARRY is leaning against the front rail of the porch, his arms
behind his head--the better to show off his physique to CHLOE,
and Assistant Counsellor, who is currently looking at him with
cow eyes. In the BG we can hear a portable radio blaring out
an Everly Brothers hit.
BARRY is 17, handsome and out for all he can get. He is not
ashamed for being caught with this other good-looking girl.
We've got to talk.
BARRY looks at CHLOE, then eases off the rail. Nods.
5 BARRY puts an arms around CLAUDETTE, looks over his
shoulder at CHLOE, and saunters off with the former.
The Everly Brothers continue as we:
6 EXT. LAKE - DAY
From over the tops of a rack of canoes we see BARRY and
CLAUDETTE walking along the shore.
You said we were special.
I meant everything.
In the BG, CHILDREN leap into the water.
You know what I said, though.
I can't, Barry...
7 EXT. FOREST - DAY
The TRACK goes SILENT.
BARRY & CLAUDETTE walk along a path. This is not an aimless
walk, for BARRY knows exactly where he wants to go. He leaves
the path and goes to sit on a log in a small clearing.
CLAUDETTE hesitates, then goes to sit next to him.
I care very much.
He puts an arm around her and draws her close. They kiss.
Does Chloe kiss as good as I do?
BARRY decides to be politic.
I wouldn't know.
She kisses him and they are locked.
A bird calls, wheels across the patch of sky above.
The CAMERA shifts to ANOTHER ANGLE: Just beyond the thicket of
lacy vines. It is a slow tracking shot which gives the
impression that we are watching the action from the POV of
another person, an unseen visitor...watching the two teen-aged
Assistant Counsellors making their first sexual encounters.
This unseen observer will be called the PROWLER.
BARRY reaches up outside CLAUDETTE'S t-shirt to hold her
breast. She reaches up to take his hand away.
No, they won't...
He ends the argument by snaking his hand inside her t-shirt so
that part of her bra is exposed. He seals her protesting lips
by kissing her.
From the PROWLER's POV, the CAMERA MOVES to get a better angle.
A hand moves into FRAME and pulls back some branches to clear
the field of vision. A branch pops.
(in a thick whisper)
Somebody's there, Barry.
Come on, Claudette. A man's not made of
Let's go back, Barry...
I need you so much, Claudette.
BARRY leans in and unhooks her bra. They kiss again,
The PROWLER pauses, then moves, never seen--except for a bit of
foot or hand--from the POV of the CAMERA, closer and closer as
the two TEENAGERS become more and more oblivious.
Closer. The THEME has snuck in. It becomes discordant. It
QUICK CUT to BARRY & CLAUDETTE'S faces, their eyes closed, the
perspiration streaking their flushed skin.
Suddenly CLAUDETTE looks up into the CAMERA with terror.
A hatchet flashes into FRAME and CLAUDETTE goes down under the
The CAMERA TURNS TO BARRY. The PROWLER's powerful hand has him
by the throat. He backpeddles, trying to get away.
ANOTHER ANGLE: as BARRY is stopped against a tree.
A hunting knife soars against the leafy sky.
BARRY grabs the knife-hand at the wrist. The knife falls to
the mossy floor of the clearing.
Two hands go for the free blade. BARRY's hand has it.
There is a confused jumble of struggle.
Onto the bed of moss falls the little finger of the PROWLER.
REACTION SHOT: BARRY, horrified by the sight.
The PROWLER's hand has the knife. It moves quickly forward.
We can hear the blade strike.
BARRY stares up at the sky in a soundless shriek.
MCU the moss where the finger fell. The PROWLER reaches into
FRAME, picks up the finger, and exits FRAME.
QUICK CUT TO: CHLOE, out searching for the missing Counsellors.
She stands at the edge of the clearing, her hands pressed on her
temples, her throat filled with a scream of terror. The MUSIC
has stopped abruptly.
THE SCREEN BLEEDS TO WHITE.
It is completely SILENT.
8 TITLE SEQUENCE
The screen is completely black. A small white shape starts to
ZOOMS towards the FG. The shape becomes a three-dimensional
rendering of FRIDAY THE 13TH. Just as it gets to its final
position, the FRIDAY 13 logo shatters a previously unseen pane
of glass. There is a loud crash. The logo shifts to the upper
left corner of the FRAME as we ROLLS TITLES, white on black.
The THEME MUSIC is a reprise of the THEME we heard during the
Forest sequence, now done in a childlike arrangement.
TITLES END and the MUSIC fades out.
9 EXT. RURAL TOWN - EARLY MORNING
The TRACK is SILENT.
In a LONG SHOT we see the one main street. A newspaper
delivery truck drives away from the CAMERA. A GIRL walks down
A MEDIUM SHOT in front of the bank reveals a day/date/time/temp
sign which blinks:
We can begin to hear a small-town DJ OVER as a pick-up truck
moves down the street past the GIRL in her late teens. She has
a knapsack, a freshly scrubbed face, jeans, and a plaid shirt.
She wears her hair in a long braid. She wears Nike jogging
shoes. This is ANNIE.
It's 7:01 on Friday the 13th of June.
This is Big Dave and it's time for you
lazy bones to GET OUT OF BED! It's
black cat day in Crystal Lake. Don't
forget the big drawing today to see who
gets our FRIDAY THE 13TH Monster
Surprise: either a man's digital
continuous readout watch or a Panasonic
color television set!
10 INT. DINER - MORNING
In CU a hand moves to turn down an old brown plastic radio from
which Big Dave is doing his morning-man routine.
Don't walk under a ladder! Don't spill
any salt, don't...
The radio is turned way down. We see that the hand belongs to
TRUDY, a hefty waitress who wears her golden hair in a bun with
a pencil stuck in it. BUDDY, the boss, is seen in the BG
working the grill.
The regulars are there: five MEN and two WOMEN who always come
in for breakfast. They are the retailers, the oil delivery
man, the switchboard operators, and the cop.
ANNIE walks in the front door, crosses the past the cash
register and walks down the counter.
I'm sick of them repeats.
I musta seen that Kojak 82 times.
Excuse me. How far is Camp Crystal Lake?
They gonna open that place Camp Blood?
COP What is it, Eddie? Forty
I heard they were gonna try miles?
OIL MAN 'Bout that.
(with a wink)
Be an interesting summer.
Can I get a bus or something?
Not likely. Sam? You goin' out to the
The OIL MAN nods.
Give her a lift? That's hallway.
No sweat, Trudy. Let's do it to it, kid.
Okay, Annie. Let's go.
ANNIE steps aside as the OIL MAN heads for the front door. He
is smirking. He's fifty, strong, and balding. He makes no
attempts to hide his appreciation for ANNIE's figure.
I wouldn't send my kids to that camp for
all the tea in China.
I thought you hated your kids.
TRUDY looks around, does a take, then laughs.
11 EXT. TOWN STREET - MORNING
ANNIE walks a half step behind the OIL MAN, heading for his
truck which is parked there on the street.
All the girls up there gonna look as
good as you?
I don't know.
ANNIE wonders if she should accept the ride with this guy.
Suddenly, from between two parked cars pops RALPH, a crazy hobo
who has two dead rats in his mouth, their tails in his teeth;
they swing from him like a strange beard.
Goddamnit, Ralph! Get outta here.
Don't worry about him. He's harmless.
(back to Ralph)
It's Friday the 13th.
He giggles and skulks away.
Climb on up, Miss.
The OIL MAN gives her a boost up and then climbs aboard the rig.
12 INT. OIL TRUCK - DAY
As the truck pulls away, we see RALPH through the windshield,
standing at the edge of the road. He is angry and upset now.
He pats his rats.
The OIL MAN shifts, looks over and smiles. His two front teeth
are missing on top.
Must be the fourth time somebody's tried
to reopen that place.
Camp Crystal Lake?
Something always happens up there.
He turns on the radio in the cab and we hear the DJ again.
...of bed. I'm gonna count to three and
then you better get up. It's 7:24. A
beautiful day. Weatherman Dr. Jim says
it's gonna be a nine point five day.
Here's Meatloaf from the Bat Out of Hell
13 EXT. RURAL ROADS - DAY
The oil truck thunders along the road.
14 EXT. RURAL CROSSROADS - DAY
The oil truck has stopped. ANNIE stands alongside the driver's
Don't let the spooks getcha, Annie.
No sweat. Thanks a lot for the lift.
He nods and shakes his head with the sense of what might have
been if he were thirty years younger. He puts it in gear and
ANNIE looks around and sees an old gas station. It is closed.
There's a sign which reads: "No Gas 'Til Sat." A mangey dog
sits on the stoop watching ANNIE.
ANNIE kneels down and calls the dog. The dog comes. ANNIE
pets him and then heads off up the road.
The dog watches her go.
15 EXT. RURAL HIGHWAY - DAY
ANNIE is beginning to get worried about the time. It's hot and
She looks up.
From her POV a Jeep barrels along the road towards us.
ANNIE puts out her numb.
16 INT. JEEP - DAY
From the DRIVER'S POV, we see ANNIE waiting for a lift. The
DRIVER, unseen, shifts down until ANNIE is alongside. The
Jeep, an uncovered model, stops. ANNIE smiles a big delicious
smile at us as we sit in the DRIVER's seat.
Hiya! I'm headed for Camp Crystal Lake.
Can you help me out?
Apparently the DRIVER nods, because ANNIE beams at us. She
tosses her pack in the back and hops aboard. The DRIVER
17 EXT. RURAL ROADS - DAY
The Jeep roars along the road. The sun and shadows keep us
from seeing the DRIVER.
18 INT. JEEP - DAY
Still in the DRIVER's POV, the CAMERA watches as ANNIE looks
around, admires the woods, the Jeep, the day. Things are going
I can't remember being this excited
about anything. I want to be a teacher
when I finish at Southern State. I
guess I've always wanted to work with
children. I hate it when people call
'em kids. Sounds like little goats.
The forest outside the speeding Jeep is deeper and signs of
civilization have all but disappeared. ANNIE still turns and
looks at the CAMERA when she speaks to the DRIVER.
The job market for teachers is supposed
to be the pits these days, but I don't
care. When you have a dream as long as
I have, you'll do anything...
A look of surprise passes ANNIE's young face.
Wasn't that Camp Crystal Lake? Just
19 EXT. RURAL ROADS - DAY
In the FG the sign for Camp Crystal Lake. In the BG, the Jeep
roars off into the distance.
20 INT. JEEP/DRIVER'S POV - DAY
I think we better stop... Please stop...
The Jeep's speed increases.
ANNIE grabs for the ignition key, but the DRIVER's hand darts
out and slaps ANNIE away. We see that this hand is missing its
Panicked, without any other recourse, ANNIE looks about her and
then leaps from the moving Jeep, aiming for the relatively soft
underbrush alongside the narrow road.
21 EXT. ROADSIDE - DAY
ANNIE lands, rolls, is upended, scratched by brambles, and
flips. She scrambles to her feet and starts running towards
22 EXT. RURAL ROAD - DAY
The Jeep stops, turns quickly, heads back for her.
23 INT. JEEP - DAY
From the DRIVER's POV we see ANNIE run, looking back in fear.
24 EXT. ROADSIDE - DAY
ANNIE's feet pound the hard-packed dirt. She looks over her
shoulder to see the Jeep. The sun flares on the Jeep's
windshield, keeping us from being able to see any details of
In a final desperate move, ANNIE drives into the underbrush to
The Jeep skids to a stop.
25 EXT. ROADSIDE/WOODS - DAY
The CAMERA becomes the DRIVER and chases into the thicket.
Branches and briars snap back at us. Just ahead, the terror-
stuck ANNIE stumbles and falls. She screams as a knife flashes
past her in a blur.
When the knife has passed, all we can see is a look of surprise
on ANNIE's face.
The CAMERA PULLS BACK. Her throat has been cut. She collapses
out of FRAME.
A bird soars across the sky above.
The TRACK is SILENT.
26 EXT. HIGHWAY - DAY
A gaily decorated camper-van travels along the highway. We
hear rock 'n roll OVER coming from a car radio as this much-in-
need-of-repair vehicle passes a slower car.
27 INT. CAMPER VAN - DAY
In the camper van are three young people. They are full of
fun, fresh and expectant as they head towards Crystal Lake.
They are instantly likeable.
At the wheel is NED, a short 22-year-old whose well-developed
upper body is a tribute to his weight-lifting. He is nice-
looking, a joker who is always trying to get some attraction.
He is funny and alert.
Next to him is JACK, an athlete whose clean-cut look is as
American as popcorn. He is quieter, two years younger and not
as smart as NED. He has to think things through.
MARCIE is JACK's girlfriend. She is leaning over the front
passenger seat so she can messenger JACK's shoulders.
She is a funny girl, pretty, and always looking for fun. She
enjoys every minute of every day. She hasn't been touched by
Sex is all you ever think of, Neddy.
There you are dead wrong.
Sometimes I only think about kissing
MARCIE finds a sore spot on JACK's back.
I was just wondering if you thought
there'd by any other gorgeous women at
Camp Crystal Lake. Besides yourself.
You are a true pierce of work, Ned.
MARCIE hits NED on the arms, playfully.
How about our last jay?
JACK reaches into the glove compartment and comes out with a
What about the dope paragraph in Mr.
Quote: Controlled substances are
expressly forbidden. Possession or use
of marijuana or alcohol on campgrounds
will means instant dismissal. Unquote.
We got two weeks before the kids even
arrive. Then I'll act responsibly.
Until then, hit me.
She takes the lighted joint and tokes.
28 EXT. CAMP CRYSTAL LAKE ENTRANCE - DAY
The van turns past the sign that reads:
CAMP CRYSTAL LAKE--Established 1935
29 INT. VAN - DAY
MARCIE is wide-eyed, looking at the lush surroundings.
Yeah, and it also look like it hasn't
seen a coat of paint in six years.
30 EXT. CAMP DRIVE - DAY
The CAMERA SEES what NED saw. The buildings are run down at
the heels. It is the same camp we saw in the early scenes, but
time has torn the place badly.
The van passes the CAMERA and we see the three new ARRIVALS
looking out the window.
31 EXT. MAIN CAMP AREA - DAY
This is the main building. It is the building where Barry and
Claudette met. Outside is a flagpole, a small parking area, a
large overhanging tree.
In the BG we can see part of the lake.
In the FG there is a Jeep.
32 EXT. CAMP MAIN AREA - DAY
An axe flashes through the FRAME and hacks apart the halves of
a huge tree stump.
The CAMERA PULLS BACK to reveal a middle-aged man in cut-offs,
a bare chest, hiking boots and beat-up cowboy hat. This is
STEVE CHRISTY. He is strong, charming, and engaging. He is
animated, always in motion, impatient with how long it takes to
In the BG the van comes to a stop. No sooner has JACK hopped
down, than STEVE is beckoning him over.
Wanta give me a hand here?
JACK smiles and comes quickly.
NED steps down from the van and now we can see that he has had
polio when he was a kid. His upper body is strong, but his
legs are slightly deformed. He and MARCIE hustle over to the
Wanta roll this sucker out of the way.
ALICE comes into the MS. She is carrying a shovel and a bucket
and has obviously been working for a couple of hours.
Cabin B is ready.
Push on this side. Alice, this is Jack,
Marcie and Ned. Push.
They exchange "hellos" as they bend to the work.
That's got her. Thanks. I'm Steve
Christy. Welcome to Camp Crystal Lake.
You got some grubby clothes? Climb into
'em. Alice, see if Bill has cleaned out
the boathouse. I want him to start with
the canoes. What happened to Brenda?
You told her to sweep the courts.
STEVE sets off.
I'd rather she painted. Let's go, folks.
As soon as he's gone, NED turns to ALICE.
I thought we had two weeks...
You can changed in three.
33 EXT. EDGE OF LAKE - DAY
The CAMERA looks down a long line of canoes, each with its hull
up. A brush slaps into view. BILL is sweating while finishing
a coat of paint on the last canoe.
BILL is a thin, ascetic-looking college sophomore. He rubs his
long thin rose with the back of his wrist as he hears someone
call his name OS. He turns to see ALICE at the bottom of the
Steve said for you to start on the boats.
I finished the boats.
ALICE nods slowly.
I'll tell him.
She turns away.
Alice? The others show up?
Everybody except the girl who's supposed
to handle the kitchen. Annie.
BILL puts his brush in a coffee can of turps.
ALICE look at him, then turns again.
You think you're gonna last all summer?
I'm not sure I'll last all week.
I'll tell Steve.
34 EXT. GIRL'S CABIN - DAY
STEVE and NED are rehanging a door. Next to them is BRENDA, a
dark Eurasian girl who is trying to do a good job of painting
the wall. On the other side MARCIE is scraping some flaking
Shim it up just a scooch.
NED levers the door higher at the top.
Perfection. Hold it.
STEVE uses a long ratchet screwdriver.
To answer your question, my parents once
owned this camp. There were some tragic
accidents and they went bankrupt. I
promised them I'd reopen if I could.
See if it closes right now.
NED swings the door on its hinges.
Perfection. Did you meet Brenda?
BRENDA turns and nods.
She's archery. He's rifle ranged. And
I'm behind schedule. Let's go, Ned.
They exit with the tool box. MARCIE stops and turns to BRENDA,
who looks upward and blows the hair from her forehead.
35 EXT. EDGE OF THE LAKE - DAY
STEVE, ALICE, BRENDA, MARCIE, NED, JACK and BILL are lugging a
swimming float down to the water's edge. STEVE supervises as
he carries the thing, which is quite heavy. They ad-lid as
appropriate. ("There goes my hernia." "Are you sure you're
lifting?" "Not so fast." "I'm walking backward.")
They drop the things carefully.
Come on back here and let's above the
They get behind it and shove it into the water. NED hops
aboard for the ride, flipping into a handstand.
36 INT. EQUIPMENT SHED - DAY
The screen has gone completely black. The door to the shed is
whipped open quickly, letting in the full brightness of the
sun. There is a shape.
The CAMERA IRISES DOWN so that we can see that JACK has come in
on an errand.
As JACK looks around, we can take the time to see that there
are a half-dozen lantern, a few cans of lantern fuel, a couple
of hibachis, some entrenching tools packs, portable ice chests,
etc. Up on the long side wall are a half-dozen hunting knives
in sheathes, also hanging neatly.
Suddenly a hand comes into FRAME and touches JACK on the
shoulder as he is preoccupied with his task. JACK turns with
a start. He looks into the CAMERA.
REVERSE POV to see MARCIE standing in the doorway.
What are those for? An Indian raid?
She points to the row of hatchets and knives.
Steve's got a woodlore program. You see
any life rings?
MARCIE looks behind some piled up equipment. She pulls out two
Here. Meet me in my cabin after taps.
She kisses him on the cheek and gives him a playful goose.
They exit together.
37 EXT. ARTS & CRAFTS CABIN - DAY
STEVE CHRISTY comes upon ALICE, who is renailing floorboards on
the porch of the Arts & Crafts cabin. On the railing is a
sketch pad which Steve thumbs through.
INSERT: ALICE'S SKETCH. It is a moody pierce, a sense of
foreboding dominates it. Otherwise, it is the camp's central
compound, featuring the tree that forms the central focus.
You draw very well.
Oh, thanks. I wish I could spend more
time at it.
ALICE misses a nail and hits her thumb. She reacts good-
naturedly and keeps on working.
STEVE bends down next to ALICE.
This isn't your cup of tea, hunh?
She shakes her head.
Any particular reason?
Just a feeling.
You want to leave?
I don't know. Probably be best for
You may not care a lot about this place,
Alice, but I mean to make it my whole
life. It's been my whole life. Gimme
a chance. Stay a week. Help get it
ready. Next Friday, if you're not
happy, I'll put you on the bus myself.
I'll be grateful.
He puts out a hand and runs the back of it across her cheek.
She looks up. She nods.
He stands up.
I've got to go to town and pick up the
trailer and all that other stuff, but
I'll be back around ten. If you're
still up, we can talk, okay?
She watches him cross out of FRAME.
38 EXT. MAIN CABIN AREA - DAY (LATER)
STEVE is at the wheel of his Jeep. The COUNSELLORS are
standing within earshot, huddled around the Jeep.
You want it listed separately?
Yeah. Brenda, after lunch hit the
archery range. If Annie gets here, have
her start in on the kitchen. Do your
best. Tomorrow we have a preliminary
inspection by the state safety people.
I'd like to look good.
He wheels the car around and out the driveway. The others
stand looking before NED breaks the silence.
He neglected to mention this place is
called "Camp Blood" downtown.
They are all getting back to work.
Some campers drowned. Then some
counsellors got killed.
No shit. When?
Late fifties sometime. They never
caught the guy who did it either.
Neddy collects weird facts. Next he is
going to tell us that there are poisonous
snakes in the outhouse and green lizards
in the lake.
As they laugh, the CAMERA HOLDS on ALICE.
39 EXT. ARCHERY RANGE - DAY
BRENDA has her sleeves rolled up and is doing her job. She
enjoys having the responsibility for the whole safe operation of
this area. She likes to think of herself as more sophisticated
than she is--or have others think her more sophisticated.
BRENDA rolls a straw target out from under the lean-to shelter
and heads for a tripod in the middle distance. There are
already two such targets out, a product of her efforts so far.
The targets are heavy. This isn't an easy one-person job.
The CAMERA CLOSES IN tighter and tighter on her as she gets
closer to setting up the target.
In MCU, she lifts a target up. Her head is very close to the
face of the target. She gets it up, lets the tripod take the
weight, and then, just as she lifts her weight back, an arrow
streaks into the center of the gold, missing her head by
BRENDA whips around.
WE SEE WHAT SHE SEES: a very cocky NED, standing by the lean-
to with a bow in his hands and three more arrows knocked
simultaneously. He has a feather stuck in his hair.
She grabs the arrow and storms at him.
She snaps the arrow in half.
Did anyone ever tell you you're
beautiful when you're angry?
I don't believe you...
Want to see my trick shot? It's even
BRENDA still thinks he's a jerk, but he's so outrageous there's
little she can do. She laughs.
You ever fire one of those bows again,
and I'll tack you up on the wall to dry.
God, but I love that sexy talk.
BRENDA snatches the bow from him, shakes her head and puts the
bow down next to a collection of wicked-looking arrows.
40 INT. ARTS & CRAFTS CABIN - DAY
This is a fairly large single room. The walls are bare and
uninsulated. There are a few easels, but for the most part,
the room is dominated by long tables and rough-hewn benches.
The light seeps through the streaked windows, making the grey
wood interior appear silver-colored. ALICE, her hair in a
bandana, has just finished sweeping up.
The CAMERA picks up on ALICE's sketch of the central camp area
on one easel. On a second easel she has done the preliminary
sketch of the lake itself. It is also a moody picture.
ALICE cocks her head to look at the sketches, shivers just a
little, then goes on to her next task. There is a row of newly-
arrived cardboard boxes. She opens the first in CU with a
matte knife. She take out the invoice and checks it against
the first items: gimp, the plastic string from which all the
campers will make lanyards.
41 EXT. ARTS & CRAFTS CABIN - DAY
We watch through one of the dusty panes, seeing the charcoal
sketch in the FG, ALICE in the BG checking her materials
against her invoice.
42 INT. ARTS & CRAFTS CABIN - DAY (INTERCUT)
ALICE snaps around, sensing that she is being watched. In CU
her frightened face looks at the sun-drenched dusty pane. Her
face relaxes until BANG! The sound of a door slamming echoes
through the room.
The CAMERA ZOOMS BACK from her face to see someone standing in
It is BILL.
Sorry. How you doing?
ALICE smiles, then turns back to her job of taking inventory.
BILL watches her.
Did you want something?
She starts to take a box down from a high shelf. She doesn't
realize that there is something on top of the box.
Steve said you were thinking of leaving.
ALICE lugs down the box and suddenly a bunch of leather-working
tools clatters down, shattering the silence. ALICE fends off
the flying implements and BILL rushes to her side.
Oh, my God...
They stoop down to pick up the fallen tools from the floor.
BILL looks at her while they work.
How come you're leaving?
It's long and personal. It has nothing
to do with you or the other kids.
Maybe I can help?
ALICE looks at BILL and smiles. This really is a very nice, if
naive, young man.
And it's this place. It makes no sense,
but it spooks me.
You're right. It makes no sense.
As ALICE nods, she is interrupted by a shrill scream outside.
43 EXT. ARTS & CRAFTS CABIN - DAY
MARCIE is the source of the scream. She runs towards the
CAMERA, dressed in cut-offs and a floral halter. Her feet are
bare. When she get closer, we see that she is being chased by
JACK and NED who have found two giant green bullfrogs. The
screams were not serious and MARCIE is doing some of it for
effect. BRENDA brings up the rear. They are all dressed more
or less for a frolic in the lake.
BILL and ALICE stand in front of the Arts & Crafts cabin. BILL
is smiling, ALICE is a little bit amused.
Help me! Save me! The frog people are
after me! It's swim time at Camp Crystal
Lake. Come on, Alice, I need protection!
44 EXT. CRYSTAL LAKE - DAY
A LONG WIDE SHOT reveals the cool, clear lake during the lull
of a hot afternoon.
At the edge of the lake, in the shallows, are the members of
the group: MARCIE, JACK, NED, BRENDA, BILL and ALICE. They
are sitting or paddling or diving off the float. There is no
real attempt to exert too much energy.
Gradually we become aware that this LONG WIDE SHOT is someone's
POV. The CAMERA moves from its stable position, now hand-held,
on a trajectory around the side of the lake, out of sight.
Branches, brush, and twigs are butted through. Occasionally,
we can see part of the PROWLER's arm fending off the underbrush.
45 EXT. WATER - DAY
The group sits or lies in the cool water, more or less focused
on NED, who is acting as moderator.
What do you want to be when you grow up?
Girls can't be cowboys.
NED goes to JACK.
Coach, athletic director somewhere.
Doctor. Now, if you were a flavor of
ice cream, what would you be?
46 EXT. MAIN CAMP AREA - DAY
The PROWLER looks in LONG SHOT down at the lake and we can just
make out the COUNSELLORS.
The CAMERA PANS and we move toward cabins.
47 EXT. LAKE - DAY
ALICE is treading water, talking with BRENDA, as NED comes up
out of nowhere.
Vitamin C's supposed to neutralize the
nitrites or something.
NED surfaces between them. He looks with googly eyes at ALICE.
There are sand sharks in this lake and
they can eat the bathing suit right off
See? I'm getting to you. Very slowly.
NED does a porpoise drive and disappears.
BRENDA is not laughing. She is looking off towards the cabin
ALICE sees her and look where she looks.
What'd you see?
I don't know. Marcie's got me paranoid.
48 EXT. BEHIND ALICE'S CABIN - DAY
The CAMERA, shooting from the PROWLER's POV, moves to a place
alongside Alice's cabin. There is underbrush about two feet
tall and all around that area. The PROWLER stops, leans down
and reaches into FRAME with a gloved hand.
The gloved hand reaches into the underbrush for the tip of a
burlap bag which has been secreted there. The hand lifts the
bag, which has something in it that moves.
The CAMERA MOVES around to the side of the cabin right below
the window. The window is open, making entry quite simple.
The PROWLER's gloved hands untie the neck of the bag, reach in
and haul out quickly a medium-sized snake. One hand has the
animal firmly behind the jaws. The hand takes the snake and
puts it through the open window, leaving it on the clean white
coverlet. It slithers across the bed.
The PROWLER's hand closes the window.
The CAMERA MOVES towards one of the sheds.
49 EXT. EDGE OF LAKE - DAY
BILL and ALICE are lying on the shore on their towels, watching
the OTHERS in the water and grabbing some afternoon sun. ALICE
is on her stomach, tracing angular designs in the sand. BILL
is on his back, listening.
It still hurts?
I walked into it knowing I'd get hurt,
but I thought I could stand anything.
I just wasn't ready for that kind of
pain. We were supposed to meet in L.A.
When I got back there, he sent a telegram
saying he was going back to his wife.
BILL turns over so he can look at her better.
What'll you do when you leave here?
I don't know.
Various feet enter the FRAME. BILL and ALICE look up to see
JACK with his arm around MARCIE, NED toweling his head, and
BRENDA putting on her blue workshirt.
Pistachio, fudge ripple, creme de menthe
and I are going back to work.
BILL gets up.
Speaking as black raspberry, I guess I'm
ready. Frozen yogurt?
ALICE smiles at the reference.
I'll be along.
(in a nelly voice)
Don't burn that gorgeous body, or I'll
scratch your eyes out...
They head off. ALICE turns over to tan her front.
50 EXT. FOREST - DAY
A machete rips through some vines. Again it hacks at the brush.
PULLS BACK to reveal BILL clearing away the years of vine
growth which have choked off a path. He wipes the perspiration
from his eyes and continues along.
51 EXT. BEHIND THE MAIN CABIN - DAY
Set up behind the cabin is a make-shift exercise area. There
are chinning bars--pipeslashed between two trees--and there's
an aging set of parallel bars. There is even a set of weights
made from tin cans, pipes and assorted amount of cement.
ECU of NEDS's face in a distorted, twisted expression. He
explodes his breath.
We PULL BACK to see BRENDA watching NED work out on the uneven
parallel bars. He is really very good and there is no doubt
about his strength.
As NED moves off the apparatus, BRENDA comes in and does a neat
little turn which is dazzling. NED does a take.
We wouldn't want you thinking you're the
only show-off in camp, would we?
52 EXT. LAKE - DAY
The sun has dropped lower on the horizon.
The CAMERA looks down on ALICE as she sleeps peacefully in the
late sun. A shadow passes across her face, and she awakes with
CUT BACK to see BILL standing over her with a machete.
I didn't know I was asleep...What time
ALICE gets up.
Now I'm only eleven hours behind
schedule. Steve is going to have a
They walk away from the shore.
53 EXT. ALICE'S CABIN - DAY
ALICE is walking quicker than BILL. We realize we have seen
this cabin before--when the snake was placed in it.
You can only do what you can do.
And then Steve looks at you with those
hurt eyes--like you don't care about
BILL laughs at her imitation.
I'll see you later.
She turns to go up the steps to her front door.
She stops and look down at him. He is serious and he cares.
ALICE appreciates what's she's just heard. She knows that it
wasn't easy for BILL to say.
You're very nice.
They share a short silent moment.
Hope you will.
BILL smiles and turns and jogs off, still carrying his long
ALICE watches him go. She shrugs. This might be a good place
to stay. She turns and goes into her cabin.
54 INT. ALICE'S CABIN - DAY
In the FG is the camp bed with its white coverlet. The snake
is nowhere in sight--which means it could be anywhere.
ALICE is humming to herself and is happier now than she has
been since we met her.
The room is small. There is the metal-frame cot, an old wooden
dresser with a cloudy mirror on top. The walls are a light
blue, freshly painted. The wall on the inside does not go all
the way to the ceiling so that she can monitor what's going on
in the campers' section of the cabin on the other side.
ALICE looks at herself in the old cloudy mirror and likes what
she sees. She pushes her hair so that she looks a little
sexier. She smiles at herself.
She reaches out in CU. Open a drawer. Takes out a towel.
ALICE turns and goes to her footlocker. Bends down and opens
it up. Takes out a terrycloth robe.
She closes the footlocker, stands up and heads out the door.
55 EXT. ALICE'S CABIN - DAY
ALICE heads from her cabin to the showers.
56 INT. SHOWER ROOM - DAY
ALICE walks into her room wearing her bathrobe, her hair in a
towel-turban. She flicks off her shower clogs, and looks for
her hairbrush. She takes her towel off and lets her tangled
hair fall down.
She hums. Opens her top drawer. Nothing there.
Opens the next drawer. Nothing there.
Opens the next drawer. Nothing there.
ALICE opens the fourth drawer and the snake strikes! It flails
at her right wrist, a wrist which we have established earlier
as having a Navajo bracelet on it. The snake strikes the
bracelet, hangs on as ALICE tries to shake it free. The snake
falls to the floor and recoils for another attack.
There is no way that ALICE can get past the snake to run away.
Her scream is loud.
57 EXT. MAIN CABIN - DAY
BILL, returning from his last half hour of trail-blazing, hears
BILL doesn't hesitate. Carrying his machete, he runs to
MARCIE and JACK follow in the BG.
58 INT. ALICE'S CABIN - DAY
ALICE is backed against the wall. The snake could strike and
BILL runs into the room, still carrying his machete. He looks
(a tight whisper)
There's a fucking snake in here.
BILL sees it. He freezes, then takes a step forward.
Carefully, he winds up and smashes down with the edge of the
machete, cutting the snake into two pieces. Blood spurts onto
MARCIE and JACK enter. JACK carries a shovel as a weapon.
MARCIE stops when she sees the embrace, but then looks further
to see the blood and guts.
Steve never mentioned serpents. Jack,
would you get some paper towels?
JACK nods and exits.
How the... did he get in there?
Slipped in. Probably liked the scent of
JACK return and tosses a roll to MARCIE.
You okay now?
BILL gives her an extra hug. Then steps back awkwardly,
stepping on MARCIE's big toe.
Go ahead. I walk on 'em all the time.
Would you shovel Mr. Snake outta here?
JACK nods. He picks up his shovel and we see in CU as he gets
underneath the wide-fanged snake.
MARCIE begins to clean the blood off the floor with the paper
59 EXT. CAMP - LATE AFTERNOON
Looking across the lake, we can see the camp, nestled in among
the late afternoon rays of the sun. We can hear the sounds of
the nocturnal animals beginning to rise and hunt.
60 INT. CAMP KITCHEN - LATE AFTERNOON
The kitchen and the main meeting room are really one in the
same room, cut off by a partition. The kitchen has a couple of
sinks, a heavy old stove, long shelves, a pantry/larder, and
some windows which look out on the rear.
BRENDA is making a salad for herself. She is a vegetarian.
MARCIE is making a guacamole dip.
In the big room there is a fireplace and a ping pong table.
JACK and BILL are playing.
She all right? Get ready for the schneider.
Yeah. Scared the hell out No chance.
BRENDA Four zip.
How'd it get in the drawer?
ALICE walks into the kitchen. She has washed her face after
getting her act together. She stands in the doorway to the
How you doin'?
Okay. Can I help?
It's catch as catch can. I'm making a
salad. The guys are planning to cook
greaseburgers for themselves.
There's a lot of dishes if you just want
something to do.
ALICE smiles. Nods.
The way I feel, that's perfect.
ALICE goes to the sink and begins to work her way through the
dirty dish pan.
NED comes flying through the door dressed in various bits and
pieces of old Indian costumery. He does a bad dance.
JACK and BILL quit their game and come to the doorway.
What the hell? Where'd you get that stuff?
Oh, Lord! Neddy!
It's gonna be a long summer.
Wait, wait! When I was finding these
goodies in the shed. I also found this
letter which a camper never sent home.
He takes a letter out of his breechclout. He pretends to read,
when really we can see that the paper is blank.
Dear Mom and Dad, Camp Blood is real fine
except for the strange man who flies at
night and sucks our counsellor's body...
ALICE leans against the sink and laughs. She is a very pretty
girl, younger than she first appeared.
And, Mommy, we really love our counsellor.
He says that whenever I'm scared, I can
sleep in his bunk with him.
JACK and BILL laugh.
NED takes off his headdress.
No wonder they lost America. How could
you sneak around in the bushes wearing
that? What's to eat?
Whatever you make yourself.
ALICE looks up from her dishes and cocks her head to the side.
Does she sees something?
The CAMERA PANS SLOWLY to look over her shoulder.
The window pane is dirty and it's a bit difficult to see, but
there is something standing there out by a cabin. But it
stands, doesn't move... Is it a building?
CUT AWAY to see ALICE using her dishcloth to clear the glass.
When we CUT BACK, the shape is gone.
REACTION SHOT: ALICE. Curious. A cold chill...
ALICE looks around at the others who are still adlibbing about
How can you eat that stuff? You like them rare?
Looks like dead animals.
NED Too bad that Annie never
Cannibals. It's old showed. She was supposed
counsellor. to be a good cook.
You can get all the protein No way I am gonna play chef
you need if you mix them to all of you guys. It's
right. women's lib from here on
The squaws are revolting!
ALICE looks up. Pulls the light cord in the middle of the room.
The bulb does not light.
ALICE pulls it again.
Bad bulb or no power. It's getting a
little gloomy in here.
Steve taught me how to use the emergency
generator. The town power lines are
supposed to be real shitty.
God, but I love that macho talk!
Emergency generators! The Indian used
JACK turns to BILL.
Give me a hand?
61 INT. GENERATOR SHED - LATE AFTERNOON
JACK steps in and, in CU, we see there is a puddle where he is
standing. The puddle is somehow significant.
BILL leans over JACK's shoulder to see what he's doing.
This is almost like the one at my
uncle's cabin in Maine.
Here we go.
The CAMERA watches JACK's actions tightly. In a REVERSE POV we
see JACK's tongue come out the side of his mouth as he
concentrates. He bites down on it.
ANOTHER ANGLE: as JACK pulls the starter cord. The engine
roars into action.
Now ya' close the switch.
CU as JACK's hand reaches in and touches a heavy-duty metal
switch. A spark arcs and we PULL BACK to see JACK with a
perfect connection running through his body. There is a
sparking sound, the little light in the shed blinks, JACK
screams, the generator chugs roughly. Hundreds of volts are
streaking through JACK's body and grounded through his wet
BILL reacts quickly: knowing better than to touch him and
continue the connection, he takes a half-step backwards, aims
at an oblique angle and executes a perfect Bruce Lee-type drop-
kick on his friend, severing the contact.
JACK stumbles out of the shack and the light goes dead. The
62 EXT. GENERATOR SHED - LATE AFTERNOON
JACK lands, almost unconscious. BILL kneels into FRAME and
cheeks JACK's vital sign: his eyes, his carotid pulse, his
JACK shakes his head.
I'll be okay. Holy shit...
Don't get up. Take a second...
JACK lies back down. Covers his eyes with his arm.
You saved my life.
I had to.
I figured if I didn't save you. I'd
have to give you mouth-to-mouth and that
would have ruined my appetite.
JACKS looks up and smiles. BILL give him a hand and the groggy
athlete gets to his feet.
Satisfied that JACK won't fall down, BILL goes to the shed and
We can look in over BILL's shoulder and see a smoke-scarred
switch and a now-silent generator.
This puddle was enough to ground you all
the way to China.
JACK looks in, too.
Floor probably leaks. This area is full
A short somewhere.
BILL leans down and sees a smokey-colored wire that touches
There's the problem, Jack. Wire worked
He starts to wind it round a set-screw in CU.
Just in cause this bugger goes bad. I'm
gonna pick up some lanterns from the
JACKS walks away.
63 INT. EQUIPMENT SHED - DUSK
The door opens at us, letting in the limited light. JACK comes
in and goes to pick up a fluorescent lamp. He flicks it on.
As he bends down to pick up two Coleman lanterns, the CAMERA
slowly moves toward the wall where once we saw all the hatchets
and knives. They are all missing.
JACK takes his booty and exits.
The light is gone and we are alone in the dark.
64 INT. KITCHEN - DUSK
ECU of the lightbulb over the kitchen area. It flickers on as
we hear in the BG the sound of the generator start up. The
bulb glows, goes down, glows cheerily.
What hath God wrought?
That was the telephone.
Ha! You wily oriental! The phone was
"Mr. Watson, come in here, I need you."
"What hath God wrought" was the telegraph.
JACK comes in with his lanterns followed by BILL.
Last line of Gone With the Wind?
Frankly, Scarlet, I don't give a damn!
ALICE listens as she washes the dishes. It looks as if things
will be okay.
Shows how much you know. It's something
Tomorrow is another day.
MARCIE is finishing up making her green California dip.
Suddenly ALICE cries out. Everybody whips around to see.
ALICE holds up a piece of broken glass--the bottom half of a
bottle. She has cut her finger. It is not a serious cut, but
the blood is visible.
This just plain ain't my day.
BILL reaches into a cupboard and pulls out a BandAid.
You okay? Those things can be nasty.
Wash it out real good.
BILL comes up to ALICE.
Lemme see. Doesn't look too bad.
That said, the OTHERS go back to what they were doing.
BILL and ALICE are featured even though we can hear the others.
BILL takes great care and puts the BandAid on ALICE's finger.
They share this moment with soft smiles as the trivia contest
Who played the role of Gorgon in Star
I don't want you getting Melvin Belli.
ALICE Aaaargh! That my
I was careless. guaranteed winner!
How'd it get in there? Melvin Belli?
Somebody probably dropped
something too hard.
Alice, you're just lucky there are no
snakes in the dishwater here.
NEDDY is hovering over a bowl of California dip which MARCIE
has just made. He dips a chip as soon as she steps back.
Soooooeeeeey, piggy, piggy.
Suddenly NED's face goes red. His eyes bulge out. He grabs
his throat and gags. Coughs, can't clear it.
What is it?
Is it stuck?
NED points to the dip and slumps down on the floor where he
Help him! Oh, my God!
Roll him over! Get behind him more.
As BILL and JACK flip him over to try to give him the Heimlich,
NED stops his act and grins from ear to ear. It's a big finish:
REACTION SHOTS: as it sinks in that NED has been putting them on.
Not funny, Ned...
BILL stands up, angry, but willing to keep his mouth shut.
Wait'll you're really in trouble and see
But it's in the brochure! "Camp Crystal
Lake has a full drama program." You
just saw it.
NED tries to laugh it off. They shake their heads. MARCIE
walks away. JACK looks at BILL.
Chance to get even?
I'll spot you five points.
Hey, look, I'm sorry. I'll never do it
NED turns and heads for the door. ALICE comes up next to him.
The OTHERS are out of earshot now. BILL and JACK play a little
ping-pong. NED is a little embarrassed by his play-acting
Ned? We're gonna be working together
for a while. You're a nice guy without
all the entertainment, okay?
NED relaxes. Nods. He knows what she means. He turns to look
at the others.
Tell 'em I'm sorry?
I'm gonna go lie down and catch some
z's. Today wiped me out.
The CAMERA stays on ALICE's face as NED exits. In the BG,
I hope that's the last time we see the
Camp Crystal Lake Drama Program.
65 EXT. MAIN CAMP AREA - EVENING
We watch NED come away from the main cabin and walk moodily
toward his cabin.
The CAMERA stays with the troubled child as he stops, leans
down, picks up a pebble and skips it off into the brush. It
cuts through. He flips a few stones in his hand.
NED looks off. Sees something.
WE SEE WHAT HE SEES: a shape--a human shape--standing by a
NED walks towards it.
Hello? Can I help you?
66 INT. KITCHEN AREA - EVENING
ALICE is just drying her hands. She stands next to a giant
stack of clean dishes and pots.
BRENDA is reading a magazine while picking at some cauliflower
and cucumber slices.
BILL and JACK saunter in.
You just had some lucky shots.
He went to bed early.
I don't blame him.
He's probably setting up another one of
his practical jokes.
Yeah, like draining the lake!
Hey, how about a walk by the lake?
The OTHERS all go "Ooooooooh."
Just a walk, for Chrissakes.
Boy, we sure do have a lot of filthy
small-minded people around here.
Wait a minute, I'll get my diaphragm and
be right with you.
MARCIE puts an arm through JACK's arm and they exit.
The OTHERS laugh.
67 EXT. EDGE OF LAKE - NIGHT
JACK and MARCIE walk across the pint needles towards the lake.
There is the low rumble of thunder preceeded by a faint glow on
JACK and MARCIE walk along the shore to the lake. They have
turned on the flashlights which they carry with them.
Wind's up. It's shifted a good hundred
and eighty degrees.
Makes me want to hold on and never let go.
I love you.
I love you.
They kiss. MARCIE pulls back.
What about Neddy?
I don't love Neddy.
He keeps on acting like such an asshole!
Don't call him.
I thought you wanted to give him one of
your motherly lectures. Ned is gonna do
whatever he wants to do, you know.
The moon is victim of a blank cloud which cuts off the light.
Looks like a storm.
I'm a little scared of storms. Always
have been. Since I was a kid.
You? The brick?
JACK shines the flashlight so that we can see her face in eerie
shadows. She flashes hers at him.
I've dreamed this dream. Maybe half a
dozen times. There is a thunderstorm.
The rain comes down like pebbles. I can
hear the sound. I try to close my ears
off. It doesn't work. The sounds gets
louder. The rain turns to blood and the
blood washes down in little rivers. And
the sound stops.
A loud crack of heat lightning slices the sky apart. MARCIE is
startled and reaches out for her lover.
It's just a dream.
I call it my shower dream.
They look at one another in the two lights. They grin. Rain
drops begin to fall on their faces and on the lake behind them.
This is no dream. Want to escape for a
Lead the way!
JACK turns and jogs toward the nearest cabin. MARCIE is only
a half step behind, laughing.
FROM A DISTANT ANGLE we watch them run. There is no theme,
just the rumble of thunder...
68 INT. BOY'S CABIN - NIGHT
The door bursts open, a flashlight pierces the shadows, and
JACK and MARCIE rush in and plop on the bottom bunk of the
Are you wet?
Just a little. Wait a minute, woman.
He reaches down and put his flashlight on its end so it points
straight up and gives them some light to see by.
They go into a long passionate kiss which is broken by MARCIE's
hand coming up from behind JACK and tugging his t-shirt up
towards his head. He leans back and takes it off, and tosses
it at the CAMERA.
69 EXT. FRONT OF MAIN CABIN - NIGHT
The rain has gathered in intensity. ALICE comes up to the
front door and looks out. BILL comes up behind her.
Jack and Marcie are gonna be drenched.
Not if they're where I think they are.
I'm not always this stupid.
She turned back into the cabin.
70 INT. BOY'S CABIN - NIGHT
TIGHT on JACK and MARCIE as they make love under a camp
blanket. Their breathing and noises are heard just above the
sounds of the rain outside.
The CAMERA becomes interested in a droplet which appear to have
leaked from the ceiling, hit the vertical member of the bed and
dribbled down. As the bed shakes with its love-making, the
CAMERA PANS up the bunk's strut to trace the droplet's course.
As the CAMERA PANS UPWARD, it pulls back slightly and we see
NED lying in the upper bunk. In a flash of lightning we
realize he is dead: his throat has been slashed.
ANOTHER ANGLE: JACK and MARCIE lie completely still beneath
their blanket. The CAMERA PANS along their quiet bodies.
MARCIE's face is contented. JACK is ready to doze off.
Like waves. It's never been likes waves
Gotta pee. You're lying on my bladder.
She rolls over and grabs her underpants and t-shirt. While
still on the bottom bunk, she puts herself into her limited
clothing. JACK gives her room.
I know this ain't very romantic, but
what can I say? I don't want to explode.
She grabs a flashlight, scoots to the door and is gone.
JACK lies back and puts his hands under his hand.
71 EXT. CAMP GROUNDS - NIGHT
MARCIE runs across the now-wet central area towards the
bathroom facility. She tries to skip between the raindrops,
but she knows she'll get a drenching.
72 INT. BOY'S CABIN - NIGHT
JACK rolls to his side, picks up a small hand-rolled cigarette
and lights it. He inhales deeply, rolls on his back.
Something overhead catches his eye.
Across the way from the row of toilet stalls is a row of shower
stalls, and further down is a row of several sinks and mirrors.
We hear the toilet flush.
We CUT INSIDE the toilet booth as MARCIE stands reading the
graffiti to herself. We can only see her from the chest up.
"Forty yards to the outhouse by Willie
Makit." "The Yellow Stream by I.P.
Daley." Not the most original stuff,
There is a noise outside the stall.
She hears no response and assumes that her imagination is
playing tricks with her. MARCIE picks up the flashlight and
exits the stall.
73 MARCIE crosses to the row of sinks, stops, puts the
flashlight down and turns on the water faucet. There is
PROWLER'S POV: of MARCIE.
From the end of the row of showers, we watch MARCIE bend under
the sink and turn on one of the spigots. Water rushes into the
74 MCU MARCIE: She rinses her hands, shakes them dry and
turns off the water. Again she hears a noise. She looks
to the row of showers and smiles.
The screen door to the shower room is swinging open and shut.
MARCIE looks over, smiles. She thinks someone is trying to
Jack? Neddy? Don't put me on.
There is a dripping sound. MARCIE stops at the first shower,
Throws back the first curtain. There is no one there. She
reaches in and makes sure the spigot is really off.
She goes to the second shower, looks over her shoulder to the
empty toilet. Then reaches in to the shower curtain.
Allee allee infree!
She throws back the curtain. Again no one is there.
She breathes a sigh of disappointment.
Must be my imagination.
In CU she turns back toward the sink area when suddenly the
TRACK explodes with a MUSICAL STINGER. It happens in a flash.
A shape lunges from the toilet booth across from the first
shower. A hatchet glints. MARCIE screams. The hatchet
strikes. The flashlight clatters to the floor.
75 EXT. DINER - NIGHT
The sound of a cash register ringing up a sale hangs over an
establishing shot of the diner. Through the window, which are
being pelted with rain, we can see a WAITRESS and some CUSTOMERS
seated on stools at the counter.
76 INT. DINER - NIGHT
The WAITRESS is different from the morning woman, slightly
older, but still attractive. She says good night to her
CUSTOMER, who finishes paying his bill and crosses down the
counter. Seated there is STEVE CHRISTY, finishing his cup of
coffee. The waitress, SANDY, picks up his empty pie plate and
tosses it in a pan of other dirty dishes.
Anything else you want?
No, thanks. I'm fine. Sandy.
You can't go back there tonight. Not in
that stuff. 'Less you wanta get drownded.
I got to.
SANDY likes STEVE and enjoys flirting with him.
I have six new counsellor up there.
They're all babes in the woods in every
sense of the word.
They'll be okay if they know enough to
stay in outta the rain.
How much do I owe you?
One night on the town.
...I know what you mean. Two and a
quarter. Plus fifteen percent tip to
make up for me spending the night alone.
STEVE pays up and walks to the cash register.
You got a roof for that Jeep?
She rings up the money. Gives him his change. He hands her a
Yeah. I got it on before this--
(indicates the storm outside)
That's thirty percent.
For two lonely nights.
She smiles and is really kind of pretty underneath all that
Drive careful and don't drownd your dumb
STEVE smiles and leaves. She watches, then counts her changes
and sticks it her pocket with the rest of her tips for the day.
77 EXT. DINER - NIGHT
The rain continues as STEVE exits the diner, gets in his Jeep
and starts it up. He roars off through a big puddle, splashing
water towards the CAMERA. The Jeep pulls a small equipment
78 EXT. HIGHWAY - NIGHT
The Jeep plows through the rain, leaving the town lights
behind. A sign off to the side reads:
CRYSTAL LAKE 45 Mi.
79 EXT. MAIN CABIN - NIGHT
PROWLER'S POV: From outside the cabin, we can see some
activity in the big meeting room. The CAMERA moves slightly
from left to right as the shot is established. Then an unseen
hand releases a branch which partially blocks the shot.
80 INT. BIG MEETING ROOM - NIGHT
ALICE enters from the kitchen, carrying two cups of coffee.
She hands one to BRENDA, who is curled up on the couch in front
of the fire. BILL stands to the left of the hearth, picks up
a couple of pieces of dry woods and puts them on to burn.
You think they fell asleep?
Anything's possible. My parents taught
me to leave sleeping lovers alone.
It wouldn't matter except Steve should be
getting back pretty soon. It wouldn't
look so great if he fell over them.
Well, it hasn't been that long.
Long enough for me.
I think we should go wake them up. Just
Give them a little while longer. It's
still early, anyway.
81 EXT. RURAL ROAD - NIGHT
The rain is very heavy. Steve's Jeep drives past the CAMERA.
The tires squish in the muddy roadway.
82 INT. STEVE'S JEEP - NIGHT
Lighted by dash panel, STEVE tries to concentrate on seeing the
road. He leans forward, rubs a cloth on the windshield to get
rid of the condensation.
From his POV we watch the windshield wipers struggle to stay
ahead of the rain. Beyond them the headlights make a slight
dent in the night.
In the BG we hear a country station on the radio, but it is
bringing in more static than music, owing to the electrical
STEVE's hand reaches in and shuts off the radio.
83 INT. BIG MEETING ROOM - NIGHT
ALICE has finished her coffee. BILL enters, shakes the rain
off his poncho and stamps his feet.
Got to it just in time. The generator
was running on fumes. I filled it up.
That should keep it humming until Steve
BRENDA gets up.
Good night, Alice.
Good night, Brenda.
BRENDA takes her lantern, and, throwing the slicker over her
head like a portable tent, she races off into the night.
ALICE watches her go. A glimmer of lightning outlines her as
she heads off.
BILL walks back into the big room, followed by ALICE.
Help you clean up?
She walks with him as he carries the tray of empty coffee cups
into the kitchen.
84 INT. CAMP BATHROOM - NIGHT
The door opens and BRENDA comes in with her lantern and
slicker. Her actions are direct and business-like.
BRENDA goes first to the row of sinks and looked at herself in
the mirror, holding up a propane Coleman lantern like an
examination lamp. She takes out a toothbrush and some other
She flips on both faucets and nothing comes out. She put her
lantern down on the floor and turns on the water valves. She
stands up, and washes her hands and face.
She turns off the faucets and now we hear the dripping sound
that Marcie had heard. BRENDA looks off at the shower stalls,
shrugs, picks up her lantern and makes her exit.
85 EXT. RURAL ROAD - NIGHT
STEVE's Jeep coughs, sputters, stalls. OVER we can hear him
trying to re-start his dead engine. R-r-r-r...
86 INT. STEVE'S JEEP - NIGHT
STEVE angrily steps on the gas again and hits the starter.
He looks up to see headlights coming at him in his rear view
STEVE, wearing a yellow slicker, gets out of the Jeep to try to
flag down the oncoming car.
87 EXT. RURAL ROAD - NIGHT
STEVE smiles to see that the oncoming car is the local police
car, driven by a middle-aged cop named TIERNEY. TIERNEY has
the window down already.
I told you not to buy that hunk of junk!
I think water got into the electrical
system. You ride me back to camp? I'll
get one of my counsellors to drive me
back tomorrow morning.
STEVE is around the car and hopping in almost before TIERNEY
"To serve and protect" don't mean to
He puts the car in gear and roars into the night.
88 INT. GIRL'S CABIN/COUNSELLOR'S SECTION - NIGHT
Under a single hanging lightbulb, BRENDA finishes writing at a
The weather howls outside. There's a tapping sound. BRENDA
looks up. Listens, yawns, then gets up and starts to take off
89 EXT. GIRL'S CABIN - NIGHT
Through her window we can see BRENDA changing into her soft
90 INT. GIRL'S CABIN - NIGHT
The tapping returns.
That could drive a person bug-city.
The SOUND is apparently coming from the front of the cabin;
perhaps she can fix it without getting too wet.
BRENDA grabs her slicker and heads out.
The CAMERA FOLLOWS BRENDA through the darkened cabin to the
91 EXT. GIRL'S CABIN - NIGHT
There is a small roof overhang like a porch, affording some
protection from the wind and wet.
ANOTHER ANGLE, CLOSER: as BRENDA hears the tapping sound
closer by. She looks and sees.
WE SEE WHAT SHE SEES: somebody has ties a kitchen knife to a
string and left it dangling from the eaves. The wind blows,
making the knife tap against the building.
Neddy? Cut the screwing around, Neddy!
She grabs the knife, breaking the string.
This isn't even half funny.
Angry, BRENDA turns and goes back inside the cabin.
92 INT. GIRL'S CABIN - NIGHT
BRENDA comes in shaking off her slicker, carrying the knife.
Christ, what a jerk.
The single bulb goes out.
Great. Now what?
BRENDA crosses to the table, puts down her knife and strikes a
match. She fires up the propane lantern.
Looks like I turn in early.
She moves the lamp and gets ready to climb into her bed. She
reaches down and takes the coverlet and tugs it clear,
revealing something that has been left there.
REACTION SHOT: Fear spreads across her face.
REVERSE POV: WE SEE WHAT SHE SEES: A camp hatchet lies across
her pillow. The shiny blade is marked with blood.
BRENDA turns and runs from her room.
93 EXT. PATHWAY/CAMP - NIGHT
BRENDA runs through the rain, her flimsy pajamas drenched. Her
bare feet slip in the mud. She heads for a small rise that
leads to the softball field.
94 EXT. SOFTBALL FIELD - NIGHT
WIDE SHOT of BRENDA running across the softball diamond.
95 EXT. ELECTRICAL JUNCTION BOX - NIGHT
CLOSE UP: a hand reaches in and slams on a circuit breaker.
96 EXT. SOFTBALL FIELD - NIGHT
CLOSE UP: Two large spot lights on a telephone pole light up.
97 EXT. SOFTBALL FIELD - NIGHT
The softball field is now lit. BRENDA is confused. She looks
off behind the backstop. Then to center field. Confused, she
runs out of the light into the darkness and underbrush behind
third base. The CAMERA slowly zooms in on the darkness where
BRENDA exited. We hold on that spot for several seconds.
Finally the silence is broken by a terrified scream. Then
98 INT. BIG MEETING ROOM - NIGHT
ALICE is at one of the windows.
I don't here it anymore.
Can't hear anything through that wind
It sounded like Brenda.
I'll go take a look.
Did somebody leave the lights on at the
We are looking over at her shoulder. The distant glimmer
suddenly goes dark. BILL joins her and looks.
They're off now.
BILL heads for the door.
I'll go check on Brenda.
ALICE turns. BILL is halfway out the door.
I'll go with you.
If it'll make you feel better.
99 INT. POLICE CAR - NIGHT
The rain continues as they drive along.
Bad enough we got a full moon; it's
Friday the 13th. They keep statistics.
We get more accidents, more robberies,
more rapes, more homicides, more of
everything when there's a full moon. It
affects people. Makes 'em nuts.
You've made a science out of coincidence.
The police radio, which has been on "squelch," comes on.
DISPATCHER #1 (V.O.)
Sgt. Tierney, Report.
DISPATCHER #2 (V.O.)
Need a clear frequency...
DISPATCHER #1 (V.O.)
Sgt. Tierney, car niner.
TIERNEY takes the mike.
This is Tierney.
DISPATCHER #2 (V.O.)
Rescue squad with jaws of life... near
mile marker 17... possible fatals...
three, maybe more... head on... at least
DISPATCHER #1 (V.O.)
Sgt. Tierney, there's a bad accident.
One fatality known, several possibles
near mile marker 17 on the Interstate.
Bus, tractor trailer. Over.
Roger. Acknowledge receipt. Estimate
arrival time fifteen minutes. How copy?
TIERNEY has jammed on his brakes and swung the car around.
DISPATCHER #1 (V.O.)
100%. I'll tell 'em you'll be there in
fifteen minutes. Out.
TIERNEY bangs the mike down on the holder. He stops the car.
Have to drop you here, Steve.
STEVE gets out quickly.
100 EXT. RURAL ROAD - NIGHT
STEVE turns as the cop's car door slams. TIERNEY peels out on
the wet road.
CU as STEVE watches the lights grow dim in the distance.
ANOTHER ANGLE: as STEVE turns and jogs the other way. Low
thunder rolls in the distance.
101 EXT. GIRL'S CABIN - NIGHT
BILL and ALICE have made their way to BRENDA's cabin. From the
outside they can see the Coleman lantern burning on the table
Brenda? Brenda? You there?
There is no response. The CAMERA stays in a MCU of ALICE as
she and BILL cross up the stairs and into the cabin.
102 INT. GIRL'S CABIN - NIGHT
The SHOT continues on ALICE as she looks about the empty cabin.
Finally she stops, looking down. The CAMERA continues to hold
on her face.
BILL crosses over to ALICE. They are both looking down, past
the CAMERA LENS.
ANOTHER ANGLE: WE SEE WHAT THEY SEE: the bloody hatchet left
on Brenda's pillow.
ANGLE on BILL and ALICE: (as before). Their faces are serious.
What the fuck is going on here?
103 EXT. JACK'S CABIN - NIGHT
The rain slants down as BILL and ALICE make their way towards
Jack's cabin. They go to the door. BILL knocks.
BILL opens the door to the cabin.
104 INT. JACK'S CABIN - NIGHT
The door opens at us. We see the silhouetted figures of BILL
and ALICE. BILL flips on the light switch.
The cabin is empty. Jack's backpack lies on the bed, the
contents neatly laid out.
105 INT. CAMP BATHROOM - NIGHT
It is dark inside. The door slams open at us as BILL and ALICE
make their way inside.
Marcie? Brenda? Jack?
BILL walks slowly towards the row of toilets and showers.
I think we should call the police, Bill.
BILL, who was just about to open one of the toilet stalls, nods
and turns back to ALICE.
They exit. There is a beat... and then a slickered shape
passes between us and the night sky light which comes through
the windows. The shape is dragging something.
106 EXT. OFFICE CABIN - NIGHT
ALICE and BILL are on the porch of one of the cabins. To the
left of the door is a small sign that reads: "Office." BILL
tries the door, but cannot open it.
Sucker's locked. Who's got the key?
ALICE ignores the question, bends down beside the cabin and
comes up with a short 2x4. She crosses to the door and smashes
through one of the window panes. She puts her arm through the
broken glass, unlocks the door and enters. BILL follows.
The CAMERA continues to watch them from outside the cabin.
They turn on a light and cross to a phone on Steve Christy's
desk. BILL picks up the receiver, listens, clicks the switch
on the desk set several times.
It's dead. Try the pay phone.
Do you have a dime? A quarter?
No. There must be some in the desk
They fumble through the desk to find some change. BILL finds
some in the postage drawer. He then crosses over to a pay
phone mounted on the wall. The CAMERA moves to the cornice of
the building where the phone line exits. It follows the link
up the side of the cabin to the junction where the power and
phone lines come in from the pole. Here we see a dangling
phone cable which has been recently cut.
OVER, we hear the sound of a quarter dropping in the dead
Hello? Hello? This damn thing's dead,
107 EXT. PARKING LOT - NIGHT
BILL and ALICE comes out into the rain, heading for the camper
van. They hop in.
108 EXT. VAN/PARKING LOT - NIGHT
BILL slides behind the wheel. The keys are in the ignition.
ALICE hops in on the passenger side.
BILL turns over the engine. It grinds away but does not catch.
From an ANGLE behind the outside mirror, we hear the engine
fail to catch. We look in the mirror and see someone standing
in the distance, watching.
BILL gets out of the driver's side. Slams the door. The
CAMERA TRUCKS with him as he opens the door to the engine.
ALICE joins him as he shines his light on the engine.
What's the matter with it?
Wet. I don't know.
He tries a few more times.
Why don't we run? Just run now?
It's over twenty miles to the
crossroads. Steve'll be back in an
hour. Things will straighten out then.
We'll take his Jeep and get help.
He goes to her and cradles her face in his hands.
Don't worry. There is probably some
really stupid explanation for all this.
When the sun comes up tomorrow, you'll
109 EXT. CAMP ENTRANCE - NIGHT
In the FG we see a camp sign. In the BG we see a figure
running towards us.
The figure reaches our vantage point and is revealed as STEVE
CHRISTY. Just as he's about to make the turn into the
driveway, he looks up and smiles. He stops and catches his
breath as the other person catches him in the light of a
Hi. What are you doing out in this mess?
He shields his eyes from the light.
110 EXT. LAKE - NIGHT
From across the lake, the lights from the camp twinkle through
the rain drops.
111 EXT. GENERATOR SHED - NIGHT
The CAMERA as PROWLER moves to the shed. The noise of the
generator grows louder as the door is opened.
112 INT. BIG MEETING ROOM - NIGHT
BILL sits on the chair, a rifle across his lap. In the BG,
ALICE sits on the couch, dozing. On the coffee table in front
of her is a large machete.
BILL's eyes are closing. He jerks himself awake, then starts
to doze again.
The bulb overhead grows yellow, orange, and then goes out.
BILL snaps awake. He grabs a flashlight by his feet and flicks
He goes to the ping-pong table where he has placed some
lanterns. He fires up a Coleman and places it on the pong
BILL checks on ALICE, makes sure she's asleep, then exits,
carrying his rifle and a battery-operated fluorescent lamp.
HOLD on ALICE's peaceful face as she slumbers.
113 EXT. GENERATOR SHED - NIGHT
The rain has lessened a bit. BILL approaches the shed with his
fluorescent lamp and rifle. He has the rifle at the ready.
CU on his hand on the door handle. He pulls it open.
114 INT. GENERATOR SHED - NIGHT
The generator stands there quietly. BILL comes into view,
spraying the interior with lamplight.
In the FG a broken sparkplug which BILL does not see immediately.
It has been smashed by the blow of a hammer.
BILL goes to the gas tank and unscrews the top. He looks
in--there is enough gas. He puts the cap back on.
Then his eye catches something. He looks at the broken plug.
He shakes his head and looks around for a wrench to fix it. He
puts the rifle down on the floor of the shed.
115 INT. BIG MEETING ROOM - NIGHT
ALICE sits up into the CAMERA, startled and afraid.
She gets her bearings and looks around. Stands up. She looks
at the bulb overhead. Pulls its string. No light.
She sees the lanterns which have been placed around.
Now that she has figured out where Bill must be, she relaxes a
little. Smiles. She goes to the mantelpiece, takes the lantern,
and walks into the kitchen.
116 INT. KITCHEN - NIGHT
ALICE puts down the lamp and goes about filling a big old tea
kettle with water. She puts it on the stove and pops on a
burner and prepares two cups of instant coffee.
Impatient and curious, she walks to the front door of the cabin
and looks out.
The calm which she had grasped a few moments before is beginning
to desert her.
117 INSERT: Whistling tea kettle on the kitchen stove.
118 INT. KITCHEN - NIGHT
ALICE takes the kettle off the flame.
The whistling stops abruptly. ALICE pours water into the two
cups. She stirs the coffee.
Unable to contain her impatience any longer, ALICE picks up her
lantern, grabs a slicker, and heads out the door.
119 EXT. MAIN CABIN AREA - NIGHT
ALICE walks very quickly around the side of the cabin, headed
for the generator shed.
120 EXT. GENERATOR SHED - NIGHT
The door to the shed is closed. ALICE looks around and then
puts a hand on the hand. In CU we see the hand pull. The door
REACTION SHOT: ALICE decides to pull harder.
She puts down her lamp and uses both hands and tugs. She pulls
until she finally wrenches the door open. The lamp casts long
The generator sits silent.
ALICE leans into the shed to look.
The CAMERA TRACKS very slowly around behind her so that we can
see behind the right-hand corner of the building. As we clear
the edge, we see something hanging from a rope which runs down
from a branch above.
The something turns slowly in the wind. It is BILL--dead--in
a travesty of the martyrdom of St. Sebastian, shot with arrows.
ALICE comes out of the shed, distraught.
She closes the door, and turns in the direction of the body.
REACTION SHOT: ALICE. She is riveted with horror, unable to
move or turn or run. The SOUNDTRACK screams with the THEME,
the insistent STINGER, a shriek and a thunderclap.
ALICE finally gives voice to her terror--again and again. She
turns, leaving the lantern, and runs back towards the main
121 INT. MAIN CABIN - NIGHT
ALICE bursts through the front door into CAMERA.
Jack! Marcie! Help me!
122 INT. BIG MEETING ROOM - NIGHT
ALICE races to the coffee table, looking for BILL's machete.
It is not there.
She gets down on her hands and knees to look for it.
LOW ANGLE: as she scrabbles on all fours. Nothing under the
ALICE gets back up and rushes to the ping-pong table to get the
Just as she reaches the table--which is more or less against a
window--a figure swings, pendulum-like, into the glass,
shattering the pane in the window opposite ALICE.
It is BRENDA, long-since dead, dripping wet, white-faced.
ALICE sees her, turns and runs as fast as she can for the front
ALICE flings open the wooden door and runs into a rain-suited
ALICE screams. The figure holds ALICE in a strong grasp.
When ALICE focuses, she sees a kindly woman in her early
forties. She is strong, fairly tall, and very nice-looking.
This is MRS. VOORHEES. She wants ALICE to stop shrieking long
enough to tell her what the matter is. ALICE sobs incoherently,
pointing back to the rear window.
There now, my dear. Please. I can't
help you if you can't talk to me.
There, there now...
ALICE allows the woman to lead her back into the room.
MRS. VOORHEES leads ALICE to the couch. In the BG we can see
the broken window, but BRENDA is not visible.
He's dead... She's dead... all dead...
Please save me... oh... poor Bill... Oh
my God, oh my God... oh God...
It will be all right. I'll take care of
Jack? Marcie? Ned?
MRS. VOORHEES comforts her with a strong arm.
It's just this place. The storm.
That's why you're all upset.
No, no, they're all dead...
ALICE points over her shoulder towards the ping-pong table
MRS. VOORHEES looks, shrugs.
I'll go look.
ALICE's face registers the new terror.
They'll kill you! Don't leave me!
MRS. VOORHEES smiles warmly.
I'm not afraid.
ALICE waits by the couch as MRS. VOORHEES crosses the room to
the back window.
All dead? Neddy? Oh, Marcie...
ALICE stands close to the fireplace.
MRS. VOORHEES reaches the window and looks out. BRENDA's body
sways just out of reach. MRS. VOORHEES is shocked.
Oh, my lord...
MRS. VOORHEES turns back and, as she passes the ping-pong table,
she picks up the lantern.
ALICE waits at the fireplace.
So young, so pretty. What monster could
have done such a thing?
Bill--Bill--Bill is out there...
She lets MRS. VOORHEES take her in her arms.
We shall go straight to the police.
ALICE backs up.
The killer is still out there.
I will protect you.
MRS. VOORHEES looks around the room.
Oh, this place... It should never have
been a camp. Not for children. They
had so much trouble here.
The fire glimmers slightly in the fireplace. A log burns
through and rolls off, throwing up a small shower of sparks.
MRS. VOORHEES has almost completely calmed the girl down.
Strokes her soft hair.
You know a boy drowned the year before
those two others were killed? An
accident? It was inadequate supervision.
The counsellors were not paying enough
attention... They were making love when
that boy drowned.
ALICE looks up as the WOMAN strokes her hair.
ANOTHER ANGLE: MCU as the OLDER WOMAN's hand strokes the
YOUNGER WOMAN's hair. The hand is missing its little finger!
The THEME enters upon the TRACK in a lyrical, child-like
version, echoing back to another era, pretty and light.
We should go now.
Maybe we should wait for Mr. Christy.
MRS. VOORHEES shakes her head gently.
No. That won't be necessary.
As she speaks, MRS. VOORHEES reaches into her slicker in a
surreptitious manner and very slowly slips out a long hunting
I don't understand.
MIXED on the TRACK, filtered, echoed and distant, is the SOUND
of a ten year old boy, JASON, crying for help in a fantasy
version of what might have happened when he drowned in 1957.
Help me, mommy... save me... please,
mommy... please, mommy... help me, mommy...
(cocking her hand to listen)
I am, Jason. I am.
(a little confused)
Why shouldn't we wait for Mr. Christy?
MRS. VOORHEES has gone through some subtle changes. While her
voice remains warm and comforting, her face has started to slip
into her other manifestation. All of this is in concert with
the visibility of her weapon.
It was my son they killed. They said he
drowned, but I know it was inadequate
ALICE starts to become increasingly anxious. She can't see the
knife rise behind her.
Mr. Christy will be back soon.
MRS. VOORHEES shakes her head from side to side.
No, he won't. I killed him as well....
The shock of recognition hits ALICE. In CU her eyes look up
and see the knife which MRS. VOORHEES now has poised and ready
ALICE bolts off the couch and stumbles backwards into the
fireplace, scattering ashes and sparks.
MRS. VOORHEES stands and steps forward.
I couldn't let them start this camp
again, could I?
ALICE, in panic, looks for an escape. She grabs the fireplace
I won't let you!
ALICE swings the poker back and forth.
No! No! No!
MRS. VOORHEES raises her arm to slash downward with the knife.
ALICE swings the poker hard to MRS. VOORHEES' other arm and rib
MRS. VOORHEES is in pain, her face a mask of rage.
ALICE drops the poker to run for the door.
MRS. VOORHEES hesitates for a moment, then follows ALICE
Lightning goes off followed quickly by thunder.
123 EXT. MAIN CABIN/TREE - NIGHT
ALICE gets to the door and stops. She fiddles with the side of
the screen... somebody has latched it.
CLOSER on ALICE, taking one look over her shoulder, kicks at
the door, snapping the latch.
ANOTHER ANGLE: as ALICE runs out into the rain, the mud, the
thunder and the lightning. The THEME is going full-tilt as
ALICE makes a quick turn to run towards the road.
TWO-SHOT: as ALICE bumps into an object which swings from
above. A slice of lightning reveals it to be the dead body of
STEVE CHRISTY hanging from the tree. A rope is looped under
his arms, his head is down on his chest, and a long blade
protrudes from his heart.
REACTION SHOT: ALICE in terror.
ANOTHER ANGLE: ALICE runs and suddenly bumps into another pair
of legs which swing from the same big tree.
STROBE SHOT: of JACK, dead.
ANOTHER ANGLE: ALICE runs for the Arts & Crafts. In the BG we
see can the yellow-slickered MRS. VOORHEES closing the distance
between herself and ALICE.
124 EXT. ARTS & CRAFTS CABIN - NIGHT
ALICE runs for the door, slams through it.
The CAMERA waits for MRS. VOORHEES, but she does not appear.
125 EXT. GENERATOR SHACK - NIGHT
MRS. VOORHEES runs to the door and opens it quickly.
126 INT. ARTS & CRAFTS CABIN - NIGHT
ALICE is hiding in the shadows behind a table. We hear the
SOUNDS of the generator starting outside and suddenly three
bright overhead lights come on.
ALICE looks across the room to the light switch, afraid to
reveal her hiding place.
She looks for an escape. There's a window. She starts for it,
then stops and turns and dives under an arts & crafts table.
ANOTHER ANGLE: MRS. VOORHEES opens the door and walks in a few
She carries a machete in her hand. We see this instrument in
CU as we hear OVER the sound of her son, JASON, calling to her.
Help, mommy, I'm drowning! Oh, mommy,
The CAMERA PANS UP to her face and we see that the voice of
JASON is coming from within her in LIP SYNC. She is both
characters--though the child's voice is authentically dubbed.
ALICE can just make out what is happening and can hear the
VOICE OF JASON.
ALICE is very still. Her eyes widen as she listens to MRS.
Don't let me die, mommy... I can't
breathe... Help me, breathe...
MRS. VOORHEES is having trouble catching her own breath. She
strokes her throat with her free hand and the voice of the
(in her own voice)
I can't let them kill any more children.
Come out now.
She wades through table after table, pushing them out of her
way with the strength she has demonstrated throughout as the
When MRS. VOORHEES is too quick for her, shoving a table across
her path like a barred door. Before ALICE can think twice,
MRS. VOORHEES has shoved a second table in behind her so that
now ALICE is sandwiched between them.
She can duck down or climb over or come out the only open end--
the end where MRS. VOORHEES is standing.
ALICE looks behind her and sees a shelf. On the shelf is a box.
MRS. VOORHEES is coming down the aisle between the two tables.
Her machete is coming up in an attack.
ALICE reaches into the box in CU and pulls out a handful of
leather-working tools. She hurls them at MRS. VOORHEES as hard
as she can.
MRS. VOORHEES has to put her arms up to ward off the spinning
knives. One cuts her under the eye and she lets out a low
ALICE leaps up, climbs over the table and runs for the door.
MRS. VOORHEES shoves the tables over and hurries after her.
ALICE gets to the door, shuts off the light switch and runs out.
We can hear JASON'S VOICE.
Kill her, mommy! Kill her!
127 EXT. CAMP GROUNDS/EQUIP. SHED - NIGHT
The central area is bathed in light. The rain has stopped.
MRS. VOORHEES has turned on all the flood-lights.
ALICE runs to the corner of one of the cabins. She stops to
look back. MRS. VOORHEES is gaining on her.
ALICE runs to the equipment shed.
ANOTHER ANGLE: The door is thrown back. ALICE goes in. Looks
for a weapon. Nothing is available. ALICE sobs with fear.
MRS. VOORHEES passes the equipment shed.
128 EXT. RIFLE RANGE SHACK - NIGHT
A single bulb outside the building shows ALICE as she bursts
through the door.
129 INT. RIFLE RANGE SHACK - NIGHT
It is a small cabin. On the walls are five .22 calibre rifles.
ALICE runs into the dimly lit cabin and takes one of the rifles
from the wall.
She rummages in a drawer. It's empty. She tries another.
Where are the goddamned bullets?
The next drawer has a lock and hasp on it.
ALICE looks around.
130 EXT. RIFLE RANGE SHACK - NIGHT
MRS. VOORHEES is on her way, charging through the night.
131 INT. RIFLE RANGE SHACK - NIGHT
ANGLE ON ALICE: She whacks the hasp with the butt of the
rifle. The hasp doesn't give. She gives it another butt
stroke. It won't give. A shadow covers ALICE's back. She
ANOTHER ANGLE: MRS. VOORHEES is standing in the doorway,
blocking the light. Still carrying the machete, MRS. VOORHEES
steps slowly toward ALICE.
ALICE, with an almost useless .22 in her hands, does the only
thing she can. She takes the weapon by the barrel and,
swinging it like a baseball bat, whacks MRS. VOORHEES on the
arm/shoulder, knocking the killer off balance and into the wall.
MRS. VOORHEES slams through a flimsy table, crushing it, and
drops to the floor.
ALICE runs out the door.
132 EXT. MAIN CABIN FRONT - NIGHT
ALICE huffs past the dead camper van, through the mud to the
front door of the main cabin. She runs in quickly. There is
no sign of MRS. VOORHEES. She turns off the lights and runs
into the kitchen.
133 INT. KITCHEN AREA - NIGHT
ALICE looks from side to side, hoping to find a place to hide.
She spots the half-open door to the larder, looks inside and
then hides there, closing the door behind her.
134 INT. LARDER - NIGHT
There is some light that comes through the cracks and crevices.
ALICE's hands fasten onto the inside lock--the dead bolt type
which requires a key to unlock it from the other side.
ALICE relaxes a little bit now that she is locked inside.
As soon as she relaxes, we hear the front screen door slam.
Then we hear some shuffling around outside. The lights are
Please kill her, mommy... Help me,
please. Kill her, mommy.
There is the sound of pots being rustled through. Then the
sound of another door being slammed.
ALICE relaxes again.
Then there is a silence. ALICE thinks about unlocking the door
now. She reaches out for the lock. Then thinks better of the
She cases down the door frame to the floor. On all sides are
the cans of food and cooking implements. There is a large
skillet, some bags of flour, etc.
ALICE covers her head with her arms.
The doorknob above her head (a few inches away) turns very
slowly. We see it, but she does not. MRS. VOORHEES' hand
finishes turning and now starts to push gently. There is
almost no give, but we see that the door is being tested.
The voice on the other side is very young, very sing-song.
Come out, come out, wherever you are...
ALICE jerks back and stands up on the far side of the small
Fists bang in a rage on the floor.
ALICE folds her hands at the side of her face.
The fist-banging gives way to a short silence.
The silence is interrupted by a new sound: MRS. VOORHEES has
begun to use her machete to chop away at the outside of the
door to the larder.
REACTION SHOT: ALICE... oh, my God...
At first we see nothing on our side. Then, gradually, we see
little slivers of lights admitted by the blade's chops. ALICE's
eyes race around the larder to try to find a weapon, a defense,
Larger holes are now made. MRS. VOORHEES stops just long enough
to take a peck inside. We can see her eye at the largest hole.
She goes back to whacking away at the door. The hole is near
the lock. It is soon big enough for MRS. VOORHEES to reach
inside with her hand and turn the rachet.
ALICE realizes she must defend herself. She reaches down and
picks up a heavy skillet and, as the door opens, ALICE raises
her weapon and, screaming, charges the woman who is trying to
come through the entrance.
MRS. VOORHEES chops down with the machete. ALICE fends off the
blow with the skillet that she holds with both hands above her
head. As the machete blade bounces off the skillet, ALICE is
able to swing the skillet downward and hit MRS. VOORHEES with
a solid blow on top of her head. MRS. VOORHEES sprawls
sideways across the table and then collapses in a heap on the
ALICE raises the skillet again to strike. She crosses
carefully to MRS. VOORHEES and pushes her gently with her foot,
the way she might poke a dead animal in the roadway.
ANOTHER ANGLE: MRS. VOORHEES lies totally inert. There is a
small puddle of blood under her head.
ANGLE ON ALICE: She relaxes, puts down her weapon and crosses
slowly out of the room.
135 EXT. LAKE - NIGHT
The moon comes out from behind a cloud. ALICE pushes a canoe
into the water and paddles, as rapidly as her tired body will
permit, out in the lake to safety.
136 EXT. LAKE - NIGHT
Exhausted, ALICE puts her paddle across her lap and falls
forward, slumped across a thwart.
137 EXT. CAMP - DAWN
The first rays of sunlight streak the sky from beyond the
horizon, promising a hot and sunny summer's day. The birds are
up, foraging for food.
As the CAMERA scans the peaceful scene, we see the sky
reflected in the calm waters of Crystal Lake. The canoe
holding ALICE is drifting in big slow circles across the
surface of the lake.
138 EXT. LAKE - DAWN
ALICE lies, in MCU, in the canoe, sleeping. She has not
changed her position since collapsing a few hours before. The
water laps gently against the side of the canoe. Very slowly,
she wakes. She opens her eyes.
The canoe has drifted into the shade of some enormous tree
boughs that overhang the edge of the lake.
They shade ALICE from the bright rays of the sun. The canoe
rocks gently. ALICE is still, listening to the sound of the
Suddenly there is a blood-curdling scream, a MUSICAL STINGER,
and the screen is filled with the flying, whirling form of MRS.
VOORHEES, who leaps from the overhanging boughs into the canoe,
barely missing ALICE's slumped form!
The canoe immediately overturns and both MRS. VOORHEES and ALICE
try to find their footing in the shallow water. MRS. VOORHEES
is covered in mud and blood. She sees ALICE struggling to get
up and move toward her, brandishing her blood-spattered machete.
ALICE turns, sees MRS. VOORHEES coming. ALICE grabs a paddle
floating near her.
MRS. VOORHEES pushes the canoe to one side, wading through the
waist-high water as fast as she can. She screams with rage.
Her face goes through a horrifying transformation. From her
mouth comes the VOICE OF JASON.
Mommy! Mommy! Mommy!
ALICE can't move fast enough to get away from MRS. VOORHEES,
who is slashing the air with her big knife trying to hit ALICE.
ALICE slips, falls in the water, gets her footing back and has
to turn and block the blow of the machete with the paddle,
using it like a staff to ward off the blow. The machete cuts
the paddle nearly in half. MRS. VOORHEES raises the knife for
another blow and ALICE lunges for her knees and succeeds in
throwing MRS. VOORHEES into the water. The machete flies out
of her hand and lands in the water. The two women roll in the
water. MRS. VOORHEES is trying to strangle ALICE, her hands
stretching to reach around her throat. They roll over and
under the water. We cannot see who is winning.
Suddenly MRS. VOORHEES finds her footing and stands up, looking
for ALICE. She is screeching madly.
Kill her, mommy! Kill her, mommy!
ALICE shoots up out of the water holding the machete, and in
one, wild swing, decapitates MRS. VOORHEES, whose head flies
off into the water.
The body stands for a minute, then falls heavily into the lake.
ALICE drops the machete into the water and starts to wade to
139 EXT. CAMP ROAD/SIGN - MORNING
ALICE walks slowly down the road away from the camp. We hear
the sound of a car approaching. Now it comes into view. It is
a state vehicle, black and white, with an emblem on the door
that says "State Department of Health and Safety". There are
two middle-aged bureaucrats inside.
ALICE waves down the car, which pulls up beside her.
Good morning, miss.
(Leaning across the front seat)
Are you all right, ma'am?
The CAMERA PANS BACK while the two men get out of their vehicle
and come around to help ALICE.
140 EXT. CAMP - MORNING
LONG SHOT of the camp with the sun sparkling on the waters of
Crystal Lake. The canoe lies half sunken in the shallows. One
paddle drifts in the current. The lake has swallowed its secret.