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Friday the 13th: Chapter I *ON HIATUS*

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Twice now I’ve typed up a most detailed explanation behind the genesis of this screenplay, and twice now I’ve accidentally closed the tab due to the shitty layout of my laptop, losing everything I typed up. Perhaps the third time would be the charm, but frankly I’m getting tired of typing this all out, so I’ll just say everything which needs to be said in a short, succinct paragraph:

I was a big fan of the Friday the 13th films when I was a kid, but now as an adult, I think they largely suck. In spite of that, I still like elements from those movies, so I’ve started writing my own F13 reboot which takes those good elements and infuses them with some actual substance.

In the post below is what I’ve typed up so far. It isn’t much, but I don’t think it will take all that long typing the rest of the screenplay out. I’m essentially gonna stick to the original film’s plot, just adding more backstory to Alice’s character, more psychological/supernatural horror, and more Jason to the mix.

This post has been edited.

I believe the original, theatrical versions of SW & TESB are great films. Beyond that, I have little in common with the typical
Star Wars fan here. Just a heads-up so you aren’t too taken aback when I say I prefer Dark Empire over Return of the Jedi.

My screenplay index.

Author
Time

FADE IN

On a two-storey house located in a clearing somewhere in the woods.

INT. MOTHER’S HOUSE/KITCHEN – EVENING

Inside the kitchen, the MOTHER – a lean, thirty-something woman with long, red hair – stands over a pink birthday cake with the words “HAPPY 12TH BIRTHDAY” stencilled on the top in bright crimson icing. Taking a match to each of the cake’s twelve candles, she lights them one-by-one, a morose expression marring her pretty features.

CUT TO

A full moon centred in the middle of a pitch black night sky.

PAN DOWN

To focus on the black waters of a dark lake. Beyond the waters of the lake stand a dock and the buildings of a summer camp.

SUPERIMPOSE: “CAMP CRYSTAL LAKE – JUNE 13, 1958”

EXT. CAMP CRYSTAL LAKE – CAMPFIRE – EVENING

Outside, the camp’s counselors sit around a roaring campfire, singing “Michael, Row the Boat Ashore” to the strumming of a guitar. CLAUDETTE, the pretty young blonde playing the guitar, smiles lovingly at BARRY, who sits across from her. Meeting her gaze, he smiles right back.

INT. MOTHER’S HOUSE/DINING ROOM – EVENING

With cake in hand, the Mother enters the dining room, singing “Happy Birthday” in a low, melancholy tone as she crosses over to the dining table, which sits completely empty.

EXT. CAMP CRYSTAL LAKE – CAMPFIRE – EVENING

As the song comes to a close, Claudette unslings her guitar and hands it to another counselor. Standing up, she and Barry leave as the others start singing another tune.

PROWLER’S P.O.V. – UNDERWATER

Deep beneath the waters of Crystal Lake, a pair of closed eyes open, affording us a view of moonlight distorted through murky black water. Ever slowly, the PROWLER begins making its ascent to the surface.

INT. CAMP CRYSTAL LAKE – LOFT – EVENING

Entering a derelict loft, Barry and Claudette scurry inside, closing the door behind them. As Barry reaches out to her, kissing her, she lays a single finger on his lips, stilling him.

CLAUDETTE: (grins) Does Chloe kiss as good as I do?

BARRY: (smiles) I wouldn’t know.

CLAUDETTE: No, of course you don’t.

Laughing, Claudette breaks away from him. As she climbs a flight of steps to the top of the loft, he eagrely follows along after her, a broad grin breaking out over his face.

INT. MOTHER’S HOUSE/DINING ROOM – EVENING

Taking a pie cutter, the Mother cuts a slice out of the cake. Taking care not to let it slip, she transfers it over to an empty plate. The chair behind the plate remains unoccupied.

PROWLER’S P.O.V. – CRYSTAL LAKE

Emerging from the depths of the lake, the Prowler begins moving toward the camping ground sitting on the shore in the distance.

INT. CAMP CRYSTAL LAKE – LOFT – EVENING

Lying down together on the wooden floorboards, Claudette and Barry begin making out, clawing at one another in a desperate bid to remove each others’ clothes.

PROWLER’S P.O.V. – SHORE

Leaving the water, the Prowler makes its way along the shore to the camping grounds. It spots the counselors singing around the fire, then turning away from them, its gaze zeroes in on the loft.

INT. CAMP CRYSTAL LAKE – LOFT – EVENING

Their shirts unbuttoned. Billy and Claudette continue making out on the floor.

PROWLER’S P.O.V. – LOFT

Opening the loft door, the Prowler sneaks inside. Hearing the moaning and groaning of Claudette and Barry, it begins walking toward the stairs to the top. As it passes by a machete hanging on the wall, it reaches out – its child-sized hand hideously bloated and covered in black slime – and pulls the tool from its resting place.

INT. CAMP CRYSTAL LAKE – LOFT – EVENING

Hearing a sound, Claudette stops their burgeoning lovemaking. Sitting up, she hurriedly begins buttoning her shirt closed.

BARRY: (annoyed) What are you stopping for?

CLAUDETTE: (alarmed) Someone’s there, Barry.

BARRY: (sighs) C’mon, Claudette! I’m not made of stone!

CLAUDETTE: Let’s go back, Barry.

PROWLER’S P.O.V. – LOFT

Climbing the stairs, the Prowler comes to the top. Seeing Claudette and Barry there, it slowly walks toward them. Noticing that someone has arrived, Barry stops pressuring Claudette to carry on and they both hurry to stand up.

BARRY: (takes step towards Prowler) We weren’t doing anything. We were just –

As Barry finally sees the Prowler clearly, he stops in mid-sentence.

BARRY: (frowns) What --?

Before Barry can complete his thought, the Prowler lunges forward, burying the blade of the machete deep in his gut. As the Prowler pulls the machete out, allowing bright red blood to spurt from Barry’s open wound, Claudette SCREAMS.

As Barry collapses to his knees, grasping at his heavily bleeding wound, the Prowler turns its attention to Claudette. Screaming, she runs to the back of the loft, hurling various objects at the Prowler as it draws near, but she can do nothing as it brings the machete to bear, the blood on the blade glistening in the scant light.

INT. MOTHER’S HOUSE/DINING ROOM – EVENING

Some time has passed, and the twelve candles on the cake have burned low, covering the top in a spider’s web of white-and-green wax.

INT. MOTHER’S HOUSE/LIVING ROOM – EVENING

Sitting in an armchair, the Mother looks out a window at the bright white moon outside. Silently she weeps, tears running down her cheeks.

PROWLER’S P.O.V. – FOREST

The Prowler now makes its way through the woods, pushing past trees and branches and shrubs toward its ultimate destination.

INT. MOTHER’S HOUSE/LIVING ROOM – EVENING

Rising from her chair, the Mother walks to the window. Looking up at the moon, she clasps her hands together and closes her eyes tightly, beginning a silent prayer.

PROWLER’S P.O.V. – MOTHER’S HOUSE

Emerging from the deep forest into a clearing, the Prowler finds the Mother’s house waiting for it. Wasting no time, it walks to the house, right up to the front door.

INT. MOTHER’S HOUSE/LIVING ROOM – EVENING

The Mother’s prayer is interrupted at the sound of the front door slamming open.

INT. MOTHER’S HOUSE/DINING ROOM – EVENING

A strong breeze blows in through the open door and enters the living room, where it blows the candles on the cake right out.

INT. MOTHER’S HOUSE/ENTRANCE HALL – EVENING

Leaving the living room, the Mother slowly, cautiously, makes her way to the open front door. When she finally reaches it, she finds a bloated, four-foot-tall silhouette standing there. Freezing in terror, she watches as it steps inside and brings forth its arms. In its bloated, slimy hands, held by the hair, are the severed heads of Barry and Claudette.

PROWLER: MAAHHHHEEEE….

The Mother finally opens her mouth, releasing a bloodcurdling SHRIEK.

FADE OUT

TITLE: FRIDAY THE 13TH

FADE IN

The town of Crystal Lake, bright under the late morning sun.

SUPERIMPOSE: “WEDNESDAY, JUNE 11, 1980”

EXT. CRYSTAL LAKE – MAIN STREET – DAY

Nineteen-year-old ALICE HARDY walks down the street, a large backpack slung over her shoulders. Though quite an attractive young woman – with short red hair, a peaches-and-cream complexion, and bright blue eyes which would leave many a woman envious – a morose expression mars her pretty features.

INT. DINER – DAY

Alice enters a diner. At the counter sit SEVEN CUSTOMERS – four men and three women – one of whom has struck up a conversation with the waitress, TRUDY. Behind Trudy, the COOK works the grill.

CUSTOMER #1: I’m sick of them repeats.

TRUDY: I musta seen that Kojak eighty-two times.

ALICE: Excuse me.

The diner residents finally take notice of the girl standing there.

ALICE: (cont’d) How far is Camp Crystal Lake?

CUSTOMER #2: Camp Blood?

CUSTOMER #1: They’re opening up that place again?

CUSTOMER #3: Lots o’ luck.

TRUDY: What is it, Pam? ‘Bout 20 miles?

CUSTOMER #4: About that.

ALICE: Can I get a bus or something?

CUSTOMER #4: (smiles sympathetically) Not likely.

TRUDY: Pam, you goin’ out to the crossroads?

The female customer nods.

TRUDY: (cont’d) Give her a lift? That’s half way.

Pam thinks it over, appearing to have some reservations about giving the girl a ride.

CUSTOMER #4: Alright. (stands up; to Alice) Coming, dear?

Alice leaves with this good Samaritan.

TRUDY: I wouldn’t send my kids to that camp for all the tea in China.

CUSTOMER #3: I thought you hated your kids.

EXT. CRYSTAL LAKE – DINER – PARKING LOT – DAY

As the two women cross the parking lot, Alice gives her benefactor a once-over. In her fifties, she is a stocky, handsome woman. Like Alice she has red hair, only curlier and worn much shorter.

ALICE: Name’s Alice.

CUSTOMER #4: (grins) I’m Pamela. Pamela Voorhees.

As the two women approach Pamela’s vehicle – an army green Jeep – CRAZY RALPH leaps out from around front.

CRAZY RALPH: Goin’ to Camp Blood, ain’t ya?

PAMELA (CUSTOMER #4): (startled) Land sakes, Ralph!

Ralph, a rail-thin old man attired in a beat-up old hat and brown vest, stares at Alice with wild eyes, ignoring Pamela completely.

CRAZY RALPH: You’ll never come back again!

PAMELA: (nonplussed) Get out of here, Ralph. Leave people alone.

Pamela and Alice climb inside the Jeep. As they pull out, Ralph follows them a little ways.

CRAZY RALPH: It’s got a death curse!

INT. JEEP/CAB – DAY – TRAVELLING

PAMELA: Did your boss tell you anything?

ALICE: I’ll be cooking for fifty kids and ten staff. The campers will be mostly inner city children.

PAMELA: I mean about what happened.

ALICE: (frowns) No.

Pamela shakes her head.

ALICE: C’mon, there’s something you’re not telling me.

PAMELA: Quit. Quit now.

ALICE: Quit? Why would I want to quit?

PAMELA: Camp Crystal Lake is an unholy place.

ALICE: (rolls eyes) Not you too. You sound like your crazy friend back there, Ralph.

PAMELA: Did Steve tell you about the boy who drowned in ‘57? The two counselors murdered in ‘58? The fires? Nobody knows who was behind any of them. In 1962, they were going to reopen; the water went bad. (beat) Steve has been up there a year now, getting the camp in order. He must’ve invested $25,000 into the place, and for what? He will end up just like his parents: without a dime to his name. (shakes head) Ask anyone. Quit.

ALICE: (sighs) I can’t.

Pamela gets ready to deliver a retort, but finds Alice now staring straight ahead, lost in her own thoughts, the morose look back on her face. Pamela instead shakes her head a third time.

I believe the original, theatrical versions of SW & TESB are great films. Beyond that, I have little in common with the typical
Star Wars fan here. Just a heads-up so you aren’t too taken aback when I say I prefer Dark Empire over Return of the Jedi.

My screenplay index.

Author
Time

EXT. GAS STATION – DAY

The Jeep comes to an old gas station on the side of a rural road. Here, the vehicle comes to a stop and Alice hops out, not forgetting to take her backpack with her.

PAMELA: Take care of yourself, Alice.

ALICE: No sweat. Thanks a lot for the lift.

Alice closes the passenger side door and Pamela pulls away, leaving Alice all alone.

Turning around, Alice takes in the gas station before her. The station is closed, a sign hanging on the front door reading “No gas till Sat”, completely deserted save for a mutt which sits on the front stoop. Approaching the dog, she gives it a friendly pat and scratch behind the ears before continuing up the road on-foot.

CUT TO

A pristine, new red van driving along the same rural road.

INT. VAN – DAY

Inside the van sit three individuals: TED, JEFF, and SANDRA. Ted, the one behind the wheel, is twenty-two years old, skinny, the dark-haired dweeb of the bunch. Jack, a couple years younger than Ted, is Ted’s antithesis – blond, with broad shoulders and modest muscle to go with them. Sandra, with her long, frizzy blond hair, looks like she could be Jeff’s sister; judging by the way she lovingly massages his shoulders, however, that’s unlikely to be the case.

SANDRA: How about our last jay?

JEFF: Good call.

Opening the glove compartment, Jeff reaches in and fishes out a joint.

TED: What about the dope paragraph in Mr. Christy’s letter?

JEFF: (lights joint) “Controlled substances are expressly forbidden. Possession or use of drugs or alcohol on campgrounds will mean instant dismissal.”

SANDRA: We got two weeks before the kids even arrive; then I’ll act responsibly. 'Til then, hit me.

Jeff takes a puff then hands the joint to his girlfriend.

TED: Sandra, you think there’ll be other gorgeous women at Camp Crystal Lake besides yourself?

SANDRA: Is sex all you think about?

TED: There you are dead wrong.

JEFF: Ha!

TED: (cont’d) Sometimes I just think about kissing women.

EXT. RURAL ROAD – DAY

Alice is still out there on the road when the red van comes barrelling down towards her. Spotting the van, she turns to face it, sticking her thumb out.

INT. VAN – DAY

SANDRA: (notices Alice) Guys, let’s pick her up.

EXT. RURAL ROAD – DAY

The van pulls to a stop beside Alice.

INT. VAN – DAY

Sandra opens the side door. All three passengers look upon the redhead burdened with the oversized backpack.

ALICE: Hi. I’m going to Camp Crystal Lake.

TED: Well climb aboard, sister. We’re headed that way ourselves.

Grinning, Alice takes off her backpack, tosses it in back, then climbs inside. As Sandra closes the door and they resume rolling, the four exchange introductions.

Jeff turns to Alice, offering her the joint.

JEFF: Care for a drag, Alice?

Shrugging, Alice accepts.

EXT. CAMP CRYSTAL LAKE – ENTRANCE – DAY

The van passes through the entrance into Camp Crystal Lake. To the side of the archway stands a sign which reads “CAMP CRYSTAL LAKE – Established 1935”.

INT. VAN – DAY

Sandra looks out the van windows, examining their surroundings with awe.

SANDRA: It’s beautiful….

TED: Yeah, and it also looks like it hasn’t seen a coat of paint in sixteen years.

EXT. CAMP CRYSTAL LAKE – CAMPGROUNDS – DAY

As the van pulls into the camp, we can see the buildings – all the cabins along with the loft where Barry and Claudette met their unfortunate ends. As Ted’s comment implies, the buildings are rundown, weathered and aged from the long years of disuse.

As Ted parks the van in the small parking area right beside a green Jeep much like Pamela Voorhees’, STEVE CHRISTY waves to them. Steve – a handsome, bespectacled, mustached thirty-year-old with curly blond hair – stands shirtless over a tree stump embedded in the ground, the skin of his face, arms, and chest glistening with sweat.

STEVE: Wanna give me a hand here?

As the four new counselors climb out of the van, Ted and Jeff hurry over to lend Steve their hands. Together, the three men struggle to pry the stump out of the earth.

STEVE: (calling to someone offscreen) Brenda? (to Jeff & Ted) We wanna get this tree stump out. (points to different sides of stump) Get on this side; he pulls on that side; and I’m flack. On three, okay? (beat) Brenda‽

Working together, the three men manage to uproot the stump.

STEVE: That’s great, that’s great! (irate) Brenda!

BRENDA: (O.C.) Coming!

BRENDA wanders into frame. A tall, skinny brunette, she carries a shovel in one hand and a pail in the other.

STEVE: (offers hand to newcomers) I’m Steve Christy.

JEFF: (shakes hand) Jeff Dunsberry.

SANDRA: (shakes hand) Sandra Dier.

TED: (shakes hand) Teddy Rubinstein.

ALICE: (shakes hand) Alice Hardy.

STEVE: Welcome to Camp Crystal Lake. (nods to Brenda) This is Brenda.

BRENDA: Hi. (to Steve) Cabin B’s all ready.

STEVE: Where’s Bill? Has he finished clearing out the boathouse?

BRENDA: (shrugs) I haven’t seen him in the past half hour.

STEVE: Well, I want him to start painting right away. (to newcomers) You got some grubby clothes? Climb into 'em. (beat) Well, c’mon! Let’s go!

Steve runs off to start on another chore, leaving the quartet alone with Brenda.

TED: (snickers) I thought we had two weeks.

BRENDA: C’mon, I’ll show you where you can get changed.

EXT. CAMP CRYSTAL LAKE – SHORE – DAY

Finished at the boathouse, broad-shouldered, curly-haired BILL is taking a light break, standing on the shore with his hands in his pockets, watching the placid lake waters sparkle under the sun.

PROWLER’S P.O.V. – BILL

Sneaking through the woods, the Prowler spies Bill standing on the shore. Taking care not to be heard or seen, it begins slowly closing the distance between itself and him.

As Brenda comes traipsing through the trees, the Prowler stops and hurriedly ducks behind a tree.

EXT. CAMP CRYSTAL LAKE – SHORE – DAY

Bills turns around as Brenda makes her presence known.

BRENDA: Steve said for you to start on the boats.

BILL: Alright. (beat) Brenda, the others show up?

BRENDA: Yeah, everyone.

BILL: You think they’re gonna last all summer?

BRENDA: (laughs) I don’t know if they’re gonna last all week!

PROWLER’S P.O.V. – BILL & BRENDA

As Bill and Brenda leave, the Prowler watches them go, still hiding behind its tree.

This post has been edited.

I believe the original, theatrical versions of SW & TESB are great films. Beyond that, I have little in common with the typical
Star Wars fan here. Just a heads-up so you aren’t too taken aback when I say I prefer Dark Empire over Return of the Jedi.

My screenplay index.

Author
Time

INT. CAMP CRYSTAL LAKE – EQUIPMENT SHED – DAY

The door to the pitch black shed opens, revealing a dark silhouetted figure standing there. As the figure steps inside and turns on the light, we see that it is Jeff himself.

As Jeff begins looking around, in search of something amongst all the lanterns and cans of fuel and hibachis, he comes across a peculiar find: a half-dozen hunting knives, all sheathed, hung up neatly upon one of the walls.

PROWLER’S P.O.V. – EQUIPMENT SHED

The Prowler has wandered deeper into the camp. Concealed in some spot safe from direct observation, it observes the shed with the door standing open – open and inviting.

CAMP CRYSTAL LAKE – EQUIPMENT SHED – DAY

As Jeff continues his search, a new human silhouette fills the door behind him. Slowly, the owner of this silhouette steps inside and walks up to Jeff. Reaching out, it lays a hand on Jeff’s shoulder. Startled, Jeff whirls around, eyes wide. It is only Sandra.

SANDRA: (nods to knives) What are those for? An Indian raid?

JEFF: Steve’s got a wood lore program. You see any life rings?

Looking behind some piled up equipment, Sandra quickly finds two ring buoys.

SANDRA: Here.

PROWLER’S P.O.V. – EQUIPMENT SHED

Jeff and Sandra leave the shed, buoys in tow. The Prowler watches them go, then leaves itself, creeping over to the Arts & Crafts cabin.

INT. CAMP CRYSTAL LAKE – ARTS & CRAFTS CABIN – DAY

A one-room cabin, there are a few easels set up here-and-there, though the interior is dominated by long tables and rough-hewn benches for the most part. Alice, hair held up in a bandana, is busy sweeping the dusty floor.

PROWLER’S P.O.V. – ALICE

Looking in through one of the cabin’s dirty windows, the Prowler spies on Alice, whose back is turned to it.

INT. CAMP CRYSTAL LAKE – ARTS & CRAFTS CABIN – DAY

Alice stops her sweeping. Feeling as if she’s been watched, she spins around. The windows behind her are all blank.

As Alice turns back 'round, Bill enters the cabin.

ALICE: (startled) AH!

BILL: God! Sorry!

Alice just laughs it off.

BILL: I’m Bill. (offers hand) You’re Alice, right?

ALICE: (shakes hand) I’m Alice, right. (beat) Did you want something?

Bill points to one of the tables, atop which is lined several newly arrived, sealed cardboard boxes.

BILL: Steve wants me to take inventory.

ALICE: Oh, by all means….

Crossing over to the table, Bill takes out a pocketknife and cuts open one of the boxes. Fishing out the invoice, he then consults his list of items. Alice resumes sweeping.

BILL: Where’re you from, Alice?

ALICE: California.

BILL: What inspired a pretty Californian girl like you to come to the sticks?

ALICE: Why so curious?

BILL: (smiles) Just am.

ALICE: I wanted to make a change.

BILL: Just that? A change?

ALICE: (cocks eyebrow) Does a pretty Californian girl need a better reason?

BILL: (shrugs) I can live with that answer.

The two return to their silent chores.

BILL: So …

ALICE: What?

BILL: Aren’t you going to ask me for my life story?

Alice puts a hand on her hip, nonplussed. Bill just cocks an eyebrow and gives a sly smile.

ALICE: (grins) Alright. What’s your story?

BILL: Not much to tell. I’m from Tacoma; my dad’s an investment banker and I have five brothers and a sister.

Alice finds something in the way Bill relates his nondescript background funny. She LAUGHS.

BILL: (grins) What?

EXT. CAMP CRYSTAL LAKE – SHORE – DAY

It is now late afternoon – close to the golden hour – yet everyone is still hard at work. Carrying a wooden swim raft, Steve and his six employees carry it across the shore down to the lake. After getting the raft on the lake, they drag it away from the shore, anchor it in place, then return to dry land.

STEVE: (looks at sky) Let’s call it a day.

Everyone is relieved to hear that.

INT. CAMP CRYSTAL LAKE – MAIN CABIN/DINING ROOM – EVENING

Steve, Bill, Brenda, Jeff, Sandra, and Ted are arranged around the rectangular dining table, poised over their empty place mats, eagrely anticipating their dinner.

INT. CAMP CRYSTAL LAKE – MAIN CABIN/KITCHEN – EVENING

Alice has finished placing tonight’s dinner on the seven plates: steak and mashed potatoes for herself, Sandra and the boys, mashed potatoes and a salad for Brenda. With practiced expertise, Alice takes up six of the dishes and balances them on both her arms.

INT. CAMP CRYSTAL LAKE – MAIN CABIN/DINING ROOM – EVENING

Alice pushes open the dining room door with her foot and enters, sauntering up to the table laden with the plates. Without fumbling, she distributes each of the plates to their respective diners.

ALICE: Dinner is served.

SANDRA: (awed) Wow!

BRENDA: (impressed) I see cooking is only one of your many talents.

ALICE: (smiles) My father runs a restaurant out of Concord. He had me waiting tables since I was twelve.

TED: You’ve got to teach me how you do it.

JEFF: Don’t you have enough tricks in your little bag?

TED: (points at Sandra) That’s what she said.

Taking a forkful of mashed potato, Jeff scores a direct hit in Ted’s eye.

STEVE: (raises hand) Okay, okay. There’ll be enough opportunity for food fights once the campers arrive, alright?

ALICE: I’ll be right back.

Alice returns to the kitchen. In less than a minute she returns with her own plate and takes a seat between Brenda and Bill.

STEVE: Everyone’s here. Bow your heads and let’s say grace.

Some of the newcomers appear perturbed by Steve’s request.

STEVE: (half-smiles) Kidding. How about a toast?

TED: What should we toast to?

STEVE: Let’s make a toast to Camp Crystal Lake’s grand reopening. (raises glass) To the reopening of Camp Crystal Lake.

Everyone takes their glass of water and makes the toast. Alice notices that Brenda only half-heartedly makes the toast, looking none too enthusiastic while doing so.

INT. CAMP CRYSTAL LAKE – MAIN CABIN/STEVE & BRENDA’S BEDROOM – EVENING

Steve and Brenda have retired to their shared bedroom for the night. Steve, having already stripped down to his underwear, checks himself out in the dresser mirror while Brenda gets out of her clothes and into a nightgown.

STEVE: What do you think of our new hands?

BRENDA: I’m trying not to.

STEVE: (turns to Brenda) You still want to leave.

BRENDA: It would be best for everybody.

STEVE: You may not care a lot about this place, Brenda, but I mean to make it my whole life. It’s been my whole life.

BRENDA: Precisely why I’m leaving. This obsession of yours with the Christy family curse nonsense – I’ve tried to live with it, tried to make peace with it. It’s exceeded my tolerance.

STEVE: Don’t be ridiculous. You know perfectly well there isn’t any curse.

BRENDA: That’s right. I know it perfectly well and you know it perfectly well, so why isn’t that enough? Why do you have to prove it to the people in this town? Who cares what they think?

STEVE: It isn’t that. You don’t understand –

BRENDA: (interrupts) And I never will. (beat) For heaven’s sake, Steve, write it off. Put the camp up for sale, cut your losses, and let’s do something with our lives.

STEVE: I can’t.

BRENDA: Then I’m taking that Monday bus out of town and you’ll never see me again.

Brenda turns away from Steve. Approaching her, he rests his hands on her shoulders.

STEVE: Gimme another chance. Stay another week. Next Friday, if you’re still not happy, I’ll put you on the bus myself. I’ll be grateful.

Brenda turns back to face her lover. She looks into his eyes, searching for a future together, but can make nothing out.

BRENDA: I’ll think about it. You’ll have an answer on Sunday.

STEVE: Thanks, Brenda.

Brenda turns off the light and climbs into bed. As Steve goes to removes his briefs, she raises a hand.

BRENDA: Leave them on.

Steve complies. With his nether regions still hidden, he climbs under the covers with her. He puts his arm over her; she is unresponsive.

INT. CAMP CRYSTAL LAKE – ALICE’S CABIN – EVENING

Alice is her one-room cabin, nestled under the covers of her slim bed. Asleep, her face is serene, innocent as a child’s.

CHILD: (O.S.) Help me….

The voice, light, in the distance, almost inaudible, rouses Alice from her rest.

CHILD: (O.S.; cont’d) Help me….

Frowning, Alice pushes the covers aside and rises from her bed.

EXT. CAMP CRYSTAL LAKE – ALICE’S CABIN – EVENING

Alice steps outside and looks about. Very little can be made out in the darkness.

CHILD: (O.S.; cont’d) Help me!

ALICE: Hello?

CHILD: (O.S.; cont’d) Over here! Please, somebody, help me!

The voice appears to be coming out from the woods. Leaving her cabin, Alice begins walking towards the trees.

ALICE: (worried) Hello? Hello‽

CHILD: (O.S.; cont’d) Come quickly! Please, come quickly! Help me!

ALICE: Where are you‽ Hello‽

EXT. FOREST – EVENING

Alice is in the woods now, the camp grounds already obscured in the trees behind her. She begins to run, heedless of the rough objects she steps over with her bare feet. The child continues crying out for help.

ALICE: (frantic) Where are you‽

Eventually Alice stops, exhausted, panting, eyes bulging. The forest surrounds her on all sides, seemingly endless and impenetrable, the cries of the child falling upon her ears from all directions.

ALICE: (crying) Annie!

CUT TO

Alice bolting upright in bed.

Breathing rapidly, Alice looks about her. She is back in her cabin and back in her bed. The child crying out to her, her fruitless search through the forest – all just a terrifying nightmare.

This post has been edited.

I believe the original, theatrical versions of SW & TESB are great films. Beyond that, I have little in common with the typical
Star Wars fan here. Just a heads-up so you aren’t too taken aback when I say I prefer Dark Empire over Return of the Jedi.

My screenplay index.

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